2 Right - 2 Wrong

I have noticed that when a new student performs a kata and does 2 things right and 98 things wrong, I am very happy for the 2 things.

But when an advanced student performs a kata and does 98 things right and 2 things wrong, I am very upset about the 2 things. By upset, I don't mean mad -- just that I really want to fix those things.

Respectfully,

Charles C. Goodin

Drinking Theme in Music

I am rushing getting ready for all the exhibit events, but wanted to write about something I've noticed. I'll bet you have too.

Lately I have heard many songs on the radio that have an alcohol theme. Basically, they are songs about drinking and getting drunk. The obvious implication is that this is a cool thing to do.

Remember back to the Cheech and Chong movies? They were always smoking marijuana... as if that was a cool thing to do.

Children have a hard enough time growing up without songs and movies showing them exactly what "not" to do.

Drinking (to excess) and taking illegal drugs are not cool -- they are stupid and harmful. I think that those of us who have the opportunity to speak to children in our Karate classes, should make this point.

Karate is about personal responsibility (among other things).

Respectfully,

Charles C. Goodin

Exhibit, Demonstration & Lecture Flyer

Aloha,

The University of Hawaii has prepared a flyer for our upcoming Karate Exhibit, Demonstration and Lecture. I have posted it at:

http://museum.hikari.us/karateflyer-uh.pdf

Please feel free to share the flyer with anyone who you think might be interested. The auditorium where we will give the demonstration can hold 300 people, so everyone is welcome!

Respectfully,

Charles C. Goodin

Upcoming Hawaii Karate Museum Events

Here are four upcoming events involving the Hawaii Karate Museum. All events are open to general public and are free of charge.

• Karate: From Okinawa to Hawaii
  An exhibition featuring historical images of Karate in prewar Hawaii from the collection of the Hawaii Karate Museum
  UH Manoa Hamilton Library Bridge Gallery
  July 1, 2009 through August 28, 2009
  
  Map showing the location of the Hamilton Library
  
  
• Karate Demonstration by Hawaii Karate Kenkyukai
  UH Manoa Art Department Auditorium
  Sunday, July 12, 2009 from 10:30 to 11:45 a.m.
  
  Invitation to the Demonstration
  
  Map showing the location of the Art Building and Hamilton Library
  
  
• Karate Lecture by Charles C. Goodin
  Director, Hawaii Karate Museum
  The Transmission of Karate from Okinawa to Hawaii with a Focus on the Pre-War Era
  Hamilton Library, Room 301
  Sunday, July 19, 2009 at 3 p.m.
  
  
• Karate Exhibit at the Okinawan Festival
  An exhibit of historic Karate photographs and artifacts
  Kapiolani Park
  Hui O Laulima Cultural Tent
  Saturday, September 5, 2009 & Sunday, September 6, 2009
  

Please contact me if you have any questions about these upcoming events. Everyone is welcome!

Respectfully,

Charles C. Goodin

Facebook

Aloha,

I have a new Facebook page at:

http://www.facebook.com/charles.c.goodin

I am just starting, but I am hoping that it will be a good way to notify people about Hawaii Karate Museum events.

Respectfully,

Charles C. Goodin

Demonstration Invitation

Here is the text of the invitation:

You are invited to a free

Demonstration of
Karate and Kobudo

Sunday, July 12, 2009
10:30 a.m. to 11:45 a.m.

At the Art Auditorium
Art Building, Room 132
University of Hawaii at Manoa
2535 McCarthy Mall
Honolulu, Hawaii 96822

By members of the
Hawaii Karate Kenkyukai

To celebrate an Exhibit
by the Hawaii Karate Museum

Karate: From
Okinawa to Hawaii

At the Bridge Gallery
Hamilton Library
University of Hawaii at Manoa
2550 McCarthy Mall
Honolulu, Hawaii 96822

July 1 through August 23, 2009

Reception at the Exhibit to follow
at noon after the Demonstration.

Light refreshments served

For information contact:

Charles C. Goodin
Hawaii Karate Museum
98-211 Pali Momi Street, Suite 640
Aiea, Hawaii 96701

Tel: 808-488-5773
Email: goodin@hawaii.rr.com

You can see the actual invitation at http://museum.hikari.us/invitation.pdf.

Respectfully,

Charles C. Goodin

Exhibit and Demonstration

Aloha,

I am still alive and well (for those who were concerned).

I have been overloaded and totally consumed by preparations for an upcoming exhibit at the Bridge Gallery of the Hamilton Library at the University of Hawaii entitled Karate: From Okinawa to Hawaii. In connection with the exhibit, I was asked to also arrange a demonstration and to give an academic lecture.

The demonstration will be on Sunday, July 12th at the Art Auditorium in the Art Building, and the lecture will be the next Sunday, July 19th, at the Hamilton Library. The demonstration will feature members of the Hawaii Karate Kenkyukai, who were kind enough to help me.

I have uploaded an invitation which gives basic information. If you are in Honolulu, you are welcome to attend, as are your friends and relatives. It should be an enjoyable day. Here is the...

INVITATION

The URL is http://museum.hikari.us/invitation.pdf

I hope that some of you will be able to attend. For those who cannot, I plan to film the exhibit and put it online after the exhibit finishes (about the end of August).

Respectfully,

Charles C. Goodin

High Def Karate

The other day I went to my mother's house. A few months ago she bought a new 42 inch, flat panel, LCD, high-def television. Well, when I went over, she was watching a high def broadcast of American Idol. I actually went over to check on her because she had been hit on the leg with a golf ball (she is fine) but I was captivated by the television. IT WAS SO CLEAR!

I mean it was really, really, really clear. Her television is high def and the show was high def. The two together were awesome. You literally could see individual hairs on the performers' heads. I watched for several minutes and then asked, "So how is your leg?"

My mom is an avid golfer. Her friend hit a ball that ricocheted off a tree and hit my mother on the side of the knee. Luckily, my mom only seems to have a bruise, but because she loves golf so much, I am sure that she will wear the bruise with pride.

Back to the television and the reason for this post (I'm sure you were wondering where I was going).

Well, when I started training with my Sensei in Okinawa is was as if my Karate reception suddenly went high def. It all became so clear! The fine details were there to see. It was awesome. The same things I had "known" for so many years suddenly became clear, sharp, bright, and full. It was like watching American Idol on my mom's television -- same show but what a difference.

Everything is there in traditional Karate. You just have to have a clear reception. Your personal television has to be able to receive a high def signal.

Hurray for high def Karate!

Respectfully,

Charles C. Goodin

Practice Control

Many Karate students engage in kumite, or sparring. However, very few students invest time and effort in developing control. Students should be required to develop a high degree of control before they are allowed to engage in free kumite.

A student should be able to punch the flesh without hitting the bone. That is relatively easy.

A student should be able to punch the skin, without hitting the flesh. That is pretty hard.

A student should be able to punch the hair on the arm without hitting the skin. That is pretty easy.

Hitting a gi without hitting the skin should be very easy.

When I strike a student, I usually do so with a loose fist and also hit with the flesh of my fingers between the knuckles and the first joints, rather than my knuckles. When I block, I tend to do so with the fleshy parts of my forearm, rather than the bones. When I strike with the elbow, I actually hit with the forearm or the back part of the upper arm.

My point is that I have many ways to avoid injuring students... and I practice control. Sometimes I practice hitting the surface of the leather pad on the makiwara (the surface skin of the leather). Still I miss sometimes. For certain techniques, I tend to demonstrate on one of my sons... just in case.

Another thing. When you hit from far away, it is harder to control the punch. It is easier to control a punch or strike that is thrown close. I tend to get in very close before I hit, and often apply joint locks or throws before or with a strike. Again, it is easier to control a short hit.

Practice control. When you can strike with surgical precision, it is a simple matter to change the focus to target that have a greater effect.

Respectfully,

Charles C. Goodin

Privates Lesson $5

This is a joke.

A karate student saw a sign in front of a dojo: "Privates Lesson $5". He figured that the sign must mean: "Private Lessons $5."

That sounded like a good deal, so the student went inside and paid his $5, whereupon the instructor promptly kicked him in the privates. Lesson over.

There are always people willing to take your money and hurt you. Don't fall for it.

Respectfully,

Charles C. Goodin

A Day in the Life...

I recently went to the funeral of a family friend, a man who was 101. He led a full and rich life, so the funeral was really a celebration.

Like many funerals, the family had made a photo collage showing photographs from the man's long life. A caption read: "A day in the life of a great man."

A life is made up of so many years, so many days, so many hours, so many minutes, so many seconds. When we get caught up in the day to day pressures and deadlines, we tend to lose sight of this. We let time slip by.

If a photo was taken of your life today, would the caption read: "A day in the life of a great man"?

Or would it read, "Too busy," "Not enough time", or "Maybe tomorrow"?

What would the caption read?

We can't change the captions for our yesterdays, but we do have editorial control of our tomorrows. We can try our best to make each day, "A day in the life of a great man!"

... like my family friend who lived to 101!

Respectfully,

Charles C. Goodin

Most Important Weapon

Various weapons arts are practiced in Karate. They include arts covering the use of the bo, sai, tonfa, nunchaku, tinbe, tekko, and many other weapons. Some of these are improvised type weapons (such as the bo and nunchaku). But others are weapons per se (such as the sai, which was a policeman's weapon).

The idea, in Karate, is to be able to use whatever is at hand as a tool for self defense and escape.

In this regard, one of the most important "weapons" we can carry is a cellular phone. I made sure that my children had them so that they could contact me, or emergency personnel, in case of a problem.

If you are driving and a stranger is following you, you can call the police and drive to the nearest police station. Or, if someone was lurking outside you house, you could call for help.

We often think about weapons as things we can hit or cut with. But they are also things that help us to avoid or escape danger. A cellular phone is an essential weapon.

In a strange coincidence, my cellular phone is a Katana. Ha!

Respectfully,

Charles C. Goodin

Not A Good Fighter

This is a story.

A hot headed Karate student asked a senior about the fighting skills of a particular person. The senior replied, "He is not a good fighter."

Filled with confidence, the student went up and challenged this person. When the person refused, the student launched an attack, sure that he could beat him. But with a single punch the person dropped the student and knocked him out.

When he awoke, the student protested to the senior saying, "You said he wasn't a good fighter!"

"He isn't," answered the senior. "He's a great fighter!"

Actually, I have heard about this kind of thing happening. Such a hot headed student is really lucky that he wasn't killed. But this was just a story.

Respectfully,

Charles C. Goodin

Belts and Rank?

If you have read this blog for a while you know my view about belts and rank. I probably sound like a one note song on this subject.

Krista De Castella, a student at Sensei Morio Higaonna's Naha dojo recently wrote about this subject at her Memoirs of a Grasshopper blog. See:

What's in a Belt?

I remember that when Higaonna Sensei visited my dojo, he asked why so many students wore white belts. When I explained that I give no kyu ranks and that all students wear white belts until they become shodan, he gave a big happy smile.

Last night at our dojo, we used belts in an excercise to "twist and wind" when beginning a block. Two people held belts and a student pulled on the belts using his lats and back muscles. This is almost like lifting weights with a cable machine... but with belts and partners instead of weights.

Now to me, that's a good use of belts!

Respectfully,

Charles C. Goodin

How Long For Black Belt?

A prospective student met with a Karate Sensei and asked, "How long will it take for me to become a black belt?"

The instructor thought about it and replied, "It really depends, but it could take about 10 years."

"But I have already practiced another style of Karate for 5 years and have a black belt in that style," clarified the prospective student.

"In that case it could take 20 years!" declared the instructor.

It can take 10 years to undo the bad habits formed in 5 years. In other words, it might take 10 years to get the student back to zero.

Besides, who asks about belt issues? There are so many more interesting and important issues to discuss. When I am asked about belts, my eyes glaze over. Perhaps that is why we often wear no belts at all in our dojo. Students can train in a gi bottom and T-shirt, in which case they wear no belt. If they wear a gi top they really should wear a belt, but my second son, who is in charge of the dojo, doesn't care.

Respectfully,

Charles C. Goodin

Could Have Done Better

A student was taking video of his Sensei performing kata.

"Sensei," the student asked, "May I put video of you doing kata ten years ago on the internet?"

"No," answered the Sensei. "I am not satisfied with that video because I have learned since then."

"How about film from last year?"

The answer was the same.

"How about the film I am taking right now? Surely that must be OK."

"No, tomorrow I will have realized that I could have done better."

Some Sensei -- the best ones in my experience -- never seem to be satisfied with themselves. They are not satisfied even with what they are doing right now... it could be better.

Other instructors, I have observed, seem to talk and talk about their accomplishments from years, even decades ago. Looking back too much, one might strain his neck!

There is no end to learning in Karate. One step leads to another and another. But this requires constant work.

Don't be satisfied. Everyone can do better.

Respectfully,

Charles C. Goodin

Kvetch Your Lats

I am taking a little break from Karate literature and reading a book on Yiddish. Perhaps we could say, "Your lats you might kvetch!" or "Too much would it be for you to kvetch your lats now and then?"

I actually am quite fond of the tried and true "squeeze your rats."

Respectfully,

Charles C. Goodin

Getting More Students

This is a story.

An aging Karate instructor -- a master at that -- called his senior students together to discuss a grave problem. "Our enrollment is declining," he reported. "I have called you together to discuss what we can do. I have also asked a business consultant to sit in our meeting."

Various suggestions were made by the senior instructors but the consensus was that having fewer students was actually better in that more time could be spent with each student. Quality was preferable to quantity.

The instructor looked disappointed and asked the business consultant for his opinion.

"Well, I have observed your dojo for several weeks. You have an excellent product. Your Karate is top rate. In fact, that is the problem. Your standards are too high and you are too tough on students. That is why so many students quit after only a few weeks."

"So what are you saying?" asked the instructor?

"Cut your standards in half and you will double your enrollment and your retention rate."

The seniors erupted in outrage! It got so bad that the instructor had to ask them to leave the room. Finally he was alone with the business consultant.

"Let me get this right. We cut our standards in half and we double our enrollment?"

"Definitely."

"What if we cut our standards by 90%?" asked the instructor.

"Why then your enrollment will increase tenfold and hardly any students will quit before they earn their black belt, which you could offer after just 6 months of training, for a hefty fee, of course."

"But what about the seniors? They would never go for this."

"Fire them all. Expel them from the dojo and promote lower black belts to higher ranks. They will be happy and won't know any better. Of course, you can charge them hefty fees too."

"Let me get this straight," said the instructor, "the more I lower my standards the more successful I will be?"

"Exactly right. And you can charge higher tuition and belt fees too. People like to feel like they are improving. You will be helping them to do that."

So what do you think that the instructor did?

This is just a story, thank goodness! What would you do in this situation?

Many years ago, one of my good friends was encouraged by other instructors to increase his tuition. He promptly cut his tuition in half!

Respectfully,

Charles C. Goodin

Okinawa Survey -- Please Help

Aloha,

One of my Sensei's students is conducting a survey on behalf of Okinawa Prefecture to ascertain overseas people's interest and the availability of information on Okinawa. The survey is at:

http://www.my3q.com/home2/264/benson_jp/49299.phtml

It should only take a few minutes to complete. Can you please help by taking the survey and passing on the address to anyone who might be interested? It would really help my Sensei's student.

Thank you very much!

Respectfully,

Charles C. Goodin

Replace A Bad Habit With A Good Habit

This is very important (at least it is to me).

I have a student who raises his shoulders too much. This is a very common problem, especially among men who tend to put too much strength into their movements. They raise their shoulders in an effort to generate more power -- but in the process, actually slow themselves down and generate less power.

I am always telling this student, "lower your shoulders," "lower your shoulders," "lower your shoulders," ... I must seem to say it all the time.

I had the same problem so I can sympathize. My shoulders were always raised.

But it suddenly dawned on me -- when I was working in my son's yard -- that I should not repeat "lower your shoulders" over and over. That would be like picking weeds but not planting grass.

You can pick all the weeds in a yard, but unless there is good grass to grow in its place, you will just get more weeds. You have to also plant good grass.

So instead of saying, "lower your shoulders," I am now saying, "squeeze your lats."

When you squeeze your lats, it is just about impossible to raise your shoulders. Try it. And when you raise your shoulders, it is also just about impossible to squeeze your lats. The two are mutually exclusive.

So the point is that you have to replace a bad habit with a good habit -- you have to dig out the weeds but also plant grass. You can't just say "stop, stop, stop". You have to also teach the student how to do the correct thing.

Instead of stopping the bad habit of raising the shoulders, you should encourage the good habit of squeezing the lats. One is negative, the other positive.

Like I said, this is important to me, because I do not like being negative.

Respectfully,

Charles C. Goodin

Charles Goodin Promoted!

Read about it here:

http://www.honoluluadvertiser.com/article/20090311/GETPUBLISHED/903110429/-1/neighborhoods04

(Scroll down)

















That is my second son, Charles, who is the head of our dojo. I am his proud assistant.

Respectfully,

Charles C. Goodin

Annual Sugar Cunsumption

How much sugar do you think the average person consumes in the United States each year:

1. 7 pounds
2. 25 pounds
3. 150 pounds
4. 1 ton

Actually, I could not find a current answer, but in the 1990s, the answer was about 150 pounds! Remember that just one Pepsi each day would add up to about 33 pounds in a year.

And I am not sure if that 150 pound figure is for total sugar (including sugar naturally occurring in foods) or just added sugar.

How much sugar does your body need to be healthy? Have you ever thought about it? Think back to the food charts you had to study in school. I don't think that sugar was one of the food groups.

I also understand that carbohydrates, such a bread and rice, are converted to sugar in the body. I don't think that such converted sugars are included in the 150 pound figure.

I have tried to cut out all sugar in my drinks -- except for a little fruit juice, which I dilute. But that was just the start. Last weekend I did a strange thing (for me). I did not put syrup on my pancakes, because it just tasted too sweet. I used to pour the syrup on my pancakes all the time. Now it is too much.

So less sugar is my new motto. There has also been an unexpected benefit -- we have less soda cans to recycle. I brew my tea, which means there are no bottles to deal with. And that means that fewer cans or bottles have to be made in the first place.

For me, it all comes down to control. As a Karate student, I try to become skilled and get into good shape. Controlling my diet is just as important as training regularly. If I can't control my sugar intake, then how strong am I? Am I just a victim to a sweet tooth? If I can train hard in Karate, then I can watch my diet too.

By the way, if the 150 pound figure is right, that means that an average person would consume 1,500 pounds in ten years. I don't know about you, but at my age, 10 years seem to go by pretty quickly.

Respectfully,

Charles C. Goodin

Fighting Sugar Update

In Fighting Sugar, I described my battle with sugar. I stopped drinking soda about 5 months ago, after a near lifetime of addiction. As I mentioned, if you drink just one Pepsi each day, that's about 33 pounds of sugar in a year. I could drink more than one, particularly at the movies.

I realized that much of my sugar intake was in drinks. So I stopped drinking soda and instead drank brewed iced tea with only one tablespoon of honey in a large pitcher. About 3 weeks ago I noticed that the tea tasted really good so I asked my wife how much honey she put in the pitcher that time. She replied that she had forgotten to put any honey. I finally was tasting just the tea.

So now I drink iced tea with no sugar or honey at all... and I like it. I will drink some fruit juice once in a while, but I usually dilute it because it tastes too sweet.

I have thought about it and I now think that sugar is like a drug. The sugar producers want us to consume as much of it as possible. However, I have never heard a doctor say, "You need more sugar in your diet." Just the opposite.

Recently, my good friend and senior, Sensei Pat Nakata, sent me an email with information about how sugar causes cancer cells to grow. This makes a lot of sense. I think that sugar must be like fertilizer for all sorts of harmful things.

So why do we consume so much? Probably because we just do not think about the consequences.

As Karate students, we should try our best to be healthy and in good shape. Every serious weightlifter or body builder I have ever met has said that diet is just as important as working out. Serious athletes carefully watch what they eat.

So should we. What good is self defense if we destroy ourselves with a reckless diet?

I still enjoy some cake here and there, especially if my wife or daughter make them, but I do not crave or miss sugar. I think that my immune system has been working better too, which would make sense if sugar is basically a fertilizer for sickness and disease.

I will keep you informed of my progress.

Respectfully,

Charles C. Goodin

Fukyugata Ichi Movement Principles

Later this week, I am going to guest teach a class of a friend of mine. the subject will Fukyugata Ichi Movement Principles. Here is my outline:

• To block/strike from where the hands are
• To move by falling
• To turn without turning
• Hanmi (slanted body alignment)
• To fold/squeeze the body, delayed
• To draw the feet (zig zag)
• To move on a line (as with a bo)
• Timing of block/strike and foot placement/shifting the weight
• Elbows as if tied with rubber bands
• Bounding energy
• Koshi...

To me, Fukyugata Ichi is like origami!

I enjoy guest teaching, as it gives me an opportunity to work on the way I explain and demonstrate the principles of movement and body dynamics.

Respectfully,

Charles C. Goodin

Memoirs of a Grasshopper Blog

I recently was introduced to Krista de Castella's Memoirs of a Grasshopper blog. She is a student of Sensei Morio Higaonna at his dojo in Naha, Okinawa.

I visited Higaonna Sensei two years ago, and it was good to see photos of Higaonna Sensei and his students at the blog.

I had actually met Ms. de Castella at the dojo of Sensei Jann Aki here in Hawaii. What a small world!

I recommend that you visit the Memoirs of a Grasshopper blog.

Respectfully,

Charles C. Goodin

Guest Post: Makiwara

This Guest Post is by my friend and senior, Sensei Pat Nakata. Nakata Sensei is the head of the Okinawa Shorin-Ryu Karate Association in Hawaii. He was a student of Chosin (Choshin) Chibana in Shorin-Ryu, and also studied Ryukyu Kobudo under Sensei Fumio Nagaishi. When he was a young man, he studied Wado-Ryu Karate under Sensei Walter Nishioka.

- - - - - - - - - -

Makiwara

Makiwara translated is rice straw (wara) that is bound or tied together (maki). Most Karateka today think of makiwara as being a planted wrapped post that is used for striking, but there are many different types of makiwara. In the old days, there were vertically hanging makiwara (like a heavy bag), horizontally hanging makiwara, the standing post makiwara, and round standing post makiwara normally used for blocking. For this discussion, I will use the term makiwara referring to the standing post.

Makiwara is more a Japanese term and in Okinawa it is machiwara, but Chibana Chosin Sensei and most of the other Okinawan teachers in the 1960s called it makiwara. The Okinawan teachers considered makiwara training an essential tool for developing strong punches, but it could also be used for kicks, strikes, and blocking development. Ninety percent of the time it was used for working on one's punches.

The standard makiwara is a tapered 2X4, which in height is about one's solar plexus, but there was a tendency to place it higher. The taller the makiwara, the more flex. Many of the old masters were short, but had high punches. The shoulder height punches were suppose to be punches to the solar plexus (kosen) or the solar plexus line (kosen no sen). These high punches is readily seen in film clips of the old teachers performing Kata. This is a direct result of punching makiwara that is too high.

Regardless of height, a good makiwara must have some flex. Chibana Sensei would say that one may not want to hit a stiff makiwara, but one would be more willing to punch a softer makiwara. He cautioned that a stiff or too rigid makiwara was detrimental to one's health. If a makiwara did not give with a punch because it was too stiff, the power or shock wave would reverse back into the person hitting the makiwara. A makiwara must have flex, but with some resistance.

The Chibana method of punching the makiwara is when one punches the makiwara and bends the makiwara, one must hold the bend of the makiwara with that punch. If one hits a makiwara that is too stiff, one could develop 'kime', but without penetration. In other words, too much of an instant focus (lockup) on contact results in the punch being only a surface hit. A flexible makiwara with a spring like resistance, enables one to develop 'kikomi', which is kime with penetration. To develop a strong kikomi, one must hit the makiwara integrating the timing of a strong upright posture with body mechanics (koshi [hips] and/or hara [pelvic carriage or lower abdominal]), concise breathing, and a strong stance. When one punches a stiff makiwara without trying to penetrate, this practice just hardens the knuckles and strengthens the wrist.

In executing a punch, the fist is held at a palms up position until the elbow is straightened. As the elbow straightens, the fist is twisted instantaneously to a palms down position dropping in the knuckle, which straightens the force that is being transmitted. If one turns the fist too early, keeps the fist in a palms up position, or use a standing fist while fully extending the arm, the power of the punch will be lost at the elbow.

I was originally taught that in hitting the makiwara, muscle lockup (kime) occurs simultaneously as the hip (koshi) twists to full face at the point of contact. I tried hitting Chibana Sensei's makiwara in this manner and could not hold the bend or even bend it. I watched Chibana Sensei punch the makiwara with a far shorter stance than mine, which appeared to be less stable, but his delivery was smooth and almost effortless. The makiwara bent backward about 8 inches with him holding it at that bend. As he continued punching, on close inspection, I noticed his hips did not twist forward until the instant of contact. His stance also planted, transmitted power from the legs into the punch. I realized then that I was spending the power from my hip movement before I hit the target. I learned that kime was the focus and timing of the whole body. The reason why I had no real punching power was because I was just extending my arms without correct timing. I had speed but no power.

After a few years of intensive makiwara training, my punch was stronger, but I had lost mobility in attacking or moving into an opponent with a punch. I tried stepping into or attacking the makiwara as I delivered the punch, but the punch felt more like a push and without any concussion. I started to experiment with a heavy bag. With the heavy bag I could practice a punching attack. Using the heavy bag, one needs a coach that can differentiate between penetration (kikomi), surface hitting, and pushing.

After my trip to Ventura, California, where I had the opportunity to practice hitting a 6 foot heavy bag, I purchased one for the dojo. With this longer, heavier bag we could now practice punches to the head (also low kicks, low strikes, kicks to the head, strikes to the face and head, etc.). All 6 feet long heavy bags are 100+ pounds in weight. Using a100+ pound heavy bag is good training, because if one did not punch correctly, the "bag will hit you back." It will give you good feedback on the correctness of your punch.

Another supplemental equipment for contact training is the hand contact pad, which to some extent resembles a baseball glove. An experienced person holding the contact pad can give feedback on whether the punch or hit is penetrating, surface hitting, pushing, the degree of impact, and whether there is knuckle penetration. The hand contact pad is a supplement to a makiwara or a heavy bag and not an alternative. Ideally, it would be very beneficial to practice with all three; makiwara, heavy bag, and hand contact pads.

Hitting the makiwara is good for power and strength development. I have seen many teachers with punches that were technically incorrect, but were still powerful, because of their dedicated makiwara training. I often wonder about how much more powerful their punches would be if they were technically correct?

As Bob (Snaggy) Inouye said, "Many of the students don't like hitting the bag (or makiwara) and avoid punching the bag, because when they do, they feel 'junk'." Karate is a hitting art. One must hit to understand hitting.

Pat Nakata

Depth of Kata

This is a story.

A Karate expert observed two Karate students perform the same kata. The students were very anxious to receive his comments.

To the first he said, "They way you practice, you will never penetrate even the surface of the kata."

To the second he said, "The way you practice, there will be no end to the depths you can attain from the kata."

As a Karate expert, how would you assess you own practice -- shallow or deep?

Respectfully,

Charles C. Goodin

Hawaii Rules!

The last issue of Classical Fighting Arts had three articles with Hawaii connections:

Stanley Henning wrote Thoughts on the Origins and Transmission to Okinawa of Tongchun Boxing (page 23);

Kiko Asai Ferreira (wife of Prof. Kimo Ferreira) translated Memories of Karate by Chotoku Kyan (page 48); and

I was interviewed in An Interview with Charles C. Goodin of the Hawaii Karate Museum (page 55).

Way to go Hawaii!

Respectfully,

Charles C. Goodin

Goal of Training

The goal of Karate training, in my opinion, is to learn: (a) the optimal way to move for your body type and physical condition; and (b) the meanings and applications of each and every movement in the kata of your system.

That said, I find that many Karate students only learn to move the same as all other students in their school (one size fits all), and have little or no idea of the meanings and applications of the movements in their system. Such Karate offers little practical advantage. Of course, a student can get in good shape by training hard, but without optimized body dynamics and skill in applications, a larger, stronger and faster opponent will always have the advantage.

In traditional Karate, size does not matter. A Karate expert, even when not armed is armed.

Respectfully,

Charles C. Goodin

A Japanese Karate Instructor

This is a story.

A Japanese Karate instructor thought that he was better than instructors from other countries, since after all, Karate is from Japan (remember, this is just a story). So one day, as he was walking around a residential neighborhood handing out brochures for his Karate class, he stopped and knocked on a door. A young boy answered.

The instructor introduced himself and described his class. The boy, not being very sophisticated, asked, "Why should I learn Karate from you?"

The instructor replied proudly, "I am Japanese and learned Karate in Japan."

The boy invited the instructor into his house and took him to the living room. The instructor followed, certain that he had a new student. The boy stopped at a large television in the living room and said, "Can you please fix this?" he asked. "It is broken."

The instructor was confused. "I am a Karate instructor," he said, "not a television repair man!"

"Well," said the boy," if you're good at Karate because you're from Japan, I figured that you could fix this television because it's from Japan too."

Being from Japan does not make one any better at Karate than anyone else, just as being from the United States does not make one better at baseball. It all comes down to hard work and perseverance... period.

Respectfully,

Charles C. Goodin

Telegraphing Movements

The first time I visited Sensei Katsuhiko Shinzato in Okinawa, he demonstrated an uncanny ability to know where a punch or kick would come from. He asked me to stand in front of him and try to punch or kick him. As soon as I would begin to move he would point to the attacking arm or leg.

What was uncanny was his ability to do this before I had moved very much, or perhaps even before I had actually started moving at all. When he pointed to my arm or leg, it stopped me from moving.

That was several years ago. I have thought about it often, but only recently have begun to understand how he did this (or at least I think so).

First, at that time I did not understand how to generate power with the koshi. I had no idea at all! As a result, my movements, whether punches, kicks, or any other type of movement, were powered from the extremeties. For example, if I wanted to punch with my right hand, I would pull back with my right arm and raise my right shoulder. Quite obviously, I was telegraphing my movements. It must have been very easy for Shinzato Sensei to read my intentions and movements.

When power comes from the koshi (the core of the body), it is much harder to anticipate a movement. The core is activated and a movement could be executed using either hand or either foot, or other parts of the body. When you pull back your right arm, the odds are that you are going to throw a right punch (or some other right handed technique). When you "squeeze" or "twist" your koshi, a movement could come from anywhere.

At first, the activation of the koshi is obvious. Students twist their arms and waist, sometimes in exaggerated ways. But with practice, the koshi can be twitched on. Perhaps it is always ready. My point is that with such a koshi, it is hard to know that the koshi is ready and that a movement is imminent.

Of course, I'm pretty certain that Shinzato Sensei could still tell what I am about to do. Perhaps that's why it is better not to attack first, especially against someone who is very skilled.

Respectfully,

Charles C. Goodin

Guest Post: Repeated Rambling on Kata

This Guest Post is by my friend and senior, Sensei Pat Nakata. Nakata Sensei is the head of the Okinawa Shorin-Ryu Karate Association in Hawaii. He was a student of Chosin (Choshin) Chibana in Shorin-Ryu, and also studied Ryukyu Kobudo under Sensei Fumio Nagaishi. When he was a young man, he studied Wado-Ryu Karate under Sensei Walter Nishioka.

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Repeated Rambling on Kata

After I completed performing some of our Karate Katas, Murakami Katsumi Sensei said, "Yappari, Chibana Sensei no Karate wa kirei ne" (After all Chibana Sensei's Karate is very clean). Chibana Chosin Sensei often emphasized that a clean Kata was a strong Kata. In a clean Kata, blocks will be viewed as a block and not confused as a strike, strikes viewed as a strike and not a thrust, and thrusts viewed as a thrust and not a strike. Chibana Sensei explained that if one had to alter a waza or movement in the Kata to match the meaning (application), the meaning is incorrect.

Chibana Sensei never talked about combinations within his Katas, because most of the techniques should be decisive (ippon kowashi no waza [one technique to destroy]). When I asked Chibana Sensei on how I could improve my combat ability, he said to practice Kata. He went on to explain that there are no secrets in Karate, but through the practice of Kata, one would discover the true meaning of Kata. Each Kata must be practiced 10,000 times before one can start to learn the true meaning. He often said, "Karate wa karada de narau koto" (one learns Karate with one's body). Knowledge (shirimasu [I know]) can come from intellectualizing, but understanding (wakarimasu [I understand]) comes from experiencing/training. True Karate knowledge and understanding is empirical.

When one studies the strong (fighters) Karateka of yesteryears, one discovers that these strong Karate masters did not practice too many Katas. Most of the old masters talked of refining one's Kata, which was the doing away with unnecessary movements and excessive strength. Chibana Sensei said, "Honto no Karate no chikara wa waza kara deru" (true Karate power comes from technique). So refining of one's Kata is the refining of the techniques within the Kata.

Chibana Sensei said, although much of the Shuri-te techniques within the Katas are from Ti or Tuite, which encompasses many grappling applications, one should first concentrate on developing strong punches, strong strikes, strong kicks, and strong blocks. All the thrust, strikes, kicks, and blocks should be done with ippon Kowashi no waza. In many cases, a strong thrust, strike, kick, or block will set-up the opponent for an effective grappling technique, but then if the thrust, strike, kick, or block was strong enough, there would be no need to grapple. Chibana Sensei never turned to theatrics in demonstrating Karate, it was always thrust, strike, kick, or block. Most of the time it seemed too simple; close the distance (osae [press in]) and destroy the opponent with a single technique. Kata should be done with a natural fighting timing, which is one's breathing rhythm (iki no hyoshi). Chibana Sensei felt that learning too many Katas distracts from refining the Kata, because one would just be practicing movement with no time to work on refinements. On the other hand a limited amount of Katas is also detrimental, in that one would lack versatility.

When Chibana Sensei approached Itosu Anko Sensei about limiting the Katas for his teaching curriculum, Itosu Sensei told him to use the 12 core Katas, which were: Naihanchi Shodan, Naihanchi Nidan, Naihanchi Sandan, Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan, Pinan Godan, Kusanku Sho, Kusanku Dai, Chinto, and Patsai. After watching Chibana Sensei perform the Matsumura no Patsai that he had learned from Tawada Sensei, Itosu Sensei told Chibana Sensei to retain both Patsai. Itosu Sensei said, his Patsai should be called Patsai no Kata Sho and the Matsumura no Patsai be called the Patsai no Kata Dai. Chibana Sensei and many of his contemporaries called this curriculum the orthodox Shuri-te. Chibana Sensei maintained that Shuri-te techniques are from the indiginous Okinawan art of Ti, which in a distant past had its start from the Chinese martial arts. Later, Chibana Sensei developed a very basic series of Katas, which he called: Kihon no Kata Shodan, Kihon no Kata Nidan, and Kihon no Kata Sandan. This brought his complete Kata curriculum to 16 Katas.

I was told a story about Miyagi Chojun Sensei (founder of Goju-ryu) going to see Itosu Sensei to learn some Shuri-te Katas, namely the Pinan Katas. Itosu Sensei supposedly told Miyagi Sensei that he should modify and perfect his Naha-te Katas, rather than add Shuri-te Katas to his curriculum. Itosu Sensei continued, saying that if Miyagi Sensei tried to mix his Naha-te with Shuri-te, doing both may weaken his Naha-te and the Shuri-te will never be strong.

Chibana Sensei never confirmed this story, but spoke of his interchange with Miyagi Sensei about limiting the number of Katas in their respected curriculums. Miyagi Sensei agreed and said he would do the same for his curriculum.

The Kata contains the recorded history of fighting maneuvers and strategies of the past masters, mainly the original creator. Also, Kata is a prearranged set or drills against multiple opponents. When there are multiple opponents, each blow must be decisive. In other words, each blow, be it a thrust, strike, kick, or block, must have kime/kikomi for maximum effectiveness. This type of unrestrained blows can only be practiced in a Kata or with a makiwara. The Karate Kata is not static, making it ideal for practicing moving into an opponent, from one technique to another, or from one opponent to another. This movement or transition is vitally important in the effectiveness of the application. About the most important aspect of this transition as taught by Chibana Sensei, is the osae (press).

In the early days of Karate (60s and 70s), Karateka were labeled as fighters or Kata persons. A Kata person was a non-fighter who could perform Kata well. After studying this dilemma, it became noticeable that the truly good fighters, also did good, strong Katas. A Kata person that was not a good fighter, had a 'dead' Kata. A strong Kata, which was alive was performed with kimochi (feeling) and fighting spirit. This kimochi and/or fighting spirit is difficult to explain, but is recognizable when one sees it. This kimochi and fighting spirit gives the Kata a certain seriousness and connotes something deadly and primal. Fighting is fighting. Kata is Kata. One starts to understand Karate when one sees that fighting is fighting, Kata is Kata, and Kata is fighting. As it was said earlier, understanding is empirical. One reaches this understanding of Kata through diligent training.

Pat Nakata

Memories of Karate by Chotoku Kyan

I received the current issue of Classical Fighting Arts today. One of the article is Memories of Karate by Chotoku Kyan. It is a translation of a May 1942 Ryukyu Shinpo newspaper article that was either written by Kyan or was an interview of him. My friend, Kiko Asai-Ferreira (wife of Prof. Kimo Ferreira) was the translator.

This may be only the second such article ever found with the words and thoughts of Kyan Sensei. If you are interested in Kyan and the experts of his age, I highly recommend that you obtain a copy. The article also has several historic photos of Kyan. There are also other historic photos accompanying other artices in the issue.

I would purchase a journal for just one historic photo. This issue is filled with them.

I did not write an article for this issue. Actually, I was interviewed about the Hawaii Karate Museum and our establishment of the Hawaii Karate Museum Collection at the University of Hawaii. It was a little strange to be the interviewee.

Respectfully,

Charles C. Goodin

Deceptively Simple

I was speaking to David Chambers today. He is the publisher of Classical Fighting Arts, a journal for which I often write articles. David mentioned a fine Japanese calligraphy he had seen and said that it was "deceptively simple."

I replied, "Like the best Karate experts."

Wouldn't it be great to be deceptively simple?

Respectfully,

Charles C. Goodin

How Long Will It Take?

Sometimes I am asked by potential students who have already earned dan ranking in other styles of Karate how long it will take for them to earn the same dan ranking in my dojo (which teaches Kishaba Juku Shorin-Ryu).

I think that it would be better for such potential students to ask how long it will take for them to learn our basics, our system of body dynamics, our approach to movement in general, the meaning of the movements in our kata, our view of Karate as being part of daily life, etc.

There are so many more important things to ask than when equivalent rank could be earned.

If pressed, I usually recommend that the student remain in his particular style of Karate if he is so attached to the rank he has earned. Why seek to learn from me when his heart is so attached to a belt? A student, of any age, should want to learn.

Respectfully,

Charles C. Goodin

Higaonna Sensei

I just heard that Sensei Morio Higaonna (see iogkf.com) was promoted to 10th dan. I wanted to mention this, and offer my congratulations and respect. Higaonna Sensei is one of the most dedicated and skillful Karate instructors I have ever had the privilege to meet. He certainly "walks the walk." I think he trains all the time.

He has also been very generous to and supportive of the Hawaii Karate Museum, and to me personally in my research efforts.

When I have met Higaonna Sensei, he always says, "I am just a student." Irrespective of dan level, I am sure that he is trying to improve himself each and every day. What an example for us.

Respectfully,

Charles C. Goodin

Rank Fee Schedule

I thought I would list our dojo's schedule of dan ranking related fees.

• Testing Fee:
• Belt Fee:
• Certificate Fee:
• Annual Renewal Fee:
• Retesting Fee:
• Reissuance of Lost Certificate Fee:
• Recertification Fee:
• Title Fee:
• Fee to Have Certificate Signed by Dignitary:
• Fee to Have Photo Taken With Dignitary Awarding Certificate:
  

The reason you don't see any dollar amounts listed above is because we do not charge any such fees! But I am pretty sure that you have seen similar fees over the years, and perhaps some others that might get pretty creative. It is amazing how many ways people can come up with to charge money!

I think that rank is something you earn by sincere hard work, not something you can purchase. And the idea is to develop skill and a good character.

There was a Karate instructor. He was so good that his gi made a loud noise whenever he executed a technique... "ka-ching, ka-ching!"

Three students were arguing about which of them was the best.

"My instructor is the most famous," said the first, "so I am the best!"

"My instructor is a great champion," said the second, "so I am the best!"

"I have you both beat," boasted the third. "I am certainly the best."

"But your instructor is neither famous nor a champion," said the first.

"And to tell the truth, he is not very skilled," said the second.

"That may be true," conceded the third, "but he charged me a fortune for my shodan certificate!" "I must be the best!"

The best things in life are free.

Respectfully,

Charles C. Goodin

Parking Lot Courtesy

If you and your Sensei are parked side by side or near to each other, and you are both in your cars and about to leave the parking lot at the same time, what should you do?

You should wait for your Sensei to pull out of his parking lot first. After he leaves, then you can pull out of your parking lot and leave.

In the dojo, you would not cut in front of your Sensei. You should show courtesy. The same applies in the parking lot, and anywhere for that matter. I only referred to the the parking lot scenario because it is something you are likely to experience frequently.

I follow the same rule if my wife and I are leaving a parking lot at the same time. I always let her leave first. If we are both going home, I will follow behind her.

I know that some of you are thinking, "She must be your Sensei!"

Actually, I do this so that I will be in a better position to assist my wife if she has car trouble, an accident, or some other driver gives her trouble. If I am behind her, I can easily stop and help. If I were in front of her, I might not see the problem and continue on home.

My secondary point is that the courtesy we show to our Sensei is the same courtesy that we can show to other people. The real dojo is daily life.

Respectfully,

Charles C. Goodin

Punching Speed Contest

I was teaching the class on Monday night and wanted to explain something about punching. I wanted to show that using the koshi makes it easier to punch fast.

My third son, Cael, was there. Cael is 19 and very fast. I think he is the fastest of my sons, and also the strongest. He practiced Kendo for several years and became very quick. You would think that he should be able to punch much faster than me, since I am 51.

We began to punch to my wife's count. Of course, my son wanted to hold back so as not to embarrass me. But I urged him to try his best. We were going at about the same speed, but eventually he started to pass me by perhaps 10% to 15%.

So here is my point. Cael was not able to punch twice as fast as me. He could only beat me by a little. A 19 year old should have a greater advantage. Plus, Cael is not an average 19 year old. He has trained in Karate since he was 5 and is really quick. So why couldn't he move much faster than me -- to smoke his dad?

First, I believe that there is some sort of natural speed limit to koshi driven movement. If I put 4 students in front of the class who are all pretty good at koshi and have them punch as fast as they can, one might be a little ahead, but generally they all punch at about the same speed. I think this is because whips all go at about the same speed.

Also, with respect to Cael there is another factor. His hands and arms are faster than mine, but my koshi is faster than his. I can twitch my koshi faster (with a smaller torque) than him, and this helps me to get my punch off a little faster. He pumps or floats a little when he initiates his koshi. I do much less so.

As a result, my punch gets off a little faster. Cael then catches up and passes me during the punch because of his arm and hand speed. If he had a faster koshi, he really would smoke me.

I have observed another thing about speed. When someone is really skilled at koshi, it is not simply the speed of one technique that counts -- you have to also look at the speed of combinations. A fast person might be able to throw one technique quickly but a skilled koshi person can throw a combination with no wasted time between the techniques. The two techniques take only a little longer than a single technique. And the first technique might be a part of the second, a parry for example.

So there is a difference between raw speed and effective speed.

And don't forget that koshi allows one to generate power in a very short distance. Thus, a punch or strike can be thrown close and a close technique will generally be faster than a long range one.

At 51 I like to challenge younger, faster students. If I can come close, that is good. If I can come close to Cael, that is great! I want to become faster (and stronger) as I grow older.

And honestly, I am much slower than my Sensei, who is now almost 70!

With koshi, progress as one ages is possible. Without koshi, we will naturally become slower and weaker with age. Who wants that?

Respectfully,

Charles C. Goodin

Skill and Intelligence

I recently wrote about Skill and Conditioning. In that post, I stated:

It is important to hone your skills. It is also important to condition your body to provide the best vehicle possible for the expression of such skills. The two go hand in hand.

I would like to add a third factor. You must get into good shape to provide the best vehicle possible for the physical expression of your skill. You must also train your mind in order to provide the best vehicle possible for the understanding and expression of your skill, particularly when teaching the art.

You do not want to be a Karate brute. Instead, you want to be a cultured gentleman (or lady), skilled in both the physical and the mind.

Please do not get me wrong. I am not saying that you should not be in great shape. You should. It is just that you should also be in great mental shape.

For young students, I would urge them to try to get the best education possible. Ideally, a student should strive to obtain a college degree. I urge my own children to strive for a graduate degree as well.

I know that this is not always possible, but it is a good goal to work toward. If Karate training helps a student to be determined, it should also give him the determination and drive to pursue higher education. In addition, a good education could help the student to obtain a job that will enable him to further pursue his Karate training throughout his life.

Respectfully,

Charles C. Goodin

The Loudest Supporter/Critic

Over the years I have noticed that the most vocal supporter for a Sensei, while he trains with him, sometimes becomes the loudest critic of the Sensei, when he leaves him.

The student who shouts "My Sensei is the best", might later yell, "That man is the worst!" Of course, these things happen in all things, not only in Karate.

But because of my observation, I now pay closer attention when a student or instructor is very vocal in his support for his Sensei. Why is he doing this? Is he sincerely sharing his view about his Sensei, or is he actually trying to draw attention to himself? Is he really saying, "Look at me!"

Being too loud is not a good thing. If a student is too vocal in his support of his Sensei, his Sensei will feel uncomfortable and probably scold him. But then again, some Sensei might enjoy the praise! Then the student and Sensei would seem to deserve each other.

I will tell you another observation I have made. When a student finds a truly great Sensei he might actually want to keep it quiet!

Respectfully,

Charles C. Goodin

A Great Artist

This is a story...

A man had a reputation as a great artist. One day, an art professor from a major university visited him accompanying by a film crew. Of course, the artist was very pleased and eager to demonstrate his skill.

The artist took the professor and the film crew to his studio and took out a coloring book. Opening the book to the first page, he carefully began to trace the outlines of the pictures with a crayon.

The professor was dumbfounded. "Why, why, this is something that a 5 year old child would do," he exclaimed.

"Yes," admitted the artist. "But you see, I have been doing it for 30 years!"

Just as there is much more to art than merely tracing the outlines of pictures, there is much more to kata than merely performing the movements.

Respectfully,

Charles C. Goodin

No Meaning?

Over time, as I have meet more Karate students and instructors, I have been struck by the number who have told me that they never learned the meanings of the movements of their kata. I don't mean that they only learned some meanings, I mean that they did not learn any movements. For them, the kata was simply a sequence of movements.

I know. This may sound hard to believe. When we learn English we learn words and their meanings. We do not simply learn to make sounds.

But if at least some people do learn kata without the accompanying meanings, or more appropriately, the accompanying range of meanings, then this explains some of the seamingly ridiculous ways that kata are performed by some people.

For example, you sometimes see kata rushed so badly that none of the movements could be applied based on the underlying meanings. Or you might see kata done with an emphasis on theatrical and exaggerated kiai, something that would have no use in actual self defense. You might also see strikes, designed to be executed quickly, done in a slow, almost vibrating manner, designed to convey deliberate power perhaps.

Pretend that you are hitting a nail with a hammer. You do this all the time when you work around the house. Now if you made a kata of the the movements involved in hitting a nail with a hammer, how would it look? As long as you knew that the movement was supposed to represent the simple act of hitting a nail, there would no problem. You could always refer back to the actual act.

But what if you taught your nail hitting kata to someone, who taught it to someone else, and so on, and eventually a student learned the kata without the underlying meaning? Maybe he would do the kata with a loud and protracted kiai. Is that how you hit a nail? Maybe he would perform the kata very slowly with his body really tense. Again, not a good way to hit a nail.

Hitting a nail is a pretty simple thing. Kata embody so many more and sometimes complex scenarios. How sad if the kata are practiced without reference to their meanings.

Perhaps the search for meaning in kata is the same as the search for meaning in life. Let's not just go through the motions, of anything.

Respectfully,

Charles C. Goodin

Who Would You Want?

I know many Karate experts, as well as experts in other martial arts. There are many ways to think about their varying levels of expertise. Ranks and titles are often used as measures by some people, although I do not put too much weight in them. Dojo size can be misleading too. Skill in the abstract is hard to measure.

I had a thought today during lunch. If I were attacked by 10 people, who would I want to be there with me? Which expert could I count on? For purposes of this exercise, I assume that each expert is in his prime (so that age is not a factor).

It is really funny (or perhaps not so) but I pretty quickly narrowed my choices to just three or four people. If you were attacked by 10 people, who would you want to be with you?

Of course, if this scenario ever happened, I would hope that my chosen expert could take on 9 of the attackers so that I could try to reason with the 10th! I'm afraid that I would not be on anyone's list to be their expert! But I would be a good witness (and I could later write a good article about it).

This made me remember something my father-in-law told me. When he was in the Navy his friend would sometimes come get him when there was going to be a big fight, something that seemed to happen pretty often. My father-in-law and his friend would stand back to back so that no one could hit them from behind. They could count on each other.

My father-in-law later practiced Kenpo at the CHA-3 organization under Professor Marino Tiwanak.

Respectfully,

Charles C. Goodin

Go B.J.!

There is a good article about the upcoming match between Hawaii's B.J. Penn and Georges St. Pierre at:

http://sportsillustrated.cnn.com/2009/writers/josh_gross/01/29/bj-penn/index.html

The article also discusses Hawaii's Henry Seishiro Okazaki, who also had a famous bout with a boxer in Hilo, Hawaii, in the 1920's. Hilo was well-known for its Ju Jitsu experts from the 1880's.

I hope that both fighters are safe and do their best.

Go B.J.!

Respectfully,

Charles C. Goodin

Skill and Conditioning

Being in good shape does not mean that you will be skilled in Karate, but it is very hard to become skilled in Karate if you do not get into good shape. You probably cannot imagine a fire fighter who is in such bad shape that he cannot climb a ladder or carry a fire hose. Firefighters are usually in excellent shape. But you have probably seen Karate instructors who are in very poor shape.

I am not talking about illnesses or chronic conditions. I am talking about people who have simply let themselves decline or who never got into shape to begin with.

It is important to hone your skills. It is also important to condition your body to provide the best vehicle possible for the expression of such skills. The two go hand in hand.

Respectfully,

Charles C. Goodin

When to Disclose Dan Ranking

At what point in a meeting is it appropriate to disclose your dan level or ranking? Assume that you are visiting a Karate instructor for the first time. You will have to introduce yourself and give a brief background. There might be the customary exchange of business cards.

So when do you mention, "and I am a 7th dan" (or whatever rank)?

In my view, you don't. You don't offer that information. You do not include it on your business card. You do not wear it on your shirt or gi. You don't tatoo it on your arm. You don't mention it unless you are asked.

Then, in my view, how you handle the situation depends on who you are meeting. If you are meeting a junior, you might deflect the question. Dan ranking is such a subjective thing. Such things are not very important. You are just a student. That sort of thing.

If you are meeting a senior, I would probably answer frankly. "I am just a student, but was given a Xth dan by Sato Sensei in 1998."

If you are meeting an equal (or about so), it would depend again.

But it is important to remember this: the more quickly and enthusiastically you disclose your rank, the less credible you will seem. This is just my view, but I know many seniors who also feel this way.

Whatever level you might be, the most important thing is to be respectful and to train hard to improve yourself. That's it.

Honestly, I have met people who almost treat their rank as part of their name. "Hi, I am Bob, 7th dan!" I think it is better to simply say, "Hi, I am Bob and I am pleased to meet you."

Just my two cents.

Respectfully,

Charles C. Goodin

Blocking/Striking Position

Following up on my last post, if my intention is to block/strike, not merely block, then I must get to a position that allows me to do both without further movement. What I mean by this is that I do not want to get into a position to block, and then have to move again in order to strike. This would take too much time.

Ideally, when I block I should be in a position that will also allow me to strike. This means that I need to be close to the attacker since I am not very tall. The essence of Okinawan Karate, in my opinion, at least of the Shorin-Ryu line, is that it is based on close "fighting" -- "very close" is probably more accurate.

My objective is almost to crash my body into (and through) the attacker's body -- with the appropriate blocks and strikes (and conditioning to some extent) to protect me.

In line with the principle emphasized by Choki Motobu, I would generally not want to step back. My movement will almost always be toward the attacker.

If this does not sound defensive, it is because it is not, at least not really. Once Karate needs to be used -- the point of last resort is reached -- it becomes a counterattack in a very offensive way. With my size and strength, I cannot afford to be defensive.

Up until the point of last resort, Karate is not offensive. The idea is to avoid conflict and run away if possible. If a simple block will work, that is what you should do. But once there is no other way, then Karate becomes the worst thing imaginable. My first Shorin-Ryu Sensei always said that a Karate man fears his own hand. He fears his own hand, not the attacker's. He fears what he can do with his hand, and tries to do everything possible to avoid its destructive use.

Block/strike, strike/block.

Respectfully,

Charles C. Goodin

Blocking Incidental to Striking

A little bit about blocking...

When I block, my intention is to strike.

Let me repeat this. When I block, my intention is to strike. Blocking, stopping or diverting a punch is incidental to my own counterattack. I am blocking so that I can strike, not simply to block.

There is a simple example of why this is so. Imagine that someone punches you. If you only block, he can punch again, and again, and again. Blocking by itself is not enough.

I know that some readers might suggest that a block can be enough if it breaks the attacking limb and this is true. However, it is pretty hard to break someone's arm (or a bone in the arm) with a block. It is possible, but not all that reliable. I do not know too many people who can say with confidence that they can break an attacker's arm with a block 100% of the time. It is a good intention, but not one that can be relied upon generally. If a boxer was punching at you fast, could you break his arm with a block? Could you?

That is why the counterattack is so important. If a punch is blocked, the best way to prevent the attacker from punching again is to strike him hard, very hard. A good punch to the face, for example, should give the attacker something to think about, especially if it is followed by another punch, a kick to the groin, a knee to the face, pulling hair, poking the eyes, and a take down (with stomping, etc.).

And a strike to the face will almost certainly do more damage than an equally strong block or strike to the arm. If you had a choice, would you prefer to be hit on the arm or in the face?

So when I block, I am thinking about striking (counterattacking). The block and counterattack are part of one thing. They are not separate. For example, the block might continue forward and become a strike to the face. The block and strike are really one movement, not two.

Karate techniques should only be used as a last resort. Once that point is reached, Karate is one of the most terrible things imaginable. It is self defense in a life and death situation, and the techniques reflect this.

So blocking is really blocking/striking. The intention is to strike.

Respectfully,

Charles C. Goodin

Blocking Distance -- Too Far

I was looking at photos in a Karate book at lunch with my friend and senior Sensei Pat Nakata. I showed him a photo from the book of a person blocking a punch. The defender blocked the attacker's punch at about the side of the wrist.

I said, "Sensei, this block is too high (on the arm). At that distance, the defender could not reach the attacker with a punch." In essence, I was saying that the defender was too far away.

Nakata Sensei replied (I am paraphrasing), "Actually, there was no need to block that punch because it would not have reached the defender. If a punch won't hit you, there is no need to block it."

Of course, Nakata Sensei was right.

All too often, I find that the people shown in Karate books demonstrate their techniques when they are too far away from each other. The punch would have fallen short or just touched the skin. The block is on the wrist, leaving the defender too far away for an instant/simultaneous counterattack.

The demonstrators are standing too far away from each other. They should be crowding each other -- getting in each other's face. When they punch the face, they should be able to hit through to the back of the head. No one hits just the surface.

If you train to block unrealistic punches, how will you block real ones?

I have very interesting lunches!

Respectfully,

Charles C. Goodin

More About Visiting Students

Everyone is different, but here are some of my thoughts and concerns about visiting students. I have written about this to some extent, but will extend the discussion here.

I am somewhat often contact by people requesting the opportunity to visit my dojo to train. Almost always, I decline.

First, I do not run a commercial dojo. I would not charge a fee for someone to visit -- so money is not the issue... not at all.

If I am contacted by a parent asking permission for his or her child to visit, I will decline because that is the wrong person to make the request.

If I am contacted by a student asking permission to visit, I will decline because again, that is the wrong person to make the request.

If a am contact by a Sensei asking permission for his or her student to visit, then I will think about it. If I know the Sensei or he or she is good friends with my Sensei or my friend, then I will consider it. But even then, I may still have concerns.

Let's say that a Sensei in Texas requests permission for his student to visit and train with me. That Sensei may have a Sensei in Florida, who has a Sensei in New York, who has a Sensei in Okinawa. I may know some or all of these Sensei, or I may not.

But if I give permission to the Sensei in Texas and his student visits me, then I might get complaints from the Sensei in Florida, or New York or Okinawa. They might ask why I allowed their student or member of their organization to train with me without their permission? Was I trying to steal their student? And why did I fill their minds with all sorts of "Kishaba Juku" body mechanics ideas that conflict with their system? Who do I think that I am?

And even worse, the Sensei in Okinawa may visit my Sensei in Okinawa to complain about me. This would put my Sensei in a very awkward position and would make me feel extemely bad.

I have even received requests from Sensei to visit and train with me. They usually ask on their own behalf. But even they may have living Sensei. Without their Sensei's permission, I would have the same issues as described above.

And when I decline, a Sensei requesting on his own behalf will often say, "I am a Sensei, I do not need to get my Sensei's permission."

But think about it. If a Sensei from Brazil visits me, his Sensei in Okinawa could get upset.

And heaven forbid that a visiting student likes what I teach and decides that he wants to switch to Kishaba Juku. Then I will be accused of being a thief! How dare I steal another dojo's student!

Of course, I have no intention or desire to steal anyone's student. I will usually take great pains to avoid it. In most cases, when I insist on the proper permission, the requester simply says to forget about it. Could it be because he did not want to ask his senior for permission?

I actually do not like getting students who already have Karate experience. It is much easier for me to start with a student who has no experience at all. That way, I do not have to "undo" anything, physically or mentally.

Physically, I would have to undo the student's way of moving. We all move differently. One way is not necessarily better than another. I am simply trying to teach my students to move the way I learned from my Sensei. That is now my way. It is different than the Shotokan way of moving. It is simply different -- not better or worse. But a student cannot learn from me and continue to move in a Shotokan way, for example. The more he had learned, the harder it will be for him to "unlearn" and reprogram his body to move my way.

When I have a student with no experience, I can see that he is moving my way only. When I have a student with prior experience, I can always see remnants of his prior training causing conflicts. It is almost impossible to completely rid a student of prior habits -- almost.

Also, a prior student will have ideas. If he came from a strict Japanese dojo, he might have the idea that we are also a strict Japanese dojo, which we are not. His training outlook will be motivated by honor and the avoidance of shame, rather than sincere enjoyment of the art. The longer he has trained, the more "ideas" there will be to identify or undo.

The point I am making is that I am never seeking students from other dojo or styles. I would prefer a brand new student with a blank slate for me to work with.

So I do not have a motivation to seek visiting students so that I can get them to join me or switch to my system -- just the opposite.

Would I ever have a visiting student? Sure. If a Sensei in Okinawa contacted my Sensei in Okinawa and asked permission for a student to visit, and my Sensei in turn asked me, there would be no problem. There are other exceptions, but generally they are few.

Another consideration is what I would do with a visiting student. Would I simply allow him to follow along, or would I try to teach him? And teach him "what" if he will visit for only a short time? Would I try to teach him Naihanchi Shodan, which could properly take a couple of years to begin to learn? Would I try to teach him "koshi", which could take quite a bit longer? Or would I simply allow him to copy our movements with no understanding of them, and then return home to say that he now "understands" our style?

It gets very complicated and difficult. This does not even address the issue of potential injuries, requests to "spar", requests to take photographs with me or other Sensei, what belt to wear, omiyage, etc.

I might also add that I used to practice Matsubayashi-Ryu. Out of respect for the head of that art, I would never permit a Matsubayashi-Ryu student or instructor to train with me unless the head of that art had made the request to my own Sensei first. Otherwise, I would be showing disrespect to the head of Matsubayashi-Ryu, which I would not want to do.

Some people will certainly think that I am arrogant to think this way (as described above). But that is just the way that I think. The main thing to me is that our dojo is pretty private, not commercial, and that I do not want to show disrespect to another Sensei or head of an art. I am not seeking money or students or notoriety. When it comes to training, I simply enjoy training and helping my small group of students to learn. That's it.

P.S.: For Kishaba Juku students, you are always welcome (as long as your Sensei contacts me to give permission first).

Respectfully,

Charles C. Goodin