The Way of Least Resistance

Introduction In Parts 1 and 2 of my article "Bridging the gap between karate and the internal arts", I discussed my design of an experimental or "research" form ("kenkyugata") - one that is an "external/internal hybrid".  In this essay I wish to describe and discuss the "final product" in detail. The goal of this project was to create a form for external martial arts practitioners (in particular, karateka) that enables them to assimilate  into their practice some  of the principles/concepts  (意 or "yi") of the internal arts relating to efficient momentum transfer - both for defence (effective evasion and deflection) and counter attack (landing blows more securely and with "whole body" force multiplication). Above all else I wanted this kata to be sufficiently familiar to karateka : I wanted to avoid the need for them to undergo lengthy training in the outward form  of the internal arts  (called 形 or "xi...

Derailing the core purpose of forms – let me count the ways... In my previous article I discussed the core purpose of forms; how in order to be effective training tools, forms must place techniques in a dynamic context . And that dynamic context must be both relevant and useful . Understanding these components, and having these concepts at the back of your mind while you train, is essential for making traditional forms work for you. After all, a form is nigh on worthless if you simply flap your way through it without a care or a single bead of sweat. The best designed form in the world won't help you one iota if you butcher it with a poor performance. And poor performance is just one issue. Yes, many students have, and many will continue, to be lazy in their kata practice. That is human nature. But others will err not through caring too little but by caring too much . What do I mean? Some students will conscientiously perform kata in a way that robs the dynamic context of...

Introduction My friend Sanko has written a number of excellent articles in recent times about the nature and importance of forms (what taekwondo call "patterns"). It is a testament to Sanko's considered, well-reasoned and researched arguments that I am revisiting this subject, not to flog the proverbial dead horse but because I feel that he raises important points – points that go to the nub of what we traditional martial artists do and, more importantly, how we go about doing it. I'm talking of course about the practice of forms - what makes them so special and what we need to do to make sure they stay that way. Forms (形) – known in Japanese as "kata", in Chinese as "xing" and in Korean as "hyung" (although modern Korean arts like taekwondo often use terms like "poomse" and "teul") are a feature of practically every traditional Far Eastern martial system. But what are they actually used for? And do these uses ...

Somewhat synchronously , I have recently had a number of different reminders of something that is fairly fundamental to martial arts study. First, I have only just discussed the importance of basic or fundamental skills, such as stepping in stances. Second, this excellent essay by Scott Sonnon reminded me of something I've said to my students for many years: "There's magic in the small things." By that I mean that the true essence of martial arts does not lie in being loosely familiar with hundreds of techniques, but in truly understanding all the subtleties of a few. And last, earlier today a beginner in the martial arts sent me a query directly relevant to these issues. Essentially his question was this: when, if at all, would it be appropriate for him to start cross-training in different disciplines? My answer to him was as follows: My first teacher, Bob Davies , told me that it was inadvisable to dabble until at least nidan - which in our case corresponded to...