Karate

Karate and Self Protection from John Titchen

traditional

Karate Doesn’t Work!

“Karate Doesn’t Work!”

Heard it before?

How about “Tae Kwon Do doesn’t work”? “Wing Chun doesn’t work”? “Tai Chi doesn’t work”? “Aikido doesn’t work”? “BJJ doesn’t work?” “Traditional Martial Arts don’t work”?

You get the idea.

To me it’s akin to saying “Cars don’t work”. It’s a statement so broad that it’s nonsensical. Occasionally people might narrow it down, “BMWs are rubbish!” – okay… all BMWs? Rubbish for what? Is that what that particular model is designed for? Is it the car of the type of driver it attracts?

Returning to martial arts, the two biggest critiques that frame such broad condemnations tend to be the contexts of either use in MMA or Self Defence or both. Dig a little deeper and it quickly becomes obvious that in some respects these arguments are built on sand.

As many exponents of traditional martial arts are quick to point out, it’s very difficult to find any move in an MMA competition that isn’t visible in the forms or drills of a traditional martial art. It’s also easy to find people with solid TMA backgrounds successfully competing in MMA. I doubt anyone has ever been bored enough (sorry, dedicated enough), to draw up a spreadsheet of every move used in any decade of any particular multi-discipline combat sport competition against the syllabi and/or forms of a broad range of martial arts, but I believe that if they did they would find that most traditional systems include somewhere between 60-90% of what has been utilised. Not 100%? Well if you study any particular competitor you’ll find they don’t use 100% of the compiled list. In similar vein there are a number of things you’ll see in some TMA syllabi that you won’t see used in a competition format, but you might see on video in effective use by Law Enforcement groups that invest in Ju Jitsu or Aikido training.

The elephant in the room here is of course the word ‘include’. The kata of karate are a comprehensive catalogue of physical movements that can be interpreted into techniques and combinations. It’s therefore easy for someone to read one of my books, watch one of my videos, train internationally with me, or with any number of the excellent seminar instructors from the thriving British Karate scene, and look at something in MMA and say “Oh we have that too in Karate”.

But do you?

You’ve only ‘got it’ if you train it regularly with partners and you can use it in live practice. I can see lots of sequences in Karate forms that can be interpreted as hip throws, but I don’t personally teach hip throws. My training journey has led me to prefer distal unbalancing, leg reaping and unbalancing over the leg to hip throws – so those are the unbalancing methods I teach, all of which I can relate directly to sequences in traditional kata. When it comes to my students, we don’t ‘have’ hip throws even if some of the kata they practice do.

But efficacy is not just about techniques though, it’s the training methods employed that build the mindset and the ability to effectively use physical skills appropriately. The technical differences between martial arts are minimal because we’re all working with the same problem of human body against human body – that’s a broad canvas that can be viewed from multiple angles, but we’re still painting on the same canvas. It’s less a case of “Art X doesn’t work!” and more a case of “Training method Y is less efficient!”. It’s not just the car but whether you’ve been taught how to drive it in different conditions.

But can we separate pedagogy from ‘style’? If we’re all doing pretty much the same motions with our arms and legs, isn’t how something is taught the only way to determine differences and apply ‘style’ labels?

Well yes. And no. I don’t think it’s that simple.

I’ve been around the block a bit over the years. In my core original art I trained regularly in seven clubs across six associations before I gained my Shodan and in the decades since then I’ve not only taught multiple people from multiple styles and associations, I’ve trained with, learned from and talked with instructors and students from a huge range of arts and professions all across the world. One of the things I’ve learned from this is that ‘styles’ tend to be illusory branding because once you really scratch the surface you’ll find more commonalities than differences.  While some teaching practices are more common in some arts than others, or with some age groups than others, you are always doing a significant number of practitioners a disservice any time you attempt to pigeon hole any martial art by pedagogy.

Another thing about having ‘trained around’ for a long time is that whenever I see “ X doesn’t work!” I study the list of ‘reasons why X is bad’ and then the list of ‘why Y is better’ and strangely enough I’ve experienced multiple examples of clubs in Y doing what X is condemned for, and multiple clubs of X doing what Y is praised for.

Thus rather than write about ‘why Art X doesn’t work’ I think it’s more productive to write about techniques and training methodologies and the contexts in which they excel and why. That way we can avoid the obfuscation of stereotyping and pigeon holing and focus on ways to help each other improve.

Standing on the shoulders of giants: perspectives of karate training and practice

If I have seen further it is by standing on the shoulders of giants.

Isaac Newton, 1676.

Isaac Newton was not the first man to recognize that while he had achieved much, he owed it to those who had gone before him. In 1159 John of Salisbury wrote that

Bernard of Chartres used to compare us to [puny] dwarfs perched on the shoulders of giants. He pointed out that we see more and farther than our predecessors, not because we have keener vision or greater height, but because we are lifted up and borne aloft on their gigantic stature.

Today Isaac Newton is recognized as a great figure for his work in furthering our understanding of the laws of physics. His work paved the way for further research, discovery and refinement in diverse fields by other great scientists such as Albert Einstein and Stephen Hawking, some of which is known to (and partially understood) by laymen. The basic elements of Newton’s work are commonly taught in schools to children, and we owe a debt of gratitude not just to him but to the huge numbers of nameless teachers that have themselves gone no further for the majority of their academic careers, but stand teaching in his shadow and the shadow of his successors, creating the environment where others may climb on the shoulders of the giants, or grow to be giants themselves – whether standing on their own or on another’s shoulders.

There is nothing wrong with studying the work of Newton. It is a building block for later scientific research.

There does come a point however where studying Newton’s work becomes less a study of physics, and less about improving your knowledge of physics, than it becomes an exercise in historical research: a worthwhile and rewarding endeavour, but one of a different nature.

The world of Karate is filled with giants. It is an honour to stand in their shadow and teach what we believe they taught.

Those that do this perpetuate and further the art; they create an environment where others may grow to become giants or benefit from re-treading the steps of others. In some respects they are like the modern physics teachers in schools who give a good grounding in physics.

Both in the present and the past these karateka have created the environment where others can choose to follow the footsteps in the sand, and become great karateka teaching approximately the same material they learned, or stand on the shoulders of others.

Those karateka who choose to move on, to stand on the shoulders of others (to explore and develop other ideas gained through introspection or cross training), gain a different perspective. Through those differing perspectives and different pedagogies new karate styles have been born throughout the last century and will continue to be born in the future. This happens not because of an egotistical desire to create something new, but the very natural desire to pass on a personal perspective based on the lessons learned: it is why there is so much diversity not only in karate but in the martial arts as a whole. Those that have cross-trained know that the finer principles or ‘in depth study secrets’ of some arts are the bread and butter basics of others, taught immediately to beginners.

I am not saying that all those who have begun to teach new karate styles in the last century or more are giants, nor am I saying that those upon whom they built their study were giants: many of them are or were simply good karateka. They see differently because they stand on the shoulders of those that went before, rather than walk in the same footsteps. Like Einstein and Hawking they have the opportunity to go in a different direction because of the groundwork laid for them.

Karate is comprised of many different styles. My perspective is that different does not necessarily mean better, nor does it mean worse.

For me the descriptors of old, modern, classical, Okinawan, Japanese, western, practical or traditional do not equate to higher or lower standards, or greater or lesser worth.

Whatever our chosen karate discipline we may not all be giants, but we can all choose where we stand and what we wish to study, and we can all become better karateka.

Karate Uke, Blocks, and other Applications

What do we mean by block?

My old concise Oxford Dictionary offers 18 different meanings for ‘block’ as a noun and 6 for it as a verb, a number of which seem suited to the context in which the term is used in the martial arts:

  • an obstruction; anything preventing progress or normal working,
  • a blocking action,
  • put obstacles in the way of,
  • restrict the use of,
  • intercept with one’s body (American football).

It’s not a bad term, but one I suggest is still more limiting than the actual karate uke techniques themselves.

In a lot of martial arts that use Japanese language terminology when two people train together they may be referred to as Tori, the person that successfully ‘does’ the technique, and Uke, the person that receives the technique. For at least the last fourteen years I have used the word ‘receiver’ to translate the word ‘uke’ when it refers to a technique (such as Age Uke, Ude Uke, Uchi Uke) as I feel it allows for the broad range of things that the movements can be than the more commonly used term ‘block’.

When is an uke technique not an uke technique?

Most uke techniques are made up of a number of gross motor movements, often with some fine motor additions at the end. The opinion of what is and what isn’t an uke technique will vary from person to person. How much of the movement, and what part of the movement, has to be done before we can say “I used this uke technique”?

As an example, here are descriptions of two different uke techniques. I recognise that they will be taught differently from style to style and from association to association (and my version may well be viewed as heretical or incorrect by some), but I will describe them as I do them if I were doing Shotokan Karate kihon as Shotokan is one of the karate styles that I teach.

Right Arm Age Uke: the left arm extends palm open and down to the front at head height with the right hand fist closed palm up at the hip. The right hand (fist closed and palm facing upwards) moves diagonally across the body from right to left (outside to inside) to approximately shoulder height, supported by a partial turn of the right hip forward. The right arm then moves a small amount from the inside to the outside while continuing to push upwards, the forearm rotating so that the back of the hand now faces the head and the uppermost surface of the forearm is clear of the top of the head. The elbow of the right arm is lower than the fist and the angle of the forearm is diagonal rather than horizontal. This final movement is supported by a further turn of the right hip forward of the left. The hips turn fluidly throughout the movement and the movement of the right arm should be fluid throughout. As the right arm moves the left hand retracts sharply to the hip, closing to a fist and rotating to a palm up position. This can be done with supporting stepping motions.

Right Arm Ude Uke: the left arm extends palm open and down to the front at head height and the right arm is pulled back level with the head, its elbow at approximately shoulder height with the forearm at a vertical right angle to the upper arm and rotated so that the closed right fist faces away from the head. The right forearm then rotates so that the palm of the closed fist faces forwards and the right elbow drops down and forwards sweeping across the body from the outside towards the inside, supported by the right hip orientating forwards of the left. As the right arm reaches its end point (which would have been the centerline of the chest had the hips not turned) the forearm rotates so that the palm of the closed fist faces towards the practitioner. As the right arm moves the left hand retracts sharply to the hip, closing to a fist and rotating to a palm up position. This can be done with supporting stepping motions.

In basic training and in kata the prior extension of the ‘non blocking’ arm is common to the majority of uke techniques. As such if I just do that I would not describe myself as having done an uke technique, I see it as a setup movement, albeit a very important one in a lot of practical applications (as is its retraction). From a personal standpoint if I just do the diagonal upwards movement in one direction described in my version of Age Uke, whether the outside to inside part or the inside to outside reversal, I would not say “I have done Age Uke”, but if I did both I would describe it as an Age Uke. In similar vein although many years ago I was taught in Jiyu Kumite to move and rotate my arm a few inches from its kamae position from the outside to the inside and that movement was also ‘Ude Uke’, for me (and this is an opinion not a fact) it does not utilise enough of the movement to go by that name and I see it purely as a closed hand parry. As such I wouldn’t call an open or closed handed high outside to inside parry Gedan Barai, though if it is then followed by the arm sliding along and across the parried limb to strike the attacker with a hammerfist I would. If the same following outward movement went upwards rather than downwards then I would not be adverse to describing it as an Age Uke.

Flinching, parrying, swatting, patting, diverting and slipping and uke techniques

There are a number of different reactions we make to attacks. The tongue in cheek descriptor I use for the different umbrella aspects that govern the actions or reactions of the ‘defender’ is the FEAR of the defender: their focus, experience, attitude and reaction time – all measured or competing against the EASE of the attack (environment, attitude, speed and entry angle). In broad terms though what we do in response to an attack will depend upon whether or when we see it, how long we have to react to it and how much experience we have dealing with it along with what we’ve trained to do.

The fastest most natural proactive things we can do in response to an attack we have not pre-empted are simple gross motor actions. Patting or parrying from one side to the other, pushing up or swatting down, or slipping straight under. These are all natural movements that most people will do if they have enough time unless confused by being specifically told to do something else. Where training comes in is that a trained person will

  • spot the telegraphs of the attack sooner and begin to make appropriate movements,
  • have improved reaction time from regular exposure to the stimuli,
  • have superior supporting biomechanics to ensure a greater likelihood of success,
  • have a superior ability to follow (or convert) their swat/parry/push/pat/slip with an appropriate ‘shutting down’ movement or combination.

Depending on the style (and the student) there are often points in training (particularly in the first few years) where an untrained person will avoid being struck with greater success and ease than a trained person because they are carrying less mental baggage about what they should be doing in support of the movement and that is particularly true if a person is trying to utilise a ‘complete’ uke technique in the manner I described above (with Age Uke and Ude Uke as examples) against an unpredictable attack at speed.

While flinching is a natural movement (and can to a degree biomechanically overlap with some of the examples given above) it differs from them in that it is an unconscious reflexive response. We all flinch, but we do so unconsciously when we do not have time to access a conscious response to protect ourselves. How we flinch will depend on how far away the stimuli is when we spot it, how fast it is, where it is headed, and the position of our hands and arms at the time. If you spot a punch heading towards your face at the last minute and your hands are down by your waist, they may begin to come up as if to cover the head, and the spinal reflex will kick in turning you down and away, and the face will scrunch and the eyes shut, but you will still get hit. If your hands were already in front of your face then your arms would probably have covered the head and you wouldn’t have been hit. If there were more time the arms (or the nearest arm) would have extended to push the threat away. If there were more time than that then you would most likely have accessed a conscious response and your unconscious brain would not have taken over. We cannot modify the flinch. We can reduce its likelihood through training and learning to spot and act on telegraphs earlier. We can also (if we’re sensible) practice recovering from flinch-like positions so that if we do flinch we are immediately able to respond rather than fall victim to follow up attacks.

Karate uke and applications

Uke can be used and trained for a number of different purposes, some of which are more effective in different environments and under different degrees of pressure than others. So far as I’m concerned whether an application of an uke is right or wrong comes down to the Ronseal test: does it do what it says on the tin?

Stepping backwards with a full Age Uke and Ude Uke (as described above) against a prearranged long-range straight punching torso or chin attack at speed works. I can’t question that, I’ve seen it done hundreds of times and I’ve done it hundreds of times. I’ve not seen it work in other environments, and I’ve seen it fail in other environments, but that doesn’t matter if that’s not your training intention. If you can reliably apply it to do what you want it to do then it passes the Ronseal test for you.

Uke make up the majority of karate kata techniques. It is my opinion (and this isn’t a new view by any means, it has been common in the karate world for a very long time) that they were not designed to be used against karate (or other MA) attacks in the manner in which they are generally trained in a number of karate systems, though that does not detract from their ability in such to bestow a number of positive combative and fitness benefits in the process.

I view uke techniques as ‘receiver’ techniques, they receive the other person’s attack. This means that they deflect, they intercept, they strike (potentially pre-emptively), they unbalance, they manipulate, they trap and they can even control.

In his ten precepts Anko Itosu wrote of Karate as being designed to defend oneself against a ruffian rather than engaging in challenge matches. As such in my own training I have chosen to orientate my study and application of uke techniques towards habitual acts of violence (HAOV). The recreation of HAOV in training and in the simulation of force on force individual and multiple person realistic self defence scenarios is something for which I am probably better known internationally than my karate articles and books. I consider myself very fortunate to have had a number of highly experienced martial artists from a broad range of martial arts disciplines as well as LEOs, military and security personnel, watch or participate in the training that I have run in this regard and endorse it. The applications I teach for uke techniques stem from the observations of what happens (and what works) in this form of training in addition to over a decade of the study of violent crime and associated supporting disciplines. Photographs for clarity of explanation in books and articles will illustrate my applications in a very static form (because they are for people learning the drills), but they are designed to be trained in the manner I describe here with progressive resistance, speed and unpredictability. Ultimately I believe in their effectiveness for self defence and would like to see those who learn them try them in situations such as illustrated in my training in the following video.

 

I’ve previously discussed the case for elements of grappling in karate in Volume Two of the Pinan Flow System and I know that the conclusions I drew there are not unique. Karate is not purely a striking approach, nor is it purely a grappling approach, it is an approach that is orientated predominantly towards striking and striking is its preferred approach. To do this effectively against HAOV by necessity it contains techniques that are designed to navigate and extricate from the common ‘non percussive’ elements of fighting (such as grabbing and pulling, holding, barging, tackling attempted leg take downs etc) in order to strike, flee or control. In self defence situations the vast majority of conflict occurs at extremely close range and grabbing, clinching, pushing, barging and tackling are extremely common responses – even (and especially) amongst highly trained martial artists who have focused their training on maintaining distance. Long range stepping and attacking tend to occur most often when chasing a retreating person that has not been held, or on joining ‘another’ struggle to help a friend after dealing with an aggressor in a multiple person situation.

In my scenario simulations various patterns of behaviour emerge. I’m not referring to the HAOV of the role-playing aggressors, or the adrenal reactions of the surprised trainees who suddenly find themselves attacked while trying to defuse an argument, but in the patterns that successful counter tactics form.   As part of the training the scenarios are videoed and the footage examined frame by frame to give feedback. What is consistently visible in the footage is that successful navigation and extraction of participants from the close quarter fighting comes through movements and stances that more closely resemble the strategies that are shown in karate kata, even amongst those participants who have no martial arts experience. In fact if I were to edit out the attacker from the video so that it appeared as if the defender were fighting thin air, then the resulting movements would look more akin to a kata than anything else seen in the martial arts. Those that have specifically trained to use the kata against HAOV on a regular basis do exceptionally well in such scenario training by using the kata practically. This pattern of both striking and ‘grappling’ (or anti-grappling if you prefer) on the part of both attacker and defender, and the resulting kata mirror, makes a further convincing case for both the need and presence of grappling and throwing in karate kata.

One of the most noticeable elements of karate kata is the relative paucity of ‘obvious’ striking techniques. In terms of overall quantity the majority of the kata are made up of uke receiving techniques combined with hikite pulling motions (and in some systems preparatory extended arm thrusting motions), then we have ‘obvious’ open and close handed thrusting / punching / striking motions and finally we have the emphasised kneeing or kicking techniques.

The idea that uke techniques are only ‘blocks’ and that their predominance in kata reflects the defensive nature of karate should be rejected for a number of reasons. Firstly, deflecting and blocking attacks is a largely instinctive action that does not require specialised movement, though as I outlined above training to deflect and parry attacks is not a waste of time. If you observe anyone shielding themselves against a committed attack outside of set prearranged sparring combinations, you will see them cover, parry, slap, duck or flinch (or any combination of those), and any time you see anything resembling part of a fixed uke technique it will be because the uke technique itself mimics natural movement. Secondly the best form of defence is offence, and that principle has been enshrined in martial writings across many cultures for centuries. A committed attack is not stopped by continuous deflection but by pattern disrupting behaviour that forces reaction and reorientation. Thirdly it is unlikely to be a coincidence that uke techniques function extremely well as striking, unbalancing, trapping and limb (and head) manipulation movements in stand up grappling. Finally it is incongruous that the majority of the movements being drilled in kata should be devoted to anything other than navigating the most common problems posed by violent incidents.

The requirement of good training to address the most common problems takes us back to the weighting of movements in the kata. When I look at the footage of the skilled and unskilled martial artists working to extricate themselves from close quarter force on force violent confrontations in the hundreds of scenario training simulations that I have run (whether on their own against a single assailant, against a group, or part of the chaos of multiple groups of people in an argument that has escalated to physical violence) the weighting of techniques and time is as follows in order of frequency:

  • moving and manipulating others to gain a position from which to strike, control or escape (predominantly extracting oneself from multiple punches, grabs, high tackles and clinches),
  • striking with the forearms, elbows or hands,
  • kneeing,
  • kicking with the foot.

This distribution of movement mirrors the emphasis on techniques in the majority of karate kata, especially with the ability of most uke techniques to function as short close range strikes (often using the forearm) as well as stand up grappling (or grappling avoidance and escape) movements.

My approach to and interpretation of the application of uke techniques is neither new nor unique, and it is not the only valid approach. From my perspective though it is one that is underwritten by textual evidence from past generations of karateka and their antecedents, is orientated towards the purpose of karate as described by Anko Itosu, fits the uncomfortable realities of civilian self defence (as shown by CCTV footage, years of hospital emergency room data, decades of consistent violent crime surveys and reports, and accompanying psychological and physiological research into human behaviour), and is supported by the fact that entire uke techniques and indeed entire kata sequences can be applied realistically under pressure with other techniques (from the same kata) acting as effective redundancies in the event of less than optimal performance. A few photos in isolation (and possibly out of context without explanation) or a short video of a single application cannot convey its holistic integrity, appropriateness or effectiveness.   If you really want to understand or judge my approach then you need to train with me.