Continuing Steps in Karate

How can we know that the kata we are learning is the original form? One of the things that we are told - often unsolicited - is that we should do kata exactly as we have been taught, because 'the old masters knew what they were doing' or 'we will lose the meaning of the kata if we do'. Leaving those two very leading assumptions aside (for now), implied in that is that the kata have been unchanged as they have been taught and handed down from generation to generation. But is that actually true? There is no denying that each kata had, at some stage, a starting point where someone (or someones) created it. At that point in time, there was indeed, only one version of the kata and it was undoubtedly the correct one. But who created it, when and for what purpose, is often difficult to determine. For some kata such as tensho, the gekisai and pinan kata, we do know who created them, when and have at least some recorded information about their intended purpose. So surely, th

Every so often I tape myself doing kata so I can review if what I think I'm doing is what I'm actually doing. Here's one I did a couple of weeks ag, and as usual, there were a few things I thought I was doing and wasn't, as well as a couple of things I didn't think I was doing, but was. But, since that was the point of the video, that's ok. One interesting point about this run-through was the difference in being able to freely move between stances on the soft, springy grass compared to the dojo floor - an excellent reminder to me to keep practising on different surfaces and with different footwear, as aspects of my normal footwork needed to be adapted for the grass. It is well worth making semi-regular videos to review progress and form; not to mention it makes for interesting and educational viewing when there are multiple years of videos to look back over. I have, for instance, videos of myself doing sanseru kata from 2010, 2015 and 2020, and whi

I have spent entirely too much time on the internet over the last 20-odd years, and entirely too much of that time on martial arts discussion boards.  Starting with e-budo.com back in the late 90s, I must have been either a member or regular lurker of all of the major forums and some of the not-so-major ones too.  Now, I still check out a couple of forums regularly (mostly Martialartsplanet.com), but most of my online martial arts fix comes from facebook where I'm a member of 8 different, active groups.  Funnily enough, some topics just keep coming up again and again and again and again.  Probably because one of the not-so-great things about the internet is that many people like to talk and don't actually listen to the other side; spouting off is more important (my view on that is that if you want to pontificate, don't do it in a forum, create your own blog to do it in! Forums should  be for exchanging ideas and holding conversations - not that they ever have been used that

Following on from the previous post regarding the dual nature of uke-waza, most beginning and intermediate students find it possible to stop or at least weaken the strength of an attack, although this may not always be consistently possible.  What they do find very difficult to do with any reasonable probability of success is also weaken or off-balance the opponent at the same time. From trying to teach students how to effectively perform and use uke-waza over the last few years I feel two of the major reasons are the shape  of the arm and the direction  of movement. Shape Most beginners and intermediate students, in my experience, hold their arms too compactly.  Their elbow is too close to the body, and the forearm is held at about 90 degrees to the upper arm.  This shape is easy to collapse when force is applied to it, and the lats and shoulder girdle are not activated, meaning that it is only the strength of the arm muscles that can be applied.  The feeling is of 'pul

For the last 7 years I have been attempting to 'translate' Ohtsuka Tadahiko's book "Goju Kensha Karatedo Kyohan", as he is the founder of the particular tradition I am in.  As far as I am aware, it has not been translated before into English, so this is the only way I can read it. I don't speak Japanese, but with a combination of Google Translate, Wiktionary, knowledge of the martial arts and its terminology, youtube videos to teach myself the basics of japanese grammar, and using duolingo to start to get used to the language, I have made a slow, intermittent attempt at turning 1970s technical Japanese into something vaguely comprehensible in the English language.   The original kyohan was published as a series of 13 booklets in the 1970s and then collated in a single volume in the late 1970s.  It was reprinted in 2009 with additional notes on the Bubishi and with the thirteenth booklet replaced with material on shorin-ryu kata from Higa Yuchoku (with