Vince Morris is a Karate-ka that has become world renowned
for his no-nonsense approach to martial arts and fighting.
He is also the founder of Kissaki Kai.
Vince Morris
But I just cannot seem to get it to work
by Vince Morris (c)
But I just cannot seem to get it to work!;
How many times have I heard that crie de coeur ; in the Dojo? In the practice and learning of the application of Kata techniques there are some important points which have to be well understood - even mastered - before techniquescan be effected seemingly effortlessly and with optimum results.
Lets start at the basic concept of “what is a kata technique”. First it helps to think of each technique (or sequence) as merely a rigid representation of the outward form of a particular defensive paradigm. Each is no more complete in itself than a word in a dictionary truly encompasses all that is necessary to understand it and to use it correctly.
For example, I can try to learn a foreign language from a dictionary, and although I
would indeed get a fair idea of what the word actually meant (its various major and
minor meanings) I certainly would not be able to converse like a native speaker without bringing other knowledge into play.
To really master a language it is necessary to consider the how; aspect. How is it used in
daily speech, how in formal speech, how in slang? How does age or familiarity alter its
usage? How does volume alter its effect? How does tone affect it?
Then we have to consider its place in a sentence - the grammar of language which
differs with each language - the syntax, even the actual way in which it is pronounced.
To be really a master of the tongue we also should consider semantics, the way in which
words change their spelling and indeed their entire meaning over a period of time. We
would not, after all, wish to appear peculiar by speaking in archaic and anachronistic
terms !
If this seems obvious then forgive me, but it is just as necessary to approach the basic
dictionary of self-defense - the Kata - in exactly the same way.
Rules of Combat
There are certain rules of combat; (the grammar & syntax of fighting) which are
common currency to all those who regularly engage in combat, albeit of a sporting or a
military nature; and these rules remain the same, regardless of the particulars of any
individual combat.
A Militarist strategy might be to feint a weakness in a defensive position to entice an
attack on that position by an enemy in order to effect a pincer movement and thereby
trap and defeat him. In Shiai, one fighter might drop a hand to leave an apparent gap in his defences to pull out his opponent;s gyaku-zuki. This is exactly the same strategy.
These would appear obvious - nevertheless, why should it not be just as obvious that
each defensive paradigm in a Kata might also be preceded by just such a similar
stratagem?
The Bubishi (the old and revered Bible; of Okinawan masters) contains advice such as:
"To attack in the East it is necessary to feint to the West (paraphrased).
Such an admonition would be unnecessary to any student practicing daily under the eye
of his master, and to attempt to include it at the start of every technique or sequence in
a Kata would be to create a monstrosity, when in fact simply knowing&; is enough.
Just as there are ;rules; for language there are;rules; for combat, and exactly in the way
that language is made up of discreet chunks which have a variety of purposes according
to their usage, (parts of speech, nouns, verbs adjectives etc.) we find techniques which
vary in objective and execution according to the function they are currently required to
carry out. (an upper block; which is also a knockout strike or an arm-bar).
If you do not fully understand “all the nuances and complexities of speech” you can
never master the tongue - this precisely the same when you come to consider the 'parts'
which make up the whole of a combat art.
Each word in the dictionary has a number of meanings - some similar - some mere
derivations - and some words are simply homonyms - that is they may sound the same
(indeed they may even be spelled the same) but their meanings differ, sometimes
radically (Bank; [as in financial] Bank; [of a river] Bank; the turn of an aircraft etc.)
It would be nonsense to describe one meaning as right; and the others ;wrong - they
are simply different. In the same manner, many techniques which appear on the
surface to be identical have actually often very different functions.
Reflecting the ancestry of the traditions from which they emerged, it is reasonable to
accept that there are distinct categories of technique in the same way as there are parts
of speech recognizable by their derivation and function.
Thus in analysing any particular technique or sequence from a Kata it is essential that
one brings to the task not only the background knowledge of tactics and strategy won by
experience in combat but also a thorough understanding of the five levels of bunkai-
jutsu: Nage-waza (Throwing techniques) Ne-waza (groundfighting techniques) Shime-
waza (strangling and choking techniques) Kansetsu-waza (joint and limb locking
techniques) and finally Atemi-waza (variety of percussive techniques).
To each main section there must then be considered the variety of sub-sections within
each.
In each Waza For example in the Atemi-waza section we find the whole variety of methods of
traumatising the attacker from punching, kicking and striking to poking and ripping and
the use of the anatomical vulnerable areas - the vital points of Kyusho-Jutsu.
If we consider the Shime-waza we find methods of sealing the breath; (attacking the
airways) and sealing the blood; (attacking the flow of blood to the brain).
However it is wrong to consider these categories in isolation as it soon becomes
apparent that in use one techniques from one section merge into those of another, or
may be used to facilitate those of another or of a combination of the others.
For instance, one might feint an attack to the groin in order to bring the opponent's head
forward (tactics) by using a strike to a vulnerable area, then seize and lock part of his
anatomy (arm, neck) in order to manoeuvre him into a throw which you then follow by a
strangle.
It is obvious then, that in a sense categorisation is false as each section actually works
with others to produce a 'sum greater than the parts' so to speak.
However, within each section are methods of application which must be thoroughly
mastered before each can used effectively to contribute to the overall outcome.
It would be a senseless waste of time and opportunity to effectively bring down an
assailant into a control position only for your Kansetsu-waza to be ineffective and he
gain his release!
A proper understanding of the use of locking methods would have avoided this.
Thus a master will have much more to bring to a self-defence situation than appears
obvious at first glance.
Methods of breath control to bring down his heart-rate, an ability to accurately assess
the body language and stance of the attacker, confidence which allows control of his own
movements, automatic use of distraction methods to create opportunity, moving without
conscious thought to positions of advantage relative to the attacker and so on.
All this before a physical Kata technique is carried out!
In fact, the rules of combat are fairly simple and self-evident, but that in no
way detracts from their importance.
Looking at just a few:
Never stop until its over! - Do not fight in an ichi - ni - san manner, simply flow one
technique into another and never stop until the fight is finished. This sounds initially an
obvious statement, however in many Dojos throughout the world emphasis is placed
upon attaining the one powerful gyaku-zuki which will halt the contest. I see time and
time again one combatant deliver a fast middle level punch which stops the proceedings
and is adjudged to also have ;stopped; his opponent.
If only in reality it were so simple. What happens if the downed assailant grabs the
defenders legs and pulls him down to the ground? What if in the street the punch simply
had no effect? The defender has wasted perhaps the only opportunity that existed to get
in a telling and effective technique!
Never stopping until its over Never stopping until its over has much to recommend it!
Always move to a position of advantage - Always move to a position of advantage - This
sounds obvious, but actually in my experience very few people as a matter of course
utilise Tai-sabaki and Ashi-sabaki to unbalance an attacker or to shift to a position which
nullifies his effectiveness whilst enhancing their own.
Many times just an upper body movement will be made which will not be sufficient and will also leave the lower limbs vulnerable.
Always use methods of distraction –
Very few people do this spontaneously immediately an attack is made.
Distractions, by the way, do not mean simply pretending to strike in one direction in
order to open up another (although this is of course a legitimate example).
No, it means doing anything to weaken either the opponent's concentration or indeed to
actually strike in one area in order to inculcate what the Japanese sword master Zen
teachers would call "a stopping mind." Very few people do this spontaneously
immediately an attack is made. Distractions, by the way, do not mean simply pretending
to strike in one direction in order to open up another (although this is of course a
legitimate example). No, it means doing anything to weaken either the opponent's concentration or indeed to actually strike in one area in order to inculcate what the Japanese sword master Zen
teachers would call "a stopping mind."
In other words a sharp slap to the testicles will bring the attacker's attention away from
his grip on your throat to allow easier execution of the bending of his fingers or whatever
release you will effect. Remember that master Ueshiba, the great Aikido teacher, stated that Aikido was "90% Atemi!"
He knew perfectly well that in actual combat any throwing technique is facilitated by a
blow or strike, often just used as a distraction method.
It should be noted too, that each of the 5 categories of Bunkai-jutsu has its own
subsection of rules; too! For example we see that under the Kansetsu-waza heading we
find a rule which states: You should continually alter the amount of pressure applied to a joint or limb lock in order to maintain effective pain control. Any student not knowing this fundamental rule; will never be able to impose effective pain compliance control of an opponent.
The reason why in the days there were many fewer ;Masters than we see today is
that the martial art they were attempting to master was much more complex and
interesting than that masquerading under the title of Karate today!
If we lived in a world where the need for an effective personal self-defense was an
anachronism, then perhaps - except from a merely historical basis - it would not matter
that the training in most Dojos I visit throughout the world pays only lip-service to the
reality of combat and most time training for competence in modern , sports orientated
karate.
The problem is that as one of my Japanese training partners said to me a long time ago
about the difficulty in trying to master two different martial arts -It is impossible to
chase two rabbits at the same time!
Whilst gaining expertise in the sports arena brings about definite plus points, it also
immerses the student in an ethos which continually stresses: no attacks to the testes, no
attacks to the eyes, no attacks to the throat or neck, no dangerous throws, no strangling
or choking, no continually attacking the limbs, no pulling the hair, no spitting in the face,
no head-butting, no fighting on the ground, no gouging and so on.
Thus, without even recognising it, the student is automatically conditioned into
acceptance of new rules of combat; which colour his or her reactions in times of stress.
And all this takes place in an arena confined and protected by not just these rules but
also by the presence of the referee who is always there to step in to prevent injury and
to break up combatants who come to grips with each other.
Old ways
Therefore, the main problem today is that few students ever learn in the same manner
as those who studied under the direction of the old masters. It was much more an
individual rather than a group process, and each student was constantly under the eye
of the master who would continually assess and correct the efforts of the student.
In order for the student to become fully apprised of the rules of combat they were
continually matched with a partner in training drills (Tegumi) which emphasised
bumping, slapping, pulling, striking, throwing and all the other ancillaries to technique
which are essential background knowledge.
In most modern Dojos this is not usual. Therefore unless the student gets practice
elsewhere a huge and important part of martial arts 'grammar' and ancillary concepts
are just not available to them. Therefore although in sports terms they may well be
effective, in the real situations they are often out of their depth and can get into real -
sometimes disastrous - trouble.
However, to confine ourselves at the moment to Dojo training, how could it ever be
possible for a student to begin to understand the profundity of the techniques with a
Kata if he or she - through no real personal fault - has not got the background
knowledge to see where a technique could actually be much more than would
immediately be apparent, and does not possess the experience of the ancillary rules of
combat to make the technique work at its most effective level?
If you have followed me so far, then you must be beginning to realise that the Dojo tri-
partite division of training into Kihon, Kumite and Kata - although indeed effective in
terms of modern sport karate - is deficient in important areas.
In order to allow students to become fully effective in the defensive traditions there must
be time set aside for considering and investigating the 5 elements of Bunkai-Jutsu, and
of exercises which - if not the old tegumi drills (see Patrick McCarthys video) - then at
least Kumite which is centred on Kata and which is performed with regard to the various
rules of combat; should be initiated and practised regularly.
If this is done, eventually the students appreciation of the art will be enhanced,
understanding of essential concepts will be inculcated and defensive efficiency increased.
By Vince Morris. http://www.kissakikarate.com/ Kissaki Kai Karate
