Class led by Sensai.
Worked on Fukyugata Ⅰ/Ⅱ and Naihanchi Shodan/Nidan
Bo finally made an appearance in Tuesday class this year. Also a new basic bo kata (I’ve referred to it as Kihon Bo Ⅰ since one never knows if there is another on the horizon.) This comes out of the Matsubayashi-ryu lineage as opposed to the don-yu-kon Ⅰ/Ⅱ kata which originate in Yamanni-ryu.
Class was led by Sensai. Focus was on stretching, basic attacks (uraken, shuto, haito) and basic footwork Ⅰ-Ⅲ . Also punching and blocking routines derived from Fyukugata Ⅰ.
In one drill, the attacker does a front kick with the right foot from kumite dachi, lands and punches kizame-zuki. The defender steps back blocks the kick with gedan-uchi and the punch with outside uchi-uke.
Continuing the theme, we worked on Fyukugata Ⅰ bunkai in groups of four, where one person performs the kata and the others rotate in and out acting as the attackers. This could be further changed by rotating in others to perform the kata, or having the defender and attacker switch roles in the middle of the bunkai.
Class tonight was a kind of state-of-the-state, with Sensai getting a handle on where everyone is in terms of their karate kata though Ananku. Some of his things I recall:
We performed Fukyugata Ⅰ two moves per count, and he asked how that changed the kata. There were lots of answers, none incorrect, but for my part, the thing I noticed was that it linked blocks and attacks in a more meaningful way. It created an attack/counter attack combination and changed the flow of the kata. He mentioned that something similar could be done with Fukyugata Ⅱ with three moves per count.
Despite all my practice out of class, I managed to mess up parts of both Pinan Nidan and Pinan Godan. I just kind of lost focus while Sensai was making comments to others regarding various techniques. Afterwards, when we were asked to select Pinan kata to work on independently, I chose these two. Later in class, Sensai commented on the transition from jodan-zuki to gedan shuto-uke in Pinan Nidan, saying that it simply flows from high to low. There is no need to chamber or stop in the middle.
Sensai complimented my turn from nukite-zuki to oi-zuki in Pinan Sandan. That’s something I feel like I still need to continue to work on, but it’s definintely nice to know that there is consistency, if not improvement there from someone else’s perspective. In addition to working on that, I need to work on a better jigotai-dachi in the following section of uraken. The reverse-punches should be delivered as a strike with a natural pull-back, which also places the forearm in a blocking position.
Seems I have been practicing Ananku incorrectly, at least by the count. The first count only has the down blocks in jigotai-dachi. These should come down hard. The second count is the front punch in zenkutsu-dachi. Beyond that, for the time being at least, I think my Ananku is coming along alright, just needs continued practice to gain confidence.
I still can’t quite believe that Sensai selected me to perform Pinan Shodan with Zack. To me that’s the highest compliment so far regarding my effort within and without the dojo. It also seems ironic (then again maybe not), since I often watch to learn from his kata. There’s no doubt that my karate has improved immeasurably from things I’ve managed to learn from him. The same holds true for Sempai, Lara and Jessan.
Sensai’s comment was that I need to breathe more. To that, I’d add relax, but then again, that’s something that has been said for the last 2½ years. It has improved though.
In the black-belt class we worked on Naihanchi Shodan and Nidan renzoku, and at our own pace. Performing by the count takes away from these kata in Sensai’s estimation. Later we broke out again into groups and worked on Pinan Shodan bunkai and performed kata of our choice (Naihanchi Sandan).
Finally, I worked on yakusoku kumite Ⅰ-Ⅴ with Sensai Clark. I need to remember to look at the opponents eyes throughout. Ⅳ ends with a kizame-zuki to the opponent’s chest. Ⅴ begins with a right outside uchi-uke while twisting the hips/feet to the left. The footwork does not slide out to naname zenkutsu-dachi however. The second move is to left to kosa-dachi while at the same time turning right to block the attacker’s kick with gedan-uchi. The third move can include a 180° turn or not, however both partners should perform it the same way.
Sensai reminded again to work on including a twisting motion in our blocks and punches to add power and snap to techniques in the kata. Particularly in gedan-uke and jodan-uke of Fukyugata Ⅰ. The gedan-uke should also include a twisting at the hips, since the block should start from the opposite shoulder and come across the body.
I’ve noticed that I need to work on getting more consistent about turning my hips 45° in (especially the first) kosa-dachi in Pinan Shodan.
Sensai also made several comments regarding Naihanchi Shodan. The first was to think of the morote-barai-uke in terms of cutting. It should also be as deep (in terms of distance from beginning to end, as well as away from the body) as possible.
Secondly, the rounded block needs twist to generate power since it only moves a short distance. Finally, the entire kata should be performed on one level.
Began working on Ananku with Zack. It’s shorter than I expected and most stances are zenkutsu-dachi.
Was asked to lead and count Kihon Kama Ⅰ. Good thing I’ve made it a point to practice kama a lot this year.
Strikes should be delivered from the shoulder or across the body.
After striking, the return to the chambered position should include a motion where the elbow pulls in toward the body – think about dislodging the blade from a body or staff.
In groups of three, we practiced the four main kicks.
Practiced one of Sensai’s dojo routines. The defensive side starts from kumite-dachi. When the attack comes, step back, bringing the left foot back to the right, while blocking Shukoken up with the left hand. Then stepping back, block down Shokoken again with the left hand. The next punch from the opponents right gets blocked down with the right hand and the following punch from the opponents left gets blocked again with the right hand using jodan-uke.
Next comes a front kick from the rear (right) foot followed by a right jodan-zuki and left chudan-zuki.
Worked on Fukyugata Ichi bunkai with Asa and Sempai Wands. Practiced Pinan Yondan and Godan, the second of which Sensai said was very good. Also worked on Naihanchi Sandan.
Worked on basics, especially:
zenkutsu-dachi turning 180 with downblocks and gyaku-zuki
kosa-dachi
hiji-ate jigotai-dachi
Worked on number one katas – Fukyugata, Pinan and Naihanchi. Pay attention to naihanchi-dachi. Should be like a side kick landing with the outside edge of the foot. Also the feet should be turned in slightly, not jigotai-dachi.
The creator of the Naihanchi katas is unknown, but it is believed that all three were originally one kata. At over 700 years old, they are the oldest kata in Matsubayashi Ryu.
Sensai reiterated using snap or twist, instead of more force or bigger motion, to add power to techniques. When executing punches or blocks, you should think in terms of driving the motion through the opponents attack.
While sparring with Sempai Wands, he suggested that I can improve my kaiten ushiro-geri by keeping my kicking foot closer to my plant foot, and kicking straight back.
Sempai led class this Monday of kata week. I’m glad I came since we’re supposed to get more snow tomorrow. Focus was on technique within the kata, and application of techniques in real world situations. I overheard him telling the previous class something along the lines of: “It’s better to perform one kata well than to learn many just to say you know them.”
Technique
While working on moving basics, we worked on rotating our hips to drive punches (kizame and gyaku-zuki) and blocks (chudan shuto-uke, gedan-uke).
I’m leaning forward too much with my gedan-uke, zenkustsu-dachi. I need to block from the shoulder while driving the block with my hips. Pushing my hips forward will help me maintain a more upright posture.
When performing oi-zuki, the punch should start at the same time you plant your forward foot.
Kata
Each of us selected and practiced one kata three times and then demonstrated and explained one particular part.
I chose Naihanchi Nidan, because it doesn’t take much space, and because I find it helpful for working on balance. From that, I singled out the two opening moves.
The first move, hazushi-uke, I think of in terms of an escape when being grabbed from behind. But that didn’t make much sense with the next move. Sempai pointed out that the second move (attack) could always be applied in the oppposite direction. I realized that I was thinking too narrowly. Zack, Sempai and I talked about it further after class. Sempai also said that the Naihanchi kata were designed to be performed in a circle, and that the blocks and attacks underscore Matsubayashi Ryu’s close-in fighting style.
At the end of class, Simon said that Fukyugata Ichi starts with an attack since you turn and move forward. Sempai agreed. I appreciate Simon’s eagerness to learn and participate in class. He doesn’t seem intimidated by inexperience.