A Universe Filled with Motion

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.

From the Monk to the Master

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

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.

Lessons in the Mountains

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."

The Bear's Hug

“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.

The Path of the Student

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.

Hit, Hit, and Hit Again

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

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.

Beginners: Relaxation and Communication

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.

The First Four

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.