It's time for another quiz! Awhile ago I laid down the first karate challenge, which offered an assortment of history, technique, and theory. Now it's time for weapons.
Kobudo is the name for the diverse weapon set developed on Okinawa, but occassionally relates to the old weapons of Japan as well. These two countries crossed paths (and swords) multiple times, and their development is quite intermingled.
Let's see if you can sort it out!
If the above button does not work, you can access the quiz here.
Use the buttons below to share with your friends to see how they stack up:
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Every now and then I add a review on the blog to inform readers of interesting books, movies, and products that I have found useful. Today is a little different.
The word "review" may not be correct for this article; "thank" is a bit more appropriate. Over the past decade or so I've gotten to know Carla Molinaro, owner and operator of a traditional Goju Ryu dojo in Eastern Pennslyvania. She studies kobudo under my primary instructor Bruce Heilman, and as such we often get a chance to cross train. Carla comes from a very strong line of Goju practitioners, training primarily under Ron Martin and receiving additional training under Chuck Merriman and Morio Higaonna.
I never really understood the potency of Goju Ryu until I began interacting with Carla and her students. Goju is a dynamic style of karate that boasts strong roots in Fujian, China. Much of the original Chinese aspects have been left intact, including an emphasis on circular movements and stability derived from the hara.
My appreciation and understanding of hojo undo (rudimentary Okinawan body and strength development) has been greatly enhanced by my exposure to Goju. I have also come to appreciate the value of kakie, a close in drill that incorporates tighter skills utilized in karate including tuite, muchimi, and tegumi.
Carla herself is an admirable role model in the traditional martial arts community. She always places a high currency on character development, even in a modern era where quick rewards are expected and honor is often misunderstood or forgotten entirely. Carla has also cleverly augmented her dojo space with other personal businesses so as to keep her dojo rates exceptionally low, allowing the focus to stay on quality instead of profit. Her Mumei Dojo website can be found here.
I'd like to thank traditional Goju practitioners all over for keeping Miyagi Sensei's dream alive, and to Carla specifically for sharing some of it with me over the years!
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Recently a reader inquired about the matter of kiai. For those who may not be familiar with the term, kiai is most frequently described as a "spirit shout" used in hard martial arts during moments of impact. Kiai is frequently used in kata as well as sparring, basics, ippon kumite, etc.
The crux of the question was as follows (paraphrasing):
"Can you comment on why some kata performances have kiai at the end of every movement? Is it appropriate to kiai that much, and if not how do you know how much to do it? Are there any tricks to sustaining your throat through that much yelling?"
The easy, judgmental answer would be to say "no,no, noooo. don't use kiai on every move. Only a few per kata! Too much kiai-ing is wrong!". But that hardly answers the question. After all, why NOT go nuts with it? If kiai juices you up, wouldn't you want to use it as much as possible?
Let's dig a little deeper!
What is Kiai?
To discuss this matter we have to fix the common interpretation of the word "kiai". Kiai is not necessarily a spirit shout. When broken down, the term "ki" refers to the internal spirit or inherent energy of a person. The term "ai" can indicate harmonizing or focusing, depending on the context.
As Forrest Morgan pointed out in his book "Living the Martial Way", kiai and aiki are two concepts closely related and frequently blended, not unlike a balanced yin and yang. Aiki (as in Aikido) is the practice of harmonizing with an opponent's force and redirecting it. Kiai is an expression of personal force directed into an opponent, disrupting their rhythm. You can see how the two concepts are symbiotically useful (but let's focus on kiai for awhile).
one of the most explicit ways to disrupt your opponent is by overloading their senses via a surprise burst of stimuli. In order to generate that kind of overload, the body's destructive energies can be brought together in an instantaneous moment of exertion. The eyes, ears, emotions, and pain receptors of the opponent can be aggressively overwhelmed. An intense shout, the most noticeable aspect of kiai, is an integral part of that process.
How To Execute a Kiai Shout
Bill Hayes Sensei tells a story of training on the beach with his instructor Shimabukuro Eizo. During that training a storm approached, and instead of packing up and heading home Shimabukuro Sensei had them continue their kata. Just as the students were getting ready to bail out they heard a sonic boom rip through the howling wind, jarring everyone around. When they looked back to see it's origin they found Shimabukuro Sensei laughing. Try as they might, they couldn't replicate their instructor's power in cutting through the maelstrom of the storm.
When listening to kiai, it's important to note that not all are created equal. Any human can scream in anger, not everyone can use kiai. A good kiai is like an auditory gun shot, fueled by intent. The length is brief but delivered quickly and intensely. The emotional fuel is not anger, fury, frustration, or rage (at least not primarily); instead, it is a focused intent to maim or kill. The other emotions may swirl momentarily as byproducts of the intensity.
As with most things in the martial arts, there is no shortcut to a great kiai. Here are some basics to get you started if you still aren't sure about the process:
- Create a solid posture. Tilt your pelvis slightly forward while keeping the spine aligned. Allow your body to relax and sink into the hara (the lower abdomen).
- Breath in through the nose and out through the mouth. Imagine yourself breathing from the bottom of your lungs. You should feel the belly moving in and out instead of the upper chest.
- When ready, push the air out of the bottom of the lungs vigorously. To do this, rely on the abdominal contraction that slightly tilts your pelvis forward.
- Create a vocalization using mostly the back of the throat. A proper kiai will inevitably come out as some sort of vowel sound, but you can guide how it sounds according to what feels natural. It's important to note that you needn't hit a hard "k" at the beginning of a kiai, as you are not actually saying "kiai" during the shout.
- Give yourself permission to be loud. You needn't scream your face off, but there is a barrier of timidity that needs to be broken through. A polite and mannerly kiai doesn't get the job done, so if you've been raised to keep quiet and not make a fuss you'll need to work through that mental block.
- Sculpt your vocalization into a pulse. The kiai is not a sustained scream, but more of an impact tool in it's own right. The hara fires the kiai up and out while the mouth directs it at the target.
More Than Just Screaming
The spirit shout itself is only one aspect of kiai. In order to use it to the fullest extent you have to involve your entire being, including the eyes, posture, and spirit.
There's a story surrounding Matsumura Bushi during one of his famous exploits. It's stated that Matsumura's reputation often preceeded him, even amongst the lower classes on Okinawa. As such, a local craftsman was quite surprised and pleased when Matsumura entered his shop to have some minor work done. Unable to contain his enthusiasm, the craftsman revealed himself as a karateka and promptly asked Matsumura for a lesson. After refusing, Matsumura was challenged to a match by the bold and impatient karateka. Eventually Matsumura acquiesed and agreed to meet the man the next morning.
Just as the sun was rising both men faced each other. At first the craftsman was confident due to his strength, size, and skill. However, as he approached Matsumura to begin the match he noticed something unusual. Matsumura stood naturally with an unflinching gaze. His posture was statuesque, his mouth pursed as if saying something while saying nothing, and his eyes fierce as an eagle. The craftsman felt ill to his stomach and had to sit down. When ready, the karateka tried again to begin an assault but was once again accosted by Matsumura's presence. Just as the craftsman steadied himself for a final attempt, Matsumura let loose a spirit shout akin to a lightning bolt strike and the man was brought to an utter standstill, forfeiting the match and asking for forgiveness.
The exact details of this story are unprovable, but the concepts are quite interesting. What happened here was nothing particularly mystical – Matsumura utilized applied psychology to overwhelm his opponent. Humans have an innate ability to detect threats and impending doom. Matsumura's skill level and confidence were refined to such a fine degree that he was able to instill in his opponent extreme sensations of dread. His kiai disrupted the opponent before a punch was thrown***.
How Much Shouting is Too Much?
As we've established, kiai manifests in subtly different ways, especially during kata performance. The focus and disruptive capabilities of kiai may be present throughout an entire kata, or it may fade in and out depending on what the performer is visualizing.
In order to explore the question of kiai frequency from all angles, here are some reasons why extended kiai might be useful:
- Repeated screaming could put a person into "hulk mode", overwhelming all comers.
- Making noise during a self defense altercation could draw attention and elicit assistance.
- Excessive kiai could make opponents fearful that the victim is crazy, abandoning their attack and running away.
- If every strike in karate is meant to be done as a "killing blow" then every strike would deserve a kiai.
The matter of drawing attention to oneself is certainly true. Screaming and struggling is a very legitimate self defense tactic especially in crowded areas. On the other hand, I wouldn't rely on an attacker concerning themselves about a victim being crazy. It may actually inspire them to do damage more quickly in order to quiet the scene.
The idea of "hulking out" is a perpetuated misunderstanding of how adrenaline works. It's true that ramping up an adrenal dump can increase strength and pain tolerance, but it also drastically reduces cognition and small motor skills. Furthermore, during a conflict, the opponent experiences a similar adrenal dump. Too much "hulk" without any sort of control will not only eliminate fine motor techniques but can also overwhelm gross motor techniques ingrained in muscle memory. The other problem with a scream induced frenzy is the amount of time available before exhaustion. Sometimes individuals get a false sense of security from the dojo. Being able to spar for 45 minutes does not mean a person can last 45 minutes in a street encounter. Even Police Officers experience extreme fatigue in a matter of seconds or minutes when faced with the real struggle of violence. Imagine now if that precious energy was wasted on excessive kiai shouting.
The concept of "killing blows" in karate is a popular one. The phrase "Ikken Hisatsu", "One Punch, One Kill" is frequently used and suggests that full force should be put behind every technique with total committment. This concept is a carryover from Japanese Kenjutsu and the idea of "Ichigo Ichie", "One time, One Meeting". The Samurai were extremely refined swordsmen and the katana was a weapon of immediate effectiveness. The slightest hesitation or uncertainty in a duel spelled certain destruction. The fist of the hard style karateka is designed to be deadly in the same manner. However, when matching the Ikken Hisatsu mindset with the realities of physical combat it's important to rely on the subtleties of kiai usage instead of raw vocalization. Intensity of purpose can be transmitted via facial expression, hard breath, a glare of the eyes, and spirit pressure. Matsumura demonstrated it best. Had he been screaming and having fits as his opponent approached the depth of his kiai might not have been as effective and he would have been exhausted quickly in the fight.
Ultimately, too much shouting goes against practicality for real combat. Consider the element of surprise. The kiai should form a sharp blast against the opponent's senses especially when combined with dehabilitating tuite or striking, never giving the opponent a chance to recover. In the matter of multiple opponents, a blasting kiai used sparcely is just as valuable. A sudden auditory impulse might stop all surrounding aggressors, much like Shimabukuro Eizo's kiai froze his students in place. Kiai may work multiple times in a conflict but if overused it will simply become white noise.
How Many Kiai Per Kata?
Most instructors will indicate a few pre-designed spots where they believe kiai belong. These spots are most often strikes that feel conclusive. As such, many kata feature 1-5 kiai.
Here's a great example from one of my favorite kata practitioners, Shimabukuro Zenpo:
I never doubted his intensity, did you? Not to mention, his throat should be in fine shape even after a full day of training kata.
A Part of the Bigger Puzzle
Throughout this article we've focused on kiai to the exclusion of other concepts. It almost feels as if kiai is the only tool available for spirit transmission, but the truth is quite to the contrary. Kiai is half of a whole with aiki. Furthermore, other concepts such as kime, zanshin, mushin, kokoro, and more add to the collective expression of the classical artist during life protection. Many deeper concepts overlap at times, but are also distinct avenues worthy of study.
Just in case you're still not clear on the matter of kiai among the pantheon of martial skills, I'd like to let Bruce Lee sum it up for me:
***This story should not be confused with other claims of using kiai to knock people out without touching them. The idea of using vocal sounds or visual colors to create knockouts is unproven at best.
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