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ZERO VELOCITY POINTINFLUENCE

ON STEPPING AND TURNING(SPORT KARATE PRACTICE IMPLICATIONS

ON TRADITIONAL KARATE TRAINING)

Dragan Kljenak, (Dipl.Ing.Arch.) a graduate of University ofZagreb, Croatia, has been involved with karate from 1971, in former

Yugoslavia and, from 1988, in Canada. In the early days (1976 up to 1985)he was competing on local level tournaments in Croatia and Slovenia

(winner of 1977 open provincial tournament). In 1990 he became memberof Karate Ontario and trained with Sensei Z.Celebija,7th Dan, WKFReferee, of Mississauga Shotokan Karate Club receiving also top levelinstruction in officiating. D.K. is holding both KAO and NKA KarateReferee highest licences (officiating on Karate Ontario tournaments from1995 and, from 1998, on National Karate Association of Canadachampionships). He has also completed karate coaching program NCCPlevel 2. From 2003 he has been teaching full time in his club (Karate-Do


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ZERO VELOCITY POINT INFLUENCE ON STEPPING AND

TURNING(SPORT KARATE PRACTICE IMPLICATIONS ON TRADITIONAL KARATE TRAINING)


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ZERO VELOCITY POINT INFLUENCE

ON STEPPING AND TURNING(SPORT KARATE PRACTICE IMPLICATIONS

ON TRADITIONAL KARATE TRAINING)

In the early days of karate sport some competitors were performing techniques

with no hikite (pulling arm) and no fixed, static, stance..fluid and almost relaxed!? Manydismissed these attempts with comments such as not real karate In fact, they were

predecessors of todays fast paced kumite bouts and fluid karate techniques.

Old controversies will inevitably appear again if they are not resolved when they occur.

I would like to remind younger karate-ka of an infamous picture where two prominent

JKA competitors demonstrate Gyaku zuki attempting to score.1Older ones need not be

reminded, these questions were around for quite some time. When one of those

competitors was asked2about his un-orthodox stance he replied with only a smile,

refusing to go deeper into discussionA great schism between traditionalists and modernists is still present in karate. The

main difference is related to a sport kumite form: completeness of a technique execution

and a stance (or posture) while scoring.

Unfortunately, uncompromising insistence on these differences lead karate only to adamaging division and definitely influenced decisions that prevented presence of karate in

Olympic games.

If these issues were approached from a scientific point of view, instead of from a dogmatic

one, we could have witnessed faster development of sport karate as well as karate ingeneral.

Generations of karate trainees were instructed one way and then were confronted with

application of acquired skill in a sport the other way. Because of this duality, without aclear explanation of necessary modification, training was only partially productive

It is very difficult to literally apply fundamental karate techniques in sport kumite. If a

Gyaku zuki is performed (sliding in or stepping forward) with very strong hikite it isimpossible to quickly step back. If Oi zuki is performed in the same manner, with a strong

hikite, it is impossible to quickly step forward.

Intuitively, modifications ensued in a sport kumite.Careful observers of karate tournaments have noticed that kumite technique adaptation

occurred gradually over the last two decades or so Still shots of tournament actions


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It is necessary to accept the fact that scoring a point in a sport kumite bout is

fundamentally different than hitting3

if we really want to fully understand both sides of thisdivision.

Contestants inevitably must adopt technical principles that lead to efficient scoring.

A competition bout may resemble a duel but it is not one!4

It is indeed necessary to accept technique adaptation (we may even refer to this as

transformation) in order to make competition possible. There is no danger for karate inaccepting these modified techniques as correct. Understanding of the technique found

through these modifications must be incorporated in regular practice of karatefundamentals!Okuyama Sensei

5always emphasizes in his teaching that the advanced practitioner may

introduce logical and well researched change in his or her everyday karate practice but

responsibly and only with full awareness of a specific purpose.

A trained person moves with amazing flexibility, amplitude and vigor: we have to, finally,

banish the idea of robotic, overstrained and rigid moves that are very often

misrepresented as karate.

This article will establish that questions about transformed technical details have

scientific and logical answers. Particularly, I will show how basic laws of classicmechanics provide relatively simple explanations regarding characteristics of some

techniques, stepping and turning as well as hikite application in sport kumite and connect

these findings to traditional training of Kihon, Kata and prearranged Kumite.

3Experienced practitioners certainly know fundamental difference between fist (form as well as position with

respect to wrist angle) when training on makiwara or punching the air.4I want to point out some basic characteristics of competition score prerequisites:

a/ since touch is a perfect score (only limited amount of impact is acceptable and only to a certain body

areas!) dynamics of technique are changed: speed and accuracy are the most dominant aspects of technique;

b/ distance traveled is quite larger in a sport competition: competitor must be able to enter opponents space

and score with arm technique from a kicking distance(!);c/ requirements for proper score (rules of competition prescribe correct elements of applicable karate


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GENERAL MOTION AND ZERO VELOCITY POINT

Note on diagrams: I have devised a system of body representation (karate plan diagrams) in order toaccurately illustrate my explanations. This representation is based on an existing system of body

representation that is commonly used in modern scientific literature6. Karate plan diagrams used here are

explained in the Appendix A.

General motion is a combination of translation and rotation.7It is further understood that

the general motion is equivalent to the sum of translation along and rotation about an

instantaneous axis.8

Figure 1 General motion

When a body both translates and rotates, the velocity of a point in the body can be

represented as a vector sum of the velocity caused by the translation and the velocity

caused by the rotation. An axis or point for which velocity equals zero is an instantaneous

axis orcenter of velocity. The rotational velocity at this point cancels the translational

velocity.9

Note: there is significant difference in terminology when velocity and speed is

d fi d F th di l t d di t ifi ll d t i d10


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Translationis such a motion where all points of the body move along parallel paths

and have the same velocity and acceleration at any given instant.11

Any line fixed to the

body will stay parallel to itself as body moves. Simply put, the body will change positionfacing the same direction whether moving forward or backward. It is understandable that

this is assumed, ideal, theoretical condition. The motion in the example is caused by two

pairs of parallel forces acting in the same direction.

The motion in presented example is consequence of the very basic, fundamental, steping-in

move. Distance traveled is presented in reduced size: trunk displacement will be quite largewith full step (one Zenkutsu dachi length). The mechanism in question is presented with

respect to Shotokan ryu in all illustrated examples; the other styles will have different(style specific) approach to this issue.

Figure 2 Body translation; diagrams show how frontal plane (as

well as sagittal plane) remains vertical and perpendicular to base transverse plane.

Distance traveled is presented as ab distance between plane positions a and b,measured on transverse plane (before and after action) as a shortest distance between

planes.


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Rotation(or angular motion) is such a motion where all parts of the body travel in the

same direction through the same angle of rotation12

, around the axis of rotation. It is

assumed that parts of the body that lie on the axis of rotation are excepted, notrotating. Angle of rotation should be measured on the transverse plane, the one that is

perpendicular to axis of rotation. Distance traveled is presented as zero distance :

between plane positions a and a, measured on the transverse plane as a shortestdistance between planes before and after action. Rotation in the example is caused by two

pairs of parallel forces acting in opposite directions: Moment of the couple.

Figure 3 Body rotation; diagrams show that rotation of the

hips (shaded form) and rotation of shoulders (slightly larger elliptical form) have different

angle of rotation; shoulders are rotated more! Hip level has limited rotatory capabilities in

comparison with shoulder belt if rotation is executed on a certain karate stance. Length of

the stance is one of the major determining factors regarding hip level rotation amplitude.

Example assumes CW rotation performed on Zenkutsu dachi13.

The axis of rotation, cardinal longitudinal axis, is presented with a black dot: projection on

the transverse plane. This axis is an interception of two frontal planes depicting hip andshoulder planes (with two distinctive rotated positions) respectively.


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ZERO VELOCITY POINT AND HIKITE

The main technical purpose of the hiki-te is to increase acceleration of hand technique(s).Hiki-te may be effectively used as an acceleration vehicle from the fixed, stationary

position as well as in full motion, while stepping or turning. Probably the largest benefit of

the pulling hand may be ascribed to nullifying inertia, which is the main obstacle intechnique startup. If the practitioner uses hikite properly, initial motion becomes sudden,

surprising and often comes as a shock to the opponent.14

With all this said, it is easy to discover (video and printed materials are now widelyavailable and easy accessible) that in modern karate competition the use of hikite

mechanism is sparse, sometimes non-existent!?Analysis of basic technique will reveal why this occurs. I would like to stress once againthe general purpose of this research: to explain mechanism in question with scientific

method and re-affirm the importance of informed training, based on such findings!

First example is fundamental karate punch: Oi zuki on Zenkutsu dachi.

Figure 4.1 Oi zuki on Zenkutsu dachi; 4.1a shows body translation while

stepping forward;4.1bshows body CW rotation about longitudinal axis;4.1cshows final

phase with left Oi zuki and instantaneous axis (zero velocity point) shift denoted.

Hikite representation is omitted for clarity of diagram.

According to general motion explanation (Figure 1), strong right hand hikite, coupled with

intense hip and shoulders rotation, will cancel influence of the forward body translation (of

the appropriate side) and, as a consequence, shift instantaneous axis (center of velocity)

from central position - denoted in Figure 4.1bby full black dot at the intersection of two


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Figure 4.2 Step forward after Oi zuki; shows movement of an

instantaneous axis (zero velocity point, depicted as a full black dot) while stepping

forward as well as a movement of a right foot. This is inherently difficult step:

practitioner must move the point that has been stopped instantaneously when Oi zuki was

completed!


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Figure 4.4 Step/turn CCW 180 after Oi zuki; shows

movement of an instantaneous axis (zero velocity point, depicted as a full black dot) while

stepping and turning backward as well as a movement of a left foot. This is inherently

easy step-turn: practitioner must move around the point that has been stopped

instantaneously when Oi zuki was completed!

These examples (Figures 4.1to 4.4) are chosen because they appear in a teaching

curriculum (in our particular case Shotokan ryu) relatively early. Heian Shodan, the firstkata taught in most dojos, contains these steps and turns as they are considered

fundamental in development of technique. They certainly are! However, we should refrain

in naming these steps and turns basic, in somewhat derogatory way (!), because thismaterial represents a challenge for many experienced karate-ka.

Based on these examples it is possible to conclude that, as a rule, it will be difficulttomove zero velocity point/ instantaneous axis (the part or the side of the body where it

occurs). The last example shows that, as a rule, it will be comparatively easyto move

aroundzero velocity point/ instantaneous axis (the part or the side of the body where itoccurs).


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Second example is also fundamental karate technique: step-in Gyaku zuki on Zenkutsu

dachi

Figure 5.1 Gyaku zuki on Zenkutsu dachi ;figure 5.1a shows body

translation while stepping forward; 5.1b shows body CCW rotation about longitudinalaxis; 5.1bshows final phase with left Gyaku zuki and instantaneous axis shift denoted

According principles that determine general motion (Figure1), strong left hand hikite,

coupled with intense hip and shoulders CCW rotation, will cancel influence of the forward

body translation velocity (left side of the body) and, as a consequence, shift instantaneousaxis (orcenter of velocity) from central position - denoted by full black dot at theintersection of two rotated frontal planes (Figure 5.1b) - to the new position , denoted on

upper body frontal plane projection, roughly at left hip position (Figure 5.1c). This is an

axis (point) with zero velocity!This will have, as I will show next, serious implications when stepping or turning is

required for follow-up techniques.


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Figure 5.2 Step forward after Gyaku zuki; shows movement of

an instantaneous axis (zero velocity point, depicted as a full black dot) while stepping

forward as well as a movement of a right foot. This is inherently easy step: practitioner

must movearound the point that has been stopped instantaneously when Gyaku zuki was

completed!


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Figure 5.4 Step/turn CCW 180 after Gyaku zuki; shows

movement of an instantaneous axis (zero velocity point, depicted as a full black dot) while

stepping backward and turning, as well as a movement of a left foot. This is inherently

difficult step: practitioner must move the point that has been stopped instantaneously

when Gyaku zuki was completed!

These examples are chosen because they appear in a teaching curriculum (Shotokan ryu)

relatively early: second kata taught in most dojos, Heian Nidan, contains some of thesesteps and turns as they are considered fundamental in development of technique.

However, we must note that Gyaku zuki remains , in many variations and combinations,

the most frequent scoring technique in sport karate contests, even the highest rankingones.

15

Let me repeat once again: based on these examples it is possible to conclude that, as arule, it will be difficultto move zero velocity point/ instantaneous axis (the part or theside of the body where it occurs). It will be comparatively easyto move aroundzero

velocity point/ instantaneous axis (the part or the side of the body where it occurs).

The next example will give us the opportunity to examine a third possibility: although the


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Figure 6.1 Nukite on Zenkutsu dachistep/turn forward CCW

360 Tetsui uchi on Kiba dachi;shows movement of an instantaneous axis (zero velocity

point, depicted as a full black dot) while stepping forward and turning, as well as a

movement of a right foot. This is complex but not difficultstep: practitioner must move

the point (centered!) that has been stopped instantaneously when Nukite was completed;

then move it (translate) to new position and, at the end, perform rotation around the

translated point/axis.

This example depicts the third possibility (with respect to previous Oi zuki and Gyaku zukiexamples) : even after technique has been completed (in this example right Nukite zuki)

instantaneous axis (zero velocity point) remains centeredthroughout the complex

movement. Simple observation leads to a clue: the left arm did notperform hikite!

Figure 6.2shows that instantaneous axis (zero velocity point) remained centered in theinitial left Morote uchi uke (being initiated from Musubi dachi): no hikite here either!

This example is chosen because it appears in a teaching curriculum (of Shotokan ryu)relatively early: the third kata taught in most dojos, Heian Sandan. These steps and turns

are considered fundamental in the general development of a karate technique.


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Figure 6.2 Morote uke on Kokutsu dachi Nukite on Zenkutsu

dachi;figure shows displacement (at the same position with respect to body!) of an

instantaneous axis (zero velocity point, depicted as a full black dot) while stepping

forward as well as a movement of a right foot.


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KIHON

When we know that in all three examples (fig. 4.1, 5.1and 6.1) body rotation has beenclassified as Jun Kaiten17

(direct rotation; body rotation follows direction of technique), on

the same stance in first two cases (!), then it appears difficult to discern, seemingly,

different consequences that result from these motions. We must also point out that thesesituations last only for infinitesimal time instance, only as long as it is necessary for

realization of the technique.

The assumption is that the practitioner has executed techniques, stepping forward orbackward respectively, with feet firmly planted at the finish of a technique, full and strong

hikite motion of the appropriate hand is performed, with intensity as in prearrangedkumite.We may classify this mode of technique execution conditionally as authentic and as

close as possible to traditional training principles. When we refer to similar techniques

used in sport competition we can not, contrary to some traditionalist karate-ka, refer to

those as wrong! We should describe those as adopted techniques since cleardifference in a purpose exists.

Hikite influence (as well as shoulder and hip rotation) was in both cases, (fig. 4and 5),

crucial for positioning of zero velocity point/instantaneous axis: The virtual translationof longitudinal axis occurs as a direct result of a strong application of pulling hand motion,

combined with shoulder rotation, in conjunction with forward translation of the entire

body.Third case (fig. 6.1) further refines possibilities: the body movements are performed with

zero velocity point/instantaneous axis remaining identical to cardinal longitudinal axis.

The practitioner then moves freely and independently of hikite influence: in this case bodyrotates continuously CCW; only at the very end arms execute technique (both arms

actually perform action around zero velocity point/ instantaneous axis!).

Based on a now full understanding of zero velocity point location there are ways to

return the actual instantaneous axis of rotation (from lateral position) to a neutral, centrally

located, position identical with the cardinal longitudinal axis, in order to enable the nexttechnique or step. To accomplish this the practitioner must use the same mechanism that

leads to the shift of instantaneous axis but in the reversed direction: Hikite18

! The

consequence of the intensive hikite application will be mainly foot position adjustment.Since application of this mechanism in kata performance is not acceptable, practitioners

are forced to overcome the problem only with arduous everyday practice

Applying hikite and foot adjustment in a kumite bout will have a relatively high price:energy spent on preparation of a next move or returning to neutral position will be equal to

the amount of energy spent on the attempt to score!19


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Figure 7.1 Oi zuki on Zenkutsu dachi; 7.1a shows position of an

instantaneous axis of rotation (zero velocity point, depicted as a full black dot) at the

moment of technique; 7.1bshows front foot pull back and shift of zero velocity point to

the centre; 7.1c shows back foot pull forward and shift of zero velocity point to the

centre.

Figure 7.2 Gyaku zuki on Zenkutsu dachi; 7.2a shows position of an

instantaneous axis of rotation (zero velocity point, depicted as a full black dot) at the

moment of technique; 7.2bshows front foot pull back and shift of zero velocity point to

the centre.

Pull of the front foot is a common consequence in both situations: hikite will be paired


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KATA

Steps and turns (fig.4.2-4.4; 5.2and 6.2-6.4) are part of a particular Heian kata: Shodan,Nidan and Sandan respectively. Careful analyst will also detect some other sequences of

these kata that can be discussed in greater length regarding zero velocity point issue. One

may be tempted to question whether those difficult combinations are intentionally insertedthere or a simple mistake?

21

If we look further, in a Heian Yondan kata we will find that punches after Kakiwake uke-

Mae geri combinations are sequenced in such a way that stepping and turning to anothersimilar combination are difficult: zero velocity point must be movedinstead moving

around it!? Heian Godan does not contain such arrangements: it has only one Oi zuki onZenkutsu dachi. This punch starts from virtual shomen position body facing straightforward, with the instantaneous axis coinciding with the cardinal longitudinal axis!

In the more advanced kata (of a Shotokan ryu standard 26 kata curriculum) the steps and

turns confirm to principle of instantaneous axis of rotation shift mechanism.

Take for example Jion kata. At the very beginning, the punches after Kakiwake uke-Mae

geri combinations are arranged in such a way that the last tsuki shifts instantaneous axis ofrotation to a position similar to the one in fig. 4.1c. Stepping and turning to another

combination is now relatively easy to do: one movesaround the zero velocity point!

Most of the remaining steps and turns are arranged in such a way22

.In the Kanku dai kata we will find a fine example when after a right Shuto uke on Kokutsu

dachi a turn is performed CCW 270 with left Uchi uke-Gyaku zuki on Zenkutsu and

immediately CW 180, on the spot, with right Uchi uke- Ren zuki (left-right). It is fairlyeasy to pull the right leg well back, closer to dachi-ashi

23, for a third , right legYoko geri

keageExamples similar to these may be found in all kata from Shotokan curriculum.

Whenever one finds a combination in the standard kata that has technical difficulty relating

to stepping and turning, one may apply the zero velocity point principle and discoverpossible solutions.

I would recommend dojo practice of alternative solutions, comparable to practice of a

left and a right version of a standard kata.

However, we should refrain from permanently changing accepted, established, version of

standard kata without further research and general consent of qualified instructors as wellas official governing bodies.


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KUMITE

This part of a discussion is limited to only sport kumite implications: combat applications

are out of the scope of this research paper.

Scoring is a main goal in competition. To achieve this goal, competitors are required to use

tools at their disposal permitted by the rules (of the game). The winner is the one thatscores more points than the opponent: One does not die if he or she is scored upon!

These elements are obviously in contradiction with pure principles of karate martial art;

one has to accept the difference in order to continue practicing both!Speed is the most dominant prerequisite of scoring in karate competition. This leads to

special adaptation of stances as well as technique delivery: getting close to the opponent,scoring and then exiting an opponents space as soon as possible.

24

Competitors and their coaches have started very early the process of adapting original

(combat) kumite elements in order to make the contest faster and safer. Stances and

footwork were probably first adapted to new requirements becoming as mobile as possibleand opening the possibility to enter, attempt to score and then exit the opponents space

after the planned task is performed. Going back to the example from the beginning of this

paper (infamous picture of two top competitors with raised heels of the back foot) I willconclude that even at the very early stage of competition development it was necessary to

save the opponent from possible injury by arresting the incoming force first by stance

adaptation. Competitors realized very quickly that the foot supporting technique (waza-ashi) must be sufficiently movable! Any technique performed without this type of stance

control leads inevitably to hitting and injuries were frequent at those early days of

competition.It was also necessary to introduce fast body translation and rotation to enable competitors

to significantly increase their speed in stepping and turning Competitors soon discovered,empirically, that strong hikite (in standard form) does not fit in the game of scoring.

Many used, intuitively, one hand to cover opponents incoming technique and deliver

their own at the same time. Understanding that the passive guard, with body rotated in

hanmi position, is not any more required soon prevailed. An active guard became a newlydiscovered factor that shaped modern kumite skill. The competitor will stay as long as

possible centered (neutral balance position) and in constant motion, developing more

scoring opportunities. Since hikite was not performed automatically and always, it did notcontribute any more to instantaneous axis shift, zero velocity point remained on the

cardinal longitudinal axis. It became considerably easier to switch directions from such a

versatile state of balance. This way, competitors were indeed able to step in and out (of theopponents space) fairly easy All these empirical findings correspond to zero velocity

point principle application explained in this article!


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CONCLUSION

After this analysis one may ask: What is the use of all these observations and findings?

Simply put: Experience of both types of training, sport kumite on one side and traditional,

prearranged (Ippon ,Nihon, Sambon and Gohon kumite) training, including diligent katapractice as well, provides necessary and important source for studying karate and

improving practical karate skill.

Sometimes empirical discovery, through necessity, may help to uncover the underlying

essence of a particular technical aspect or a hidden detail. I have presented here howactual application that occurred gradually, mostly based on a trial and error practice, couldhave been introduced earlier to competitors training if there was sufficient research

available.

I stand firmly on the position that competition karate leads to a better understanding offundamental techniques and, if we adopt scientific developments that have already

occurred in all other sports, we will in the long run further improve traditional karate

training.

I would insist also that both aspects of karate training are equally important. First, we have

to admit that there is no karate sport without karate fundamentals! On the other hand, ifwe do not produce appropriate feed-back from sport science to everyday training and fully

explore competition experience, karate is doomed to obscurity!

Further, if we refuse to see and understand the mutual dependence of both these aspects of

karate, traditional source and wisdom on one side and modern sport training practice on theother, we are risking to let karate slowly slip to a status of somewhat exotic, marginal

activity and sport for only a few devotees.


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BIBLIOGRAPHY

Nakayama, Masatoshi, Best Karate #2: Fundamentals, 1978,Kodansha International Ltd., Tokyo, Japan

Nakayama, Masatoshi,Best Karate #4:Kumite 2, first edition 1979 Kodansha International Ltd., Tokyo,

Japan

V.M. Zatsiorsky, Kinematics of human motion, 1998, Human Kinetics, USA

Kljenak, D.,Hikite , Kaiten & Mysterious Power of Karate, 2006, presented on KSV karate Symposium, NoviSad, SCG

S.Jovanovic, R.Mudric, Analysis regarding rules changes and frequency of scoring techniques, KarateSimpozijum, 2004, Karate Savez Vojvodine, SCG


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Story of zero is one of Void, Emptiness,Story of zero is one of Void, Emptiness,

ot ngness, t nessot ngness, t ness

Originating in the East, fulfilling mostOriginating in the East, fulfilling most

WestWest

W will r ri hi im r n lW will r ri hi im r n l

11

for an instant; to explore our Art andfor an instant; to explore our Art and

SportSport


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ZERO VELOCITYZERO VELOCITY

STEPPING ANDSTEPPING ANDTURNINGTURNING

KATA AND KUMITE PERFORMANCEKATA AND KUMITE PERFORMANCEIMPLICATIONSIMPLICATIONS

22


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1.1. TRAINING FORM VS. COMPETITIONTRAINING FORM VS. COMPETITIONFORMFORM (4(4--7)7)

2.2. HE RETI AL BA K R UNDHE RETI AL BA K R UND(8(8--14)14)

.. (15(15--24)24)

4.4. KATAKATA 2525--3535

5.5. KUMITEKUMITE (36(36--41)41)

6.6. CONCLUSIONSCONCLUSIONS 4242--4444

33


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1.1. TRAINING FORM VS.TRAINING FORM VS.COMPETITION FORMCOMPETITION FORM

IS IT CORRECTIS IT CORRECT

TO PERFORM LIKETO PERFORM LIKETHIS?THIS?

FUNDAMENTALFUNDAMENTALKARATE FORM ISKARATE FORM IS

DIFFICULT TODIFFICULT TO

MODIFICATIONSMODIFICATIONSOF FUNDAMENTALOF FUNDAMENTAL

KARATE FORM AREKARATE FORM ARENECESSARY INNECESSARY INSPORT KUMITESPORT KUMITE

1. TRAINING FORM VS. COMPETITION FORM1. TRAINING FORM VS. COMPETITION FORM 44


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HIKITE WILLHIKITE WILL

OCCUR AT THEOCCUR AT THEEND, AS ANEND, AS AN

EMPHASIS, RATHEREMPHASIS, RATHERTHANTHAN

ACCELERATIONACCELERATION

HIKITE & KATAHIKITE & KATAKAITENKAITEN

ARE SECONDARYARE SECONDARYTO POWERFULTO POWERFULLOUNGELOUNGEFORWARDFORWARD



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EARLY EXAMPLE OF ADVANCEDEARLY EXAMPLE OF ADVANCEDUNDERSTANDINGUNDERSTANDING

EARLY SPORTEARLY SPORTKUMITEKUMITEDEVELOPMENTDEVELOPMENTPHASE AS ANPHASE AS ANEXPRESSION OFEXPRESSION OF

PRECISE TIMINGPRECISE TIMINGAND CONTROLAND CONTROL



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AND A RECENT MISUNDERSTANDINGAND A RECENT MISUNDERSTANDINGOF PRINCIPLES INVOLVEDOF PRINCIPLES INVOLVED

FIGURE FROM NCCP MANUALFIGURE FROM NCCP MANUAL

(TECHNICAL LEVEL 2)(TECHNICAL LEVEL 2)SUPPOSEDLY SHOWINGSUPPOSEDLY SHOWING

FORMAL APPROACH WITHFORMAL APPROACH WITH

UNDERSTANDINGUNDERSTANDING



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..

AXES AND PLANES OF HUMAN BODY:AXES AND PLANES OF HUMAN BODY:KARATE PLAN DIAGRAMKARATE PLAN DIAGRAM

CLASSICAL MECHANICS REFRESHER:CLASSICAL MECHANICS REFRESHER:

TRANSLATION AND ROTATIONTRANSLATION AND ROTATION ACCELERATION MECHANISMS:ACCELERATION MECHANISMS:

KOSHI KAITEN, KATA KAITEN, HIKITEKOSHI KAITEN, KATA KAITEN, HIKITE

2. THEORETICAL BACKGROUND2. THEORETICAL BACKGROUND 88


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AXES: LONGITUDINALAXES: LONGITUDINAL

LATEROMEDIALLATEROMEDIAL

ANTEROPOSTERIORANTEROPOSTERIOR

PLANES: TRANSVERSEPLANES: TRANSVERSE

FRONTALFRONTAL

SAGITTALSAGITTAL



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COMPOSITE DIAGRAMCOMPOSITE DIAGRAM

CARDINAL TRANSVERSE PLANE LAYER SHADEDCARDINAL TRANSVERSE PLANE LAYER SHADED



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SEQUENCE PRESENTED FROM STATICSEQUENCE PRESENTED FROM STATIC

POSITION ONLYPOSITION ONLYc.c. TETE

(HIKITE AND SHOULDERS)(HIKITE AND SHOULDERS)

a.a. KOSHI KAITENKOSHI KAITEN(THIGHS AND HIPS)(THIGHS AND HIPS)



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..

ZERO VELOCITY POINT SHIFT:ZERO VELOCITY POINT SHIFT:

ACCELERATION MECHANISM INFLUENCE:ACCELERATION MECHANISM INFLUENCE:

HIKITE & KATA KAITEN ROTATIONHIKITE & KATA KAITEN ROTATIONKOSHI KAITEN (ROTATION)KOSHI KAITEN (ROTATION)

JUN KAITEN & GYAKU KAITENJUN KAITEN & GYAKU KAITENIMPLI ATI NIMPLI ATI N

3. MECHANICS OF MOVEMENT3. MECHANICS OF MOVEMENT 1515


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OI ZUKI WITH ZERO VELOCITYOI ZUKI WITH ZERO VELOCITYPOINT INTERNAL SHIFTPOINT INTERNAL SHIFT



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OI ZUKIOI ZUKI --

FORWARDFORWARD


OI ZUKIOI ZUKI


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OI ZUKIOI ZUKI --EASY STEPEASY STEP--TURNTURN180180 CCWCCWBACKWARDBACKWARD



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OI ZUKIOI ZUKI --

--270270 CCWCCW



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GYAKU ZUKI WITH ZERO VELOCITYGYAKU ZUKI WITH ZERO VELOCITYPOINT INTERNAL SHIFTPOINT INTERNAL SHIFT



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GYAKU ZUKIGYAKU ZUKI --

FORWARDFORWARD



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STEPSTEP--TURN 180TURN 180 CCWCCW



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STEPSTEP--TURN 270TURN 270 CWCW


SPECIAL CASE:SPECIAL CASE:


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NO ZERO VELOCITYNO ZERO VELOCITY

STEPSTEP--TURN 360TURN 360 CCWCCWFORWARDFORWARD(Heian Sandan of(Heian Sandan of

Shotokan, Pinan SandanShotokan, Pinan Sandan



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..

MODIFICATIONSMODIFICATIONS--

WKF MEXICO 2005 VIDEO EXAMPLESWKF MEXICO 2005 VIDEO EXAMPLES

4. KATA4. KATA 2525


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MODIFICATIONS IN KATAMODIFICATIONS IN KATACOMPETITIONCOMPETITION

TRADITIONAL TRAININGTRADITIONAL TRAINING

GENERAL CHARACTERISTICS:GENERAL CHARACTERISTICS:

COMPETITION APPLICATIONCOMPETITION APPLICATION

GENERAL CHARACTERISTICS:GENERAL CHARACTERISTICS:

DETERMINATION RETAINEDDETERMINATION RETAINED

ALL MECHANISMS OFALL MECHANISMS OFACCELERATION APPLIEDACCELERATION APPLIED

DETERMINATION MODIFIEDDETERMINATION MODIFIED

LIMITED MECHANISMS OFLIMITED MECHANISMS OFACCELERATION APPLIEDACCELERATION APPLIED

REALISTICREALISTIC

COMBAT AND DUELCOMBAT AND DUELIMPLICATIONS STRESSEDIMPLICATIONS STRESSED

SPEEDSPEED

CLEAR MESSAGE OF SKILLCLEAR MESSAGE OF SKILLPRESENTATION STRESSEDPRESENTATION STRESSED

INDIVIDUAL TECHNIQUESINDIVIDUAL TECHNIQUESIMPOSEDIMPOSED

TECHNIQUES MODIFIEDTECHNIQUES MODIFIED

4. KATA4. KATA 2626


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ZERO VELOCITYZERO VELOCITY

POSITIONPOSITION JUN KAITENJUN KAITEN

CROSSCROSS--STYLESTYLE

ADAPTATION:ADAPTATION:

--

bb -- TYPICAL OF WADO ANDTYPICAL OF WADO ANDSHITO RYUSHITO RYU

4. KATA4. KATA 2727


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ZERO VELOCITYZERO VELOCITYPOINT SHIFTPOINT SHIFT -- GYAKU KAITENGYAKU KAITEN

NO ADAPTATION:NO ADAPTATION:

aa -- TYPICAL OF SHOTOKANTYPICAL OF SHOTOKAN

GEDAN BARAI WITHGEDAN BARAI WITHGYAKU KAITENGYAKU KAITEN

4. KATA4. KATA 2828


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ZERO VELOCITYZERO VELOCITYPOINT NO SHIFTPOINT NO SHIFT -- JUN KAITENJUN KAITEN


bb -- TYPICAL OF WADO RYUTYPICAL OF WADO RYU

GEDAN BARAI WITH JUNGEDAN BARAI WITH JUN

2929


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ZERO VELOCITYZERO VELOCITYPOINT NO SHIFTPOINT NO SHIFT -- JUN KAITENJUN KAITEN


bb -- TYPICAL OF SHITO RYUTYPICAL OF SHITO RYU

GEDAN BARAI WITH JUNGEDAN BARAI WITH JUN

4. KATA4. KATA 3030


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--

SHOTOKAN EXAMPLE 1:SHOTOKAN EXAMPLE 1: L.VALDESI REMAINS MOSTLYL.VALDESI REMAINS MOSTLY

TRUE TO ORIGINALTRUE TO ORIGINAL

ACCELERATION MECHANISMACCELERATION MECHANISM(MODIFYING ONLY STEP(MODIFYING ONLY STEP--

TURN INTO SPINTURN INTO SPIN--TURN) INTURN) IN

PRESENTATIONPRESENTATION

COMPETITION FOOTAGECOMPETITION FOOTAGESHOWS HOW HE MODIFIESSHOWS HOW HE MODIFIESTURN AND ACCELERATIONTURN AND ACCELERATIONMECHANISMS CONSIDERABLYMECHANISMS CONSIDERABLYATTEMPTING TO INCREASEATTEMPTING TO INCREASEPERFORMANCE SPEEDPERFORMANCE SPEED

4. KATA4. KATA 3131


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4. KATA4. KATA 3232


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CROSSCROSS--STYLE ADAPTATIONSTYLE ADAPTATION(contd)(contd)

SHOTOKAN EXAMPLE 2:SHOTOKAN EXAMPLE 2:

A.TAMASHIRO ALSO MODIFIESA.TAMASHIRO ALSO MODIFIESSIGNIFICANTLY MECHANISMS OFSIGNIFICANTLY MECHANISMS OFACCELERATIONACCELERATION

COMPETITION FOOTAGE SHOWSCOMPETITION FOOTAGE SHOWSHOW HE MODIFIES TURN ANDHOW HE MODIFIES TURN AND

ACCELERATION MECHANISMSACCELERATION MECHANISMS

CONSIDERABLY ATTEMPTING TOCONSIDERABLY ATTEMPTING TOINCREASE PERFORMANCE SPEED:INCREASE PERFORMANCE SPEED:--MODIFYING STEPMODIFYING STEP--TURN INTOTURN INTOSPINSPIN--TURNTURN--MODIFYING GYAKU KAITEN INTOMODIFYING GYAKU KAITEN INTO

4. KATA4. KATA 3333


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3434


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CONSE UENCES OF CROSSCONSE UENCES OF CROSS--STYLESTYLEADAPTATIONADAPTATION

POSITIVE:POSITIVE:

--POSSIBLE UNIFICATION OF KARATE STYLES LEADING TOPOSSIBLE UNIFICATION OF KARATE STYLES LEADING TO--

SPORTSPORT

--POSSIBLE EXPERIMENTAL DISCOVERY OF OPTIMALPOSSIBLE EXPERIMENTAL DISCOVERY OF OPTIMAL

MOVEMENT BIOMECHANICSMOVEMENT BIOMECHANICS NEGATIVE:NEGATIVE:

--PROBABLE FAVOURING OF ONLY CERTAIN ASPECTS OFPROBABLE FAVOURING OF ONLY CERTAIN ASPECTS OF

--PROBABLE LOSS OF HISTORICAL STYLE AUTHENTICITYPROBABLE LOSS OF HISTORICAL STYLE AUTHENTICITY--MAY LEAD TO A SPECIFIC STYLE DOMINATION IN SPORTMAY LEAD TO A SPECIFIC STYLE DOMINATION IN SPORT

4. KATA4. KATA 3535


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..

MODIFICATIONSMODIFICATIONS

5. KUMITE5. KUMITE 3636


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MAIN CHARACTERISTICS OF A SCORE:MAIN CHARACTERISTICS OF A SCORE:

SPEED, ACCURACY AND PROPER TIMING OF SCORINGSPEED, ACCURACY AND PROPER TIMING OF SCORINGTECHNIQUE ARE CRUCIALTECHNIQUE ARE CRUCIAL

INITIAL DISTANCES FOR SCORING ARE RELATIVELY LARGEINITIAL DISTANCES FOR SCORING ARE RELATIVELY LARGE

ABSENCE OF BLOCKING REQUIREMENTSABSENCE OF BLOCKING REQUIREMENTS

RUDIMENTARY SELFRUDIMENTARY SELF--PROTECTION KEPT AS MUBOBI RULEPROTECTION KEPT AS MUBOBI RULE

SAFETY OF COMPETITORS SIGNIFICANT FACTORSAFETY OF COMPETITORS SIGNIFICANT FACTOR



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TRADITIONAL TRAININGTRADITIONAL TRAINING

GENERALGENERALCHARACTERISTICS:CHARACTERISTICS:

SPORT APPLICATIONSPORT APPLICATION

GENERALGENERALCHARACTERISTICS:CHARACTERISTICS:

FIXED STANCEFIXED STANCE ALL MECHANISMS OFALL MECHANISMS OF

ACCELERATION APPLIEDACCELERATION APPLIED

FLUID STANCEFLUID STANCE LIMITED MECHANISMS OFLIMITED MECHANISMS OF

ACCELERATION APPLIEDACCELERATION APPLIED DEPTH OF TECHNIQUEDEPTH OF TECHNIQUE

PRACTICED ON MAKIWARAPRACTICED ON MAKIWARA COMBAT AND DUELCOMBAT AND DUEL

DEPTH OF TECHNIQUEDEPTH OF TECHNIQUEPRACTICED TO TOUCHPRACTICED TO TOUCH

CLEAR MESSAGE OFCLEAR MESSAGE OF

SPECIFIC STYLESPECIFIC STYLETECHNICALTECHNICALDETERMINATION PRESENTDETERMINATION PRESENT

RULES OF THE GAME (NORULES OF THE GAME (NOSTYLE!) DETERMINATIONSTYLE!) DETERMINATIONPRESENTPRESENT


ZERO VELOCITYZERO VELOCITYPOINT SHIFT BACK TO NEUTRALPOINT SHIFT BACK TO NEUTRAL


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POINT SHIFT BACK TO NEUTRALPOINT SHIFT BACK TO NEUTRAL

POSITIONPOSITION FOOT ADJUSTMENTFOOT ADJUSTMENTAFTER OI ZUKIAFTER OI ZUKI


ZERO VELOCITYZERO VELOCITYPOINT SHIFT BACK TO NEUTRALPOINT SHIFT BACK TO NEUTRAL


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POINT SHIFT BACK TO NEUTRALPOINT SHIFT BACK TO NEUTRAL

POSITIONPOSITION FOOT ADJUSTMENTFOOT ADJUSTMENTAFTER GYAKU ZUKIAFTER GYAKU ZUKI


KICKING EXAMPLE KIZAMI MAWASHIKICKING EXAMPLE KIZAMI MAWASHI


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KICKING EXAMPLE: KIZAMI MAWASHIKICKING EXAMPLE: KIZAMI MAWASHI

vs. KIZAMI URA MAWASHIvs. KIZAMI URA MAWASHI

(VIDEO CLIP A.BRATIC)(VIDEO CLIP A.BRATIC)

4141


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..

REALITY CHECK!REALITY CHECK!

6. CONCLUSIONS6. CONCLUSIONS 4242


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HOW DO YOU RECONCILE PRINCIPLES OF *(STYLE NAME)HOW DO YOU RECONCILE PRINCIPLES OF *(STYLE NAME)

AND SPORT KUMITE?AND SPORT KUMITE?

(COMPETITOR AND COACH/INSTRUCTOR)(COMPETITOR AND COACH/INSTRUCTOR)

I DO NOT!I DO NOT!

NOTES ON DUAL NATURE OF FUNDAMENTAL TRAINING ANDNOTES ON DUAL NATURE OF FUNDAMENTAL TRAINING ANDKUMITE CONTESTKUMITE CONTEST



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KATA APPLICATION:KATA APPLICATION:

A.A. PRACTICE VALUE OF CERTAIN ROUTINES WITHPRACTICE VALUE OF CERTAIN ROUTINES WITH

B.B. POSSIBLE ESTABLISHMENT OF REALISTIC DIFFICULTYPOSSIBLE ESTABLISHMENT OF REALISTIC DIFFICULTYCRITERIA IN KATA COMPARISON WITH RESPECT TOCRITERIA IN KATA COMPARISON WITH RESPECT TO

MECHANICS OF MOTIONMECHANICS OF MOTION KUMITE APPLICATION:KUMITE APPLICATION:

A.A. TRAINING IN USE ACCELERATION MECHANISMSTRAINING IN USE ACCELERATION MECHANISMS

B.B. RECOGNITION AND ACCEPTANCE OF CROSSRECOGNITION AND ACCEPTANCE OF CROSS--STYLESTYLETRAINING VALUESTRAINING VALUES


6 d kljenaksymp2008 p

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