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THIS MONTH IN TRADITIONAL KARATE
Japanese Martial Arts of the 16th Century - By Neil Horton. Part Two

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The Araki Ryu is an ancient Japanese martial art form stemming back to the 1570’s. The Araki Ryu was established after the ‘Warring States Period’ which was significant was struggles were concerned. The method is an old combat school and therefore also known as a ‘koryu’. Japan at the time of the inception of this martial form was full of internal feuds and battles from one warlord to another, each trying to gain supremacy over the other, and consequently become more powerful with each victory. Being triumphant in battle gave the obvious rewards of wealth, power to make decisions and respect. One of the major incidents following the creation of the Araki Ryu was the invasion of Korea in 1592 where Japan summoned its greatest warriors to enlist. General Hideyoshi managed to amass a huge and powerful army with the elite samurai warriors of the day at the fore. The competent warrior was a vital ingredient to military might. The attempted invasion of 1592 was repelled and this incredible feat was attempted again approximately six years later.

The creator and ultimate master of the Araki Ryu is attributed to Araki Mujinsai Minamoto no Hidenawa. It is said that he was a particularly well-versed combatant and duelled many times on the battlefield and records show he was held in high regard for his fighting skills by the leading ‘daimyo’ or Japanese for ‘family clans’ at that time. The skills he possessed were much sort after by his peers and thus the school established itself from the need for self-preservation. Honing all martial skills was relevant to both Japanese internal conflicts and when the citizens were called upon for war against other nations. Fighting skills, both practice and the instruction of, seemed to be a part of everyday life, which reflected the ‘bushido’ or ‘way of the warrior’ philosophy. Bushido was an ethical code of conduct that housed several tenets for the samurai to observe, for example, ‘yu’ or ‘courage’ and ‘meiyo’ which refers to ‘honour and glory’.

With this ‘battle-hardened’ training to hand the founder of the Araki Ryu devised and developed his own theories of warfare. The creator had the experience of battle, life and death situations, to draw upon and could relate the techniques accordingly. What would and would not be effective as a means of combat was systematically considered, for obvious reasons. Actual combat duels gave a better understanding of the techniques that could achieve the desired outcome.

Prior to the initiation of the system the founder calculated how one warrior could be an awesome fighter and have the combat tools to be ready regardless of the situation that was imposed upon him. The school specialises in wrestling or grappling with or without weapons, whilst wearing traditional body armour and protection. The armour gave the student a form of reality and understanding of the effectiveness of the school and its teachings, whilst dressed in standard military protective equipment. Techniques and fighting skills would be applied in a different way than if the exponent were not dressed in armour, thus the reason for wearing of the armour to practice in. The Araki Ryu philosophy constantly changed shape and instruction as the students were expected to add their own particular thoughts and practises. Individual interpretations and ideas assisted with the growth of the overall techniques and experience. A variety of weapons were utilised as well as the steadfast unarmed fighting skills. Having an in-depth grounding of combat situations from a variety of different circumstances was viewed as totally beneficial to the warrior...

Read more in Combat Magazine available from WHSmith and all good newsagents

 

 
Embusen - Bringing the Opponent Alive!

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A common characteristic that connects most kata across the numerous karate styles is the embusen or ‘line of movement’. The direction of motion is what gives kata its basic structure and shape, plus along with specific techniques, helps to distinguish them apart. Despite this though, the embusen actually has a more vital role to play in terms of practitioners being able to de-code the associated movements for practical application. In fact, it wouldn’t be an understatement to say that without embusen, the kata itself would lose one of its key combative lessons. Furthermore, if you don’t properly understand embusen, then you will be missing a vital part of the bunkai puzzle!

The typical modern day (sport based) opinion of kata application is for the practitioner to stand in the centre, surrounded by a group of ‘assailants’, where the movements of the kata are performed precisely and in exact sequence by the ‘hero’, timed to perfection in accordance with the choreographed ‘karate style’ attacks unleashed by his/her opponents. This, without forgetting the usual added bonus of a few snapping gyakuzuki’s and flamboyant takedowns, makes this whole notion a million miles away from being in any way ‘pragmatic’ (in line with the original intention of the forms) and fundamentally originates from a distorted view of how embusen should be correctly applied.

The angular shifts within kata have often proved to be a cause of confusion for karate practitioners. However with the correct mindset, they are not really that difficult to understand if you can but for a moment, take off the blinkers and think about things in a lateral way. Above all else, the traditional forms represent a record of key combative strategies and principles for civilian self-protection and even though they also do a great job in offering modern day karate-ka a wide range of auxiliary benefits, we should never lose sight of this original intent.

The concept of ‘positional advantage’ is a critical component in combat, especially close-range altercations typical of self-protection. By shifting your body to a more advantageous position, you are able to make your application of technique more effective whilst at the same time nullify or at least limit your opponent’s attacks/counter options. In a typical two-person combat drill, it is very easy to show and teach the most optimum angular shifts because a visual datum will always be present (i.e. your training partner). However, during the performance of kata there is no physical opponent; so as a result, it becomes impossible to provide the same point of reference. In these solo situations, the only physical datum you can anchor to is your current position within the form and this is where the real meaning of embusen comes into play...

Read more in Combat Magazine available from WHSmith and all good newsagents

 
Thought's From The Dojo - If You Can't Do, Then Teach

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The saying goes “if you can’t do, then teach”, now you can interpret this as meaning if you are no good at something you stop doing it and start teaching others. In fact I’m suggesting the complete opposite, let me float an idea past you .The student that struggles the most but finally gets there will end up making the best instructor, whilst the star student that finds it easy may never make a good Sensei. So at your next training session look round the dojo, see the clumsy uncoordinated kid in the corner they may be running the club one day. You know the one that can never remember left from right and forgets katas, but turns up for every session and steadily plods their way through gradings. My theory is that if you have struggled with your karate then you have had to think about it, really break it down and work it out for yourself. Because you have struggled you know what it is like, and because of this you can understand the limitations of other students and help them overcome these difficulties. How have I gained this insight, not because I am a gifted teacher but quite simply I was and probably still am that student? I have always struggled to learn and remember katas; combinations are a jumbled mess in my head. A total lack of natural flexibility has meant I have had to adapt to get any sort of result, and this experience I can pass onto my students.

Whereas that naturally gifted super flexible student’s karate looks perfect, but they have not had to give it much thought. So faced with a student that is less than perfect they struggle to understand their problems, and don’t have the experience to show them how to overcome their short falls. As a theory I know there are many holes in this argument, but bear with me for just a moment more. So do I have to be perfect at karate to teach, or do I have to have an understanding of basic karate mechanics to pass on my knowledge to my students? Hopefully what age takes away from my karate experience will replace. Ohtsuka sensei, the founder of Wado karate said “do karate like an old man” which reluctantly my age and health is forcing me to do more and more these days. In fairness to the great man in this instance I am misusing the saying to excuse my limitations. In reality I understand Sensei to mean that you should do your karate with the minimum of wasted energy, with no unnecessary movement. My point here is that an old mans karate is based on good timing and not power, this comes with time and practice and not from the exuberance of youth. As a teacher do I have to be better than my students and if I’m not can I still teach them, well to extend my argument no I don’t think I do. I strongly believe that senseis have to keep training as we all need to work on our basics; we also need to learn new techniques to keep our martial art fresh and be able to bring that new knowledge into the club. So I don’t have to compete with my students by kicking higher or punching harder than them, I can leave that to the teenagers. As long as I can help them develop their karate at a personnel level, and through my own training bring fresh ideas into my teaching I keep my knowledge ahead of my students and can still teach them.

I find as an instructor I have been forced to look at my karate in more detail, for instance doing a kata is one thing but having to stand in front of a class and talk students through move at a time is a whole different level. In my experience learning karate is a life times training but learning to teach karate is a whole new ball game. It was only when I had to teach and explain a move did I really have to analyse it, and students questions always help to keep you on your toes. So do I have to be perfect at what I do in the class, do I have to be the font of all karate knowledge to my students. In my opinion no thank God, of course I have to keep a level of respect but surely I am allowed to make a few mistakes in front of the class. It’s well known in my class that I sometimes mess up a kata while teaching, slipping from Pinan Godan to Kushanku kata without realising. Sometimes half way through teaching a combination I have to refresh my memory, but I feel this takes the pressure off the students and they learn quicker in a more relaxed environment...

Read more in Combat Magazine available from WHSmith and all good newsagents

 
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