Technical

How do you know if you are using too much strength in your Wado?

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Mudana Chikara is one of the watchword maxims used in Wado circles.

It’s one of a set of three, all described as ‘illnesses’, things to steer clear of if you want to remain on the right track. Mudana Chikara loosely means, ‘Do not use (too much) strength (to do the job)’, it is a key concept of Wado.

It is supposed to signpost the rule of economical movement, the embodiment of no waste, no fuss, no huffing and puffing and no tension.

It is so easy to describe what it is not but harder to pin down what it is – particularly if it is personal to your own technique.

Let me deal with the ‘tension’ thing first.
In between movements you are supposed to develop a feeling of live neutrality. I say ‘live’ because neutrality can easily slip into inertia, and an inert position is a dead position. An exaggerated example would be to say that you need to be in a position where you are deploying enough strength/energy to hold your posture, no more, no less. If your arm is stretched out (as in Tsuki) and someone rests their hand on the back of your hand, your hand should just gently drop under the extra weight; that’s enough.

Correct muscle management in movement is absolutely vital to efficiency. Often in our efforts to employ more power we actually end up sabotaging our objective with inefficient use of the muscles. Antagonistic muscles kick in and ruin the physical potential by actually working against what we want to achieve; I tend to describe it as like driving with your foot on the accelerator and the brake at the same time.

Wado instructors are very insistent on good muscle management; energy should be deployed appropriately and muscles should be fired off in the right order. Things can go wrong when the energy is generated from the wrong place and muscles work in isolated groups rather than a coordinated whole.

Energy should be turned on instantly, and then, just as abruptly, turned off; there should be no tensioned build-up and certainly energy should not be held on to. It is the ‘holding on to energy’ that causes an inability flow from movement to movement, or situation to situation, the energy becomes atrophied or stagnated. It is this ‘stagnation’ that can be fatal in a live situation.

But how do we know that we are using too much strength? Self-diagnosis is a really difficult thing; something might feel good but is it right? (Is it appropriate?). Clearly your Sensei can flag up if you are using too much strength, but only you can do the work on it.

My teaching experience tells me that this can often be a ‘guy thing’, women don’t tend to suffer as much from tension in their technique; guys tend to feel obliged to give their technique that extra thump; they have a model of strength in their heads and aspire to reach it, however unrealistic it may be. It is not something that can be reduced by degrees; the best approach is to soften it right back to zero and then build it up incrementally – but that takes a lot of time and some serious re-programming.

I suppose it comes down to energy investment. Some styles actually aim for over-kill, but really you have to calculate if all that investment is really necessary – can you afford it?

That is the thing about Wado, no frills, no artistic flourishes, all purely pragmatic and stripped to the bone.

Tim Shaw

Technical Article – Taisabaki, (Heads and Tails).

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I wanted to share a particular approach I use to explaining an aspect of taisabaki.

For any non-Wado person reading this, the Wado understanding of ‘taisabaki’ is very distinctive from how other schools of Japanese karate interpret it.

‘Taisabaki’ is most conveniently translated as ‘body management’. Shotokan have their way of using taisabaki, but it is a very broad brush approach – in Shotokan anything that gets you out of the way or/and in position to counterstrike, can be classified as taisabaki.

But Wado’s approach is to sail dangerously close to the wind, to dice with danger and evade by the narrowest of margins. Some might say by no margin whatsoever; because what is often viewed from the outside looks so completely suicidal; like two forces seemingly competing for the same space. But that is Wado taisabaki – body management that allows you to flow.

There are some useful ways of into working with Wado taisabaki.

I have two analogies I use when teaching.
One is to say that you must become like water; if you foolishly try to punch water it just yields, and in your efforts you end up getting splashed.

Another model I use is that you should try to become like the human revolving door; like a Charlie Chaplin comedy classic; as one side is pushed the other side swings round and slaps you in the chops. Clearly this is the physical model of In-Yo, Yin Yang, positive negative working to harmonise, all mutually cooperative.

A simple exercise.
Stand square with a partner, both in natural stance facing each other; have one side place the right hand on the partner’s left shoulder and push. The person being pushed absorbs the energy so that the solidity that the person pushing was expecting to meet just disappears – the result may well be that with the resistance gone they will be over-extended and could lurch forward, which is a good result in itself.

Next, the person being pushed could try harnessing the energy that is being supplied by their partner and feed off it by activating the other side of their body, the right side using the fist and arm and also causing the other person to lurch into it, thus requiring even less energy because the forward momentum amplifies the impact.

To make it more relevant, the person doing the pushing could move their contact point incrementally towards the centre line (much more realistic) forcing the person being pushed to concentrate on their centreline and pivoting subtly around it. Obviously, as a practice this can be developed.

However, an interesting problem occurs when the person being pushed abandons the parallel position of natural stance and adopts a stance with either left leg forward or right leg forward. Suddenly the position of the legs as related to mobility and stability becomes an issue– which way would your legs need to move to support the evasive movement?

One way gives you a neat application of nagashizuki, i.e. the front leg just pivots on the spot while the back leg has to move to support the rotation – to all intents and purposes it is a classical nagashizuki.

But what if you decided to rotate your body the other way? If you respond to that push or punch by rotating only one way you become awfully predictable, so I describe that nagashi movement as ‘heads’ and therefore there must be a ‘tails’.

The ‘tails’ movement is to rotate the other way, but that requires your front leg to do all the movement, which is a movement most Wadoka know, i.e. the second movement of Kihon Gumite Ipponme. In reality the first one is a Jun hip, while the second one is a gyaku hip, this is the best excuse (if you ever needed one) to explore junzuki and gyakuzuki.

Of course there are many ways of exploring taisabaki, and the more you get into it the more complex it can become.

It truly is three-dimensional, involving so many different interconnecting principles, including aspects of creating space, manipulating timings and psychological leading. The exploration goes on and on, but at its heart is something very very simple – like water flowing around a rock, or a primitive rustic Japanese waterwheel – or even a build-up of snow slipping off the branches of a willow tree.

Tim Shaw

 

Craft and Craftsmanship.

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It goes without saying Martial Arts can easily be categorised as a human skill (a Craft). It’s a trained activity directed at solving specific problems. Problem solving can be achieved to different levels depending on the competence of the person addressing the problem. It could even be argued that problem solving is binary – either you solve the problem or you don’t. But problem solving is not necessarily an ‘end-stop’ activity, there’s more to this than meets the eye.

Following this ideas that martial arts art are crafts, I would like to explore this further to see if anything can be gained by shifting our perspective and pushing the boundaries and looking at what a ‘craft’ actually is.

Sociologist Richard Sennett has a specific interest in Craft and Craftsmanship. For him ‘Craft’ is just doing the job, probably the same as everyone else, just to get it out of the way; a basic necessity. But ‘Craftsmanship’ is the task done in an expert, masterly fashion (Like the famous story of the master butcher in The Chuang Tzu). But the craftsman’s response to the problems/challenges he faces is not just a mechanical one; it changes according to the situation, and, whether it is master butcher, musician, painter or martial artist, the challenge is fluid, and as such adjustments are made on the spot and new ways of doing the same thing evolve. The craftsman doesn’t ‘master’ his art, because his mastery is ever-moving….or it should be. The skills of the master craftsman becomes a linear on-going project, not an end-stop.

Sennett says that craftsmanship at a basic level involves identifying a problem, then solving that problem; but that it shouldn’t end there. The solving of an individual problem often leads on to new problems that the craftsman may not have known existed prior to engaging with that particular individual problem. A combination of his intellect, his curiosity and his evolving level of mastery leads him towards tackling that next unforeseen problem and the process goes on.

In his research Sennett interviewed ex-Microsoft engineers who lamented the closed system of Microsoft, but lauded the open creative possibilities of Linux – for him this was an example of craftsmanship in progress. I am reminded of the comparison between the old style chess programs and the latest AlphaZero chess program. With the old style programs the moves had to be inputted by human hand; with AlphaZero the only input was the rules of the game; the computer then was free to play millions of games against itself to work out an amazing number of possibilities that just multiplied and multiplied.

It is not a huge leap to apply this way of thinking to Wado. Utilising the skills we develop in a free-flowing scenario engages with many problem solving opportunities that unfold in rapid succession. If we do it well it is all over very quickly, or, if we are working against a very skilled opponent the engagements may be more complicated, for example using an interplay of creating or seizing initiatives (‘Sen’).  But to do this your toolkit (your core principles) must have a solid grounding otherwise you might have the ideas in your head but not necessarily the trained physicality to carry them out, and certainly not in the split second often needed.

If we really want to develop our craftsmanship we have to look for the opportunities that are created beyond the basic level of simple problem solving, but without losing the immediacy and economy that underpins Wado. I know that sounds like a contradiction but it is possible to be complex in your simplicity; it’s just a matter of perspective.

Tim Shaw

Sanitisation.

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Early 20c Japanese Jujutsu.

I recently watched a YouTube video which was focussed upon the sanitisation of old style Jujutsu techniques that were cleaned up to make them safe for competitive Judo. Throws and techniques which were originally designed to break limbs and annihilate the attacker in dramatic and brutal ways were changed to enable freeform Judo randori where protagonists could bounce back and keep the flow going.

This inspired me to review techniques in Wado, some of which I believe went through a similar process.

We know that the founder of Wado Ryu Karate, Otsuka Sensei had his origins in Koryu Jujutsu and that Wado was crafted out of this same Koryu base; Wado is certainly still considered as a continuation of the Japanese Budo tradition. Koryu Jujutsu in particular had historically developed a reputation as an antiquated form of brutality which was not compatible with an agenda developed by modernisers like the founder of Judo Kano Jigoro.

To set the context; Wado went through many transformations, and even though quite elderly Otsuka Sensei was still reforming and developing Wado Ryu throughout his long life; a project that was continued through subsequent generations of the Otsuka family.

But how much has Wado allowed itself to be sanitised? Did we lose something along the way? Was Wado de-fanged, did it have its claws clipped? And, if it has, where is the evidence?

But beyond that – does it matter? The loss of these dangerous aspects may well be a moot point; the development of Wado may well have bigger fishes to fry, and this particular issue may just be a distraction from a much larger agenda.

However, to my mind it’s still worth considering.

First of all, I am reminded of a discussion I had with another instructor regarding the craziness of the practice of the Tanto Dori. Thinking back to when these knife defence techniques were part of the Dan grading syllabus, nobody seemed to care what kind of blade you pulled out of your kit bag; blunted pieces of stick, to razor-sharp WW2 bayonets, in fact there seemed to be a badge of honour based upon how sharp and dangerous was your Tanto! We laughed about how such practices would be looked at in today’s politically correct, health and safety environment.

In Judo there are the Kinshi Waza, the banned techniques; these include. Kani Basami (Crab Claw scissors), Ashi Garami (Entangled leg lock), Do Jime (Trunk strangle), Kawazu Gake (One leg entanglement). These are the techniques that the authorities decided were more likely to cause injury, so not necessarily banned because of their viciousness, more their proclivity to cause accidental damage.

Within Wado undoubtedly some techniques were ‘cleaned up’, even within my time.

I can think of at least fifteen techniques, most of which existed inside the established paired kata which were ‘made safe’. Sometimes this came out of trial and error, i.e. the Japanese Sensei saw too much damage incurred by over-enthusiastic students, so decided to soften the technique to minimise injury. Others were implied techniques, e.g. ‘if this technique were to be taken through to this position it would result in significant damage’. Some of these techniques were hidden; you would struggle to spot them if they weren’t explained to you. In some cases the ‘brutal’ part of the technique was actually easier to execute than the so-called ‘cleaned up’ version, but this latter version remained closer to the practice of Wado principles; a contradiction….maybe, maybe not.


A variation on Kumite Gata. The body is ‘scissored’ apart; this is combined with a leg action that completely takes away the base. It is almost impossible to practice this technique safely.

I think that most people are aware that some throwing techniques were designed so that a successful breakfall (Ukemi) would be extremely difficult or even impossible, resulting in damage that you would never recover from; not something to dwell on lightly. (A prime example in Wado is the technique known as Kinu Katsugi, which we now practice in a way that enables uke to land relatively safely).

   
This Ohyo Gumite technique is very effective on its own, but another variation involving standing up from this position would result in Uke being dropped to the floor with very little chance of being able to protect themself.
Right, Suzuki Sensei showing the ‘stand up’ associated with this technique.*

There are other Wado techniques which on the outside look incredibly dangerous but are sometimes so wrapped up in misunderstood formalism that the accepted coup de grace becomes a merely academic endeavour (works well on paper but could you make it do the job?). Usually this is because of a misunderstanding of the mechanism of the technique itself, or the mechanism of ‘kata’ and how the teaching model actually functions.

I remember Suzuki Sensei sometimes held ‘closed-door’ sessions, you had to be above a certain grade to participate and no spectators were allowed. I attended some of these and the best I can describe them was that they involved what some would think of as ‘dirty tricks’, but very effective fighting techniques which would really damage your opponent.

To reiterate; while it is interesting to speculate on these matters, compared to the other complexities of Wado they could be looked upon as a mere side-show, after all, just the fundamentals take a lifetime to get your head round, never mind all of this.

Tim Shaw

*Photo credit, Pelham Books Ltd, ‘Karate-Do’, Tatsuo Suzuki 1967.

Combinations.

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Renraku Waza, Renzoku Waza, Renketsu Dosa, whatever we decide to call them Combination Techniques seem to feature on nearly every Wado syllabus.

In my early training I was as guilty as everyone else in treating combinations as a test of memory (as well as speed and power). But there are other ways to look at them. I would urge Wado practitioners to examine them more closely. Is there perhaps something inherent in their design that has more to give us?

At first sight as we advance through the grades the sets of combinations just seem to get more complex with more techniques strung together. Yes, they were physically demanding and you got a great workout and many of the strings of techniques programmed the body well for attacking combinations used within conventional free fighting. It was a good way of reviewing your available range of techniques, but it was impossible for it to be all-encompassing. Hand strikes seemed particularly limited. In the early UK syllabus created in the 1960’s and still used by many organisations, there were only three main strikes used in combinations, as well as only three kicks (albeit deployed to different levels) and there were no explicit blocking or covering techniques, they may have been there in some small way but they weren’t really highlighted. Admittedly, since then organisations have become more creative, either by adding more techniques or completely deconstructing combinations, with varying levels of success.

The lower level combinations give good foundations on how to utilise moving in a formalised fighting guard and how to operate the mechanics of particular movements while being in that guard. But if combinations have been designed well they add another vital component that is often overlooked – transition.

Combinations looked at as a test of ‘transition’ gives a whole new perspective. When you fight you are in transition all of the time; you can either do that well, or you can do it badly. When you do it well it allows for snap changes dictated by the ever fluid physical challenges in combat scenarios and puts you a great position to deliver the necessary payload. An image that comes to mind is of the great French tennis player Jean Rene Lacoste (1904 – 1996), it is no accident that the Crocodile is used as the Lacoste logo, Lacoste’s ability to ‘snap back’ from nowhere when returning the ball was the embodiment of the ferocity of the Crocodile’s movement. For the fighter this type of tenacity and flexibility is a terrific skill to aspire towards. Look within combinations; examine what positions you find yourself in, what techniques demand the most commitment in stance and posture? Where do you feel dangerously close to over-extension and then you find yourself having to move from one extreme to another?

Some combination strings seem to create relatively easy transitions from one attack to another; while these have some value I think they are red herrings; examples being ones where the hip extension from one technique automatically and comfortably flows from that technique to another. But these are not the ones I am referring to.

Within the combinations in the Shikukai Karate-Do International it is no accident that there are numerous examples of these transitional challenges. If instructors are devising their own teaching combinations I would heavily recommend looking at what transitional challenges you are including.

Tim Shaw

 

A Few Notes on Nagashizuki.

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Otsuka Sensei performing Tobikomizuki.

Without a doubt nagashizuki is a hallmark technique of Wado karate; it is also one of the most difficult to teach.

In other styles of karate I have only ever seen techniques that hint at an application that could loosely fall into the area of nagashizuki, with a very rudimentary nod towards something that could be categorised as Taisabaki, but at risk of contradiction nagashizuki in karate is pretty much unique to Wado.

But there is so much to say about nagashizuki as it features in the Wado curriculum as it helps to define what we do.

If you were to explain nagashizuki to another martial artist who has no knowledge of Wado, you could describe it as being very much characteristic of Wado as a style; a technique pared to the bone, without any frills or extra movements. Done properly it is like being on the knife-edge, it is brinksmanship taken to the extreme. I have heard a much used phrase that to my mind gives a picture of the character of nagashizuki, as follows:

‘If he cuts my cloth I cut his skin. If he cuts my skin I cut his bone’.*

Here is a technique that flirts with danger and requires a single-minded, razor sharp commitment, with serious consequences at stake.

Technically, there are so many things that can go wrong with this technique at so many levels. In an active scenario you have to have supreme courage to plunge directly into the line of fire, the timing is devastating if you get it right. Many years ago it was my go-to technique when fighting people outside of Wado, particularly those who took an aggressive line of attack hoping to drive forward and keep you in defensive mode. But I also found out that this technique had added extras, which you must be aware of if you use it in fighting; one of which is the devastating effect of the strike angle.

On two occasions I can think of, to my shame, I knocked opponents unconscious with nagashizuki. When delivered at jodan level the strike comes in from low down, almost underneath the opponent and its angle is such that it will connect with the underneath and side of the jaw. As I found out, it doesn’t need much force to deliver a shockwave to the brain, and, if the opponent is storming in, they supply a significant amount of the impact themselves – they run onto it.

This last point about forward momentum and clashing forces illustrates one of the oddities of the way the energy is delivered through the arm.  A standing punch generally has to have some form of preparatory action (chambering), depending where it is coming from; nagashizuki when taught in kihon is deliberately delivered from a ‘natural’ position, and as such the arms should just lift as directly and naturally as possible into the fulling extended punch – my favoured teaching phrase for that is, ‘like raising your arm to put on a light switch’, that’s it. The arm itself acts as a conduit for a relay of connected energy generators that channel through the skeletal and muscular system into and beyond the point of delivery.

This is where further things can go wrong; the energy can be hijacked by an over-emphasis on the arm muscles or the ‘Intent’ to punch. Don’t get me wrong, ‘Intent’ can be a good thing, but when it dominates your technique to such a degree that it becomes a hindrance this can cause all kinds of problems.

The building blocks to nagashizuki could be said to begin with junzuki, then on to junzuki-no-tsukomi and then to tobikomizuki and finally to nagashizuki. Lessons learned properly at each of those stages gives you all the information you need, but it is important to go back to those earlier lessons as well. Junzuki-no-tsukomi for its structure is the template for your nagashizuki, but not just for its static position, but how it is delivered through motion; it is an amplified version of things you learned in junzuki – it is junzuki with the volume turned up.

Nagashizuki is a good technique to pressure-test; from a straight punch (at any level) to a maegeri, even to a descending bokken; this is very useful because it emphasises the slipping/yielding side of the technique; a very determined extension of one half of the body is augmented by a very sharpened retraction of the other half, the movements feed off each other, but essentially they are One. In fact everything is One, in that wonderful Wado way. And here is the conundrum that we all have to face when doing Wado technique; you always have a huge agenda of items that make up one single technique BUT…. They all have to be done AS ONE.

Good luck

Tim Shaw

*I am reminded of a line from the 1987 movie ‘The Untouchables’, where the Sean Connery character says, “If he sends one of yours to the hospital, you send one of his to the morgue”.

Waza o Nusumu.

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‘Waza o Nusumu’ is a phrase I’d heard and read about some time ago; essentially it means ‘stealing technique’. It relates to an old style aspect of direct transmission of knowledge from Sensei to student. We know that verbal transmission or just telling students how techniques and principles work is not an efficient method of passing high levels of skill and knowledge on to future generations. We also know there are other models; for example in old style Budo teachers passed information to their students by having them ‘feel’ their technique, but even that is a flawed method.  How do we know if the student is really getting to the core of the technique, or is just mimicking the exterior feel of what they thought was going on?

Waza o Nusumu sounds subversive or even dishonest, but really the teacher is in cahoots with the student; he wants to present the technique to the student, perhaps in an oblique way, a hint here, a hint there, or even a quick demonstration to see if they have the ability to grasp it.

I am reminded of a Wado Sensei I know who wanted to explain Okuriashi foot movement to a junior student and so had a £5 note on the floor with a piece of cotton attached and told him if he could put his foot on it he could have it; every time the student tried to put his foot on it (with Okuriashi movement) the note was snatched away.

It also makes me think of Fagin in the musical ‘Oliver’, the scene where he encourages Oliver to steal the handkerchief dangling out of his pocket.

As mentioned earlier, all of this can fall apart if the student only grasps a part of the picture. It is entirely possible for the student to make the assumption that they’ve ‘got it’ when they haven’t, probably because they’ve projected an understanding on to it that is immature or underdeveloped; this is where the importance of ‘emptying your cup’ comes in.

Another side of this is that the student has really work at it to decode what they have ‘stolen’. There is significant value in this; partially because understanding with your head only is never enough, this is part of making the technique or principle your own. If you are to truly value it and ‘own’ it it has to come from your own sweat.

Tim Shaw