Dunham's Martial Arts

The Focus'on Philosophy

2011-08-10T10:00:00.000-07:00

What we focus on, we tend to feel.

Have you ever remembered a happy or funny moment, during a time of sorrow? Or ever felt anger about something from the past, during a happy moment with a friend? Our focus can be directed in less than a heartbeat. And following it, comes a feeling. Be in charge of your own focus and emotions. Change your focus and change your feeling. Surround yourself with people who make you laugh, people who make you happy, people who help you focus on the good in life. If you focus on it, you will find it, whatever IT is. Learn from the bad, but focus on the good. Life is too short to be anything but happy. You don't have to be happy about everything that happens, but don't deny yourself happiness because of a moment of the past. Focus on the future and its infinite possibilities. Falling down is a part of life, getting back up is living. As the ancient Japanese Proverb goes, "Fall down seven times, get up eight."

What disempowering thoughts do you tend to have? What holds you back from being what you want and deserve to be? How might you change your focus in order to be more, do more, live more, love more, create more? Create something magical in your life right now. Create a life worth living. Change your focus and change your life. Be the change you wish to see in the world. What do you want out of life?

Drills:
Beginner - Next time you're in class or another safe place, close your eyes and listen. Hear everything that is happening but focus on nothing in particular. After a few moments, turn your attention to one sound and focus on this one sound. Follow this sound with your thoughts, pay attention to every detail. Recognize the direction it comes from, the tone, the pitch, the volume, the rhythm, etc. Next, open your eyes and see if what you heard comes from what you imagined.

Intermediate: While working with a partner during techniques, pad work, grappling or sparring try to read their telegraphs or feel their intention. Focus on the position of their legs and arms. What is their weight distribution? Can you feel if they are going to advance or retreat? Are they about to kick, or punch? Which side are they planning to use? Take note of their every action without focusing on your reaction to it. Be sure to start slow in order to learn to read your opponent. As you begin to correctly predict their movements, speed up the drill.

Advanced: Practice the same as the intermediates, but focus on your own intellectual responses to their actions and inactions as well. Begin to recognize every detail of the situation and seize every opportunity to succeed. Take advantage of their openings. Work around their strengths and overwhelm their weaknesses. Use the environment to your advantage. Work on your focus until you know what they are about to do, before they know.

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The Map is Not the Territory

2011-07-18T09:47:00.000-07:00

Everybody has a plan till they get smacked in the mouth.

- Iron Mike Tyson

In the field of General Semantics, there is a concept called the "Map-Territory Relation." The founder of General Semantics, Alfred Korzybski, famously stated in 1931 that "the map is not the territory," meaning that the awareness of the thing and the symbols we use to perceive it (in this case, the map) are not the same as the actual thing itself (the territory). General Semantics is the idea that our beliefs are formed by our perceptions of the world and specifically the language we use to define it. So a symbol such as a map, while useful as a tool to understand the lay of the land, is not actually the land itself which is completely separate and unique in physical and experiential reality.

The Belgian surrealist René Magritte addressed a similar concept in his painting The Treachery of Images. The painting is of a wooden tobacco pipe, with the words "this is not a pipe" written underneath it in french. And of course, Magritte was correct. For it is not a pipe, but rather an image of a pipe. Yet many who would look at the painting may be forgiven if at first they wonder how the artist could be so mistaken. For clearly, we see a pipe.

In our study of combat we discuss entry techniques, feints and distractions, set up strikes, combinations, defense and striking open zones, control maneuvers, repositioning techniques, and finishing moves. We talk about how to engage our opponent from different ranges, and which techniques to employ during each phase of the combat situation. We discuss how to approach unique aspects of combat differently, if the opponent attacks from the obscure zone we turn and face with zone coverage, if the opponent has our back we go stomach to stomach, if the opponent attacks our weak line we adjust our angle. We talk about how to counter our opponent's techniques, and what possible counters he may use, and how to counter his counters.

Generally speaking, in case of a fire in your home you need to get close to the floor, alert everyone, check doors for heat before opening them, and escape. Generally speaking, in case of an automobile accident you need to check for injuries, remain calm, and alert the necessary emergency services. Generally speaking, in the case of a home invasion you need to escape the home and call for help. Generally speaking, when I am engaged at range, I strike with kicks and punches, use cover positions to bridge the gap, close with my opponent using grabs and continued off hand striking, move to a control position, takedown and finish. It's good to have a plan.

But the plan is not the fight. Moltke the Elder taught us that "no plan survives first contact with the enemy." Even a plan which takes in to account our opponent, his strengths and weaknesses, his tactics and strategy, and his possible counters and our counters to his counters, is immediately obsolete once battle is joined. The original plan doesn't exist anymore, because the parameters have changed. The opponent moves left instead of right. The lighting is inconsistent. It begins to rain. You are tired, or sick, or injured. The plan is not the fight. The map is not the territory. The painting is not the pipe. All the training and talking and study you've done in the dojo is in preparation, but training is not combat and your opponent is not your friend.

Everything is context specific. That is why the first consideration of combat is Environment. The targets you strike. The strikes you use. The range at which you engage. The way in which you engage. The intensity with which you engage. Is this a drunken reveler on New Year's Eve? Is this a desperate man fighting for a crust of bread? Is this a violent sociopath who will not stop assaulting you because you have yielded? Is your family in danger? Is there a chance to escape?

Everything is context specific. Do you grapple or strike? Do you follow your opponent to the ground with the takedown or remain standing to engage or escape from there? What do you know of your opponent? What are his strengths? What are his weaknesses? What are your strengths and weaknesses? The man who knows himself and his opponent will not be imperiled in a hundred battles. Are there multiple opponents? Are they armed?

What we do in the karate school is make plans. We explore and study and dissect and examine and question and theorize and test. We follow a progressive system of expansive combat training which builds each skill upon previous simpler skills and futilely attempts to answer all possible questions about a dynamic situation of infinite possibility. The systems are artificial, because they seek to codify something which resists codification. At best, we can only imagine possible combat scenarios and apply our knowledge to those possibilities. We are drawing maps of fighting so we know which way to go.

But a map is a useful tool. It tells you where to turn. It tells you what to expect ahead. It tells you where be dragons. You wouldn't leave home without a map. And when you get lost, the proper thing to do is pull the map back out and find out where you are, and how to get where you want to go. Maps make safe travel possible, because they allow the traveler to prepare for the challenge ahead. That is why we paint pictures of fights in the karate school and why we practice self defense techniques against a number of attacks in a number of possible formations. That is why we ask questions, and seek the truth of combat, and practice that truth on the body. That is why we do the pushups and hit the pads. That is why we return, year after year, and stand on the line and set our Neutral Bow. We are studying the map, so that if we get lost, we know where to go.

But never make the mistake of thinking you are fighting when you are really training. We can only simulate the ultimate life or death combat scenario. We do not actually experience it. Your training partner is not going to kill you and though you may be injured in the karate school from time to time, you are not being actively assaulted. You are engaging in a practice, sometimes intense, which is designed to represent the combat engagement. But should you find yourself in a real fight, you must be prepared to change your plans to reflect the fluid nature of existing conditions. Or you must be prepared to lose. Fallen Sword in the karate school is a very specific response to a very specific attack practiced in a very specific manner where you strike very specific targets and your opponent responds in a very specific way. It is play acting. It is not a fight. Neither is randori, or sparring, or rolling, or Tiger in the Cage, or spontaneous defense. Neither even is full combat. Not in the karate school. It is training. It is making plans.

You need to make plans. That's why you have come to the karate school. To take the next step on mastering a unique and powerful art. To follow in the footsteps of those who've come before you. To learn how to fight, and why, and to prepare yourself for a fight which we should all hope never actually takes place. Sun Tzu's Nine Terrains teach us to plan according to the situation, to move to positions of strength, avoid combat, use environment to our advantage, marshall resources, and only when on death ground, to fight. The plan is to position yourself in such a way as to not have to engage the enemy. We plan not to fight, but no plan survives first contact with the enemy. And so we plan how we will fight as well.

Plans are important. But a fight is a fight. Ceci n'est pas une pipe.

Drills -
Beginner: Practice your beginner self defense techniques. Realize that each one is a like a photograph of a moment in time. Have the opponent circle you, occasionally throwing the proscribed attack for each technique, and perform the technique as perfectly as possible, again and again. Practice this with one attack and one technique at a time.

Intermediates: Practice your sparring. Choose one technique, like Penetrating the Wall, and practice apply thing technique to every attack your opponent gives you. Jab, Cross, Kick, Punch, Grapple, Inside, Outside, Penetrating the Wall, again and again. Practice adjusting your opponent's position to make your technique apply and practice adjusting your technique to apply it to your opponent's position.

Advanced: Engage in Free Combat drills, with an eye to where techniques appear within the engagement. If the opponent attacks with a jab and you defend and counter with a kick, that is Fallen Sword. If the opponent attacks with a high grab and you counter with a trapping grapple, that is Entrapping Circles. If the opponent attacks with a low kick and your respond with a leg hold that is Defensive Cross. If the opponent attacks with a low body lock and you sprawl and turn the corner, that is Taming the Bull. Understand that the techniques occur naturally, without the need to "make" them happen, and that by recognizing where they appear you can see the signs on the map pointing you to your destination.

The Strongest Hand Technique

2011-07-11T13:15:00.000-07:00

The other day someone asked me what the strongest hand technique in kenpo is. That got me thinking.

First of all, strongest is too general a term. Do we mean most effective? Heaviest? Hardest hitting? Biggest striking surface? Smallest? There's no way to answer this question in an objective way.

In kenpo we practice at least ten impact strikes with the closed fist alone. That doesn't include blocking, breaking, or gripping techniques. Plus another half dozen or so closed fist variations (knuckle strikes, half and thumbless fist), and well over a dozen open hand strikes (handswords, palms, claws, and finger strikes). All of which can be delivered from a number of different angles (forward, reverse, inward, outward, inverted), with a number of different methods (whipping, slicing, snapping, thrusting, hooking).

Even before you start moving up the arm with wrist strikes and forearm strikes and over a dozen different elbow strikes you have pinching and striking grabs and fishhooking and every kind of grappling maneuver.

And then there's bicep strikes and shoulder strikes and traps and hugs and holds. And each with both hands and two hand techniques and lifting and pushing and pulling.

And there are dragdowns and throws and hand assist sweeps. And holding and bracing and tackles and reaps.

And all your techniques are dependent upon targets. A hook to the eye is different from a hook to the mouth or to the subclavian notch. They're also dependent upon intention. There's punching to break, or to push, move, blind, or lock.

Of course force equals mass times acceleration. So heavy is good, but mathematically faster is better. A hammerfist can maim, but so can a ridgehand. I heard a story once about Master Parker knocking out someone at a sparring tournament with a single backknuckle strike.

And we mustn't forget that every offensive technique is a defensive technique and vice versa, so don't forget your parries and pull down checks, slaps, cranes, and presses.

No hand technique can ever be executed without proper stances and transitions however. You can't separate the arms from the body as a whole and still be effective. Even when you're grappling or on your knees body alignment is key. Punching is as much about the feet as the hands. Always strike with the whole body.

But practice striking with only your isolated limbs just in case.

And don't underestimate the value of your hands in kicking either. Your hands can provide balance by grabbing an opponent or by swinging to counter your shifting body weight. You can even grab the opponent to pull him into a kick. Bringing the target to the weapon is one of the ten ways to add power.

Lastly, there's a whole shadow side of hand work that you can't overlook in your studies. Sometimes the most effective technique is the one that never lands. Feints, fakes. Misdirection. Your hands can create mind clutter when striking or set up grappling techniques by making your opponent defend one direction then suddenly changing technique to use his force against him.

The question is hard to answer with punch or palm strike. Even if it were that simple, no two warriors have the same proficiency with any two techniques. Besides that, each technique is unique based on how it's used in combination. A step thru vertical punch after a kick is a different technique from a lead hand vertical jab followed by an inward reverse handsword.

There is simply no objective standard by which to judge this question. Joe Lewis, Bill Wallace, and Gene Lebell were all great fighters, and all used hand techniques. But they didn't have a consensus on the strongest hand technique. And saying that this technique is better than that for breaking doesn't even begin to address the issue.

The purpose of the Way is to master the self. We do that through the study of combat. It involves a lot more than punch and kick, like learning about human anatomy and how to corrupt its structure. And, at least generally, how to use weapons to do so as well.

A preference for one technique over another is just a stylistic bias. It should never be used as a measure of supreme efficacy. Some learn throws, some kicks, some punches. Western Boxing might prefer the reverse punch and a Muay Thai fighter might say the inward elbow strike is best, but in a street fight a grab to your opponent's testicles might be the best option.

What matters is learning how to use the body as a weapon. Philosophies, strategies, tactics, these are just finite codifications of the Way.

The body. The mind. The spirit. Those are the weapons. When you can make the three into one, then you are the weapon. And your hands and feet are just where that weapon makes contact with your opponent.

In the end, I only know one good answer to "What's the strongest hand technique?"

The one you Master. The one you train. The one you use when battle is joined. In kenpo, we are driven by efficacy. The ultimate standard of success is victory. Victory in battle. Victory over the self.

Master the hand techniques in kenpo. In that practice, you will master the Invisible Enemies. Then you will find the true strength of the Law of the Fist and the Empty Hand.

Drills:
Beginner - Practice your hand techniques against the heavy bag. Remember the order of instruction, Form, Accuracy, Speed, and Power. Practice each technique ten times, on each side.

Intermediate: Practice using your stances to enhance the power of your strikes. Practice engaging with Ground Leverage, and Back Up Mass, and Rotational Energy. Practice striking with every hand technique, from every stance, until you can execute a devastating blow from any position.

Advanced: Practice using combinations of hand techniques in sparring. Practice alternating open and closed hand strikes when attacking your opponent. Practice flowing seamlessly from defense to offense, delivering powerful blocking techniques followed by explosive hand strikes. Drive your opponent back with your hand techniques, and force him to submit to your strikes.

The Importance of Stance and Posture

2011-07-04T14:56:00.000-07:00

In karate, everything comes from your stance. Your power, your mobility, your strikes and grapples and defenses, it all begins with your stance.

In kenpo, we teach the Five Prerequisites of Proper Performance.

Continuity
Angles
Balance
Liveliness
Posture

Two of those prerequisites, Balance and Posture, relate specifically to stance and the way it affects your effectiveness in combat. Nakayama Masatoshi, the renowned karate Master, disciple of Master Funakoshi, and contemporary of respected martial arts historian Donn Draeger discusses the importance of Stance and Posture in his 1986 instructional text, Dynamic Karate.

Page 23

"IMPORTANCE OF CORRECT FORM

If the body lacks balance and stability, offensive and defensive techniques will be ineffective. The ability to defend against an attack under any circumstances depends largely upon the maintenance of correct form.

Stance in karate is mainly concerned with the position of the lower part of the body. Powerful, fast, accurate, and smoothly executed techniques can be performed only from a strong and stable base. The upper body must be firmly settled on this strong base, and the back kept straight, or perpendicular to the ground. Although an effective attack is impossible without a strong stance, it is only necessary to assume this position just before delivering an attack. If the student concentrates too much on remaining in a firm and stable position, he will lose mobility.

REQUIREMENTS OF A GOOD STANCE

In addition to the above, the following points are closely related to the development of a good stance. The student must:

A. Be well balanced when applying offensive or defensive techniques;

B. Rotate his hips smoothly when executing techniques;

C. Apply his techniques with the greatest possible speed; and

D. Insure that his muscles used in attack or defense work together harmoniously.

Therefore, the first consideration is the establishment of a strong and stable base. From this base all parts of the body must work together harmoniously as a single unit. In other words, the feet, legs, trunk, arms, and hands must be well controlled individually, but at the same time work together as a unit.

It is important also that the muscles necessary to perform a particular technique respond fully, and that those not used be kept relaxed. If your stance is incorrect, the harmonious interaction of your muscles will be absent and your techniques less effective. Poor form brings unnecessary muscles into play, muscles which often hamper speedy and powerful movements. Strong, fast techniques depend for their execution upon a firm base. Further, the delicate control necessary in karate is only possible with a stable and correct stance.

Most karate students have only an incomplete knowledge of stance. Many are unfamiliar with the varieties possible. Even in the case of a particular stance, there is a real difference in its form at various times. For example, the form of a particular stance is different in the ready position from its form at the time a technique is applied. The form of the stance immediately after the technique has been applied again different from the preceding two. There is a delicate change at each stage, although the form looks almost the same.

The concept of one definite stance for a particular occasion is foreign to karate. The stance chosen varies according to the circumstances. however, it must be natural and it must allow one to move freely in all directions and to assume any position.

A few concrete examples can help illustrate the above points. In zenkutsu-dachi (front stance), there is an important difference between the stance as a preparation for applying a technique and the same stance at the moment of application. In the former instance the knee of the front leg must be bent and the muscles in the thighs and calves of both legs relaxed to permit flexible and quick movement. However, the instant a technique is applied, the muscles of the legs must tense to strengthen the hold of the feet on the ground and to give power to the movement.

Furthermore, in either the front stance or neko-ashi-dachi (cat stance), the position taken must not be so low that the muscles become tense, inflexible, or stiff. If this occurs it will be impossible to move quickly when necessary.

It is detrimental to the development of beginners if, instead of concentrating on basic training, they attempt to imitate the stance used by advanced students. The advanced may stand very lightly with their hips in a relatively high position. however, they can change this stance in an instant to a very strong and firm on with the hips low. It is difficult for beginners to duplicate this change, for the obvious reason that advanced students have spent a much longer time practicing. If beginners stand like the advanced, they will lose their balance at the moment of focusing the technique. Remember that in addition to stability while in a ready, or defensive, position, the stance must provide enough strength and firmness to withstand the shock caused by the application of techniques.

Stance changes according to the direction of our movement and the kind of techniques applied. The exhaustive studies of our predecessors have resulted in a number of stances which form the basis of present-day karate.

Each stance was designed for a particular purpose. Therefore, progress in learning will be slow if beginners do not adhere strictly to the form of each stance. Do not permit the form of a particular stance to deteriorate so that it is difficult to tell it from another. Pay strict attention to the requirements of each stance.

Certain training methods are useful in learning a stance. For example, it is helpful to keep the same stance under tension for a long time. Another method is to alternately tense and relax the muscles for short intervals while holding the stance. This latter method also helps to develop the coordination and to cultivate the feeling necessary for correctly focusing a technique.

When learning a stance it is helpful to practice the offensive and defensive techniques which are the best delivered from it."

Practice your stances. Too often, we focus on blocks and kicks and punches and self defense techniques and combinations and forget to practice our stances. Practice them in place. Practice them in motion. Practice them on uneven terrain.

Practice your stances. Work on Balance and Posture. Practice practice practice. Stance is everything. Stance comes first. Mastering your stances is the beginning of mastering karate.

Considerations Five and Six

2011-06-27T12:53:00.000-07:00

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

2011-06-20T09:01:00.000-07:00

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.

Alertness
Decisiveness
Aggressiveness
Speed
Coolness
Ruthlessness
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

2011-06-13T09:14:00.000-07:00

"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

2011-06-06T12:51:00.000-07:00

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.

Kenpo Class an International Phenomenon!

2011-05-30T13:46:00.000-07:00

Kenpo Class by Dunham's Martial Arts now has readers in the United States, the Netherlands, Australia, Singapore, Denmark, Kuwait, the United Kingdom, Russia, Saudi Arabia, Georgia, Germany, India, Brazil, Latvia, Pakistan, Ireland, Mexico, Canada, Sri Lanka, Slovakia, the Ukraine, the Philippines, Romania, Argentina, China, Slovenia, Israel, France, Poland, and Iran!

We'd like to thank our readers all over the world for making us a part of their journey. We appreciate all your support in making this site a valuable source of information for martial artists of all styles and methods. We will continue to provide you with the kind of historical, philosophical, and instructional material which has kept you coming back for the last six months.

Thanks for helping us grow, and for recommending our site to your friends and fellow practitioners. We are all training in the Way together, and as the instructor learns from the student so too do we learn from all of you. Feel free to leave comments or feedback on our articles, we always love to hear from our readers!

Thanks again world. Thanks for coming into our school and being a part of Dunham's Martial Arts. Our head instructor Mr. Dunham believes we can work together to "Create a Great Day!" Thanks for being a part of that effort!

Drills -
Beginner: Practice the arts of your homeland. In North America, we have Western Boxing, Western Wrestling, several forms of Native American arts, and a variety of forms of folk wrestling and traditional fisticuffs. Look around at your local schools and gyms for ideas from local practitioners.

Intermediate: Practice the arts of other lands. Explore the Capoeria of Brasil, and the Chuan'Fa of China, and the Karate of Okinawa, and the Kendo of Japan and the Systema of Russia. Study how the techniques and methods of each style were influenced by the cultural and historical context of the time in which those arts were developed. Learn why each art is practiced the way it is, and how the same contributing influences affect the style that you practice.

Advanced: Practice the dead arts of antiquity. Ninjutsu as it is practiced in the Bujinkan is a recreation of Nine dead ryu. The Association for Renaissance Martial Arts is an organization devoted to recreating the European medieval and renaissance styles of armed and unarmed combat. Seek out these practices which have faded from common practice. Even some arts like Muay Boran and Limalama which are not truly dead, but are less commonly practiced, have a wealth of techniques to learn and study. In many cases these arts died because peace broke out across the land and a combat art like Sumai became a sport art like Sumo. In other cases, invasion from a foreign culture or an evolutionary shift in weapons and tactics made warrior arts, such as the practice of European Longsword techniques, obsolete to the professional soldier. In those cases, the practice of one art was replaced by the practice of another. Seek out these lost arts and learn from their methods.

A Universe Filled with Motion

2011-05-30T01:00:00.000-07:00

We speak of "linear" and "circular" strikes in kenpo. A front kick or a straight punch are "linear" strikes. A wheel kick or backknuckle are "circular" strikes. But even “linear" strikes are, in truth, circular paths of motion. The circles may be elongated, but due to the inherent shape of the human body, the weapons still rotate around a central axis in order to strike. So for instance, while a side thrust kick would be considered a "linear" technique, in order to execute that kick the leg must be rotated within the hip socket and the path of the foot from point of origin to point of execution will create an arc.

But even understanding that for the purpose of training we still delineate techniques into "linear" and "circular.” And we describe those paths with the Universal Symbols.

There are many versions of this image, but this one will suffice for this discussion.

Within the universal symbol we can see many instances where "circular" lines become "linear" and vice versa. We can imagine, for instance, an outward extended block could become an inward handsword strike such as in the technique Sword of Destruction. In that case, the path would look like this.

However, if you could turn that two dimensional image into a three dimensional one, you would see that image like this,

I took that image from Michael Billing's Kenpo Karate site, and he got it from Jeff Brady's New Mexico Tiger Dragon Kenpo Karate Site.

When viewed in three dimensions you can see that what was previously thought of as a "linear" movement, is in fact only linear from a limited perspective. In truth, while the hand may follow a linear path of motion from point of origin to point of execution, the arm rotates around the joint, which is attached to the core which rotates around the body's center, resulting in a complex interconnectedness of linear and circular movements.

So, while some techniques appear linear in execution, the structure of the body requires that they incorporate circular motion for execution.

Articulation of the body occurs at joints where two or more bones meet. Depending on which parts of the body are being articulated, different types of joints allow for different ranges of motion. While some of these joints allow for little or no articulation, others allow for a great deal of movement.

Amongst those that allow for the least range of motion are the synovial joints, like those which attach the individual pieces of the skull to one another. For our purposes, these joints allow for such limited articulation as to be unimportant to our discussion of motion, though understanding them has value when discussing targets. Amongst those which allow the greatest range of motion are the ball and socket type joints, like in the hips. While those joints allow for a greater range of motion, in a greater number of possible directions, they are still limited in many ways, and do not allow for infinite motion.

A great number of other factors, including the length of the bone and muscle fibers, and muscle strength, determine the range of articulation, but ultimately, while the movement of the individual parts of the body can be explored infinitely and categorized limitlessly, that motion itself is limited and finite.

So, when discussing how the relationships of circles incorporate "linear" techniques, we can take two divergent approaches. We can either say that the "linear" techniques run parallel and perpendicular to the circles in the techniques, which is akin to looking at the universal symbol in two dimensions, or we can acknowledge that "linear" techniques are in fact simply less obvious circular motions, which is akin to looking at the universal symbol in three dimensions.

Understanding both is important to the overall goal of understanding motion as it applies to self defense. When defending or attacking, the student should recognize that more linear or more circular paths of motion have benefits according to the specific context of the situation, for instance, linear motions may be faster or harder for the opponent to identify, while circular motions may be more powerful, more fluid, or circumvent the opponent's defenses. At the same time, the student should understand that "linear" and "circular" are artificial categorizations, and that his applications of motion incorporate circular movements, both in the path the weapon moves through and the way in which that weapon moves in relation to the body, ie. the articulation of the joints, and that his, and his opponent's weapons both have capabilities and limitations which must be considered, and can be exploited.

Drills -
Beginner: Identify each of your basics on your belt charts as either "linear" or "circular." Practice these basics on pads, paying special attention to the path of execution of each basic.

Intermediate: While sparring, Student A only uses "linear" techniques. Student B only uses "circular" techniques. Alternate.

Advanced: Student A faces 12 o'clock while Students B and C circle Student A. Students B and C may attack with single strikes any time they are standing between 9 and 3 o'clock relative to Student A. Student A defends and may attack Students B and C at any place on the circle, using "linear" and "circular" strikes according to their relative positions.

Ground Fighting: Student A on their back, Student B rotates through nine positions. Mount, Side Mount, Reverse Scarf, Scarf, North South, Reverse Scarf, Scarf, Side Mount, Mount. At each position, both Students pause to identify possible striking opportunities. Alternate. Increase intensity and introduce spontaneity.

A Woman's Tips for Safe Sparring

2011-05-22T14:51:00.000-07:00

Monica Mccabe-Cardoza's A Woman's Guide to Martial Arts provides an interesting look into her experiences as a student of Karate. In the book, she describes some of the challenges faced by women who choose to train in the martial arts and how those challenges can affect their experience and whether or not they continue in their practice. One point in particular that she raises again and again throughout the book is the subject of sparring.

For her, sparring was a constant challenge. The chapter in her book which specifically deals with sparring is titled “The Biggest Fear.” And in that chapter she describes how she and other women she had met and trained with struggled with their fear of sparring and methods that they were able to use to overcome that fear.

First she lists what she considers the three most important traits to develop for successful sparring. Attitude, Instinct, and Intelligence. While much of her book places emphasis on the importance of practicing basic techniques, she writes that in combat, “Developing a positive attitude can mean the difference between quitting and persevering. Fine-tuning your ability to detect what your opponent has in mind for you helps ensure your protection. And using your mind as much, or more, as your physical abilities will allow you to outsmart the competition.”

Then, at the end of the chapter she lists several important tips for excelling at and enjoying your sparring practice.

Page 118

“1. Relax. A certain amount of tenseness can help your sparring by keeping you alert. Too much, and your moves won't be effective.

2. Defensive strategy works. Once you've blocked your opponent's technique, then you can look for an opening to apply your own technique.

3. Avoid putting yourself at risk. Keeping your eyes on your opponent begins even before the first technique is thrown. Never, ever take your eyes off your opponent.

4. Keep it simple. Not only are basic techniques effective, they are less likely to get you injured.

5. Kiai. Use a deep abdominal shout as you throw a technique. It will unnerve your opponent and make your technique stronger by coordinating your exhale with your movement.

6. Keep your mouth closed. Keep your tongue on the roof of your mouth to prevent it from resting on your front teeth.

7. Analyze your opponent. Analyze your partner's height, weight, strength, and even the length of his limbs. Not all opponents are created equal.

8. If you send signals, make sure they're mixed. Use set ups for techniques, but don't languish in any position long enough to telegraph your thoughts to your opponent.

9. Study your classmate's favorite techniques. Analyze each student for the one or two techniques they consistently throw. Observe the tactics with which they approach sparring.

10. Pay attention to what your instructor says – to an extent. Do not put yourself at risk in an effort to please your instructor. Defend yourself at all times, and be careful when attempting difficult moves.

11. Hide your emotions. By hiding and controlling your emotions, you confuse and unsettle your opponent. Stay calm and you will put your opponent off guard.

12. Don't always think linear. Step around your opponent. Then get your technique out before your opponent has time to turn around. Move forward and backward only when it compliments the movements of your partner.”

Mccabe-Cardoza's tips apply to each of us, male and female, and can be used to positively inform our approach to sparring. For many of us sparring is intimidating, or even frightening. That is why at Dunham's Martial Arts we empower you with a thorough study of footwork, defenses, techniques, combinations, and counters before you begin sparring. So that you will have a skill set to apply once you enter the confrontation with your opponent. But even then, sparring is a challenge to the spirit.

To stand in the face of violence and resist it. To exert control over a dynamic situation and bring order to chaos. The chaos of the fight, but also the chaos within. To temper your skills in the fire of your will. That is what we truly learn from sparring. Yes, we practice the application of the physical technique against a resisting opponent. But more importantly, we conquer fear. We conquer uncertainty. We conquer ourselves. Remember the words of Lord Yagyu.

Mccabe-Cardoza gives us another piece of advice in her chapter on sparring. One that addresses this very topic. “You can't be afraid to get hit,” she writes, “if you let fear overcome you, your techniques will get sloppy and you'll be more likely to look away, exposing yourself to injury. You've got to learn to build your confidence, and at the same time, learn to trust your partners.”

Martial Arts is a challenge to us all. Women. Men. Children. Students. Instructors. We each have our own perspectives and approaches and we each bring our own experiences and fears to our training. That is why we learn from one another. That is why each of us is better when all of us are in class. Because seeing the strength a student demonstrates when they overcome their biggest fears in the karate school may be all another student needs to do the same.

Drills -

Beginner: Practice staying relaxed during sparring. Take deep breaths, sit low in your stances, and move with slow, deliberate steps. When the opponent engages, defend with strong blocks and hold your ground, then continue breathing deeply when he retreats. Learn to conserve your energy and stay calm until your opponent is gassed. Pay special attention to the attitudes of your training partners. If they are reacting negatively to the intensity or contact level of the assigned activity, offer to lower the intensity to a level they are more comfortable with.

Intermediate: Alternate periods of relaxation with explosive action. Flow through your stances and foot maneuvers with grace and ease using deceptive angles and blocking techniques to defend against your opponents attacks without countering. Then without warning explode directly at his centerline with bursts of linear strikes. Before he is able to adjust to the new pace of the engagement return to evasion and dancing, continuing to lull your opponent into lowering his guard before exploding unexpectedly with another burst of strikes. When training in ground grappling or other close contact positions be respectful of your training partners. Male or female, in the dojo we are all karateka, and we are all alike in our gi. Never intentionally behave in any fashion which would make one of your training partners uncomfortable.

Advanced: Engage your opponent quickly and with prejudice. Analyze his size and stance, feed a few hand and foot techniques to gauge his reaction speed and likely defensive maneuvers, and then blitz with strikes to various targets to overwhelm his defenses. Seize, takedown, finish. Never give him a chance to defend himself or fight back. Always win. Practice caution when striking sensitive targets on your opponents. Internal, sensory, and reproductive organs, joints, the neck and spine, and nerve junctures are all targeted in your training, but remember that your training partners will feel the pain you inflict and respect their well being.

Get Fed and Fit at our Grand Opening Celebration!

2011-05-19T23:41:00.000-07:00

This Saturday is the Grand Opening Celebration and Open House for Dunham's Martial Arts! Be sure to be there from 12pm to 2:30pm for a great time and some delicious, healthy food! Middleton All Natural Meats will be grilling hamburgers and brats and selling them for only $2 and donating the profits to A Hopeful Tomorrow to help disadvantaged children get exposed to the physical arts, and Thrive Personal Fitness will be offering us a variety of tasty treats such as Black Bean Quinoa Salad and their Healthy Snack Mix with fruit, nuts, seeds, and carob chips! These great recipes are perfect for getting the healthy body you want this Summer!

Black Bean Quinoa Salad

1 cup cooked quinoa
½ cup cooked black beans
Half an avocado, chopped
¼ cup red onion, chopped
¾ tsp cumin
1/2 tbsp dried cilantro
Juice from half a lime.

There will also be Door Prizes, Self Defense Demonstrations, Massages and more! You want to be here for this! Bring your friends and family, everyone can benefit from learning more about health and fitness! And it all starts on Saturday at Noon at our new location at 3526 S. National Avenue in the Bradford Center!

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Local businesses Abba Anderson Acupuncture, Black Owl Bread, and Spa Salubrious will also be on hand to give demonstrations and talk about their products and services! This is going to be an exciting dynamic experience you won't want to miss!

Join us Saturday, May 21st for our Grand Opening Celebration and Open House and stay tuned to Dunham's Martial Arts and Thrive Personal Fitness for more details!

Full-Contact Strategies

2011-05-16T11:02:00.000-07:00

Jean-Yves Thériault is a living legend in Kickboxing. The website of the school he now teaches at gives the following biography of his accomplishments.

"Born on January 15th, 1955, he began his Martial Arts career in Jiu-Jitsu in 1972 where he achieved the rank of blue belt. In 1976, after only six months of training under the direction of Kyoshi John Therien he won his first Kickboxing competition. Two and a half years later, and a lot of hard work and determination he became the Canadian Middleweight Kickboxing Champion. In 1980, he won the title of the World Middleweight Kickboxing Champion, a position that he held for 15 years! He is a natural athlete who trains extremely hard, and has the greatest disposition. His ring name is "The Iceman" due to his intimidating icy stare and his cool demeanor in the ring.

Since he became a Champion, Jean-Yves has worked with many groups and charities, such as, the Big Brothers, Children's Wish Foundation, Laucan and numerous others. He is author of a book on his winning techniques and has a series of video cassettes on the science of combat sports. He is the subject of an hour and a half film produced by the National Film Board. He was voted Athlete of the Decade by the Sports Writers Association of his home province, New Brunswick.

Since his retirement on December 1st, 1995, (a 3rd Round Knockout of Marcus Reid) Jean-Yves still trains 5 days a week and teaches classes exclusively at all Therien Jiu-Jitsu & Kickboxing Schools. He is a role model for all Martial Artists today; he is humble, honest and down to earth. He is a devoted father and a friend to all of his students.

Today, Jean-Yves has also become a world-class promoter for the sport of kickboxing. With the aid of his friend Kyoshi John Therien, he is giving new, young fighters the opportunity to realize their dreams in the “Iceman Amateur Kickboxing Circuit.” He is a true ambassador for the sport giving back so other ambitious athletes can realize their dreams."

In 1983 he and co-author Joseph Jennings wrote a book entitled Full-Contact Karate. This book was essentially a primer for training and participating in full contact sport karate, specifically the kind that was then being promoted by the Professional Karate Association, an international Sports Combat promotion which was in many ways the UFC of the late 70's and early 80's. While much of the book discusses the specific techniques and rules of PKA full contact competition, the tips in the final chapter provide useful advice to any karate stylist, whether he chooses to compete or not. From the book,

Chapter Ten
Winning Fight Strategy
Page 197

"Your fight strategy and style begin to take shape in sparring sessions. Often a student will attempt to adopt the style of another fighter, which is a mistake because no two fighters are alike in their approach to the sport. Even though fighters sometimes look similar in posture and technique, they are quite different because of physical abilities and mental attitudes. It is best to constantly look into yourself for development because succesful fight strategy must be an ongoing process, using your own judgment along with the recommendations of your coach as ways of improving your fight game.

Experience has shown the following 25 points to be the most important in developing a full-contact karate figher's ring strategy. Study them and apply them to your training.

STRATEGY POINTERS

1. Your best beginning strategy in a bout is to fight a defensive fight with a strong offensive mental attitude. This means leaving deceptive openings, tempting your opponent to take chances, and then taking advantage of it when he exposes a weakness.

2. A successful fighter is a thinking fighter, who wins with a sharp mind capable of making the right decisions in a split second. This skill is more important than just using your physical abilities to slug it out. A smart fighter can outmaneuver a slugger, wearing him down and picking him off at will. Fight with your brains, not your brawn.

3. If a technique works, keep doing it until your opponent picks up on it.

4. Use a variety of techniques. If your opponent protects his head well, avoid the head and go to the body.

5. Learn to fight from the center of the ring, keeping control of your opponent and maneuvering him where you want him, such as into the corner or against the ropes.

6. When caught against the ropes or in a corner, use your front leg to keep your opponent off you. Escape the ropes by slipping to the sides. When in a corner, the only escape is straight ahead; fight your way out again by using your front kick to the midsection.

7. No matter how superior you may be to your opponent, never carry a fight longer than it takes to achieve victory. Trying to please the audience by keeping the fight going for more rounds could mean disaster because you are increasing the chances that your opponent will slip in a lucky punch that could knock you out.

8. If you see your opponent tiring, turn on the pressure, which will burn him out more quickly.

9. Never get involved with judging or decisions. If you feel bad calls are being made, tell your traininer and have him take care of it.

10. Listen carefully to your cornermen in between rounds. Your coach is capable of seeing mistakes and openings in your opponent that you may fail to recognize. Apply his advice and evaluate the results. If it works, fine; if not, seek another route.

11. Since you must execute eight kicks per round [this was a PKA rule], pay attention to the kick counter near your corner. He will hold up cards showing the amount of kicks you have thrown. It is wise to get your kicks in within the first half of the round when your stamina is at its strongest.

12. Do not rush in wildly at your opponent; pace yourself, attacking only when the possibility of scoring is good.

13. When in trouble, avoid mixing it up with your opponent. Keep him at bay with jabs and kicks until you can clear your head.

14. Apply faking techniques throughout your fight to check your opponent's reaction and to upset his defense.

15. Never fight your opponent's fight; always stick to your major strategy.

16. If your opponent tries taking cheap shots, never retaliate by doing the same because you may end up being penalized. The referee will eventually catch the rule-breaking fighter.

17. If possible, observe videotapes of fighters you are likely to face in your weight division. This is an excellent way to develop a prefight strategy by observing weaknesses a fighter may have.

18. In training, fight an assortment of different fighters; tall, short, slow, fast, aggressive, defensive. Each fighter will offer you a variety of challenges, calling on you to add and subtract tactics from your fight strategy.

19. Always have some idea of what plan to use in the ring, even for a sparring session. These tacics should be discussed throroughly with your coach prior to any amateur or pro fight.

20. Keep your fight game basic. Do not try any technique that may look good but cannot get the job done. If a technique can't do damage, don't use it.

21. Never fear your opponent. If you are in top physical condition and have prepared yourself properly, you will more than hold your own. If you opponent notices that you're afraid, it will make him more aggressive. By carrying yourself into the ring with self confidence, you will gain respect from your opponent, whether he shows it or not.

22. Strategy and psychology are inseparable. Never let an opponent psych you out, no matter what antics he tries to pull at the weigh-in or in the ring. When you react to his shenanigans, he will know he's getting to you. My psych game is simply to smile prior to the first bell. Smiling and showing no emotion toward my opponent puts him on edge because he's not quite sure what to expect from me.

23. To avoid injury, cease all hard sparring one week before a fight and always lay off, except for some light calisthenics, two days before a match.

24. During a match, occasionally execute powerful rear leg roundhouse kicks to your opponent's guard to numb his arms and weaken his defense.

25. Learn from your mistakes. Three losses during the early part of my career did more to build my determination to succeed and will to improve than if they had been victories. When you lose in full-contact karate you really have no one to blame but yourself. Go back to the drawing board with your coach and never make the same mistake twice."

As I said, these tips apply to Sports Combat, while we focus primarily on Self Defense at Dunham's Martial Arts. But it should be clear where we can apply each of these lessons. As Professor Anderson said, “there are situational approaches that are not interchangeable and there are those that are;" and Thériault's text has much it can teach us.

About preparing for battle. About the proper mental attitude to adopt. About the physical and psychological approaches to fighting. About overcoming our enemies, both within and without. Even tips which seem to apply specifically to Sports Combat, such as those about watching tape and how to use the ropes and how to adapt your training before a fight, contain truths which we can examine. Study your opponents. Understand terrain. Conserve your strength. These are the teachings of Sun Tzu as well.

Thériault closes with what may be his most important lesson.

IN CLOSING
Page 206

"In my opinion, the way you carry yourself as a person outside the ring is as important as your strategy in the ring. No matter what position you hold in full-contact karate, whether it be amateur or world title holder, your actions reflect on the sport and everyone involved in it. Although some boasting and chest beating are all part of the fight game, it should not be taken to an extereme that would discredit the sport. When a fighter begins making a spectacle of himself he makes everyone look bad. A disrespectful attitude will make your position, no matter how high, a sour one in the eyes of fellow fighters, promoters, and fans.

Be proud of and confident in your abilities, but at all times try to understand the position you hold and its influence on young fighters who are coming up. The example of sportsmanship you set should be a healthy one that others will be proud to follow. Good ring conduct is often rewarded with victory.

Full-Contact karate training not only builds a strong body, but strong character in individuals as well."

Drills -
Beginner: Practice defensive fighting. Allow your opponent to take the initiative and do not concern yourself with striking or countering. Focus first on not getting hit through the use of evasion and blocking. The strikes that you have practiced will begin to follow naturally and spontaneously as your defense improves and you are able to create openings in your opponent's position. Let the fight come to you.

Intermediate: Practice offensive fighting. Push the pace. Advance against your opponent with linear strikes, using Push Drags, Crossovers, and Step Throughs coupled with Front Kicks and Vertical Punches to pursue them through the space. Practice combinations of strikes while always remembering to return to strong stances while stepping and moving. Everything comes from your base.

Advanced: Practice counter fighting. Allow your opponent to initiate the action, but direct his movements towards predicted paths of motion through the use of baiting techniques, zone coverage, and angular movement. Draw him into your defenses and then attack when he is out of position. Defend from long range, strike from close range, and practice Max Protect positions to cover and move in critical range. Program your opponent's actions so that you control the outcome of the battle.

Offensive Approaches in Sparring

2011-05-10T11:23:00.000-07:00

“While the schools remain apart in thought and styles, they are bound together by the practice of sparring, which is the only standard value in the sport recognized by all who are responsible for advancing the true art of karate.”

Sihak Henry Cho
Korean Karate, Free Fighting Techniques

This month in our intermediate class we're working on Offensive Defense, which is the term we use to describe the type of Sparring we practice at Dunham's Martial Arts. Our base Sparring techniques are derived from the Freestyle (Sparring) techniques Mr. Parker describes in Volume 5 of Infinite Insights into Kenpo. Those techniques have been added to and expanded upon to create the list of Freestyle Techniques practiced in the school. Mr. Parker wrote that the practitioner should, “study these progressive patterns of attack [and] take the initiative to develop patterns of [their] own.” Undefeated Champion Full Contact Karate Fighter Bill “Superfoot” Wallace once wrote, “In Sparring, the basic movements and strategies evolve into an infinite number of patterns and variations. (Dynamic Stretching & Kicking, 1982)”

We will practice these infinite variations with an eye towards efficacy and application, but there are broader approaches which will help us to develop the tactics with which we address each unique encounter. Professor Dan Anderson addresses these approaches in his classic work on Sparring, American Freestyle Karate: A Guide to Sparring.

The first, he calls Direct Attack, a basic, singular attack executed with complete commitment. Professor Anderson encourages the practitioner to just “pick a target and go for it.” Direct attacks are set up with deceptive footwork which hides the movements the practitioner uses to close range with his opponent. Once within striking range, he identifies a vulnerable target and strikes out against it. Of Direct Attacks, he writes, “A Direct Attack needs full commitment. An explosive take-off, a follow through attack, and good timing. It all has to be there without any reservation. If it is not all there, chances are it will not go.”

The next approach is the Attack by Combination. The Attack by Combination is an expanded form of the Direct Attack. Instead of getting in range and firing a single strike to an unprotected target, the practitioner fires strike after strike to a number of targets in sequence, using each strike to create openings for the successive follow up stikes. Of the Attack by Combination he writes, “This type of approach is good for street fighting and full contact karate. The idea here is not to get into the “one hit and quit” attitude. Be able to execute both single hit and multiple hit sparring as each have their place and can be interchanged on various opponents.”

Next is the Indirect Attack. The Indirect Attack utilizes fakes, feints, sweeps, and set-ups to make your opponent “zig when he shoulda zagged.” The practitioner begins by identifying his opponent's reactions to certain movements, hand and foot techniques, aggressive posturing, even stance transitions. Then he uses his understanding of his opponent's pre-programmed responses to encourage his opponent to move out of position. It is then that the practitioner strikes, taking advantage of his opponent's momentary vulnerability. Of the Indirect Attack Professor Anderson writes, “An Indirect Attack works on the premise that you want to redirect your opponent's attention from point A to point B so that you can hit point A. You can use a combination of fakes and hooks/sweeps prior to the real attack. Nowhere in the book of rules does it say just one set-up per attack. This approach is good for your imagination so use it.”

Next is Attacking by Trapping. Attacking by Trapping is using stand up grappling techniques to draw your opponent within range of your long range striking techniques, as well as to hold him in place and prevent him from escaping. Professor Anderson makes a point of explaining that Attacking by Trapping is closely related to the practice of Street Fighting and Self Defense and that “there are situational approaches that are not interchangeable and there are those that are;” by which he means that some techniques are specific to combat sports, and some are specific to self defense, while there are still others which overlap the two disciplines. It is these overlapping approaches which we are most interested in in our study of sparring at Dunham's Martial Arts.

Finally he describes the Attack by Drawing. This method is subtle, and relies on baiting and controlling range to entice the opponent to attack when and where you are prepared to defend. The practitioner may leave targets seemingly unprotected or subtly press in to his opponent's critical range, or he may create distance instead and goad his opponent into an unbalanced charging attack. This method requires the practitioner to understand and control space and time, while monitoring his opponent's reactions to his movements. Consider the Territorial Imperative from our article on Nonverbal Communication. Understanding how your opponent will react to intrusions into his territory can give you keen insight into his fighting strategy. Professor Anderson instructs the reader to, “interchange these [methods] with the variations in your opponent's approach to best suit your own ends. Also be able to recognize them when they are being pulled on you.”

Professor Anderson sums up the section on Offensive Approaches with these words. “In order to make the offensive (and defensive) approaches work, you have got to give total commitment to them. No half measures will do against anyone who is good at all.”

No half measures. In the Fire Chapter of his Book of Five Rings, Musashi wrote, “Who in the world can obtain my correct Way of the Martial Arts? Whoever would get to the heart of it, let him do so with conviction, practicing in the morning and training in the evening. After he has polished his techniques and gained independent freedom of movement, he will naturally gain miraculous powers, and his free and easy strength will be wonderful. This is the spirit wherein, as a warrior, he will put these practices into action.”

Complete commitment. Total conviction. Practicing in the morning and training in the evening. There are no short cuts in martial arts, but there is a trick to it. Dan Anderson wrote his book because as a boy he wanted someone to show him the tricks. Well there they are. The Offensive Approaches. Direct Attack. Attack by Combination. Indirect Attack. Attack by Trapping. Attack by Drawing. These approaches are methods by which you can engage your opponent. That's why we call it Offensive Defense at Dunham's Martial Arts. You are still practicing self defense, but in this scenario you must engage your opponent. And Professor Anderson shows us several ways to accomplish that, before encouraging us to compound and combine the approaches themselves. Attack by Drawing, then when the opponent moves within range, Indirect Attack, then Attack by Trapping, then use a Direct Attack to a Vital Target. That is how the basic principles become “an infinite number of patterns and variations.”

Drills -

Beginner: Practice the Direct Attack in front of a mirror and with a partner. Watch yourself for tells such as changes in height, shifting balance, and shoulder shrugs which might betray your intentions to your opponent. Ask you partner to monitor you for tells as well and then alert you to their presence. Work on eliminating these actions from your techniques so that you can strike without warning.

Intermediate: Practice Combination Striking on the bags and on the body. Hands set up feet. Feet set up hands. Practice three or more strikes at a time, changing levels and ranges and alternating between inside and outside and linear and circular techniques. When you can incorporate all these elements into your combinations, you become very difficult to predict and defend against.

Advanced: Practice sweeps, fakes, and feints while sparring with your opponent. Upper Body Fakes and Lower Body Fakes can be used to set up your opponent and move him off balance. When working striking combinations, practice alternating between pure striking and using some of the strikes as fakes or grabs to the opponent's limbs. Follow up grabs with sweeps against the opponent.

Open House May 21st

2011-05-06T21:11:00.000-07:00

Hey Guys, on May 21st from 12pm to 2:30pm Dunham's Martial Arts and Thrive Personal Fitness will be having an Open House where our community can come out and see our new location, and enjoy various health and wellness services, as well as some incredible hamburgers, brats, and healthy bakery items!

Come check it out for -

o Door Prizes and Giveaways
o Self Defense Education
o Wellness Information
o Chair Massages
o Acupuncture Demonstrations

Special guests Abba Anderson Acupuncture, Black Owl Bread, and Spa Salubrious will also be represented and Middleton All Natural Meats will be grilling hamburgers and brats and selling them for only $2 and donating the profits to A Hopeful Tomorrow to help disadvantaged children get exposed to the physical arts!

We would love it if you could make it out for a bit and invite all your friends, family, and co-workers. Your help in growing our dojo creates a massive win/win. It provides us more training opportunities, you get to help people in your community, and the better the community, the better the world. Thanks for all your help! Let's create something great!

Come visit us at 3526 S National Ave in the Bradford Center. Here's a map of our new location!

View Larger Map

Be sure to visit Dunham's Martial Arts and Thrive Personal Fitness for more details!

Nonverbal Communication and Self Defense

2011-05-03T11:12:00.000-07:00

Julius Fast's 1970 work Body Language was one of the first books written for the common public on the then burgeoning science of Kinesics, the study of human nonverbal communication. While admittedly dated both in its content and approach, at the time it was an innovative look into a new field; based on pioneering studies like those of anthropologists and sociologists Ray Birdwhistell, Erving Goffman, and Paul Ekman.

One of the more interesting passages for our purposes is the discussion on the possibility of a human instinctual imperative towards territorial behavior.

The Territorial Imperative

Page 15

“One of the things that is inherited genetically is the sense of territory. Robert Ardrey has written a fascinating book, The Territorial Imperative, in which he traces this territorial sense through the animal kingdom and into the human,. In this book he discusses the staking out and guarding of territory by animals, birds, deer, fish, and primates. For some species the territories are temporary, shifting with each season. For other animal species they are permanent. Ardrey makes an interesting case for the fact that, in his belief, “the territorial nature of man is genetic and ineradicable.”

From his extensive animal studies he describes an innate code of behavior in the animal world. The key to the code, he believes, is territory, and the territorial imperative is the drive in animals and humans to take, hold, and defend a given area.

There may be a drive in all humans to have and defend a territory, and it may well be that a good part of that drive is inborn. However, we cannot always interpolate from humans to animals and from animals to humans.

The territorial imperative may exist in all animals and in some men. It may be strengthened by culture in some of these humans and weakened in still others.

But there is little doubt that there is some territorial need in humans.”

Understanding the territorial needs of other humans is an important part of practicing self defense. Especially when you consider that in many cases, the humans in question are unaware of those needs themselves. When you are unaware of your needs and the needs of those around you, it is easy to accidentally violate the boundaries of others and cause an unconscious defensive or aggressive reaction in their behavior. Anyone who has ever said the wrong thing at the wrong time, or had a joke fall flat with good intentions understands how quickly a minor miscommunication can escalate into an argument. Or a fight.

Fast goes on to relate a simple anecdote to demonstrate how these reactions can be subconsciously manipulated.

Page 16

“I had lunch not too long ago with a psychiatrist friend. We sat in a pleasant restaurant at a stylishly small table. At one point he took out a pack of cigarettes, lit one and put the pack down three-quarters of the way across the table in front of my plate.

He kept talking and I kept listening, but I was troubled in some way that I couldn't quite define, and more troubled as he moved his tableware about, lining it up with his cigarettes, closer and closer to my side of the table. Then leaning across the table himself he attempted to make a point. It was a point I could hardly appreciate because of my growing uneasiness.

Finally he took pity on me and said, “I just favored you with a demonstration of a very basic step in body language, in nonverbal communication.”

Puzzled, I asked, “What was that?”

“I aggressively threatened you and challenged you. I put you in a position of having to assert yourself, and that bothered you.”

Still uncomprehending, I asked, “But how? What did you do?”

“I moved my cigarettes to start with,” he explained, “By unspoken rule we have divided the table in half, half for you and half for me.”

“I wasn't conscious of any such division.”

“Of course not. The rule remains though. We both staked out a territory in our minds. Ordinarily we would have shared the table by some unspoken and civilized command. However, I deliberately moved my cigarettes into your area in a breach of taste. Unaware of what I had done, you still felt yourself threatened, felt uneasy, and when I aggressively followed up my first breach of your territory with another, moving my plate and silverware and then intruding myself, you became more and more uneasy and still were not aware of why.”

It was my first demonstration of the fact that we each possess zones of territory.”

In kenpo, we speak of zones. Zone coverage, zone cancellation. We have white zones, black zones, natural zones, and neutral zones. And in combat, understanding these zones and how to manipulate them makes the practitioner more effective. But understanding the zones of territory that each human surrounds himself with can help prevent those combat encounters from occurring.

Page 18

“No matter how crowded the area in which we humans live, each of us maintains a zone or territory around us – an inviolate area we try to keep for our own. How we defend this area and how we react to invasion of it, as well as how we encroach into other territories, can all be observed and charted and in many cases used constructively. These are all the elements of nonverbal communication. This guarding of zones is one of the first basic principles.

How we guard our zones and how we aggress to other zones is an integral part of how we relate to other people.”

Indeed it is. It is also important to remember that these rules are not universal to all people at all times. A checker at the grocery store will have a different territorial need than a police officer in a bad neighborhood, or a mother with her children in a park. Each encounter requires the student to observe the situation objectively and act deliberately.

Learn to guard your zones, and learn also how others guard theirs. This is the beginning of nonverbal communication. This is the first basic principle.

Drills -

Beginner: Practice the 3 Zone Blocking Drill with a partner. Return your hands every time to the neutral position. Practice moving your hands through the entire natural zone as you defend against your opponent's strikes. Actively practice speaking to people at different ranges. Stand back at a distance and see if they come to you, then slowly and carefully advance into the opponent's personal space until they back away. See if you can practice this without being noticed and observe the subject's reactions.

Intermediate: Practice the 3 Hit Kenpo Drill with a partner. End each of your turns with a pressing check which cancels either your opponent's height, width, or depth zones. Practice the exercise described in the anecdote above. When sitting at a table with others, begin to slowly encroach on the table space unconsciously designated to the other people there. Practice with slow, casual motions. Watch for their reactions.

Advanced: Practice defending against attacks from 3 Perceptual Zones. The White Zone is the area you can see. The Black Zone is the area you can not. The Grey Zone is the area which lies at the edge of vision. Color and shape are difficult to perceive and objects waver between the White and Black Zones. Practice defending from 8 directions by category of attack. Begin slowly and gradually increase intensity. Observe the actions of those around you when in a crowded area. Watch how even as the number of individuals in an area increases, each tries to maintain his own separate space. Observe the methods people use unconsciously to evade and avoid contact with others, even in tight quarters.

The Next Two Considerations of Combat

2011-04-26T13:19:00.000-07:00

We began discussing the Ten Considerations of Combat in an earlier post. Each of these considerations is of unique importance in fully understanding, and by extension properly responding to, any combat encounter. Today we will continue with considerations three and four. Positions and Maneuvers.

3. Positions
The positions of the combatants is a key determing factor in identifying the targets and weapons appropriate to the engagement. Understanding the concepts of Constant and Relative Centerline will allow the student to disect the opponent's position relative to the position of the student.

The opponent's position needs to be identified with regards to height, width, and depth zones, as well as the specific positions of the opponent's natural weapons.

Determing the height of the opponent is more than a mere determination of his stature. The student must determine whether he is standing, kneeling, crouching, slouching, etc. If the opponent appears to be slouching in his stance, it could be because he has pre loaded his legs to spring forward. It could also affect the power of the opponent's strikes.

Determing the width of the opponent's stance can help the student to understand which weapons are closest to his own targets, as well as what defensive maneuvers he may need to execute in order to defend against those weapons.

Determing the depth of the opponent's stance can help the student to understand whether the opponent intends fight or flight. An opponent with his legs spread far apart may be less prepared to flee, and by extension, more likely to stay in an escalating situation. An opponent who has drawn his stance in tighter may be preparing to flee, however, he may also be preparing to execute an offensive foot maneuver.

The position of the opponent's natural weapons is also important in determining what aggressive action to anticipate. Is the opponent prepared to execute a hand or foot strike? Has he raised his arms aggressively or defensively? Are his hands and feet within their natural range of motion?

Similarly, instinctual responses can affect the opponent's position. Ducking the chin and blading the body are both instinctual responses to aggression, as is raising the arms to protect the head. Identifying these changes in the opponent's position can help the student determine the escalating threat level. Finally the student must take into account the position of the opponent relative to the environment. Is he blocking a door the student could have escaped through? Is he near anything which could be used as a weapon? Is his position vulnerable in a way that could be exploited by the student, for instance near an obstruction or dangerous area? These are all important factors to be considered.

Just as range may determine whether or not to engage in conflict, positions are a determining factor in exactly how to do so.

4. Maneuvers
Foot maneuvers are often overlooked, but are one of the most important aspects of any violent confrontation.

Just as stances are the basis of all effective technique, foot maneuvers are the basis of all effective technique execution. Being able to turn a static fighting stance into a mobile weapon is the key to efficacy.

Foot maneuvers can be used to advance, retreat, or reposition the key actors within the combat arena. Knowledge of the correct and appropriate application of foot maneuvers not only allows the student to move safely and effectively, it also allows the student to identify the opponent's maneuvers within the environment, and allows for the incorporation of sweeps, trips, and throws into the repositioning of those actors.

In identifying the opponent's foot maneuvers the student can attempt to find flaws within the opponent's technique, as well as opportunities for entry techniques. Does the opponent lift his feet and step through the environment, or does he shuffle or glide? If he lifts his feet, then perhaps he can be directed into an area littered with small obstructions which he may step on. Does he shift his weight more than is necessary? Does he bounce in his stance or stay low and solid? An understanding of weight distribution can assist the student in delivering throws and other off balancing techniques.

Foot maneuvers are more than just moving through the environment. They are also a way to sense the environment. A skilled practitioner can detect obstructions as he moves through the environment, and avoid them or incorporate them into his defense.

Drills -
Beginner: Practice each of your first five foot maneuvers from a neutral bow. Incorporate hand and foot technique. Once you've practiced strikes with foot maneuvers in the air begin again with a focus shield.

Intermediate: Student A assumes a fighting stance. Student B circles Student A, striking available targets. Change positions. Alternate.

Advanced: Students A and B close in any standing grapple. Without breaking contact, Students compete using foot maneuvers and body positioning for a single pre-selected goal such as stomps, rear position, sweeps, throws, etc. Practice with increasing intensity, paying special attention to control and joint safety, especially around the knees.

Ground Fighting: Practice escaping and standing from mount, guard, side mount, north/south, scarf, reverse scarf, knee on stomach, and rear mount positions, using stand-up technique, box drill, and rolls. Practice defending while prone against a standing attacker. Student A lays on back. Student B circles in standing position. Student A maneuvers on ground to keep legs between their torso and Student B, while Student B attempts to move into kicking range of Student A's head. Alternate.

This is Self Defense

2011-04-19T12:40:00.000-07:00

“Among the arts of self defense in which weapons are not used, no other can surpass the art of Kenpo.”

Honorable Great Grand Master James M. Mitose
What is Self Defense? (Kenpo Jiu-Jitsu)

This month in the Intermediate class we are discussing themes of Street Self Defense. We are exploring ranges, scenarios, and techniques which apply to Self Defense; and practicing drills which can help us to develop the skills necessary to survive a violent assault.

The first most important skill to develop is recognizing when to use violence.

“The times for violence are few and far between. They seldom if ever involve strong emotion on your part. If you're feeling extremely angry or upset, odds are that isn't the right time. It's probably better to back off and get some distance from the situation until you cool down.

When someone commits physical violence against you, it is NOT the time for half-measures or debate. Most people are victimized by attackers because they're still thinking about being reasonable and negotiating while the guy is attacking. Once a situation turns physical, the time for talk is over. It has been taken to the next level.”

Marc “Animal” MacYoung
Taking it to the Street

The vast majority of violent confrontations can be avoided by paying attention to your environment, avoiding potentially dangerous situations, and being willing to use reason before your fists. If you stay away from violent people and situations, and you are willing to walk away from them if you encounter them, you will have learned the better part of self defense already.

But when violence occurs and we can't talk or escape, we have to be ready to defend ourselves. In those extreme circumstances we need to have a set of guidelines which inform our behavior, and then a set of techniques and approaches we can use depending on the specific context.

“If you make these rules the cornerstone of your mindsetting to survive and escape violence, they will sound in your brain and help trigger an immediate reaction toward escape – as though you're on autopilot.

React Immediately – your best chance to escape violence and minimize injury is in the first few seconds.
Resist – your only alternative is to submit; both choices are lousy, but resisting gives you the best chance.
Crime Scene #2 – always more isolated than the initial point of contact, and always worse for you.
Never, never give up – your attitude can keep you alive when you're badly injured.”

Sanford Strong
Strong on Defense

Approaches for surviving self defense situations include Ambush Survival, Stances as Weapons, Defensive Stratagems, Stand Up Grappling, Striking and Escaping, and Changing Ranges and Levels. Striking, grappling, strong stances, and deceptive use of timing and angles are what make effective self defense. You're only as good as your basics.

In each class, we practice our techniques and drills against our opponent's with increasing intensity. At first, each punch and kick is delivered slowly to develop technique. But as we each grow in ability, we must ask our training partners to strike faster and harder in order for us to continue to learn.

“We should rehearse all the movements we expected to make in the actual match, and we should come as near as we could to the reality.”

Plato
Collected Dialogues

As we continue to improve, we practice more complex and difficult techniques. Beginning with simple punches and kicks, we soon begin to incorporate angle stepping, insertion strikes, and Poison Hands techniques. But even as the paths of motion and methods of execution we use become more and more sophisticated, it is still the simple movements which are the foundation of our style which determine our effectiveness. You're only as good as your basics.

“The trick in gouge fighting, just as in any other type of combat, is to expose the enemy's weakness first, to beat him to the punch, and to hit hard.”

Lieutenant Jack Dempsey, USCG
How to Fight Tough

In the end, the goal is not to learn how to fight like your instructors. It is not to go out and practice Dunham's Martial Arts as it is taught in the school. The ultimate goal is for you to internalize the lessons and teachings of the system and then to express them spontaneously in a dynamic situation. We teach self defense. As such, we are results driven. Not every technique will work for you the same way it works for your teachers. Size and strength and speed do matter. But if you continue to train, you will find what works for you. And that is the key. If you are attacked, and you survive, you performed the technique correctly. You won. Nothing else matters.

“As you begin developing skills from a variety of doctrines, you must learn to integrate them into an effective personal arsenal.”

Forrest E. Morgan
Living the Martial Way

That is self defense. It is not bullying. It is not coercion. It is survival. It is avoiding dangerous situations, and escaping them if you must. It is seeing your family one more time. It is not a game. It is not a matter of pride. It is six guys attacking you from behind with a weapon.

Kenpo is Self Defense. It is intended to be the weapon of the Just. It is a sword to be wielded only in the defense of yourself and others. Practice your techniques with utmost seriousness. They may save your life someday.

“Because you have such knowledge and power, and could easily hurt someone with it, you are obligated never to use more force than is necessary to stop aggression. Justice is a tightrope. It takes someone of great skill, humility, self-awareness, sensitivity, and moral restraint to walk it.”

Teruyuki Okazaki
Perfection of Character

Drills -
Beginner: Practice moving in both your Natural Stance and your Fighting Stances. Practice kicking and punching in 360 degrees. Practice your environmental awareness by paying attention to the number of people around you as you go through your day at work, at the gas station, at the cinema. This practice will help to awaken you to the presence of threatening and non-threatening actors in your environment.

Intermediate: Practice long range evasion. Have a training partner attack you with kicks and punches and use stance transitions, foot maneuvers, angle stepping, and body movement to avoid contact. Slowly increase speed and intensity. Practice de-escalating dialogue with a training partner. Use soothing hand gestures and a calm, even tone of voice as you back away. Occasionally suddenly escalate to violence so that both students can practice transitioning between reason and violence.

Advanced: Practice Poison Hands and defending against multiple partners. Pinching, biting, finger strikes, and attacks on the opponent's air can all be used to increase your combat effectiveness. Practice holding one opponent in a headlock or choke hold as a human shield while you strike out against another. Gradually increase intensity. Practice identifying and employing environmental weapons in self defense situations. Keep your eyes open for objects in your environment which could be used offensively as a weapon or defensively as cover and concealment.

New School! New Location! Next Monday!

2011-04-12T21:14:00.000-07:00

Hey guys! This is it! Starting this coming Monday, 4-18-2011, we'll be having classes at our new location on South National. The address is,

3524 s national springfield mo 65807

View Larger Map

It's on the East side of the road, just South of the Bradford Park Apartments, in the same shopping center as Shultz and Dooley's Too, Jimmy Johns, and Picklemans, across the street from the hospital.

Make sure and be there! Classes start at the same time, and I'm really looking forward to seeing everybody there! If you go to the old school, we won't be there, so be sure you mark your calendars.

You might also want to give yourself a little extra time to get to class. Google says it's roughly five miles and fifteen minutes from the old school if that helps at all.

View Larger Map

I know you'll all be coming from different routes, but it's really fairly easy to find.

If you're coming in from James River, head north past Primrose. If you're coming south on National it's just past Walnut Lawn. The school itself is on the north end of the shopping center.

I hope you guys are all able to make it. I've got an exciting class planned, and I know Mr. Dunham is looking forward to breaking ground on the new school. I know I can't wait to have a little more room to maneuver during class!

Monday! 3524 S National Springfield Mo 65807! Don't miss it! And if you get lost or can't find the school, call us at (417)766-2682.

Wherever we go, we take our training with us. Old school, new school, the real training takes place within. We've got big plans for the new school, and we're always looking for new ways to help you, the students. Thanks to everyone who volunteered their time and effort to help get the new school ready! This is going to be a very exciting year at Dunham's Martial Arts!

"One does not need buildings, money, power, or status to practice the Art of Peace. Heaven is right where you are standing, and that is the place to train."

-Morihei Ueshiba

See you there.

The Long and Difficult Path

2011-04-12T14:04:00.000-07:00

In the book Martial Arts Teaching Tales of Power and Paradox, Pascal Fauliot collects myths, legends, and parables about masters of zen, tea ceremony, and the sword. He uses these stories to convey a series of lessons on confronting ourselves and the challenges of living the Way of martial arts.

At the beginning of Chapter 3, he describes for the reader the path of self improvement.

Confronting the Mountain

As long as you are incapable of
going beyond the mountain, it is
impossible to attain the Way

Wei Kuan

"Tradition tells us that following the Way is akin to scaling a steep mountain. The person who has chosen to undertake that ascent will select the slope he wishes to attempt and set off in search of a guide who can show him the path. These choices are deciding factors. If the slope is too steep, or the guide too inexperienced, the results can be disastrous. But nothing is guaranteed, even with the best possible guide. There are numerous obstacles ahead and many painful efforts will have to be undertaken. A great struggle that involves going one-on-one with the mountain is necessary. One's muscles are straining, one's fingers are tightly clinging to the rock. Each movement must be precise and measured. Nothing can be left to chance. One false step will lead to a long fall.

But what is the point of this challenge that does not let up for a second, poised halfway between the summit and the abyss, between life and death?

The person who dares the mountain knows, or at least something within him or her knows, that the great struggle takes place inside. The mountain is only a pretext. It permits a man or woman to come face-to-face with him, or herself, it provides one with an opportunity to go beyond oneself. It is by coming to grips with these kinds of difficulties that the student will develop the discipline, the will, and the energy necessary to his continued evolution. In reality every ordeal is a help in getting to the way. "If Heaven is about to entrust an important mission to a man, it begins by filling his heart with bitterness and by confusing his powers of perception and overturning his plans. It forces him to exert his bone and muscle. It forces him to endure hunger and all manner of sufferings. When the man emerges triumphantly over all these trials and tribulations, he is then capable of accomplishing what would have been impossible for him to do before." This quote from Mencius is a very precise answer to the question: "What is the true meaning of life?"

What is truly at stake in this inner battle? For the masters, the real obstacles that prevent the student from making any progress are those erected by his or her artificial personality. The ordinary individual, choking under a yoke of mental and physical habits, his vision of the world distorted by a screen of illusions, is an invalid cut off from the depths of his being, depths whose potential remains untouched. The necesary work to be done consists in exploding these physical and psychological blocks so that the individual's latent forces can blossom freely. The goal of budo, the way of combat, like any authentic path, is the regeneration of the individual. But this self-realization can only be attained through a merciless struggle against one's own defects, weaknesses, and illusions. Vanquishing one's inner obstacles requires the patience to be relentless in tracking them down and the courage to confront them when that search bears fruit. Pride, cowardice, impatience, and doubt, all fed by illusion, are so many dreadful traps in which a great many people have fallen. The path through them twists like a snake; it is long, difficult, and taxing. Not allowing oneself to become discouraged, persevering no matter what and in spite of oneself, is one of the keys to the Way."

The inner battle. It is the one we truly face. Self defense is a valuable skill to develop; humans are an intra-species predator. But when we step onto the training floor we do not face an enemy. There is no mugger, or murderer, or villian between us and our goal. We face only ourselves.

The battle against our own illusions, our fears and self imposed limitations, against the Six Invisible Enemies, is a long one. It will take all of your life to walk the path of self improvement. But each time the karateka steps foot inside the school he moves further down that path. Each decision we make to move forward, in karate, in life, embodies what Fauliot called, "the regeneration of the individual."

Drills -
Beginner: Set a goal to practice each of your techniques twice when you get up in the morning and twice before bed. Even if you are really tired. Even if you don't want to. If you forget, forgive yourself and try again next time. Identify something you are afraid to do.

Intermediate: Next time you're working out, keep count of how many pushups and situps you can do comfortably during your physical training. Then attempt to add two repetitions of each every time you train. If you get tired or fail to meet your new goals, take a break and return to the exercise later. Make it a point to do an extra set of each at the end of your workout. Make plans to confront your fears.

Advanced: Perform each of your forms from beginning to end. When you run out of forms to do, begin again with your earliest forms and run through the lists again and again. When you get too tired to continue, perform the forms each one more time. Lower yourself into your stances. Hold each position and breath deeply as you experience the fatigue and weariness of your body. Focus on completing the task. Overcome your anxieties and have new experiences.

Even the Masters Have Masters

2011-04-05T14:12:00.000-07:00

At Dunham's Martial Arts, we practice a unique style of American Kenpo. Many of the Self Defense Techniques come from a tradition handed down from Grandmasters of the art's past. Our lineage can be traced back to the practices of the Shaolin temple monks of China themselves. It is an ancient battle art, thousands of years old, reflected through many cultures on its way to our school.

It began as a simple method of physical training and self defense. Our legends tell us that a Buddhist monk came to the Shaolin temple from India and requested entrance, but was denied. So he went in to the mountain caves and stared at the stone walls for nine years seeking enlightenment, until his image was burned into the stone. It was only then that he was allowed to enter the temple. Upon entry however, he found that his fellow monks were out of shape, sometimes falling asleep during mediation and unable to perform the physical demands of their order. Combat practices had existed in China since the semi-mythical Yellow Emperor first taught violence to man more than 4000 years ago, and the monk, whose name was Bodhidarma, incorporated those martial practices with a series of physical exercises which would come to be known as The Eighteen Hands of Shaolin.

While most likely apocryphal, there is no doubt that the rigid, stylized practices which the monks of Shaolin would later develop would revolutionize martial practices in China, and later, in the many parts of the world that their culture would influence. The Ming General Qi Jiguang included description of Shaolin Chuan-Fa, (少林拳法 "fist principles"; pronounced “shorin kempo” in Japanese) and staff techniques in his book, Ji Xiao Xin Shu (紀效新書), which can be translated as "New Book Recording Effective Techniques." When this book spread to East Asia, it had a great influence on the development of martial arts in regions such as Okinawa, Japan, and Korea.

It is sometime during this period that our oldest known martial arts ancestor can be somewhat confidently identified. He is a man named Peichin Takahara who taught Chuan-Fa in the Shuri region of Okinawa. He was a monk who was revered as a great warrior and taught compassion and love while emphasizing dedication both to knowledge of the techniques and to physical practice and hard training. Beyond Takahara, we have only semi-legendary martial arts masters and warriors from China and Japan. His student, Kanga Sakukawa became such an expert that people simply called him “china hand” and taught Te; which would later be know as Shuri-Te after the region it was practiced in. His student Matsumura Sokon practiced Shuri-Te and was never known to have lost a duel. He taught Anko Itosu who taught in his Ten Precepts that his own Shorin-Ryu was, “not intended to be used against a single assailant but instead as a way of avoiding a fight should one be confronted by a villain or ruffian.” His student Choki Motobu studied with other future Masters such as Gichin Funakoshi and would go on to found Motobu-Ryu.

Now, here things get a little more difficult to pin down. During the 1930s a Hawaiian born man of Japanese descent named James Mitose began teaching kenpo and after the attack on Pearl Harbor, he taught the art to American civilians on the island to prepare them for a possible Japanese invasion. Where he received his martial arts training is a matter of some debate. He called his art Koshoryu (old pine tree school) Kenpo Jiu-Jitsu. He seemed to attribute his art to the teachings of Choki Motobu, although there isn't any record of him training under Motobu, and some people also claim he was taught Yoshida Kenpo from his grandfather. The art he taught appears to be based on the practices of Japanese and Okinawan martial arts descended from the earlier Chinese Chaun-Fa. He would go on to teach William Kwai Sun Chow, known as Thunderbolt for his hard hitting techniques, who would call the art he would pass on to his students Kara-Ho Kenpo which is still practiced by more than 10,000 students, most in the United States. One of those students was Ed Parker, who brought the art to the mainland, where he attempted to incorporate more of the traditional chinese movements of its earlier roots with modern self defense applications drawn from common street encounters into an art he would eventually call Ed Parker's American Kenpo.

Ed Parker taught a number of students, many of whom have gone on to found their own systems of martial arts. Two of those students were brothers, Al and Jim Tracy, whose Tracy's Kenpo is now a worldwide organization that emphasizes the earlier teachings of Mr. Parker. One of their students, Jim Mitchell, would also train under Mr. Parker himself, and would then go on to teach Mitchell System Kenpo Karate as his own style of what he learned from his teachers. A student of his, Theron Sturgess, now teaches his own systematic approach to learning martial arts at Dynamic Edge Martial Arts. Today, Chris Dunham, who has studied over the past 20 years under Mr. Mitchell, Mr. Sturgess, and many others, has opened up his own school to teach Dunham's Art of American Kenpo with an emphasis on empowering each student with serious self-defense and personal development.

And that brings us to you. Many of you are learning Dunham's Art of American Kenpo. But like the many Masters before you, it is your challenge to make it your own. To internalize the lessons passed down to you by your instructors and to express your knowledge of the arts in your own unique way. This practice is handed down, instructor to student, and has been for thousands of years since the legendary Yellow Emperor. Each generation, each culture, leaves its own unique mark on what they inherit and passes something new on to the next generation.

Shaolin Chuan-Fa, Te, Shuri-Te, Shorin-Ryu, Motobu-Ryu, Yoshida Kenpo, Koshoryu Kenpo Jiu-Jitsu, Kara-Ho Kenpo, Ed Parker's American Kenpo, Tracy's Kenpo Karate, Mitchell System Kenpo Karate, Dynamic Edge Martial Arts, Dunham's Art of American Kenpo. What will the next art be? What will you bring to the art? What will your students call it someday?

It is important to know the lineage of your art, because it is the path by which the knowledge you hold came into your hands. We owe much to our martial ancestors for devoting themselves to preserving the traditions and practices we engage in today. But we owe an equal debt to our descendants, to be more than a kenpo practitioner. We must be martial artists, and like all artists, we must create.

Create a great day. Create a new art. Create a tradition and history worth remembering. Become a legend of your own. Kenpo will continue on in to the future, and the students of tomorrow will speak of the practitioners that came before them. It is a chain unbroken that leads directly to every student.

You are the next great Master of Kenpo.

Drills -

Beginner: Practice each of your techniques with seriousness and commitment. You are only as good as your basics. Practice each hand and foot technique ten times, each side, on the bag and B.O.B. Look to your senior students for advice on execution and training methods.

Intermediate: Learn the principles and theories behind the techniques. Understand why the stances are structured the way they are and how to use those stances in combat. Practice upper and lower body blocks and strikes with a partner from each of the stances in your sets. Look for opportunities to work with lower rank students and set a positive example for them by your knowledge and diligence.

Advanced: Learn how to transmit knowledge to younger students. Learn how to do, but also how to teach. Begin with your first techniques and practice teaching them by the numbers, in the air and on the body. Identify key principles and movements important to each technique and practice demonstrating these to students. Come up with three drills each for teaching kicking, punching, and blocking.

Benefits of Training in the Ways

2011-03-22T22:51:00.000-07:00

Wayne C. McKinney's 1966 book Archery is still used as a reference text on the art and sport of Archery, and is considered a seminal textbook on the subject of modern Western Archery. It's comprehensive approach to Archery, including the equipment, history, cultural value, techniques, and training for sport, hunting, and art gives the student a valuable introduction the study as it is approached in the West. In the chapter Potential Benefits of Archery he describes ways that the practice of Archery can benefit the student, the family, and society as a whole. As martial artists, we can read our own practices into his words and see where we experience these benefits for ourselves.

3rd Edition, Page 90
"Archery provides the participant with a sport which can be used throughout life. Some sport activities learned early in life do not have this potential. A man in his thirites does not engage in American Football during his leisure time as an active particpant. The opportunities are not available to do this, and the human body will not withstand the stresses and strain. In contrast, many excellent archers do not reach their performance peak until they are in their thirties. Archery is a sport for people of all ages.

One major biophysical value of muscular activity is the abilty to release emotional tension. Emotional tension seems to be cumulative in nature. The reader has probably experienced at least one day in which everything seemed to go wrong! At the conclursion of such a day, one tends to be rather tired and tense. This type of tension is psychologic in nature. Psychiatrists indicate that it is a good idea to "blow off steam" on these occasions in a socially accceptable way. This contriubutes to one's mental health. Shooting the bow and arrow for an hour after a "bad day" has the potential to relax the archer. Physical work of any type has the potential to relax a human being. The concept of work being a relaxant is so abstract that it is not too well understood by most people.

The challanges which archery presents in its various sport forms have value for many people. Archery is not an easy sport to master, since there are many opportunities for the occurence of human errors. This facet of archery has the greatest appeal to many sportsmen and individuals who seek perfection in things they attempt. Mastery of archery is a motivating factor for many archers.

The serious student of the humanities may derive enjoyment by reading and studying about the use of archery as portrayed by many authors and scholars throughout history. The mythological literature abounds with stories about archery, and art museums throughout the world contain many famous works. This liberal arts approach to studying a sport is often overlooked by students and physical educators.

The individual who enjoys social activities will find that archery is a good medium for this purpose. Most cities of any size throughout the country have archery clubs which provide opportunities for the archer to share his interests with fellow archers. Clubs are locally operated by a system of self-government, and funded by modest dues. Rounds are shot periodically for practice. There are also intraclub and interclub tournaments. Members also compete in large professional and amateur tournaments conducted within the state, region, and nationally.

In contrast to the the social aspect of archery, the archer who likes to be alone can practice and compete on a highly individualized basis. No partner or team is absolutely necessary to enjoy archery. It has been said that the greatest form of comepetition is with one's self. An archer can compete without contact with other people if so desired.

Archery is and has been many things to many people. In contemporary society, archery is a sport for the competitor. Archery is also for the individual who enjoys handling fine tackle; it is for the man or woman who enjoys being in the out-of-doors during a hunting season, a field archery tournament, or bow fishing; it is for the person who enjoys the spirit of competition with other people and with himself against the elements. Archery can be a partial means of making the participant's leisure time more rewarding and meaningful."

Martial arts is also many things to many people. Self Defense. Fitness. Competition. Way. We choose our own level of involvement. Find opportunities to explore each of these aspects of your training in a healthy way. Certainly, your study of the arts can be a means of making your leisure time more rewarding and meaningful. You may be content to relegate your training to avocation, and that is perfectly fine. It should be a thing which brings you joy. But remember that beyond being a hobby, the practice of martial arts has much more to offer. One need but seek to find the many rewards awaiting the diligent student of the martial Ways. The positive societal, communal, and individual benefits of such training can not be overstated.

Drills -
Beginner: Practice "Drawing the Bow" technique for deception when punching. Practice flicking out jabs and using off hand motions to distract. Think about what your training means to you and what benefits you look forward to gaining from your involvement in martial arts. Identify those positive goals specifically.

Intermediate: Practice "Lockout" style punching techniques to joints, limbs, and the head and neck for anatomical control. Practice thrusting through the opponent's position and staying present, forcing him to change position in response. Take consistent action on accomplishing the goals you've set and actively seek out the positive benefits of your martial arts training in your daily life. Is it making you stronger? More confident? Less stressed in your day to day affairs?

Advanced: Practice "Drawing the Bow" technique as excision, seperating the rear elbow of the chambering motion from the lead hand jab to 12 o'clock. Identify movements which can be used when fighting multiple opponents which can be effective both as physical maneuvers and psychological attacks. Explore "Seperating the Opponents" with strikes. Review the progress you've made since you've begun your training in the arts. Compare the person you have become to the person you began your journey as. Set new goals for yourself, both in your future training, and as a person and practitioner moving forward.

Ten Considerations of Combat

2011-03-12T17:57:00.000-08:00

Ten Considerations of Combat

Environment
Range
Positions
Maneuvers
Targets
Natural Weapons
Natural Defenses
Cover & Concealment
Intent
Circumstances

The Ten Considerations of Combat are designed to give the student parameters with which they can begin to define the combat arena. Today we will begin with the first two.

1. Environment
Environment refers to the shape and layout of the combat arena, as well as any obstructions it contains. It also incorporates things like lighting, footing, surface textures, and climate.

But more importantly environment includes the emotional atmosphere of the engagement. An objective observer will come to understand that different emotional environments have different energy levels and effects on the people within them.

For instance, next time you are in a crowded movie theater, remove yourself from the movie going experience and feel the atmosphere of the room. If it is a comedy you will feel a different energy level than if it is a tragedy, or a horror, or an action movie, or a drama. Extrapolate this experience to your surroundings in life.

Next time you are at work, try to feel the emotional atmosphere you work in. Then do an experiment. Go from person to person, and try to change their attitude. If the room is happy, depress people. If the room is depressed, encourage people. You will notice a definite change in the atmosphere of the room.

It is important to understand these changes in the human environment in order to understand best where a confrontation takes place. The same argument will escalate differently in a crowded bar than it will in a library. Understanding this can aid the student in better deciding when and how to use force.

2. Range
Range is one of the most important determining factors in deciding both the necessity of, and the applications of force.

During the escalation phase of any combative situation, the student should be paying close attention to the range at which the encounter is occuring. It is important for the student to be determining ranges not only between himself and his opponent, but also between himself and his routes of escape, himself and obstructions in the field, his opponent and his opponent's allies, and the confrontation and any deterring factors such as security cameras or officers, and crowded or well lit areas.

Upon determining the necessity of the use of force, the student must use his knowledge of range to determine the applications of force most appropriate to the engagement. If the opponent is outside contact range, then engaging the opponent may require projectile weaponry or techniques.

Foot maneuvers can be used to either increase range for the purposes of evasion or escape, or to decrease range for the purpose of engaging the enemy.

If the opponent is within contact range the student can select techniques which are appropriate to the situation.

Drills -
Beginner: Every time you walk into a room count to five and then close your eyes. As quickly as possible identify ten things you saw in the room, paying special attention to anything which would either impede your movement or could be used as a weapon.

Intermediate: Facing a heavy bag, stand with your toes even with the base of the bag and work as many strikes as you can remembering FASP. Then move back six inches and repeat the process. Then move back six more inches and repeat. Continue, using lunging and skipping strikes when you move outside of striking range until it takes more than two foot maneuvers to reach the bag. At that point, you are out of your opponent's effective range. Turn away and escape.

Advanced: Practice strikes against heavy bag with a weapon in one or both hands. Pay special attention to how different grips effect reach. Practice striking around corners and around and over obstacles.

Ground Fighting: Practice spontaneous ground fighting in the corner of the room, in doorways, and under and around tables and chairs. Watch for environmental dangers and look for opportunities to escape.

12 Primary Love Needs

2011-03-02T07:23:00.000-08:00

In our training center students study the physical requirements of becoming a warrior while simultaneously learning to harness the mental abilities of a scholar. The ability to control both the physical and mental side on oneself shows true mastery and in order to master victory over any opponent, one must truly learn to "know thyself" first.

When several students commented on last month's theme, and asked us to share it, I thought it might be appropriate to share here. Perhaps you'll find some use from this; perhaps with a spouse, a friend, a relative, or even a student of your own. These lessons can work universally, however they are just guidelines. They are primarily intended for loving, respectful relationships, and should always be used with common sense. While these are generally guidelines for working with the opposite sex, some people may need the opposite of what you'd expect. We all share some form of masculine and feminine qualities, however large or small. This is the Yin and Yang of life. The key is to seek first to understand the needs of one another and then you can begin unlocking the mystery of a synergetic relationship.

“Seek first to understand, then to be understood.”

Men and women are often unaware that they have different emotional needs. As a result, they do not instinctively know how to support each other. Both typically give in a relationship, what they would want. Each mistakenly assumes that the other has the same needs and desires.

12 Primary Love Needs

1. She needs Caring- Show interest in her feelings.

He needs Trust- Trust in his abilities and his intentions.

2. She- Understanding- Listen without judgment and with empathy.

He- Acceptance- Love him without trying to change him.

3. She- Respect- Acknowledge her rights, wishes, and needs.

He- Appreciation- Acknowledge his efforts, behavior, and its value to you.

4. She- Devotion- Give priority to supporting and fulfilling her.

He- Admiration- Admire him with wonder, delight, and appreciation.

5. She- Validation- Validate her feelings and point of view.

He- Approval- Recognize the good reasons behind his actions.

6. She- Reassurance- Let her know she is loved… continually.

He- Encouragement- Give him courage by expressing confidence in his abilities and character.

These ideas were adapted from “Men Are From Mars, Women Are From Venus.” By John Gray, Ph.D

A recommended read for learning to communicate better.

Block. Lead Side Counter.

2011-02-26T10:03:00.000-08:00

I like to think of Fallen Sword as the first "real" kenpo technique you learn. Now, don't hear this as me in any way denigrating the techniques before it. Entrapping Circle, Entrapping Elbow, and Concealing Strikes are all solid, important techniques that begin your study of motion. But when I learned Fallen Sword I felt like I was really doing karate. And in part that's because Fallen Sword teaches you a fundamental series of movements that make up a huge chunk of what you will practice in kenpo.

Block. Lead Side Counter.

This basic combination of movements encompasses core principles about The Ten Considerations of Combat which are elemental to self defense. Environment. Range. Positions. Maneuvers. It's all contained within Fallen Sword, and everything you learn after this will be built on this structure. That's why it's taught so early in the system. Not because of it's simplicity, but because of it's ever deeper complexities.

Block. Lead Side Counter.

This pattern repeats itself again and again. Destructive Twins? Sword of Destruction? Snapping Elbow? Ghost of the Dragon? Again and again. Block. Lead Side Counter.

It's as fundamental as the forward and reverse arm motions taught in Entrapping Circle and Entrapping Elbow. Each technique has lessons to teach, beyond merely defending against a Right Step Thru Punch. That's the least important part of what you're learning. That's just the template for the purpose of facilitating instruction. It's the lessons you should be learning, not just the movements.

Take a basic sparring scenario. Closed faced. Student A executes a Lead Hand Jab. Student B defends with an inward block and counters with an Outward Backknuckle Strike. That's Fallen Sword.

Or a knife scenario. Attacker lunges with a Forward Thrusting Knife Strike. Defender takes a Half Step Back and Up the Circle (in reverse) with a Slapping Check to the attacker's weapon arm, and follows with a Lead Leg Side Snap Kick to the inside of the attacker's Lead Knee. That's Fallen Sword.

How about a grappling scenario? The opponent grabs you from the front with a Two Handed Lapel Grab (Pulling) and you respond by grabbing their hands and then striking the opponent with a Lead Hand Inward Downward Raking Hammerfist Strike followed by an Inward Elbow Strike. Altered Momentum? If it's a Single Lapel Grab the technique is Conquering Shield. But Conquering Shield is just Fallen Sword to the outside of the arm followed by Entrapping Elbow. It's the same pattern again and again.

Block. Lead Side Counter.

But don't mistake this repetition for busy work. There's a reason you learn Lead Side Counter against a push, a punch, a choke, a grab, weapons, throws, holds and more. There's a reason you practice this Right forward and Left forward, striking and grappling. You're learning the letters. You're learning the words. And the more fluent in kenpo you become, the more capable you are of talking the talk, and walking the walk.

Fallen Sword is a key technique. It's simple. It's basic. And you could spend a lifetime learning it's lessons. But for now, practice the Lead Side Counter. Practice Fallen Sword. And see what lessons it holds for you.

Drills -
Beginner: While practicing Fallen Sword pay special attention to body mechanics. Step back WITH the Inward Block. Land from the Front Kick WITH the Handsword. Every movement, every strike, is with the entire body.

Intermediate: While sparring use only lead hand weapons against your opponent. Use stance transitions to change your position and continue striking with the opposite side forward. Pay attention to combinations and re-orbiting strikes.

Advanced: Practice the basic pattern of Fallen Sword, but alter the weapons and targets. Instead of a Handsword, work a Jab, Backknuckle Strike, or Outward Claw or Outward Backhand Strike. Instead of a Front Snap Kick, try Side Snap Kick, Wheel Kick, or In Place Pulling Sweep. Choose targets appropriate to your weapons.

Sumimasen. Daijobu desu ka?

2011-02-17T19:00:00.000-08:00

From Wikipedia:

"Dave Lowry is an American writer best known for his articles, manuals and novels based on Japanese martial arts.

A student of Japanese martial arts since 1968, when he began studying Yagyū Shinkage-ryū kenjutsu [the same art taught by Yagyū Munenori, see Hit, Hit, and Hit Again] under Ryokichi Kotaro of the Nara Prefecture of Japan, he has also studied Shintō Musō-ryū, as well as karate, aikido, and Kodokan judo.

He has a degree in English, and has written about a variety of topics related to budō, the Japanese concept of the "martial way." He has written training manuals on use of weapons such as the bokken and jo, a few novels centered on the lifestyle of the budōka (one who follows the martial way), and countless articles on martial practices and traditional Japanese philosophy. He has been a regular columnist for Black Belt magazine since 1986, where he writes on the traditional arts."

In his 2002 book, Traditions, Lowry tells us a story about training with a friend of his instructor and an important lesson he learned from the experience.

"...He was short and thick and powerful. At my sensei's suggestion, after dinner our visitor took me into our dojo to work with me on basics. Against my oi-zuki (stepping-in punch), he shifted like he was on ball bearings and countered with various techniques. We'd been at this for about an hour, gradually increasing our pace. I was still not posing any great threat to him, but Yanagi-san was having to move just a bit faster to avoid my attack. That is when he miscalculated, just fractionally. He pivoted and snapped out his fist as I moved in-and caught me squarely on my nose with the back of his knuckles. There was no kime, no focus, to the blow. If there had been, my head would have come off. The strike was more just a kind of slap. But Mr. Yanagi's timing was perfect, even if there was no force behind it.

Even though he barely grazed my nose, tears squirted into my eyes. My feet and legs, still driving forward, were way ahead of the rest of me. I went down like I'd been sledghammered. The back of my head smacked against the wooden floor. I laid there a second. I knew nothing was seriously hurt, and that I should be leaping back up quickly so as not to put myself at risk of a follow-up attack. But I wasn't sure where "up" was. All I could see were starbursts.

"Sumimasen," Yanagi-san said, "Daijobu desu ka?" "My fault. You okay?"

I'm not sure how I expected Mr. Yanagi to react to the accident. Over the years of my training that have followed, however, I have heard that phrase many more times. I have, due to my own clumsiness and ineptitude, had occasion to use it myself. Ask anyone has who practiced with me much at all. And I have come to realize since that afternoon in the dojo, that what Yanagi-san said to me is really all one can say in a situation like that. More importantly, it is all one should say.

It is quite an awful feeling to hurt someone under almost any circumstances, obviously. This is especially so in the dojo where one's accidental victim is likely to be a friend or a training partner and one feels towards that person almost as if they were a brother or sister. If it is a senior that you have clobbered, you feel terrible because you've repaid the kindness of his instructing you by battering him. If it is a junior, you feel worse; a junior in the dojo is dependent upon you for his progress, not for abuse. The initial response to causing such an accident in the dojo-the unconditioned response of the untrained budoka-is to abandon instantly whatever exercise it is, to rush forward, apologizing profusely and checking for damage.

The dojo, however, is not a place for unconditioned responses. The budoka who go there to practice must be willing to give a great deal of their lives over to the crafting and shaping of very highly conditioned responses. They are seeking to respond correctly to every contingency, in a wide variety of situations. Among these contingencies is the possibility of an accident. The budoka must realize there is a chance, a risk involved, every time he trains. When you allow me, for the purposes of our learning, to uncork punches at your face, or to twist your wrists to nearly the point of injury, or strike at you with a weapon, you are accepting the possibility I might miss, go a bit too far. I assume the same; that I may injure you. We have voluntarily accepted what insurance companies call "assumed risk." Like mountain climbers, big wave surfers, and ski racers, budoka would be fools if they thought the martial Ways were risk-free. That is simply not the nature of these ways.

If we have trained properly and we exercise care for our partner, we can (and absolutely must) cut the odds of an accident or injury. But we can never entirely eliminate risk. So when in the dojo an accident does happen, we should not be too surprised. We should not indulge in a lot of pointless blather then. We should admit it if it was our fault, and inquire if the injury is serious enough to warrant attention. If it is serious, we'd better be calling an ambulance or rendering first aid. These require coolness and a presence of mind. There is no time, and no reason to engage in excessive apologizing which, while it may make us feel better, won't do a lot of good for our injured friend.

This attitude may seem heartless. But remember, Yanagi-sans's first words to me were, "my fault." He accepted the blame for the accident, simply and honestly. Then he asked if I was all right, in a way that was straightforward yet not condescending, respectful of my dignity.

Simply and honestly; straightforward and respectful. This is the best way for the budoka to behave when he has been responsible for an accident in the dojo. He will also find that it is an excellent way of meeting a number of other situations as well."

Lowry's experience here is not unique. You will have an opportunity to say these words many times over the course of your journey in martial arts. And you will hear them as well. When you hit one of your friends or training partners too hard, when you make the mistakes that are an inevitable and essential part of the learning process, the only thing to say is this,

"I'm sorry. My fault. Are you okay?"

There is no shame in this. This is right and honorable conduct. Remember this when you accidentally hurt your training partners, and when you are accidentally hurt by them.

American Freestyle Karate and the Power of Confrontation

2011-02-11T08:50:00.000-08:00

Dan Anderson is one of the most accomplished American martial artists. On the website for his school, his bio reads,

“Professor Anderson is the director and chief instructor of Dan Anderson Karate and has a 7th Degree Black Belt in Karate, a 6th Degree Black Belt (Senior Master) in Filipino Modern Arnis, and an 8th Degree Black Belt in MA-80. He is a 4 time national karate champion, having won over 70 Grand Titles! He is the founder of American Freestyle Karate, a uniquely American martial art as well as the author of the best selling book, "American Freestyle Karate: A Guide To Sparring" which has been in print for 30 years. He has been honored by inclusion into the Karate Living Legends, a lifetime achievement honor, being one of the 50 most influential martial artists in the 40 year history of tournament karate. Prof. Anderson's school has been continually teaching martial arts to the residents of East County for 25 years, making it the oldest Karate school in this area.”

The book mentioned above, American Freestyle Karate: A Guide to Sparring is widely recognized as one of the seminal and most authoritative written works on the subject of karate style point sparring. It's topics span stance and posture, body movement with and without footwork, developing power, kicking, punching, and blocking, and monitoring the opponent. It contains both technical information, including step by step breakdown of techniques and combinations, and strategic and conceptual instruction which informs the practitioner in his approach to both sports combat and self defense.

One particularly valuable section discusses the concept of confrontation, so crucial to success in freestyle sparring,

The Ability to Confront

“To confront – verb transitive – Webster's New Collegiate Dictionary 2.a. “to cause to meet: bring face to face.”

Psychologically, everything in karate boils right down to the idea of confrontation, to face up to something. Sparring, approaches, technical information, everything.

A person's ability to confront things comes with familiarization and gradient stages of the ability to confront itself.

When you have trouble with any face of karate, it comes from a failure to confront that particular area. Example: a person is a strong technician and is tough but does not think when sparring. The thing to do is to have them confront thinking during sparring in gradient stages. 1) Plan out each attack and carry out the plan; 2) spot circuits (habit patterns) in your opponent's sparring, etc. Take him through each step until he is up to sparring and thinking.

The ability to confront is such a great part of everything. Anything you can do well is because you can confront it, meet it face to face, nose to nose with a big grin. Karate has always felt easy to me, but acceptance of getting hit in the head has never been easy. My ability to confront things is up on karate and down on getting hit in the head.

Things that you cannot confront easily will have to be worked through, but if you take any one particular thing and work it out in easily handled steps, pretty soon the punch in the head (or whatever) will not seem so awful to you.

This is how I break my students into sparring. Thanks to movies and television, beginners come in with preconceived notions of karate, ranging anywhere from macho brutality to the idea that the studio is a monastic retreat for pacifistic martial monks. But, they have one thing in common; they sit back and tense up when watching somebody else spar. Here it is so close to them, violence, punching faces, kicking groins, struggling. A sparring match can be a fearsome sight to a lot of beginners. So, I start them off easy with a punch, a stance, a kick, a block, until they are comfortable with it. Then slowly, easily in a line drill, they see that attack come at them and block it. Great. That attack was handled. Then after a while, they get into slow and easy, unstructured blocks and attacks with a partner, the same thing that bugged their eyes out in the first place, sparring. The only difference is that through a series of gradient steps, they reached a point where what was once foreign to them was now recognizable and comfortable. That is what the ability to confront is about. Anything you have trouble with, work on in easy steps until it becomes comfortable.

Professor Anderson's advice transcends the art of kicking and punching. Take it with you in your training, practice your least favorite techniques. Do ten more kicks when you're already tired. But apply the lesson to the other facets of your life as well. Confront, persevere, have indomitable spirit.

Everything in karate boils right down to the idea of confrontation. Karate no shugyo wa issho.

From the Monk to the Master

2011-02-10T05:39:00.000-08:00

The Mysterious Record of Immovable Wisdom (不動智神妙録, fudōchishinmyōroku) was a letter written to Yagyū Munenori by the Japanese Buddhist monk Takuan Sōhō. In it, Takuan attempts to adapt Zen teachings to the art of the sword. According to the modern translator William Scott Wilson, “one could say that fudōchishinmyōroku deals not only with technique, but with how the self is related to the Self during confrontation and how an individual may become a unified whole.”

“Takuan Sōhō was a Zen monk, calligrapher, painter, poet, gardener, tea master and, perhaps, inventor of the pickle that even today retains his name. His writings were prodigious (the collected works fill six volumes), and are a source of guidance and inspiration to the Japanese people today, as they have been for three and a half centuries.”

Takuan influenced both Munenori and Musashi, and his teachings are reflected in both Book of Family Traditions and Book of Five Rings. In The Mysterious Record of Immovable Wisdom, Takuan begins by explaining the importance of No-Mind-No-Thought. Per Wilson,

“Again, we speak with reference to your own martial art. As the beginner knows nothing about either his body posture or the positioning of his sword, neither does his mind stop anywhere within him. If a man strikes at him with the sword, he simply meets the attack without anything in mind.

As he studies various things and is taught the diverse ways of how to take a stance, the manner of grasping his sword and where to put his mind, his mind stops in many places. Now if he wants to strike at an opponent, he is extraordinarily discomforted. Later, as days pass and time piles up, in accordance with his practice, neither the postures of his body, nor the ways of grasping the sword are weighed in his mind. His mind simply becomes as it was in the beginning when he knew nothing and had yet to be taught anything at all.

In this one sees the sense of the beginning being the same as the end, as when one counts from one to ten, and the first and last numbers become adjacent.

In other things – musical pitch, for example, when one moves from the beginning lowest pitch to the final highest pitch – the lowest and highest become adjacent.

We say that the highest and the lowest come to resemble each other. Buddhism, when you reach its very depths, is like the man who knows nothing of Buddha or the Buddhist law. It has neither adornment nor anything else which would draw men's attention to it.

The ignorance and afflictions of the beginning, abiding place and the immovable wisdom that comes later becomes one. The function of the intellect disappears, and one ends in a state of No-Mind-No-Thought. If one reaches the deepest point, arms, legs, and body remember what to do, but the mind does not enter into this at all.

The Buddhist priest Bukkoku wrote:

Although it does not

mindfully keep guard,

in the small mountain fields

the scarecrow

does not stand in vain.

Everything is like this.”

Takuan believed that only by keeping the mind from stopping in any one place could the swordsman act with the spontaneity and freedom of the beginner. But he also emphasized the importance of rigorous training, saying, "If you do not train in technique, but only fill your breast with principle, your body and your hands will not function."

Train the techniques. Repetition is the mother of skill. But in your training, seek what Takuan called No-Mind-No-Thought.

"If one reaches the deepest point, arms, legs, and body remember what to do, but the mind does not enter into this at all."

The Importance of Visualization

2011-02-02T15:10:00.000-08:00

Mental focus, concentration and visualization are some of the most important parts of your training. Most people are familiar with the saying that sports is 90% mental and 10% physical. Despite that, many people fail to spend as much time practicing in their heads as they do practicing on the floor. Yet again and again, top level athletes and performers in every field credit their success to mental preparation.

Jerry West, former Guard for the Los Angeles Lakers, had such a penchant for hitting buzzer beaters he was nicknamed ‘Mr. Clutch’. In one memorable game in which his team was trailing the Knicks with a few seconds left in an NBA Finals game, West took an inbound pass and shot from 60 feet at the buzzer. Knicks guard Walt Clyde Frazier recalls thinking: “The man’s crazy. He looks determined. He thinks it’s really going in!”. Of course, it did go in, sending the crowd reeling and the game to overtime. One time, when asked about his ability to frequently hit the big shot, West revealed the root of that confidence Frazier witnessed. West explained that he had already made those shots time after time in his mind. Jerry West, like so many other legends such as Michael Jordan, Larry Bird, Phil Jackson, Tiger Woods, Wayne Gretzky and countless others, realized the power of visualization.

What is Visualization?

Visualization is a form of guided mental imagery, where the performer imagines himself succeeding at his physical tasks. A popular visualization for athletes is the mental rehearsal of sporting events while ‘intending’ a desired outcome. Amazingly, research has revealed that visualization can actually enhance performance to nearly the same extent as physical practice. A study conducted by Dr. Blaslotto at the University Of Chicago is an intriguing example.

The goal of Dr. Blaslotto‘s study was to determine the effects of visualization on sports performance. As a performance measure for this experiment, the researchers chose the free throw percentage of a group of basketball players. First, to establish a basis for the study, the current free-throw success rate of each of the subjects was tested and recorded. Three groups were then established, and the athletes were assigned to one of the groups at random. After 30 days of testing and retesting, the results were as follows:

The third group, who neither physically practiced or visualized shooting free-throws, showed no increase in percentage.

The first group which physically shot free-throws for an hour daily, collectively improved thier free-throw shooting by 24%.

The second group, which practiced daily by visualizing shooting and making free-throws, collectively improved their free-throw shooting by a shocking 23% without having physically shot a basketball!

Another similar study was done by the Cleveland Clinic Foundation exploring the effects of visualization on muscle strength. The results of that study also astonishingly revealed increases to muscle strength through visualization, further reinforcing the fact that mental training is actually as impactful a tool in performance enhancement as physical training. In one of the most well-known studies on Creative Visualization in sports, Russian scientists compared four groups of Olympic athletes in terms of their training schedules:

Group 1 - 100% physical training;
Group 2 - 75% physical training with 25% mental training;
Group 3 - 50% physical training with 50% mental training;
Group 4 - 25% physical training with 75% mental training.

Group 4, with 75% of their time devoted to mental training, performed the best. In explaining the results the Soviet scientists involved concluded that, "mental images can act as a prelude to muscular impulses."

With each imagined repetition, a neural pathway is formed. Neural pathways in short, are clusters of neurons in the brain that work together to create a memory or a learned behavior. Dr. Blaslotto explained, “As your brain conceives of an act, it generates impulses that prompt neurons to ‘perform’ the movement being imagined by transmitting those impulses from the brain to the muscles.” This in turn creates a habit, or neural pathway in the brain, programming your body’s actions as if you physically performed the activity.

Studies show that the human mind has difficulty separating reality from imagined reality. If you’ve ever had a dream that felt “so real,” you understand. This happens because much of the brain is unable to differentiate between "real" events and "imagined" ones, and so treats them both the same in terms of chemical and physiological response. That's why when a person reads a sad story they cry, even though no actual sad events have occurred, or when they watch an action movie their temperature, heart rate, and adrenaline levels will increase, even though they are sitting perfectly still in a safe, dark movie theater.

We can use this to our advantage in our training. Visualization can help us to rehearse combative, dangerous, and challenging situations in order to prepare us for a violent encounter. It can also help us to improve our technique performance. The basketball study above showed almost the same improvement in groups that imagined practicing as in groups that actually hit the floor. If we combine both aspects of our training, we can see massive advances in our skill level.

It is also important to visualize an opponent when we perform our techniques. Any time you are practicing your kenpo in the air, imagine an opponent who you are intimidated by. See yourself hitting that opponent in the face, in the body. Put the situation into a context where you might be forced to defend yourself. You are safe in the school, but imagine you are having to do your kenpo in a dark, rain slicked alley late at night in a bad part of town. You will find that your mindset and your performance will be drastically affected by this kind of visualization.

When I am focusing on learning the proper anatomy of targets and weapons, I visualize a solid blue human body form, like this,

It helps me to visualize exactly what I am hitting, what effect it will have on my opponent, and how the surrounding anatomy will be affected.

But when I am practicing my techniques for self defense performance, I visualize a big, bad, scary looking man who intends to do terrible, terrible things to us all. It helps me to use the face of actor Danny Trejo.

You can use whatever images you like. Maybe someone from your past, maybe someone you saw on television. Maybe it helps you to see the image of something you find frightening like a monster from your childhood. The key is to select images which cause a visceral reaction for you, and then to train against that imagery and within that chosen context.

Everything that you experience takes place within your mind. Everything you perceive to be real, the things you touch, taste, see, smell, and hear, is actually just a highly detailed projected environment created by the computer in your head. It receives input from all the sensory organs and then compiles that into a hologram so real you never question it. But much of what you think you see is actually just the brain filling in holes in the information its receiving from one source with information it's receiving from another.

A particular blind spot known as the punctum caecum in medical literature is the place in the visual field that corresponds to the lack of light-detecting photoreceptor cells on the optic disc of the retina where the optic nerve passes through it. Since there are no cells to detect light on the optic disc, a part of the field of vision is not perceived. The brain fills in with surrounding detail and with information from the other eye, so the blind spot is not normally perceived. Even though you know it's there, and you can “see” it, it's actually just your brain telling you what it expects to be there. We can take advantage of this. Since our reality is only happening in our minds, we can create alternate realities, practice a number of scenarios within them, and benefit from that training. The brain can't tell the difference, and neither can the body.

So train hard. And think hard. Kenpo is a mental pursuit as much as a physical one. And the student who focuses on his performance and visualizes his success will find his reality matching what his brain expects to see.

Drills -
Beginner: During every technique repetition in the air, imagine a real, aggressing opponent. See your strikes hit real, vulnerable targets.

Intermediate: Perform a technique on the body. Close your eyes, and visualize yourself performing the technique perfectly, from start to finish, ten times against a real opponent. Now open your eyes and perform the technique on the body again. Pay attention to anatomical repositioning and accurate targeting.

Advanced: Imagine an attacker at 12 o'clock. When the opponent attacks, defend the original attack and then begin a counter offensive striking combination. Continue that action to a takedown and then a finishing move. Begin again with a standing opponent.

The Passing of a Fitness Legend

2011-01-28T09:34:00.000-08:00

by Claudia Luther, special to the LA Times
http://http//www.latimes.com/news/obituaries/la-me-jack-lalanne-20110124,0,5507436,full.story

Jack LaLanne, the seemingly eternal master of health and fitness who first popularized the idea that Americans should work out and eat right to retain youthfulness and vigor, died Sunday. He was 96.

LaLanne died of respiratory failure due to pneumonia at his home in Morro Bay, Calif., his agent Rick Hersh said. He had undergone heart valve surgery in December 2009.

Though LaLanne was for many years dismissed as merely a "muscle man" — a notion fueled to some extent by his amazing feats of strength — he was the spiritual father of the health movement that blossomed into a national craze of weight rooms, exercise classes and fancy sports clubs.

LaLanne opened what is commonly believed to be the nation's first health club, in Oakland in 1936. In the 1950s, he launched an early-morning televised exercise program keyed to housewives. He designed many now-familiar exercise machines, including leg extension machines and cable-pulley weights. And he proposed the then-radical idea that women, the elderly and even the disabled should work out to retain strength.

Full of exuberance and good cheer, LaLanne saw himself as a combination cheerleader, rescuer and savior. And if his enthusiasm had a religious fervor to it, well, so be it.

"Well it is. It is a religion with me," he told What Is Enlightenment, a magazine dedicated to awareness, in 1999. "It's a way of life. A religion is a way of life, isn't it?"

"Billy Graham was for the hereafter. I'm for the here and now," he told The Times when he was almost 92, employing his usual rapid-fire patter.

Another time, he explained, "The crusade is never off my mind — the exercise I do, the food I eat, the thought I think — all this and how I can help make my profession better-respected. To me, this one thing — physical culture and nutrition — is the salvation of America."

When he started, he knew that most people viewed him as a charlatan. That's when he decided to do the stunts that made him famous.

"I had to get people believing in me," he said.

He performed his first feat in 1954, when he was 40 and wanted to prove he wasn't "over the hill." He swam the length of the Golden Gate Bridge — underwater. (He carried two air tanks.)

Other feats in his 40s: swimming from Alcatraz to San Francisco's Fisherman's Wharf wearing handcuffs; swimming the Golden Gate Channel while towing a 2,500-pound cabin cruiser; pulling a paddleboard 30 miles from the Farallon Islands to the San Francisco shore.

At age 60, he upped the ante by swimming from Alcatraz to Fisherman's Wharf in San Francisco, handcuffed and shackled and towing a 1,000-pound boat.

The next year, he did a similar feat underwater. And at age 70, he towed 70 boats with 70 people from the Queen's Way Bridge in Long Beach Harbor to the Queen Mary — while handcuffed and shackled.

Why attempt such feats?

"I care more than — you cannot believe how much I care! I want to help somebody!" LaLanne explained. "Jesus, when he was on Earth, he was out there helping people, right? Why did he perform those miracles? To call attention to his profession. Why do you think I do these incredible feats ? To call attention to my profession!"

Well into his late 80s, LaLanne continued his personal fitness routine of two hours a day — one hour of weight training and another hour exercising in the pool — beginning at 5 or 5:30 in the morning (a concession to his age; in earlier days, he started at 4 a.m.).

No one — not even Arnold Schwarzenegger — could argue that LaLanne wasn't the best. Schwarzenegger, who met LaLanne in the 1960s on Muscle Beach on the Venice Boardwalk, said LaLanne would try to see who could match him in numbers of chin-ups and push-ups.

"Nobody could," Schwarzenegger told The Times. "No one even wanted to try."

Francois Henri LaLanne (nicknamed Jack by his brother) was born Sept. 26, 1914, in San Francisco to French immigrant parents; his father worked at the telephone company and was a dance instructor and his mother, who was a maid, was a Seventh-Day Adventist, a religion that advocates "eight keys" to good health, including nutrition and exercise.

LaLanne grew up in Bakersfield, where his parents had moved to become sheep farmers, but the sheep contracted hoof-and-mouth disease, and the family moved to Oakland. LaLanne's father died of a heart attack at age 50.

LaLanne often told the story of how his mother spoiled him, giving him sweets as a reward. By the time he reached adolescence he had become a "sugarholic" with a violent temper and suicidal thoughts.

But that was only the beginning: He was failing in school, his stomach was upset, he wore glasses, he had terrible headaches, he was weak and skinny, he had pimples and boils.

"I was demented! I was psychotic! It was like a horror movie!" LaLanne said of this time of his life.

When he was 15, his distressed mother dragged him to a lecture on healthful living being given by nutritionist Paul Bragg.

"We were a little late getting there and there were no seats available so we started to leave," LaLanne told What Is Enlightenment magazine's Andrew Cohen, "and the lecturer saw us and said, 'Lady with the boy, we don't turn anybody away! Ushers, bring two seats and put them up on the stage!' "

At some point, Bragg asked the young LaLanne what he had eaten for breakfast, lunch and dinner, and LaLanne told him: "Cakes, pies, ice cream!"

"He said, 'Jack, you are a walking garbage can,' " LaLanne said.

But Bragg offered salvation to LaLanne: He could be "born again" and be the healthful and strong person he wanted to be — if he changed his ways.

"That's what I wanted! I wanted to be an athlete, I wanted the girls to like me, and I wanted to be able to get good grades in school, and this man said I could do all that," LaLanne said.

LaLanne took Bragg's message fully to heart. And, by his own testimony and that of everyone around him, he never had cake, pie, ice cream or any sweet from that day forward, nor did he drink a single cup of coffee or tea.

He also started working out with a passion and was a star athlete for the rest of his high school years. All his maladies disappeared; he even stopped wearing glasses.

"I was a whole new human being," he said of this transformation. "I liked people, they liked me. It was like an exorcism, kicking the devil outta me!"

After graduation from high school, LaLanne started his own business selling his mother's healthful bread and cookies. He also set up a rudimentary gym and started training police officers and firefighters — "the fat and skinny ones who couldn't pass their physicals" — in exercise and weightlifting.

"When I first started out, I was considered a crackpot," he said. "The doctors used to say, 'Don't go to that Jack LaLanne, you'll get hemorrhoids, you won't get an erection, you women will look like men, you athletes will get muscle-bound' — this is what I had to go through."

In 1936, he opened his first real gym — LaLanne's Physical Culture Studio in downtown Oakland.

But business was slow. LaLanne went to a local high school and picked out the skinniest and the fattest students, offering (with their parents' permission) to "turn their lives around" the way his had been.

Word of his success spread, and business was good enough for him to open other gyms. In 1952, he went on TV, but because he could only afford time in the early mornings, he found his audience was mostly young children. So he got a dog — Happy — to appeal to the kids, who were encouraged to go wake up their mommies for a workout. The show was eventually syndicated nationwide and ran for 34 years.

LaLanne met his wife, Elaine, whom he called LaLa, in 1950 on the set of a local TV show, where she booked talent. She was initially unimpressed by the 5-foot-6 1/2-inch LaLanne — she ate a doughnut and blew cigarette smoke in his face. But she took a closer look at him when a friend agreed to go out on a date with him. They were married in 1959, and she became an integral part of his business.

LaLanne's business interests would grow to include a string of gyms across the United States, workout devices like the "Glamour Stretcher" and "JLL Stepper," vitamins, supplements and several books.

By the time LaLanne was in his late 80s, however, the business consisted mostly of juicers that he advertised on infomercials and his lectures.

LaLanne also knew when to back off. An interviewer described him as "intensely unfussy for being such a fanatic." And LaLanne once said that one of his best friends was a man who "weighs about 300 pounds, drinks a quart of booze a day and smokes like a fiend. I'll light someone's cigarette for them. This bull about changing people — you never change people! Accept 'em, accept 'em, accept 'em!"

For himself, he seemed to live by a there-but-for-the-grace-of-God-go-I philosophy that required him to be hyper-vigilant.

"With my personality," he said, "I could be a runaway, out with a different woman every night, drunk every night, eating and doing things that — well, you know, you've got it in you, we've all got it in us. But that's why you've got to take control!"

He had his pleasures — beautiful cars, singing, fine wine and a long and happy marriage that he said was passionate after many decades.

He felt proud every time he fulfilled his promise to himself to never eat between meals or eat sweets. While he was the first to agree that his liquid meals — the least repulsive breakfast was carrot juice, celery juice, some fruit, egg whites and soybean — tasted pretty awful, he didn't mind. And of his two-hour daily workouts at his home gym, which he called his "cathedral," he said: "I want to see how long I can keep this up. It's kind of a macho thing, using me as an example."

LaLanne retained a high level of energy well into what, for the rest of us, would be dotage. But his feats tapered off after his 70th birthday. Although he talked of swimming underwater to Catalina Island for his 80th birthday, his wife threatened to divorce him if he did. "Let him rest on his laurels," she said. He vowed to do the swim for his 90th birthday in 2004, but when the birthday rolled around, he told the San Jose Mercury News that he planned only to "tow my wife across the bathtub." His plans for his 100th were even tamer: "I'd like to have the biggest group I've ever had watching me and lecture to them."

LaLanne was given a star on Hollywood's Walk of Fame in 2002, long after he had attained the respect he long craved. But his biggest thrill was to see that what he had been preaching and advocating for more than 50 years was being taken seriously.

"Back then I was a crackpot; today, I am an authority," he said in 1998.

Besides his wife, LaLanne is survived by Elaine's son, Dan Doyle, of Los Angeles; LaLanne's daughter by his first marriage, Yvonne, a chiropractor, of Walnut Creek; and the couple's son, Jon, of Kauai, Hawaii.

Water, Water Everywhere

2011-01-19T22:01:00.000-08:00

I found this information on the Internet and wanted to share it. I hope it can help!

Incredible as it may seem, water is quite possibly the single most important catalyst in losing weight and keeping it off. Although most of us take it for granted, water may be the only true "magic potion" for permanent weight loss!

Water suppresses the appetite naturally and helps the body metabolize stored fat. Studies have shown that a decrease in water intake will cause fat deposits to increase, while an increase in water intake can actually reduce fat deposits.

Here's why: The kidneys can't function properly without enough water. When the kidneys don't work to capacity, some of their load is dumped onto the liver. One of the liver's primary functions is to metabolize stored fat into usable energy for the body. If the liver has to do some of the kidney's work, it can't operate at full throttle. As a result, it metabolizes less fat, more fat remains stored in the body, and weight loss stops.

Drinking enough water is the best treatment for fluid retention. When the body gets less water, it perceives this as a threat to survival and begins to hold on to every drop. Water is stored in extra cellular spaces (outside the cells). This shows up as swollen feet, legs and hands. Diuretics offer a temporary solution at best. They force out stored water along with some essential nutrients. Again, the body perceives a threat and will replace the lost water at the first opportunity. Thus, the condition quickly returns.

The best way to overcome the problem of water retention is to give the body what it needs. PLENTY OF WATER. Only then will the stored water be released.

If you have a constant problem with water retention, excess salt may be to blame. Your body will tolerate sodium only in a certain concentration. The more salt you eat, the more water your system retains to dilute it. But getting rid of un-needed salt is easy - just drink more water. As it's forced through the kidneys, it takes away excess sodium.

What's more, the overweight person needs more water than the thin one! Larger people have larger metabolic loads. Since we know that water is the key to fat metabolism, it follows that the overweight person needs more water.

Water helps maintain proper muscle tone by giving muscles their natural ability to contract and by preventing dehydration. It also helps to prevent the sagging skin that usually follows weight loss - shrinking cells are buoyed by water, which plumps the skin and leaves it clear, healthy, and resilient.

Water also helps rid the body of waste. During weight loss, the body has a lot more waste to get rid of - all the metabolized fat must be shed. Again, adequate water helps flush out the waste. It can even help relieve constipation. When the body gets too little water, it siphons what it needs from internal sources. The colon is one primary source. Result? Constipation. But, when a person gets enough water, normal bowel functions returns.

Basically, the body will not function properly without enough water and can't metabolize stored fat efficiently. Drinking water is essential to weight loss. But how much water is enough??

On the average, a person should drink eight 8-ounce glasses every day. That's about 2 quarts. However, the overweight person needs one additional glass for every 25 pounds of excess weight. The amount you drink also should be increased if you exercise briskly or if the weather is hot and dry. When the body gets the water it needs to function optimally, its fluids are perfectly balanced. Once this happens you have reached the "breakthrough point". What does this mean?

Endocrine-gland function improves.
Fluid retention is alleviated as stored water is lost.
More fat is used as fuel because the liver is free to metabolize stored fat.
Natural thirst returns.
There is loss of hunger almost overnight.

If you stop drinking enough water, your body fluids will be thrown out of balance again, and you may experience fluid retention, unexplained weight gain and loss of thirst. To remedy the situation you have to increase your water intake again.

20 Tips For Getting Your 8 Glasses of Water Daily

Sometimes drinking our eight glasses of water a day can be a real challenge Here are 20 tips to help you accomplish that feat! It is said by many beauty experts that drinking your water is the cheapest, quickest way to look better! That should motivate us!

1. Make a bet with a co-worker to see who can drink more water in the course of a day.

2. Have a big glass of water at every transitional point of the day: when you first get up, just before leaving the house, when you sit down to work, etc.

3. Make it convenient - keep a big, plastic, insulated water bottle full on your desk and reach for it all day.

4. When you have juice (apple, grape, or orange) fill half the glass with water.

5. When you have a junk-food craving, down a glass of water immediately. You feel full quickly and avoid the calories, and it lets time pass till the craving fades.

6. Have one glass every hour on the hour while at work. When the work day is done your water quota is met.

7. Substitute a cup of hot water with a drop of honey for tea or coffee.

8. While at work, get a 20 ounce cup of ice and keep filling it up from the office water cooler. The key is drinking with a straw - you take bigger gulps and drink much more.

9. Freeze little bits of peeled lemons, limes, and oranges and use them in place of ice cubes - it's refreshing and helps get in a serving or two of fruit.

10. After each trip to the restroom, guzzle an eight-ounce glass to replenish your system.

11. Don't allow yourself a diet soda until you've had two to four glasses of water. You will find that you won't want the soda anymore or that just half a can is enough.

12. Let ounces of water double grams of fat: When eating something containing 10 grams of fat, I drink 20 ounces of water.

13. Drink two full glasses at each meal, one before and one after. Also, drink one glass before each snack so you don't eat as much.

14. Carry a small refillable water bottle at all times and drink during downtime; while waiting in a bank line, sitting on the train, etc.

15. Use a beautiful gold-rimmed glass and fill it with cold water from the tap.

16. Drink two glasses of water immediately after waking up.

17. Bring a two-liter bottle of water to work and try to drink it all before you leave work. If you don't finish, drink it in traffic on the way home - it's like a race.

18. Always keep a 24-ounce bottle of water handy while watching TV, doing laundry, making dinner, etc.

19. Add drinking two glasses of water to your daily skincare regimen. Drink, cleanse, moisturize, etc., then drink again.

20. Drink your water out of a big Pyrex measuring cup - it's a good way to keep track of how much water you are drinking.

Lessons in the Mountains

2011-01-14T13:13:00.000-08:00

Issai Chozanshi was the pen name for Niwa Jurozaemon Tadaaki, a samurai who lived in Japan from 1659 -1741. Little is known of his life, but he left behind several insightful works on martial arts, the most well known of which is his Tengu Geijutsuron.

It is the story of a swordsman who happens upon a group of spirits in the mountains while they are discussing the Way of martial arts. He listens in on their discussion and learns about the importance of spontaneity, acting without acting, and mushin or flowing mind.

The spirits he encounters in the mountains are called Tengu. Tengu are a kind of Japanese folk spirit that were thought to live in the rocks and the trees and could take on the shapes of men and animals. They could be harbingers of good or bad luck, and would sometimes be blamed for small acts of mischief, but they could also be depicted as wise and powerful natural forces.

In Tengu Geijutsuron the spirits discuss the importance of both technique and principle, and the discussion often returns to the importance of keeping the mind free from intention. In Chapter Two the Tengu describe the benefits of these things to the martial artist,

"Swordsmanship is the technique of contention, and it is considered essential to cut through the root of confusion of life and death from the very beginning of your study. But it is difficult to do this abruptly. For this reason, you should use all the power of your mind to cut through the principle of life and death, to develop your ch'i, to test the techniques of physical confrontation, and make great efforts without any neglect throughout this time. When you have sacrificed your life for training, when you techniques are mature, when you ch'i is under control, when principle has penetrated your mind and you have no doubts, when you are no longer confused and your spirit meets no obstruction - then your thoughts will not move within you at all. And when your thoughts do no move, ch'i will follow spirit. It will move along with animation and will flow smoothly. When ch'i rides the mind, it will not stagnate, it will not be stopped, and it will control form with complete freedom and without obstruction.

Following the perception of the mind, the speed of practical application is like opening a door and the moonlight immediately shining in; or like striking something and having the immediate response of a sound. Victory and defeat are the traces of practical application. But if you don't have conceptualization form will not have aspect. Aspect is the shadow of concept, and is what manifests form. If there is no aspect to form, the opponent you are supposed to face will not exist. This is what is meant when we say that neither my opponent nor I exist. If I exist, my opponent exists. Because I do not exist, even the insignificant thought of good or evil, perversion or properness, by the man coming at me will be reflected as in a mirror. And this is not reflected from me. It is simply that he arrives and moves on. This is just like being unable to confront with your own wickedness someone who has attained virtue. It is a mystery of the Of-Itself-So. If I tried to divert it from myself, it would become a thought. And because this thought would obstruct me, my ch'i would stagnate, and practical application would not be completely free.

The person who comes and goes like a powerful spirit neither thinking about nor enacting the unfettered mysterious function - this is the swordsman who can be said to have attained enlightenment."

In the opinion of the Tengu, it is not enough to have the proper physical skills without the proper mental ones, nor vice versa. It was only with mind and body in harmony that the warrior is able to "control form with complete freedom and without obstruction."

Then, in Chapter Three the spirits discuss the "moon in the water,"

"...there are various meanings attached to this phrase according to different schools, but fundamentally 'the moon reflected in the water' is a metaphor for when you can move and respond with spontaneity and no mind. Among the poems of the Abdicated Emperor Sotoku while he was at the palace near Hirozawa Pond is the following:

                      Though there is a reflection,
                            The moon reflects itself
                       Without thought.
                             Without thought, too, the water:
                             Hirozawa Pond.

At the heart of this poem is an enlightened state of mind concerning action and response with no mind and spontaneity..."

The poem and the parable refer to a state of perfect emptiness, wherein our actions are instantaneous and without intention, and where the opponent is both present and not present in our minds.

The lessons of the Tengu are true today, over three hundred years since that day in the mountains. Practice with discipline. Internalize the lessons of the concepts and principals, perfect your execution of the physical techniques. And remember the moon in the water. It exists, without delay, or intention. It simply is.

Learn to fight like this, and you will understand what Chozanshi means by "Abiding in the midst of attack" and "Attacking in the midst of abidance."

Life Lessons from a Samurai

2011-01-03T19:14:00.000-08:00

Kaibara Ekiken was over eighty years old when he wrote Yōjōkun. A doctor, philosopher, teacher, samurai, and scientist, Ekiken was responsible in many ways for introducing the concept of rational empiricism to feudal Japan. Much of the medicine he taught and practiced throughout the late seventeenth century is still being practiced today.

Yōjōkun was his final written work. When he was thirty-eight he married the daughter of a local samurai administrator. By all accounts Esaki Token was a match for the artistic and philosophical Ekiken. Schooled in music, calligraphy, and poetry already, she also knew enough of history and philosophy to keep him on his toes. She often accompanied him on his travels and is even suspected of having written one of his books herself, publishing it under his name to give the work a wider readership. When she passed away at the age of sixty-two, he finished his work on Yōjōkun, and passed away himself the following year.

Yōjōkun contains the collected wisdom of a man who spent more than sixty years treating the sick. Unlike other classic samurai works of the era which taught the warrior how to die with honor, Yōjōkun is a set of instructions on how to live. Kaibara Ekiken believed that living long and well was the truest way to show gratitude to our ancestors for gifting us with life, and the modern reader will instantly see the wisdom of his teachings.

The Way of Nurturing Life
Verse 27

"Different people have different vocations. They polish a vocation and add technique to their Way. For all vocations there are techniques in which you should become well versed. If you do not master the techniques, you will be unable to perform the tasks at hand. Even among the most trivial and humble accomplishments, if you do not have a command of the techniques, you will be incapable of the task. For example, making straw raincoats and papering umbrellas are extremely easy and humble vocations, but even there, if you do not study the techniques, you will be unable to do the job.

How much more so, then, for the Way of Nurturing Life in the human body of man, which is said to be one of the Three Powers, along with Heaven and Earth? In short, if you are intent on taking care of yourself and living a long life, you must learn the appropriate techniques.

The common practice for learning a technique, even for some trivial art, is to seek out a teacher without fail, receive the teacher's instructions, and learn the proper techniques. Even the extremely talented will learn nothing if they do not have access to the techniques, a teacher, and instruction.

The techniques for nurturing your health are a full-fledged Great Way, not some small art. If you do not study the techniques with resolution, you will not master the way. If you are able to study under a person who knows the techniques, do not trade that opportunity for a thousand pieces of gold.

When I look back on my youth in my hometown, there were many people who did not know the Way of Nurturing Life. They led dissipated and therefore short lives. Moreover, many of the old folks in my village, not knowing the Way, were often sick and in distress. Their health declined and they became doting old fools early on. In such cases, even if they lived to a hundred, their lives were without pleasure and full of aches and pains. A long life ill conceived is of no use. You may think that simply living long is a good thing, but longevity alone is not something for which you should be congratulated."

Seek out the Way of Nurturing Life. Learn its techniques and study them with resolution. Live a long and health life, filled with pleasure. That is how we can best show our gratitude.

20 Years Later... A Legacy... Your Legacy.

2010-12-15T09:20:00.000-08:00

“I received a call from Ed Parker Jr. at 6am the morning after his father had his fatal heart attack. He said “I’m calling my father ‘s friends to let them know he passed away..." (Lee Wedlake, Black Belt magazine)

20 years ago today, Ed Parker, the father of American martial arts and a pioneer of modern martial arts practice and principals would teach no more. While today marks the 20th anniversary of our Grandmaster's death, his legacy continues to be carried on through the 21st century. There are schools of American Kenpo on every continent. His teachings have become embedded in over a thousand different styles. Movie fight scenes often portray his work in films such as Blade, Borne Identity, and the original Pink Panther series (not to mention countless martial arts movies). The lessons he left many of us with where not always about kicking and punching though, they also included philosophies and ideals for living. Students of his have gone on to promote the physical, mental, and martial lessons that he taught while also working to create better community amongst mankind.

It is important to note however, that while much has been done to promote his art, it is not his art. Much like Bruce Lee's concept of martial arts as the art of expressing the human body, it is not his any more than it is mine, nor yours. It is what it is, it is our own. Your body, your mind, your character and spirit are your own, it is up to you to craft it. If you do not, someone else will do it for you. It is not hard nor is it easy. It just is. You are what you eat, you become what you focus on most, you are an average of the 5 people you hang out with most often; these are all ancient words of wisdom. What work of art are you crafting?

We must take it upon ourselves to honor a man who has given so much of himself to the world and ultimately you, our students, and the best way we can do that is to leave a spectacular legacy of our own. The best way to lead is by example. You would not have your Kenpo if I had not chosen to pass it on to you. I would not have it if it weren't for my many teachers and Mr. Parker. Mr. Parker would have missed his same chance to make his mark if it weren't for Mr. Chow and his countless other teachers. So on and so on it goes, for centuries. It is up to each of us to chose a path and to pass on what we find best in ourselves and to continually work to better what we find worse. Some will do this by passing on their Kenpo, some, through living by example, and some, will forget the lesson all together. Become empowered. Create the life you want. Ask yourself what you want out of life and fight for it, work for it, relish the chance to take living into your own hands as our Great Grandmaster Edmund Kealoha Parker did. I invite you all, students and non students alike, challenge yourselves to be your best and under no circumstances should you ever give up. We may fall down nine times, but we'll always get up ten.

As the New Year approaches, as we strive to get through a recession, and as you consider the life you wish to craft, consider one of my favorite quotes:

"You only lose energy when life becomes dull in your mind. Your mind gets bored and therefore tired of doing nothing. Get interested in something! Get absolutely enthralled in something! Get out of yourself! Be somebody! Do something. The more you lose yourself in something bigger than yourself, the more energy you will have."

Norman Vincent Peale

Last living disciple of Jigoro Kano still teaches three days a week at age 97.

2010-12-10T17:37:00.000-08:00

Here is an article about an amazing woman who has done many things with her life and in an effort to help women find their place in the martial arts.

(Excerpts taken from http://www.flyingcarp.net/2009/04/be-strong/ and wikipedia.)

"In a world dominated by men, a tiny 97 year-old living legend is the highest ranking woman in judo history. She is also the last living disciple of Jigoro Kano, judo’s founder." (Kano is also known to be the originator of the modern belt ranking system).

"In 1934 Keiko Fukuda was preparing for marriage, like most young women in Japan. Then she met Jigoro Kano and radically altered her life path. She gave up marriage, family, and her home-land to pursue her life destiny. In 1966 she immigrated to the U.S., a single woman with an opportunity to make a living with her vocation, judo. Her move to the U.S. caught light of rank injustice within the Japanese judo system. With the help of American women’s rights activist, judo students, she began her struggle up the male dominant ladder of judo."

"Fukuda was born on April 12, 1913, in Tokyo, Japan.As a youth, she learned the arts of calligraphy, flower arrangement, and the tea ceremony; typical pursuits for a woman in Japan at that time. Fukuda's grandfather, Fukuda Hachinosuke, had been a samurai and master of Tenjin Shinyō-ryū jujutsu, and he had taught that art to Kanō Jigorō, founder of judo and head of the Kodokan. Kanō had taught female students as early as 1893 (Sueko Ashiya). He personally invited the young Fukuda to study judo—an unusual gesture for that time—as a mark of respect for her grandfather. She began training in judo in 1935, as one of only 24 women training at the Kodokan.

Despite her conventional upbringing, Fukuda felt close to judo through memories of her grandfather, and one day went with her mother to watch a judo training session.A few months later, she decided to begin training for herself.Her mother and brother supported this decision, but her uncle was opposed to the idea.Her mother and brother had thought that Fukuda would eventually marry one of the judo practitioners, but she ended up never marrying, instead becoming a judo expert herself."

Modern Self-Defense

2010-12-03T10:23:00.000-08:00

Self-defense in modern times isn't always vs. the stereotypical aggressors we expect. Sure, tough guys, gang members, abusers, muggers, all these people are easy to identify in the movies or after a true altercation. However, modern self-defense needs to include much more than an education in blocks and strikes. What technique would you use on an attacker you never saw, who could inflict immense pain on both you and your family, and that never laid a hand on you? In our dojo, I want our students to be last on the list to be attacked, quick to appropriately defend when attacked, and capable of handling any attack. This includes attacks that are physical, psychological, financial, legal, or attacks on identity. Please take a moment to watch the link below, it teaches a technique that will help defend all 5 types of attack. It only takes 5 minutes and its a great reminder about keeping the unseen attacker
out of your life.
http://finance.yahoo.com/video/companyne....uments-23254523

Join the discussion or add your thoughts at: http://www.kenpoclass.proboards.com/index.cgi?action=display&board=general&thread=56#ixzz174aOiwQf

The Bear's Hug

2010-12-01T13:02:00.000-08:00

“Once the bear's hug has got you, it is apt to be for keeps.”

-Harold Macmillan

Bearhugs. They're more dangerous than you may realize. But there are some basic defensive tactics you can use to defend against them. And to understand these tactics, you have to understand the motivations behind this style of grappling attack and the context in which it might occur.

First it is important to understand exactly why an attacker would grab you in a bearhug. There are essentially three reasons why this might happen. First, to contain your arms and prevent you from attacking. Second, to hold you in place either for a second attacker or to prevent your escape. And third to change your position, either with a lift or a takedown.

Bearhugs can be from the front, rear, or either side. The defender can have either, neither, or both arms pinned inside the hold, and the attacker can be pressing, pulling, or holding a static position. Consideration of all of these parameters must be incorporated into the defense, but regardless of the exact nature of the attack, there are three basic defenses which can be universally applied.

The first and most important thing to do when inside a bearhug is to establish a base. The defender should widen their stance and press their weight down through the outside edges of their feet into the ground. This lowers the defender's center of gravity and makes it more difficult for the attacker to either lift them into the air or to manipulate their position. This is key. In order to fight back most effectively, the defender must be able to control their mobility and generate ground leverage, and in order to do that they must have a strong solid base.

The second thing to do is to control the attacker's arms. Once the attacker has the defender in the hold, he may try to adjust the bearhug into a choke or headlock. Grabbing and controlling the opponent's arms, even with only one hand, is an important part of preventing this.

Finally, if the attacker attempts to lift the defender into the air, the defender should wrap one of his legs around one of the attacker's legs, either from the inside or outside. This is a technique called "grapevining." When performing the defensive maneuver, the defender should always be sure to keep one leg free. If the attacker lifts the defender into the air and then releases him, the defender needs to have a free supporting leg or else he will fall to the ground with the attacker on top of him.

A handy mnemonic device for dealing with bearhugs is to think of the number three. Three reasons for the bearhug attack. Three directions it can come from. Three variations of arm positions. Three types of energy the opponent may be applying. And three basic bearhug defenses. Drop into a base. Pin the opponent's hands. Wrap your leg around theirs to defend the lift.

Drop. Pin. Wrap.

You'll learn a lot of kenpo techniques for bearhug defenses. You'll learn Escaping the Bear, and Subduing the Bear, and Crushing the Bear. But even within bearhugs, basic self defense concepts apply. If the opponent is behind you, you must change positions. If they try to drive you forward or back you must establish a strong line. Your relative positions determine targets and weapons. These concepts are universal. But the three tactics described above are bearhug specific.

Drop. Pin. Wrap.

Drills -
Beginner: Student A attacks Student B with static bearhugs from the front, side, and rear. Student B practices basic bearhug defense. Alternate.

Intermediate: Student A closes their eyes. Student B attacks with any bearhug without warning. As soon as Student A feels the attack, they open their eyes and defend with basic technique until they are able to reposition themselves to perform one of the kenpo bearhug self defense techniques they have learned. Alternate.

Advanced: Students A and B are sparring at long range. Student A looks for an opening and then suddenly advances into a front bearhug with the intention of either a lift or takedown. Student B defends against the attack and re-establishes long range by either escaping or pushing Student A away. Continue long range sparring with Students alternating bearhug attacks.

Happy 70th Birthday

2010-11-27T14:52:00.000-08:00

I once saw Mr. Parker quoted saying, “If you show the kid something, the first time he tries it, he's almost as good as you. The second time he tries it, he might be as good as you. And the third time, unless you're really good, he'll be better than you."

The man he was referring to would go on to become one of the most well recognized martial arts icons of the twentieth century. Although his life would be short, the legacy he left behind in his films, books, philosophy, and martial arts teachings would reach farther than perhaps even he could have imagined. Born Lee Jun-fan, the world would come to know him as Bruce Lee.

Born in California in 1940, he would spend most of his childhood being raised in Hong Kong. As a young man, Lee was involved in a number of street fights which escalated to the point that the police became involved. In an effort to turn their son's life around, his parents sent him back to America in the late 1950's to live with family friends. Lee continued his education, studying drama and philosophy in college, and began teaching his own approach to the Wing Chun Gung Fu he'd learned during three years studying under Master Yip Man before leaving Hong Kong.

Lee's life from there has become a well worn mythology. There are historical incidents like his appearance, at Mr. Parker's invitation, at the 1964 Long Beach International Karate Championships where he would famously demonstrate his one inch punch technique. Or his now fabled fight with rival Wing Chun instructor Wong Jack Man, ostensibly for the right to teach Gung Fu to Americans. His short movie career included the famous “Enter the Dragon,” as well as the infamous “Game of Death,” finished posthumously with body doubles and voice overs.

And of course, there was his untimely end. Lee died in his sleep from an adverse reaction to an over the counter pain medication he took to treat a headache. The medical explanation for his death was a cerebral edema. The forensic coroner who performed his autopsy labeled it “death by misadventure.”

Lee left a great legacy of film work, philosophy, and martial arts instruction. He taught three distinct styles of martial arts in his lifetime. The first was Jun Fan Gung Fu, his interpretation of the Wing Chun taught to him in Hong Kong. The second was Jeet Kune Do as a series of drills and techniques incorporating Wing Chun and elements of western boxing, fencing, jujitsu, and a variety of other techniques. Later, Jeet Kune Do would continue to evolve in a more philosophical direction to become his “style of no style,” a principle based, inclusive form of fighting which emphasized freedom and spontaneity in the practitioner.

His teachings continue through Dan Inosanto; the only one of three instructors ever certified by Lee while still alive and actively teaching today, and himself a black belt under Mr. Parker before joining Lee's school. Martial artists around the world, in many different styles and systems, familiarize themselves with his teachings in order to inform their own approach to training and combat.

Lee was a phenomenally gifted natural athlete who challenged the social conventions of his time, in every part of his life. He refused to accept the limitations others tried to place on him because of his race, or his age, or his chosen profession. I have heard him described as brilliant, cocky, humble, hungry, a visionary, disrespectful, loving, and generous. In his day, he was controversial and disruptive, always pushing those around him further than they thought they were ready to go, and often dragging them along by virtue of his indisputable charisma and will. He was a brightly burning flame, a man of many gifts who didn't live nearly long enough to fulfill his own potential; and yet somehow left an indelible mark on the world none the less. The Masters of his era called him a natural. They invited him into their homes and their schools, and he became their student and their friend.

Bruce Lee benefited from exposure to many great martial artists, including Yip Man, Ed Parker, Gene Lebell, Wally Jay, Bob Wall, Chuck Norris, and Joe Lewis. He was also deeply dedicated to physical conditioning and nutrition. His wife frequently remembers him as a man who spent much of his time exercising both his body and his mind. The combination of his exposure to true Masters, his philosophical approach, and his natural athleticism and dilligent physical training made him an accomplished and impressive practitioner.

I have heard that Mr. Parker and Bruce would discuss their respective philosophies on martial arts until late into the night, and when you read their writings the evidence is unmistakeable. Many of the concepts taught by both these men are similar; both because they shared their knowledge, and because they both took a rational, unbiased approach to understanding combat. This was perhaps the greatest martial legacy of Bruce Lee's too short life.

He taught his students to be formless and unbiased, not to be rigidly bound by their techniques, but to be free and do what was necessary to win. He taught his students to have an open mind. He pushed boundaries and challenged social norms. He changed the face of film making, martial arts, and race relations. And he challenged everyone around him, everyone who heard of him, to push themselves as well.

Bruce Lee died too young. We'll never know what kind of Master he could have become. Or what kind of film maker. But we know that in his short time he changed the world, and he loved and was loved. His name will never be forgotten. Not by his students. Not by his family. Not by his friends.

That is a legacy we can each only hope to equal.

Ten Methods for Practicing Fallen Sword

2010-11-23T14:31:00.000-08:00

Since it's Fall Break and you're all missing class as much as I am, I thought I'd give you some things to think about during your time off. With that in mind, here are ten ways to practice one of your beginner techniques which will help you with all your kenpo.

1. Visualize your performance. Imagine yourself performing the technique. See every strike land. See your opponent fall at your feet. Always succeed. Never fail.

2. In the air. You can't rehearse the motion enough. The body relies on proprioeception and motor memory to perform physical tasks, and those are both developed through repetition.

3. On the body. On as many bodies, as often as possible. Performing karate in the air is good practice, but it's like playing air guitar. The skill is designed for the instrument.

4. Around the clock. Face 12 and perform Fallen Sword against punches from all directions. Learn what movements are necessary to achieve the necessary positions.

5. Kenpo Formula. Add/Subtract/Prefix/Suffix/Alter (timing,targets,weapons)/Re-arrange/Excise. Practice Fallen Sword with each function of the formula. Separately and in combination.

6. Against other attacks. Can Fallen Sword be performed against a push? A punch? A grab? Slaps, knives, clubs? What about a broken beer bottle, or a roundhouse kick? The attack in the technique is a teaching tool, make sure you're studying the lessons.

7. As a grappling response. Instead of block/kick/handsword, could you work grab/sweep/headlock? What about parry/pressing stance/pushdown?

8. Left handed. Fallen Sword can be performed against a Left Step Thru Punch just as easily as a Right. Simply use the opposite side stances and maneuvers. Practicing your techniques on both sides will improve your coordination and timing.

9. While sparring. Have your opponent throw nothing but step thru punches while sparring. Defend every time with Fallen Sword. Gradually vary techniques and increase speed and intensity.

10. On the ground. Can you perform fallen sword from the guard? While under the mount? While in the mount? What purpose can the lower body serve? Learning to fight on the ground is like learning to fight on your feet, you have to play the game to learn the rules.

Practice every technique like this. Every basic. Every set. Every form. This is how you master the art. Repetition. Study. Experimentation. You should investigate this thoroughly and understand it well.

Just because the school is closed doesn't mean you can't be practicing and studying. Look for ways to keep it fresh. And make sure you come back excited and ready to train!

Common Problems for Beginners in Sparring

2010-11-18T22:20:00.000-08:00

I have a number of technique books on different martial arts outside my primary field of study. Hapkido, Fencing, Tae Kwon Do, Arnis, others. A book is no replacement for a qualified instructor, but books and videos can be useful supplemental materials.

One of my technique books on Western Boxing has a list of common problems faced by people new to sparring that I think is worth reproducing here for two reasons.

First, these are good tips that even experienced students would do well to review, including me. You don't stop learning, and you should never stop reviewing material you think you already understand.

Second, I think it's interesting to look at the similarities between our Way and their Way. Döbringer began his presentation of "The Art of Combat of Master Liechtenauer" by saying, "there is only one art of the sword."

Fighting is fighting. Violence is universal to the human condition. And there are certain universal truths which apply to it's study. As Musashi put it, "Even though their Ways are not ours, if you know the way broadly, not one of them will be misunderstood."

On to the list.

Start-Up Sparring: Common Problems

Squaring Off to an opponent (planting your feet directly in front of an opponent so that you face him with your chest). Never compromise your basic defensive posture.

Signaling intentions with shoulders, head or flying elbow before your punch is thrown. Deliver your punches crisply and cleanly. Straight punches fire directly from chin to target.

Predictability with movements or offensive and defensive style. A boxer must mix up his approach so that his opponent won't see patterns.

Reaching and pawing. These are largely useless actions that will expose you to dangerous counters.

Hesitation. Finish your punches. They may land or disrupt the counter. Half a punch is worthless.

Flinching. Learn to keep your eyes on your opponent - even under fire!

Fatigue. It takes time and training to build stamina.

Slow and sloppy technique. It also takes time and training to groove your offensive and defensive actions.

Nervous prancing and bouncing. Happy feet happen naturally and must be curbed to conserve energy.

Inability to relax between actions. The intensity of sparring makes it hard to relax out there, but relax you must, in order to conserve energy and execute technique properly.

Anger. Has no place in sparring.

Charging. Usually the result of frustration. With an experienced opponent you'll be cut down in no time.

Most of this list can be reduced to two basic concepts. Clean technique. Mental clarity.

Don't get frustrated. Don't get angry. Don't hesitate. Don't reach. Don't telegraph. Don't make unnecessary movements.

There is only one art of the sword. Understand that, to understand this.

The Path of the Student

2010-11-15T19:35:00.000-08:00

First and foremost, the karate studio is a school. It's not a gym. It's not a playground. It's a place of learning.

The Japanese word, dojo, means "Way place." The Korean dojang refers to a place traditionally set aside for study and meditation. The archaic meaning of the Chinese guan is "a private school." Martial arts are not just the execution of violence. They are the practice of it. The study. It is the path of the student, hungry for knowledge and reveling in mistakes.

Each of us begin our journey in the same place. The white belt is not a mark of shame or ignorance. It is a proud place along the path. It is the only rank that every martial arts student and master, throughout time, discipline, and culture, has shared. Even the greatest men and women who came before us began as you did. As I did. As white belts.

And as white belts, every technique is a challenge. Every basic is difficult. Every repetition feels uncoordinated. And you think that it's because you're new. But the reality is that in martial arts, you're always new at something. Because you're always learning.

And that's a good thing. That's exciting. That's the unending Way of martial arts. Every step is a step forward. Every step is a step up the mountain. And yes, it's a constant challenge, but that's empowering. Because every success is earned. And every step is up.

It would take a hundred lifetimes to learn all there is to know about martial arts. Some men spend their whole lives learning just one of the arts. Others try to learn three or four. But there are literally hundreds of styles, from all over the world. You can't learn it all. You can't master it all.

So don't worry about what you haven't learned. Don't worry about what you haven't mastered, or how long it's taking you to advance. You aren't quitting karate, so today, tomorrow, it's all the same. Just keep moving forward. Keep taking steps.

In all our years on this earth, we will only have time to learn the smallest sliver of what there is to know. So be at peace. Take each lesson as it comes, and let the knowledge slowly pervade your understanding. Be patient with your lessons. Be patient with yourself. Slow to learn, slow to forget. Mistakes are opportunities to learn. FAILING means Finding An Important Lesson, Inviting Needed Growth.

Learn to love the struggle, because it's not going away. Only by embracing it will you advance.

You aren't racing towards a goal. You are walking a path. So take your time and enjoy the scenery. Remember, the journey is the destination.

Kenpo Sparring

2010-11-12T16:58:00.000-08:00

Mr. Parker described the four ranges of combat as Out of Range, Contact Range, Contact Penetration Range, and Control Manipulation Range. Each range requires a different mental approach and a different set of physical techniques.

Most of the Kenpo techniques take place within the last two ranges. Contact Penetration and Control Manipulation. Most karate style point sparring takes place within the first two ranges, Out of Range and Contact Range. One of the benefits of sparring practice is it helps us to learn how to move from the first two ranges to the last two. But this difference in range, and concomitant difference in attitude and technique gives rise to the question, "Why don't we see more Kenpo techniques used in sparring?"

The first thing to point out is that the self defense techniques are not designed to be used in sparring. Sparring is a very specific combat style activity which has very specific restrictions. Self defense techniques are designed for a different situation with different rules.

That being said, it's easy to see why this concern gets raised. Sparring can look like generic punch kick karate that has very little to do with kenpo. The important thing to remember is that you are using different techniques because of context and range, but that doesn't mean that there aren't some kenpo techniques that make the transition well.

Some good examples are using Fallen Sword or the first part of Penetrating the Wall against a jab, or using Deflecting Hammer against a kick, but changing the elbow strike to a reverse punch.

The key is to pick one technique, and then spar with it. One student uses only the attack for that technique, over and over and over. The other student uses only the specific assigned defense. After a few minutes, switch roles. Repeat this process with two or three techniques. Then begin again, this time using any of the attacks you've practiced, but only those attacks, while the other student uses any of the prescribed defenses. Finally, spar unrestricted, but focus on using the practiced defenses whenever the specific attacks are presented.

What you have to do is drill these defenses against attacks. If you've practiced your kenpo, these things will happen naturally, but it's easy for even an experienced kenpo practitioner to fall into the trap of using basic sparring maneuvers when playing that game.

Remember when sparring to always fire at least two strikes at a time. One strike will fail 99% of the time. Two strikes have a 50/50 chance of success, but three or more strikes will succeed 99% of the time. This will help you to stay in the kenpo mindset.

Combinations, practice, and repetition. That's how you get better at sparring, and working your kenpo into your sparring is the same.

Ultimately, sparring is an intermediate drill. As you progress in your training, you should move past karate style sparring into continuous sparring, and eventually into fully integrated combat style activities, involving stand up and ground grappling as well as street techniques and targets, always with control. During these activities, you will see more self defense technique material because these activities are more closely related to the arena for which that material was created.

Kenpo is designed for self defense, not sport. But we can blend it into our sparring with a little work, and ultimately that will make us better at both.

Drills -
Beginner: Option drill. Choose two kenpo techniques with similar attacks. Have your partner give you either attack and respond with the appropriate technique. Repeat.

Intermediate: Position Recognition. Spar normally at super slow speed. Occasionally pause during attacks and analyze your relative positions. Choose a kenpo technique appropriate to that position and execute that technique in a sparring context. Gradually increase speed.

Advanced: Free Combat. Paying special attention to safety and control, engage in unrestricted "street freestyle" using striking and grappling, standing and ground fighting. Incorporate kenpo techniques both standing and on the ground.

Why Front Kick?

2010-11-07T15:17:00.000-08:00

The Front Kick is the most important kick. It should be the most accurate, fastest, most polished kick in everyone's arsenal. It should be the kick you throw more than any other. For one simple reason.

You're opponent should be in front of you.

Yes, rear kicks and side kicks and hooks and crescents are all useful, powerful kicks. But the opponent should be standing in front of you and you should be in a fighting stance. If either of those things are not true, you should make them true immediately. You may be ambushed, you may be surrounded. But you need to face the man you intend to defeat. Each, individually, with all of your attention at every moment.

I am not saying you will never throw a back or side kick. Certainly I do all the time. I'm not saying the fighting stance has to be a perfect neutral bow, or L stance, or guard position. I'm not even saying your opponent won't get behind you, or you won't have to face more than one opponent at a time. But you must be fighting from your stance. And you must be facing each opponent with everything that you are.

And when you are facing your opponent, you're front kick is the shortest distance between your foot and his first most vital target. It requires no twisting, no turning, and no pivoting. It is a simple lift and extend. It is a motion you do every step you take, every day of your life.

It should be a devastating move, to any target, delivered with absolute conviction. To the leading lower shin of the opponent it can jam a rushing maneuver. To the inside of the knee it can crush the joint outward, folding the leg over sideways. To the inner thigh, stop a roundhouse kick in mid flight. You can strike the groin to cause pain, the hip girdle to collapse your opponent forward, or the bladder to accomplish both. You can break ribs, rupture organs, and even stop the heart.

The front kick can do all these things. And more. The same kick to the back of the knee has a completely different effect than to the front or side of it. Snapping the kick has a different effect from thrusting it. Are you striking forward with the kick, or upward? Chambering or sweeping? Landing forward or back?

The front kick is the lead hand jab of the lower body. It is not simply one kick among many. It is the kick. It may not have the most potential power. It may not have the greatest range, or height. But it is one of the core moves of your fighting arsenal, and deserves its place in any combination of strikes.

Drills -
Beginner: Practice front kicks ten times, each leg, thrusting and snapping, in the air, and on the pads, the shields, the bag, and the body.

Intermediate: Student A faces Student B in a Fighting Stance. Student B holding a focus shield. Student A uses Step Thru Front Kicks to push Student B the length of the floor. Then Student B advances and Student A defends with Step Thru Front Kicks (Retreating). Repeat.

Advanced: While sparring, Students practice using Front Kicks against various targets for Anatomical Repositioning, (Bladder, Hip Girdle, Lower Ribs, Guard).

Fall and Winter Break

2010-11-07T15:01:00.001-08:00

I wanted to remind everybody that the school will be closed for our Fall Break the week of November 22 to November 26. We will also be closed for Winter Break from December 20 to January 1.

We hope that all of our students and instructors enjoy a safe and happy break and return ready to train hard.

Make sure to take time while the school is closed to continue practicing your material. We don't want anyone to regret spending their time away eating too much turkey and doing too little kenpo! So call your friends and make the time!

Stay safe!

Hit, Hit, and Hit Again

2010-11-03T11:19:00.000-07:00

From wikipedia:

Yagyū Munenori was a Japanese swordsman, founder of the Edo branch of Yagyū Shinkage-ryū, which he learned from his father Yagyū "Sekishusai" Muneyoshi. This was one of two official sword styles patronized by the Tokugawa Shogunate.

Munenori began his career in the Tokugawa administration as a hatamoto, a direct retainer of the Tokugawa house, and later had his income raised to 10,000 koku, making him a minor fudai daimyo with landholdings around his ancestral village of Yagyū-zato.

Munenori entered the service of Tokugawa Ieyasu at a young age, and later was an instructor of swordsmanship to Ieyasu's son Hidetada. Still later, he became one of the primary advisors of the third shogun Iemitsu.

In about 1632, Munenori completed the Heihō kadensho, a treatise on practical Shinkage-ryū swordsmanship and how it could be applied on a macro level to life and politics. The text remains in print in Japan today, and has been translated a number of times into English.

In that masterwork under the section titled, "The Life-Giving Sword," the Master teaches us about the proper mental attitude for combat.

Returning the Mind

"The frame of mind indicated with this phrase is: if you strike with your sword and think, "I've struck!" the mind that thinks "I've struck!" will stop right there, just as it is. Because your mind does not return from the place you struck, you will be distracted, struck by the second blow of your opponent, and your initiative will be brought to nothing. With your opponent's second blow, you will be defeated.

Returning the mind means the following: if you have struck a blow, do not leave your mind in the place you struck. Rather, after you have made your strike, turn your mind back and observe your opponent. Having been struck, he will now make a strenuous effort. Having been struck, he will be mortified and insulted. If he gets angry, he will become relentless.

Here, if you are negligent, you will be struck by your opponent. It is best to think of him as an angry boar. If you think, "I struck him," your mind will stay with that thought and you will be negligent. You had best be resolved that when your opponent has been struck, he will rally. Also, once struck, your opponent will quickly become more cautious, and you will not be able to strike him with the same mind with which you struck him before. If you strike at him and miss, he will now take the initiative and strike you.

The significance of "returning your mind" is not to stop your mind where you struck, but to pull it back forcibly to your own self. It is in returning your mind and observing the countenance of your opponent. Or, in its ultimate state of mind, it is in not returning your mind at all, but in unrelentingly striking a second and third time without allowing your opponent so much as a shake of the head. This is what is called "having no space to slip in a single hair." between your first and second blow, there should be no interval that would allow in even a single hair. This is the mind with which you hit, hit, and hit again."

Karate No Shugyo Wa Issho

2010-11-02T08:50:00.000-07:00

It will take all of your life to learn karate.

Funakoshi Gichin was an Okinawan Master who brought the styles of Karate he practiced, Shōrei-ryū and Shōrin-ryū to the Japanese islands in the early 1920's. In 1939 he opened the Shotokan, or House of Pine Waves, and began teaching a new style of Karate. No longer would he teach the China Hand, from that point forward, he changed the meaning of the word. And every subsequent generation would learn that Kara-Te meant "Empty Hand."

Master Funakoshi left behind a text to guide the students who would come after him. His Twenty Guiding Principles of Karate or niju kun are simple lessons designed to help the student grow within and to understand the philosophy behind the teachings of the empty hand.

I. Do not forget that karate-do begins and ends with a bow.
III. Karate stands on the side of justice.
VI. The mind must be set free.
X. Apply the way of karate to all things. Therein lies its beauty.
XX. Be constantly mindful, dilligent, and resourceful in your pursuit of the way.

Each lesson contained within the niju kun offers us a glimpse into the mind of one of martial art's greatest lost masters. When written, Master Funakoshi began each of the twenty principles with the character for the number one, in order to emphasize that no one of these principles is greater or more important than another.

According to the Master's teaching, number seven, "Calamity springs from carelessness," was just as important as number eighteen, "Perform kata exactly; actual combat is another matter." Every rule is the first rule. Each of us should read, study, and come to understand why Master Funakoshi chose these twenty rules as the legacy of his teaching.

The ninth precept is this, "Karate no shugyo wa issho." It will take all of your life to learn karate. In his book, Perfection of Character, Master Teruyuki Okazaki, a student of Master Funakoshi, gives us insight into the instruction behind this rule.

"The danger with rankings in Karate...is that we can easily end up thinking that acheiving the ranking...means that we no longer have anything to learn. The pursuit of these artificial goals can distract us from the real goal, which is to perfect our character, and which will take us until our dying day. The belts, rankings, and rewards do motivate people in the short-term, and that is why we use them; however, Master Funakoshi gave us the dojo kun and niju kun to remind us that karate is about perfecting character, and not about competition and rankings.

When one really understands this principle, he or she will have much more patience with the process of learning karate. Many students enter karate with the mentality that within six months or a year or two, they can become experts. They work very hard, and yet when within that time period they find themselves still struggling, they often become dis-illusioned and quit. This is quite sad.

...

Karate, like humankind itself, is a foreign element in the material world: it is a transplant from the world of spirit. For spirit to take root and flourish in the material world, it takes great discipline, great courage, and great wisdom practiced and developed over a lifetime. If you will understand the principle, you will have the proper mindset and perspective, you will not be easily discouraged, and you will certainly grow and develop."

In the Hagakure, the reader is given a description of the stages of a lifetime of training to become a master swordsman. At the lowest levels, even though one trains, there are no positive results and one holds oneself and others in low esteem. In the middle stage, one at least see one's shortcomings and can aslo recognize them in others. In the upper stage, one takes pride in accomplishments, rejoicing in praise from others and also feeling sorrow when others fail. One holds others in high esteem and, for many, this is the final stage.

But there is another.

If a student chooses to walk the higher path, he finally comes to see that there is no final stage. All thoughts of having come far enough vanish, and the student comes to truly know himself. He lives his life without desire for worldly successes and feels no need for pride, nor does he feel a need to humble himself. Then it tells us this.

"Lord Yagyu said he did not know the way to defeat others, but he knew the way to gain victory over himself-it was to become better today than yesterday, and better tomorrow than today-working in this manner, day by day, all one's life."

This is what is meant by Karate no shugyo wa issho. Every day. Walking the path. And knowing that there are no beginnings nor endings on the path. We may pass a test. We may fail a test. But the path continues forever beneath our feet.

It will take all your life to learn karate. Because the empty hand is not a weapon for violence. It is a Way. And all the Ways are unending.

Introduction to Fancher's Street Edge: Self Defense Systems

2010-10-27T22:15:00.000-07:00

We had an excellent seminar at the school last night taught by 4th Degree Black Belt Instructor Mr. Tim Fancher of Columbia, MO. Mr. Tim Fancher has over twenty five years of martial arts experience training and teaching the cutting edge of combat technique and knowledge. As a professional personal protection specialist he teaches seminars around the country and has been featured many times on both radio and television as an expert on the subject. His experience as a police officer, security professional, and martial arts instructor informs his unique and assertive approach to staying safe in any dangerous situation.

Attendees of the seminar were taught a variety of techniques including -

Defenses against Straight Wrist Grabs using strikes against vital targets
Driving Takedowns from 12 o'clock against Straight Punches
Defenses against Rear Bear Hugs using Groin Grabs and Piston Striking
Techniques for Controlling and Transporting a Subject using Wrist Locks

Mr. Fancher also discussed Key Concepts for preparing for and surviving violence. After that, the seminar ended with a study of Pressure Point/Pain Compliance techniques. Each of these techniques was practiced against specific, vulnerable targets such as the Mandibular Angle and the Hypoglossal Nerve on the opponent with the intent of changing their position or compelling behavior.

Mr. Fancher emphasized the importance of preparing for the engagement beforehand, with the right mental attitude, visualization, and physical training. There was plenty of body work and repetition, allowing each of the students to perform their techniques with energy and resistance. The techniques and intensity he brought to the seminar gave each of the students an expanded toolbox for identifying dangerous situations, and for defending themselves and others.

We look forward to seeing Mr. Tim Fancher again and continuing to benefit from his unique approach to personal protection. Mr. Fancher offers both private and group lessons in Fancher's Street Edge:Self Defense Systems, and can be contacted at http://www.facebook.com/Streetedge and timothyfancher@gmail.com.

New Research Shows Meditation May Have Possible Long Term Benefits

2010-10-26T14:37:00.000-07:00

From CNN’s Dan Gilgoff:

Can people strengthen the brain circuits associated with happiness and positive behavior, just as we’re able to strengthen muscles with exercise?

Richard Davidson, who for decades has practiced Buddhist-style meditation – a form of mental exercise, he says – insists that we can.

And Davidson, who has been meditating since visiting India as a Harvard grad student in the 1970s, has credibility on the subject beyond his own experience.

A trained psychologist based at the University of Wisconsin, Madison, he has become the leader of a relatively new field called contemplative neuroscience — the brain science of meditation.

Over the last decade, Davidson and his colleagues have produced scientific evidence for the theory that meditation — the ancient eastern practice of sitting, usually accompanied by focusing on certain objects — permanently changes the brain for the better.

“We all know that if you engage in certain kinds of exercise on a regular basis you can strengthen certain muscle groups in predictable ways,” Davidson says in his office at the University of Wisconsin, where his research team has hosted scores of Buddhist monks and other meditators for brain scans.

“Strengthening neural systems is not fundamentally different,” he says. “It’s basically replacing certain habits of mind with other habits.”

Contemplative neuroscientists say that making a habit of meditation can strengthen brain circuits responsible for maintaining concentration and generating empathy.

One recent study by Davidson’s team found that novice meditators stimulated their limbic systems — the brain’s emotional network — during the practice of compassion meditation, an ancient Tibetan Buddhist practice.

That’s no great surprise, given that compassion meditation aims to produce a specific emotional state of intense empathy, sometimes call “lovingkindness.”

But the study also found that expert meditators — monks with more than 10,000 hours of practice — showed significantly greater activation of their limbic systems. The monks appeared to have permanently changed their brains to be more empathetic.

An earlier study by some of the same researchers found that committed meditators experienced sustained changes in baseline brain function, meaning that they had changed the way their brains operated even outside of meditation.

These changes included ramped-up activation of a brain region thought to be responsible for generating positive emotions, called the left-sided anterior region. The researchers found this change in novice meditators who’d enrolled in a course in mindfulness meditation — a technique that borrows heavily from Buddhism — that lasted just eight weeks.

But most brain research around meditation is still preliminary, waiting to be corroborated by other scientists. Meditation’s psychological benefits and its use in treatments for conditions as diverse as depression and chronic pain are more widely acknowledged.

Serious brain science around meditation has emerged only in about the last decade, since the birth of functional MRI allowed scientists to begin watching the brain and monitoring its changes in relatively real time.

Beginning in the late 1990s, a University of Pennsylvania-based researcher named Andrew Newberg said that his brain scans of experienced meditators showed the prefrontal cortex — the area of the brain that houses attention — surging into overdrive during meditation while the brain region governing our orientation in time and space, called the superior parietal lobe, went dark. (One of his scans is pictured, above.)

Newberg said his findings explained why meditators are able to cultivate intense concentration while also describing feelings of transcendence during meditation.

But some scientists said Newberg was over-interpreting his brain scans. Others said he failed to specify the kind of meditation he was studying, making his studies impossible to reproduce. His popular books, like Why God Won’t Go Away, caused more eye-rolling among neuroscientists, who said he hyped his findings to goose sales.

“It caused mainstream scientists to say that the only work that has been done in the field is of terrible quality,” says Alasdair Coles, a lecturer in neurology at England’s University of Cambridge.

Newberg, now at Thomas Jefferson University and Hospital in Philadelphia, stands by his research.

And contemplative neuroscience had gained more credibility in the scientific community since his early scans.

One sign of that is increased funding from the National Institutes of Health, which has helped establish new contemplative science research centers at Stanford University, Emory University, and the University of Wisconsin, where the world’s first brain imaging lab with a meditation room next door is now under construction.

The NIH could not provide numbers on how much it gives specifically to meditation brain research but its grants in complementary and alternative medicine — which encompass many meditation studies — have risen from around $300 million in 2007 to an estimated $541 million in 2011.

“The original investigations by people like Davidson in the 1990s were seen as intriguing, but it took some time to be convinced that brain processes were really changing during meditation,” says Josephine Briggs, Director of the NIH’s National Center for Complementary and Alternative Medicine.

Most studies so far have examined so-called focused-attention meditation, in which the practitioner concentrates on a particular subject, such as the breath. The meditator monitors the quality of attention and, when it drifts, returns attention to the object.

Over time, practitioners are supposed to find it easier to sustain attention during and outside of meditation.

In a 2007 study, Davidson compared the attentional abilities of novice meditators to experts in the Tibetan Buddhist tradition. Participants in both groups were asked to practice focused-attention meditation on a fixed dot on a screen while researchers ran fMRI scans of their brains.

To challenge the participants’ attentional abilities, the scientists interrupted the meditations with distracting sounds.

The brain scans found that both experienced and novice meditators activated a network of attention-related regions of the brain during meditation. But the experienced meditators showed more activation in some of those regions.

The inexperienced meditators, meanwhile, showed increased activation in brain regions that have been shown to negatively correlate with sustaining attention. Experienced meditators were better able to activate their attentional networks to maintain concentration on the dot. They had, the study suggested, changed their brains.

The fMRI scans also showed that experienced meditators had less neural response to the distracting noises that interrupted the meditation.

In fact, the more hours of experience a meditator had, the scans found, the less active his or her emotional networks were during the distracting sounds, which meant the easier it was to focus.

More recently, contemplative neuroscience has turned toward compassion meditation, which involves generating empathy through objectless awareness; practitioners call it non-referential compassion meditation.

New neuroscientific interest in the practice comes largely at the urging of the Dalai Lama, the spiritual and politial leader of Tibetan Buddhists, for whom compassion meditation is a time-worn tradition.

The Dalai Lama has arranged for Tibetan monks to travel to American universities for brain scans and has spoken at the annual meeting of the Society for Neuroscience, the world’s largest gathering of brain scientists.

A religious leader, the Dalai Lama has said he supports contemplative neuroscience even though scientists are stripping meditation of its Buddhist roots, treating it purely as a mental exercise that more or less anyone can do.

“This is not a project about religion,” says Davidson. “Meditation is mental activity that could be understood in secular terms.”

Still, the nascent field faces challenges. Scientists have scanned just a few hundred brains on meditation do date, which makes for a pretty small research sample. And some scientists say researchers are over eager to use brain science to prove the that meditation “works.”

“This is a field that has been populated by true believers,” says Emory University scientist Charles Raison, who has studied meditation’s effect on the immune system. “Many of the people doing this research are trying to prove scientifically what they already know from experience, which is a major flaw.”

But Davidson says that other types of scientists also have deep personal interest in what they’re studying. And he argues that that’s a good thing.

“There’s a cadre of grad students and post docs who’ve found personal value in meditation and have been inspired to study it scientifically,” Davidson says. “These are people at the very best universities and they want to do this for a career.

“In ten years,” he says, “we’ll find that meditation research has become mainstream.”

From CNN.com

Kicking. It's not just for kicking anymore.

2010-10-26T11:36:00.000-07:00

The kenpo curriculum attempts to offer a complete catalog of combat motion. It has literally dozens of different hand techniques, well over twenty different kicks, strikes with the knees, the elbows, the forearm, the back of the leg, even the wrists. You learn tackles, takedowns, throws, and falls. Traps, locks, chokes, and strangulations. You even learn how to hurt your opponent using THEIR body.

In short there's a wide range of grappling and striking techniques, both circular and linear. Almost anything you could think of, using almost every part of your body, to hurt, injure, maim, or kill an attacker. Kenpo has it.

But it's up to the student to train the material. And most of us rely on our kenpo self defense technique practice for the bulk of that training. And that's great, because the techniques give us a context within which all these movements take place, and they allow us to see first hand how the human body reacts to applied force.

But the self defense techniques are heavily weighted towards upper body basics, and unless we supplement that training with pad and bag work, we end up with fast, accurate hand technique and sloppy, uncoordinated kicks.

Which is precisely why we should all spend more time practicing our kicks. In the air. On the shields. On the body. Because the only way to get better is to train more.

But the benefits of training our kicks go far beyond just improving our kicking technique. Every time you execute a front kick you are engaging a long string of heavy, powerful muscles. And doing so burns calories, increases muscular strength, improves balance, and increases flexibility and range of motion. Kicking also incorporates a number of minor secondary movements such as pivoting the supporting leg, turning the torso, and flexing the abdominal muscles. It's a whole body workout, and you'll see the results all over your kenpo.

You see, when you practice kicking technique, you learn more about ground leverage, and rotational energy, and snapping and thrusting, and back up mass. And all those lessons translate directly into your hand techniques.

So the more you practice your kicks, the better your kicks will be. The better your punches and handswords will be. The better your neutral bow will be. The more effective your throws. You are learning a complex, interconnected series of physical skills, and the more you train any of them, the better they all become.

Getting good at martial arts is a matter of improving a hundred skills one percent at a time. You're laying the foundation for your future performance with every drill, every repetition, every kick. Make it a strong foundation, and you will build a mighty fortress.

Drills -
Beginner: Practice each of your kicks on the heavy bag ten times, each leg, for each of the letters in F.A.S.P. Form, Accuracy, Speed, Power.

Intermediate: Practice "three hit kenpo" using only kicks and sweeps.

Advanced: While sparring, Student A uses only kicking techniques and sweeps. Student B uses only hand techniques and grapples. Alternate.

We Call it Offensive Defense

2010-10-24T08:18:00.000-07:00

Most people call it sparring. But what exactly is sparring?

Well, first let's establish what it is not. Sparring is not self defense. It's not a real fight.

Instead, it's a competitive sport activity. It has rules, and judges, and specific allowable techniques and targets. The arena has boundaries, and there are time limits, and a set number of opponents. In self defense, there are no rules and nothing can be predicted. In sparring, every possible aspect of the engagement is accounted for and controlled.

In short, it's a game.

So why play the game? Especially if we are training for self defense? What possible use can there be in engaging in this activity if it doesn't match the parameters of our expected combat scenario?

Imagine a tennis player. They play a specific game on a specific size court with specific size racquets and specific rules. But is there anything they can learn from playing table tennis? Or racquetball? Or badminton? Those games are completely different, but they incorporate similar concepts involving ball spin and placement, racquet position, and court awareness.

For us, sparring serves a similar purpose. It isn't a real fight, but it can help us to learn and practice many combat skills which overlap with self defense. We can learn about environmental awareness, and striking combinations, and fighting while moving. We can see, and feel, what it is like to have someone hunting us, trying to hit us, trying to put us down. We can practice our techniques and our basics against a real, resisting opponent, and learn just what it takes to hit someone who doesn't want to be hit and what it takes to keep them from hitting us when they really, really want to.

That's why we spar. Because it may be a game, but it's a useful one. And it's a lot of fun too!

There are dangers associated with sparring as well which we must avoid in order to get the most out of it's practice. First, we must always remember that the rules which apply to sparring do not apply to self defense. In sparring, you can't kick your opponent in the knee, or punch him in the spine. Perhaps more importantly, he can't do those things to you. But in self defense, there are no judges to step in and put a stop to the engagement if you end up on the ground with multiple opponent's kicking you in the head and back. Training only for sparring will leave you unprepared both physically and mentally for self defense.

Second, sparring is alluring. The competitive nature, the accolades and trophies available to the athletic performer, all these things have a natural attraction to some people. And a certain kind of student can reach this point in his training and become lost. For some, competitive sparring is the end of the road. They enjoy the activity so much that they never learn to move beyond it, and in not progressing they miss out on all the glories which follow. Every step of your journey in the martial arts will be filled with wonder. Never doubt that the next lesson is greater and more awesome than the last. Such is the way with sparring. It is fun. It is exciting. Which is what makes it attractive to so many. But it is only a step in the journey, not the end of it.

Sparring is an intermediate drill. It is designed to teach specific skills to the student which are applicable in the wider arena of self defense. It is a testing ground, and a classroom. Learn to value it for what it has to offer. Learn to respect the dangers associated with sparring and to avoid the pitfalls that may slow your progress. Avoid unhealthy comparisons with your classmates and focus on your own journey. Learn to fight like a warrior, with courage and humility.

Because the greatest lesson sparring has to offer is that sometimes, we lose the fight. Sometimes we face bigger, stronger, tougher, more skilled opponents. When that happens in the school, we get a chance to try again. When it happens in the street, we may not.

So train hard. Fight well. And get better every time you step on the floor.

Drills -
Beginner: Practice two and three hit combinations against pads, shields, and the heavy bag. Try to incorporate linear and circular striking, kicks and punches, and inward and outward motion. One strike is easy to defend, multiple strikes are progressively more likely to succeed.

Intermediate: While sparring, Student A chooses one yellow belt self defense technique. Student B attacks with the specific attack for that technique and two other basic strikes. Each time they receive the appropriate attack Student A responds with their chosen technique, while sparring normally in response to the other two basic strikes. Alternate. Continue with each of your techniques.

Advanced: Carefully incorporate standing grappling techniques, leg kicking, takedowns, and ground fighting into your sparring.

Beginners: Relaxation and Communication

2010-10-21T08:54:00.000-07:00

When you first step on the training room floor, it can be an intimidating experience. You're surrounded by strangers, wearing strange and uncomfortable clothing, and everyone seems to be speaking another language. It takes time to become comfortable with this new environment.

You will hear your instructors talk about relaxation. Relaxation is the key to speed. Relaxation is the key to flexibility. These aren't just lessons about your technique performance. Every lesson you learn in the studio has applications beyond the physical. If your mind is tight, (kime), you will hear less and learn slower. Instead, you must learn to cultivate the flowing mind, (mushin). Then you will be open to knowledge, and you will learn to love your mistakes, because they will contain new lessons.

Communicate with those around you. Ask questions. Learn names. To misquote Samuel Clemens, "familiarity breeds comfort." It's scary to get hit by strangers, it's less scary to get hit by your buddies. Let your instructors and your training partners know where you are at physically and mentally. Everybody's training experience is better when there is clear communication. Voice your concerns, and be generous with your praise. Never be afraid to ask for help. If you see that someone has a great front kick, ask them to show you how they got there. Someday new beginners will be asking you.

Every Master, of every skill, was a beginner once. The only difference between you and them is how many times they showed up to class.

Drills -
Beginner: Next time you're at the school, take a moment to close your eyes and feel the energy of the room. Try to sense the atmosphere of the space and make it your own. After all, it's your school too.

Intermediate: Take the time to attend a beginner class every once in a while. You'll be an example to the new students and you'll get to see just how far you've come in your own training.

Advanced: Help the beginner students with their material. You wouldn't be here without brown and black belts who pulled you up behind them. Now it's your responsibility to pass on the knowledge you have gained, just as it has always been. Master to student, hand to hand, for thousands of years.

Great Smoothie Recipes for the Health Conscious

2010-10-21T07:49:00.000-07:00

Shouldn't that be all of us? Anyway, here are some great recipes to make delicious, healthy smoothies. They're a great way to start your day!

Banana - OJ Shake
1 Banana
1 scoop Protein powder
1 cup ice
1 cup OJ
1 tsp Stevia Powder
=====
309 Cals, 56g Carbs, 2.3g Fat, 22g Protein

Strawbery - Banana Shake
1 Banana
5 small Strawberries
1 scoop Protein powder
1 cup ice
1 cup OJ
1 tsp Stevia Powder
=====
312 Cals, 58g Carbs, 2.4g Fat, 22g Protein

Tropical Delight Shake
1 Banana
1/2 cup fresh pineapple
1/4 cup Fresh Mango
1 scoop Protein powder
1 cup ice
1 cup OJ
1 tsp Stevia Powder
4 oz Plain Yogurt
=====
356 Cals, 80g Carbs, <5g Fat, 27g Protein

For added variety, try tossing in a half cup of blueberries!

Full breakdowns on ingredients:
---------------------------------
Designer Whey Protein Powder - Natural Flavor
Calories = 90
Carbs = 2g
Fat = 1g
Protein = 19g

---------------------------------
Strawberries, fresh
Serving Size: 5 small (1" dia)
Amount Per Serving
Total Carbohydrate 2.5 g
Dietary Fiber 0.8 g
Calories 10.5
Total Fat 0.1 g
Saturated Fat 0.0 g
Polyunsaturated Fat 0.1 g
Monounsaturated Fat 0.0 g
Cholesterol 0.0 mg
Sodium 0.4 mg
Potassium 58.1 mg
Total Carbohydrate 2.5 g
Dietary Fiber 0.8 g
Sugars 0.0 g
Protein 0.2 g

---------------------------------
Blueberries, fresh
Serving Size: 0.5 cup

Amount Per Serving
Total Carbohydrate 10.2 g
Dietary Fiber 2.0 g
Calories 40.6
Total Fat 0.3 g
Saturated Fat 0.0 g
Polyunsaturated Fat 0.1 g
Monounsaturated Fat 0.0 g
Cholesterol 0.0 mg
Sodium 4.4 mg
Potassium 64.5 mg
Total Carbohydrate 10.2 g
Dietary Fiber 2.0 g
Sugars 0.0 g
Protein 0.5 g

---------------------------------
Banana, fresh
Serving Size: 1 medium (7" to 7-7/8" long)

Amount Per Serving
Total Carbohydrate 27.6 g
Dietary Fiber 2.8 g
Calories 108.6
Total Fat 0.6 g
Saturated Fat 0.2 g
Polyunsaturated Fat 0.1 g
Monounsaturated Fat 0.0 g
Cholesterol 0.0 mg
Sodium 1.2 mg
Potassium 467.3 mg
Total Carbohydrate 27.6 g
Dietary Fiber 2.8 g
Sugars 0.0 g
Protein 1.2 g

---------------------------------
Orange Juice
Serving Size: 1 cup

Amount Per Serving
Total Carbohydrate 25.0 g
Dietary Fiber 0.5 g
Calories 109.6
Total Fat 0.7 g
Saturated Fat 0.1 g
Polyunsaturated Fat 0.2 g
Monounsaturated Fat 0.1 g
Cholesterol 0.0 mg
Sodium 2.5 mg
Potassium 473.1 mg
Total Carbohydrate 25.0 g
Dietary Fiber 0.5 g
Sugars 0.0 g
Protein 2.0 g

---------------------------------
Mangos
Serving Size: 0.25 cup, sliced

Amount Per Serving
Total Carbohydrate 7.0 g
Dietary Fiber 0.7 g
Calories 26.8
Total Fat 0.1 g
Saturated Fat 0.0 g
Polyunsaturated Fat 0.0 g
Monounsaturated Fat 0.0 g
Cholesterol 0.0 mg
Sodium 0.8 mg
Potassium 64.4 mg
Total Carbohydrate 7.0 g
Dietary Fiber 0.7 g
Sugars 6.1 g
Protein 0.2 g

---------------------------------
Yogurt, plain, low fat
Serving Size: 0.5 container (4 oz)

Amount Per Serving
Total Carbohydrate 8.0 g
Dietary Fiber 0.0 g
Calories 71.2
Total Fat 1.8 g
Saturated Fat 1.1 g
Polyunsaturated Fat 0.0 g
Monounsaturated Fat 0.5 g
Cholesterol 6.8 mg
Sodium 79.1 mg
Potassium 264.4 mg
Total Carbohydrate 8.0 g
Dietary Fiber 0.0 g
Sugars 8.0 g
Protein 5.9 g

---------------------------------
Pineapple, fresh
Serving Size: 0.5 cup, diced

Amount Per Serving
Total Carbohydrate 9.6 g
Dietary Fiber 0.9 g
Calories 38.0
Total Fat 0.3 g
Saturated Fat 0.0 g
Polyunsaturated Fat 0.1 g
Monounsaturated Fat 0.0 g
Cholesterol 0.0 mg
Sodium 0.8 mg
Potassium 87.6 mg
Total Carbohydrate 9.6 g
Dietary Fiber 0.9 g
Sugars 0.0 g
Protein 0.3 g

You only get one body. The battles we face every day in the arena of health and fitness are far more likely to kill us in the end than a mugger's knife or an assassin's bullet.

"No one dies from old age alone, but rather...worry, tension, and the will to die...these are the killers."

Intermediate/Advanced Class: Lock Flow Drill

2010-10-20T20:31:00.000-07:00

In intermediate class Tuesday we discussed finding and applying locking techniques against our opponent. With that in mind, the following video briefly discusses applying grappling techniques to the pattern contained within the technique Sword of Legend.

Practice the flow with your training partners and see if you can find other places to insert grappling techniques into your striking patterns.

Drills -
Beginner: While performing your techniques on the body, alter each of your basic strikes to basic grabs. Pay attention to targets and angles of attack. Practice both pulling and pressing with each grabbing technique.

Intermediate: Practice alternating lock flow drill with a partner while striking opponent with off hand.

Advanced: While performing your techniques on the body, look for opportunities to insert grappling techniques. Once you've point referenced to a grappling technique point reference out of the grappling technique and into a different self defense technique. Continue to completion.

Ground Fighting: Student A in Mounted Position attacks Student B with straight punches. Student B defends by grabbing Student A's extended punch and countering with the Straight Armbar (juji-gatame).

The First Four

2010-10-20T17:34:00.000-07:00

Entrapping Circles, Entrapping Elbow, Concealing Strikes, Fallen Sword

The first four techniques.

These techniques begin your study of Kenpo because they are the structural foundation upon which all of your study of self defense motion will be applied. They may seem simple, but within that simplicity lay the keys to the kingdom.

In a self defense situation, you can be struck or you can be grappled. The attack will come from inside your arms, or outside your arms. And you can respond with either a strike, or a grapple. This is the entire universe of empty hand self defense. All unarmed combat situations can be defined by these three parameters. We will see later why it is so vitally important to understand these categories and their self defense applications, but first let's explore how the first four techniques you learn teach this important lesson.

Technique Yellow One -
Entrapping Circle
Attack - Left close grab to TOP of right shoulder from three o'clock
Defensive Maneuver - Left Pinning Check coupled with Right Arm Clockwise High Zone Clearing Motion
First Counter Offensive Maneuver - Right Wrap Around Arm Lock to Opponent's Left Elbow

In this technique we are GRAPPLED, the attack comes from OUTSIDE the arms, and we respond with a GRAPPLE. The defensive maneuver prevents the near arm from striking and protects against any punches thrown from our opponent's off hand. The counter offensive maneuver repositions the opponent for follow up striking.

Technique Yellow Two -
Entrapping Elbow
Attack - Left close grab to FRONT of right shoulder
Defensive Maneuver - Left Pinning Position Check to Opponents Left wrist coupled with Right Arm Counter Clockwise High Zone Clearing Motion
First Counter Offensive Maneuver - Right Downward Elbow Trap to Opponent's Left Elbow

In this technique we are GRAPPLED, the attack comes from INSIDE the arms, and we respond with a GRAPPLE. The defensive maneuver prevents the near arm from striking and protects against any punches thrown from our opponent's off hand. The counter offensive maneuver repositions the opponent for follow up striking.

Technique Yellow Three -
Concealing Strikes
Attack - Left Extended Grab to TOP of Right Shoulder from three o'clock
Defensive Maneuver - Left Pinning Check to Opponent's Left hand
First Counter Offensive Maneuver - Right Upward Obscure Handsword Strike to Opponent's Throat

In this technique we are GRAPPLED, the attack comes from OUTSIDE the arms, and we respond with a STRIKE. The defensive maneuver prevents the near arm from striking. The counter offensive maneuver creates a Predominant Pain Focus and shifts the Opponent's weight behind his center, limiting his mobility and striking power.

Technique Yellow Four -
Fallen Sword
Attack - Right Straight Step Thru Push to High Center of Chest from twelve o'clock Defensive Maneuver - Step back with Left foot to Right Neutral Bow First Counter Offensive Maneuver - Right Inward Block to Opponent's Left Radial Nerve

In this technique we are STRUCK, the attack comes from INSIDE the arms, and we respond with a STRIKE. The defensive maneuver moves us out of our Opponent's immediate striking range, while the counter offensive maneuver damages the first closest major weapon presented by our Opponent.

You will see these three parameters in every unarmed self defense technique you learn. In Sword of Destruction the STRIKE comes from OUTSIDE and we respond by STRIKING. In Securing the Storm the STRIKE comes from OUTSIDE and we respond with a GRAPPLE. in Broken Arm the GRAPPLE comes from INSIDE and we respond with a STRIKE.

The reason it is so important to learn to break down a combat situation into as few parameters as possible has to do with how the human mind works. Beginning with “On the Rate of Gain of Information” in 1952 by William Hick, studies over the last fifty years have shown that as the number of possible responses increases, the time required to choose amongst them also increases, even if all options are equally correct. This requires us to limit the possible number of responses to each possible stimulus in order to be effective.

Understanding the importance of limiting and defining the situation, the student then categorizes the possible permutations as described above.

If attacked from the front, the defender must control space. If attacked from behind he must reposition one or all of the principal actors in order to best approach the encounter.

If grappled with, the defender must avoid being grappled to an inescapable position. If struck, he must avoid being incapacitated by the blow.

If grappling in response, he must grapple his opponent to a disadvantageous position. If striking, he must incapacitate his opponent, through trauma or force.

This is one reason why you begin, from your first lesson, with simple two and three move techniques that teach you each of these parameters, and how to apply them. Study your yellow belt techniques, and as you progress look for similarities between them and the more advanced material you will learn. Take this simple lesson to heart and you will never have to say, "I don't have a technique for that."

Drills -
Beginners: Student A attacks from twelve o'clock with either a push or a grab. Student B defends with either a push or a grab. Alternate.

Intermediate: Student A attacks from any direction with either a kick or a lock. Student B defends with either a kick or a lock. Alternate.

Advanced: Student A attacks from any direction with any attack. Student B defends with a combination of alternating strikes and grapples. Alternate.

Ground Fighting: Student A attacks with strikes. Student B defends with grapples. Switch. Alternate. All positions.