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Journal Martial Arts Energies in Practice

A record of a users' progress or achievements in their particular practice.

HoldAll

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Sensen no sen (Pt. 1)

Point-fighting tactics guru Antonio Oliva Seba expressed it best: sensen no sen is "defending against the intention", NOT against an actual physical attack. In the third picture of the pie-fighting cartoon, 'intention' is symbolized by the attacker's dramatic wind-up for his pie throw which gives the whole game away here - in real fights, nobody will ever telegraph their intentions so blatantly. Sensen no sen is more than just a pre-emptive strike or "Offense is the best defence" attack; when accomplished with impeccable timing, its demoralising effects on your opponent are guaranteed to be overwhelming. Simply put, you anticipate your opponent's attack and counter even before it actually occurs.

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Sensen no sen is easiest to accomplish in the early matches of tournament elimination rounds where the no-hopers are weeded out at the hands (and feet) of superior competitors; the steep gradient in skill between fighter will help ensure that strong karatekas will be at leisure to shoot down weaker ones the instant they so much as twitch or even before, whenever they unmistakably (for experienced fighters, that is) psych themselves up for an attack which will most likely take the form of a desperate
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in order to save face before their sensei or any dojo mates watching. The net result of such a sensen no sen tactic is that inferior fighters will soon feel that any attack on their part is pointless because superior fighters seem to have the almost supernatural ability to second-guess their every move.

When fighting an opponent with equal skills, using sensen no sen successfully becomes much more difficult. I once watched a local karate tournament where two international-level competitors met in the final. I had trained with both of them in the same dojo for four years and being the strongest fighters there, they had often sparred together, so they knew each other's favourite techniques, feints, tactics, quirks, etc. inside out. It must have been a boring match for the few laypersons in the audience to watch but it was utterly captivating for us karatekas. Not a single punch or kick was thrown for the entire duration of the match; it was basically like a quick-draw duel were no one either drew or fired. It would have been uncanny to observe if there hadn't been a couple of feints, some attempted but then immediately aborted attacks even after the first half-step was taken, or their frequent repositioning according to their/our sensei's rule according to which you must never remain in a straight line with your opponent for more than five seconds. You never knew who was stalking whom, both were so evenly matched that every subtle move by either of them would be enough to elicit another subtle response in the other one that signalled back to the would-be attacker that his offensive would be doomed from the start. As there can be no draws in karate point-fighting matches, one of them was ultimately declared the winner on the totally arbitrary grounds that he had shown more initiative and fighting spirits in the eyes of the ref and corner judges; I don't even remember who had been victorious, it could have been either of them.

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Antonio Oliva Seba in action: all three modes of defending & countering can be theoretically employed in such a situation. In the video Antonio just shows the classic
go no sen response (first you block, then you counter); it's also conceivable that you might block that kick and counter simultaneously (sen no sen). If you're really good and able to spot all the signs of an impending front-leg roundhouse kick to your head (front shoulder slighty raised, weight discreetly shifting to back leg, etc.), you can use sensen no sen and thus disrupt a weaker opponent's attack with your counter-punch even before it is launched.

If your opponent is much stronger than you, you're in the same position as those elimination round no-hopers mentioned in the paragraph before last and might just as well pack it all in because you'll have no chance of winning whatsoever. Such a situation will rarely occur in MMA fights as all big promotions employ experienced matchmakers to ensure that both fighters have a good chance of triumphing, ensuring that audiences will get their money's worth and be able to enjoy a good violent tit for tat instead of a one-sided execution. In self-defence, your only hope here will be escaping, circumstances permitting, else you'll get beaten to a pulp, no two ways about it.

However, it gets really interesting when your opponent is only slighter stronger than you, or a champion on his or her off-day, and you might be able to pull off an upset. Your opponent will still be able to use sensen no sen but might not be able to always capitalize on it or press home his or her advantage for various reasons, such as injuries from previous fights or being distracted by serious private problems - it shouldn't happen to pros but sometimes it just does.

At other times, external circumstances may be to blame. When karate made its debut in the 2020 Tokyo Summer Olympics, point-fighting was limited to three weight classes only instead of the usual five. This limitation meant e.g. that a male -60 kg fighter was now forced to compete one weight class above, i.e. in the -67 kg category where he would be at a disadvantage against taller opponents with longer reach, while +67 kg women had to lose some of their natural fighting weight to make it into the highest possible Olympic +61 kg category, which of necessity spelled loss of muscle mass for them, possibly even some extreme fluid loss stunt employed a day before the weigh-ins, all of which will seriously impair a competitor's stamina and concentration.

Note that all these three modes of responding to an attack don't play a big role in boxing, muay thai, and MMA bouts where you can "Take two to give one", as the saying goes, meaning that you are prepared to absorb a couple of weaker punches (hello,
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!) and then hit back really hard in response. This isn't an option in karate point-fighting where the competitor who lands a technique first will be immediately awarded a point while the match is stopped, irrespective of how the situation might have developed in the aftermath. It's the reason why full-contact athletes call the karate point-fighting format 'playing tag', and I for one don't entirely disagree since it's roughly the basic principle.

Oh well… I think I will have to break down sensen no sen into its twin components: sensing the attack and reacting to the attack, which ideally should occur at the same time. Let me re-iterate that it isn't about casual pre-emptive strikes but rather an instinctive response that aims to nip an opponent's attack in the bud. Furthermore, I'd like to stress again that sensen no sen is in no way 'superior' to sen no sen and go no sen. Neither is it some super-secret ninja combat formula: in self-defence, for example, sensen no sen would mean attacking while the aggressor is still reaching inside his jacket, which may even land you in court at a later date if the guy was only groping for a tissue (or for his wallet with the police badge); sensen no sen can make the question "Who started it?" really difficult to answer.
Post automatically merged:

Oops, I made a typical blunder (I'm not good with numbers) concerning women's weight classes at the Tokyo Olympics: since the usual maximum weight category was ordinarily +68 kg as compared to a mere +61 kg at the Olympics, it meant that a woman, for example, weighing 64 kg (who would in the ordinary course of events fight in the -68 kg category and have to contend with fighters only slightly heavier than her) had two choices - either she could decide to brave opponents two heads taller and weighing in e.g. at 80 kg, or lose weight (and muscle, possibly also fluids) in order to fit in the -61 kg weight class. As a result, at least on former champion was out after her very first elimination round while nobodies with the right body weight triumphed.
 
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Sensen no Sen (Pt. 2) - Divining an Attack

Karate point-fighting competitors routinely cloak their offensive intentions by skipping back and forth, feinting, altering their stance by switching legs, repositioning and regrouping, and by feinting, keeping their cards very close to the chest at all times and maintain a 'whole-body poker face', so to speak. In many ways, it's a game of nerves where nothing much happens until suddenly everything will happen all at once, and the referee and the four corner judges will have a hard time telling who has scored first and who second (they've introduced a video replay system now but only for the semifinals and finals, I think).

As soon as a match starts, you'll enter a state of heightened awareness as soon as the gong sounds and the referee shouts "Hajime!" ("Fight!"). There's nothing mysterious about this special state, it's simply human nature taking over - no matter how scatterbrained you may be in ordinary daily life, you definitely won't think about tomorrow's grocery shopping list or the leaking kitchen sink, I promise you. You won't even have to concentrate hard consciously, it's your opponent who will ensure that your own focus will be pinpoint sharp (you may be scared shitless though 😉). This means that there will be a cloud of martial energy billowing around both competitors right from the start, and it's exactly this fierce
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(fighting spirit) energy that I've always sorely missed in all those humdrum self-defence classes I've watched or taken part because there just isn't that red-hot adrenaline juice erupting during partner exercises, what with all those carefully pre-arranged scenarios lacking that chaotic high-voltage energy of unscripted fighting.

Energy-wise, the real fun starts once you sense increasingly aggressive vibes coming from your opponent, heralding an impending attack. It's the stage Antonio Oliva Seba would call 'preparing the attack', getting all one's duck in a row, so to speak, the other competitor zeroing in on you. However, such moments may come and go without being exploited, especially in the first quarter of the fight which is usually spent on feeling out the karateka in front of you, which means that the martial energy will occasionally ramp up and then again subside. An actual attack could be symbolised by a sudden spike in energy when the two fighters will clash violently, only to separate and stalking each other again.

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Of course karate
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(point-fighting) isn't 'real fighting', just a safe way of competitive free sparring in line with the spirit of
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. Rules, protective gear, referees, precisely delineated, flat and padded fighting areas, etc. will always lead to distortions of traditional martial arts when compared genuinely deadly conflicts such as military combat. When compared to full-contact competitions, point-fighting is never very popular with audiences - the stands will be mostly empty during local tournaments, and there's usually not even an admission fee.

Like capoeira
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, martial arts energies in fights aren't exclusively yours alone to generate and control but will also depend on the energy contributed by the other fighter. Some opponents will bring out the best in you while others, especially weaker or annoyingly obstreperous ones, will make you involuntarily dial your combative energy down. At the Q&A part of a point-fighting tactics class I once attended, a girl asked what to do with a weaker opponent dragging her down - everybody knew what she meant, no one knew how to answer, not even the instructor. It seems that martial arts energy can also be susceptible to levelling out and that you'll have to make an effort to keep your momentum going.

This is an insight I hadn't expect at all but now I realise that there is in fact something of a mutuality between fighters and not simply a conflict where the one with the stronger ki will dominate the weaker one - it will in fact take two to tango, and the energy between both competitors will ebb and flow depending on their interaction. There have been fights for the ages in boxing and MMA that people still are still talking about after decades and which weren't a dramatic clash of opposing energies, but rather the synergistic product of two fighters both co-operating in building such a volcano of palpable power that the actual outcome of the fight was secondary in comparison, for example the legendary 'Rumble in the Jungle' between George Foreman and Muhammad Ali,
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, or
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in the UFC.

The audience has of course to be included in the energy equation too, as everybody who's ever attended a sporting event fully well knows. You'll have to be really mentally strong to perform at your peak when the whole arena is rooting for the other guy.

The least difficult to repel (or even exploit) attacks are those where your opponent's aggressive energy will slowly mount until you know unmistakably that something is bound to go down any moment. In such instances, sensen no sen or 'defending against an opponent's intention' becomes feasible because you will be able to sense exactly when your opponent will be going on the offensive. On an entirely mundane level, he or she will close in on you now, try to drive you into a mat corner (overstepping the mat border is penalised!) where there's little chance of evasion for you, exerting pressure all the while. Karate point-fighting champion Rafael Agheyev often allowed himself to be cornered, thus lulling his opponent into a false sense of superiority and only then attacking.

It's much more difficult when the energy level between the both of you stays more or less the same and an attack happens completely out of the blue because you have no time to mentally prepare for it. You will be again able to sense the offensive energy but only when it's almost too late; only your (hopefully) fast reflexes and experience can save you now. Anything can happen: you may be able to nullify the attack by taking evasive action, be overwhelmed but somehow able to weather the storm, or become an easy target. According to the old karate point-fighting scoring system, you were awarded a full point for a correct on-target technique that your opponent didn't even have time to block (and a half-point for ineffectively deflected techniques) which is very well what could happen here - your opponent may score without you even properly reacting. Tough luck.

There is another surprising parallel between karate and capoeira I had never thought of until now: You may create a common energy field, so to speak, but there are moments when one competitor's personal ki will subdue the other's. The difference is that in competitive fighting, there's this constant, thick aura of menace between the two fighters while capoeira is more underhand and where attacks can occur in the midst of joyful horsing around but which don't necessarily have to - just like in real life relations with some people, come to think of it.

I think I've taken the
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with its three modes of responding to an attack as far as they can go. Next, I'll probably look into Antonio Oliva Seba's concept of the 'silly moment' and try to figure out whether energy (as a metaphor?) is capable of leading me towards new insights.
 

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Zanshin

I thought I'd do a post about Antonio Oliva Seba's Silly Moment phenomenon but then I reconsidered - after all,
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is much closer related to zen and zazen meditation and a concept most lay persons won't even associate with fighting.

Most karatekas are only aware of the narrower, practical meaning of zanshin ('remaining mind') which implies staying alert and watching your opponent even after you've scored, or thought you did - the referee may be of a different opinion and let the fight continue instead of interrupting it and awarding you a point, and your opponent may exploit this momentary inattentiveness for a counter-attack; in boxing you may have your opponent on the ropes, think he's had enough, look briefly at the ref for confirmation and then get hit by the other guy who won't give up so easily after all. MMA fighters will always swarm on grounded opponents they'd just knocked out on the off-chance that the ref will let the fight continue regardless. I have this theory that the term originally comes from
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where it made good sense to keep watching the other guy even if he's now got an arrow protruding from his body because there's still a chance that he might somehow be able to shoot back; another prime example would be the
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from "The Seven Samurai" I've posted before where the winner maintained zanshin although he'd already cut his opponent down. In dojo sparring, it would be rude to hit your partner and then immediately turn round to take a sip from your water bottle, for example, thus showing a casual lack of respect for your opponent - it's just not done.

Zanshin in the wider sense is much more interesting. It ties in with the concept of
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(no-mind) which has become the main emphasis of my own spiritual practice now - how to maintain an empty mind in daily life? However, zanshin isn't the same as mushin. Zanshin is like switching to a higher gear, from calm serenity to alertness, ideally seamlessly and without being paralysed by fear or aggression. Before performing a kata, for example, you shift from every-day awareness to a heightened one, i.e. zanshin - you are relaxed but alert, then you explode without warning.

Speaking of katas: I think that the main reason why in karate you always must keep your upper body strictly erect at all times is because katas are symbolic fights against multiple opponents which you won't be able to spot if your torso is hunched over and your chin tucked in like a boxer's, thus resulting in tunnel vision, not 360° awareness. It's also a major weak point of karate because it makes ducking as e.g. in capoeira much harder and punches weaker compared to boxing due to the lack of torque produced by tilting and rotating shoulders. Every martial art has its own philosophy that makes sense within its own context but may not always be practical in actual fights.

Here's an example for the downside of keeping the head so proudly high in karate: I once helped out as a mat steward at an international tournament organised by a more traditionalist and orthodox karate federation where fist protectors weren't allowed. During a break, I got to talking with the tournament's doctor I knew, a trauma surgeon and very fine
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e sensei. He told me he had to give a fighter who had been hit in the larynx an emergency cortisone shot, otherwise his windpipe would have swollen shut. People have no idea… a stab with one or two fingers to the larynx is enough to end a fight, just like at 0:52 in this clip from an otherwise forgettable Sean Connery movie. Karatekas just don't tuck their chins in, and this can be one of the results.

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Again I have to bash various 'pure' self-defence systems here: zanshin appears to be completely absent from their practice. You really, really have to train those moves in a heightened state of awareness, even if it's only fear or naked aggression that sets your adrenaline pumping, and even if it's all just play-acting.

In a regular karate dojo nobody will explicity teach you zanshin, and that's one the things I love about karate. You acquire zanshin all by yourself, without being given any detailed philosophical explanations. During your first partner exercises you realise that tensing up in readiness is not helpful at all, that worries about the correct execution of techniques will only distract you, that brow-knitting concentration will only make you stiff and slow, etc. As a result, you'll slowly arrive at a state of zanshin without any verbal cues by your sensei or higher-ranking karatekas. In a way it's like zen: you may talk about it all day long but will never be able to explain it fully to a lay person, no matter how hard you try.

Apart from the kata solo performances, here's how you develop zanshin with the help of a partner:

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Kihon ippon kumite
or one-step sparring is the most basic partner exercise in shotokan karate. If you watch really closely, you can see each defender leaning slightly backwards before impeding attacks to make stepping back a bit easier. Mind you, these two have superb kime (fighting spirit) as well as excellent technique, it's just that such small details will betray your intention later at an advanced stage in point-fighting. If you are in a state of genuine zanshin, there'll be no rocking back and forth on your heels, and the whole exercise becomes a game of chicken - as the defender, you step back at the last moment while as the attacker, you charge forward as hard as you can, trying to land your punch on the defender's chin even if he or she know's what's coming. The object for the defender is to remain calm and block efficiently, while the attacker mustn't give away his or her intentions before stepping forward, for example by turning the front foot outwards to make launching from that low stance easier.

In his
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(three copies available on annas-archive.org :rolleyes:), author Glenn J. Morris describes a much more extreme example of zanshin on the occasion of his 5th degree black belt test:

The godan (fifth degree) test of Togakure Ryu Bujinkan Ninpo consists of the student kneeling in seiza with his or her eyes closed in meditation or terror, as the grandmaster, also in meditation, stands behind the student with a sword. When the grandmaster is ready he attempts to halve the student. It's the student's job to roll out of the way, avoiding the strike.

Granted, his sensei was only using a
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(bamboo sword), but a whack with that stick must be have been painful all the same… Mr. Morris describes he had three tries to pass the test. On the first one, he managed to roll away in time but his sensei scolded him that he thought too much. My guess is that he unconsciously used some form of extrasensory perception and sensed the blow coming, which was not what had been demanded of him - he hadn't emptied his mind completely as instructed. On the second try, he got clobbered with the bamboo sword but successfully evaded the blow on the third:

I dropped my consciousness to the hara, or gut. My intestines were rolling, my body began to shake. I shut off mental process and waited, and waited, and waited. Suddenly I was on the other side of the cleared space in the room with no memory of the roll, leap, or crawl that allowed me to pass the test!

Such is the power of zanshin but taken to quite another level for which in truth another Japanese term should exist… I'm somehow reminded of the admonition sometimes heard by Eastern spiritual teachers to ignore any supernatural powers (
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) their pupils may acquire as they progress along the Way due to their just being distractions but again, why would such a pragmatic martial art as ninjutsu look down on ESP and not use it if it gave them an edge? Perhaps this sensei held mushin (no-mind) and thus also zanshin in much a higher regard, no idea. Another possibility is that Ninja Master Morris was full of shit, of course. 😉
 

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That Elusive Silly Moment

When Antonio Oliva Seba first described the Silly Moment phenomenon (I'm sure one could coin a better expression, his English wasn't very sophisticated) at one of his point-fighting tactics workshops, we couldn't quite believe what we were hearing; it was as if he'd laid bare a black hole smack in the middle of our well-ordered karate universe. Silly Moments couldn't happen because they shouldn't happen, not according to our self-image of us as fearless warriors proudly maintaining
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(martial alertness) at all times. And yet they do happen. Antonio didn't really elaborate, just said that we should be on the lookout for them and exploit them for our attacks.

The epitome of the Silly Moment will always be the Gabriel Gonzaga vs. Mirko Cro Crop upset at UFC 70 for me:

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Gonzaga, a huge guy who didn't move very well and who came from a BJJ grappling background, had no business knocking out Cro Crop, a champion kickboxer and experienced martial artist, not with this single kick. In contrast to a straight front-snap kick, a roundhouse kick with the back leg is easy to spot because of the long arc it has to travel before finally landing, and it was exactly this
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; as a result, it shouldn't have come as such a complete surprise for him. One karate sensei I knew used to preach that we should never start a combination with a kick and always mask it behind one or two initial punches because kicks were way too obvious and took to long when compared to arm techniques. And yet there was this astounding Gonzaga vs. Cro Crop knockout, rare like a hole-in-one in golf. It must have been a glitch in the matrix or something like that.

To be clear, there have been spades of surprising
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in fights (think Tyson) but they usually come as a result of a previous exchange where one fighter just happens to have the last word, so to speak. Neither are Silly Moments the result of distractions like feints or ruses like Tanaka sensei's misdirection trick at 1:36 of
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. Like I said before, lack of focus is the least of your worries in a fight, not when you have somebody standing in front of you hell bent on imposing his or her will on you or, in full-contact bouts, on clobbering you silly. You might have trouble concentrating on your tactics or a specific game plan once passion takes over but that's the extent of it - after all, physical fighting will arouse all sorts of primal instincts that will simply prevent you from falling into an absent-minded reverie and on the contrary will sharpen your perception.

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This is a less blatant and obvious example of a Silly Moment. I once saw some karate point-fighting clips of Lyoto Machida where he used that same hip rotation twitch as a (not very convincing) feint. Once again his opponent seems fully focused and knew fully well what might be coming because Machida had knocked out another fighter with the self-same kick previously. Was he hoping to counter some punches and therefore wasn't expecting a kick?

Another reason why I posted this video was Machida's reaction to the KO. According to the very first precept of Gichin Funakoshi's
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:

Do not forget that Karate-do begins and ends with Rei.

Rei
is a pun and means both 'respect' and 'bowing' here, so like a good karateka he bowed to his downed opponent in an admirable show of sportsmanship. Subsequently, however, he
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facing his opponent instead of turning his back on him as is customary according to old-school karate etiquette, the reason being that watching one's opponent in his shameful defeat would make the unconscious Belfort lose even more face, while by turning his back on him, Machida would have thoughtfully shown proper respect for his fallen opponent. However, I think turning his back on the knocked-out Belfort wouldn't have gone down well with a Western audience that wasn't aware of this typically Japanese custom, so Machida was probably right to turn his face to Belfort after all.

Let's discount the Gonzaga KO in the first scene as an inexplicable fluke for now and concentrate on the Machida one instead. Wikipedia tells us that his father Yoshizo Machida is "the highly ranked head of the Brazilian branch of the Japan Karate Association (JKA)"; the traditionalist JKA regards itself as the Keeper of the Holy Grail of Pure Shotokan Karate and still favours the point-fighting style of the 1960ies and 1970ies where competitors always would stand tensely in front of each other in a straight line and then violently clashed but never ever repositioning or evading. As a result, this linear style of fighting must have come natural to Machida but was probably novel to Belfort - an opponent slowly inching into your range is just not how it's done in MMA. Belfort, who was more of an explosive fighter and a brawler, may have been a bit mesmerised by this grim incremental zeroing-in that he wasn't used to, so it probably wasn't a case of a Silly Moment after all.

Nevertheless, I do think that something occult is going on here which mundane psychology hasn't investigated yet and would probably regard as a mere fringe phenomenon anyway. From all have myself observed and experienced, Silly Moments never occur in capoeira - you may be bamboozled by your partner's tricks but never completely so caught unawares like Cro Cop in the first clip. The reason may lie in the rhythm which is steady in capoeira but chaotic in karate point-fighting and full-contact bouts. It seems to me that Silly Moments can only occur whenever there's a temporary lull or a marked slackening of pace brought about by one fighter, slightly disorienting his or her opponent who wasn't expecting such a change and failed to fully adjust to it in time. The difficulty lies in making your opponent fight you on your own terms, i.e. stand before you toe to toe in a straight line instead of playing the elusive bunny rabbit, patiently waiting for your opponent to come after you instead of chasing him or her. Your opponent would then become caught in your own spider's web, envelopped in your force field of personal energy, just like Vitor Belfort became trapped in Lyoto Machida's world of 1960ies karate point-fighting that he was completely unaccustomed to. I think it could work as a competition tactic and in street-fighting but not in self-defence where style isn't a consideration but where the bag of tricks is actually much larger, especially when there are objects at hand that could be used as a weapon. However, that's not really my area of expertise, so I'll just stop here.
 

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Probably just another rant

I think people make a real mistake when they look down on 'hard' martial arts with their overt aggression and high demands on athleticism, despising them as 'mundane', not 'spiritual' enough and unworthy of their study. It's a symptom of a general closed-mindedness on the part of esotericists that regards everyday life as something that must be escaped in favour of a very narrowly defined pastel-coloured lalaland where forced peace and serenity forever reigns, ideally in the comfort of one's home and definitely not in an environment of sweat, shouts, grunts, and clanging barbells where a moment of inattention can get you actually hurt. According to such a worldview, the 'art' in 'martial arts' is all fine and dandy as long as its sufficiently ancient, Asian, and has a rich and colourful history to boot while the 'martial' aspect is seen as problematic for aesthetic and ethical reasons. If you pride yourself on your ability to sense energies, you should be capable of sensing them in karate point-fighting tournament, in boxing and at MMA events as well, not just in taiji or qi gong because they're supposed to be more 'spiritual' and harmlessly peaceful.

I must confess I myself not entirely happy with neither the term 'martial arts'. 'Art' can imply practical know-how (as in the word 'artificer') but art can also be purely ornamental, abstract, or make no sense whatsoever, and that's not what a real martial art should be. For all the corrupting distortions sports may have inflicted on various martial arts, competition has always been a major incentive for practitioners to train harder and hone their skills to the max while non-competitive martial arts tend to be insular and restrict their adherents to a mere subpar level of achievement. After all, it's inspiring to have living, breathing champions in your martial art to look up to instead of some legendary founding father in the distant past.

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I for one wholeheartedly welcomed the advent of mixed martial arts (MMA). In the first UFC events, Royce Gracie opened my eyes about the
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ground-fighting style of grappling because back then I hadn't taken jiu-jitsu not very seriously. For a time wrestlers dominated in MMA, another martial art I knew as good as nothing about, and I really admired their strength and toughness. I'll never forget that old video from a low-level MMA event where a taekwondo practitioner fought a wrestler, convinced he could fell him with a single movie-style jump kick. The wrestler just ducked, plucked him out of the air, slammed him to the ground, and the fight was over. Thanks to MMA, direct comparisons between different martial arts were suddenly possible, and I rejoiced every time a fighter with a traditional Japanese martial arts background like Lyoto Machida (shotokan karate) or
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(judo) became champions.

MMA events may be a multi-million dollar business now but it has to be said that they bring out the best in fighters whose strength, stamina, and speed rivals world-class boxers or any other elite athletes - compare that to a complacent 'dojo warrior' practising some obscure style in a dingy basement room together with a handful of other incompetent dabblers two times a week under the tutelage of some self-styled sensei who claims that his martial art was superior to all others because the competitive ones had allegedly forsaken their heritage in favour of vulgar public spectacles. I've been to such backyard dojos and let me tell you, the atmosphere there is stifling and incestuous and anything but enlightening.

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The great
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who dominated international female kata competitions for years. However, one shouldn't forget that every weekend local karate tournaments are held all over the world where kids will stumble through their first kata performances and where teenagers gain their first point-fighting experience as rank but enthusiastic amateurs, events supported by dozens of volunteers writing lists, recording points and results, keeping time, and refereeing, all working together for the love of the sport and not for gain.

I see competitions on a local, regional, and international level as a way of keeping martial arts honest because they allow for a direct and public comparison between dojos. Even as a mere spectator, you will be able compare your skills with those of others, and it's the same at workshops or summer camps where you'll meet other practitioners who share the same passion, thus reinforcing your motivation to keep going and excel.

Such events of course require governing bodies which arrange them, and for all the petty politics that may go on behind the scenes of such organisations, they do guarantee uniform standards. If you plan on taking up a martial art, check if your dojo is affiliated with any national and international federations - it's a good indicator of whether its sensei is prepared to accept technical oversight and quality control; in many countries, for example, you can't even open your own karate dojo if you're not at least a second-degree black belt (awarded according to the national association's requirements) and hold a coaching diploma (= six-week course of theory and practice, also organised by the competent national association).

You want to know the secrets of ki and hara? They're all out there in the open. However, if you sniff at the science of biomechanics as 'too mundane' and prefer colourful charts showing various 'subtle energies' circulating around the body instead, you're barking up the wrong tree, in my opinion. Your hara is first and foremost the centre of your own body, its lynchpin and fulcrum, and what makes you think that a weak physical body can be home to a powerful hara brimming over with ki? No matter whether you're skinny or overweight, if your lower abdominal muscles (as well as your hip tensors/flexors) are atrophied from your sedentary lifestyle, you won't be able to coordinate your body movements well, for example when getting up from a seated position where it's essential to keep your upper body stable.

Ok, here endeth the lesson, all the modern world and its social media neighbour are continuously on your case to get more exercise anyway. I just want to say that what I don't like about certain modern occultists is their smug, elitist claims that they really know what goes on underneath the surface (doubtless while tapping the side of their collective noses) while in actuality not knowing their arses from their elbows. First sweat then ki is my maxim, and such NewAge space cadets had better not pooh-pooh the mundane and physical aspect of things.
 

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Trickery

What makes trickery so difficult is that it has to be used with spontaneous ingenuity and naturally as a surprising twist within straight-up fighting without betraying one's devious intentions beforehand. For the purposes of this post, I wouldn't classify downright cheating when planned and prepared in advance, e.g. doping or the loading of gloves in boxing, as trickery - what I mean here is trickery as an impromptu tactic and not as a consciously employed strategy with a long-term goal in mind. Competitors may be suspected of cheating even before a fight while trickery happens on the spur of the moment, as a result of thinking fast on your feet. It's a matter of definition of course but I'm trying to make a point here.

Feints: I wouldn't classify feinting as trickery, after all you be able to clearly see what your feinting opponents does, it's just him or her attempting to provoke a knee-jerk reaction that he or she can subsequently exploit, for example by faking a punch to the head and then scoring with a punch to the midsection.
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, the pioneer of Brazilian jiu jitsu in mixed martial arts, won his first UFC tournaments by throwing a rather weak jab and then 'going downstairs' instead, as commenters called it, toppling his opponents with a single or double-leg takedown. Everything above board, nothing up the gi sleeves of such fighters, so to speak.

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A clip from the mixed martial arts days of yore when fighters' outfits weren't so strictly regulated as they are now: as opposed to a karate
gi or uniform, the jacket of a judo gi has no ribbons on its side to hold it closed (they'd only be torn off during throws and grappling anyway), so Sakuraba very nearly succeeded in pulling it over Royce Gracie's head - a pity it didn't work, it would have been a neat trick.
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had a pro-wrestling background and therefore often found unorthodox solutions for intractable situations in his fights.

Trickery in capoeira
: capoeira has no rules as such, only customs, taboos, and conventions that are nowhere written down but nevertheless strictly enforced. As such, trickery isn't illegal but on the contrary part and parcel of the game. Much has been made of the zany deviousness of capoeiristas, but much of which laypersons are marvelling at are simply feints that can occur in other martial arts as well where they can be outright dangerous by contrast because they don't have to conform to the dictates of the rhythm of accompanying music - faking a kick and performing a sweep instead, for example, can also be seen in karate, it's no big deal. No, the type of trickery I mean here is something extracurricular and not directly related to playing on the capoeira circle.

During the games at my
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(literally "baptism" in Portuguese, an event where new capoeiristas receives their first cordas or cords, denoting rank), each of us newbies had to play with high-ranking capoeiristas in order to be properly initiated into the game. I quickly realised that you weren't 'baptised' properly and received your first corda unless you were at least taken down once - landing flat on one's ass is considered a big disgrace in capoeira where only your feet, hands, and head must touch the ground. I was used to those takedown attempts from karate, so I was always careful to keep a safe distance from the professor I was playing with who realised what I was doing and didn't even try. When the game was finished, I squatted in front of him like my comrades, proud to be presented with my first corda but instead of simply handing it to me, he suddenly slung it over my head and back and pulled my feet from underneath me - I had been taken down after all, and thus duly qualified for my first corda!

I've downloaded the Kumite (point-fighting) Competition Rules of the World Karate Federation (WKF) especially for this post to see how orderly karate and anarchic capoeira match up when it comes to standards of fairness. Art. 9.1.1. of the WKF Rules describes types of prohibited behaviour in karate point-fighting competitions which in capoeira would be allowed, can be sometimes acceptable depending on the situation, or worst of all, would be considered downright uncool. Prohibited behaviour according to Art. 9.1.1.9. includes: "Avoiding combat as a means of preventing the opponent having the opportunity to score." Well, I guess I was guilty of that misdemeanour on the occasion of my batizado when I refused to engage my professor for fear of being taken down… somebody who constantly runs away in a roda (capoeira circle of players) and never takes any risks is simply a bore which isn't 'illegal' of course but rather something you'll want to avoid if you don't want to be regarded as a spoilsport.

Art. 9.1.1.6. of the WKF Rules defines as a prohibited behaviour "Feigning, or exaggerating injury", which precisely describes the oldest trick in the capoeira book. Like all such tricks, however, it must be plausible within the context of a given situation and look convincing as well as natural. With the exception of takedowns or sweeps (and barring accidents), there's no contact in capoeira, so if you e.g. perform a front push kick / chapa / mae geri kekomi to the midsection of your partner and only ever so slightly touch him or her, it's customary for him or her to double over and start groaning pitifully. If you are so naive and green that you immediately rush over to him or her to apologise, you'll be met with a kick for your trouble, of that you can be dead certain, it's practically a law.

There is this story about
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, the founder of modern capoeira angola, according to which they once trained in a building otherwise used by weightlifters. After one of the weightlifters' public shows, there were still some of their heavy barbells lying around. One of the angoleros, a big hulking guy, simply picked up the heaviest one with one hand and carried it off the stage while the audience was still leaving, whereupon Mestre Pastinha scolded him: "You fool! Never show anyone how strong you are! You should have picked another three guys to help carry that barbell off with both hands, grunting and straining all the while!"

There is some etiquette to observe in capoeira trickery too. If you play with a mestre and the situation is just right, you can feign injury and then throw a kick at him - in this case he'll be proud of you and think that you're coming along nicely. However, if you squat down with him before a game, try to slap him playfully or fake a two-finger stab at his eyes (which - mostly - doesn't symbolise eye-gouging but rather means "Pay more attention!"), prepare for a good thrashing - not literally of course but expect to spend most of your game on your ass. He can do it to you, not the other way round, and all your attempts at trickery would look clumsy and contrived by comparison anyway; tricks in capoeira must be played with finesse and panache and consequently are much harder to pull off than any brute-force attacks.

Trickery in self-defence: I've pointed out in a previous posts that street fights do have rules and that they're not anything goes as is commonly assumed, that they're often about dominance within the social pecking order, and that any onlookers present may also intervene and attack you en masse should you resort to 'unmanly' or 'unfair' techniques such as groin kicks, biting, or hair-pulling. However, if it's about life and death, or if your aggressor has a weapon, all such niceties are off of course, and the only rules you might want to consider here is the self-defence legislation applicable in your country, esp. its definition of what constitutes excessive force as well as any discrimination martial artists traditionally might have to face who are commonly expected by judges to use only a moderate degree of violence without falling prey to blind fury.

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I'm not really convinced of the efficacy of the Russian martial art of
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with its power-through-muscle-relaxation philosophy but I do like some of the tricks of Vladimir Vasiliev's and how he uses available objects and space for his self-defence - in one of his old clips I'm unable to find anymore, he sort of flips his wallet right into a would-be muggers face and then attacks; some of his earlier videos even remind me of slapstick, and why not? Creativity tends to blossom in a fun atmosphere, and that's a good description what happens in a good capoeira roda after all.

Maybe the best fight trick I ever saw live was when I was in this village pub when suddenly an altercation broke out. One of the guys said calmly, "Why don't we take it outside?" The fuming other one agreed, so the calm guy went through the pub door first, very thoughtfully holding it open for the other guy who started to storm out right after him, only to slam said door literally in his face (he may have seen that trick on TV, no idea). I don't think that angry guy was seriously hurt but the fight stopped there and then without even a single punch being thrown. Nice.

The lesson here is perhaps that combat and fighting should be also seen from a wider perspective that encompasses a broader spectrum of human behaviour instead of the simplistic image of two action figures in a video game battling it out with grim determination. You don't have to be a second Artful Odysseus when you fight but you may find that it helps. 😉
 

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The Foundation: Physical Energy

I don't much like youtubers in general but Jesse Enkamp a.k.a. The Karate Nerd has made some good videos in the past, so I'll trust him on this topic, not least because his opinion matches mine - qi/ki is not a mysterious force that will confer superpowers but simply biophysical energy, nothing more. As a result of my own experiences and in line with my Journal posts so far, I concur with Jesse Encamp's claim that qi/ki is just the product of physics and biodynamics but would like to claim that it possesses an additional emotional component as well as a subtler aspect I can't quite put my finger on as yet.

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Haha, the Anderson Silva vs. Forrest Griffin KO once more!


As a result, I think I should ditch that entire qi/ki concept altogether, call a spade a spade and just use 'energy' instead from now on, just like the title of this Journal says. Apart from aikido, ki doesn't play a major role in Japanese martial arts, as far as a know. As I've mentioned before, I've never heard ki being discussed in karate, only the hara, and then merely as one's centre of gravity, not as the wellspring of some mysterious power. As explained by Jesse Encamp in the video, asking somebody if his or her ki was centred in Japanese isn't very much different from politely inquiring after somebody's health as a formal way of saying "How are you?" without the word 'health' having any numinous overtones. It's only Western spiritual voyeurism with its exoticised notions about the 'mysterious East' which makes NewAgers twist and distort a simple Japanese word (that is even used in everyday language) into some sort of mystic supernatural force.

As Jesse Encamp correctly mentioned, biomechanics are the foundation of all martial arts energy, and no martial arts energy can be generated without correct technique, period. Furthermore, there's also a direct relationship between physical fitness and martial arts energy - a good karate instructor should encourage beginners who are in general poor shape to take up running, weight-lifting or some other sort of athletic activity on the side in order to prepare them for the rigours of the karate dojo. This may sound like undue chicanery but will save them from some serious health problems down the line because all karate techniques require at least strong supporting and postural muscles to keep your torso stable and prevent painful spinal dislocations. The first kick you'll learn in karate, for example, is the front-snap kick (mae geri), and if your abdominal muscles (and thus your hara!) aren't strong enough, the kinetic energy resulting from forcefully extending and then retracting your leg will make your pelvis wobbly, unable to protect your insufficiently supported spine, and give you back ache for days. 'Hard' martial arts will place different physical demands on your body than e.g. taiji, and a modicum of basic fitness will keep you safe when you start out.

applsci-15-09726-g001.png

A powerful and precise kick requires a stable undercarriage, i.e. a strong hara

Here is an example of why I mean by 'correct technique': when performing a punch, the back of your hand (clenched into a fist) must be level with level with the back of your forearm, otherwise your wrist will buckle and even become sprained as soon as your fist impacts on a solid object; at the same time, you must be powerful enough to withstand the recoil energy from this impact, which in turn will require a rock-solid stance and a strong torso, otherwise your own body will act as a kind of shock absorber for all the return kinetic energy (see Newton's Second Law of Motion) which you originally intended to inflict on your opponent.

However, strength is only half the story - you, or rather your body, has to know when to relax. As Gichin Funakoshi in his
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said:

Never forget the rhythm of strength and weakness, tension and relaxation in your techniques.

A punch can only be fast (and thus powerful) if you tense up your muscles fully at the very last moment - and not before. Karate beginners will often tense up already halfway when extending their arms, and as a result their punches will look more like pushes. Add poor coordination into the mix, and you can easily observe how their bodies move as if operating at cross-purposes and constantly self-sabotaging their own efforts. The aim of karate basic training (
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) is creating optimum
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where all elements involved operate in concert to generate a maximum amount of energy.

Good technique and smooth biomechanics means that all interrelated parts of your body will work harmoniously together instead of hampering each other's movements. You can be sure that in martial arts that have been practiced for centuries (or in competitive fighting sports such as boxing and MMA), biomechanically incorrect techniques were weeded out long ago because they proved too ineffective. Martial artists are constantly on the lookout for anything that might give them an edge, so modifications in technique due to a more advantageous application of biomechanical principles are commonplace.

Once again I'd like to stress the importance of physical fitness and strength relative to your own body, not in comparison to your dojo mates. It's immaterial whether you're tall or short, male or female, or whether your abs are hidden under a layer of fat - that they are sufficiently strong is what counts, a sculpted body is not required. Kihon is about gaining mastery over your own body, not over others. Neither does raw muscular power play a role here because it's useless if your uncoordinated body is unable to exploit it and bring it to bear, if you lose balance when kicking, or when blocking punches incorrectly and getting hit despite your superior physical strength; odds are that your big muscles will be sore just the same as everybody else's after each class anyway because karate employs uses different kinetic chains than e.g. cycling or freeclimbing.

If you asked me what the most important muscle group for karate are, I would immediately answer: "Your supporting and postural muscles, of course!" followed by your legs to ensure a stable stance, and only then the your arm muscles - a huge bicep is no requirement and by no means a guarantee for a powerful punch. If you performed a
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(reverse punch) for example and your punch is slowed by shortened hip flexors which don't allow your pelvis (and thus your hara) to move freely, your great upper body strength will be of no great avail.

It's different in capoeira. In contrast to karate where the main challenge is strengthening and toughening the bracing structure behind the techniques (= stance and posture, the human 'chassis' so to speak), beginners in capoeira first have to learn to become loose, to let go, relax, trust in the rhythm of the music and let it move their bodies. Bearing in mind Gichin Funakoshi's quote, karate emphasises tension in the beginning while capoeira focusses more on relaxation but no matter the martial art, beginners will very likely have trouble with both.

Next, I'll discuss emotions because I think that biomechanics and physics alone are not the whole story as far as martial arts energies are concerned.
 

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Emotions in Martial Arts - The Motivation Myth

Generally speaking, it's my contention that all our decisions are either entirely based on emotions or at least closely intertwined with emotions. No exceptions. We may fool ourselves into believing that it's our intellect determining our conduct on strictly logical lines, but it's always a kind of logic we like, one that suits us, and that we prefer over others while other possible courses of action will look less attractive despite being equally reasonable.

What logical reasons motivate people to learn self-defence? If you lived in a dangerous area, martial arts schools should be on every corner, and if you lived in a safe one, hardly any of those schools should should exist. When us karateka shared a common training area (divided by a thick curtain) with other martial arts groups, I'd sometimes listen to the locker-room talk of the guys practicing something called Anti-Terror Combat in the other half of the sports hall basement who were full of hair-raising stories about what had happened to them on the streets or in a club this weekend, or what ugly things had once happened to friends of them, or how you never knew what sort of violence you were liable to encounter each and every day once you left the safety of your home until I started to ask myself if they were in fact living in the same city (which has an extremely low crime) as me. They might have adduced all kinds of entirely logical reasons (logical to them) for their interest in self-defence but in truth they clearly felt threatened and maybe even were secretly thrilled by the prospect of putting their skills to good use on the lawless streets of our quiet city. Their motives were completely different from mine, and so was my mentality and my emotional approach to martial arts.

It's not your intellect that makes you go to the dojo several times a week, month after month, year after year. I also believe it's a myth that motivation can be sustained by intellect alone; your intellect may tell you it's time to get more exercise and take out a gym membership but in all probability will be too weak to make you go there regularly unless you felt genuinely enthusiastic about it or at least guilty when staying at home instead of working out - motivation can be driven by unpleasant emotions too but never exclusively by reason and logic. This is also why I think that affirmations in general can only work if subconsciously by a sufficiently strong emotional charge and will utterly fail if they go against the grain of your feelings - your intellect won't stand a chance in such cases.

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If you're not a sucker for karate video clips like this one, you don't need to 'work on your motivation' - you'll just have to find different reasons to keep going, and they'll all be the result of some
emotion or other, NOT cool reasoning.

You'll probably spend your first few months at the dojo with being constantly embarrassed by the realisation that your body is clumsy, badly coordinated and not strong enough to accomplish all these simple physical tasks your instructor will ask from it; accordingly, the drop-out rates of typical beginners classes are huge. The people left are the kind of person who can't leave anything alone that puzzles and challenges them, who feel personally offended by something they don't understand and won't let it go until they discover what makes it tick; once again this is not a mindset a 'motivational coach' will able to inculcate in you if your emotions refuse to cooperate. Others (including me) will become even more dazzled by karate's enigmatic Asian mystique and eager to learn more as a result. No matter whether you're the stubbornly tenacious kind, the romantic type, or something in between, quitting won't even be option for you, and it's all down to your emotions.

Again, it's entirely different in capoeira. There were no special classes for beginners in our grupo, only two classes per week reserved for advanced students, so newbies would be typically completely overwhelmed in their first trial lesson; while the instructor or an advanced student would frequently take some time out to teach them the basics, they would usually be asked to play in the capoeira circle (roda) at the end of their first class already - and be never seen again if the whole experience proved to much for them. Others will become seduced by, and often even addicted to, the boisterous atmosphere and the passionate Brazilian music, and once again cool reason will take a backseat.

Speaking of atmosphere - here's where the energy metaphor really comes into its own because mere psychology is insufficient to describe the ambience of a full dojo or a capoeira circle. Without karatekas, a dojo feels dead, like a club in the harsh morning light after a wild party night but once people start to arrive and practice, it will come alive with an energy that's hard to describe (something between homely and intense?) but will carry you through all the hardship you may experience in the course a class, or in the case of capoeira, even intoxicate you and make you forget all your exhaustion and sore muscles, This is also the reason why it's so hard to practice alone at home - the energy generated by all those other karatekas and capoeristas around just isn't there. This stimulating, infectious group energy is also the reason why you'll feel immediately better after having to force yourself to come to the dojo due to a foul mood or lack of motivation. It's even more palpable in capoeira where you'll most likely feel relief and joy to be once again reunited with your tribe that has become your second family. The invigorating effect of group energy is often underestimated despite being such a major factor for developing martial arts excellence.

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Even more karate propaganda, this time closer to everyday life. 😉


However, if you decide to quit it will be again your emotions that will make that decision for you - you might feel uncomfortable with the dojo facilities, dislike your instructor and/or some people in your group, be discontent with the slow progress you're making, be tired of the bruises and minor injuries, all the little things that others who have become enchanted with their martial art concerned will hardly notice anymore. No shame or blame attaches in this case - there are other sports, other pastimes, other lifestyles that may be better suited to your mentality or the current state of your personal growth. It's not uncommon for people to return to the dojo after several years, and I know of at least one case where a guy came back to the dojo after 20 years of absence.

I think that the alleged iron discipline of martial artists is merely the result of their passion for their art and definitely NOT proof of the superiority of their virtuous minds overcoming nasty character flaws like laziness and inertia. Your intellect can force you to do something, but it is completely powerless when it comes to making you actually like it. Just picture in your mind's eye some food you absolutely hate; you may be 'mentally strong' enough to coerce yourself int eating it a couple of times but will be totally unable to enjoy it just because your oh-so-logical mind has told you to love it.

Emotions reign supreme in humans, and it's for this reason I'll discuss fighting spirit next.
 

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Emotions in Martial Arts - Fighting Spirit

How do you turn an average person into a karate fighter? In a typical shotokan beginners class, you'll learn one stepping punch, one stationary punch, one kick, one kata, but four different blocks - rising, descending, in-outwards and out-inwards (the famous "
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") - which taken together amounts to a tight protective pattern in front of your head and torso. At the same time, you'll be forced to look straight into an aggressor's visage and thus directly at the source of danger, quite in contrast to many people's natural reaction of turning their face away, closing their eyes desperately shut and curling up tight. Nobody will order you to be courageous in karate classes, it simply develops over time when practicing the same techniques alone and with a partner over and over again, and that entails keeping your upper body upright and your face bravely turned forward. It's your newly acquired ability to deflect any incoming blows that make you feel safe, not your growing power to dish out punches.

Another huge contribution to personal empowerment in the martial arts originates from increased fitness and strength, which is yet another reason why I don't trust fighting systems solely geared towards standard self-defence situations and where students hardly ever break any sweat when practicing; it's hardly what I'd call a good workout. Strength will give you confidence in yourself and improved fitness will make classes more enjoyable - getting your blood pumping is a big step towards building fighting spirit.

Laypersons may smile at all those crazy screams (
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) emanating from karate dojos but they fulfil an important role in acquiring fighting spirit, too. I have this theory that because both being loud and hitting other kids have been drummed out of us in childhood, breaking one taboo (being loud) makes the other one (hitting people) easier to override as well, so a kiai can actually have a disinhibiting effect, help liberate pent-up aggression and thus intensify your fighting spirit. After all, battle cries have been used to embolden warriors for millennia, so there must be some truth in this theory. You wouldn't believe how difficult kiais are for some students, you'll be lucky to get a half-stifled squeak out of them as an instructor. I think this is one of the instances where the energy metaphor comes in handy: after all, the word kiai contains ki, and I think one could easily argue that the free flow of one's energy is impeded when obstructed by emotional blockages, resulting in much too tense, slow and somehow incomplete techniques with a foreshortened range.

The next step could probably be called 'desensitisation'. Again over time, it won't such a big deal anymore if you see a fist coming rushing towards your face, or when somebody tries to kick you in the gut or head because by now you'll know how to handle such situations. At the same time, you may discover how good it actually feels to attack someone - in a safe environment, according to strict rituals and etiquette, with proper respect, in a controlled manner but nevertheless. As a defender, you can easily spot if an attacker is just going through the motions or if he or she is firmly determined to score, no matter what. Every attack as well as the subsequent counter must be accompanied by a kiai as if attempting to overwhelm your partner with your own martial energy. Free up your ki and SCREAM!! Unashamedly loud and proud, that's the karate way. 😉

Once you've mastered the basics and are ready for free unscripted sparring, you'll have overcome most of your inhibitions regarding violence and may actually develop a taste for fighting - not everybody does, some prefer kata over
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, but for born point-fighters, it will soon become the best thing since sliced bread. Dojo sparring, however, is not about scoring at any cost, more about trying out new things on ever changing opponents, about letting your partner having a go as well although you could easily dominate him or her, seeing which combinations of techniques work and which don't, honing your feints and discovering new ones… it's like having a chat instead of an argument like you would in point-fighting matches (or in the case of capoeira, it's like singing a duet).

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Unsu ('cloud hands'), for many the most beautiful and sophisticated shotokan kata.
Unsu means 'cloud hands', all very poetic, with two nice double 'wax-on, wax-offs' in the end after the jump near the end but nevertheless, the first three movements are circular blocks followed by one-finger stabs at the groin…

In my opinion,
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(forms) are very underrated as a way of building fighting spirit. As opposed to point-fights or full-contact bouts in the ring or in the octagon, you face an imagined worst-case scenario here: combat against multiple opponents. Again beginners have a tough time here, and who can blame them? Performing a kata alone as part of a class or grading exam is a bit like public speaking, and I'm sure it gives some of them nightmares. As time goes by, however, you learn to appreciate katas as a way of self-expression: "Here I stand, and now I going to show you what I'm made of!" (it helps if you're a bit of a showman :rolleyes:). When performing (or rather fighting) a kata, you can be as ruthless as you want to be, without any regard to rules of engagement or niceties like ethics or mercy, without holding anything back - it can be therapeutic, in a way.

In kata competitions, fighting spirit translates into charisma, and top karatekas have an almost tangible aura of power about them. I remember watching the kata finals of the national karate championship where the first competitor was a young man who bravely stomped through his
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, a typical shotokan brute-force kata; he must have known he didn't stand a chance when the other competitor, a former international champion made his entrance, strong angular feature, dark hair flecked with grey, imposing, magisterial, his whole appearance commanding respect even while approaching the mat and bowing to the referee and the judges. He performed
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('The Flight of the Swallow'), a flowing, fast, and elegant kata, and you couldn't help holding your breath, he simply oozed gravitas and dignity, and of course he won. The youngster had worked hard but the older former champion's kata looked effortless as well as brimming with intense fighting spirit.

The kind of fighting spirit that stands in fully developed form at the end of basic karate training is called
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in Japanese. As a result of all these exercises with ever changing partners (or in the case of katas, without any partner at all), kime is impersonal and somehow pure - you don't fight others in your dojo or on the point-fighting competition mat because you hate them or hold a grudge against them, you fight them because it's karate, period. Really good point-fighters develop an stone-cold fury that is frightening to behold as they dispatch their opponents with hitman-like efficiency, then courteously bowing to the referee after being awarded yet another point, and all of a sudden going into full psychopath mode again as soon as the ref shouts "Hajime!" ("Fight). This businesslike ferocity may not be so obvious to spectators but leaves quite an impression on the poor losers who had the misfortune to be paired with such monsters of martial energy, I can tell you that from personal experience.

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Karate fighting kime is wholly based on a karateka's strength, the optimum use of biomechanics as well as on years of practice experience. It requires a solid physical foundation, and if you've got it, you'll able to swamp your opponent with your martial energy, the expression of your fighting skills and spirt. It can't be faked for, as I mentioned in a previous post, fighting is like a truth drug which will bring out your genuine, deepest self and cut straight through any
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you may lamely attempt.

All in all, I think that Jesse Enkamp's assessment is incomplete - martial arts energy consists in fact mainly of physics and biomechanics but there's also kime, the karate fighting spirit, to boost your performance and excellence.
 
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