Kusotare

I think the answer you are looking for is one word - Budō (武道). 'Bu' in this respect means martial or of military. 'dō' means 'way' (in very simplistic terms). The term 'dō' is a Japanese translation (or iteration) of the Chinese 'Tao' Don Dreager writes about it as follows: 'Tao, according to both the Lao-tzu and Chuang-tzu, is nameless and unnameable, a unitary "that" from which all else springs. Such is the orthodox Taoist view. The Japanese, however, less inclined than the Chinese to abstract speculations about an "otherwordly" life, and favoring a pragmatic outlook, took the Tao - Do in Japanese - to be a more realistic concept, one that was applicable to man in his social relationships. They preferred the Confucian interpretation of the Tao as a nameable, named and multiple concept that nevertheless transcends both nature and man. The basis for what the Japanese call do or michi "way", lies in these ancient concepts of the Tao carried to Japan from China. Whatever the original meanings for the Chinese, they were modified both by native Japanese beliefs like Shinto and by the social and political requirements of the ruling elite... the do is not a religion in itself... The essentially nonreligious outlook of the Japanese people did not add to the do in this sphere; their high degree of absorption in human relationships prevented this. The Tao as do was therefore understood by the Japanese to be a "way" or "road" to follow in life. That way is endless and profound. It is long, steep and filled with numerous technical difficulties. It is to be travelled as a means of self-cultivation, and it leads ultimately to self-perfection.' so what seems like a simple question has a very deep answer. K.

Speaking from a Wado perspective (and because you mention it above) - partner work is drilled continuously however, like many traditional Jujutsu based systems - there are many layers. The same partner drill has one way for beginners, another way for intermediate and yet more for advanced. In this respect there is no minimum - as you progress the technique changes. Kusotare

Kinaesthetics - perhaps?

In Naihanchi, I would say all of the above. If you think about the applications, they pretty much cover the spectrum you just described. Obviously not both feet at the same time. Meaning if you're executing a technique to the right side the arrows would be inside for your front foot and outside for your rear foot based on the direction of force. Obviously from a front view there would be no front or back foot. Hope that made sense. Actually, I was thinking about both feet at a time - and whilst performing the kata (not as part of any application). K.

At the very least 1st degree black belt. I can't speak from a TKD perspective but in our karate group this wouldn't be considered good enough for 1st Dan. But as others have mentioned, you cant base a grade/rank on one technique. K.

At the very least 1st degree black belt. Do you have a formal rank/grade at present? K.

Can I throw something else out there? When standing in your preferred stance, are you pulling, pushing or remaining neutral? What I mean by this is if you drew some imaginary arrows by the side of your feet to show which way you are applying pressure would the arrows be pointing outward, inward, forward, backward or nothing at all? K.

In Wado-ryu the stance is Naihanchi-dachi however I am seeing this being exaggerated a little too much these days. I am not a big fan of the pigeon toes look! At best, my Naihanchi-dachi has the outside edge of my feet running straight but no more turned in than that. Importantly for us however the knees are inside the line of the big toes (unlike shiko-dachi where the knees are over the toes or even outside). We would classify this as an inner-circular stance and it plays an important role in understanding the principles of connecting to the ground and engaging the core muscles correctly. K

Yes but the problem is that what people prescribe as mistakes or missunderstandings, is 9 times out of 10 just my own physical attributes, and employing them to the best of my abilities. I don't think I could ever make a major revision to my technique, even if I wanted to. It's not like a punch. I can kick faster, harder, but mechanical modifications are way harder, if you aren't naturally flexible. There is a school of thought that says if you can't kick head correctly (albeit due to your own physiological limitations) - then don't kick head! Your second vid was definitely better - although I'm not a fan of counter torqueing the lead hand guard (I know some croups do this and I have heard arguments for and against). K.

The clip is very short and fast, but from what I can see, technically the kick needs some work IMO. Regardless of height, there is something unstable about the kick. If I freeze frame it just after the kicks lands - your chest is pointing towards the floor. Combatively, this is not a good position to be in, but also it suggests the timing and core muscle rotation is out of alignment. As a rule of thumb, I teach my students to look over the front of their lead shoulder as they kick (mae-geri, mawashi-geri and yoko-geri), not the their back, which is what you are doing. Keep training though, it will come. K.

Not really. What you are describing, most karate styles would refer to as Ippon Kumite (One step sparing). Tegumi is a catch all term for a style of wrestling that has taken place in Okinawa for many years before the advent of Japanese Karate. Interesting to note though that 'Te-gumi'(手組) and 'Kumi-te' (組手) mean the same thing (exchanging/grappling hands) - they are just transposed. K.

In addition to what others have mentioned about the technical aspect, there is the matter of office regarding the difference. Goju-kai, is the official Goju association of the Japan Karate Federation (JKF). The JKF is the Japanese National Governments official department for Karate and holds under its umbrella several different Karate associations including Wado-kai (for Wado-ryu) and JKA Shotokan. These entities would feed into the IOC process via the JKF and ultimately the WKF.

Whilst this may be the case with Okinawan karate, there is evidence that in Japanese Koryu Bujutsu - the practice of solo kata (for the reasons highlighted by JazzKicker) - had an intrinsic value - applications aside. Traditions like Yoshin-ryu and Tenshin shinyo ryu have a series of esoteric solo exercises designed to embed principles and attributes of stability and internal strength (before they are realised against an opponent / training partner). The practice of said solo exercises were key to making the paired exercises within the system work, but they weren't excerpts from the paired sets - they were completely different from an appearance point of view. K.

Coming from a Koryu background, I'm not a stranger to esoteric concepts of energy development. The problem is trying to translate this. For most today - the measure of a martial art is how efficiently it stands up in the MMA cage or the street. Talk of 'internal energy / chi / ki' tends to weird people out.

Purely from a Wado-ryu perspective, slow movements usually imply or at least are trained to imply resistance through dynamic tension - although it isn't as straightforward as it sounds. There aren't many Wado katas that have slow movements in them, however those that do, are generally considered amongst our most important. In his book, Shingo Ohgami writes that Seishan is a kata of 2 halves, the first being performed slowly under dynamic tension (although I think this is somewhat lost in translation) and the second half with speed and relaxation. The suggestion is that by training both methods in one kata one can obtain a greater control over ones body movements and thus develop greater core strength / speed and efficiency of movement. The important thing, is the movements aren't being done slowly for appearance they are done to realise correct connectivity to the ground, and the internalisation of core strength and linkages throughout the body. This is where perhaps, karate meets the internal arts of the Chinese systems. K.

Whilst I accept that age isn't necessarily a barrier to teaching (within reason). In some traditions age is an important 'process' when it comes to the principles of movement / stratagems and the on-going transmission of the system. 'Learn from the old masters' I used to hear this a lot when I was younger, but didn't really get it until I was a little older. When we are young and athletic we have the ability to perform techniques with speed, strength and agility etc.. Unfortunately, these assets erode with age and have to be replaced with experience and efficiency through technique. Only through on going training can one achieve this metamorphoses. Instructors in this respect are like a bottle of fine wine, they get better with age. Beyond the assumed translation of teacher, the word 'sensei' means more literally - 'one who has gone before', so in other words he or she has walked the path (or is a little further down it than you). It's also worth noting that in many classical Koryu traditions, Menkyo Keiden (or the top license required for transmission) was not awarded to anyone under the age of 45. Getting to 45 in feudal Japan was quite a challenge!!! K.

Well its a system he blended from several but primary influence is Shorin Ryu. ~Lynn What's to stop you 'blending' things a little further and creating your own school?

I wouldn't have that as a goal if I were you. But hey!! To each their own. GI snapping isn't my goal, but hey if that's the way you comprehend it, that's your prerogative.The word 'need' implies a goal - doesn't it?

I wouldn't have that as a goal if I were you. But hey!! To each their own.

What system / style do you study Karateldy?

Try to avoid it! Gi snapping / popping probably means you are doing the technique poorly. K. Why is gi snapping wrong?What is right for one style might be wrong for another. In some cases - and usually when performed by karate-ka that are very good at what they do - it is OK. But, to tailor a technique in order to make your gi snap, is likely to send you down the route of incorrect movement, particularly if you are still learning the fundamentals. For example; a fairly ubiquitous technique in many karate styles is a front stepping lunge punch (Oizuki / Junzuki). By definition, a 'tsuki' is a thrust - like a piston. Do it correctly and there is very little sound, simply because the there is very little of the 'whiplash' effect that your limb / gi material make. Do it poorly by 'winging' out your elbow will generate the whipping / snap effect. Great if that's what your goal is, but you are doing the technique poorly. K.

At risk of sounding a little harsh - 4 years (in martial arts terms) is no time at all really. Is it possible that your sensei feels that you should be relieved somewhat from your teaching duties in order to focus on your own training? Just a thought. If I understand correctly, the founder / owner of the school has given up his day job, and is concentrating on the running and teaching of his school? You cant really blame the guy for that, that's his prerogative - Isn't it? It sounds very much like this comes down to economics and the fact that the owner is needing to make a financial success of the school. Have you entered into a contract of employment with him and he is not fulfilling his obligations? If that is the case it becomes a matter for the legal specialists. Regarding your second reason - It sounds like jealousy and sour grapes! I'm afraid that's not uncommon amongst many martial arts. The trick is to rise above it, or if you feel it's insurmountable - find another dojo. If I may, It seems to me that you place great importance in teaching, being a teacher and hopefully - starting your own school someday? Whilst that is an admirable thing to aspire to imo, it shouldn't be your primary reason for taking part in martial arts. Enjoy being a student, learning and competing - let everyone else back bite and polish their ego. Good luck with whatever path you choose. K.

Try to avoid it! Gi snapping / popping probably means you are doing the technique poorly. K.

Just a very quick story regarding bowing... In the west I think we have a tendency to consider bowing rather insignificant (apart from the intended display of respect and humility) and easy. I remember a course held by a senior Japanese instructor I used to train with where, after starting with a bow in he preceded to spend about 30 minutes explaining how to bow (tachi-rei, and za-rei) - as he was appalled by the fact that, as he said - 'no one knows how to bow properly'. The course was attended by many 6th,7th and 8th dans from all over Europe - many of whom hadn't a clue they weren't bowing properly and more importantly why! Disappointingly however - most didn't seem to care. K.

Sounds exactly like koryu jujutsu to me.