Legend of the Fist

Just came across a fine work by the renown karate historian and philosopher Patrick McCarthy, Legend of the Fist. With help from his wife Yuriko, McCarthy Sensei has painstakingly translated dozens of newspaper and magazine articles from Okinawa and mainland Japan beginning in the late 19th century to modern day. More than thirty years in the making, this collection of essays and interviews not only reveals the true spirit of karatedo, but also the social mores and customs of Okinawan and Japanese culture that served as the impetus in the development of karatedo⁠—karate as a way of life.

The book is full of axioms and advice from the early masters about fighting techniques and decorum when outside the dojo. One interesting account depicts the intense rivalry between Gichin Funakoshi, the founder of Shotokan in Japan, and Okinawan street-fighting expert Choki Motobu. Motobu's views on his aversion to using kicks in a real fight, his pursuit for drinking and having fun, and his time spent with a certain crime lord make Motobu an outlier in the chronicles of karate history.

Translated from Japanese to English, articles include stories about mixed matches featuring exponents of karate and judo, commentary on Western boxing, and a brief discussion of the classical text, Bubishi. The author has written a previous book on the "Bible of Karate."

Patrick McCarthy (Hanshi, 9th dan), a true devotee to the traditional fighting arts, believes that the way of karate transcends the mere physical; that the training and cultivating of mind, body, and spirit form the triumvirate essential to the development of the aspiring karateka. At just over 300 pages, Legend of the Fist is a worthy, concise read, and the author promises a Volume #2 is in the making.

What's 'Your' Kata?

When I used to go out to compete, I was also a spectator. Most competitors leave right after their matches, but I would stick around to get some ideas. The black belt kata competition would fascinate me, especially the advanced black belts (3rd and 4th dan). Some of the renditions of kata you'll see at this level can be very inspiring.

At some point we can figure out which kata we like to do. I had an instructor who would say, "there's white belt kata, there's black belt kata, and then there's your kata." But why do we like some forms and not others? Not that we should slack off on the kata that we think give us trouble (remember the Zen saying "the obstacle is the path"), but there's probably one you believe is best suited for you. This is true for a variety of reasons, including your level of athleticism and personality.

Here are my favorites:

• Seiuchin. This is a powerful karate form that comes from Goju-ryu. Features wide and deep shiko-dachi stance with plenty of angles and forceful breathing techniques. This ancient kata finishes with a corkscrew punch - peculiar to the Isshinryu system.

• Kusanku. An aesthetic, challenging and beautiful karate form. I never had the nerve to compete with Kusanku. The truth is, you really need to be a certain body type to pull it off, at least for a tournament. I've seen a couple of entries butcher this one. If you have a large frame or lack a degree of flexibility, the jumping crescent kick halfway through this form may lack the finesse the judges are looking for.

• Chatan Yara no sai. The sai (tri-pronged truncheon) is probably the only weapon found in Okinawan kobudo that didn't originally start off as a farming implement. The sai appears to have been developed to counter larger weapons, like the bo (long staff) and especially the sword. One reason I like the sai is because some of the techniques mimic what the hands would do in karate. If you really like the sai I would recommend getting a quality pair (like Shureido) as they are well balanced and can be handled easily.

It used to be held that every kata was the distilled essence of a fighting system. Maybe this is why the old-time masters would spend months and even years drilling their charges on a single form. Certainly they had their preferences: Choki Motobu is always depicted performing Naihanchi. Chojun Miyagi (and many others) felt that the kata Sanchin was of utmost importance.

What kata do you feel personifies you? Why?

Making The Kata-Kumite Connection

The kata must always be practiced correctly. Real combat is another matter. - Gichin Funakoshi

Here's a pertinent question raised by Michele over at Just A Thought: What is the relationship between kata (pre-arranged practice forms) and jiyu-kumite (free-style sparring)? To expound on this, does the practice of kata necessarily translate into good fighting skills? Kata translates as form, so then this suggests that karate's form and function can be found in its kata. Kata is like a living textbook of karate's techniques and their precise execution. But principles alone don't win a fight. That is, knowing how to do something and actually doing it are not the same. Kata is a dry run; kumite is a bit more like actual combat.

I will say that most of the good kata people I've seen through the years are also pretty decent fighters. On the other hand, some of the other good fighters' renditions of kata have been less than inspiring.I've actually seen dan level promotions given to people based almost solely on their fighting prowess. With that said, should a black belt rank be given to a trainee who has mastered kata, comprehends the mechanics of kata, but can't really fight?

Tatsuo Shimabuku, the founder of Isshinryu karate, offered kumite in his curriculum as an option. He had black belts who never sparred. Should we assume these same individuals were then held to extra high standards in regards to understanding kata and their martial applications?

Broadly speaking, I think certain elements of kata could present themselves in a fight. (Kata as a canon of self-defense techniques falls outside of the sparring/fighting paradigm that I'm referring to.) In naihanchi, for example, the entire form's movements are side-to-side. One explanation for this is that the defender has a wall or the edge of a cliff to the rear. Another interpretation implies the lateral movement (tai sabaki) necessary to keep an assailant off-balance, as retreating in a straight line from your opponent is a cardinal sin in sparring. Interestingly, naihanchi is the only kata seen performed in old photos of Choki Motobu, an early innovator of kumite on Okinawa.

While I strongly agree that the techniques used in kata should be of the same caliber as the ones used in sparring (and vice versa), it should be pointed out that the rehearsed movements of kata do little to prepare anyone for the spontaneity and chaos of a full blown attack.

What do you think?

Wanna Fight?

Most people get into the martial arts simply to learn how to defend themselves. Indeed, self-defense is a common euphemism for traditional martial arts (as opposed to the competitive variety or MMA). Sports such as wrestling or boxing will draw a camp that have natural inclinations to do battle. The peculiarity of the martial arts is that its adherents are taught to walk away from trouble. But we all have met those who actually enjoy a good fight. As an ethnic group, the Irish are likened to having a propensity to fight. Donnybrook, Ireland was the site of a fair held for centuries until it was discontinued in 1855 due to massive brawling. Hence, a donnybrook came to be known as any group-like melee. The Irish-Americans that I know relish their fighting heritage, so I can't be accused of stereotyping. That's not my intention anyway.

Students that enjoy kumite (sparring) tend to progress well with this activity, irrespective of any athletic deficiencies. They like to fight, ergo they experiment and research various methods, perhaps more than the next trainee. Technical ability is great, but it still takes guts (hara) to fight. A fine instructor once told me that fighting was 20 percent technique, 80 percent nerve. For some, getting up nerve is a major problem. For others it's a veritable party.

If fighting really appeals to you, doesn't this make you a potential troublemaker? Isn't this antithetical to the spirit of budo? A bushi is a warrior, which implies that combat has some higher, loftier purpose than just someone who engages in contests. Choki Motobu would routinely field-test his fighting skills in his pursuit of Okinawan karate. Clearly this man liked to fight, but his reputation denied his admission to nearly every dojo on the island. As youths, Ed Parker and Bruce Lee actively sought out street matches to gauge their progress. Certainly, their contributions are undeniable.

In John Stevens' Invincible Warrior there are a series of old photos in the back of the book that depict Morihei Ueshiba performing something called "Smiling Technique Variations". Sure enough, we see the master beaming as he throws one of his poor disciples clear across the room. The author didn't elaborate, but it reminds me of something Winston Churchill once said: "I like a man who grins when he fights."

Boxing vs. Mixed Martial Arts

Few people realize that boxing has a history that is as rich and varied as most Asian martial arts. Nineteenth century boxing actually resembled today's mixed martial arts (MMA). Prior to the Marquess of Queensberry charter that incorporates the now mandatory gloves, London Prize Rules boxing or fisticuffs allowed throws as well as punches. These bare-knuckled events were brutal, and quite often matches had to be held in secret, lest the intervention of local constables.

In the early twentieth century "open to all" tournaments in Japan were fairly common. One legend tells of a European prize fighter defeating one judoka after another when Okinawan karate virtuoso Choki Motobu stepped into the ring. "Maybe judo isn't the answer" proclaimed Motobu as he knocked out the boxer with a shuto (knife hand) to the temple in the second round.

In 1950 Helio Gracie, the famous founder of Brazilian jiu-jitsu, challenged then heavyweight boxing champ Joe Louis to a no-holds-barred match. Louis, who had nothing to gain and everything to lose with such an event, wisely declined. Two decades later Japanese grappler Antonio Inoki took on Muhammad Ali in a 15-rounder. Inoki was billed as a pro wrestler, but he previously defeated numerous martial art exponents in legit contests. The match was a bizarre one as Inoki spent almost the entire time on the ground in a futile attempt to kick or sweep out Ali's legs. The fight was declared a draw, but even Ali's typical pre-fight hyping tantrums couldn't save this hopeless spectacle.

When MMA bouts first made their appearance in the 90s there was some clamor as to whether a fading Mike Tyson would make an interesting opponent. How do you think Tyson would have fared against somebody like Royce Gracie? Gracie would've had his work cut out for him. Don't forget that Tyson was disqualified during a title fight when he tried to bite Evander Holyfield's ear off. It was a dark moment for boxing and Mike Tyson in time became his own worst enemy.

Unlike traditional martial arts, nobody ever seems to question the validity or street effectiveness of boxing. Indeed, boxing as a viable method of self defense is explored in this TDA Training article. Boxing is still one of the most dangerous sports as there have been a number of ring deaths through the years, to say nothing of the long term health risks involved with being a career fighter. Recently MMA suffered its first fatality as the result of a sanctioned match. Some proponents of MMA insist that it's safer than boxing, but the jury is still out on that verdict. Will MMA even be able to survive the way "The Sweet Science" has for so many years? Time will tell.

Less Is More

"Rank doesn't mean anything of itself. What counts is what you know", somebody once said to me. Rank in the martial arts is generally equated with knowledge. What about applying what you know? With that said, is it advisable to acquire knowledge of a multitude of techniques or is it better and more practical to have just a few at your disposal?

In boxing, there are four basic techniques: jab, cross, hook and uppercut. Yet an endless array of combinations and tactics are at hand for the boxer's discretion. "Shadow boxing" is the pugilist's version of kata (practice forms). Most karate systems offer over a dozen of these forms to be learned through black belt and beyond. Choki Motobu, Okinawan karate's early embodiment of a tough guy, preferred training on only one kata - one that he felt utilized the necessary side-to-side movement for an actual street fight. Since Motobu's version of bunkai (application) made use of an unwitting but usually very willing uke it's hard to argue with his methods.

Learning a plethora of skills is one thing; knowing which ones to use in a moment's notice is quite another. Practitioners who fear arriving at a plateau in their art probably aren't being creative enough with what they already have or don't have somebody capable if showing them how. Variations are key, and it's quite often just a matter of focus. For example, the bunkai for an outside middle block as shown to a novice is strictly defensive - it's just a block. For a more advanced trainee, the very same block turns into a backfist driven into the biceps of the attacker causing muscular trauma. Defense becomes offense (kobo-ichi) all from the same move. Understanding the depth and variety from a select few techniques is far better than a cursory view of too many.

Street Fighting Man

The late Lyle Alzado, the football legend from the 70s, once quipped to an interviewer that he never met a man he didn't want to fight. The same could be said for another legend - one who didn't hone his skills on the gridiron, but initially on the streets of Okinawa. His name was Choki Motobu. Motobu (b. 1871) was not your ordinary karate-ka; he liked to field test his learned abilities in Tsujimachi - Okinawa's infamous red light district, against thugs and anyone else who had the misfortune to cross his path. Because of his reputation as a troublemaker, he resorted to using an assumed name to gain entry into prominent dojos, only to be thrown out once his real identity was learned. He would often pay his tuition with the unlikely offering of awamori (rice liqueur) when he couldn't afford any other means. Money was something he had no real understanding or appreciation for - a common trait for men of Motobu's ilk.

Motobu defeated a European prizefighter in a boxing ring when he was in his fifties, bringing him much popularity, and eventually students. Some of his disciples went on to create their own ryu (feudal term for school), but Motobu himself was never affiliated with any particular style, as he himself was never anyone's disciple - truly a modern day ronin. Motobu's approach to karate flew in the face of the conventional wisdom of the day, and like Sinatra, he did it his way.