Fukyugata Questions

[Aliazar]

So I'm interested in the details of the Fukyugata in depth. My questions:

1) Shorin-Ryu how concise(condensed?/small?) should the movements be? For example, in shotokan the low block(lets say left hand) comes all the way from ear (right) and comes down. I've noticed some videos that this isn't happening as largely (the movement I mean) as in shotokan.

2) I am aware the key differentiating factor of Shorin and other Okinawan Karate is that the stance is more upright and we see this in Fukyugata in the first movements and it goes from the wide stance for the block and comes up to a smaller stance for the punch. Is there a guideline for how small/wide the stance should be? and Is the rising from low to higher stance a factor in generating power into the punch?

3) when taking steps in Fukyugata I've noticed some leave most of the weight on the rear foot and that the stepping foot lands ball of the foot first, then as the punch proceeds the heel would kinda stomp. This action looks like it makes the practitioner kinda jolt upward ever so slightly (generating a fajing kinda thing into the punch). Is this concept on the mark? Are you suppose to do this in fukyugata?

I Think thats everything. Hopefully I'm not asking a stupid questions. Once i get this down. I'll be back for fukyugata ni questions.

Thank you and regards,

J

[CredoTe]

Your questions are pretty astute. The fact you say "Fukyugata" and "Shorin-ryu" leads me to believe that you are a fellow Matsubayashi-Ryu karateka.

1) Shorin-Ryu how concise(condensed?/small?) should the movements be? For example, in shotokan the low block(lets say left hand) comes all the way from ear (right) and comes down. I've noticed some videos that this isn't happening as largely (the movement I mean) as in shotokan.

In Shorin-Ryu, movements are natural and in a natural range of motion. Relative to many other MAs, they probably seem "small" because we don't have big, sweeping movements or stances.

To address your specific example, I first must explain the concepts of kosa and shime. A kosa ("cross", sometimes referred to as an "X") is performed with both hands and is done when executing any sort of block, deflection, evasion, etc. Essentially, you kosa whenever you move to perform said block, deflection, evasion, etc.

In Shorin-Ryu, specifically the way we do it in Matsubayashi-Ryu, a kosa action for a gedan uke/barai (low block) is that the "blocking" hand comes to the opposite shoulder across the chest (not the ear as you noted for shotokan), and the other hand covers the body in a downward diagonal straight line (it almost looks like one is trying to cover their groin - which they kind of are). In your example, with a left-hand low block, your left hand would kosa your chest to your right shoulder (your elbow will be bent), and your right hand would kosa to your left hip / thigh area (thus covering your groin and more) in a diagonal straight line. Then, the block is executed.

This "crossing" (kosa) to cover your center / kill zone is part of the concept of shime ("to close"). We have an epithet to explain this to our beginner students: "kosa to shime", or "cross to close" (I know, it's redundant "cross to to close? What?" , like saying "ATM machine" or "PIN number"). Meaning, we cross our bodies to close our kill zone. You leave an opening for your opponent when starting your block (the "kosa" portion of the block) up by your ear, which is why we start it lower. This is done in kata, kihon, kumite, etc.

2) I am aware the key differentiating factor of Shorin and other Okinawan Karate is that the stance is more upright and we see this in Fukyugata in the first movements and it goes from the wide stance for the block and comes up to a smaller stance for the punch. Is there a guideline for how small/wide the stance should be? and Is the rising from low to higher stance a factor in generating power into the punch?

A good way to describe the stances in Shorin-Ryu is that our stances are deep, not long or wide. The only "high" stance we really have is shizentai dachi (natural / walking stance; there are other "high" stances seen in advanced kata, but those stances are for inferred techniques like kicks or are transitional, not something you would actually stand or fight with). When executing any technique in shizentai dachi, the length of your stance should be the same as your natural walking pace. In general, for most people, the length of their walking pace is such that there is 1 foot length between the heel of their front foot and the toes of their back foot. Not 1 foot as in 12 inches, but the length of one of their own feet.

As for the 2nd question, the rising itself is not a factor in power generation. The concept of power generation, from the Ti root of Okinawan Tode, is known as gamaku. In gamaku, power is drawn from the earth through the legs, accelerated and directed with the hips ("koshi"), and delivered to the opponent with the striking appendage. If it's a hand or arm technique (i.e. punch, strike, elbow, etc), the acceleration and direction from the hips is transferred through the shoulders to and through the striking tool (hand, elbow, etc), and delivered into (and through) the opponent.

It's more than just hips ("koshi koshi koshi!" you may often hear). Gamaku is entire body dynamics.

If applied correctly, rising from a low to high stance isn't the factor; it's the drawing of power through the legs (similar to the idea of pushing and pulling the ground with the legs, but not quite that simple) that is the factor. For beginners, it's easier to begin grasping this concept using a "rising" motion because the legs are naturally pushing and pulling against the earth to step into the next move (in the case you cited, a punch).

3) when taking steps in Fukyugata I've noticed some leave most of the weight on the rear foot and that the stepping foot lands ball of the foot first, then as the punch proceeds the heel would kinda stomp. This action looks like it makes the practitioner kinda jolt upward ever so slightly (generating a fajing kinda thing into the punch). Is this concept on the mark? Are you suppose to do this in fukyugata?

This is actually related to your follow-up question in your item 2. Again, gamaku... In demonstrations (i.e. tournaments), especially for students that haven't mastered power generation, the step-light-heel-stomp makes it seem like they're generating power, when in fact they're not (they're generating noise - more or less bells and whistles for tournaments). When stepping in shizentai dachi, you should be doing as you would if you were naturally walking down the street - no stomping action. The only caveat here is that, if your instructor wants you to do this, then do it how s/he shows you. Your instructor may have an ulterior reason for the stomp (i.e. trying to teach a concept that will be explained to you later on, etc).

[devil dog]

Credo Te,

Solid Post and excellent explanation!

[Aliazar]

Thank you so much for the explanation. This clears things up greatly.

Ossu and Regards,

J

[sensei8]

Credo Te,

Solid Post and excellent explanation!

Ditto!!

[sensei8]

Thank you so much for the explanation. This clears things up greatly.

Ossu and Regards,

J

What has your sensei taught and explained and told you concerning this kata? His/her teachings are everything and above everyone, imho. Not every style that teaches/learns this kata exicute it the same way, for whatever reason(s). Are you trying to teach this kata to yourself?

[CredoTe]

Thank you so much for the explanation. This clears things up greatly.

Ossu and Regards,

J

What has your sensei taught and explained and told you concerning this kata? His/her teachings are everything and above everyone, imho. Not every style that teaches/learns this kata exicute it the same way, for whatever reason(s). Are you trying to teach this kata to yourself?

Agreed... There is no substitute for an experienced, knowledgeable instructor.