Appraising Kata.

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Re. Wado Kata performances on YouTube or forums, be they competition honed kata or personal kata movies. Comments are invited, but I really don’t understand what people want these comments to say?
Competition kata is… a performance, practiced to comply with a set of criteria so that one kata can be compared to another and clearly people look at examples of the kata online and match it off against their own personal expectations.

No kata is ‘perfect’, but if we notice flaws in the kata through the imperfect medium of video what kinds of flaws are we looking for?

Some people get all hung up on ‘a foot position there’ and ‘hand position elsewhere’ yet fail to see the bigger picture. I guess people will disagree with me here, but surely the bigger picture is the method of actually moving – and I don’t mean how fast or strong a technique is delivered; that would be a bonus – if the techniques are performed with the refined principles of Wado AND have celerity, energy and intent, yes that is probably going to be a damn good kata.

Surely we have come a long way from ‘harder, faster stronger’? Wado is a complex system – by that I mean ‘complex’ not complicated; there is a difference. One move, like Junzuki, can contain many complexities, while 36 kumite gata can become complicated – but not insurmountably so.

For me the curse of kata appraisal is what I call the ‘picture book approach’. In that some people judge the kata in a kind of ‘freeze frame’ of the end position of any individual move, taking that frozen image and judging it just by its shape. This method of judgement is really low on the evolutionary ladder. Since the 1960’s Wado has evolved significantly and students and instructors have access to a far greater level of understanding than they had fifty years ago, except of course for those areas where people have clearly opted for a policy of arrested development.

Then there is Observer Bias:
“Observer bias is the tendency to see what we expect to see, or what we want to see. When a researcher studies a certain group, they usually come to an experiment with prior knowledge and subjective feelings about the group being studied.”

People see what they want to see, because they are uncomfortable with anything that interrupts or contradicts their current world view – it’s human nature. Thus, when we feel a need to say whether this approach to kata is superior to that approach, maybe it’s just an expression of our own bias; we focus on those things that either comply with our world view, or don’t.

Judging by comments of forums regarding Wado kata, it also tends to bring about a worrying tendency towards tribalism. I fully understand this, and I am sure that at times I have also felt the knee-jerk inclination towards my own tribal instincts, but I try my best to keep these in check. However, as long as we recognise this for what it is, without the need to call it out, then it will hopefully wither on the vine and conversations will remain civilised and polite.

Then there comes the argument; is there such a thing as a bad kata? I would say; yes there is.

Some say that as long as they stay within a particular bandwidth that represents an acceptable understanding of Wado then that’s fine. But that’s just a fudge – exactly how wide is this bandwidth?

Is the bandwidth just about shapes? From my understanding Otsuka Sensei established some very sound guidelines and sent his best students out into the world with the responsibility to pass on these essential guidelines and although it may have been part of it, shape-making was not the main priority on the list.

Tim Shaw

Wado in the Netherlands.

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A shout out to one of the nicest Dojos I have ever had the privilege to teach and train in.

Kenkokai Dojo in the Netherlands is situated 14 miles south of Amsterdam and 6 miles outside of Hilversum. It is the personal project and newly formed business of Martijn Schelen, who is an instructor both with Shikukai and the Dutch organisation the KBN.

When I first visited there in May of this year what struck me was the amount of care that had been taken to create the right feel. Martijn explained to me that he was particularly careful to utilise aspects of traditional Dojo design supported by ideas of Fusui, which is the Japanese version of Feng Shui, where the orientation of the Dojo is in harmony with directions and elements. To my mind this created a positive vibe that worked within the space. Inevitably the Kamidana was the main focus of the room, Martijn had designed this in a way that was personal to him and it remained tasteful and not overblown, as sometimes can be the case when people just try too hard. ‘Less is more’ was probably not a quote of Japanese origin, but it should have been.

The Dojo space is perfect in size for manageable classes. What was noticeable this time round was that I never had to raise my voice; the acoustics were ideal. The air circulated freely and sunlight was able to spill across the Dojo floor. Really, unless you were in some ancient revered location in Kyoto, you couldn’t get a more photogenic set-up (I hope the photos will prove my point for me).

This was the second time Martijn had invited me over for a course in this particular Dojo; I had been over before either on my own or assisting Sugasawa Sensei, but this was organised differently; numbers were limited to 20, which was ideal, as it meant I could work easily with everyone in the room and we could really get into things. What was really enjoyable was that it allowed information to flow in both directions; I learned so much from the lines of questioning; obviously people felt comfortable asking questions and exploring different possibilities. There were three sessions organised over the weekend and we were able to build upon the previous themes and look at Henka waza exploring many of the varied possibilities found within Wado (well, at least that was my intention). Another attribute that dawned on me over the weekend – I noticed lots of smiles…. it goes without saying that this has to be a positive thing in training.

The course was not confined to the Dutch; Wadoka had shown up from the Czech Republic, Belgium and the UK which gave a real international flavour.

Of course the weekend wasn’t all work and no play. Saturday evening out in Hilversum, perfect for good food and good company.

If anyone reading this finds themselves in this part of the world contact Martijn and drop in for training. It’s not just about the location and the Dojo, Martijn is genuinely one of the most knowledgeable Wado instructors you will ever come across and one of the nicest people in the world of Wado.

Warm down with dimmed lights.
Instructor Martijn Schelen in his home Dojo.

Karate classes:
Monday, 16:00 – 17:00 children, 19:30 – 21:00 adults.
Wednesday, 16:00 – 17:00 children, 18:00 – 19:00 teenagers, 19:30 – 21:30 seniors.
Saturday, 8:30 – 10:00 karate, all groups.

Martijn also runs classes in, Do-In Yoga, Critical Alignment Yoga, Corestability and medical fitness

Days and times are Monday 16.00 – 21.00, Wednesday 16.00 – 21.30 and Saturday 8.30 – 11.00

Dojo address: Vogelkersberg 5E, 3755 BN Eemnes

Email:  info@kenkokai.nl

Phone number +31641977773

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

Different ways of looking at building skills.

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Tiger Woods & Roger Federer.

As a follow on to my 10,000 hours post
in which I looked at the amount of time and effort needed to build a high level of expertise, I came across an article which set out an interesting addition to the debate; something I hadn’t really thought about.

The article was headed, ‘Generalise, don’t specialise: why focusing too narrowly is bad for us’ and was a condensed version of a larger work by David Epstein.

Epstein set up two very different examples by giving the back story of two of this century’s most stellar sportsmen; Tiger Woods and Roger Federer. Essentially this was the story of ‘push’ and ‘pull’.

Tiger Woods was famously hothoused by his ambitious father; while Roger Federer, as a youngster, was given the freedom to access all kinds of sports and generally ball-based activities.

Woods was an example of hyperspecialisation, he was ‘pushed’ while Federer was risking what’s sometimes categorised being a ‘late developer’ and frowned upon by the establishments in whose interests it is to keep this mythology alive – for, as the article shows, it is a myth that a single focus specialisation is the only way to achieve success. Hence Federer was ‘pulled’ by the opportunities and enjoyment of tennis.

Epstein was able to draw upon multiple examples where athletes bounced from one sport to another before crucially moving into their specialised field. Federer was able to draw upon a broad base of physical skills to enhance his approach to tennis; his mother was a tennis coach and she found herself having to resist the urge to check his unorthodox approach to specific techniques and problems found within a tennis match; he was liberated from ‘textbook tennis’ and as such was allowed to flourish. Federer’s mother was worried that her son was becoming too obsessed with tennis. I couldn’t imagine that Tiger’s father Earl would have thought such a thing about his son.

Specialisation has a number of negative aspects, Epstein said, “I came across more and more evidence that it takes time to develop personal and professional range – and that there are benefits to doing so. I discovered research showing that highly credentialed experts can become so narrow-minded that they actually get worse with experience, even while becoming more confident (a dangerous combination).”

Epstein’s conclusions were that although the generalised approach appears slower it has a greater shelf life than the specialising approach.

To give the other slant to this argument – very much drawing on the ‘mastery takes 10,000 hours of practice’ – read Matthew Syed’s book ‘Bounce’. Or read this neat summary by Paul Arnold, here.

As a postscript (and returning this back to being about martial arts) I wouldn’t be in a rush to go running around randomly ‘cross-training’ with other sports or other martial arts, particularly if you are at a point where you have clearly decided what your life’s focus will be.

I always think about a story of two men prospecting for gold. One just runs around digging lots of little shallow holes hoping to strike it lucky; the other does his research, locates his prime spot and invests time and money and digs one shaft really deep.

As I am a big fan of metaphors and also enjoy when the essence of one metaphor contradicts or reinforces another. On this theme, and to maybe complicate things, I would add one more; a quote from Thomas Merton.

“People may spend their whole lives climbing the ladder of success, only to find, once they reach the top, that the ladder is leaning against the wrong wall”.

*Recommended reading: ‘Range – why generalists triumph in a specialized world’, David Epstein.

Tim Shaw

 

Successful Shikukai Karate Training/Competition and Grading.

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Shikukai Karate – Do International was founded F Sugasawa Sensei, its chief instructor. It now has a nucleus of clubs run by dedicated instructors under his guidance. Saturday 6th July saw many of the instructors coming together in Essex to train the children as one group. 

   

It was a real honour for us to have Sugasawa Sensei oversee the day. The children behaved impeccably and were so respectful in all that they said and did. It was amazing to see children from the different clubs working and training together as one.

 

The day began with a joint Kata training session where different instructors worked with the children on their chosen Kata.

This was followed by a competition, which involved some of our youngest Karateka taking part for the very first time.

The results of the Kata Competition were:

Pinan Shodan:   Gold         Jenny Clarke  Woodham Walter

                          Silver       Nate Ogier     Hertford

                          Bronze    Charlie Ogier  Hertford

Pinan Sandan: 

                          Gold        Aidan Everitt  Woodham Walter

                          Silver       Holly Stallard Woodham Walter

                          Bronze    Luca Riedling Woodham Walter

Pinan Nidan:   

                          Gold          Oliver Cornwell     Woodham Walter

                          Silver        Taylor  Perrin         Woodham Walter

                          Bronze     Madeline Hardey  Hertford

Kihon Kata:      

                          Gold             Christopher Coates-Jones   Woodham Walter

                          Silver            Katie Taylor                           Woodham Walter

                          Bronze         Aiofa Riedling                        Woodham Walter

                          Bronze         William Dines                        Woodham Walter

 

The day culminated in a grading session for children from 9th  Kyu to 5th Kyu.

Again, the children were commended for their positive attitude.

A day of real teamwork. A credit to the instructors and Karateka of Shikukai.

Sue Dodd

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

 

Rear View Mirror.

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You can’t take your life forward if you are continually looking in the rear view mirror.

Writer and public speaker Eckhart Tolle advocates the idea of ‘living in the now’, it’s nothing new; deep down everyone knows that your individual personal past is a history that has gone, never to be replayed, and that your future is fiction yet to be written. We know this yet seldom stop to dwell on it. Really, all we can connect with is our current ‘now’; what some call ‘living in the moment’.

At one level Tolle sees the past as baggage and a burden we should try to shed, because much of it just drags us down. Tolle’s views are a little too extreme for me – there is value in the past because it is accumulated knowledge and lessons learned (in some cases not to be repeated). Projections into the future about what might happen can be a whole big waste of psychic energy; but these projections have their uses; we do need to consider our future and project forward as a kind of directional map as well as giving us meaningful targets – although ‘directions’ can have greater flexibility than targets and are better at coping with the problems of unrealistic objectives and the associated disappointments.

Somebody once said to me that your attitude changes once it dawns on you that you have more past behind you than future in front of you; which can be a really sobering and depressing thought.

Personally I try my best to avoid the rear view mirror. I don’t just mean in life in general but also my approach to my training in Wado. This is not particularly about my teaching in the Dojo, (I know that changes constantly and I’m happy with that), but about my own personal practice, technical development and understanding.

I recently looked at some old film of me practicing kata when I was in my mid 20’s and I came to the conclusion that I had no desire to work in that way ever again – it contradicted everything I now know.

I think that all martial artists who have accumulated a lot of mileage in their training and still have some fuel in the tank should be in a constant state of moving forwards; of reviewing and building on their accumulated experience and certainly not harping on about the past.

For additional thoughts; here is link to a poem by Brenda Shaughnessy called, ‘I Have a Time Machine’.

https://www.poetryfoundation.org/poems/91496/i-have-a-time-machine

“The past is always tense, the future perfect”.
Zadie Smith.

Tim Shaw