These are the ideas of Kasuya Sensei with respect to all aspects of karate. They have been extracted from a booklet published on the – WSKF Championship in 1997. I hope that this text will make his vision clearer to all Shotokan karate kas. More thoughts will be added soon.
YAIKI
KYUDI archery, there is a word in Japanese called YAIKI which describes the posture of the flying arrow. Even though, the arrow may strike the center of target, we can still say whether it had good YAIKI or bad YAIKI.
We, amateurs tend to think that it does not matter as long as the arrow strikes the target. In discussing the above, people sometimes think that this is only a pretext without consequence. However it is true that if the YAIKI is bad the arrow will not penetrate the target as well as if it had good YAIKI. This is especially true when aiming at armor or the like.
This can be observed in first class karate competitors. Win or lose, we are still impressed with their speed, power and control.
Immature contestants fight with only speed but seem to be missing something else. They compete without the discipline of having done basic technique, and are not able to achieve dynamic technique.
In KYUDO, we have been told that the most important moment is when you let the arrow go from your hand, if you have a bit of doubt or hesitation in your mind the YAIKI does not come out right, which means that true KYUDO is all in the mind.
We can see this is karate too. When contestants engage in KUMITE or the performance of KATA, if there is doubt or not enough confidence it shows most obviously in their performance.
KATA
Japanese karate KATA came from the island of Okinawa, and in turn Okinawan karate KATA came from china.
Traditionally, Japanese karate-kas have mainly KATA for their techniques. Through KATA practice one can almost perfect his karate technique. The ideal state of having good balance, speed, power, the combination of slow and fast motion and breathing – all those things can be learned through KATA. Nowadays, there are many karate competitions in which sometimes contestants lose the true sense of karate.
I am sorry to say that we do not see techniques of real such as powerful kicking. This does not mean however you have to insist on just power.
Shotokan’s KATA should be performed beautifully, like a KUMITE match, not only with speed and power, but also with an expressive performance.
I think it is the most important of karate to train one’s mind, rather than just train one’s technique.
Before you perform your KATA (ZENSHIN), control your mind. During KATA performance do not put out too much power, do not be too relaxed. Even though your actions may be violent, your mind should be controlled, full of spirit (TSUSHIN). Your mind should be enriched, without any idle thoughts (ZANSHIN).
This is an extremely difficult thing to achieve. Twice I have had the experience of not recognizing the audience or judges at all, I felt like I was attaining a spiritual state of perfect selflessness, so much that I was out of breath or even slightly tired.
I have been practicing karate for quite sometime, but as I said I have only experienced this feeling twice so far. I continue to practice every day so I might have this feeling again.
It has been my experience it is more difficult to practice KATA than KUMITE. Remember it’s not only what other people think about your KATA, but what you think about your performance.
MA
In general the word MA means the space between two contestants or it can sometimes mean the time between two actions. In Japan where we have traditional cultural activities such as the tea ceremony and flower arranging as well as Japanese noh plays, ma is considered very important. For example, in the performance of kata, there is the ma between techniques. In kumite the distance between the opponents, their strategy, the strength they have etc. is all refereed to as ma. You can easily control your opponent by the good use of ma. Unfortunately there is no textbook for the study of ma it must be learned from experience.
BREATHING
When you concentrate your effort to make an attack you should pay careful attention to your breathing and also extra attention to the breathing of your opponent. It is a very good time to attack when your opponent is breathing our. You could also look for the very moment when he is about to begin breathing in. It is at these vital moments that your opponent will have his power and concentration diverted. Be careful not to hold your breath during the contest. During the performance of kata other than at the appropriate kiai point there is no need to make loud breathing noises. The important point is to breath in a natural relaxed manner.
MUSGIN
During a fight if you find yourself concentrating too much on your strategy or thinking what technique your opponent will use you are in danger of a stalemate. Mushin is the vitally important technique of mental detachment, that is to see the fight from an objective point of view. This can only come from hard, long and consistent training. The mental aspect of mushin can sometimes be thought of as unscientific but we must consider every aspect in the effort to win in combat.
Most important things are through experiences, if not through experiences that is only dream.
TAISABAKI
This is the technique of turning or evading your opponent’s attack. In this technique distancing is an important element. If done correctly taisabaki not only avoids your opponent’s attack but in turn opens your opponent up for your own attack.
DEFENSE IN KUMITE
The elbow should act as the axis. Do not move your elbow too high. The motion of the elbow should be as small as possible. If the elbow is too far from the body or out of alignment your motion will be slower and weaker, consequently your attack will be slower too. In defense your stance is important as well.
FEINT
If you find yourselves stalemated by your opponent then you must use a feint. A feint is used to create a chance to attack.
Your feint must be of good technique to cause your opponent to break his concentration. If you fail to fully commit yourself to a good feint and strong follow up your will leave yourself open to a counter attack.
DRAWING
In a feint you make a motion to your opponent your attack. Drawing is the opposition you open yourself up to your opponents attack by dropping your guard waiting for the attack and then countering. Feints and drawings are opposites like the head and the tails of a coin.
Even if you are facing a strong opponent, with the two techniques of feinting and drawing you will create the chance to attack. Most first class contestants have these skills.
READING YOUR OPPONENT'S MIND
This technique is called yomi in Japanese, that is the cultivation of the technique of sensing the intentions, the movements and techniques of your opponent. This can only be gained by experience. When you have yomi your technique is very elegant and you do not waste time on irrelevant technique.
INDECISION
If you try too hard to judge your opponent’s actions you will fall pray to the state of indecision, “shall I do this or shall I do that” you must read the situation and act almost at the same time.
CONCENTRATION
You must make extreme effort to develop good and clear concentration. Human beings can do almost anything if the concentrate and focus their attention. Without the ability to concentrate you will become week and be in a dangerous position.
Most first class karate-ka can be control anytime and any situation.
OPPORTUNITY FOR ATTACK
You must choose your time to attack. Attacking without rhythm or reason is useless even if you have sufficient power and speed. This is a typical beginners mistake, constantly attacking. You must watch and wait until the chance either presents itself or you create the opportunity.
Good chance to attack are:
1. When your opponent loses concentration through changing his mind or by having too much confidence.
2. When your opponent changes to an unnatural position of on guard.
3. When your opponent’s movement is not smooth and coordinated.
4. when your opponent just begins his attack. This is called deai. Your opponent cannot adequately guard himself and attack at the same time.
5. the very moment when your opponent stops or completes his attack.
6. the split-second between your opponents attacking techniques. Even first class contestants are vulnerable to your attack at this time.
7. the time when your has become ill at ease due to your strong fighting spirit, he will be sluggish and un-coordinated at this time.
8. when your have made the chance. If you are evenly matched in skill, speed and power you must rely on a feint to create an attacking chance.
The most important thing during a fight is that you should be relaxed yet on your guard. Do not have doubt or be scared and do not show hesitation. So you waste your action but rather act speedily.
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