Monday, June 22, 2009

2.Karate and Buddhism in Chinese Art


Karate and Buddhism in Chinese Art
Evidence of self-defense techniques of Zen can often be found in the statues and paintings of the Buddha and His disciples, which portrayed in importance karate stances or arm positions. Without knowledge of karate, even these signs were misinterpreted.













Position in Guard (Kamae) with upper hand open and lower hand closed (Yin-Yang or soft-hard)















Position in Guard (Kamae) with upper hand closed and lower hand open



































1. Karate History



A Brief History of Karate

China


According to legend, Bodhidharma Sardili (about 440-about528), also known as Ta M o (達摩) in Chinese, or Daruma (達摩) in Japanese, founder of Zen Buddhism in India, is said to have introduced Zen into China. He taught at the Shaolin (少林, Shorin in Japanese, lit. little forest) monastery in Honan (Henan) Province, about the year 500 A.D. At first, the Chinese monks found it too hard to comprehend. The mental exercises used in Zen proved to be too difficult to practice. The monk tired of the exercises and found their minds constantly wandering. In order to build up his disciples’ strength and endurance, he developed a more progressive method of training both mind and body, which he recorded in his two books, Ekkin-Kyo and Ekkin-Zenkui. Ekkin-Kyo is considered the first book on karate of all time. It explains how to practice the body to clean the spirit (ordinary exercises did not work because they conditioned the body but had no effect on the mind). It is believed that Karate-do was born from this viewpoint.

His training system came to be the foundation of Chinese Ch'üan-Fa (or quanfa), literally “fist way”, which the Japanese called Kempo (拳法). Later, it split into Northern School and Southern School. The characteristic of the first one is mainly hardness, colorful, rapid, dynamic movements, long-range techniques, and it is an aggressive fighting art. Whereas the characteristic of the second one is mainly softness, slow, sober techniques, short-range techniques, using Qi (Ki in Japanese) power as essence, internal martial art, and it is a defensive fighting art. Both styles found their way to Okinawa.

Okinawa
How was Kempo introduced to Okinawa?

(1) A group of 36 Kempo experts immigrated from Fukien province, China: In 1392 (Ming dynasty in China), 36 Chinese immigrants came to Ryukyu (present-day Okinawa) and practiced martial arts in extreme secrecy. Thus, at that time karate was introduced to Ryukyu by Chinese immigrants.

(2) While Ryukyu was governed by the Chinese in the 15th century, Chinese kempo was brought into Ryukyu by the Chinese diplomatic envoys. The most notable military attachés who came to Ryukyu were Zhang Xue Li in 1663, Wang Ji (Wanshu in Okinawan, or Wansu in Japanese) in 1683, who created kata: Wanshu (Empi in Shotokan), and Kwan Shang-fu (Ko So Kun in Okinawan, Kushanku in Japanese) in 1756, who created kata: Kushanku (Kankudai in Shotokan).
(3) Some Okinawan went to China to study a variety of disciplines. The most remarkable are Sakugawa Kanga, also known as Tode- Sakugawa (1733-1815, Kosokun's student), Sokon Matsumura (1792? or 1809-1896, Sakugawa's student, Shurite style), Kanryo Higaonna (1853-1915, Father of Goju-ryu), Kanbun Uechi (1877-1948, Founder of Uechi-ryu), and so on.

To-De (Chinese Hand)

It is importance to note that the inhabitants of Okinawan had their own early native martial arts called “Te” (Ti in Okinawan). After Chinese influences, a blending of the martial arts occurred and the Okinawan called it “Tu-Di” or “To-Di” (“To-De” or “To-Te”, in Japanese), which means Tang Hand (Chinese Hand).

Weapon Prohibition Policy in Ryukyu

The weapon prohibition policy was imposed on the Ryukyu in the 16th and 18th centuries following the political centralization of King Shoshin (1477-1526) and the Satsuma Clan's invasion of Ryukyu in 1609. The policy left farmers and fishermen easy to be prey for armed bandits and pirates. This situation led to an increase in the development of karate (empty hand) and Kobudo (martial arts used peasant's instrument as weapons). All Ryukyu martial arts were taught privately and secretly.

Three Cities, Three Styles

In the time of banning and confiscating all the weapons from common citizens, there were three distinct styles of karate: Shuri-te, Naha-te and Tomari-te, named after the cities where they were practiced.Tomarite was little further developed and eventually it was assimilated by the more active Shuri-te and Naha-te development.
It later developed further through a process of systematization into “Modern Karate”, which actually had a lot to do with the efforts of the men known as the Chuk- No-So (The Revivers), including Sokon Matsumura (1828-1898) of the Shuri-te style, Kosaku Matsumora (1829-1898) of the Tomari-te style and Kanryo Higaonna (1853-1915) of the Naha-te style.
In 1908, 'The 10 Articles of Karate' prepared by Anko Itosu (1832-1916) were submitted to the Educational Affairs Section of Okinawa Prefecture. After that, karate started being introduced into the school gymnastics curriculum, thus acquiring broad accessibility, in contrast to the previously secret principles of Isshi-Soden (the complete transmission of a ryu's techniques only to one's heir).

Japan
How was karate introduced to Japan?


In the early 20th century, karate began to be introduced throughout Japan by several Okinawan masters, including Gichin Funakoshi (1868-1957, Founder of Shotokan-ryu), Kenwa Mabuni (1889-1952, Founder of Shito-ryu), Kanbun Uechi (1877-1948, Founder of Uechi-ryu), Chojun Miyagi (1888-1953, Founder of Goju-ryu)
and other masters.

Gichin Funakoshi was the first Okinawan expert which generally credited with having introduced and popularized karate on the mainland Japan, in 1916. Although, he began teaching actively in 1922. He was a student of the two greatest masters of the time, Anko Azato (1827-1906) and Anko Itosu (1832-1916), both were students of Sokon Matsumura.

Master Funakoshi taught only one method, a total discipline (both mind and body disciplines), which represented a synthesis of the Okinawan karate styles (Shurite, Nahate,and Tomarite; mostly Shurite). Later this method became known as Shotokan. Because of the great popularity of the style in Japan, later around the world and his effort to advance karate from Jutsu (techniques) to Dō (way), Funakoshi is widely considered to be the “farther of modern karate-do”.

World
How was karate introduced to world?


Karate began spreading around the world after World War II. The biggest contributors were the many Japanese instructors who went to live abroad full of ambition, the U.S. military personnel occupying Japan at the time, and the students with different nationalities went and learned karate in Japan.

The most notable Japanese Shotokan karate instructors who went to teach karate abroad include Tsutomu Oshima (US, 1955), Hidetaka Nishiyama (US, 1961), Taiji-Kase(1929-2004, France, 1964), Keinosuke Enoeda (1935-2003, England, 1965), Hirokazu Kanazawa (taught internationally since 1977, Founder of SKI), H. Shirai (Italy), Ochi Hideo (Germany), and many others.

Feb. 25, 2006
Instructor: Chheang Bunly, 5th Dan

Wednesday, June 17, 2009

10. Karate Terminology

Karate Terminology


Counting in Japanese

Stances

Blocks

Hand Thrusting Techniques

Hand Striking Techniques

Kicking

Other Terminology


RENSOKU-WAZA_ (Combination Techniques)











RENSOKU-WAZA
Combination Techniques (Illustration)

















































FUMIKOMI_(Stamping Kick)

FUMIKOMI
Stamping Kick (Illustration)













GERI-WAZA_Foot and Leg Striking Techniques (Illustration)

GERI-WAZA
Foot and Leg Striking Techniques (Illustration)

























ASHI-WAZA _Foot and Leg Techniques (Theory)







GERI-WAZA
Foot-Striking Techniques

How to Kick

1. Raising the Knee

Raise the knee up as high as possible and fully bent (the angle of the back of the knee is minimum), and shift the weight of the kicking leg toward the hips.
Part of the reason for bending the knee fully is to keep the weight of the kicking leg as close as possible to the trunk. The kick has greater power if the leg is initially close to the body.
The raised-knee position differs from technique to technique.

2. Snapping or Thrusting Kick

There are two ways of kicking. The first is done with a snapping, and in most kicks, an upward movement of the foot. The second by straightened the knee forcefully and thrust the foot outward, and often downward.

3. The Length of the Arc

The longer of the arc the foot travels, the stronger the kick.

4. Spring of the Hips or Shifting of the Body Weight

To achieve maximum power, kick with the whole body instead of with the leg alone (putting your whole body weight into it).
Pushing the hips forward during the kick helps achieve this goal. Push the hips toward the target as the leg drives out and immediately withdraw them again as the leg is retracted.

5. The Supporting Leg (Its Knee and Ankle)

During the kick, keep the supporting leg steady, with the knee slightly bent. If the knee is bent too much in an effort to keep the hips low, the muscles of the leg will support the body with difficulty. The knee and ankle will be loose, and it will difficult to kick effectively. Bend the knee only slightly, lean the leg slightly forward, tense the muscles of the leg.
The ankle of the supporting leg must be strong and flexible to enables the hips to move smoothly and to absorb the shock of the kick. The ankle must also act to keep the sole of the foot firmly in contact with the ground.

6. Withdrawing the Kicking-Foot

After the point of impact, withdraw the kicking-foot quickly to the raised-knee position and take up the position for the next technique. The quick withdrawal prevents the opponent from catching or scooping it or from sweeping your supporting leg.



Note— KEAGE and KEKOMI

KEAGE (Snap Kick)

In the snap kick, after the knee is raised, the kneecap becomes the center of a semicircular movement. Use the spring-like power of the knee by snapping it fully.

KEKOMI (Thrust Kick)

In the thrust kick, after the knee is raised, the knee is forcefully straightened. It can hit a target located at knee height, at waist height, or higher. Lean the upper body as much as possible in the direction of the kick. If you lean away from the kick, you will lose your balance. At worst, you will be propelled away from the target at the moment of impact.


Methods of Kicking

1. USHIRO-ASHI-GERI: Kick with the rear leg.

2. MAE-ASHI-GERI or KIZAMI-GERI: Kick with the front leg.

3. REN-GERI (Alternate Kick): Kick alternately, i.e., with left and then right leg (kick two or more times), using the same or different techniques to the same or different targets/directions depending on the situations.

4. Consecutive Kick with the same leg: Kick consecutively with the same leg, using the same or different techniques to the same or different targets/directions by two ways:
(1) Drop the kicking foot to the floor after finishing each kick, and then continue to the next kicks.
(2) After finishing the first kick, without dropping the kicking foot to the floor, bend and extend the knee rapidly for the next kicks.

5. TOBI-GERI (Jump Kick): Jump and kick with the rear or front foot. It is also possible to jump and kick alternately, e.g., TOBI-NIDAN-GERI (two-level jump kick) in KANKUDAI, TOBI-MIKAZUKI-GERI and TOBI-USHIRO-GERI (jumping crescent kick and jumping spinning back kick) in KANKUSHO, and so on.

6. Body Dropping Kick: Kick by dropping your body diagonally forward, e.g., TAI-OTOSHI-MAWASHI-GERI (body dropping roundhouse kick) in UNSU or kick by dropping your body backward, e.g., KANI-BASAMI-GERI (scissor kick).

7. Kneeling Kick: Stand on a knee and spin your body to kick, e.g., TACHI-HIZA-USHIRO-URA-MAWASHI-GERI (one-knee stance, spinning back reverse roundhouse kick) or in squat position (SEIZA), kick to the front (Mae-Geri), side (YOKO-GERI), or back (Ushiro-Geri) while standing on the supporting knee.

8. Two-Foot Kick: Kick simultaneously with both feet which are grouping together or parallel (kick one opponent), or V form (kick two opponents) in sitting or jumping position; or one to the left and the other to the right in jumping position (kick two opponents at the same time).

Résumé Table— GERI-WAZA (Kicking Techniques)

Résumé Table— Unbalancing Foot Techniques