Spartacus Maximus

Not to depend on books, but books and publications from reputable and reliable sources are probably the best start to get informed before and in preparation to seeking out a proper discussion with a legal professional. Getting a basic understanding and ideas about the local self-defense laws is definitely something worth looking into for anyone who seriously trains martial arts. Having references on hand is also important for instructors who may want to have something to point interested people in the right direction.

Indeed, but it can also be seen in the older sparring footage from the earlier Japanese karate tournaments. Several well known karateka from that era were especially adept at this…Yahara Mikio of Shotokan comes to mind.

Based on your local legal system and laws, what would you say is the most accurate and reliable publication(books etc..) on the legal aspects of self-defense? What, if any, books/written documentation would you recommend to your students/fellows short of discussing the topic with a legal expert(lawyer, judge etc)

There is another concept in Okinawan karate and related martial arts which agrees with getting behind the attacker. The idea is that the most advantageous position for counterattacking and defending is always at an angle or offside instead of moving straight backwards or meeting the attacking force straight on. This is especially important if the attacker is much bigger and stronger. This means moving out of the attacker’s direct line of sight and into the “blind spot” so that the counter will be much more difficult to see coming. Moving behind or as close as possible to the attacker’s back is the ideal application of that strategy.

It seems, at least from personal experience training and discussions with Okinawan teachers; that the idea of ´blocking’ is something that is lost in translation. As what Sensei8 describes, uke waza is different than stopping an attack force on force. The more accurate translation and description is receiving (ukeru in Japanese) the attack in such a way as to deflect it, absorb it and using it to one’s advantage by creating an opening to counter. Both uke and counters are often done simultaneously. Okinawan martial arts share this concept with most styles of Chinese Chuan Fa(Kung fu). As far as distance is concerned, there are some styles such as Uechi ryu/Pangai Noon and Goju ryu which emphasize a very close-in range but all Okinawan karate seems to be most effective from shorter distances, mainly from within arms reach.

Two of the most obvious explanations for hikite or “chambering” become clear when considering the strategy and range of Eastern martial arts. Particularly those of Chinese and Okinawan origins in their older pre-sport versions. Unarmed fighting and self-defense is rarely if ever done at distances beyond arms reach and most techniques require closing distance. It makes a lot of logical sense to seize, trap and pull an attacker while striking. The other explanation for hikite is exploiting antagonist motions to train effective body mechanics and structure for maximum power generation. This is not really unique to Eastern martial arts, but a vital concept. Every technique involves opposite movements and push/pull is one of the most important. In Eastern arts, at least, this is more obvious in training and becomes more subtle once skill develops and when used in actual fighting or defense.

What besides redundancy could motivate a martial arts instructor to decide not to pass on something?

It is a well known historical fact that every lineage of traditional martial arts has one and sometimes several instructors who either added something or removed something from what their own curriculum. This is one of the reasons why there are ´lost’ kata/forms. Chibana of shorin ryu , for instance was well known for insisting on passing on exactly everything Itosu taught him. However several of Chibana’s successors changes. Chinese chuan fa is also known for this as different teachers of the same style will often have a different curriculum and not include everything.

In the history of teaching martial arts it isn’t unheard of for an instructor to change their material. Sometimes by adding something or removing another. Even in the most traditional lineages there are those who, for whatever reason, do not teach everything their own teacher taught them. It could be a certain technique or an entire kata/form. For anyone teaching, is there anything you learned from your instructor(s) that you do not or will not teach? What would motivate you to make such a decision?

Another often pondered question: Is practicing forms at 100%one’s power, speed every time more or less effective as a training exercise From personal experience and observation, going 100% speed/power every time is not something that is done often outside of demos, competitions or some kind of performance(as for testing for example).

Is there a some difference between the way you do your forms in the dojo/school and how you practice them by yourself on your own personal time in private? Personally when practising kata alone it makes sense to do everything step-by-step. Pace and rythm would depend on when the kata was first learned.

There are few things in martial arts practise that are as rewarding as the opportunity to share it with one’s own child. Generations ago it was much more common for parents skilled in something to actually pass it down and teach/train a son or daughter. The possibility of this is actually a great personal reason to keep practicing.

To anyone using solo forms(kata, hyung/poomse, taolu) or techniques sequences: In practise what is the usual speed? What rhythm is used ie: is each move done one at a time step-by-step OR some moves/parts flow into one another? For this discussion the focus is on individual personal training as the conditions for skills evaluation or demonstrations are separate points.

There can be many reasons to find lying about rank objectionable depending on perspective. If it’s done at a competitive event, it is a form of cheating. Much like a pro athlete passing off as an amateur just to compete in a local level tournament. Anyone with a sense of fairplay would justly call cheat/fraud.

If you are teaching, who was the first person to be your student? How did you find this person or how did the student find you?