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Shizentai
Green Belt
Joined: 01 Mar 2009
Posts: 417
Styles: karate
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 Posted: Thu Oct 05, 2017 1:40 pm Post subject: |
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| MatsuShinshii wrote: |
| sensei8 wrote: |
That's the shear beauty of applications for THAT MAist!!
Applications are not written in stone, nor are they meant to be. But it's so easy to accept that they actually are, and in that, they won't walk away from what they're taught for the act of convenience. It's easier to blindly follow than the status quo of what's being taught by whomever or whatever, than to seek their own truths in any application.
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I agree with your points. However I will say that the original appliactions, that which the Kata was created by are actually written in stone from the stand point that these are the basis of the art and the way it was transmitted down to students. |
This is very interesting, and a common belief. I find this idea that each kata has a specific bunkai which is "correct" or "true" or "original" or "traditional," is a notion entertained by many intermediate dans I've met over the years (2-5), but interestingly I have never met a single high-ranking member of the JKA who subscribes to this (to be fair, my sample size is only about 7 for the latter). The "traditional" of today is just the creativity of yesterday. Though it's easy to look in a book and see one demonstrated scenario, I'm certain any given master had/has a myriad in their arsenal both that they've learned from others and developed themselves. We are just many years later holding on to the small collection of records as if they were the be all and end all.
I'm with sensei8 on this one.
My opinion is that waza in katas and kihon have multiple applications because they were DESIGNED to have multiple applications. We practice a form for years to develop the coordinated movements that can be applied with small modifications into a myriad of scenarios. That is the point.
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Spartacus Maximus
Black Belt
Joined: 01 Jun 2014
Posts: 1902
Styles: Shorin ryu
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| Posted: Thu Oct 05, 2017 8:12 pm Post subject: |
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It makes more sense to consider principles rather than techniques. The reason for the tendency to limit applications is that by nature the mind must attach a label or a name to each movement. Just because a technique is called a “block”, it doesn’t mean that “block” is the only correct way to use it. A beginner may understand it better that way, but as one progresses one must try to look for the “principle” or main idea. From a single principle come many different techniques. Nothing is without meaning.
The hand on the hip is never just “a hand on the hip”. It is there for a reason, on of which is that there is probably something in it. Could be a grabbing pull. Another reason why is is done is to train using both limbs to strike. It makes use of the push-pull(antagonist muscles).
It increases the energy put into the strike instead of using only the strength of one hand or arm. Another important principle meant by this hand-on- the hip or “chambering” is that in all hand techniques the elbows must stay close to the sides leaving no gaps. This makes strikes more direct and much quicker and powerful than swinging. It also makes blocking and parrying easier while leaving less openings for the attacker to get through. |
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Alan Armstrong
Black Belt
Joined: 28 Feb 2016
Posts: 2468
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| Posted: Tue Oct 10, 2017 1:03 pm Post subject: |
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The hand/fist on the hip might look like something out dated or useless, to some.
With further investigation it has its uses and purposes as pointed out here by many experienced martial artists.
From my perspective, from what I've seen, students can develop a lazy hand syndrome, that just hangs to their side, that could be put to better use than doing nothing at all.
With the facing upward fist on the hip, then with a simple twist upward from the wrist, will tighten up the whole arm very easily, protecting it from a very hard strike.
There is a (hiden) strength to having the fist close to the side of the body, that can shoot out in a variety of ways from the hip, also passing through the center dantien area, which incorporates/focuses the entire body (mostly from the thrust of the hip and twist of the spine) in to the strike or block. |
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on the post.
