Wado Heretic

Congratulations

Hello, and welcome to the forums. Joe Swift did this interesting series of articles on the origins of the initial fifteen kata Funakoshi Gichin brought and taught in Japan - this is a link to part one: http://fightingarts.com/reading/article.php?id=220 The other Kata brought into Shotokan-Ryu seem to be of two points of origin: 1. Invention of Funakoshi Yoshitaka. 2. Brought to the system by Funakoshi Yoshitaka, Nakayama Masatoshi, and some other senior students from studies with Mabuni Kenwa and Mabuni Kenei. My hypothesis on the Sochin of Shotokan is that Funakoshi Yoshitaka took the original, reorganised it, and used it as a vehicle for his own evolving theories eventually ending up with the version we see today. I suspect Sochin is an artefact of this development and he never saw fit, or perhaps more tragically did not live along to rename it fittingly. With regards to the Pinangata I would like to point out that the majority of evidence we have is that Channan is simply an older name for the Pinangata. Furthermore, if one studies the versions of found in Shi'to-Ryu and Shorin-Ryu, there are examples of novel sequences and techniques not found in Kusanku Dai, and are unique to the Pinangata amongst the canon of Okinawan Kata. There are allusions to sequences that repeat through older kata such as Passai, Jitte, and Seisan. Again, my hypothesis is that Itosu developed or learnt novel techniques he decided to preserve in kata, and framed them in sequences from older kata he felt important to prioritise, and the result has become the Pinangata. (Edit: I bring up the comparison of versions because Funakoshi Gichin, or perhaps his students, seem to have made a number of modifications to the kata to connect them all together. The Funakoshi line of the Pinangata seem to have more in common with Kusanku Dai in that the shared sequences are done the same way without nuances that differentiate them slightly) Meikyo is a reorganisation what is otherwise known as Rohai Shodan. The similarities can be difficult to see because of changes to the embusen, and differences in interpretation of certain techniques - The Hammer like motions are replaced with Gedan Barai (Heian Shodan and Pinan Nidan are an example of this change as well). Similarly, the "Crane" stance is interpreted as a back stance, and the double punch as a receiving techniques akin to the start of Pinan Shodan (Heian Nidan). It, however, is just a version of Rohai unlike Sochin. If one looks Rohai as found in Wado-Ryu, it looks like a half way version between Meikyo and the older version of Rohai. Embusen changes were made under Nakayama in the Japanese Karate Association branch of Shotokan-Ryu to accommodate the rules set up for Kata Competition. Meikyo and Chinte are the ones which suffer the most from these rules changes with regards to changes in Embusen. I sadly cannot provide any more than that. You have found much of the information that is out there to be found that I know of. I do find your Niseishi hypothesis intriguing. I look forward to reading more of your discoveries.

Thank you all for your nominations and votes. It is much appreciated and I am humbled to be a winner. Apologies for the late response: real life has been a bit hectic of late.

In total I count eleven but I shall explain as that probably sounds like a lot for the age of 31. In my youth I studied a heterodox from of Kempo Karate unique to my home town and surrounding area. That was from the age of seven to eleven. Sadly, my instructor was killed in a car crash around the time I began secondary school. From there I began studying under one of the Yudansha who began their own club at the Youth Centre down the road from me. He made many changes to the system over the years - some I agreed with and others I did not - so I do not necessarily consider it a continuation of my earlier studies. I eventually parted ways with him at the age of eighteen, after six years as a member, due to a profound personal disagreement. From the age of twelve to nineteen I cross trained in Shorei Kempo, again a heterodox system, and as far as I am aware unique to the school I studied at. It had its roots in Kajukenbo, Ed Parker's Kenpo Karate, Uechi-Ryu, Nippon Kempo, and various branches of New England Kenpo. Sadly, I had to cease training in said system because the instructor needed to relocate due to family reasons. From twelve to my early twenties I also trained in Historical European Martial Arts, with a focus on Quarter Staff, Long-Sword, and Sword and Board. I sadly phased out of it due to other martial arts grounded passions taking my attention and time, as well as the growing costs. I still dabble once in a blue-moon, and I do go through the movement drills most weeks once or twice. From nineteen to twenty six I belonged to a few Karate clubs. One at the local leisure centre and another at a gym where I studied Wado-Ryu, Shorin-Ryu, and Ryukyu Kobujutsu. They belonged to the same organisation, and the gym instructor was a fellow student of the leisure centre instructor, so he was my sempai, and I helped as as an assistant instructor at the gym from Brown Belt onwards. Thus, I consider them spiritually the same "club" in that sense. I considered them my "Home Club" as it were. I still train with the same organisation, though the club I belong to now is the one I run myself, and I consider it a spiritual successor to those two. During my time in university I also trained at the University Karate and Judo clubs. During my undergraduate years (Three in Total) I attended the Kumite sessions at the Shotokan Club, and the Kata-Geiko/Technical Demonstration and Strength and Conditioning sessions of the Judo Club. I would have attended the randori sessions but they conflicted with Karate at my Home Club. During my post-graduate, which I moved away to do, I trained at the local Shotokan Club and at the University Judo Club. At the Shotokan club I did all the training, but I was allowed to do my Shorin Ryu Kata as long as I joined in with everything else. At the Judo club they did not have fixed sessions so I finally got to get some randori training in Judo. Being a post-graduate course this was only for a year. I also dabbled in Shukokai and Wing-Chun during my post-graduate studies but those were cases of dipping my toes in when time allowed, so I never really joined those clubs. Now I run my own club, though I am thinking of taking up Judo again at a nearby club once my knee is rehabbed. Edit - Realised I forgot to do a tally: Kempo Karate - 10 Years (4 years first school/6 Years second school) Hankyo Sukura-Ryu Kenjutsu - 6 Years Shorei Kenpo - 7 Years HEMA - 11 Years (Rough estimate - I stopped when I was readying for my Wado-Ryu Shodan Grading) Wado-Ryu - 4 Years Taira Ha Ryukyu Kobujutsu - 12 Years (Present Discipline) Judo - 6 Years (2 years training informally with friends and 4 years training at university clubs) Free-Style Wrestling - 2 Years (Informal training with friends) Boxing/Lau Gar Kick-Boxing - 8 Months (Lumping these together as I only trained in them in a part time manner in the early days of my kick-boxing career) Shorin-Ryu Kodokan (Kobayashi Branch) - 8 Years (Present Discipline) Toyama-Ryu Battojutsu - 8 Years (Present Discipline) Chosui ha Kukamishin-Ryu - 8 Years (Researching presently) Shorin-Ryu Kodokan - 8 Years (Present Discipline) Shotokan/Wing-Chun/Shukokai - 9 Months (Lumping these together as I studied them all in a spotty fashion while doing my MSc)

I think for beginners and for people who only train part-time, it is important to settle on an approach they can absorb quickly, easily, and practice effectively in their own time. I do think the 45-degree is optimum for defensive tactics, because of how attacks happen in a civilian context. It is the least injurious angle I have found in my personal experimentation. Similarly, it starts the activation of the triceps and secures proper elbow alignment, thus not as powerful as a full rotation, but it is enough to start gaining some of the benefits. For people training full-time, or with more experience behind them, I do think one should broaden to finding the optimum alignment per target, distance, and angle relative to the target.

Congratulations, Sensei8. 15000 posts of what I have only known to be great content is an impressive achievement.

I personally believe there is a fundamental, false dichotomy that is often brought up regarding horizontal versus vertical alignment. Each position is optimized differently at the conclusion of the punch, and the position you begin your strike from relative to your target, and what the target is, should be considered. I can only recount from my experience and experimentation but the following are my observations. Before I begin, I mostly approach this from a bare-knuckle perspective because my focus is self-defence, although I do allow kick-boxing and free-fighting to inform my technical approach. When punching from a chambered position, a low guard (I call the hands being relating to the pectorals a low guard for content), or a hands-down position, and allowing for full-extension, I coach as following: - A horizontal alignment, with a slight slope downwards of the arm, when striking to the body. - The fist held at a 45-degree angle with the thumb leaning inward when striking up to the head. I find these positions allow two things which I consider most important: the greatest structural fixture in the limb allowing the greatest transference of power, and also makes it more likely to connect with the two large knuckles (with knuckles in line with the arm and tendons properly contracted) and thus the safest and most robust knuckles to hit a hard target with if aim goes awry or the target moves in an unexpected way. If punching to the head from a high guard (hands situated around head height) and again allowing for full extension, I coach the horizontal allignment but with a slight overturn of the hand as done in boxing. Mostly because one it makes it more likely to connect with the big knuckles or the back of the hand if the aim is off, it gives more reach, and if one practices it properly you can get a little lift in the shoulder to help protect against counter punches but without ruining your form by flaring the elbow. The last point I consider very important when it comes to exchanges of straight punches to the head from a hands-up position: that is a stand-up fighting situation where the enemy is going to be throwing shots back. Now, onto alternative punches to the straight, and to situations where the arm cannot be extended. I prefer the vertical punch when striking the body at close range, where I cannot straighten the arm and activate the triceps in the motion. The vertical alignment is better for activating the biceps and locking the elbow when the arm cannot be extended, and thus in that context produces a stronger punch. Furthermore, at extremely close range, one is more likely to have to punch across the centerline instead of in line with the hip, so the vertical fist is more likely to connect with the knuckle as intended, whereas there is a risk in catching the pinky at such range with the horizontal alignment. For hooks in general, I favour the vertical alignment just because I think it is more protective of the wrist, and again if the aim is slightly off it is a bit more forgiving to the knuckles and fingers. An exception to this would be the so-called Russian Hook, where the turning over completely of the hand gives protection to the hand and is ideal for bare-knuckle. With regards to palm strikes. If I am striking upwards from my hands being down then vertical. If I am striking on a plane then horizontal. I just find this is the most protective of the fingers and allows the part of the palm aligned with the wrist to connect first.

Congratulations.

I think we should perhaps consider the Dao in some ways: there was a long time where keikogi as we know them did not exists, and people trained in martial arts easily enough. We live in a time where many people do not train in a formal set of keikogi. The wide use of keikogi did not happen in Okinawa until the 1950s, and that was the birthplace of Karate. Simply put, the training suit we now associate with karate is a modern contrivance and has never been essential to training. I rarely train in formal Keikogi at home. I often train in a rash guard and shorts, or just shorts, if training alone. For self-defence classes, I just ask people to wear comfortable street clothes they would wear at the gym, and I have a few Judo Jackets I hand out as needed when we are training holds on clothing. In the Dojo in a Karate or Kobujutsu training situation though, no, I do not see Keikogi becoming obsolete. They are just a form of training wear and they are very effective in the venue they were designed for. Indeed, as the application of kata movements, and the recognition of the grappling aspects of self-defence have become more popular I feel that Keikogi has become more useful. They allow one to train against the use of one's clothes as handles in such close proximity fighting to state the most immediate advantage. Aside from that keikogi are solid year-round wear, suitable for warmer climates as well as colder. Similarly, to reiterate and support to Sensei8's point: they do also give a sense of belonging and recognition which a shared uniform gives, and the visual aspect of the Obi gives. With that said, I do hope aspects of the use of the Obi fall out of fashion. I do believe a lot of erroneous, egotistical beliefs have become conflated with the belt system. I also feel the sheer number of belts has stopped reflecting actual, meaningful skill development: especially at the rate they are given out. As a system, those of us using it, do need to take responsibility to make it work if only within our own sphere of influence.

The men behind it are investors which is where the initial money injection came from. Youtube money is part of the income generated, but it probably not their main income earner, no. Youtube has put money into the pot as a company though, using Karate Combat as a platform to sell Cobra Kai when that was still an original show on their platform. Somewhat of a Give and Take though. There about page also mentions a lot of the names that have been attached to Karate Combat at one time or another: https://www.karate.com/about As Bushido Man mentioned: commercial and team sponsorship is likely how they have brought in the majority of the money through their initial events. I have heard they also sold tickets at a premium price to their events, and that they were quite the party for the audience beside the fights being showcased. I would be inclined to believe they have actually operated at a loss for their first couple of years. They have now secured a network deal so I am thinking now is when they are going to start pushing for profit. I would not be surprised if they perhaps do networked seasons with Pay-Per-View championships. My hope though, is they do not abandon the audience they built up through youtube, and that they continue to provide free content.

Up to Kudan (10th Degree) as is traditional. The highest technical grade is Godan: a grading where one performs before a panel and is adjudged according to their skills. Again, as is traditional among the systems represented in the organisation, where the systems only have a technical syllabus up to fifth-degree as organised by the founders. The highest grading I have witnessed is sixth (Rokudan), however, that was done in the manner of observation: the candidate took on teaching duties for the day on the course and was judged by virtue of their capacity to pass on knowledge. They did have to perform a high-level kata at the end and offer technical insight into the kata but that was the lone "performance" aspect of the grading. As far as I know, Shichidan and above are honourary and given according to contribution to Karate and the Martial Arts.

I have yet to do an analysis of the latest season, but from eyeballing the raw data, I do not believe much has changed that is worthy of updating my original assessment. As far as I am aware, neither Michael Depietro nor Robert Bryan have backgrounds in martial arts outside of sports promotion, and they are the money men. I think they have just seen an opportunity in the Combat Sports world and pursued it because they see money in it. The only person on the management side I know of with a Karate Background is Adam Kovacs, the former World No. 1 in the WKF standings, and he was recruited in 2020 in the run-up to season 3. As such, I would have to challenge the idea that bias emerges out of any loyalty to a particular style or system due to the organisers. I suspect there is an element of opportunism in them pursuing the recruitment of World Karate Federation (WKF) Players. It is the largest talent pool of Shobu Kumite Players in the world, and the WKF has its own robust ranking structure they keep updated. Furthermore, Karate is an Olympic event for whenever the Tokyo Games happen, but back in 2018 when the set date was 2020 said games had a sense of immediacy. There is a huge amount of piggy-back publicity by association through recruiting names that might appear on the Olympic podium. Similarly, I think it is no small thing they have given Josh Quayhagen, a former UFC fighter, who is probably the most recognised name on the roster - beside Rafael Aghayev - four opportunities to fight over the course of 6 events. They also recruited Bas Rutten as an ambassador and commentator, one of the most recognised names in MMA, and a distinct and unmistakable voice and character. The people behind Karate Combat know the media game. Furthermore, when creating a new product, one must also do things differently from others to become distinct: by crafting a venue for people who do not otherwise get invited to such things they fill a vacuum. If I were a gambler I would put money on the fact the UFC and Bellator do not scout top WKF talent. Kick-Boxing promotions also tend to focus their efforts on Boxers, Nak Muay, Sanshou Competitors, and Knock-Down Karate Players. Karate Combat is recruiting from a talent pool no other promotion is tapping into and thus are not competing with other promotions to secure it. How this bleeds into the over representation of Shotokan is that Shotokan is over represented in that version of Shobu Kumite as well, so when recruiting from that talent pool, the same bias will emerge. Similarly, as stated in my opening posts, they can only get those willing to fight to fight, and said willingness will be affected by a number of factors: Venue, Notice, and how it fits into the rest of their competitive season. There are several players who have been present at several events, and some who appear to have been a matter of one and done. You get the people you can convince or who put themselves forward. Speaking of the rules, I believe the goal of the rule set is to differentiate the competition from other forms of kick-boxing or martial arts competition. It reminds me of the World Combat League and Glory Kickboxing with a focus on keeping the fighters actively moving by restricting clinching. They do permit some wrestling, which adds a further dimension by creating opportunities for throws and suplex, which can add dramatic moments to a fight. Similarly, I think they allow the limited five seconds striking to a downed opponent to allow the ground and pound spectacle of MMA, without including the ground-work which is the most oft criticised aspect of free-fighting as a form of entertainment. I do not think a traditional Knock-Down Karate Player would naturally have a great advantage by virtue of coming from a traditional, full-contact, background. All the Players in Karate Combat are athletes, with coaches, who will have studied the ruleset and conditioned their Players for the ruleset. Even if a Player has a back-ground in a style that is not traditionally full-contact, it would be absurd for them not to have prepared for full-contact, with proper training. Thus far, I have not seen anything that is incongruent with the rule set: the lack of elbow strikes, only being permitted to kick to above the belt or to between the ankle and knee, and the restrictions on clinch fighting dictate an out-fighting approach. Point-Fighting is characterised by outfighting because one is looking to score points while avoiding being struck, and so it is natural for fighters to bring their experience from that out-fighting approach to this full-contact variation. Keeping the hands down when in striking range is incredibly risky, however, when just outside said range it is a valid tactic to either invite attacks to the head (which are the easiest to see coming and avoid with head movement) and to make it difficult for your opponent to judge where your hand-strikes may come from and what angle: especially if they move in first. Boxers, Kickboxers, and Free-Fighters have all used it historically with good results. Within the context of a ruleset with wrestling allowed it also helps guard against shooting attempts. Using Knock-Down as an example, because Kyokushin has been brought up as the talking point, that Knock-Down Players would have greater success I think is a dangerous assumption. When you can punch to the head, but not throw elbows to body nor kick to the thigh, you have reversed the situation for most knock-down players. I think you would see the same difficulties suffered by them, except, they might show some greater confidence against body shots, and more willingness to fight in the pocket. The Slugfest style has emerged from the Miai forced by a lack of punches to the head. When you must punch down you lose reach, and so you must get closer. Now, as most karateka know, the proper form of punching lower is not to punch down, but to lower yourself by deepening your stance to keep proper hip alignment and posture. However, to do so in the context of Knock-Down would be a massive “tell” in contrast to other situations where your opponent cannot be sure you will be punching to the body or where you can hide a body blow behind a leading jab. Thus, in knock-down, the practice is to punch with a slight slope down. Now, when you have to strike to the body or the legs, you have to use pushing and shoving (Through Body-Shots and Low-Kicks) to control distance: you cannot control distance by putting your hand in your opponent’s face. Thus, punching down does serve a purpose and is not necessarily bad form in context. By bludgeoning your opponent with repeated body-blows you make it difficult for them to get their feet off the ground, and thus deploy their most dangerous weapon: a kick to the head. It also makes it difficult for them to breath, and anticipate powerful blows to the legs, and when you cannot try and render them unconscious with an elbow or punch wearing them down is as good a strategy as going for a kick to the head. Kicks to the head are also much tougher to set up when you cannot set them up with a leading punch. This, all in all, is what creates the distinct characteristics of Full-Contact bouts. Without that specific environment, it would be hard to say whether a Player’s ability in Knock-Down would cross over into Karate Combat. I have gone into such a break down of the conceits of Knock-Down Rules simply to illustrate my point to those not familiar with the experience. I apologise if at any point it sounded like I was talking down to anyone. Now, looking to other full-contact competitions and their practitioners: I could see someone with experience in American Full-Contact, Gloved, Bogu Kumite, or Irikumi Go having success under Karate Combat rules quite easily. If only because of a number of similarities in rules. With all the above said, however, I do agree that there is a lack of effective set-ups and attempts at combination attacks at this time. Which, I believe is down to an unfamiliarity with wrestling and the fear of Ground-and-Pound, among both Players and their Coaches. The longer you stay in the pocket throwing techniques, the more at risk of being tackled or grabbed you are, and so the defence against this that has been adopted is: throw big strikes and get out. The same problem happened with MMA and strikers: the kick became a rare sight in the cage and only came back through the likes of Cung Le showing ways to use them in that context. Only time, more experience, and the sourcing of relevant expertise will change this in the grand scheme of things for Karate Combat as well. This does come back to what I feel is the most appropriate critique of technical aptitude, or lack thereof, which is some Players not engaging in active defence when they have been taken to the ground. There is too much covering up and weathering the five seconds allotted, and I think referees should be given the power to penalise that as equivalent to a lack of aggression or unwillingness to engage. Furthermore, there is not enough use of Head-Movement, using the front-hand or push-kicks to control distance, and combining strikes with wrestling (Ground and Pound is a valid winning tactic). Admittedly, the goal is to create a venue to display karate, but there is no reason not to gamify if you want to be a success. As an aside, Shota Hara, the one Kyokushin practitioner (Kenbukai) signed to Karate Combat was active in the Japanese Promotion Ganryujima, where he went 4-1 under their ruleset. It is similar to Karate Combat but allows elbows, leg kicks, and is not as strict on clinching. It also has a ring out rule and allows 15 seconds of ground action (Limited to striking only). He is 1-2 in MMA and 1-1 in Kickboxing (International Rules), but his success in Ganryujima should bode well. I hope he gets an opportunity to fight soon. It would be great if they could tempt Katsunori Kikuno over, as he has had somewhat of a career revival in Ganryujima.

The best thing you can do prior is getting into a daily routine of strength and conditioning training. Especially, doing sport-specific training. Jesse Enkamp, of Karate by Jesse, has posted a number of karate specific exercises one can do at home: https://www.youtube.com/watchv=DyDxha9KZWA&list=PLnepTzrhzuB_GuacNc8YMT9KnQ25WscW1 Not all of those exercises will be suitable for a beginner but they are a good resource. Generally speaking for strength training you will want to work on core-exercises and postural exercises: Press-Ups, Crunches, Leg Lifts, Squats, and Lunges are all good exercises you can do at home without equipment which target muscle groups important to karate practice. They are also families of exercises with many variations you can use to increase the challenge, or target problem areas when needed. Cardio training is also important but doing the right cardio training: I suggest alternating between jogging and sprints. I would also advise a daily stretching routine. I found this blog a few years ago, and it was a good foundation for building my own stretching routine: https://oracle-base.com/flexibility/articles/weekly-stretching-routine/ In terms of learning the actual techniques at home: this can be very difficult. However, I saw you are interested in studying Kyokushin. The Taikyokugata are fairly simple, and there are plenty of videos online of them. There would be no harm in learning the general shape of Taikyoku Sono Ichi in your own time:https://www.youtube.com/watch?v=NCS6QB3ODnM I would also advise studying the terminology as well in advance. Learn the terms of the basic techniques, and the formal etiquette, in advance and it will help you. Lastly, practice Humility. Approach the process with an open mind and a willingness to listen and learn.

For Jiyu-Kumite or Free-Sparring: Kakedameshi. A form of wrestling not unlike Tai Chi Chuan Tuishou (Pushing Hands) where you start with your limbs connected to your partner and always return to that position. The goal is to protect your centerline while simultaneously attacking your opponent's centerline, attack their base to potentially knock them down, or take control of their limbs. I consider this an excellent way to work on skills and techniques relating to kata because I am increasingly convinced that most kata movements do deal with this extreme close range. It allows you to also work on the limb control and takedowns common to almost all forms of kata application. Drilling in general: Flow-drills, though, I admittedly favour fewer flow drills which work on positions and where you can add active resistance in. There are a number of shapes that occur and reoccur through kata, so I try to isolate those shapes and drill them. Semi-Free Sparring with kata-informed restrictions: Have Seme be restricted to shapes from a specific kata, and have Uke be restricted to attacking relevant areas; they can only attack specific targets off of a specific limb for example. This way you introduce the stress of not knowing what specific attack will be coming for Seme, and you have them work on kata shapes under said stress. However, you still keep it relatively safe by keeping it to attacks you are confident those shapes will work against. I also like to remind people we are rarely attacked in a nice open space, so I like to do what I call wall drills, and the clue is in the name: we start the drill near to a wall so it is restricting our movement. Similarly, we will often be trying to reclaim the initiative after an attacker has gained some degree of control of the situation. Thus, the Uke will initiate a random grip before the Seme is allowed to initiate their defence. Add stressors to Kata practice itself: When students have some confidence in getting through their first kata I will then test their technique by getting out a striking stick and pad; I force them to have to block and strike strongly by giving them something to block and something strike. As students progress I will then make the attacks random, so instead of an attack on each block, it could be on any block so they need to do each correctly because it could be any of them. I also start adding attacks to when they move to reinforce that it needs to be done with that sense of speed and evasion. Some times we forget the arms entirely, and just do the footwork, with kettle-bells in hand, to maximise the work of the legs. I'll still have someone go around with the striking stick, or partner people up, to force that need to move. Last note: I put myself through all the drills as well so I know what it is like, and can adjust as needed. I also try to stay mindful that what is stressful to me after twenty years of practice and having a fighting career, is very different from someone without those experiences. Thus, the need to cater to how to add stressors to training to each individual. This can be very difficult if you have a large classroom. I rarely teach more than ten people at a time out of choice so I can do this kind of catered training. Edit: Just so I am not casting aspersions inadvertently. I cannot speak to most people's practice because I have not been and trained with them on their Dojo/Dojang/Kwoon/Gym floor. Thus, when I speak in broad terms, I am speaking to my personal witness. I have trained in Dojo in the Republic of Ireland, in Norway, in Japan, in Okinawa, and the East coast of the U.S.A, and all over the U.K. Few do what I consider kata based training: they do training including kata. Okinawa is about the lone place I have encountered traditional Kata based training. I have encountered the British strain of Practical karate which does but it is a reinvention of the wheel. I always go back to context-specific training in my thinking: If my Kata is not connected to my Kumite and Kihon in a logical, rational, and scaled manner, why do kata? Why train different skill sets under the same name, especially when there are kata traditions that suit kick-boxing style Kumite: Ashihara Kaiken, Enshin, Nippon Kempo, and Shorinji Kempo all come to mind. If your kata do not suit what you are doing, but you want to do kata training, find the suitable kata training.

The aphorism: You fight how you train comes to mind. More specifically, however, you will move in the manner you have conditioned and practised to move under stress through stress-inducing training. Very few people do kata in a manner that is stress-inducing. Either they will not practice it with sufficient intensity to do it is a credible aerobic routine, and there is an element of diminishing returns for kata and their effectiveness as exercise. Otherwise, their Kiso Kumite (Kata based sparring) is insufficient to induce actual stress: it is done in an overtly rehearsed and safe manner. As such. when you enter the stressful situation of Jiyu Kumite, your Kata training will have no bearing: because you have not conditioned and practised the movement through stress-inducing training. You will instead resort to what you can do under stress. Furthermore, as appealed to by others, modern Jiyu Kumite is rarely Kata based and might be better considered a Kick-Boxing training exercise than a self-defence exercise. The Kata are descended from pragmatic self-defence and thus a disconnect emerges. Without the stress training, you will unlikely be able to pull off sophisticated applications, and when the rules do not allow you cannot practice them anyway. With that said, kata does teach body mechanics and they are habit creating. If you practice them enough, you will develop habits through them which will appear during Jiyu Kumite. Under stress, you will fall back on habit. How you perform your techniques that emerge in Jiyu Kumite will be affected by how you rehearse them, and that includes through kata practice: thus your strikes and deflections. Maybe your posture and how you stand will also be affected. In that sense, if you go from one kata tradition you practised for a long time, and then went to another school where there are different nuances and practised there for a long time: you could expect to see some subtle changes. Now, if you do kata based sparring, and stress-based training with your kata, then how you perform kata will have a significant impact on your Kumite. Otherwise, under other circumstances, not very much.

It depends very much on the School and how decentralised that particular organisation is. Being JKA, generally speaking, it will depend on the school with regards to the Kyu Grades, and the branch with regard to Dan Grades. I know of people who have failed JKA gradings, yes, but I must admit I do believe one should not be submitted for grading unless one is ready. A failure on grading is very much a failure of the teacher. One should not fail a grading unless one absolutely falls apart under the pressure, because the pressure is a factor in life and in combat. If you fail the stress test that is one thing, but from a technical perspective one should be ready before the grading. However, it is indeed nonsensical to have a grading as a mere formality. Ultimately, it will depend on the school. I mean, I know of people failing ITF Tae Kwon Do gradings. Indeed, a student of mine did, but for all the wrong reasons. It was what drove them away from Tae Kwon Do. Gradings can be very damaging things for martial arts and martial artists. It is hard to find a balance.

This is an important factor to consider when discussing old kata from Okinawa. During the late 19th and early 20th century, a division did emerge between what has retroactively become known as Village Karate and School/Town Karate. School Karate is the ancestor of what might be considered Orthodox Okinawan Karate: Shorin-Ryu Kobayashi and Matsubayashi, and Goju-Ryu. In the Ryukyu Kingdom, and well into the 1800s on Okinawa, many exponents and experts of Chinese Martial Arts gathered on a regular basis in Matsuyama Park and exchanged knowledge. This is why we see a significant recurrence of various patterns of movement appear in the kata of distinct geographical origin and association. During the early 20th century the famed Itosu Anko introduced a version of Karate to the Okinawan School System. Hioganna Kanryo, the most prolific teacher of Tode-Jutsu in Naha, also started teaching publically around the same time. Many of their students also came together to form organisations such as the Tode Kenkyukai and engage in significant cross-training. Members of the aforementioned groups were also among the first teachers on Okinawa to accept the conceits of Nippon Karate-Do in the 1930s before said conceits were largely enforced in the 1950s by their export to Okinawa by the JKA. Through this long process, we have the existence of Orthodox Okinawan Karate, which is the most widely practised interpretation and most easily accessed. However, while the students of Itosu and Higoanna are those that most widely spread their karate, there were many who persevered in the "Old Way" and passed down a distinct lineage. There were also many who travelled to China and studied the Chinese Arts directly, and brought back with them a distinct art, and preserved said art as a family-style: Ryuei-Ryu being a famous example. Thus, there are many schools of Heterodox systems, and each would be worthy of an article themselves. As many kata originate in Chinese Kempo one can expect to see many versions of Kata with the same name, but with a different substance. In each generation, you have those who see their responsibility as preservation, and those who see their responsibility as rejuvenation. This is true now, and it was true in the past. There will always be those that follow the trend of the day to remain relevant, and there will be those who set the trend of the day and those who refuse to follow it. Some will change their Kata for the purpose of competition success. Others will undo such changes and try to reinvent the wheel and restore the Kata to its roots. Keeping in mind how this influences change from generation to generation is important for understanding change and deviation.

All styles are subject to the assumptions, conceits, and preferences of the founder. This is true of how kata is performed, and why they undergo changes. Some teachers make a number of global changes to their approach: by adding more stances or reducing the number of stances, for example, and thus all the kata they teach change according to this global change. These are usually quite easy and can be traced to an individual more often than not. Then there are are more subtle changes made to individual kata, usually because someone in the lineage felt there was a better way to perform a particular movement in a kata, and implemented said change. These are harder to trace as it could have been the senior student or assistant of the named instructor at the time, so credit is not awarded. This might sound strange, but I have seen teachers adopt useful innovations and ideas off of students. Some are gracious and give credit, but others, not so much. Age, as mentioned, can impact how a martial art is taught by an instructor. Experience may have given them new insights and so they have made changes as time has gone by. Age may have stopped them performing the kata as they once did. Thus, the version of the kata their student learnt will have depended greatly on when they trained with the teacher. With the above said, I have seen the kick done several ways in the same dojo. I have seen it done with the leaping front kick, two front kicks, or with a half-step to kick off the front leg. The important thing to the instructor seemed to be that there was a left kick and you ended with your left foot forward. Age and injury seemed to be the only justifications given: nothing to do with the intended application. Chinto, being so widespread, has been subject to both significant subtle changes and global changes as it as has been transplanted from system to system. In terms of disparity in the same lineage, I would give the example of a modern system such as Ed Parker's Kempo Karate: which has a much shorter history of six decades, and whose founder has only been dead thirty years. If one looks between his Kempo Karate as it was brought to the UK in the 1960s, his Chinese Kempo, the version propagated by the Tracy Brothers, and the last version he outlined in Infinite Insights they have numerous differences in the performance of Forms one through four. I give this example as the resources to see the differences are readily available, but it is not uncharacteristic of the way even one teacher can have students take profoundly different paths because of their differing perspective of the teachings.

https://www.ikigaiway.com/making-sense-of-passai-an-exploration-of-origin-and-style/ This is the best article I have seen about the historicity and variations of Passai that is available on the web. Koryu Passai is usually a matter of lineage. In Kobayashi-Ryu, Itosu-no-Passai Dai has been displaced by Tawada ha Matsumura no Passai as the Passai Dai of said systems. In said systems, Tawada Passai is Passai Dai, and Itosu-no-Passai Dai is identified as Passai Sho. Some Kobayashi-Ryu schools have retained the original Itosu-no-Passai Sho as Koryu Passai or Passai Gwa. In Shi'to-Ryu, it is not unusual to hear Tomari Bassai (derived from Nagemine's version of Passai Dai) called Koryu Passai to distinguish it from the Bassai Dai and Sho of Itosu as practised in Shi'to-Ryu. It is undeniably older in origin than the Itosu-no-Passai but whether it deserves such a designation is debatable. Lastly, in the west I have heard people call the oldest known versions of Passai, Matsumura no Passai and Oyadomari no Passai, Koshiki or Koryu Passai. How accurate such a practice is to reality is debatable. There is no version older than the Matsumura or Oyadomari version. Any claim to the otherwise should be treated with profound scepticism without compelling evidence presented. My personal working hypothesis, for many of the older kata, is that they are abridgements of older Chinese Forms, or are collections of disparate techniques organised into a form on Okinawa by Okinawans even if the techniques may be of foreign origin. I believe that Passai has a significant Chinese influence, but the reason we cannot find a form alike to Passai in Chinese martial arts is that: 1. Its Chinese analogue went extinct. 2. It never existed in Chinese Martial Arts in the First Place. With Passai, I am inclined to believe the second is likely true, just because we cannot confirm a Chinese origin (In comparison to another old kata such as Seisan), the name has no clear meaning, and although it bears resemblance to Chinese Martial arts: it bears resemblance to several. I believe it is a collection of techniques of Chinese Origin worked into a Kata of Okinawan Origin. However, that is as far as I can get with my research.

Maturity in martial arts is a life-long process. Where you are, and the observations you have made, speak to the first phase of taking ownership of one's own martial education: realising what direction you wish to take your martial arts. Reviewing what you know with a critical eye, and reflecting on what you wish to know. Ultimately, there are only two paths in Karate: the Sincere path and the Confused path. Knowing why you are training in karate and having confidence in what you have studied to guide you towards your training goals. Striving for your path to be true to what you claim and to what you want. In contrast, there can be very confusing training: a failure for training to be holistic, and deeply entwined, where the training methods are disparate and teach disparate skills. Similarly, such training can claim to be effective at promoting health and well-being, effective for self-defence skills, but also minded towards competition success. Yet, all of these successes demand different types of training and skill development. Good and mature Karate is sincere. Bad and immature karate is confused at best, or insincere and deceptive at worst. Even a varied syllabus, so long as the goal remains effective self-defence, and the methods reference each other is a focused system. This is the beauty of Shorin-Ryu and why it remains my focus: The kata need little change for the movements to be adapted to self-defence. The mechanics of the basics lend themselves to adaptability and flexibility. I have never struggled to apply Shorin-Ryu to the concepts of self-defence. I trained alongside Shotokan, but it was when I was at university doing my Master's Degree, so I was only there for nine months. The instructor kindly let me join in, and just let me do my Shorin-Ryu kata, as long as I did everything else by the Shotokan book. On reflection, the training was good but would call it rather disconnected. In the sense that there was little connection between Kata and Kumite: the Kumite seemed grounded in the basics, with little reference to Kata movement. Yet, the Yakusoku Kumite never really practised Jiyu Kumite tactics either. I almost felt like we ere training for three different disciplines under the same name. I had a similar experience doing Wado-Ryu, which I trained into Shodan level, before transitioning to Shorin-Ryu along with my instructor. My instructor and the organisation were very much focused on Bunkai, as well as the traditional Kihon Kumite of Wado-Ryu, and I generally found the way the movements in Kata were performed did not lend themselves to applications. Similarly, Kihon Kumite taught certain ways to attack and defend, which were disimilar to how applications were done. We also did Sundome Jiyu-Kumite, and it lacked coherence with the fighting tactics of either Kumite or Bunkai. With hindsight, the application disconnect is why I embraced the Shorin-Ryu Kata. However, I have also come to reflect on the kihon kumite as a resource for principles, methods of moving, and ultimately something that introduces the spirit of attack and defence and repetition of motion sometimes lost when one embraces Bunkai whole heartedly as the lone type of partner work. Thus, I think, maturity comes from recognising the need for coherent training, but also taking ownership of your goals as a martial artist.

I believe, as Sensei8 has already stated, that it is a kata from the Shūdōkan Lineage. It is rather noted for practising a number of kata unique to its lineage. However, depending on when the individual trained with Tōyama Kanken, the content of their version of Shūdōkan will differ. I believe Shūdōkan is/was quite popular on the West Coast of the U.S.A at some point, so perhaps that is where it got picked up? That system does sound like a rather eclectic system if it identifies its version of Naihanchi by Tekki (The Shotokan designation) and also teaches the Yotsu no Kata. Yotsu no Kata was created by Mabuni Kenwa of Shi-To-Ryu fame, and is used as foundation kata in some branches of Shi-To-Ryu: others use the Juni-no-Kata series.

(A highlight of throws by Rafeal Agheav: widely considered a candidate for Greatest of All Time among WKF competitors) That rule was, thankfully, changed in 2017. It might have occurred earlier, but 2017 is, as far as I know, the last major change the rules regarding throws had and I recall the foot rule being extant in 2015 due to a controversial call. That it ever existed is a little silly, and if the concern was safety, generally speaking, you are better are barring slams and spiking. Common throws in karate competition, when speaking of the WKF, are usually grounded in a sweep. Either outside or inner reaping throw, or the occasional cross-buttock. Sweeps partnered with a leg-catch are a common sight. The "pulsing" common in such competition makes such throws quite effective, and so I doubt we shall see the types of throws diversify any further. Outside of the WKF it really depends on the competition format. Bogu Kumite some times allows take-downs, and other times it does not. Light or controlled contact varies from organisation to organisation: some allow sweeps but not throws. Some allow throws from catching the legs, but others will have any limb control be illegal. Some forbid clashes entirely, and so throwing is, in spirit, illegal. One of those things where there is not really a golden rule.

I just noticed I failed to carry over a couple of paragraphs from copy and paste in my original answer: Shotokan is characterised by strikes at the full-extension of the limbs, which is a result of their training methodology and the influence of competition. Generally speaking, they will aim for a decisive blow or throw a powerful barrage of techniques. Leading with a kick, or using counter-punches are other common sights in Shotokan Kumite. Kyokushin is generally characterised by exchanging punches in the pocket so as to be inside kicking range. Kicks, of course, being the only attack allowed to the head, and body shots being relatively easy to absorb if you know they are coming. Many innovative Kyokushin fighters have got around this by developing low kicks, allowing them to prevent their opponent to get inside kick-range, but also an unusual Mawashi-Geri designed to come around and behind the guard. Other innovations to get around this issue include sacrifice techniques such as the Do Mawashi Kaiten Geri which do not generally exist in other systems. Goju-Ryu ultimately depends on the type of Kumite and the organisation. The use of Neko-Ashi as a fighting stance, and keeping the front leg between oneself and one's opponent used to be a characteristic of Goju-Ryu in Sundome Kumite such as Irikumi Ju. Kicks to the body, in-fighting, and throws were also distinctive marks of Goju-Ryu Kumite. These days, however, you tend to see the influence of sport-specific training. Squared stances closer to seisan-dachi, and the use of high-kicks and hooks, though in looking and competing in Irikumi Go I would say they tend to stand and fight closer than Kick-Boxers and other karatekas, yet further than Kyokushin and knock-down fighters. Edit: To make sense of that point of comparison: If you watch Boxers, Kick-Boxers, Tae Kwon Do, or point-fighting Karate they tend to float around just outside of each other's reach until one decides to engage. This distance serves as a safety wall, giving one more time to react to your opponent's movement, and stops one getting clocked by a punch or kick you failed to see. In contrast, Knock-Down fighters tend to engage each other at arm's length and try to keep their opponent right in front of them. From watching Irikumi Go, and having competed in it, I find a lot of Goju-Ryu practitioners like to stick to his nebulous area where they can connect if they stick their limbs out, but stay far away enough they can see a strike coming. It is a little weird, and always goes against my kick-boxing instincts, but it has its advantages. Makes it harder to get away from a grab attempt and to set up combinations. Okinawan Karate is fairly homogeneous. At the turn of the century karate largely became divided into two broad forms: School, or town karate, and Village karate. School karate largely formed around Itosu Anko of Shuri-Te and Higoanna Kanryo of Naha-Te, and their respective students. It got the designation of school/town karate because Itosu famously pioneered karate being taught in schools, and Higoanna began teaching large, open classes in Naha, in contrast to the old way of teaching select students in privacy. The most famous students of these two also formed the nucleus of the Tode-Kenkyukai formed in 1918, and which lasted until 1929, where they collectively trained in karate and exchanged methods and ideas. As such, aside from kata, and some distinct characteristics, much became aligned between the two with regards to training and combative methods. As such, the Shorin-Ryu of Chosin Chibana (Itsou's most senior student who remained in Okinawa and survived Itosu by significant years) and the Goju-Ryu of Miyagi Chojun (The De Facto inheritor of Higoanna Kanryo) inherited the students and important work of their forebears. Most importantly, they also survived the Second World War in a credible state. As such Shorin-Ryu and Goju-Ryu can be considered the "Orthodox Okinawan Karate" due to their size and popularity, and they can be called sister systems in that they have much in common. In comparison, Village Karate, referred to those systems that followed the old way. Passing the art from father to son, and training in relative privacy and following the idealogy of one master. Village coming from the fact this training persisted in the villages whereas the teachings of Itosu and Higoanna came to dominate the towns of Shuri and Naha. Furthermore, both Shorin-Ryu and Goju-Ryu began to acknowledge the conceits of Japanese Karate-Do in the early 30s when Choshin Chibana and Miyagi Chojun registered their arts with the Dai Nippon Butokukai. The heterodox schools of Village Karate would not do so until the 1950s when Japanese Karate-Do and its conceits and traditions were actively exported to Okinawa.

First Tip: Practice. Second Tip: Practice. I understand they are technically the same tip, but being so very important, I felt the need to mention it twice. Joking aside, Sensei8's advice is excellent, and I wholeheartedly endorse it. All I would add is strengthening and conditioning for the legs is the other way to improve your kicks in general. Hindu Squats, backward lunges, and burpees are all great exercises you can do without equipment and in a small space. They will build explosive power, and strengthen the muscle groups involved in a front kick. Additionally, dynamic stretching, and isometric stretches, before and after training respectively will improve flexibility. Front leg lifts, a split lunge, a forward fold, and a hamstring stretch are what will most directly work the range of motion for front kick. Good luck.

As JR 137 has pointed out, with regards to Kumite, it ultimately depends on the instructor of a particular Dojo. However, the organisation they belong too will have some influence as certain organisations expect to see competency in certain sorts of Kumite. Furthermore, it depends on whether that dojo, in particular, bothers with competition and what sort of competition they engage in: their approach to Kumite is likely to, if they engage in sport-specific training, be very much based around the competition format they participate in. With that said, there are trends that can be discussed: Okinawan Goju-Ryu has a number of free-sparring exercises called Kakei-Kumite, which on the surface look like pushing hands (tui shou) or sticking hands (chi sao) from Tai Chi Quen and Wing Chun respectively. These are not unique to Goju-Ryu and Naha-Te, being found in Shorin-Ryu and Shuri-Te derivatives as well, but the more recent Chinese influence on Naha-te seems to have made it more prevalent in Goju-Ryu. Such Kumite is designed for developing close-quarter fighting skills, and proprioception. There are a number of partner exercises which look like Yakusoku Kumite on the surface, called Ude Tanren, but they are conditioning exercises. There is also a lot of two-man kata training in Okinawan Goju-Ryu, which generally takes the place of pre-arranged Kumite. Japanese Goju-Ryu generally speaking has followed the trends of Nippon Karate-Do. You have the practice of Yakusoku Kumite, or promise sparring, which is the commonly seen pre-arranged two-person exercises. You then have Jiyu Kumite, or Free-Sparring, in the style as developed in Japan amongst the University clubs. With that said, those are broad trends, and to return to the initial point: it always depends on the Dojo in question. You will find Jiyu-Kumite practised in Okinawan Goju-Ryu, and you will Japanese Goju-Ryu has inherited many exercises from its Okinawan forebear. It should also be mentioned that there is a Kumite rule-set called Irikumi. It is conducted in a Go (Hard) variation which is a form of hard-contact free fighting allowing throws and limited ground-fighting, and also a Ju (Soft) which is a form of continuous sparring restricted to light and controlled contact. These are popular internationally, and in Japan, especially after the MMA boom of the late 90s/early Millenium but WKF rules and knock-down competition are equally popular. To explain why I differentiate between Okinawan and Japanese Goju-Ryu: Goju-Ryu on Okinawa is quite diverse as Miyagi Chojun never declared a successor, and he was constantly evolving his expression of Karate and his teachings. After he died, Goju-Ryu became rather disparate on Okinawa, and his students tended to teach a slightly different version of Goju-Ryu based on the period they spent their most intense training under Miyagi and their other influences unique to them. In contrast, Japanese Goju-Ryu spread largely under the vision of one man, Yamaguchi Gogen, and he adopted a number of the conventions of Nippon Karate-Do into his version of Goju-Ryu. Such as Yakusoku and Jiyu Kumite, and rudimentary beginner kata such as the Taikyokugata. As it could be said that Shotokan and Wado-Ryu are distinctly Japanese interpretations of Shuri-Te, the Goju-Ryu of Yamaguchi and the Goju Kai can be said to be a distinctly Japanese interpretation of Naha Te.