Here's an interesting article on exercise.
http://fitness.mercola.com/sites/fitness/archive/2012/06/01/long-cardio-workout-dangers.aspx?e_cid=20120601_DNL_art_1
I think this needs further research, if martial arts are for health we need to train healthily. Of course that means doing the right exercise!
Saturday, June 02, 2012
Wednesday, May 09, 2012
Onwards and Sideways!
I've started a new writing project about achievement, personal power and setting goals. A lot of it touches on internal work and some aspects of esoteric discussions (don't be scared though, it's all positive stuff!)
I haven't stopped writing here either, so there's no need to worry about Total Karate closing!
The subject matter of my other project might well be of interest to martial artists so I'm letting you know about it. If it's your cup of cha then feel free to visit, or pass on the link to friends who might be into that sort of thing.
Thanks!
http://http://onwards-and-sideways.blogspot.co.uk/
I haven't stopped writing here either, so there's no need to worry about Total Karate closing!
The subject matter of my other project might well be of interest to martial artists so I'm letting you know about it. If it's your cup of cha then feel free to visit, or pass on the link to friends who might be into that sort of thing.
Thanks!
http://http://onwards-and-sideways.blogspot.co.uk/
Monday, May 07, 2012
Keeping it Quiet
Do you discuss your martial arts interest or training with people who are not involved?
Sometimes acquaintances, co-workers and relatives get wind of what you do in the evenings and the inevitable questions are asked. You'll have to field queries on what Dan you are, how many bricks you can smash, what would you do in a real fight, how you'd get beaten up if attacked by a platoon of commandos....
Martial arts, whether you like it or not, are part of the pastimes classed as "weird". Grown adults wearing pyjamas, rolling around on the floor or uttering strange mantras. Yeah, that would count as weird. Then you have public perception based upon movies, cartoons, urban myths and the stories invented by martial artists to make themselves look better.
Some people will be genuinely interested, but in my experience most people just want to sneer and laugh at you when they talk about martial arts.
Keep Calm and Carry On!
Sometimes acquaintances, co-workers and relatives get wind of what you do in the evenings and the inevitable questions are asked. You'll have to field queries on what Dan you are, how many bricks you can smash, what would you do in a real fight, how you'd get beaten up if attacked by a platoon of commandos....
Martial arts, whether you like it or not, are part of the pastimes classed as "weird". Grown adults wearing pyjamas, rolling around on the floor or uttering strange mantras. Yeah, that would count as weird. Then you have public perception based upon movies, cartoons, urban myths and the stories invented by martial artists to make themselves look better.
Some people will be genuinely interested, but in my experience most people just want to sneer and laugh at you when they talk about martial arts.
Keep Calm and Carry On!
Mark's Daily Apple
I found a great online resource for daily workouts, diet and fitness. There's a whole bunch of good stuff here that should appeal to martial arts people. I particularly enjoyed the "Prison Workout" article.
Have fun. http://www.marksdailyapple.com/
Have fun. http://www.marksdailyapple.com/
Friday, May 04, 2012
Twitter...
Yes, I finally made it to the 21st Century;
My twitter ID is@irwinaydor link is www.twitter.com/irwinaydor
My twitter ID is
Monday, April 16, 2012
Three Timings in Wado Ryu
If you've been around in Wado Ryu for a while you will have come across three methods of timing. These are:
Go No Sen which means to receive an attack then counter attack. A basic example would be the attacker throws junzuki, the 'defender' does jodan uke and gyakuzuki in response.
Sen means to attack while the opponent is attacking. The wado technique called Nagashizuki (flowing punch) is a classic example. Another example... attacker throws a swinging punch and the defender moves inside and hits with an elbow strike before the hook punch connects.
Sen Sen No Sen is when the 'defender' attacks having perceived the intention of the opponent before the opponent actually attacks. This would equate to the modern idea of "pre-emptive striking" that you hear about a lot in the self-protection groups.
In our class beginners learn Sen and Sen Sen No Sen first. The more difficult things are learned earlier so they have longer to practice them! Plus from a personal protection point of view you have the aforementioned pre-emptive strikes, and a system of sparring that wouldn't look out of place in a boxing gym.
The so-called beginners lessons are very much applicable to the brown and black belt groups too because these strategies are fundamental to wado ryu. The structure of the exercises also gives students training in stance, distancing (ma-ai), focus and awareness (zanshin).
Go No Sen which means to receive an attack then counter attack. A basic example would be the attacker throws junzuki, the 'defender' does jodan uke and gyakuzuki in response.
Sen means to attack while the opponent is attacking. The wado technique called Nagashizuki (flowing punch) is a classic example. Another example... attacker throws a swinging punch and the defender moves inside and hits with an elbow strike before the hook punch connects.
Sen Sen No Sen is when the 'defender' attacks having perceived the intention of the opponent before the opponent actually attacks. This would equate to the modern idea of "pre-emptive striking" that you hear about a lot in the self-protection groups.
In our class beginners learn Sen and Sen Sen No Sen first. The more difficult things are learned earlier so they have longer to practice them! Plus from a personal protection point of view you have the aforementioned pre-emptive strikes, and a system of sparring that wouldn't look out of place in a boxing gym.
The so-called beginners lessons are very much applicable to the brown and black belt groups too because these strategies are fundamental to wado ryu. The structure of the exercises also gives students training in stance, distancing (ma-ai), focus and awareness (zanshin).
Sunday, March 04, 2012
Tuesday, February 28, 2012
Monday, February 27, 2012
Connecting the Dots (Pinan Nidan)
"Ichi!" Turn left, otoshi tettsui.
"Ni!" Step forward, junzuki.
"San!" Long turn, gedan barai.
"Shi!" Slide back, otoshi tettsui shizentai
"Go!" Step forward, junzuki.
You might recognise the first section of pinan nidan, at least if you're a wado person. Your style might begin with gedan barai, or you might make more use of nekoashi dachi. There's some interesting applications and footwork to be found in this particular sequence, along with the body mechanics associated with it.
But you might miss it if you train everything in an "ichi ni san" fashion.
Kata by numbers is fine if you're doing military drill with 50 or 100 students in a large hall, but from a martial art point of view the kata is destroyed.
Actually that's not completely fair. I know that when first learning a kata then working to the count is fine, and also working to a count that has a sensible rhythm to is can be useful too. The gist of this article is to move beyond that, so please bear with me as I ramble on....
Kata isn't a series of fixed steps like pictures in a book. It is more like a video - a continuous stream from start to finish. The timing changes, and yes there are pauses at certain points - they are there for a reason; the problem with the kata is in the robotic performance. Understanding the correct timing opens up the whole form in terms of application.
The first two movements in pinan nidan demonstrate dropping body weight, entering, and projecting forward - and we haven't started to consider what the "block and punch" bit means yet; and we still haven't thought about how to apply those movements.
"Movements" 3,4,5 in pinan nidan are another good example. Taking the foot work alone, practice with a spring-like stepping and you get evasion, drawing in and entering techniques. You'll have difficulty getting good, quick fluid steps if you train with excess tension and a fixed count. Whole body movement, especially considering the hips and waist, is required to get this down part (yes you need to consider the feet and head too).
Applications appear in the transitions and parts of movements, not in the conclusion of each technique. Using another analogy, techniques in kata are the dots, and the transitions are the lines. You need both to see the whole picture. Each dot leads to the next one until the picture is complete. (Interesting how the last dot leads back to the first...)
Practice the first part of pinan nidan using different rhythms. Train with a partner, who offers basic technique to work with (at this stage it will look like 'bad bunkai', but it's really only a commentary or reference point for the movement). After that start to consider the movement in terms of dealing with 'realistic' attacks.
If you train for competition (traditional karate shiai) take another look at movements 3,4,5 especially withdrawing the front foot and springing forward with the left. Add in some body shifts and feel how to bring the technique into play according to the movement. Then see how that movement relates to the preceding and succeeding techniques.
Remember, kata isn't a series of fixed points. Don't be obsessed with the individual dots, but rather see the whole thing. The kata now becomes a map with a route and points along that route (yikes, more analogy!)
Look at how other arts practice "flow drills" and incorporate them into your own training. (Escrima is good for this, as are Chinese systems that feature push hands). By training "in the flow" you get a much better feel for application, and it's a quicker route to more realistic kumite.
"Ni!" Step forward, junzuki.
"San!" Long turn, gedan barai.
"Shi!" Slide back, otoshi tettsui shizentai
"Go!" Step forward, junzuki.
You might recognise the first section of pinan nidan, at least if you're a wado person. Your style might begin with gedan barai, or you might make more use of nekoashi dachi. There's some interesting applications and footwork to be found in this particular sequence, along with the body mechanics associated with it.
But you might miss it if you train everything in an "ichi ni san" fashion.
Kata by numbers is fine if you're doing military drill with 50 or 100 students in a large hall, but from a martial art point of view the kata is destroyed.
Actually that's not completely fair. I know that when first learning a kata then working to the count is fine, and also working to a count that has a sensible rhythm to is can be useful too. The gist of this article is to move beyond that, so please bear with me as I ramble on....
Kata isn't a series of fixed steps like pictures in a book. It is more like a video - a continuous stream from start to finish. The timing changes, and yes there are pauses at certain points - they are there for a reason; the problem with the kata is in the robotic performance. Understanding the correct timing opens up the whole form in terms of application.
The first two movements in pinan nidan demonstrate dropping body weight, entering, and projecting forward - and we haven't started to consider what the "block and punch" bit means yet; and we still haven't thought about how to apply those movements.
"Movements" 3,4,5 in pinan nidan are another good example. Taking the foot work alone, practice with a spring-like stepping and you get evasion, drawing in and entering techniques. You'll have difficulty getting good, quick fluid steps if you train with excess tension and a fixed count. Whole body movement, especially considering the hips and waist, is required to get this down part (yes you need to consider the feet and head too).
Applications appear in the transitions and parts of movements, not in the conclusion of each technique. Using another analogy, techniques in kata are the dots, and the transitions are the lines. You need both to see the whole picture. Each dot leads to the next one until the picture is complete. (Interesting how the last dot leads back to the first...)
Practice the first part of pinan nidan using different rhythms. Train with a partner, who offers basic technique to work with (at this stage it will look like 'bad bunkai', but it's really only a commentary or reference point for the movement). After that start to consider the movement in terms of dealing with 'realistic' attacks.
If you train for competition (traditional karate shiai) take another look at movements 3,4,5 especially withdrawing the front foot and springing forward with the left. Add in some body shifts and feel how to bring the technique into play according to the movement. Then see how that movement relates to the preceding and succeeding techniques.
Remember, kata isn't a series of fixed points. Don't be obsessed with the individual dots, but rather see the whole thing. The kata now becomes a map with a route and points along that route (yikes, more analogy!)
Look at how other arts practice "flow drills" and incorporate them into your own training. (Escrima is good for this, as are Chinese systems that feature push hands). By training "in the flow" you get a much better feel for application, and it's a quicker route to more realistic kumite.
Friday, February 24, 2012
Sanchin Ranges
When learning something new it is useful to train using longer range attacks - ie the typical ippon kumite, step forward and punch. It's OK for beginners and it offers space to see the basic. However, it is important not to remain stuck there. You have to change the range so the attack is now closer in, from a guard. Finally you train the technique from a natural toe-to-toe posture.
It's interesting how that big soto uke stuff starts to break the closer the attacker gets in. Which begs the question, "Why bother?" Well the trick is, the execution of the application changes (try it for yourself).
I think the 'real' applications start to appear only at close range. From close hitting range the next stage is stand up grappling.
We were training some basic ideas contained in Sanchin. As the attacker's range closed in we found ourselves instinctively using movements from the 2nd and 3rd parts of the form.
So there you go. Sanchin has three sections and each section works different ranges, with the first part of the form dealing with longer range (yes, including kicks. Instead of stepping, convert the movement to a roundhouse or stamping kick).
I dunno. Try it, there might be something in it.
It's interesting how that big soto uke stuff starts to break the closer the attacker gets in. Which begs the question, "Why bother?" Well the trick is, the execution of the application changes (try it for yourself).
I think the 'real' applications start to appear only at close range. From close hitting range the next stage is stand up grappling.
We were training some basic ideas contained in Sanchin. As the attacker's range closed in we found ourselves instinctively using movements from the 2nd and 3rd parts of the form.
So there you go. Sanchin has three sections and each section works different ranges, with the first part of the form dealing with longer range (yes, including kicks. Instead of stepping, convert the movement to a roundhouse or stamping kick).
I dunno. Try it, there might be something in it.
Friday, January 20, 2012
2011 in Training
So that was 2011. Might be a bit late for an annual review, but we're well and truly into 2012 it might be worth taking a brief pause to reflect.
The club has seen a number of changes... some leavers (ah, college and uni...), some new faces arrived and a few of the old guard still doing their thing.
The kids' class is doing well. There's a solid collection of regulars all trying their best. Standards are definitely on the up. The new syllabus has helped, along with some "new thinking" when it comes to working with the kids. Keep them busy, keep it dynamic and don't make it impossible for them to learn (or for instructors to instruct!)
The children's display in the town centre during the summer went down really well. Feedback was very positive, and I hope we can do more of that in 2012.
In the seniors I think we've "found our feet" (in more ways than one!) But I think having a definite purpose to training is a big plus point. No more trying to please everyone at the same time. People either like what we do or they don't. Which is good.
We have a new association membership, good insurance coverage and backing. I hope it goes well, I must admit I am a bit adverse to big groups, rules and regulations, and paperwork. There's much to be said for going independant and that's fine as long as you're honest about who you are and what you do.
Ahh, that's all for now. Back to training.
The club has seen a number of changes... some leavers (ah, college and uni...), some new faces arrived and a few of the old guard still doing their thing.
The kids' class is doing well. There's a solid collection of regulars all trying their best. Standards are definitely on the up. The new syllabus has helped, along with some "new thinking" when it comes to working with the kids. Keep them busy, keep it dynamic and don't make it impossible for them to learn (or for instructors to instruct!)
The children's display in the town centre during the summer went down really well. Feedback was very positive, and I hope we can do more of that in 2012.
In the seniors I think we've "found our feet" (in more ways than one!) But I think having a definite purpose to training is a big plus point. No more trying to please everyone at the same time. People either like what we do or they don't. Which is good.
We have a new association membership, good insurance coverage and backing. I hope it goes well, I must admit I am a bit adverse to big groups, rules and regulations, and paperwork. There's much to be said for going independant and that's fine as long as you're honest about who you are and what you do.
Ahh, that's all for now. Back to training.
Wednesday, August 03, 2011
Getting my act together
Been so busy with the club, and that other stuff we call life; I realised I was starting to lose direction in my training. Fortunately I caught it in time, my efforts are refocused and I've started writing out training goals again. It's been a long time since I've done that.
Working those basics is always a good start. Plus I want to improve my fitness levels, I think next year is going to be busy, karate-wise.
Working those basics is always a good start. Plus I want to improve my fitness levels, I think next year is going to be busy, karate-wise.
Monday, June 20, 2011
Wednesday, May 18, 2011
Desert Island Karate
Imagine being stranded on a desert island. A nice one with lots of edible fruit, coconuts and fresh water. No work, no hassle, no facebook, no twitter, no door-to-door salespeople (mostly).
Exotic beaches, deep blue sea, crystal clear nights, long hot sunny days.
I know some people who would spend their entire lives there, and they'd love it. They'd pack up and go right now if they could.
How would that appeal to you?
After six months.... after one year.... a decade....
All alone ruling over your island kingdom!
How soon would the boredom set in? Or, indeed, insanity? How long would it take for you to want to leave that place forever? To return to daily life, to people, a place where you can make mistakes (and grow old disgracefully!)
Hold on, isn't this a Karate blog? What's all this desert island stuff? Well... in your training.... don't get stuck on that desert island!
Wednesday, April 27, 2011
Written and Verbal Tests in Karate
Bit of a strange one this. Some grading requirements ask students to answer general knowledge questions about karate, or for Black Belt grades - write an essay or complete a written test.
Not sure if I like this.
We're here to learn karate, an activity which is done by, er, being active and doing things. What does answering general knowledge questions have to do with developing skills in the art? Fair enough for people going for instructors' qualifications or some formally recognised qualification (in the UK there are NVQs, national vocational qualifications - these are attained by putting together a portfolio of evidence demonstrating knowledge and doing something).
But I don't think there is much value in giving black belt candidates 20 questions. After 3-5 years of training (at least!) you'd think they would know something about their style in question. I wonder if anyone has ever failed to get a Dan grade because they didn't write their essay?
And who marks these exam papers and essays? Are the people setting them qualified educationalists? What is the nature of these questions - I bet they are easy to answer if you have a web connection and google. I wouldn't be at all surprised if the people setting the questions used google to get their answers too....
I can't imagine footballers/cricketers/baseball players/race horses/etc having to complete a written exam so they can get to play in the first team or whatever.
Written exams in karate? No thanks.
(PS. I have an NVQ Level 3 in Management and team leadership. How very nice.)
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