Tuesday, April 22, 2014
I love karate, and martial arts, in general, so I tend to talk about it a lot--particularly with other martial artists. Sometimes, though, it's like talking to a brick wall. There are some martial artists out there who simply refuse to believe that karate could be any different than what they have learned. They have built up a wall between themselves and the wider world of karate, and when you try to tell them what it looks like on your side of the wall, they will argue until they are blue in the face that your side of the wall can't possibly look different than their side.
Wednesday, April 9, 2014
|Me in KishimotoDi Uniform|
|Uwagi with "KishimotoDi" embroidered on the left side of the chest|
In addition to the other techniques and methods I have mentioned in my previous posts, I wanted to mention the three primary kamae (postures) of KishimotoDi. They are really basics that I could have covered earlier, but I needed to take photos of them. Below are my (rather poor) depictions of them:
|Tekko-Gamae (Iron Turtle Posture)|
|Sagurite-Gamae (Searching Hands Posture)|
|Hotate-Gamae (Standing Sail Posture)|
These three postures are key to the applications of KishimotoDi kata, and can be found in Naihanchi, Passai, and Kusanku, respectively.
Monday, April 7, 2014
KishimotoDi has a total of four kata; Naihanchi, Nidanbu, Passai, and Kusanku. The foundation of the system is Naihanchi, which is not unusual for karate that comes from Shuri-Te/SuiDi. All of the other kata build on the material and methods in Naihanchi, so unless you get good at Naihanchi and its applications, the other kata won't make sense. I find this cohesiveness to be unique, as most karate systems claim that a kata is their foundation (Naihanchi, Sanchin, or Seisan, typically) but you don't usually see the methods carried over from their foundation kata to their other kata. In KishimotoDi, on the other hand, you can see and feel the methods that are carried over.
Tachimura no Naihanchi teaches the footwork, stances, and power generation necessary to make the applications for its movements work. The other kata contain other methods of entry and dealing with attacks, but any follow-up techniques go right back to Naihanchi. In the video, above, you can see me practicing Karlsson Sensei's "Walk the Line" drill, which is used to develop smoothness in application by defending against one attacker after another while continuing to walk along a line. All three of the techniques I used were KishimotoDi applications for Naihanchi, although I didn't do them nearly as well or as smoothly as Karlsson Sensei does.