Seika (Saika 最: upmost; most; extreme) Tanden [臍下丹田]

The characters/ideograms mean "center of the body; pit of the stomach." The first character means, "navel," the second character means, "rust-colored; red; red lead; pills," the third character means, "rice field; rice paddy." 

Seika is the Japanese characters. Also known as  seika no itten [臍下の一点] (one point below the navel), kikai tanden [気海丹田] (ocean of energy below the navel) or kikai [気海] (ocean of energy).

The importance of the tanden comes from where our center of gravity resides and that speaks to the various principles that are fundamental to martial systems such as karate, aikido and judo, etc. We are taught from the beginning to focus on our tanden, the center of our bodies, that being the lower abdomen. In truth the center resides just below the navel, some say about two inches below, but also that center moves toward the actual center, i.e. that point that resides somewhere below the naval and about mid way between that point and the spinal column at our back. 

This focus and development means the creation of the foundation to power in the body. This is to supplement the use of muscles throughout the body, i.e. the arms, the legs, etc. It is pulled from the tanden and directed outward through the arms and legs, etc. 

As stated in a fictional book but holds truth in its foundation, "If you do not learn to breathe properly, you will learn to do nothing properly." As a basic or fundamental to any martial art, you must practice proper breathing from the seika tanden until it becomes instinctive. By the breathing you trigger chemicals that calm you and calm controls fear and anger. This in turn controls the heart keeping a better control on the pressure and beats per minute. All this to remain in as much control of self as possible and with repetitive training toward reality you allow the training when trained to instinctive action you control the whole so action is appropriate. 

This breathing and development of the seika tanden is paramount to making any martial art work in a stressful dangerous and possibly debilitating encounter. Debilitating not by the action of an adversary but by the reaction of the body-mind of you, the person in defense of self. 

Focus of the mind and the activation of any movement must start from the tanden. In addition, the musculature in association with the organs and the connections to the spine in proper alignment are also key to development of the seika tanden for martial arts. Those bands of abdominal muscles and associated connections should be the focus of development not only in strength but in the other principles such as structure, alignment and posture, etc.

Again, even in this explanation of the Asian fixation on the tanden in martial arts the fundamental principles of martial systems align themselves with the concepts and context of traditional martial arts training and practice regardless of the style/system involved. 

Bibliography:

Shinkitai Karate. Saika tanden: center of the body. 

http://www.shinkitaikarate.ca/Scona/Glossary/S/saika%20tanden/saika%20tanden.html

Another Fine Post at Chiron

I tend to read a few blogs but there are a couple that seem to teach me a lot more than most. When I read either of these two professionals I tend to listen up. 

You know the old ad that said, "When Charles Schwab talks, people listen." Well, when these two guys talk, I tend to listen as best I can.

I am not saying these are the only two professionals I read and listen to but these two are more consistent in the teachings they provide. I don't just listen to these two persons but when they speak I tend to lean heavily toward what they have to say.

Like this:

http://chirontraining.blogspot.com/2013/12/your-nature.html

p.s. no, I am not putting these guys on a pedestal (that is dangerous), but they have my utmost respect for what they do and what the readily provide to us through their efforts.

Sixteen Penny Nail

One of the legendary stories told about Isshinryu is one of the creator, Tatsuo Shimabuku sensei, driving nails through wood with his hands and feet. This is a story about demonstrating "chinkuchi [チンクチ]." I have written a bit on chinkuchi and this story can be found on the Internet but I want to question it as to a demonstration of anything that would translate to defense or combat or the fight on the street.

Granted, my experience level as to fighting outside of the dojo is limited. I fought three or four times a week in the dojo but my experiences in a clench, on the proverbial street, are far limited in comparison. I can recollect two attempts on my life and about three or four distinctive instances of defense against one or more adversaries - mostly in my teens and early twenties. 

I have a good eye in seeing things physical, better than most, but as to translation in experience in the fight I would have my own doubts. I do believe that what little I know and teach can be effective in defense.

Take a look at the many descriptions of chinkuchi and it comes down to applying physiokinetics, as in fundamental principles of all martial activities. You will find that it is about many things of which karada-kitae or body hardening is only a small part. I am not disparaging the need or abilities or effectiveness of chinkuchi or karada-kitae but, what is really being demonstrated by performing nail insertion into wood - really?

First, just because you can drive a sixteen penny nail into a 2 x 4 piece of wood does not equate effective karate or defensive or fighting ability. Yes, performing these feats can build self-confidence. Yes, performing these feats is a mental fortitude builder. Yes, doing many feats of strength, power and speed is a confidence builder. It also attributes to the mind-body effect where the mind is trained to resist certain effects of combative or fighting - such as the adrenaline chemical effects. 

Does it build the type of mind that will act when chemicals are dumped by total and complete surprise; will they counter the effects of that sudden and instant spike of the blood pressure and heart beat so that you don't succumb to the effects of such things in the fight? It may provide a path toward this ability but is it more "show" then effective in a fight.

No one is going to require you drive a nail to achieve success in either a social or asocial event. Much like breaking boards and bricks, boards and bricks don't fight back and they don't live according to the principles such as yin-yang and physiokinetics, it is more about overcoming physics.

Again, I believe chinkuchi is relevant and practical for the shu aspects of shu-ha-ri. It is a teaching tool but like many should not be construed as a means to the end by itself. It is a part of a whole tool box that gets you from "shu" through "ha" and into the "ri" stages of karate, martial arts studies. Like so many things it is a lot more than the mere physical as can be seen when you study the fundamental principles of martial systems. 

It also works well in demonstrating what is possible and that there are no limits to either the mental and physical but we should not assume that it is an end unto itself in karate training. Chinkuchi is a part of a whole that are principles applied also as a whole. Like makiwara, chinkuchi is about training to reach a strategic goal but not actually a fighting or defensive ability. You can strike the makiwara all day long but without all the other parts that make up a violent encounter along with those principles that achieve the goal in the encounter you just have strong hands and feet. If you freeze in the loop, your strong and resilient hand and foot ability is nothing but show. 

Let me emphasize, I have no clue as to Tatsuo-san's fighting prowess. Considering the time and place he grew up and learned karate I suspect he had more opportunity than us modern folks to find out the value of karate in an encounter. Even in the off chance he didn't, the fact that his teachers were well known for their fighting prowesses I would assume said prowess transferred into their teachings that were adequate for the times and places in which Tatsuo-san lived. I suspect WWII was a good teaching tool for experiences.

Regardless, the demonstration of chinkuchi, like makiwara, without all the other principles applied properly, adequately and effectively chinkuchi is just a demonstration of strength and body conditioning. I like to stress, for me, that chinkuchi ability is about bringing all the principles together, as to the physiokinetic principles, to achieve a totality that along with the other principles bring about the ability to handle violence successfully. 

Lets not forget that watching such a demonstration is pretty impressive and pretty darn cool. I would add that I do not recommend anyone of any level to try this feat without proper training and guidance. It is one of those rare demonstrations that require some patience and persistence because any misstep will result in medical and health issues that will at the very least stunt your growth in martial training. 

It has value, a very limited value in the overall practice and study of martial arts. Remember that karate has its value in a specific context and that is the only context. Anything outside that context means something totally different. 

Another excellent post at Chiron blog, "Perception Controls Possibility." 

Every Contingency

Martial artists in their effort to cover every singly contingency in a defensive model can not possibly learn every single technique to be fully and completely prepared for a future emergency. This is how marital artists get caught up in the quantity of techniques model in lieu of quality of technique. No one wants to encounter a self-defense or combative situation where chance has a dominant position over how things will end. No one likes the uncertainty of the fight or combat and that is why we train, but we must train "smart."

This is why there are principles, those principles that are the same regardless of the system or style or the method trained. Balance is balance whether one is using a boxing method, a karate method or a ground art method. There are a plethora of techniques you can envision and practice to hit someone but a strike is a strike, a kick is a kick and a punch is a punch. The principles are all the same.

It is knowing the value of a principal that transcends mere technique and allows us to apply the principles regardless of the technique involved. Knowing your options in a dangerous situation has far more value then an accumulation of techniques where you can apply motion and power to end a conflict. To know what makes something function at its peak efficiency where that something adheres to the principles of martial systems allows us to fully understand what motion is being applied to what target with maximum efficiency, etc. 

It can be said, "All techniques function from the same principles, any ignorance of principle manifest itself in every technique." Trying to cover every contingency with a encyclopedia of techniques without the substantive foundation in principles simply confuses our minds resulting in non-action - a freeze. It gives us plenty to talk about and to use as an exercise for health and well-being but leaves us without solid defensive capability. We could dance and reach that same model but this is martial arts for self-defensive/combat, etc. 

Washing the Obi

It has been a part of the rumor mill that Okinawans did not wash their karate obi's, ever. I have never heard of this as a custom of the Okinawans. Granted, I spent one year tour there in 1979 but have never heard of this ever being what some proclaim.

Can anyone validate this with some proof other than another persons simply saying it is so because in all the literature I have been exposed to in my studies I have never heard that this is a traditional way of Okinawan karate-ka.

Yes, I have heard of people who do this and believe it as truth but I tend to question a lot of things now days so don't accept it just because someone's sensei said it was so.

Anyone? Can anyone tell me how this rumor got started?

An answer: http://www.24fightingchickens.com/2005/09/09/urban-legends-of-karate-belts/

Shadowing (from a fictional series I am currently reading)

This term I have taken liberties with as to meaning. Yes, it means shadow or in my interpretation "to shadow." The shadowing model is one whereby a practitioner shadows a person who they wish to emulate, to learn from and to guide them in an endeavor such as martial arts. It is another way to convey the importance of the sensei-deshi, senpai-kohai, and tori-uke relationship. 

A shadow is a silhouette of the person being shadowed. It is a part of that person and makes the relationship one of importance. It is that something one assumes when they acknowledge the presence of the shadow. It is and will be a reflection on that persons efforts to teach, lead and guide in martial arts where the potential brutality of the discipline can be either for good or for evil. 

To be a persons shadow, shadowing, is be be in such a close proximity that they will detect everything the person has to offer making the person with the shadow assuming a responsibility that is immense. Immense in that the person is helping the shadow to shape and build themselves into something unique to the shadow, to shed light upon themselves through the teachings and efforts of the person they shadow not to become a mirror image of that person but the use the guidance to build a personal philosophy and moral system that will change the shadow so they become a person who another might wish to shadow. 

A shadow is to follow and observe someone very, very closely. It can be likened to that deshi of old Japan martial systems who becomes sensei's personal person not only learning the art but working as the sensei's personal attendant. A deshi or uchi-deshi [] who is sensei's "inside student." A live-ion who trains under and assists sensei on a full time basis. The uchi-deshi system existed in ancient Japanese arts such as kabuki, rakugo, shogi, aikido, sumo, and karate as well as other more modern Japanese martial arts. 

The shadow, although not actually as complete as the uchi-deshi, still provides a similar relationship that benefits both the person and the shadow. It is a symbiotic relationship where one both grows as one due to the mutual influences they exact upon one another. It is a system that allows the sensei to keep growing toward enlightenment while the shadow learns how to take that path within and upon themselves with a goal of achieving their own path unique to their own cultural beliefs, etc. 

Sanchin or Dynamic Tension or Isometrics

Recently I have been re-introduced to the sanchin kata of Isshinryu. Sanchin is a dynamic tension moving isometric type kata. What I mean is dynamic tension or isometric exercises, i.e. a type of strength training where a combination of joint angles and muscle length are contracted in a static position where isometric exercises done through a range of motions are referred to as dynamic. 

What you are actually doing is a combination of both isometric and dynamic tensioning, i.e. you remain in a static position while working muscle agains muscles by resistance. Then you move into the dynamic tension part where you overcome the isometric, the joints and muscles work against an immovable force. 

Sanchin or dynamic tension movement tends to work better in building muscle and strength. You can safely do a 110 percent effort and continue so with effort remaining at 110 percent as strength is depleted thus allowing for longer periods with maximum volitional tensioning. 

Sanchin involves the static contraction of muscle with movement while maintaining the principles of martial systems, i.e. alignment of skeletal systems such as joints and spinal alignment along with structure, posture, centerline, heaviness, centeredness, etc. When you consider dynamic tension as executed through the Charles Atlas systems and dynamic tensioning in Sanchin you get a more well rounded and complete exercise with karate's sanchin provided you adhere to all the principles involved, i.e. "Breathing, Posture, Triangle Guard, Centerline, Primary Gate, Spinal Alignment, Axis, Minor Axis, Structure, Heaviness, Relaxation, Wave Energy, Convergence, Centeredness, Triangulation Point, The Dynamic Sphere, Body-Mind, Void, Centripetal Force, Centrifugal Force, Sequential Locking & Sequential Relaxation, Peripheral Vision, Tactile Sensitivity, and Rooting."

When performing sanchin you adhere to the principles as described above along with using just the bodies structure and skeletal/muscular/cardio/breathing systems in unison, as one whole system working together as a wholehearted unit. 

One caveat, since sanchin involves dynamic tensioning that results in a temporary spike to internal pressures such as blood pressure you must first get your personal physician to certify your health just in case you are one of those persons who currently suffer from higher blood pressures or even susceptibility to strokes, etc. There is no evidence or research that says dynamic tension, isometrics or sanchin (a combination of both dynamic tension and isometrics) will result in high blood pressure or be the cause of strokes, etc. It is better to be safe in the case of sanchin practice and training. The benefits are there with health caution as the prerequisite to sanchin practice. 

p.s. dynamic tension/isometrics are also found in practices such as yoga or oriental martial arts and bodybuilding. 

Questions, questions and more questions .....

You study hard. You practice till you drop. You train and train and train. All for the day you achieve your black belt. All good and you continue on because you know in your heart you have only begun to learn and there is so much more you can achieve in your dojo. All good.

As you progress do you notice how often you ask questions? As you progress do you notice when you speak with authority and have less and less questions to ask? When is it that you no longer have to ask questions because you have assimilated all you can about your system and the martial arts in general?

As I age and as I put more years under my belt, no pun intended, I notice that when I think, teach or write I am leaning a bit more toward asking more questions to clarify what I know and to learn more of what I don't know. Questions, when I don't hear questions over statements of proverbial facts I begin to wonder if I have been doing my job on passing down marital arts to those who would follow. 

I would have thought just a few years ago that I had reached a level where I would not often need to ask questions yet I am actually noticing that what I am learning today tends to send me more questions to ask. Maybe that is key to any endeavor including martial arts, to ask questions constantly and continually to learn new things and to vet our what I already "think" I know. It is about the constant change that occurs naturally in nature and that means in our efforts of life and martial arts. 

Questions, are you asking questions? Are you caught in the making statements of what you think are facts syndrome? You can even have a balance in both making statements and asking questions or even making a statement of fact as if it were a question to validate or change what you know so you can be more informed - is this enlightenment or at least the path to enlightenment?

Is enlightenment actually knowing that you can not possibly know everything and questions are mere clarifications to the moment in time you live? Keep asking questions, keep learning and keep open to changes to what you know or think you know!

Hard Lines [Embusen 演武線]

That line used in martial arts as a guide in kata practice. Embusen is the line or pattern that a kata follows in its performance. It is the tool that teaches proper movement, stance, kamae, how stances and movement apply to the particular tactic/technique applied in any given situation or action. The embusen line is different for each kata. It has a start point and end point. It is a blueprint for kata practice. 

演 - act, perform, play

武 - martial, manly, strong, mighty, brave, power of fighting

線 - a line, wire, a lane, a track, a figure, a level

The embusen is often thought of as a static line that does not move once the kata begins. In the shu stage of the shu-ha-ri that may be true. It is best if something static is provided for beginner/novice practitioners. Even the few who enter the "ha and ri" stages of practice still consider the embusen as a stationery or static line followed religiously - that is just not accurate.

As a practitioner enters into the "ha" and "ri" stages the embusen moves and is considered much like kamae, i.e. not a particular or static stance but something more fluid and transitional. This is true of the embusen line in kata as well.

Take a look at the following graphic of the standard then the 45 degree variations of the embusen for Naihanchi kata of Isshinryu. As you enter the "ha" and "ri" stages of training you have to visualize and implement the fact that once you start something you will invariably have to make adjustments in the heat of battle. This variation practice gets you thinking and working with such variations with kata and with drills derived from kihon and kata. Once you begin thinking and acting on such variations you will find interesting and beneficial results from kata, etc. practices. 

The embusen is also meant to be subjected to the requirements of karate practices through things like the "shu-ha-ri" philosophies, etc. It is that which makes the difference between a physiokinetic practice and the full wholehearted practice we should achieve as would be insinuated by things like the gokui, shu-ha-ri and shin-gi-tai, etc.

Click for larger view.

Think of this practice like drills, i.e. where uke or tori suddenly change the strategies and tactics. Once you begin with one direction be prepared to change it dynamically to achieve your goals and strategies.