Considerations Five and Six

Today we will continue our discussion of The Ten Considerations of Combat. We have discussed Environment, Range, Positions, and Maneuvers. Here we will discuss Targets, and Natural Weapons.


5. Targets
Targets determine techniques. It can be no other way.

The student must be able to both identify available targets, and determine the appropriate techniques and weapons to use against those targets.

Understanding the opponent's position allows the student to identify the available targets exposed by that position. Are his arms too low to effectively defend his head? Is his body bladed, or is he facing the student square, exposing his solar plexus at a ninety degree angle to the student? These questions are important and must be answered by the student within fractions of a second.

Once the targets are identified, the student must be able to execute the appropriate techniques. The natural contours of the human body, as well as the size and density of the chosen target are some of the aspects which determine the appropriate weapon. It would be inappropriate to use a finger thrust technique to the opponents jaw, however, that same technique might be appropriate to the eye. A front thrust kick may be appropriate for a strike to the opponent's bladder, but not generally to the opponent's solar plexus.

The availability of targets fluctuates constantly with changes in the opponent's position. Identifying targets, selecting the appropriate weapons, and launching the appropriate techniques must all occur with immediacy, something which comes with experience and consistent practice.


6. Natural Weapons
Natural Weapons are the tools with which the student is able to execute his offensive technique.

In this case, the deliniation of these as "natural" weapons means that they are those parts of the student's body itself which can be used in an aggressive manner. Typically this is thought of as arms and legs, hands and feet, but in practice there are other natural weapons which can also be applied to the situation.

Every part of the human body can be used either as a striking surface, or as a fulcrum against which leverage can be applied to injure or maim the opponent. The head and forearms can be used as striking surfaces, or the neck and shoulders as fulcrum points.

Perhaps the most important natural weapon is the mind. Learning that the mind can be used as a weapon is a key step in the student's instruction. It can be used to escalate or de-escalate a situation. It can be used to dissuade an attacker from his intended use of aggression, or infuriate him into acting irrationally. It can be used to disguise the student's intentions, techniques, and direction.

Understanding the use of natural weapons is key to self defense.

Drills -
Beginner: Students A and B face each other in a fighting stance. Student A calls out one target and a weapon he could use to strike it on Student B's body, then performs that basic making sure to hit his target with a good basic strike. Student B then chooses a different target on Student A, calls it out and names his basic and then executes a controlled strike. Alternate until one student or the other can not think of a new target. Begin again.

Intermediate: Students A and B practice Three Hit Kenpo with selected categories of targets and weapons. Upper body, closed hand strikes, front of the body, kicks and leg strikes, etc.

Advanced: Students practice Offensive Defense. While sparring, each student identifies which targets he will be hitting in combination, and which weapons he will use. Combinations must be two or more targets and include both arm and leg strikes.

The First Principle of Personal Defense

Some consider Jeff Cooper to be for practical pistol shooting what Webster is for dictionaries - the final authority. His thoughts are simple, his actions straight forward, and his results are unquestioned. His book, Principles of Personal Defense, has only seven short chapters, but the topics of those chapters should give you some impression of how he approaches self defense.

1. Alertness
2. Decisiveness
3. Aggressiveness
4. Speed
5. Coolness
6. Ruthlessness
7. Surprise

These, more than the kicks and punches you train in karate, are the tools which will keep you alive when the worst case scenario occurs. In the following chapter, "The First Principle is Alertness," Jeff Coopers lays out the importance of what we in kenpo call Environmental Awareness, and describes some drills the student can use to develop it as an ability.

The First Principle is Alertness

"A commander may be forgiven for being defeated, but never for being surprised. This maxim is among the first to be impressed upon new lieutenants. It is equally applicable to individuals who aspire to a degree of physical security in today's embattled society. Alertness is, to some extent, an inherent personality trait, but it can nonetheless be learned and improved. Once we accept that our familiar and prosaic environment is in fact perilous, we automatically sharpen our senses.

Two rules are immediately evident; know what is behind you, and pay particular attention to anything out of place.

It is axiomatic that the most likely direction of attack is from behind. Be aware of that. Develop "eyes in the back of your head." Eric Hartmann, the WWII German Ace who is unquestionably the greatest fighter pilot of all time, (1405 combat missions, 352 confirmed victories), feel that he survived because of an "extremely sensitive back to his neck;" and conversely, claims that 80 percent of his victims never knew he was in the same sky with them. Combat flying is not the same as personal defense, but the principle applies. The great majority of the victims of violent crimes are taken by surprise. The one who anticipates the action wins. The one who does not, loses. Learn by the experience of others and don't let yourself be surprised.

Make it a game. Keep a chart. Every time anyone is able to approach you from behind without your knowledge, mark down an "x." Every time you see anyone you know before he sees you, mark down an "o." Keep the "o's" ahead of the "x's." A month with no "x's" establishes the formation of correct habits.

Observe your cat. It is difficult to surprise him. Why? Naturally his superior hearing is part of the answer, but not all of it. He moves well, using his senses fully. He is not preoccupied with irrelevancies. He's not thinking about his job or his image or his income tax. He is putting first things first, principally his physical security. Do likewise.

There are those who will object to the mood this instruction generates. They will complain that the do not wish to "live like that." They are under no obligation to do so. They can give up. But it is a feral world, and if one wishes to be at ease in it he must accommodate to it.

Anything out of place can be a danger signal. Certainly anyone you don't know approaching your dwelling must be regarded askance. It's 99 to 1 that he is perfectly harmless, but will you be ready if he turns out to be that other one who is not?

Certain things are obvious. An unfamiliar car parked across the street for long periods with people in it who do not get out. A car that maintains a constant distance behind you while you vary your speed. Young men in groups, without women, staying in one place and not talking. These things should set off a first-stage alarm in anyone, but there are may other signals to be read by the wary. Anyone who appears to be triggered out of watchfulness and into action by your appearance must be explained. Anyone observing you carefully must be explained. Anyone whose behavior seems to be geared to yours must be explained. If the explanation does not satisfy you, be ready to take appropriate defensive action.

A common ruse of the sociopath is the penetration of a dwelling under false pretenses. Anyone can claim to be a repairman or an inspector of one sort or another. It is often impractical to verify credentials but merely being aware that credentials may easily be falsified is protection against surprise. The strong need only remain watchful. The weak should take further precautions.

On the street let no stranger take your hand. To allow a potential assailant a firm grip on your right hand is to give him a possibly fatal advantage. Use your eyes. Do not enter unfamiliar areas that you cannot observe first. Make it a practice to swing wide around corners, use window glass for rearward visibility, and get something solid behind you when you pause.

All this may sound excessively furtive and melodramatic, but those who have cultivated what might be called a tactical approach to life find it neither troublesome nor conspicuous. And, like a fastened seat belt, a life jacket, or a fire extinguisher, it is comforting even when unnecessary.

Needless to say, no sensible person ever opens the door of his house without knowing who is knocking. If your entrance way does not permit visual evaluation of your caller, change it. The statistics may be against a threat waiting outside, but statistics are cold comfort after you discover that your case is the rare exception.

The foregoing suggestions are merely random examples of ways in which the principle of alertness is manifested. Situations are numberless, and specific recommendations cannot be made to cover them all. The essential is to bear always in mind that trouble can appear at any time. Be aware. Be ready.

BE ALERT."

Sound advice. There's a reason Environment is the first consideration of combat. You have to be aware of what is going on around you, who is a threat, where your escape routes are, and what you could use to defend yourself. Sometimes that means knowing where help is, sometimes that means knowing where the exits are. Sometimes that means knowing the terrain or the likely places for an ambush. Never walk by the entrance of a dark alley without looking down it first. Never leave a stranger at your back when you are alone.

The First Principle is Alertness. Practice it every day, and you may never need to resort to violence. Because you will avoid potentially dangerous situations before they become potentially lethal ones.

Drills -

Beginner: Practice walking into a room and immediately closing your eyes. See is you can identify ten objects placed throughout the room by name and location. Are there obstructions you could place between you and an opponent? Household items that could be used as environmental weapons? Everything in your environment can be used by or against you. Imagine ways in which they could be employed by you and your opponent.

Intermediate: Practice identifying potential striking targets on the people around you in public. Does the way the person stands in front of you in line at the taco stand make him vulnerable to unbalancing techniques? Does the heavy boxes a person is carrying down a flight of stairs make it more difficult for them to defend against low line kicks? Or does it give them a weapon to use against you? Engage this intellectual exercise as you go through your day to learn how to adapt to the position of any potential opponent.

Advanced: Think like a villain. Imagine how you would surprise and attack a potential victim. Look for dumpsters you could hide behind, dark corners that would cloak you in shadows, or blind corners where you could lay in wait. Understand how a predator would use these different aspects of the environment as lures or traps. The more you explore how your opponents would plan to attack you, the more prepared you are to avoid and react to those potential attacks.

On the Swept Plateau

   "When there is no wind, row."

                       -Chinese proverb      

                                  

Your karate training won't always progress at the same smooth pace. In the karate school we have a regular schedule of classes, curriculum, and tests; but your own personal growth in the arts will sometimes move in fits and starts. Sometimes you feel like you are on fire, like you pick up every new technique immediately. Other times you feel like you are plugging along, getting a little better all the time. You go to class, you hit the bag, and you feel yourself gradually getting stronger and faster.

And then sometimes you feel like you've been running and running forever. And one day you look around and it's been a long time since you saw any new improvements in skill and you start to question if it's worth it. Will my training ever pay off? Are all these repetitions, and bumps and bruises and scrapes, really making me better? You practice the forms and show up to spar but you feel like you're stuck. You can't see a horizon in any direction and you've gone so far without a major step that you've begun to lose context.

You're on the plateau.

The Way of martial arts is an upward winding path. Sometimes it is steep, and sometimes it is shallow, and there will be times when it seems to extend in front of you forever with no end in sight. It is easy during these times to become discouraged in your training. But that is just a part of the journey. The things that excited you about karate when the gains were easy and the time between rewards was minimal seem to have less of a draw now. Where you used to show up to class early chomping at the bit for the next technique or drill, now class seems a burden, and a part of you begins to justify not putting in the effort by focusing on how long it's been since you felt like you were growing.

Sometimes it happens at brown belt. Sometimes it happens at black belt. Sometimes it happens to a beginner. You keep doing what your instructors say, practicing the drills and performing the kata, but more and more it seems like a thankless chore.

The nights are dark on the plateau, and when the strong winds blow you have to make a decision. Do you keep training? Or do you stop training?

What you sometimes lose sight of when you are on the plateau is that there is only one secret technique of karate. Keep training. Regardless of how good you are or were or could be, if you keep training you will get better. The only way to stop getting better at karate is to stop doing karate. Left foot right foot. Better today, better tomorrow. Even when you're on the plateau the way to move forward is to move forward.

The wonderful thing about karate is that it works. And when you are on that plateau and you've been running and running, and you've been doing the repetitions and putting in the mat time, even though you didn't want to, you are training. You are training and training and training. And all that training pays off. You don't see it while you're doing it. But then another day comes, and you look around and realize you can suddenly see so much farther than you could before. Now you can see the long flat plateau below you, and how far you've come, and you can see the slope of the land from a perspective you didn't have lower on the path. The plateau is always followed by a massive leap in skill and understanding.

This can be a challenging time in your training as well. When you suddenly realize how much better your front kick can be you also suddenly realize that the front kick you felt confident and proud of before is beneath your new standard. It feels like all your skill has disappeared. But it hasn't. Your new understanding gives you the opportunity to grow further than you knew was possible before. But you have to keep doing the hard work that got you there. Right foot left foot.

When you are on the plateau it can be easy to lose perspective. You forget the gains you've gotten from your training before. You forget your victories. The plateau is not a place of victories. The plateau is not a place of defeat either. In some ways, that would be easier to deal with. FAILING means Finding An Important Lesson, Inviting Needed Growth. Instead the plateau is a place of interminable perpetuity. It is a challenge to the spirit. It is a battle with the self.

If you press, if you lean into that strong wind, you will leave the plateau behind you. Your mind will blossom, your skill will grow, and the scales will fall from your eyes. You will see karate as you never had before and you will express your new understanding and ability in everything you do. But the time for training is not done. You must continue to chop wood. And then, one day, you will look around and realize hot coals have fallen to embers, boiling water has grown tepid, long shadows cross the land and you can't see the horizon in any direction.

There are always more steps. There are always more plateaus. There is no ending to the challenges to the body, mind, and spirit. Karate is not a thing you finish learning. But when you have been through a plateau before you know what to do when you find yourself tired, empty, and parched.

Left foot. Right foot. Lean into the wind. Keep training. Keep showing up.

You will climb beyond the next plateau, and the next, and the one after that. Because karate teaches us to never give up. To apply ourselves to our training every day. To keep climbing.

You will find yourself on the plateau someday. You may have before, you may be there now. It is not the end. It feels like you've been running for ever and ever because you have been. You are getting somewhere soon.

Keep running.

Drills -
Beginner: Practice each of your techniques twice. Then practice them again three times each. Then again five times each. Then again three times. Then twice. Practice your techniques until you think you aren't getting anything out of it anymore. Then practice your techniques one last time. You will never finish practicing. You will never do "enough" repetitions. After a hundred, or a thousand, or ten thousand, you can still do five more and get better.

Intermediate: There will be times when you get tired of practicing the same drill or pattern again and again. You will want to skip around, or only practice your favorite techniques, or hurry through your kata practice so you can get to "the fun stuff." Remember, even if you've had this class, or done this activity, or sparred with this training partner time after time after time there is still a new lesson, right there in front of you. You will never stop learning from Short Form 1. Find joy in the drudgery. Embrace the chores and celebrate doing the daily work. The practice is the method.

Advanced: You have experienced training plateaus before. You know what needs to be done to break through to the next level, but you will still feel the miles as they pass beneath your feet. You will become parched, but you can quench your thirst with the sweat of your brow. You will grow cold, but you can warm yourself in the fires of your will. The plateau is no longer a frightening place for you. It is a predictable place, where the terrain is familiar and comforting and the time passes easily. Keep training. The next evolution is just ahead.

The Purpose of Patterns

Michael Rosenbaum's scholarly work Kata and the Transmission of Knowledge in Traditional Martial Arts seeks to identify the history, development, and original purpose of kata (forms) as a training excercise in warrior traditions throughout human history. His indepth account of the martial practices of ancient peoples and the influences which acted on their deployment of soldiers and the design of their weapons and armours gives the reader a new understanding of the esteem in which those warriors traditions held the practice of kata.

From the Introduction

"The great Chinese writer Chaung Tzu once said,

The fish trap exists because of the fish; once you've gotten the fish you can forget the trap. The rabbit snare exists because of the rabbit; once you've gotten the rabbit, you can forget the snare. Words exist because of meaning; once you've gotten the meaning, you can forget the words. Where can I find a man who has forgotten words so I can have a word with him?             

-(Chuang Tzu, 140)

Like the fish or rabbit trap, kata exists because of combat. Once its lessons were recorded and then understood, the form was set aside so that the "meanings" Chuan Tzu wrote of would become clear.

Although "kata" is a term used often by modern martial artists to describe pre-arranged sequences of techniques, the word is a by product of the Asian fighting arts. In actuality, the practice of combative techniques in pre-arranged forms is a methodology that has been used by many cultures throughout history, from the Roman soldier whose drills taught striking with the shield and then stabbing with his gladius, to modern day karate-ka whose kata is executed so crisply in their starched white gi. The use of kata or pre-arranged training routines is a long standing tradition that has been employed in most fighting arts in some form or fashion. Even in those societies whose combative systems may not have been subject to the same systematic methodologies, as is found within many Asian and European fighting arts, some means were used to preserve and to transmit martial knowledge. In some cases transmission of techniques was accomplished in a highly organized manner as during the Renaissance of Europe when mathematics, the printing press, and codified techniques all came together to present a highly scientific - and at times overly analytical - analysis of the fighting arts. Yet on other occasions, the transmission of technique has been accomplisherd in less formal, but still eloquent means. Thomas Arnold observed about the Swiss and their martial arts that,

This was an important development, for though the Swiss and the landsknechts certainly possessed elaborate, sophisticated and effective tactics, they apparently had almost nothing in the way of written drill. Theirs was a culture of war, not a science - it was taught by old soldier to new, and never was really codified or regularized.

-(Arnold, The Renaissance at War, 64)

In each case the intent was almost the same; to preserve and pass on knowledge of battle proven techniques, that could be used at a later date when the need warranted. These routines of transmission also allowed the man-of-arms to practice certain techniques in a repetitive manner. This allowed him to perfect skills and gain artistry that made the execution of his techniques nearly as natural as walking down a city street.

Kata and pre-arranged training routines were not the only methods used to transmit and preserve martial knowledge. Dance, poetry, and written texts were used extensively to record historical events and preserve knowledge related to a society, its existence, and its martial prowess. In the early English epic Beowulf, the power opens with mention of the "Spear Danes" and that "the kings who ruled them had courage and greatness." (Heaney, Beowulf, a New Translation, 3) Beowulf is not the only poetical verse that tells of a culture's martial prowess. Homer's Illiad is filled with passages that detail combat of the early Greek society and shows us that the development of sophisticated fighting arts by mankind is a very old practice. Dance was another medium used to practice and record martial knowledge. Both the Zulu tribes of Africa and early Filipino martial artists used dance to transmit techniques and even train warriors. The use of written text has also played an important role in spreading knowledge of the martial arts. In Europe during the Renaissance period the printing press proved to be of great value in the production and distribution of fighting arts manuals.

To study the history of kata and pre-arranged routines is to also explore methods of communication, as they went hand in hand with the practice of pre-arranged practice patterns. In fact, the same creative process that was used to develop dance, writing, and poetry was also used to create kata. Just as physical shape and form is given to what were often ideals of an abstract nature, kata embodies the essence of the arts of war. It allowed man to identify, segment, practice, and then transmit concepts and techniques that otherwise would be lost in the chaotic realm of hand-to-hand combat. As Joseph Campbell said about man's ability to give physical shape to such ideas, removing them from an abstract process and thereby giving both form and meaning to the process itself, "The craft holds the artist to the world, whereas the mystic, facing inward, may be carried to such an extreme posture of indifference to the claims of phenomenal life as that of the old yogi with his parasol of grass in the Hindu exemplary tale, "The Humbling of Indra" (Campbell, The Inner Reaches of Outer Space, 89) For the fighting arts practitioner, kata or pre-arranged training routines are the bonds that holds them to this world. They are the physical manifestation of the fighting arts. Without them, and the techniques of which they are comprised, we have nothing but theory.

For the pre-modern or classical martial artist, kata practice was not just an empty routine performed for aesthetically appealing reasons. It was instead a complicated training ritual used to instill martial behavioral patterns and responses that were critical to their survival. Kata and the use of pre-arranged routines, allowed the classical martial artist to preserve techniques and behaviors that had proven successful in mortal combat. They were the "craft," that Joseph Campbell spoke of that provided the warrior with a rationalized means to examine the battlefield's chaotic realm and then perfect ways to survive on it. Dr. Karl Friday said about the influence of Confucianism on Japanese martial arts and their own use of kata that;

This infatuation is predicated on the conviction that man fashions the conceptual frameworks he uses to order and therby comprehend the chaos of raw experience through action and practice. One might describe, explain, or even defend one's perspectives by means of analysis and rational argument, but one cannot acquire them in this way. Ritual is stylized action, sequentially structured experience that leads those who follow it to wisdom and understanding."

-(Friday, Legacies of the Sword, 105)

Wisdom and understanding. That is the purpose of the practice of kata. We do not practice our forms for the approval of others, nor for the beauty of their physical performance. We practice the forms to gain wisdom and understanding. The practice is study. Training. It instructs us in its very execution.

Drills -
Beginner: Practice your forms again and again until you can perform the movements without faltering or stopping. Once you can perform the form in this fashion, you can then begin to make the movements your own through repetition and the application of emotion.

Intermediate: Perform your forms with only the upper body moving and the legs held still. Then perform them with your arms still and only the legs moving. Practice your forms in this way again and again, but remember to return to the entire body performing. The purpose of isolating aspects of forms in this way is to focus on perfecting those specific movements, not to forgo your study of the rest of the pattern.

Advanced: Practice your forms with intensity and explosive breathing with each major movement. Then practice them with grace and smooth, flowing motions. Practice them with kiai and stomps, and again breathing through the nose and gliding across the floor. Learn from each of these activities. Make each of them your own.