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.
*Photo credit, Pelham Books Ltd, ‘Karate-Do’, Tatsuo Suzuki 1967.
‘Never rely on autopilot, it will always let you down’. In kata training I am always saying this to students; particularly when preparing for grading of competition.
Autopilot in kata is just switching your brain off and letting your body take over and rattling through the moves at top speed. Most of the time you will get through the kata okay, but at what cost? Mindful practice is infinitely more valuable. But all too often autopilot will stall or glitch and then all the wheels will come off. The more kata you know the more it is liable to happen. Many of you will know what can go wrong part way in to Kushanku kata… everything was going well then suddenly you have missed out four shuto uke and slipped into Pinan Yondan!
That is one type of autopilot error. The other one affects the more senior experienced karateka. This is the one where you let your body take over assuming that all the moves are spot-on perfect, even at full throttle! It may not be the case. If you do that be wary of what audience you are putting it in front of. A knowledgeable audience will see all your weaknesses. If you are a senior Dan grade always give the same scrutiny to your own techniques that you give to your students; don’t assume you are getting it right.
There is another aspect that connects with the physical understanding and performance of kata and that is the question; is it possible to depart from the kata while still staying with the kata? Sounds like a contradiction but it’s not; it all depends on how you use the kata. It is possible to go so far into the kata that you come out the other side. The second grandmaster of Wado Ryu gave some methods of departing from the kata while still holding on to its integrity. He had two methods of free-forming within the kata, but to do this demanded supreme confidence and knowledge of the character of the kata. It reminded me of something I had heard which was common to the creative Arts (visual and performing), the concept was; ‘Once you know the rules inside out and every which way, then you are allowed to break them’. This is the same with painters as it is with musicians. Jazz trumpeter Miles Davis famously said, “It’s not the note you play that’s the wrong note – it’s the note you play afterwards that makes it right or wrong”. This example from jazz fits really well with the second grandmaster’s approach to aspects of kata.
What information is your body giving you? Are you truly your own best critic?
When we are desperately trying to improve our technique we tend to rely on instruction and then practice augmented by helpful feedback, usually from our Sensei.
But perhaps there are other ways to gain even better quality feedback and perhaps ‘feedback’ is not as simple as it first appears.
If we were to just look at it from the area of kata performance; if you are fortunate enough to have mirrors in your training space (as we do at Shikukai Chelmsford) then reviewing your technique in a mirror can be really helpful. But there are some down sides. One is that I am certain when we use the mirror we do a lot of self-editing, we choose to see what we want to see; viewpoint angle etc.
The other down-side is that we externalise the kata, instead of internalising it. When referring to a mirror we are projecting ourselves and observing the projection; this creates a tiny but significant reality gap. It is possible that in reviewing the information we get from the mirror we get useful information about our external form (our ability to make shapes, or our speed – or lack of speed.) but we lose sight of our internal connections, such as our lines of tension, connectivity and relays. We shift our focus away from the inner feel of what we are doing at the expense of a particular kind of visual aesthetic.
You can test this for yourself: take a small section of a kata, perform the section once normally (observe yourself in a mirror if you like) then do the same section with your eyes closed. If you are in tune with your body you will find the difference quite shocking.
Another product of this ‘externalising’ in kata worth examining is how easy it is to rely on visual external cues to keep you on track throughout the performance; usually this is about orientation. I will give an example from Pinan Nidan: if I tell myself that near the beginning of the kata is a run of three Jodan Nagashi Uke and near the end a similar run of three techniques but this time Junzuki AND that on the first run of three I am always going towards the Kamidana, but on the second run of three I will be heading in the direction of the Dojo door, I come to rely almost entirely on these landmarks for orientation, thus I have gone too deeply into externalising my kata; it happens in a landscape instead of in my body. Where this can seriously mess you up is if you have to perform in a high pressure environment (e.g. contest, grading or demonstration) your familiar ‘landscape’ that you relied heavily upon has disappeared, only to be replaced by a very different, often much harsher landscape, one frequently inhabited by a much more critical audience. A partial antidote to this is to always try and face different directions in your home Dojo; but really this is just a sticking plaster.
Another quirky odd anomaly I have discovered when working in a Dojo with mirrors is that during sparring I sometimes find myself using the mirror to gain an almost split-screen stereoscopic view of what my opponent is up to, tiny visual clues coming from a different viewpoint, but it’s dangerous splitting your attention like that and on more than one occasion I have been caught out, so much so that I now try and stay with my back to the mirror when fighting.
Another visual feedback method is video. This can be helpful in kata and individual kihon. In kihon try filming two students side by side to compare their technical differences or similarities. If you have the set-up you could film techniques from above (flaws in Nagashizuki show up particularly well).
There are some subtle and profound issues surrounding this idea of ‘internalising’ ‘externalising’, some of it to do with the origin of movement and the direction (and state) of the mind, but short blog posts like this are perhaps not the place for exploring these issues – the real place for exploring them is in your body.
More technical stuff.
Because you have to start somewhere, all of us use form as a framework to hang our stuff on. By form I mean, end position, making a shape, a posture, an attitude usually based around a stance, that kind of thing. This becomes our go-to teaching/learning aid. My argument is that we fixate far too much on that aspect of our training. Yes, it’s really important and can’t be by-passed, but to some it becomes an end in itself. It becomes a crucial moment of fixation working a bit like the full stop at the end of a sentence. Of course this is reinforced by a picture book mentality; where that end posture is used to judge quality, as you used to find in karate books that show kata, kihon or kumite. I have written before about the idea that some people think that the posture alone is enough to judge how good a person’s technique is – well, usually that and how much ‘bang’ they can give it. I find this really difficult to accept; surely we have moved on from this rather low branch in our evolutionary development?
Fixation points can be very dangerous; and habitually programming them into your nervous system is not what you should be doing as a martial artist. When the mind becomes fixated energy and intention stagnate and become momentarily stuck.
Don’t confuse this with pauses – I know this may sound counter-intuitive, but ‘pauses’ can be used as part of the necessity to manipulate the tempo and rhythm of an encounter, e.g. to create a vacuum to allow your opponent to fall into (another blog post perhaps).
Look for things that ‘happen’ on the way to something else. By that I mean; for example, watch an expert in motion and try and identify when the engagement first happens. If it’s of a high quality it will cause an effect on the other party; it may even cause his mind to fixate; a crude example would be an initial shin kick, or a distracting inner sweep; but it may well be something much more subtle and it won’t always happen on initial contact.
I can think of some very interesting manoeuvres in Wado where the atemi-waza occurs seemingly between moves. By this I mean, many of us too easily buy into the idea that a technique (be it hit or block) happens at the moment your ‘stance’ arrives; it doesn’t have to be this way. There is a time-line between moves, and that time-line has opportunities that relate to how your body is positioned in relationship to your opponent; it might be angle, it might be distance, or a combination of both, but you have an opportunity to do your stuff while on your way to your primary objective. All of this is the opposite of ‘fixation’. A mind frozen or fixated on a block or strike dies at that point; the engine has stalled and there’s nothing left but to throw away crucial time, slip into neutral and turn the ignition key again.
During sparring try and take a tally of how many times opportunities occurred and yet you were unable to capitalise on them. Often this reveals a number of weaknesses; one example being an overreaction to the threat of your opponent’s technique, but another is when you become fixated on what you are going to do, or have just done. Against a poor opponent you will get away with it, but against someone good your frozen nano-second will supply an excellent window of opportunity for your opponent.
And there’s another thing; don’t wait for the opponent to supply you with the big window of opportunity, slot into the smaller windows; be like a key in a lock.