tallgeese

I'm of the opinion that it's become an art into itself. It has it's own goals, outlooks, and strtegies within itself. It has a specific training methodology and drills. It's draw upon other sources sure, but it has melded many skills into a cohesive workable unit. And it's is highly suitable for the enviornment for which it was designed (UFC type comps) and also highly adaptable for others (sd applications). Without going to deep into this, I'm voting an art. Or at least its developing in that direction.

It comes down to the value that one places on kata. To alot of ma-ist it's become archaic in light of modern teaching methods. To others, it's an interesting side note, something they want to have in their practice repitore but at the end of the day are concerned with very little. To each their own. I personally would never place value in a school due to kata or lack thereof, regardless of what purpose it was purported to serve.

The writing is the fun part. Wait till you're trying to sell it...

tonight- modified crossfit: 100 squats 10 pull ups 10 dips 75 squats 20 pull ups 20 dips 50 squats 30 pull ups 30 dips 25 squats 40 pull ups 40 dips 1 mile run good hard ab routine

This is true. Some people it seems to work for. Others not. There's just nothing to day to give us a good "why" answer.

None currently that have scientific validity to them. No.

Interesting....I could see this more than many of the other theories that I've heard regarding kata.

Agreed, some of the best places out there that I've run across never really advertised. There are a bunch of well trained groups out there working out of unorthodox locations. Like was said, keep asking around. Also, once you find a group, you'll be surprised to see how many informal groups often meet outside of a school. These clubs can often be a great source of training partners as well.

Today- 3 rounds, as continuous as possible, of: 4 min round shadow boxing, focus on head/torso movement 4 min round of abs 4 min round of push ups

Ok, now I do have to ask, michi. What is the focus of kata in Wado then? Seriously, again, I'm not a kata guy so fill me in. Most of the time I hear kata touted as a tool for sd instruction. What role does it fill in Wado?

I bet a training death is heck on business...

I don't make a point of concealing anything I do or know involving the ma's from anyone. I don't make a point of drawing attention to it either.

Yep, all kinds of variables come into play. The key is to articulate, and do it well, why you were reasonably in fear for your life. And it can't just be because "you" felt so. It has to be congruent with what a "reasonable person" would have felt as well. A reasonable person with all those same variable that you possess and/or were privy to. You can't over-articulate either. As for how many out of a hundred, I really can't say. It certainly varies based on your location, profession, etc. As for what bushido man was saying earlier- I agree, that control of the weapon, I think the example was a knife, is paramount in an armed encounter. Yes, the guy can still hurt you. But the likelyhood of a free, uncontrolled knife doing it is far higher.

I didn't go thru the entire thread but I'd have to see some reliable stats on the claims of the initial post. My gut tells me there's not that many espionage types out there in life or death hand to hand combat that often.

Then what's the point of gaining your own interpretations if he can't incorporate valid combative movements into his training? Personally, this is why I shy away from kata. It's too "what does this mean" kind of training. Find movements that work, set up drills to practice them against increasingly live opponents, use them. It's easier that way, and save a ton of time in prepping movements for use to my mind. Sorry, this last string took us a little off topic. Just my opinion.

Man, it was bad enough the first time around. I always hate seeing those movies because I can always identify more with the bad guys that the heroes...bummer.

Tough call. I want to give it to Couture on experiaence and outrageous skill. He's also shown us that his training camp is the best out there as far as altering his game to deal with different styles of fighters. It's hard not to bet on Lesner however, due to his sheer physicality and steller wrestling background. He's also shown over his past couple of fights that he's willing to work on things that aren't really in his inital skill set. If this continues he will be a contender for a long time. And, I hate to say it, eventually Couture's age will catch up to him. I think alot of it depends on how Couture approaches this fight. Is it another war he's expeecting, or is he just fufilling his contract with the UFC? All that said, I'm going with Couture.

today- 1 mile run crossfit (modified) 3 rounds of: 1 min max rep of each- dumbell swing with a press at the end sumo dead lift high pull box jumps push press lat row back/bis 2, 2 min rounds of knife work to cool down

Good second round for today- department night shoot: classroom on fighting at night, light discipline, use of shadows for approach, ect. live fire- trainng rounds on the line qualification string tactical course I love hitting the range.

Yes, randomization of one's conditioning program is a good thing. The ability to keep the body guessing is helpful in stimulationg improvment in cardio and strength. As for ma workouts, I think a certain level of randomness is useful in not gettin bored. However, on a nightly basis, I prefer a slightly more structured method. I usually try to work by time, so I'll start out working a basic series on the mitts say for a round. After that, I'll add maybe a kick defense to the start of it and a couple of more strikes. The third round it's the defense, the extended combo and maybe a tie up. The fourth will add the actual take down, ect. This way you constantly build reps into the newer material. You can talyor this method to just about anything. For joint position work, I start with a basic grab release, then build in the manipulation, then precursor it with a strike, then followup control. Get a couple of these series down on a couple of locks and t hen have the trainess randomly grab one another and let them work thru the sequences more "live". With this kind of thing, you build onto what you just did, so you rep the heck out of the core movements. Then, you teach them how natural follow ups should feel. You move thru all the principles of your art, thus, you teach them thsoe as well. It works pretty well. Now, for a random aspect, maybe something completely diffent the next time. But I think learning can better be accomplished by linking related movements together and teaching them in context than randomly assiging things.

Yup, pretty much right on. It's a variation I like. Anytime I can make a joint position tighter I will. Hence the locking down of the elbows. The movement away from the cross in 4 is precautionary. I always assume that the bad guy will continue the fight. That cross is the most likely candidate for a counter. Hence using your body turn and the estabilished joint position to shift his balance and interfear with his ability to perform the strike. I'll also tuck the chin to the away shoulder to minimize impact. Again, I'm always ready to bail if the movement goes south. Yes, control in 5 can bestabilshed via the pain of the break and the mechanics of the lock, usually to a prone out position, although this does take some shifting in grip obviously. Again, you can always move on if it dosen't work. For that matter, you can always move on if it does. Take the damage you cause his fingers, slide off and continue on up to another form of control. Always an option as well.

today- 8, 3 min rounds of mitt work (4 training, 4 holding) moving from double jab to combos with defenses. Heavy focus on defending today. Tie up at end. 20 min instructional, guard escapes, sweeps. 6, 3 min rounds of free roll, 30 sec. rest 1, 5 min round of free roll, naga rules from feet chest and tris

I think I've seen the movement, but I can't place it. Not to mention that my terminology is non-exsistant.

Ok, I'll preface this by admitting that I'm not much of a kata guy. However, I have had the chance to train with some exceptional kata people over the years and they've explained the whole "augmented block" thing this way: Most of the older forms used a closed fist as the augmenting hand apparently. This wasn't a block at all, nor even a "technique" it was merely a living anatomical text deliniating the lockation for a limb destruction to be delived, or in another case, a nerve strike to disable the arm. It was their assertion that most of kata, at least the old forms, was like this. That "anatomical textbook" theory made sense to me given some of the movments seen in older katas. Since I didn't persue it, I don't have much more to offer other than some examples shown to me to support this theory.

I haven't. But the idea of the family based art is really appealing to my historical side. If you find out more please post a link.