Karate Budo: The Endless Search for Absolute Kime

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ISBN-13:978-1511946407 ISBN-10:1511946407 Copyright © 2015 by Gilles K. Lavigne Editor Jean Montgrain Graphic Designer Tosha Lord All rights reserved. This book or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher except for the use of brief quotations in a book review. Printed in the United States of America First Printing, 2015

Table of Contents Dedication ........................................................................................................... xi Acknowledgments ............................................................................................. xii Preface ............................................................................................................... xiv Introduction ...................................................................................................... xvii PART I –

Physical

Kime .................................................................................1 Chapter 1 Lower Body Training ............................................................................5 1.1 Feet ........................................................................................................6 1.2 Zenkutsu dachi .....................................................................................7 1.2.1 Proper feet distance in a dachi ...............................................7 1.2.2 Contraction in Zenkutsu dachi ................................................9 1.2.3 Expansion in Zenkutsu dachi ............................................... 10 1.3 Kôkutsu dachi .................................................................................... 10 1.3.1 Contraction in Kôkutsu dachi ............................................... 11 1.3.2 Expansion in Kôkutsu dachi ................................................. 12 1.4 Kiba dachi ...........................................................................................12 1.5 Turning .................................................................................................13 Chapter 2 Upper Body Training ......................................................................... 15 2.1 Body Angle and Direction ............................................................... 16 2.2 Extensions ..........................................................................................18 2.2.1 Arms at 90 degrees (L Shaped) ........................................... 19 2.2.2 Shuto Uke ................................................................................ 19 2.2.3 Jodan Uke ................................................................................ 20

v 2.2.4 Soto Uke .................................................................................. 20 2.2.5 Uchi Uke ................................................................................... 21 2.2.6 Gedan Barai ............................................................................ 22 2.3 “Directing Energy” KI ........................................................................ 22 2.3.2 Brachioradialis ....................................................................... 24 2.3.3 Making of a fist ....................................................................... 25 2.4 “Hikite” the opposing driving force ................................................. 26 2.5 Hineru the circular (twisting) driving force .................................... 26 2.6 Koshi (Body & Hip Rotation) ............................................................ 27 2.6.1 Jun Kiten .................................................................................. 27 2.6.2 Gyaku Kiten ............................................................................. 28 Photo Album 1 • Dojo Life – Over the Years .................................................... 31 Chapter 3 Hand Techniques, Upper Body Drills and Katas ............................. 43 3.1 Te Waza .............................................................................................. 44 3.2 Nine Blows to the Head .................................................................... 45 3.3 Roll the Hands ................................................................................... 49

Chapter 4 Feet & Leg Techniques, Lower Body Drills and Katas .................... 55 4.1 San Ten No Kata ................................................................................ 56 4.1.1 San Ten no Kata Sho .............................................................. 57 4.2 Roll the Feet ........................................................................................57 Photo Album 2 • Friends, Acquaintances, Senseis and Friends ..................... 63 Chapter 5 Ushi Waza Striking Techniques ....................................................... 77 5.1 Ten No Kata ......................................................................................... 78

PART 2 – Mental Kime ................................................................................ 83 Chapter 6 Energy Accumulation and Transformation ...................................... 87 6.1 Breathing Techniques ........................................................................ 88 6.2 Buddhist Breathing ............................................................................ 89 6.3 One Breath Cycle ................................................................................ 89 6.4 Four Breath Cycle ............................................................................... 89

vi 6.5 Taoist Breathing ................................................................................. 90 6.6 Taoist One Breath Cycle .................................................................... 91 6.7 Four Breath Cycle ............................................................................... 91 6.8 Mind Over Matter & Visualization Techniques ............................... 92 6.9 Tubular Muscle Contraction .............................................................. 92 6.10 Lightness in the Feet and the lower Body .................................... 93 6.11 Pounding of the heels .................................................................... 94 Chapter 7 Intention, Direction and Explosion .................................................. 97 7.1 Intention, Direction and Explosion .................................................. 98 7.2 Ukimi ................................................................................................... 99 7.3 Zui Ban ..............................................................................................100 Photo Album 3 • ISKA – Over the Years .........................................................103 Chapter 8 Maai, Hyoshi, Kuzuchi (Distance, Cadence and UnBalance) ............... 109 8.1 Maai ...................................................................................................110 8.2 Unsoku ...............................................................................................112 8.2.1 Ayumi Ashi – (frontward walking) .......................................113 8.2.2 Hiki Ashi – (backward walking)...........................................114 8.2.3 Yori Ashi – (sliding) ...............................................................114 8.2.4 Tsugi Ashi – (shuffle) ............................................................115 8.2.5 Okuri Ashi – (single or double step) ...................................116 8.2.6 Mawari Ashi – (Pivoting around on front foot) ..................116 8.2.7 Ushiro Mawari Ashi – (Pivoting around on back foot) ..... 117 8.2.8 Kae Ashi – (Switching legs) .................................................118 8.3 Hyoshi ................................................................................................118 8.4 Kuzuchi ..............................................................................................121 8.4.1 Static Kuzuchi ........................................................................122 8.4.2 Dynamic Kuzuchi ...................................................................123 8.4.3 Reflexive Kuzuchi ..................................................................123 8.4.4 Subtle Kuzuchi .......................................................................124

8.4.5 Mental Kuzuchi ......................................................................126

vii Chapter 9 Evasion Drills ...................................................................................129 9.1 Tai Sabaki Four Winds ..................................................................131 9.2 Tai Sabaki Eight Movements (Happo) ...........................................132 9.3 Tai Sabaki Yori-Ashi .........................................................................135 9.4 Tai Sabaki Omote .............................................................................138 Chapter 10 Kihon Training, Kumite Strategies ..............................................145 10.1 Ken No Sen .....................................................................................146 10.2 Tai No Sen ....................................................................................... 147 10.3 Tai Tai No Sen .................................................................................148 10.4 Kihon Fighting Drill #1 – Ten No Kata .......................................148 10.5 Kihon Fighting Drill #2 – Roll the feet ........................................150 Kumite Type Drills ...................................................................................155 10.6 Kihon Fighting (Kumite) Drill #3 – Basic Ippon Kumite ...........155 10.7 Kihon Fighting (Kumite) Drill #4 – Basic Sanbon Kumite .......157 10.8 Kihon Fighting (Kumite) Drill #5 – Basic Gohon Kumite .........159 10.9 Kihon Fighting (Kumite) Drill #6 – Advance Ippon Jiyu Kumite..... 160 10.10 Kihon Fighting (Kumite) Drill #7 – Advance Jyu Kumite .......161 Chapter 11 Yomi, Mushin (Mind no Mind) .....................................................163 11.1 Emotional Dimension: ..................................................................167 11.2 Mental Dimension .......................................................................167 11.3 Causal Dimension .......................................................................168 11.4 Vasana ............................................................................................. 170 Photo Album 3 • Tournaments – Over the Years ...........................................173

PART 3 Spiritual Kime ..............................................................................183 Chapter 12 Eastern Metaphysical Concepts of Energy Levels ......................187 12.1 Hinduism .........................................................................................188 12.2 Buddhism ........................................................................................189 12.3 Taoism .............................................................................................190 12.4 Spiritual Kime ................................................................................191

viii Chapter 13 Chakra Meditation ........................................................................195 13.1 The Chakra Energy System ..........................................................197 13.1.1 ...............................................................................................198 13.1.2 ...............................................................................................198 13.1.3 ...............................................................................................198 13.2 Chakras ...........................................................................................199 13.3 Chakra Meditation .........................................................................201 13.4 Pranayama .....................................................................................204 13.5 Mantras ...........................................................................................205 13.6 Kototamas ......................................................................................205 Photo Album 5 • Seminars – Over the Years .................................................209 Chapter 14 Kundalini Experience ....................................................................221

14.1 Sub-Conscious and the Sympathetic Nervous System ............223 14.2 Kundalini Chakra Meditation & Equivalent Western States of Consciousness ..............................................................................227 14.2.1 Muladhara Chakra ..............................................................227 14.2.2 Svadhistara Chakra ............................................................227 14.2.3 Manipura Chakra ................................................................227 14.2.4 Anahata Chakra .................................................................228 14.2.5 Vishuddha Chakra .............................................................228 14.2.6 Ajna Chakra ........................................................................228 14.2.7 Sahasrara Chakra ...............................................................228 14.3 Kundalini .........................................................................................230 Black Belt Exam with Kyoshi Lavigne ..........................................................233 Bibliography ....................................................................................................237

Dedication First and foremost I would like to dedicate this book to my family; my wife Lyne Châtelain, my sons Benoit, Martin, Cédrick and daughter Claudia. They have been a deep source of love and encouragement in my pursuit of Karate-do. Their sacrifices are to numerous to mention as my walk on this path of Liberation has taken me away sometimes physically, sometimes mentally, and lastly spiritually away from them. You must understand it is no easy emotional and psychological matter to have to share a husband, a father, and friend with countless others who have come to me and my dojo. For this I love you all very much and thank you from the bottom of my heart.

Acknowledgments I want to thank all my Senseis in the Association for their patience in waiting for this book to be published as it has been a topic of conversation and anticipation. I am truly grateful for their enthusiasm and help in the last stages of the book. Special thanks to the photographic models and photographer: Jean-Pierre Groulx Shihan, Stéphane Lachapelle Renshi, Nicholas Myre Sensei, Michelle Laviolette Sensei, Jaki St Arnaud Sensei, Denis Gauthier Sensei, and Joel Deschênes Sensei. A special thanks also goes out to Richard Phillips who provided some computer visual diagram which complimented some of the exercise descriptions. Last but not least is my friend, student and fellow karate-ka Jean Montgrain. Jean was instrumental in motivating me and continued to be that source from beginning to end in this endeavor. It started when he offered his services to me as writer and editor. He provided a good deal of insight in the material on Spiritual Kime. Together we labored to accomplish this work which was in retrospect inspired by V Cruz Hanshi. The theme of this book came to me after a visit from Hanshi to Canada, a seminar held in Cantley Québec on KIME. Given the time allotted he could only touch on the Physical and some aspects of Mental Kime. Jean, who was at the seminar asked Hanshi what his thoughts were on Spiritual Kime as he mentioned that that dimension should not be forgotten in our study of KIME. His short answer became a koan of contemplation for both of us which in the end inspired this book. “There are many aspects to Spiritual Kime some of which are cosmic in nature. However for you students I want you to focus on your commitment to the art and to your Senseis. For you Senseis, I need you to focus on the love and devotion you must have for your students. Do this, and you will open the

xii doors to acquiring the knowledge of Spiritual Kime”. V Cruz Hanshi This book, I hope is a response to Hanshi’s request and I assure you a devotional gift to my students. Before plunging into the material in this book I would like to share an often used verse that I quote now from Armando Jemmott Kyoshi : “Savor and Appreciate”!!!

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Preface At the age of 13, a week before my 14 birthday, I began my journey along the path of Karate-do. My first lessons were offered to me by my parents as a birthday gift. Why Karate some of you may ask? Well, as a child I had become first interested in the art through the commercial advertisements in comic books. They professed that you could become a type of super human, walk with incredible self-confidence, command respect, attract attention of the opposite sex not to mention become an instant black belt with purchase of their karate training courses. That is what I wanted! However, I knew also these correspondence courses were of little value so when my parents offered the real deal with a professional karate instructor I didn’t hesitate to say: “yes”! Also helping my decision at the time was the fact that my father was a student and a holder of a blue belt in the Chito-Ryu style taught to him by sensei André Langelier. I still vividly remember my first class where I was waiting in the stairs near the office of the Head Instructor “Sensei Myre”. My father was in the office striking up a deal. I sat there while the negotiations were going on and observed with great interest the juniors that were coming up the stairs to enter the dojo. I was extremely impressed with these karate-kas and they were all very nice as they passed me by to enter onto the dojo floor. I also recollect two braggarts sitting a few stairs above me who were expounding with great bravery how they were going to smash some jaws and grinned at me while they got up and entered with the others. This I can tell you put the fear in me and I was now thinking of backing out and going home explaining to my father that I was no longer interested. Luckily enough my father came out as I was entertaining these thoughts and handed me my first karate kimono and without too much ceremony introduced me to my Sensei. He in turn showed me where to change and I did so in a great hurry. As I entered the dojo I recall thinking “ I hope I don’t run into those two guys that were in the stairs”. After the warm-up, my sensei took me aside and proceeded to introduce me to the basics. I was completely enthralled with the art and continued with great anticipation my classes during the week and the weekend. It seemed that I couldn’t get enough. After three months, I was awarded a trophy as the most promising student which only encouraged me more in my training. By year-end I was part of the dojo team that went to the local karate tournaments and more often than not winning most of my competitions. This of course only fueled my desire to continue. It is not long after that I was awarded my blue belt. It was a significant time for me as I befriended a fellow karateka. He was at the time a brown belt and we became very close friends. Together over the years we encouraged one another and he served as my guide and mentor. I was awarded my black belt in 1977 and he had played a big part in getting me to that level. Daniel Gingras and I were inseparable and I had nick named him Dan (Bruce Lee). In the late seventies and early eighties we entered a great many of competitions and always came home with a trophy of sorts. It was the days of full contact and we fought in the US, Mexico and in our home town of Gatineau (Hull) Québec. Through hard work and perseverance we eventually made our way onto the Canadian Karate Team and represented our country in competitions held in Mexico, US and other provinces in Canada. They were good years filled with many victories and I look back on these memories with fondness and pride.

The success of competition over the years was not enough and the learning of the deeper levels of Karate-do came to the forefront of my mind. I was a sandan at the time, and hungry, no I would rather say famished for something different more than what the physical and limited levels of mind could achieve to perfect my art. It was a pivotal time where I started earnestly seeking instruction from many reputable instructors in the concepts of energy which eventually lead me to studying Tai Chi Chuan. I also took up the study of Reiki. Reiki is a Japanese healing art which is done through the manipulation of energy. My hunger for new instruction also lead me to a California based Karate Association called ISKA. Cruz Hanshi and the organization’s numerous instructors helped and continue to provide guidance in my journey in Karate-do. To mention a few there are: the ISKA Shihans Ricardo Llewelyn, and Robert Stevenson with

xv whom I have been able to share the highs and lows in this journey. It was through V. Cruz Hanshi that I was able to understand some energy subtleties on the physical, mental and spiritual planes. I was also, thanks to Cruz Hanshi exposed to O.Sensei H. Nishiyama’s instruction and attended many of O’Sensei’s seminars over the years up and until his death in November 2008. That was a very sad day for all of us in ISKA as O’Sensei was a friend to many in ISKA especially V. Cruz Hanshi. Their relationship stretched many years from post WWII Japan , O’Sensei’s immigration to the USA , and continued life in California. Their personal and business relationship lasted until his death in 2008. Without a doubt Nishiyama’s patronage of ISKA brought benefits to all its’ members, especially to me and my Karate Association in Canada.

Introduction ______________________________________________________

“The Buddha was asked: “Is there only one summit of consciousness or are there several?” He replied: “One and several. As one state of consciousness is realized, then the next is seen. Thus there are several and there is one.” He was then asked: “Which is first, awareness or knowledge?” “Awareness arises first and then comes knowledge. One can then say, ‘Because of my awareness, I know this as a fact.’” Digha Nikaya ______________________________________________________

xvii The motivation to write this book is sparked by my understanding as a Sensei that I must provide resources and guidance that will help my students and fellow karate-kas in the understanding of Karate-do. Yes! That illusive “Karate-do”! This term has been branded around for many years and remains in my opinion a loosely knit concept. What is this “Karate-do”? In my mind and for all intensive purposes Karate-do is a catch phrase which describes a self-actualization process. This means a work of self-knowledge which consists of awakening consciousness at different stages in our lives on the Physical, Mental, and Spiritual dimensions. It has been my observation that self actualization processes in the Martial Arts, Ti Chi, Yoga and countless others far too many to mention, have been created to help followers gradually peel away at the different internal and external layers of their make-up to uncover his unique ‘Self ”. Joseph J. Weed wrote in his book entitled “Wisdom of the Mystic Masters”: “In the Golden Age of Greece at the time of the great philosophers the words: ”Gnothe Seauton” was inscribed in large letters over the entrance to the Athenian Temple. This means “Know Thyself ” which was considered the primary essential to all knowledge by the wise men of that time.” Thousands of years later in a school of Karate called “Shotokan” this message “Know Thyself ” was and continues to be professed. Master Funakoshi propagated this notion of discovery of “Self ” and wrote and endlessly encouraged his students to train and than train some more. His approach to discovering and knowing oneself also stressed spiritual considerations and mental agility over brute strength and technique. His students were encouraged not to rely solely on technique alone – striking, kicking, blocking – but also to nurture the spiritual aspects of their practice as well. He, no doubt, was given these insights from his instructors. Master Nishiyama one of Gishen Funakoshi later students and my last sensei shared this same philosophy and advocated that all you need are in the drills and to train your body every day. Training

every day and executing the drills can be attributed to the sharpening of your “awareness” and so the mind. The more you work at it, the sharper your consciousness becomes, and a greater insight will result. The insight will provide the reasons and understanding behind it all. In short, both were advocating the practice of Karate to heighten “awareness” at all levels of our being, be it Physical, the Mental and Super Conscious sometimes called “Higher Self ” (Spiritual). My objective with this book is

xviii to guide the karate-ka towards a continuous flow of awareness from all levels of our being. The journey will be through “Kime” which consists of three types. The first is through Physical Kime , the second through Mental Kime and last is Spiritual Kime. These are the teachings provide to me by and large from Hanshi Vincent A. Cruz, a process of bringing together energies from all levels of our being to a focal point in time and space. However before embarking on these journeys there are a few fundamental underlying concepts that need to be addressed in order for the student to understand the three levels of Kime. The first of these principal concepts is “awareness”. The best definition that I have come across and to which I hold fast to was provided by Ken Wilber in his book entitled “The Essential Ken Wilber”. He wrote: “Experience is basically just another word for awareness. If I experience my body, it means I am aware of my body. You can indeed be aware of your body, but you can also be aware of your mindyou can right now notice all the thoughts and ideas and images floating in front of the mind’s inward eye. You can, in other words, experience your mind, be aware of your mind. And it’s very important to be able to experience your mind directly, cleanly, intensely, because only by bringing awareness to the mind can you begin to transcend the mind and be free of its limitations. When that begins to happen usually in meditation or contemplation, you can have even higher experiences, spiritual experiences, mystical experiences- Satori, Kensho, Samadhi. You can, we might say, be aware of spirit, experience spirit…” So as you can deduce the study of Kime will provide the physical, mental and spiritual experiences in our lives. How great the experience will be is dependant on the work and study the karate-ka puts in to his art and the limitations he/she imposes. The author and medical doctor Deepak Chopra addressed this point exactly in his book entitled “Ageless Body and Timeless Mind”. On discussion of awareness Chopra wrote: “It (awareness) can choose to identify with the limitations of a physical body and selfish ego or it can break free into transcendence and expansiveness. This flexibility is the true genius of human awareness, because it leaves all possibilities open.” The following chapters in this book have been pieced together in a bottom

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to top manner in the hope that the student will be able to discover, through heightened awareness, the different stages of Kime. How you apply yourself will determine the quality of your experience and understanding. So without further adieus let us begin our journey together.

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PART I Physical Kime As we embark on this journey into Kime, a lot of you might be wondering what exactly is my understanding and definition of this martial art concept? The subject was taken up in the Introduction but let us focus now here and build our foundation of knowledge and understanding into what is Kime. Kime is for all intensive purposes a word that defines the process of bringing together, or a point of focus of energy. It is the encapsulation of all degrees of energies at any particular moment in space and time. The Universe is a physical manifestation of different subtle levels of energies. The most subtle of energy is believed to permeate everywhere and everything. All philosophical schools of thought believe to a certain degree and with varying structures in this notion. These different view points will be discussed later in this book. This primordial base of Energy manifests itself into denser energies which are akin to what makes up thought energy. The thought energy is transformed again to a denser energy substance that activates our biochemical bodies and creates the electro magnetic muscular reactions we define as movement or action. The instantaneous coming together of all levels is called “Kime”. This is a very simplistic view point but it will suffice for the moment to get us started down the road to understanding the total experience of Kime. We begin our study into Kime in a hierarchical manner. This will allow us a logical means to dissect and analyze these above mentioned dimensions and to make some sense of it. The karate-ka must first accept within him(her)/self that he/she is made up of body, mind and spirit. This is not foreign as most of us karate-kas have been exposed to traditional philosophies with regards to his complete make up. The philosophies differ from one part of the world to another but we can surmise that each have these three distinctions of body, mind and spirit. This notion is called the Perennial Philosophy or Great Chain of Being and I will leave it to Ken Wilber to expand on it from his work (Eye of the Spirit p39-41) “Reality, according to the perennial philosophy, is not one-dimensional; it is not a flat land of uniform substance stretching monotonously before the eye. Rather, reality is composed of several different but continuous dimensions. Manifest reality, that is, consists of different grades or levels, reaching from the lowest and most dense and least conscious to the highest and most subtle and most conscious. At the end of this continuum of being or spectrum of consciousness is what we in the West would call “matter” or the insentient and the nonconscious, and at the other end is ‘spirit’ or “God-head” or the “superconscious” (which is also to be the all pervading ground of the entire sequence). Arrayed in between are the other dimensions of being, arranged according to their individual degrees of reality (Plato), actuality (Aristotle}, inclusiveness (Hegel), consciousness (Aurobindo), clarity (Leibniz), embrace (Plotinus), or knowingness (Garab Dorje). Sometimes the Great Chain is presented as having just three major levels; matter, mind and spirit.

Other versions give five levels; matter, body, mind, soul and spirit. Still others give very exhaustive breakdowns of the Great Chain, some of the yogic systems give literally dozens of discrete yet continuous dimensions.” What is surprising is that this Perennial Philosophy or Great Chain of Being is considered Universal or if you wish widely accepted. Ken Wilber (Eye of the Spirit ) writes about this Universality and I quote: “The Perennial Philosophy is the worldview that has been embraced by the vast majority of the world’s greatest spiritual teachers, philosophers, thinkers, and even scientists. It’s called “perennial” or “universal” because it shows up in virtually all cultures across the globe and across the ages. We find it in India, Mexico, China, Japan, Mesopotamia, Egypt, Tibet, Germany, Greece...” And wherever we find it, it has essentially similar features; it is therefore in essential agreement the world over. I certainly agree with these widely accepted distinctions and existence of these realms. The study of Kime is the process of becoming attuned to the dimensions of our being. It is learning to sense the subtleties of energy that emanate from each distinct level. I will expand on this as I take you through the process. I will also provide some information that I have gathered over the years with regards to the subtle distinctions and breakdowns of the Great Chain of being. For the moment let us continue on the path of self awareness and the study of Physical Kime. We start at the lowest and densest level of our being. Let us read into what the Masters were teaching while keeping in mind that the physical is a mere reflection of higher more subtle energies.

Chapter 1 Lower Body Training “When effort becomes effortless, asana is at its highest level. Inevitably this is a slow process, and if we break off our practice, inertia reasserts itself. What we are really doing is infusing dense matter with vibrant energy. That is why good practice brings a feeling of lightness and vitality. Though the mass of our body is heavy, we are meant to tread lightly on this earth.” BKS. Iyengar (Light on Life) p.46 ______________________________________________________ “Karate is like boiling water, if you do not heat it constantly, it will cool.”* *The Twenty Precepts of Gishin Funakoshi no. 11 ______________________________________________________ “Perfect form equates to perfect energy” Gilles Lavigne Kyoshi The first objective in the practice of Karate as it is in other self-awareness discipline is to infuse the body with vibrant energy and it must begin internally before it can manifest itself externally. We must train the body in a systematic way to experience and sensitize all its components to this energy awakening. Over the years many different approaches have been used to activate it. My approach is based on a bottom up paradigm which enables for the synchronization of the Physical, and Mental constituents of this Energy.

1.1 Feet We must begin with the feet. By walking in diminutive steps and pressing forward by gripping the ground with our toes;

we obviously exercise the muscles of the feet and toes. The exercise also activates the pressure points situated in at the bottom of our feet and thereby promotes sensitivity and absorption of grounding energy. This exercise I have dubbed the Nishiyama walk to commemorate the

teacher who taught it to me. Following this exercise we must then focus on our stances (dachi) which are the positions that our feet and legs and buttock must take to promote the energy flow. Unobtrusive flow comes when the feet are properly positioned and creates balanced forms. There are many dachi in the Shotokan style. This work will not provide a list of them as there is many good technical books out in the market place that outline the feet position for each. This treatise will look at three basic dachi and attempt to point out the important features of each which promotes energy flow, direction and power.

1.2 Zenkutsu dachi What is important about all dachis is how the lower body components contribute to the energy flow. Stances must be solid which start from the feet, ankles, knees, quadriceps, and buttocks. We must bring into consciousness each component for each provides a unique element to the overall form which in turn becomes the gateway to transmit the energy.

1.2.1 Proper feet distance in a dachi

It can be said that each karate-ka has his or her unique distance for the stances (dachi(s)). This assertion is based on the fact that each and everybody has his unique body make up and composition. The proper distance in the stances will be dependant on the length of legs of each practitioner. The rule of thumb is taking your height and dividing by two. If you are 6 feet tall or 72 inches than the distance from the front foot big toe to the heel of the rear foot should be approximately 36 inches. A more accurate measure would be to measure the distance from the floor to about 1 1/2 inches above your waistline as you stand erect with heels together. The distance you measure should be the distance between the front foot (big toe) to the heel of the rear foot. The Zenkutsu dachi as shown in this picture indicates how solid the stance should look. Notice how well planted the feet and ankles are. The feet and ankles are lined up so the weight is evenly distributed

and the center gravity of the body is lined up exactly in the middle of the stance (dachi). The knees are pointing to ward the front and slightly

over the feet position. We are now balanced (cen tered) and solid as wall. This

stance derives its strength from the grounding and energy flow that can accumulate into the tantem. The quadriceps are flexed solid but not entirely rigid. The buttocks muscles are probably the most underrated component of the stances. The buttock provides power in the form, direction and most importantly is the trigger from which the energy flows in lower body displacements or upper body techniques. The later will be discussed in the next chapter when we will review the upper body training, and review the importance of the buttocks role in straightening the spine over the hips. For the moment, let us look at the buttocks. Contraction should be done in both the left and right buttock muscles but the buttock connected to the rear leg in the stance should be tighter. An exercise to determine the amount of tension is that you put your hand on the buttock muscle as shown in the

picture to the right. The muscle should be somewhat slack and the wrist of your hand should be somewhat lower than your belt. Now tighten up the buttock muscle so that the wrist rises to the point where it is closer to the belt as shown in this picture to the left. The buttocks play an important role in keeping us lined up over the body’s center of gravity and lining up our tantem in the direction in which we would like to move. The tantem is basically the spot right behind the knot in your belt

and is commonly called the belly. The series of photos on the previous page at bottom demonstrates how by tightening the buttocks and gripping the ground will promote the proper lining up of our tantems towards the direction in which we would like to move or initiate and upper body technique. At this point, you can see that the lower body components serve obviously as the catalysts for

displacements. So let us take a few moments to look at the lower body displacement and shifting of energy. Again we must be aware that each dachi (stance) demands certain particular adjustments to the lower body components such as feet position but there are some fundamental principles which are common to all. These principles are summed up what are called Contraction and Expansion. In other words the principle (Contraction) is accumulating (ki) energy and expending (ki) energy is (Expansion).

1.2.2 Contraction in Zenkutsu dachi

Contraction is a forceful thrust and it can be it in any direction. However for explanation purposes, we will look at the forward movement from the perspective of a Zenkutsu dashi. As you will observe from the pictures at the left that lower components of the stance are in form with what was discussed in the preceding paragraphs. As one pushes forward the buttock muscles and inner thigh muscles activate the movement. The buttock promotes the direction where the tantem (belt knot) is pointing toward the direction of the anticipated movement. The feet come together and the muscles of the lower body begin to contract as shown in the pictures side and frontal views. The weight remains over the body’s core and tightening of the core and lower body muscles should now be at their apex ready to explode. Let us look at this principle from another angle. Notice from the frontal view of contraction how square the position is to the targeted direction.

1.2.3 Expansion in Zenkutsu dachi From the previous position the buttock triggers the forward thrust and the inner energy accumulated in the previous steps over the tantem now releases. The feet are again glued to the floor; the ankles are lined up so the weight is even distributed and the center gravity of the body is lined up exactly in the middle of the stance (dachi). The knees are pointing toward the front and slightly over the feet position. The buttocks promote perfect upper body alignment and buttocks promote the straight away direction. The pictures to the left provide a side and frontal view of what is meant by expansion.

1.3 Kôkutsu dachi

This stance is by the far the hardest stance to master amongst all the stances (dachis). It provides a challenge to all my students past and present. The subtleties are many; the beginners, intermediate, and advanced students must pay the price of physical discomfort to get it right. The Kôkutsu dachi as shown in this frontal picture indicates how solid the stance should look like. Notice how well planted the feet and ankles are. The feet are lined up in such a way that the front foot is lined up pointing towards the direction the karateka would be fending off an attack or prepared to advance into an attack. The front foot (toe to heel) is lined up on a straight line to the back foot. The back foot is pointing at a 90 degree angle away from the intended target. The weight at first is evenly distributed and the center gravity of the body is lined up exactly in the middle of the stance (dachi). The knees are slightly flexed over the feet positions. The feet are gripping the floor as explained in the previous paragraphs. The quadriceps are flexed solid but not entirely rigid. The buttocks muscles are as you will be shown again the most underrated component of the stance. The buttock provides power in the form, direction and most importantly is the trigger from which the energy flows in lower body displacements or

upper body techniques. As we flex the buttock muscle most particularly the buttock connected to the rear leg; the belt will slightly turn towards the target. The weight should slightly shift towards the back leg but the tantem remains in the center of the stance. As you apply more flex to the rear buttock muscle the belt advances towards the front. This is a most unfamiliar and somewhat uncomfortable feeling but with practice you will notice how solid the stance becomes while your body is aligned over your center of gravity. Your upper body remains in hanmi which means at an angle which does not expose your chest and sternum to a direct hit. It literally means ‘half body’.

1.3.1 Contraction in Kôkutsu dachi

In order to move we must be follow the principles outlined above keeping in mind that the buttocks and inner thigh muscles are the catalyst. We will examine the forward movement to highlight again the principles explained earlier. The buttock promotes the direction where the tantem (belt knot) is pointing toward the direction of the anticipated movement. The back foot slides forward leaving its anchoring position to take the forward foot position of the stance. At mid way through the movement both feet come together, and the muscles of the lower body begin to contract as depicted by the first two photos above, from left to right.

The weight remains over the center while tightening the core muscles. The lower body muscles are still relaxed as compared to the core, the internal energy should be reaching its maximum awaiting the trigger to explode. Let us look at the Kôkutsu dachi from the rear view of pre- contraction and observe squareness of the position to the targeted direction. This is an important form to master if you want the transition to be effective in accumulating and storing energy for the next steps in expansion.

1.3.2 Expansion in Kôkutsu dachi

From the previous position the buttock in the rear leg triggers the forward thrust and the inner energy accumulated in the previous steps over the tantem now releases. The feet are again glued to the floor. The feet are lined up in such a way that the front foot is lined up pointing towards the intended defensive or offensive direction. The front foot (toe to heel) is lined up on a straight line to the back foot. The back foot is pointing at a 90 degree angle away from the target. The weight is mainly on the rear foot and leg. The rear buttock is more flexed than the frontal leg’s buttock. The forcing of the rear buttock promotes the tantem to point slightly towards the target. The body remains at the center gravity which means lined up exactly in the middle of the stance (dachi).

1.4 Kiba dachi

The Kiba dachi is the last of the fundamental dachis that will be examined in this chapter. What you will learn in practicing these main three dachis can be applied to all the dachis. A comprehensive list of Shotokan stances (dachi) has not been provided in this work for they are readily available in many other instruction manuals. If you need a reference, I suggest you review “Best Karate Comprehensive no 1” by Masatoshi Nakayama. Let us get back to the Kiba dachi. In the pictures to the left you will notice the feet position of the Kiba dachi. The feet are firmly planted. The feet, ankles and legs are parallel to each other pointing directly to the front, and are lined up so the weight is evenly distributed.

The center of gravity of the body is lined up exactly in the middle of the stance (dachi). The knees are pointing toward the front and slightly over the feet position. Each component of the stance must provide its unique element to the overall form which in turn becomes the gateway to transmit energy. This stance derives its strength from the grounding and energy flow that can accumulate into the tantem in the same manner as previously explained (see previous page, first photo to the left). Always keep in mind that the buttocks play an important role in keeping us lined up over the body’s center of gravity and lining up our tantem to face the front. Both buttock muscles should be flexed permitting the hips to jolt forward. The photo at bottom left is a depiction of what is meant by the last statement of hips being jolted forward. The last of the photos (previous page) will help in providing you a visual of what is meant by being centered over the dachi and square to the target. The perfect form is what you must strive for in order for the body to be the perfect capacitor and distributor of energy.

1.5 Turning The perfect form is what we want to maintain while we turn in any dachi or from one dachi (stance) to the next one. To do that we must always rotate on the anchoring foot of the stance. That rotation must be done on the heel of the anchoring foot. Remember, we are trying to have perfect form, for perfect form means perfect energy.

NOTES

Chapter 2 Upper Body Training ______________________________________________________ “Train yourself in this way: from higher to higher, from strength to strength we will strive, and we will come to realize unsurpassed freedom.” Buddha ______________________________________________________ Now that we have covered the essential elements of Lower Body Training, let us turn to the components of Upper Body training. I must reiterate that we seek to strive for the perfect form for it is through these perfect physical geometric forms that our life force can be effectively channeled. This notion of being an energy conduit is very important. I will elaborate further on this but for the moment I must proceed to explain these concepts in a manner that it was taught to me. The only difference I bring in my teaching is the order in which it was taught to me. After reading the first chapter; we are now armed with the knowledge of being grounded and our lower body aligned over our center of gravity. The buttocks or gluteus maximus are initiating the movement and a chain reaction is about to start in our upper bodies through the process of contraction and expansion. For study purposes, the elements of upper body techniques can be examined in two distinct segments. The first segment will deal with Body Angle and Direction which comprises the following elements of technique: • Belt direction • Hanmi • Shoulder direction • Eyes • Kiai The second segment will deal with Extensions which comprises: • Arms at 90 degrees (L Shaped) • Ki (Life Force) • Hikite the opposing driving force • Hineru the circular driving force • Muscular Contraction (Making of a fist, Brachioradialis) • Body and Hip Rotation (Kiten)

2.1 Body Angle and Direction In the last chapter we put a lot of emphasize on the buttock muscles and the pushing forward of the buttocks in the stances. This will trigger as we will now see the belt direction. If the principles outlined in Chapter 1 are completed in a correct fashion you should observe that the hips will be properly aligned and pointing towards the intended target. It is common sense that if the hips are

aligned than the belt will be pointing in the direction of the target line set out by your stances. Even though this is true, a geometric anomaly will be evident in that the body angle to the stances and intended target line is in an offset angle. This offset angle is called “Hanmi”. Hanmi means an angle where your body is not squared to the intended direction. An upper body that is in Hanmi provides as little a target area to the opponent as possible. This can be achieved when your spine is slightly turned so that the shoulders are at 45 degree angle from the direction your feet are pointing. The frontal view just before taking a position in Hanmi is indicated in the picture to the left. Notice how the shoulders are slightly offset from the squared off angle of the feet. The shoulders must be erect which means the shoulders are back and square to the spine. Remember that life energy flows most efficiently in perfect geometric form. The drooping shoulder syndrome is very prevalent amongst beginners and adept karate-ka. This photo to the left was taken from a view point to help visualize what has been presented above. The shoulders must be slightly offset in the

stance but back and erect square to the spine.

An exercise to develop muscle memory and achieve perfect form is by trying to squeeze the trapezius muscles together. The pictures to the left provide examples of how this exercise can be performed with the aid of a shinai. A training partner’s hand can substitute for the shinai. In the absence of any help or props the karateka can merely pull back his shoulders five or six times as far back and forward as possible to develop this muscle memory. It is recommended that this exercise as the Nishiyama walk described in Chapter 1 be performed to activate muscle memory and energy flow before commencing kata exercises. My senseis are encouraged to promote these practices as pre-kata warm-up exercises for their students in the dojo and during tournaments. Another element of perfect Body Angle and Direction is the direction of the eyes. The eyes must always be pointing in the intended direction as the feet. When this is achieved the belt is also aligned. This may seem obvious but truly it is an element that is overlooked. It is an essential practice for convergence of energy flow towards the intended target. Another overlooked technique is the kiai which is short yell or shout before or during a technique. The kiai is a Japanese term that is prononnced “key-eye”. It is a compound word made up of the word “KI” meaning mind, will, turn-of-mind or spirit, and the word “AI” signifying “to unite”. It literally

means “concentrated spirit”. Ki is also a term that defines the life energy that we possess. In India it is called ”prana” in China it is called ‘chi”. Kiai involves the practice of concentrating on the use of our life force and bringing it together in a forceful manner. A sound emitted from a kiai is usually heard which is the result of air forced from the hara or known sometimes as the tandem. It involves the contraction of muscles from the abdominal region compressing against our diaphragm. A kiai doesn’t necessarily always create a shout or noise. This is a surprise to some and the book will address this revelation in the Chapter on Mental Kime. Topics such as breath, meditation, mantras and kototamas (soul sounds) will be discussed amongst other topics to help understand the energy dimensions of Karate-do. For the moment kiai can be viewed as the coordination of breathing which will add power to movement.

2.2 Extensions The correct upper body execution requires that certain elements be present. These elements have been presented in many different fashions and most books and videos use the term “BODY MECHANICS” to describe them. This chapter groups these elements of body mechanics in this segment called Extensions. The word extension has been used to provide the notion that they are add-ons from what is described above in Body Angle and Direction. In truth, the word was chosen to indicate the multitude of elements in upper body techniques which need to be studied separately and are integral parts of the concepts of contraction and expansion presented in Chapter 1. In the end, a melding process must take place to include all these extensions with what has been explained in Chapter 1. The objective is obviously to do your utmost to achieve perfect form.

2.2.1 Arms at 90 degrees (L Shaped) An obvious question is what is meant by L Shaped? It merely means the shape that the arm takes when the forearms and upper arms are at 90 degrees. To get the right angle is a matter of many hours of practice but there are certain rules of thumb that can be followed to get this angle relationship between forearm and upper arm right. The following photos are provided to look at the basic techniques in order to examine closer this 90 degree rapport between forearm and upper arm.

2.2.2 Shuto Uke A closer look at the Shuto Uke will provide ample clarification of what this L shaped is all about. It is the angle at which the elbow bends and forms a 90 degree relationship between the forearm and upper arm. The photos below are frontal views of this bending of both left and right arms to achieve this angle relationship.

Some rules of thumb have been taught with regards to the Shuto. One that comes to mind is that your hand in front should be no higher than the shoulder. Complimentary to that rule is that your

elbow should be no more than one and half fists away from your hip. Another would be that the hand in the rear position should be over the solar plexus. This can be seen in the photo where both arms and hands are shown. These are good measures to try to incorporate but common sense must prevail. These measures cannot be consistent from one karate-ka to the next for each one of us is built differently and consequently our limbs are of different sizes. That being said, it is unreasonable to expect to have these measures without compromising the

angle at the elbow especially if you have long limbs. What is important from a body mechanics perspective is to always maintain the 90 degree angle rapport between the forearms and the upper arms. Another important point is the position of the elbow of the rear arm over the waist. To achieve maximum flow of energy the elbow and inner part of the upper arm should tight to the body. This cuts off prana or ki to this limb so it can be redirected to the other arm. A more detailed explanation of these energy phenomena will be explained later in this Chapter.

2.2.3 Jodan Uke

It is obvious from these photos to the left that this relationship of 90 degrees between the upper and lower arm exists in the Jodan Uke. In fact this relationship exists in all of the techniques. The

difference in each is the starting point in the movement but the body mechanics remain consistent from one technique to the next. The angles in each arm have that distinctive “L” shaped characteristic. In this uke the arm at the waist must be maintained tight to the body the hand slightly over the belt. The upper arm should feel solid and capable of taking an over head blow without crumbling onto the forehead. The body is in Hanmi and the shoulders are squared to the spine.

2.2.4 Soto Uke

The outside-inside block, as it is commonly referred to is shown in the photos at left. The first photo was taken to demonstrate the “L” shaped relationship in the upper and lower arms at the beginning of the technique. It is followed to the right of the first photo with the next photo which demonstrates the relation of 90 degrees at the end of the technique. The last photo is the side view of the ending technique photo. It clearly reveals how the “L” shaped has been maintained in both arms. The body is in Hanmi and the shoulders are slightly offset to the line of intention be it offensive or defensive. The eyes are looking forward and the shoulders are squared to the spine. Training exercises to teach and groove these desired body mechanics will be discussed in the next Chapter. This following picture is a side view of the Soto Uke. The angles are all at 90 degrees.

2.2.5 Uchi Uke

It is commonly known as the inside-outside block. It is also one of the basic techniques where body

mechanics is important in maintaining the “L” shaped relationship. The beginning movement is one where the arm is folded across the mid-section of the chest in a 90 degree fashion. This is depicted in the pictures above. The arm underneath the other is projected forward as the arm that is forward is pulled back. Arms cross at the mid point of the body and finish in the ‘L’ shaped positions and in the end have the same geometric form as the Soto Uke. The third picture from the left is a frontal view and the one to the immediate right is a side view. These angles are maintained in all the techniques

2.2.6 Gedan Barai

Even in this technique the perfect form must originate from this 90 degree relationship. Maintaining the 90 degree angle is a matter of concentration and muscle memory. As we begin the technique all the relevant points discussed above must be present. Those points such as Hanmi, eyes and etc. are germane to perfect geometric form. The first photo to the left shows how the “L” shape is preserved while the arm is raised and the solar plexus is protected. The arm is then thrust down and the other arm takes its position in what is called the waist position. The angle of the arm on the waist is of course at 90 degrees. The hand at the waist should be no more than two inches above the belt line. We must remind ourselves constantly that energy works more efficiently in perfect geometric form, and therefore we must strive to sustain these configurations each time we perform the upper body techniques.

2.3 “Directing Energy” KI All that has been presented above provides us some knowledge as to what geometric shapes our arms and bodies are suppose to have. What it is not evident from what has been presented are the forces that drive the movements in the techniques. Some forces are generated by body mechanics and that force is called KI or “Life Force”. The Life Force notion is a subject all in itself and it is an integral part of the martial arts. It is presented here as an element to help understand the Upper body techniques from a macro perspective. It takes many years of hard work and dedication to get an understanding of Ki , let alone try directing it in every type of technique. For the moment the book will attempt to provide some insights into this subject matter of Directing Energy. A more profound treatise of this subject matter of Life Force is presented later in this book and its implications in the martial arts. At the present time we must accept that this force exists and that it has properties. These properties are divided and described as two distinct constituents of that

force. The ancient masters described this energy and its constituents as the force consisting of “Yin” and “Yang”. Theory has it that this force comes into our beings and circulates in a circular fashion. The first picture (above) depicts how the energy flows up from the ground and explains why we should be properly grounded to allow unencumbered flow of the Ki. The energy rises, and not only that it rises, the current of Ki will accumulate into pools of potential energy. One of the places that this energy is stored is called the Tandem or Hara. This storage area is shown in the third picture from the left. It is the intersection shown by the cross Jodos and energy potential on both sides of the body (Yin and Yang). Once the accumulation is done, the importance of the arm by the side becomes more evident. This body mechanic of holding the arm close to the body as demonstrated to the right closes the energy circuit in the body and projects the energy to the other side. The vertical Jodo (4th photo from the left) which locks the elbow and arm to the body shows the circuit closure while the horizontal Jodo shows the flow of the total redirection of energy potential. On closer examination of this closing and redirection is provided by the photos on the previous page. The arm anchored tight signals and triggers the energy to be available to the other side. The dynamics of this is that the energy available on one side is put into a neutral potential demonstrated by the Jodo that is pointing vertically under the chin. This energy potential is now available to where the eyes are

pointing. This phenomenon of energy directing is paramount to strong and effective techniques. The assertions made above about the importance of eyes and belt direction should now be more obvious and hopefully better understood. The mastering of energy accumulation, its transformation and availability is a matter of dedication to the art of karate-do. We have just scratched the surface of this profound and might I add mystical area.

2.3.2 Brachioradialis Also part of the subject matter of directing energy is the topic arm and fist angle in the techniques in relation to the body to ensure the efficient flow of energy. The optimal angle that the arm and fist must have is controlled by a muscle in the forearm called the Brachioradialis. When completing a technique the focus should be on making sure that this muscle is contracted. By doing this there should be no additional stress put on other parts of the body such as shoulders or elbows and especially avoids damaging joints. This effort will ensure proper body mechanics are being exercised and that energy potential will flow in an efficient manner. An exercise of Brachioradialis stimulation is required at this point in order to bring physical awareness to this important muscle. This awareness will also serve to visualize energy transference from the body reservoirs (chakras) to the needed and focused area. These reservoirs will be discussed later in the book. In the photo to the right, the muscle being pointed out is that muscle called the Brachioradialis. In order to stimulate it, you would create a Nukite more specifically a nihon nukite (two finger spear hand) and gently slap upon the muscle from the elbow to the wrist as shown in the next picture. This exercise will energize and sensitize the muscle and make it more responsive. Another important topic of directing energy efficiently is the subject matter of making a fist. It might seem like a very simple process but there are few key principles that must be followed to ensure that a complete energy circuit has been established.

2.3.3 Making of a fist To make a fist you must start by folding the smallest finger first followed by the ring finger, middle finger, and index finger. The tips of each finger should rest on the palm pads at the base of each finger. Continue to fold the fingers wrapping the thumb over the second joints of the index and middle finger. The little finger and thumb are apt to be relaxed, so it is imperative to squeeze these fingers tightly, at least tighter than the other fingers. The photos below should be viewed from left to right, top to bottom.

This muscular contraction and clutching should create a solid hammer type sensation.

The energy transference will flow from the little finger and the thumb which seals the circuit. It should be noted that the thumb should never pass the middle finger in the clutched fist position. Over extending the thumb will weaken the fist rather than strengthen it. There is much to say on the energy dimensions in karate techniques. The above paragraphs are but a quick rundown to alert the reader to some important notions. This book provides a structured dissertation on these matters in Chapter 3. Topics such as Energy Accumulation and Transformation will surely interest the readers who are captivated by the energy dimensions of Karate-do.

2.4 “Hikite” the opposing driving force The energies described as Yin and Yang is also known as opposite driving forces. Yin is explained as the passive and Yang as the active. The concept of opposite driving forces is the key in understanding the body mechanics to amplify the Life Force. Hikite is the opposing driving force in a technique. As an example in the forward mid body punch (oie zuki chudan); as the right arm is thrust forward (Yang) the left arm is thrust in a backward motion (Yin). The speed at which we perform the rear action motion will help determine the velocity of the forward motion. In other words the quicker we bring the rear arm to the waist position the faster will be the speed of the forward arm in the technique. There is an exchange of energy that is occurring in the body so that more power is transferred to the forward motion as previously explained. It must be reemphasized that the rear arm should rest tightly to the body completing the energy circuit. Hikite coupled with all the elements of correct form as described above will create a devastating blow be it a block or an attack.

2.5 Hineru the circular (twisting) driving force Hineru is a word to describe the circular motion of the forearm, wrist and subsequently the fist or open hand. This circular motion can be examined in three stages which are described below a sequence of pictures that are viewed from left to right. In the first photo we see the arm in the pre-attack or Yin position. (Stage 1)

The second photo shows the arm, wrist and hand at the mid-point of a technique. The rotation at midpoint should be at about 90 degrees. (Stage 2) At the end of the technique the forearm should be completely extended, wrist and hand should have completed its 180 degree trajectory from its original beginning position. The circular force is added to the driving force provided by Hikite. The body mechanics that are shown above are commonly known in the Martial Arts as ‘Hineru”. It might not be obvious but Hineru allows for the efficient flow of energy to the desired end points. In the example above the rotation and circular motion in the zuki (punch) ensures the efficient flow of “Yang” to the first two knuckles of the right fist.

2.6 Koshi (Body & Hip Rotation) This concept is, in my experience as a sensei the most unappreciated notion. It is yet the most important one to ensure a powerful technique. Koshi is a term to outline the rotating motion of the hips. This rotation of the hips can be performed in the same direction as the attacking or blocking technique or in a contrary direction. In the first case it is qualified as ‘Jun Kiten’ and the later as ‘Gyaku Kiten’.

2.6.1 Jun Kiten Let us take a closer look at this element. In the first photo below, the hip is pointing in a forward direction. You must imagine at this point that a Gedan

Barai is to be performed. At midpoint in the technique the hip should drop slightly back while the body continues to be angled to the target. This can be seen in the next photo to the right of the first. As the technique comes to finishing stage the hip should have rotated back to its original position. The uke or uchi will have been reinforced with the hip rotating in the same direction as the technique.

2.6.2 Gyaku Kiten To visualize a gyaku kiten rotation of the hips at midpoint the right hip is as forward towards the target as possible. This is in complete contrast to what it is for Jun Kiten. When the technique is performed and it comes to the finishing stage the hip that was forward is rotated back as far as possible. This coiling action provides a spring like force and energy to the technique. Kiten is very evident in the sport of golf where the synchronization of the lower body hip rotation plays a vital role in getting the energy transfer in the golfer’s swing.

NOTES

Photo Album 1 Dojo Life – Over the Years

Early photo of my brother Bob and I doing Hean nidan bunkai in my parents’ living room.

This is my early recollection of trying to be like Bruce Lee. My friend and fellow karate-ka Daniel and I were passionate about the Art and spent every moment we could trying to emulate our Martial Art Idol. We were 17 and lived to be practicing in the dojo.

Our form was pretty good in spite of our age and inexperience.

The early years when I taught with my brother Robert ‘’Bob’’ Lavigne. This picture was taken in 1990.

The opening ceremony of the Dojo on St André in Gatineau. Our home for 18 years. The mayor took the time to commemorate the event.

A front view of the Dojo taken in 1974. As you will notice the Dojo was once the home to Harry Villeneuve who practiced Chito-Ryu.

My son Martin, the young karate-ka that is furthest to the right, wins a first prize for Kumite and second for Kata at a tournament Maniwaki, Québec.

A few more of my students who have been with me for many years.

My son Cédrick holds a black belt in 2008, though he continues to show an interest in the art his passion has switched to football. A delegation from my dojo went to a competition in Maniwaki. The the third and fourth students in the front row from the left are my sons, Benoit and Martin.

The portrait of Gishin Funakoshi was painted by one of my students Élise Paré and was a cherished emblem of my dojo on St-André.

Here is a picture of a junior receiving his yellow belt. The picture taken at the St André location in 1998.

A few more of my students who have been with me for many years. A picture of myself when I was a Godan and held the title of Renshi. A picture taken in 1986

A group picture of my Juniors in 2001. The first child in the bottom left hand corner, with her green belt, is none other than my daughter Claudia.

More students of mine and picture taken after awarding some karate-kas with advancing belts. The ceremony taken place at the St André Dojo in 2008.

A junior ceremony commemorating Felix Bourne receiving his junior blackbelt.

The early days at St André with the Faithfulls most of whom still practice today and remain dedicated to the art.

One of the last pictures of my students taken with me at the St André Dojo in 2007. The Dojo was sold and we moved to our new location. Most of these students are still practicing with me in my new location.

Chapter 3 Hand Techniques Upper Body Drills and Katas ______________________________________________________ “Iron is full of impurities that weaken it; through the forging fire, it becomes steel and is transformed into a razor-sharp sword. Human beings develop in the same fashion.” Morihei Ueshiba ______________________________________________________ The drills presented in this Chapter are proven practices which are deeply rooted in the traditional teaching methods of different Karate styles. Some date back to the time they were practiced in Japan others are more contemporary practices developed by today’s masters. The first drill to be described is “Te Waza”. This drill is performed in Kiba Dachi and each technique is performed twice; once on the left side and then the technique is repeated on the right side. At the very end of the drill the practitioner delivers a “Kiai”. Drilling on both sides is done to help the karate-ka find balance in body and mind.

3.1 Te Waza This drill has its origin in the Shotokan style. The techniques to be repeated, as mentioned above from left to right are as follows: 1) Jodan Uke(age Uke) Hidari 2) Jodan Uke(age Uke) Migi 3) Soto Uke Hidari 4) Soto Uke Migi 5) Uchi Ude Uke Hidari 6) Uchi Ude Uke Migi 7) Gedan Barai Hidari 8) Gedan Barai Migi 9) Tsuki Chudan Hidari 10) Tsuki Chudan Migi 11) Yoko Hidari Tsuki Hidari 12) Yoko Tsuki Migi Migi 13) Cross Over the opposite shoulder Ushiro Tsuki Hidari 14) Cross Over the opposite shoulder Ushiro Tsuki Migi 15) Over the shoulder Ushiro Tsuki looks like Tate Empi Uchi Hidari 16) Over the shoulder Ushiro Tsuki looks like Tate Empi Uchi Migi 17) Shuto Uchi Mae Hidari 18) Shuto Uchi Mae Migi 19) Gohan Nukite Hidari 20) Gohan Nukite Migi 21) Yoko hiji ate Hidari 22) Mawashi Empi Mae Hidari 23) Sokumen hiji ate Migi 24) Mawashi Empi Mae Migi 25) Ushiro mawashi empi uchi Hidari 26) Ushiro mawashi empi uchi Migi 27) Morote ushiro empi uchi The drill should be started off with slow speed and continuous repetition should provide confidence to the karate-ka. Once the instructor senses the level of confidence increasing more speed should be requested from their students. A shorter version may be requested from the students such as requesting for only the first ten techniques. Using this method provides instructors an opportunity to verify inconsistencies in the movements on both sides and develop training exercises to aid the karate-kas.

3.2 Nine Blows to the Head The drill presented here should be considered dangerous and the karate-ka performing this drill should be vigilant and very careful while performing the techniques. The drill demands that you have a partner which explains the need to be prudent. In the Japanese tradition the person performing the technique is called the “Tori” while the person serving as the receiver is called the “Uke”. The two should be facing one another in the position of Shizen-tai which is a natural body stance where the feet are shoulder width and arms are hanging comfortably on the sides. The instructor should command for Hachiji-dachi which is the ready waiting stance. He proceeds to command a Musubi-dachi. This stance demands that the feet come together as in the “attention” command that we know so well from the military. The feet are together with the toes of each foot pointing slightly out at a 45 degree angle. The arms are held tighter to the sides of the body. The instructor commands a “Rei” which is a command to bow to one another in respect and serves also as a warning to the participants that time has come to be vigilant and utterly respectful of one another. On the command of Agime the drill begins. “Tori” and “Uke” perform a Kiba Dachi simultaneously while facing one another. The distance between both should be a little less than arms length. The reason for this closeness is to drill techniques to be done while in tight against an opponent. The drill was designed for close encounters by the masters of Ninjutsu. The reason for this closeness is to acquaint karate-kas to maai, which is a concept to be discussed later in the book. Let us get back to the drill at hand. The “Uke” assumes the role of receiving the blows from the Tori by remaining in Kiba-dachi. The arms of the “Uke” can be relaxed and brought to the side of the body. The “Uke” is not to move and his responsibility is to remain immobile and to stare directly to the front. No pun intended the onus for care is now in the hands of the “Tori”. Each of the following techniques is considered to be fatal and it must be emphasized to the participants.

1) The “Tori” extends his left arm and closed fist directly in front of him almost touching the plexus of the “Uke”. The right arm and hand is raised to a position to deliver a shuto uchi from his right shoulder. He continues this movement to deliver a blow and stops a few centimeters from the Uke’s left temple. The Tori’s left arm returns to his left waist side performing hikite. 2) The “Tori” extends his left arm and closed fist directly in front of him almost touching the plexus of the “Uke”. The right arm and hand is raised and crossed over to the other side over his left shoulder to a position to deliver a shuto uchi. He continues this movement to deliver a blow and stops a few centimeters from the Uke’s right temple. The Tori’s left arm returns to his left waist side performing hikite. 3) The “Tori” extends his left arm and closed fist directly in front of him almost touching the plexus of the “Uke”. The right arm and hand is raised and positioned in front of his own face about nose height to deliver a seiryuto uchi. He continues this movement to deliver a blow and stops a few centimeters from the Uke’s forehead. The spot that he is aiming for is the middle point between the Uke’s eyebrows. The Tori’s left arm returns to his left waist side performing hikite.

4) The “Tori” extends his left arm and closed fist directly in front of him almost touching the plexus

4) The “Tori” extends his left arm and closed fist directly in front of him almost touching the plexus of the “Uke”. The right arm and hand is raised and positioned in front of his face about nose high to deliver a seiryuto uchi. He continues this movement to deliver a blow and stops a few centimeters from the Uke’s nose. The spot that he is aiming for is the upper middle lip a few millimeters below the Uke’s nose. The Tori’s left arm returns to his left waist side performing hikite. 5) The “Tori” extends his left arm and closed fist directly in front of him almost touching the plexus of the “Uke”. The right arm and hand is raised and positioned in front of his face about nose high to deliver a seiryuto uchi. He continues this movement to deliver a blow and stops a few centimeters from his target. The spot that he is aiming for is the tip of the Uke’s chin. The Tori’s left arm returns to his left waist side performing hikite.

6) The “Tori” extends his left arm and closed fist directly in front of him almost touching the plexus of the “Uke”. The right arm and hand is raised to a position to deliver a seiryuto uchi from his right shoulder. He continues this movement to deliver a blow and stops a few centimeters from the Uke’s left colar bone. The Tori’s left arm returns to his left waist side performing hikite. 7) The “Tori” extends his left arm and closed fist directly in front of him almost touching the plexus of the “Uke”. The right arm and hand is raised and crossed over to the other side over his left shoulder to a position to deliver a seiryuto uchi. He continues this movement to deliver a blow and stops a few centimeters from the Uke’s right collar bone. The Tori’s left arm returns to his left waist side performing hikite.

8) The “Tori” extends his left arm and closed fist directly in front of him almost touching the plexus of the “Uke”. The right arm and hand is raised and positioned in front of his plexus to deliver a Tate Yonhon Nukite. He continues this movement to deliver a blow and stops a few centimeters from the Uke’s lower throat area. The spot that he is aiming for is the middle point between middle collar

bone and the adam’s apple. The spot is very fleshy and much care should be taken when performing this technique. The Tori’s left arm returns to his left waist side performing hikite. 9) The “Tori” extends his left arm and closed fist directly in front of him almost touching the plexus of the “Uke”. The right arm and right fists are positioned at the waist to deliver a Hirabasami hand strike to the Uke’s throat. Upon impact the Tori’s is to grab the wind pipe KoKo (Tiger Mouth). He continues this movement at the Uke’s throat area. The “Tori” fictitiously tears out the windpipe while returning the right hand and arm to the waist position while performing hikite. Upon returning and tearing out the wind pipe (fictitiously) the Tori delivers a Kiai. It must be reiterated that this drill is very dangerous. The instruction motive must be very clear in that these techniques are to be used only in a life threatening self defense situation. This drill also provides an opportunity for the instructor to explain the dangers associated with these techniques. It will also help students gain mastery over them and most certainly bring awareness, knowledge and control over these techniques.

3.3 Roll the Hands

The following drill is designed to give the practitioner knowledge of where and how to hit the vulnerable areas (pressure points) of the opponent’s upper body, including the genital region. It also serves in practicing flowing body movement around an opponent. That being said, it must be evident that the drill is performed by two karate-ka. Since the drill demands that you have a partner, the “Tori” and “Uke” relationship described above is applicable during the implementation of this drill. The opening karate etiquette described above should be done with this drill. While performing this drill the Tori should reflect on developing certain qualities. He or she should visualize his technique to be hard as a diamond. The body should be flexible as a willow, smoothflowing like water, and most importantly aware of his form at all times while maneuvering around the Uke. On the command of Agime the drill begins. “Tori” and “Uke” perform a Kiba Dachi simultaneously while facing one another. The distance between both should be about arms length. The “Uke” assumes the role of receiving the blows from the Tori by remaining in Kiba-dachi. The arms of the “Uke” must be extended to the sides of the body about shoulder high. The “Uke” is not to move and his responsibility is to remain immobile. His arms must remain stretched out to the sides during the whole drill. The onus for care is always in the hands of the “Tori”. 1) The “Tori” advances with his left foot towards the “Uke” assuming a left Zenkutsu dachi. As he advances he seizes the Uke’s right arm with his left hand. The Tori raises his right forearm and hand to a position to deliver a seiryuto uchi. The striking position of the right hand and forearm above his right shoulder can be described as a right angle of 90 degrees from his right shoulder. He continues to

deliver a blow to the Uke’s right forearm. The target should be the very middle point between the wrist and elbow. The area is called heiwan ude. The Tori’s hand remains grasping the Uke’s right wrist area. 2) The Tori returns his forearm and hand to the striking position described above. It is important that the Tori maintain the right elbow and

forearm angle of 90 degrees. He continues to deliver a seiryuto uchi to the upper portion of the Uke’s right arm. The target should be the area between the elbow and the shoulder. The Tori’s hand remains grasping the Uke’s right wrist area. 3) The Tori returns his right arm and changes the position to deliver a keito uchi to the under portion of the Uke’s forearm. The target is the middle portion of the Uke’s forearm between the wrist and elbow on the underside of the Uke’s forearm. The target area is called the shuwan ude. 4) The Tori returns his right arm and to the position to diver a keito uchi to the under portion of the Uke’s arm. The target is the middle portion of the Uke’s

arm between the elbow and shoulder on the underside of the Uke’s arm. 5) The Tori slides back his right foot and assumes a Neko-ashi dachi which translates to as ‘Cat stance”. The right arm and hand is brought back to a ready striking position in front of the plexus as a Nukite (Spear-hand). The Tori lifts the Ukes right arm slightly to expose the target area which is the Uke’s arm pit. The Tori proceeds to spear the inner fleshiest portion of the arm pit. He retracts the blow as quickly as it is administered. 6) The Tori grounds the right foot and pivots on it to assume a Kiba dachi. The Tori should be in a position in front of the Uke. The left hand should be released from the Uke wrist. From the position in front of the Uke; the Tori attacks the Uke’s plexus with a reverse Uraken Uchi which means the knuckles facing in

at the Uke’s chest area. He starts

the blow by resting his striking hand on his chest cavity thrusting it towards the Uke’s plexus. The Tori’s right elbow should always maintain a 90 degree angle when hitting the target area. From that position the Tori returns his fist downwards about chest high and returns an attack 90 degree upward towards the Uke’s face, Immediately the Tori returns a downward blow of 180 degrees striking the genital area. The striking hand can be described as an inward blow where the knuckles are out an the inner fist of the Tori’s right hand makes contact with the Uke’s groin area. The drill demands that the blow be done with extreme care. 7) The Tori grounds the right foot and pivots on it to assume a left Zenkutsu dachi facing the Uke at slight angle. The Tori should be able to see the Uke from the corner of his right eye. The Tori’s left hand should take hold of the Uke’s right wrist; as described at the start of the drill. From the position the Tori attacks the Uke’s floating ribs with a reverse Uraken Uchi gedan which means the knuckles facing in at the Uke’s rib area. He starts the blow by resting his striking hand about belt high on his stomach the right elbow a 90 degree angle. The Tori strikes the target area and returns the arm to his waist position. The Tori slides under the right arm of the Uke by advancing his right foot and assumes a right Zenkutsu dachi. Once the Tori has taken this position a hiji ate or empi uchi (elbow strike) is given to the Uke’s floating ribs. The blow is administered in an upward motion. The Tori has

released the Uke’s right wrist as he slides under the Uke’s extended right arm.

8) From a right Zenkutsu dachi the Tori advance by moving the rear left foot and assumes a Kiba dachi directly behind the Uke’s back. The Tori’s body should be in a position where his right side is direct alignment with the Uke’s back. The Tori raises his right arm and adopts an empi (hiji) striking position. In fact the proper Japanese term is yoko soete higi ate which means added hand sideways elbow strike. The blow is given to the spine precisely in the shoulder blade area. This blow is followed immediately with an Uraken uchi to the Uke’s upper spine just above the shoulder blade area where the lower part of the neck starts. These blows I must again emphasize must be done with EXTREME care. These are what are called crippling blows and have been name so with good reasons. 9) The Tori advances his left foot and assumes a left Zenkutsu dachi. His advancement takes the Tori toward the left back side of the Uke’s body. With the left hand the Tori seizes the Uke’s left wrist. With this grapping hand he turns the Uke’s arm and twists the arm in a semi circle motion to about 180 degrees. The Tori has consequently exposed the elbow. With a keito uchi the Tori hits the elbow directly with an upward thrusting motion and retracts the striking arm to his side. Such a blow if done in reality would instantly break the arm

at the elbow. 10) The Tori prepares a fist and with a Uraken Uchi strikes the floating ribs on the left side of the Uke. The Tori advances his right foot and slides under the Uke’s left arm releasing the Uke’s wrist. Once he assumes a right zenkutsu dachi he prepares and executes an empi uchi to the front side of the Uke’s left ribs. 11) From a right Zenkutsu dachi the Tori advance by moving the rear left foot and assumes a Kiba dachi directly in front of the Uke. The Tori’s body should be in a

position where his right side is direct alignment with the Uke’s front. The Tori raises his right arm and adopts an uraken striking position. A series of blows follow. The first blow is a uraken uchi to the plexus of the Uke. 12) It is followed by a reverse inward fist blow to the genitals. The last blow is a Uraken to the face. The blow is timed with the changing of the Kiba dachi to a Heiko dachi (attention stance). The movements are done in quick sequence, as well as providing a Kiai to demonstrate the end of the exercise and release excess energy build up.

NOTES

Chapter 4 Feet & Leg Techniques Lower Body Drills and Katas “The body will be turned by the power of the spiritual consciousness into a true and fit and perfectly responsive instrument of the Spirit.” Sri Aurobindo ______________________________________________________ “We are responsible for what we are, and whatever we wish ourselves to be, we have the power to make ourselves. If what we are now has been the result of our own past actions, it certainly follows that whatever we wish to be in the future can be produced by our present actions; so we have to know how to act.” Swami Vivekananda ______________________________________________________ “Courage does not always roar. Sometimes, it is the quiet voice at the end of the day saying, “I will try again tomorrow”.” Anonymous The drills presented in this Chapter are proven practices which have been developed by contemporary masters. They have been created to help karate-ka practice the fundamentals that I have described to you in the previous Chapters. The first drill described in this Chapter is called “San Ten No Kata”. It is part of the International San Ten Karate Association’s (ISKA) curricula. ISKA has created this drill to conform to Traditional Karate-Do technical standards. The drill can be used for practicing both upper body and lower body techniques. “The Black Belt Quorum of ISKA uses San Ten no Kata to train, to warm up and to uplift their spirits...” Hanshi Vincent A. Cruz

4.1 San Ten No Kata The drill is comprised of a sequence of moves which is best described as follows: The sequence is basically the same for each technique of the kata. 1) Come to attention (yoi) (ajime) 2) Step back with the right foot into stance 3) Take three steps forward, performing techniques 4) Turn around (mawate) 5) Take three steps forward, performing techniques 6) Turn again and kiai 7) Return to attention (yoi) by stepping forward (yame) It seems simple enough and is. What is demanding of this drill is the level of concentration required to put everything together and performing the techniques in an impeccable fashion. There lies the challenge for each karate-ka. There are five distinct katas within this drill. Each kata is unique in itself and each kata requires more and more expertise from the practitioner. The katas are numbered from one to five (sho to go) with each kata possessing unique techniques. 1) San Ten no Kata Sho 2) San Ten no Kata Ni 3) San Ten no Kata San 4) San Ten no Kata Yon 5) San Ten no Kata Go The following is a listing of the techniques contained in the first:

4.1.1 San Ten no Kata Sho 1) Gedan barai 2) Oi zuki 3) Gyaku zuki 4) Age uke 5) Uchi ude uke 6) Morote uke 7) Shuto uke 8) Mae geri keage 9) Yoko geri keage 10) Soto ude uke The others I won’t list here due to proprietary rights which I do not want to infringe upon. However they are readily available in Hanshi Vincent A. Cruz’s book entitled “San Ten No Kata, Kihon Drills of San Ten Karate”“San Ten No Kata, Kihon Drills of San Ten Karate” 276-961-9). It is available through Amazon.com and I highly recommend it to my instructors as each technique is illustrated.

4.2 Roll the Feet This drill like the one described in Chapter 3 (Roll the Hands) is a drill designed to give the practitioner knowledge how to use the lower extremities such as feet, knees and legs to hit vulnerable areas on an opponent’s body. It also serves as a model to practice flowing body movement around an opponent. Two karate-kas must be involved to perform this drill. Since the drill demands that you have a partner the “Tori” and “Uke” relationship described in Chapter 3 remains applicable during the implementation of this drill. The karate etiquette required between “Tori” and “Uke” is the same as Roll the Hands. It has been described at length in Chapter 3 and therefore won’t be repeated here. A more visual depiction of this drill is repeated in Chapter 10 under Kihon Fighting Drill #2 for those who would need pictures to understand the techniques outlined below. On the command of Agime the drill begins. The “Uke” avances towards the “Tori” executing a oi zuki chudan (straight punch ) aimed at the “Tori’s” plexus. The “Uke” should be in a right zenkutsu dachi. As the attack is launched the “Tori” drops back into a left kokutsu-dachi with left shuto uke. The “Tori” blocks the “Uke’s” zuki and the “Tori” seize the “Uke’s” right wrist with the left hand. The “Tori” must pull the “Uke” towards him to unbalance the “Uke”. The following techniques are the key elements of “Roll the Feet”: 1) The “Tori” executes a left mae geri keage which is the front foot to the “Uke’s” head then returns his foot to it’s original position. 2) The “Tori” executes a right mae geri keage chudan to the “Uke’s” chest. The technique is performed obviously with the rear foot from the kokutsu dachi that the “Tori” was previously in. After the geri is executed the right foot is returned to the rear position of a kokutsu dachi. The “Tori” does not let go of the “Uke’s” wrist at any time. 3) The “Tori” proceeds to strike the “Uke” again with the left foot to the genital area of the “Uke’s” body. The striking technique is a left mae geri keage gedan. After striking the private parts of the “Uke” the foot returns to its original position in the “Tori’s” kokutsu dachi. The drill demands that the blow be done with extreme care. 4) The “Tori” slides his right hand under his left hand which continues to hold the “Uke’s” right wrist. The “Tori” now grasps the “Uke’s” right wrist with his right hand and twist the “Uke’s” wrist it in a clock wise direction making the arm twist and unbalancing the “Uke” further. In fact, the “Uke’ should be somewhat hunched forward; the “Tori’s” right hand continues to hold the “Uke” in this precarious position. 5) The “Tori” administers three consecutive mawashi geris to different target areas. The first is to the “Uke’s” face which is jodan. Without grounding the foot the “Tori” administers a mawashi geri to the midsection using the in step of the foot called haisoku. The final blow is a mawashi geri gedan which is targeted at the genitals. The three geris are done in sequence the “Tori’s” right foot never returning to the ground.

6) Before the foot is grounded the “Tori” recoils the foot towards his left inner thigh muscle and proceeds to thrust the foot out to execute a yoko geri gedan using the sword edge of the foot called the sokuto and targets the outer part of the “Uke’s” left knee. The blow would instantly break the “Uke’s” leg. Extreme care must be taken when simulating this technique. 7) The “Tori” can now let go of the “Uke’s” wrist an proceeds to seize the “Uke’s” right shoulder with both hands. As he grasps the shoulder he administers a left mawashi Hizagashira known also as shittsui or illishui (hammer knee). The target is the “Uke’s” floating ribs. The attack is addressed to get the ribs from the “Uke’s” back. 8) As the left foot is return to its’ grounding position the “Tori” administers another mawashi Hizagashira. This time the right knee attacks the ribs from the front. These knee blows must be done with EXTREME care. These are what are called damaging blows and have been name so with good reasons. 9) The “Tori” grounds his right foot by stepping towards the back of the “Uke”. The “Tori” should be somewhat back and to the “Uke’s” right side. The “Tori” is in a position to rotate about 270 degrees in a counter clock motion administering at the end of the rotation a nagashi mawashi ushiro geri chudan. This spinning hook kick should be delivered to the “Uke’s” front midsection using the heel of his foot (kakato). 10) The “Tori” retracts his left leg and grounds his foot to assume a left zenkutsu dachi. The “Tori” should be directly behind the “Uke’s” back. The “Tori’s” right shoulder should be up close to the “Uke’s” back. 11) From this position the “Tori” sweeps his right rear foot along ground level (floor) and strikes the “Uke’s” left lower leg area with the right foot inner step portion of the foot (haisoku). 12) As the “Tori” finishes the attack he grabs the “Uke’s” left shoulder and spins 180 degrees in a clockwise position to assumes a right zenkutsu dachi. The “Tori’s” chest should be facing the “Uke’s” left shoulder. 13) The “Tori” executes a mae hiza geri gedan which is a low front knee kick to the “Uke’s” left leg thigh muscle. There is good chance that such a blow will provide the “Uke” with a terrible Charlie horse if the “Tori” is not careful. 14) The “Tori” grounds the right foot and assumes a kiba dachi with his back to the “Uke” a little off centre and with the right hand seizes the “Uke’s” right shoulder. 15) The “Tori” proceeds to execute two mawashi ushiro geris. The first is to the inner part of the “Uke’s” left knee and followed immediately without grounding the kicking leg to the “Uke’s” midsection using the heel of the foot (kakato) as the appendage that makes contact. 16) The “Tori” releases the shoulder and does a pivoting motion to rotate 180 degrees to be facing the “Uke”. 17) Once the “Tori” faces the “Uke” he administers a left mae geri kekomi to the “Uke’s” midsection. The “Tori” retracts the left leg and foot grounds the foot to the rear position assuming a right zenkutsu dashi. 18) From this position the “Tori” swirl and rotates 360 degrees going in a

counter clock direction executing a nagashi ushiro geri (spinning back kick). The “Uke” extends his right hand out about waist high to provide a target for the “Tori’s” kick. When the karate-ka can properly perform this technique another level; of difficulty may be introduced to this last technique which would be a tobi nagashi ushiro geri, a jumping spinning back kick. Whatever the technique choosen by the “Tori” the drill is finished with a Kiai. This drill is difficult at first to assimilate but with proper attitude and exercise it can be mastered by the karate-ka.

NOTES

Photo Album 2 Friends and Acquaintances – Teachers (Senseis) and Friends

Here I am posing with my wife Lyne in 1985, She is an accomplished Karate-ka in her own right and is one of my biggest supporters.

I was exposed to O’Sensei’s teachings through my Association with ISKA. I am privileged to have this signed photo with him taken at one of his seminars I attended in California in 2004.

In 2002 I was inducted in the Warriors circle from the Canadian Aboriginals.

Photo taken in 2013 of O’Sensei Tsuruoka, his son David and I.

A photo taken at the gala where I received recognition and induction in the American Karate Hall of Fame. An honour I was able to share with my sensei Hanshi V. Cruz. I have the honour to say that Jean Yves Thériault, a World Champion Kickboxer was, and remains, a very good friend. This picture was taken while he held his title of World Champion.

This is a picture of Yorhu Yamagushi a world class recognized sensei from Japan and student of Funakoshi. He came to Gatineau for a seminar and I was fortunate enough to have been one of the many to attend and benefit from his teachings.

Fernand Cléroux was a Sensei of mine in my early years and remains to this day a very good friend. Fern was a formidable karate-ka in his early years as depicted by this photo taken in 1995.

This is a picture of the Senseis and I who together started the AAMC.

Some more early contributors to the AAMC.

As you might know, Bill ‘Superfoot’ Wallace was an undefeated World Champion for many years. He was on the seminar circuit when I met him in 1992. O’Sensei Duncan was the father on Ninjitsu in the States,

A picture of my sensei Soke Myre and some old friends and fellow karate-kas, to my left is Sensei Crête and far right Michel Laviolette. This picture encapsulates many years of experience in Karate. This is a portrait of all those who have dedicated their lives to Karate in the Hull and Gatineau Region.

This is a picture of my good friend and fellow karate-ka Marcel Gauthier with whom I have practiced with and shared countless hours together and with our respective students.

Many of these karate-kas remain with me in the AAMC. Some of them fulfill important roles in the organization.

A karate-ka family reunion of sorts where the local contingency of Martial Artist got together to celebrate Fernand Cléroux 75 Birthday.

A cherished photo of O’Sensei Tsuruoka and I taken during one of his visits to Ottawa. A visit to promote Karate Canada. O’Sensei passed away in the autumn of 2014 during the finalization stage of this book.

A gathering of some of my Martial Arts friends with whom I have lived some memorable moments. From left to right: Jean-Yves Thériault, Chris Marciau, John Thérien, myself and Pascal Serei.

A photo of Renshi Stéphane Lachapelle receiving his Yodan from O’Sensei Tsuruoka.

A picture taken with Jean Montgrain; one of my students, a karate-ka who has closely followed me in this last decade. A fellow karate-ka who I included in the Acknowledgment section of this book and whom I consider not only my student, but my friend.

Chapter 5 Ushi Waza Striking Techniques ______________________________________________________ “Training transforms various parts of the body into weapons to be used freely and effectively. The quality necessary to accomplish this is self-control.” Masatoshi Nakayama ______________________________________________________ The striking techniques used in the Shotokan style resemble the other styles of karate. What distinguishes the techniques taught by Shotokan instructors is primarily the emphasis that I have tried to explain in the first Chapters about Physical Kime. Masatoshi Nakayama who was the chief instructor of the Japan Karate Association from 1955 to 1987 was reported to have said that a technique lacking Kime can never be regarded as true karate. That being said the explanations of the techniques will be straightforward but the essence; the Kime will have to be added by the karate-ka.

5.1 Ten No Kata

This drill is the simpler of the two that are presented in this Chapter. The exercise should be started from a position where the practitioner can move freely without hindrance for a step to the front and return to then back to the original position. This drill has been conceived to practice striking in quick movements. 1) From the position of hachiji dachi the karate-ka steps forward on the right foot and as the right foot is grounded the karate-ka should be assuming a right zenkutsu dachi but also have executed a zuki chudan.The right zuki chudan has made its thrust as the right foot has taken its position. The karateka must remember all the elements of Kime learnt in the first Chapters. The karate-ka should be putting everything into practice, (grounding his feet, pushing the buttock muscles, direction of the belt, koshi, hikite, arms at 90 degrees, furi) to achieve Kime. The karate-ka breaths in deeply and returns to his original position of hachiji dachi. 2) The karate-ka steps forward on the left foot and as this foot is grounded the karate-ka should be assuming a left zenkutsu dachi but also have executed a zuki chudan.The left zuki chudan executed has made its thrust as the left foot has taken its position. The karate-ka must remember all the elements of Kime learnt in the first Chapters. The karate-ka breaths in deeply and returns to his original position of Hachiji dachi.

3) The karate-ka steps forward on the right foot and as this foot is grounded the karate-ka should be assuming a right zenkutsu dachi but also have executed a zuki jodan. The right zuki jodan executed has made its thrust as the right foot has taken its position. The karate-ka must remember all the elements of

Kime learnt in the first Chapters. The karate-ka breaths in deeply and returns to his original position of Hachiji dachi. 4) The karate-ka steps forward on the left foot and as this foot is grounded the karate-ka should be assuming a left zenkutsu dachi but also have executed a zuki jodan.The left zuki jodan executed has made its thrust as the left foot has taken its position. The karate-ka breaths in deeply and returns to his original position of Hachiji dachi. 5) The karate-ka steps forward on the right foot and as this foot is grounded the karate-ka should be assuming a right zenkutsu dachi but also have executed a gyaku zuki chudan.The left gyaku zuki chudan executed has made its thrust as the right foot has taken its position. This reverse punch must be as effective as the one performed in step 1. The karate-ka must incorporate all the elements of good form to achieve Kime in this drill. The karate-ka breaths in deeply and returns to his original position of Hachiji dachi. 6) The karate-ka steps forward on the left foot and as this foot is grounded the karate-ka should be assuming a left zenkutsu dachi but also have executed a gyaku zuki chudan. The right gyaku zuki chudan executed has made its thrust as the left foot has taken its position. The karate-ka must incorporate all the elements of good form to achieve Kime in this drill. The karate-ka breaths in deeply and returns to his original position of Hachiji dachi.

7) The karate-ka steps forward on the right foot and as this foot is grounded the karate-ka should be assuming a right zenkutsu dachi but also have executed a gyaku zuki jodan.The left gyaku zuki jodan executed has made its thrust as the right foot has taken its position. The karate-ka must incorporate all

the elements of good form to achieve Kime in this drill. The karate-ka breaths in deeply and returns to his original position of Hachiji dachi.

8) The karate-ka steps forward on the left foot and as this foot is grounded the karate-ka should be assuming a left zenkutsu dachi but also have executed a gyaku zuki jodan.The left gyaku zuki jodan executed coincides with the timing of the left grounding and assuming it’s position. The karate-ka must bellow out his best Kiai to signal that the drill is finished. The karate-ka breaths in deeply and returns to his original position of Hachiji dachi. The instructor can make this drill free flowing by calling out the beginning and allowing the class to go through the drill from beginning to the end. This can be varied by making each movement an individual exercise and the instructor can proceed to call out each and every move until the end. The main purpose as mentioned before is to build up speed for the striking techniques on command which builds muscle memory and creates intuition. The later is much needed if the karate-ka wants to be able to react without hesitation. What have we learned so far? We have learned that Kime is a threefold process which touches the physical, mental and spiritual dimensions of our being. We have learnt also that what is manifested physically must be performed in a conscientious manner stressing to perfect the details given in every form. We must remember at all times that perfect energy will be expressed through perfect form. You might want to want to bring to

mind the Great Pyramids. Think about their geometries and the simplicity of their structures. Ask yourself if these structures are stable? Are they lasting? Last but not least, try to imagine the flight of an eagle if his wings did not have perfect form. They are for sure rhetorical questions but nonetheless the point is perfection, perfection and more perfection. I currently have a student who is preparing to go to the World Championship in Japan. She spends approximately three hours a day seven days a week perfecting every little aspect and detail of the forms in her techniques.

NOTES

PART 2 Mental Kime As you recall from Part I, we discussed the notion that the Universe is a vibrating entity of energy which manifests itself in space, form and object on many different levels. Our awareness or experience of these manifestations is dependent or if you wish limited by our abilities to discern the different vibrations. For example our eyes and ears are limited in what they can perceive yet we know from scientific research that there is a spectrum of light that our eyes cannot see and ultra sounds that our ears cannot hear. We must therefore conclude that to have a complete experience (awareness) of our reality we must develop the acuity to completely discern the internal and external energies of our experiences. Part of our experiences which relate to our cerebral spinal system (senses) are readily discernable while others related to our intellect aren’t while even others are completely hidden from us. Do we have awareness and control of our blood circulation and or it’s composition to satisfy our bodies? Do we have the awareness and control of our glands to properly discreet the hormones required for life? It all seems complicated enough, but we musn’t get discouraged. Let us trek on into the world of Mental Kime. For the moment, to understand what is Mental Kime, the reader need only to accept as previously postulated that “Being” is divided in three different spheres of existence; physical, mental and spiritual. We must now accept that the Mental sphere is none other and commonly referred to as Consciousness. Individual Consciousness is a very intricate web of energy manifestations that needs to be studied carefully and meticulously in order to understand the concept of Mental Kime. Consciousness, as I paint it in this treatise is made up of two parts. The first part of Individual Consciousness is that part of our experiences that is discernable through our mind intellect. These experiences through mind and intellect are regarded as part of the Mental dimension. It is upfront in a manner of speaking. The most striking feature of the Mental dimension is that it has self awareness and feels somewhat separate from the physical sphere or dimension of our Being. This separateness has been defined by Western psychologists as “Ego”. The second part of Consciousness is that part of our experience that isn’t evident or readily available for discernment through our senses, intellect, and mind but affects behavior and emotions. It is called “Subconscious” but that term is not always used in psychoanalysis; psychiatry sometimes refer to this un-manifested portion of total consciousness as “Unconsciousness”. In most instances the use of the terms Unconscious and Subconscious are synonymous. To acquire mastery of Mental Kime therefore means having substantive knowledge of both of these parts of our consciousness and in the end having the power to exercise some significant control in these areas. Before getting into any higher concepts with regards to mind and the wide field that it encompasses we must focus our study of “ Mind and Intellect” in a Martial Art setting. The path chosen into Mental Kime is one that has been taught by many Masters through mental concentration, and focus techniques of energy accumulation and transformation. The Mind was and

continues to be regarded as the catalyst to direct energy and power. Once you have mastered the accumulation and direction of energy than the karate-ka should point his or her attention on mental strategies with regards to Distance, Cadence (Rhythm) and Balance. At this point in the search of knowledge the karate-ka should come to the realization that it takes more than Mind but they will need Intellect. Intellect is required to properly reason and develop strategies. At the end of Section II, certain concepts as Mind no Mind (Yomi, Mushin) will be brought to light. These concepts were regarded as esoteric and difficult to comprehend and were taught to a few specially initiated students. This exclusivity was practiced by many of the Masters. True knowledge was conveyed by word of mouth to their very dedicated and serious students. Very little has ever been written up. It is an area that deals with metaphysical concepts which is in the domain of Spiritual Kime. The last chapters of this book attempts to bridge this grey area between the Mental and Spiritual Kime. I must request again some indulgence at this time and ask the reader to barrel through sequentially with me. In the end, I hope to piece together what appears perhaps abstract ideas and make them solid and palpable propositions. Before getting into the meat of Mental Kime, I will leave you with this quotation from Gishin Funakoshi’s Twenty Precept more specifically the 6th precept: “Always be ready to release your mind.”

Chapter 6 Energy Accumulation and Transformation “All the principles of heaven and earth are living inside you. Life itself is truth, and this will never change. Everything in heaven and earth breathes. Breath is the thread that ties creation together.” Sensei Egami ______________________________________________________ “ ..to concentrate on exhaling creates a link between mind and body...between consciousness and posture. This activity (exhaling) triggers a balancing impulsion between muscles and nerves, hypothalamus and thalamus”. Taisen Deshimaru (Zen and The Martial Arts) ______________________________________________________ “… you can start to understand why yogis call the breath a vital force not in the philosophical sense, but in the feeling sense. Upon inhalation, you draw in a vital force from the throat to the abdomen, charging the body with energy and life. Upon exhalation, you release and radiate force…” Ken Wilber ( No Boundary) The last five chapters have been hopefully a journey into understanding the elements that make up perfect geometric forms and the body mechanics associated to those forms. I have also touched lightly on the energy component of Karate Do. The background on the energy component; such as information on the history, and western and eastern perceptions of the energy makeup will be dealt with in Part III. The crucial focus of this Chapter is to try and explain the role of the Mind in directing energy for that is its role as well as discerning conditions and circumstances to properly manage behavior and emotions. Let us now explore the mind/energy component of Mental Kime. Section II begins by explaining means to accumulate the vital energy (Ki) through some proven breathing techniques. It is followed by body mechanics and practices which enable the karate-ka to transform that Ki into a great force. Exploring this unification process will demand a great deal of acceptance from the reader that Mind has effect over matter and that energy reservoirs exist. It should be readily accepted for the skeptics that before a finger can be moved a chain of events must take place. That chain of events: an intention, then a thought, an emotion, a driving force and finally an action moves the object (finger). For those who have doubts about the reservoirs of energy, than please consider for a moment the following constant that exits in nature. It has been proven through scientific observation that the Earth which is made up of matter has a body or field of electromagnetic flux that surrounds her. That field is not sensorial and therefore indiscernible. If mother Earth possesses such an essential energy component; wouldn’t you agree that her inhabitants made up of the same subatomic particles would

also possess a similar constituent field?

6.1 Breathing Techniques

There are two techniques that we will explore amongst many techniques. The two that are chosen are well known to the martial arts and have been selected exactly for this reason. The countless other breathing practices have been perfected for reason other than the martial arts, such as for meditation. Those who are interested in these can find information under the subject of ‘Pranayama’. This treatise explores the Buddhist and Taoist (pronounced Daoist) breathing techniques to accumulate “Chi” as it is referred to in China and “Ki “as it is called in Japan.

6.2 Buddhist Breathing Buddhist breathing is also called “Zheng Hu Xi” which is the Chinese name given by Taiji Qijong practitioners. In Buddhist breathing, you expand your abdomen as you inhale and contract the abdomen as you exhale. In fact it is the “normal” or natural way that the body performs the breathing function. To accumulate Chi (“Ki”) you can start with the one breath cycle which is inhale deeply for a count of five seconds and holding your breath for two seconds and terminating by exhaling for a period of six seconds.

6.3 One Breath Cycle As you inhale you must imagine the Chi (“Ki”) energy as a fluid which while you are inhaling you are also directing to the “Tantem” or in Chinese it is called “DanTian”. The tantem has been described in the previous chapters as that area just below the navel. While you are holding your breath use your mind, visualize and direct the fluid energy building up in a pool or reservoir in your tantem. Upon exhaling imagine the fluid energy being directed back up through the nose down past the chest, further still past the navel around and through the legs near the pelvic area. It must be then directed up again past the anus along the spine until it reaches the crown of the head. At this point imagine the energy fluid descending along the forehead and returning to the nose. The cycle restarts with every breath. After you have practiced this exercise everyday for about three to five weeks, you may feel your abdomen getting warmer every time you exercise.

6.4 Four Breath Cycle To become more sensitive to the Chi(“Ki”) and to be able to develop the ability to direct it, a four breath cycle is much more efficient. The visualization and direction of the Chi(“Ki”), through the mind thought process is much the same

as in the one breath cycle. However there are intermediary stops along the way. You inhale for the count of 5 seconds expanding your abdomen. During this process you must imagine the Chi (“Ki”) energy as a fluid. As you are inhaling you should mentally visualize this fluid and direct it by your will power to the “Tantem”. While you hold your breath for a count of two seconds imagine the fluid energy building up in a pool or reservoir in your tantem. Upon exhaling you are tightening your abdomen muscles and pushing out the breath for a count of six seconds. During this stage imagine the fluid energy being directed back through the navel down past the pubic area and through your legs to an area between the anus and your genitals. This station is called the “Huiyin”. This is the second stop along the way. You should imagine the Chi(“Ki”) going in and filling a reservoir station in this area of your body. You should hold the energy and breathe at that station of a count of two seconds. Next you should exhale for a count of six seconds always using the tightening of the abdomen muscles. You must at this point visualize the energy being directed upwards along your spine. It must enter a reservoir area called the “Fengu” or “Yuzhen”. You should hold the energy and breathe at that station of a count of two

seconds. Upon exhaling for a count of six seconds tightening the abdomen muscles visualize the energy being directed again upwards along your spine until it reaches the crown of the head. At this point imagine the energy fluid descending along the forehead and returning and entering the nose cavity.

6.5 Taoist Breathing

Taoist breathing is also called “Fan Hu Xi” which is the Chinese name given by Taiji Qijong practitioners. In Daoist (Taoist) breathing, you contract your abdomen as you inhale and expand the abdomen as you exhale. It is as you can plainly see the reverse of what has been explained above in the Buddhist form of breathing. This form of breathing is more tense and harder to train for. It is however more efficient in expanding the Guardian Ki known as “Wei Qi” for those who practice Taiji Qijong. The form serves better in martial arts applications. As previously described this technique can be practiced with a One Breath Cycle or Four Breath Cycle.

6.6 Taoist One Breath Cycle As you inhale you tighten you abdomen muscles and imagine the Chi(“Ki”) energy following to the “Tantem” While you are holding your breath imagine the fluid energy building up in a pool or reservoir. Upon exhaling you expand the abdomen muscles and imagine the fluid energy being directed back up through the nose down past the chest, further still past the navel around and through the legs near the pelvic area. It must be then directed up again past the anus along the spine until it reaches the crown of the head. At this point imagine the energy fluid descending along the forehead and returning to the nose. The cycle restarts with every breath. Practice makes perfect and it should be a daily exercise. After you have practiced this exercise everyday for about three to five weeks, you may feel your abdomen getting warmer every time you exercise.

6.7 Four Breath Cycle The four breath cycle as in the Daoist form allows the karate-ka to develop a greater sensitivity to the Chi (“Ki”) and help develop the will power. The will power will essentially allow for the visualization of this Chi (“Ki”). That visualization is a key ingredient in triggering and directing the Chi(“Ki”) throughout the body and more specifically into to critical areas of any karate technique. You inhale for the count of 5 seconds contracting your abdomen muscles. During this process you must imagine the Chi(“Ki”) energy as a fluid. As you are inhaling you should mentally visualize this fluid and direct it by your will power to the “Tantem”. While you hold your breath for a count of two seconds imagine the fluid energy building up in a pool or reservoir in your tantem. Upon exhaling you are expanding your abdomen muscles and pushing out the breath for a count of six seconds. During this stage imagine the fluid energy being directed back through the navel down the next station called the “Huiyin”. You should imagine the Chi(“Ki”) going in and filling a reservoir station in this area of your body. You should hold the energy and breathe at that station of a count of two seconds. Next you should exhale for a count of six seconds always using the expansion capabilities of the abdomen muscles and visualize the energy being directed upwards along your spine. You must direct the Chi(“Ki”) to the reservoir area called the “Yuzhen”. You should hold the energy and breathe at that station of a count of two seconds. Upon exhaling for a count of six seconds expand the abdomen muscles and visualize the pushing of energy upwards along your spine until it reaches the crown of the head. At this point imagine the energy fluid descending along the forehead and returning and entering the nose cavity.

6.8 Mind Over Matter & Visualization Techniques After these breathing and accumulation techniques have been practiced for a time the sensations such as hands, feet and, stomach start to feel warmer. Sometimes a light queasiness in the abdominal area could start to manifest, in any case all these are symptoms that the vital force called “Ki” is becoming noticeable to the karate-ka. In most cases this doesn’t happen with the beginners for they are just starting to work on the building up of left-right coordination in their bodies. The intermediate and adept practitioners of Karate-do will I suspect, have had some sensations as mentioned above. When these sensations become manifest they will be in a position to start to deeper explore these avenues where mind directs the energy through visualization. The first visual aid in getting the proper blending of Chi “Ki” to form is the Tubular Muscle contraction.

6.9 Tubular Muscle Contraction

The visual technique is to imagine an air filled tube around the body as we perform a karate technique. This tube fits loosely at first but as we breathe and perform a technique this tube fills and tighten rock hard around the body. One must imagine that it becomes tight or loose with the contraction or expansion of our breathing. In the case of Daoist breathing in conjunction with a karate technique, the process of inhaling and tightening our abdomen muscles also fills the tube with air consequently squeezing our muscles and internal organs to our spine. The pressure of the tube loosens slightly upon exhalation.

6.10 Lightness in the Feet and the lower Body

The second visual aid in getting the blending of Chi “Ki” to form is by getting the proper lightness of walking and grounding of the feet and lower body. What do I mean by this statement? In the earlier chapters we spoke of the ‘Nishiyama walk” and the grounding of our feet solidly to the ground. You probably imagined that by feeling heavy and planted by gripping with your toes that you are solidly grounded for a karate technique. In fact lightness should be felt; the toes and heels of your feet should be firmly planted but the outer edges of your feet should not be planted heavily. In your mind’s eye you should visualize that your weight is skewed more on the inner steps (the arcs of the feet). That view would be more appropriate. When walking or running you should not have your heels hit the ground first and than rolling forward from heels on to the outer edges to the toes. You should have this feeling of your weight being applied to the ground in an even sort a way. A slight differentiation is necessary between heels and toes but if you shorten the steps you will preserve energy and feel this simultaneousness of heels and toes. In Japanese Martial Arts circles they call this lightness ‘UKIMI”. The word literally means floating. The feet and legs should feel as if floating under the body centre. In 2009, I attended a seminar in Toronto, Ontario to hear and receive instruction from two Okinawa Masters. The older of the two senseis, Master Shiroma Kiyonori; O’Sensei spoke at length about this and the connection and coordination of the huiyin and anus as it was said to be an advanced feature in the breathing and moving manner discussed above. Chapter 8 revisits these notions and provides more in-depth analysis. It is believed by Taiji Qijong practitioners that you can control the make up of the Chi “Ki” from Yin to Yang or vice versa. The huiyin is as mentioned above a reservoir area for the Chi “Ki”. The practice of Huiyin and Anus coordination is simply to synchronize your breathing and abdominal contractions and feet movement with the visualization and tightening of the muscles near the huiyin and anus. When you inhale you tighten the abdominal muscles and you gently hold up the huiyin and anus muscles, a feeling of lightness should prevail in the lower pelvic area. The reverse is done on the exhale. The abdominal muscles expand as we loosen the huiyin and anus which will provide this feeling of grounding. The feeling can be compared to when you lift a heavy object. You tighten you stomach muscles as you bend and breath deep and exhale when lifting the object. You will most assuredly push and expand the stomach muscles and you will unconsciously expand the anus and simultaneously the huiyin. To practice all the above the karate–ka should move and walk slowly in a straight line choosing a destination. The steps should be as mentioned done in a manner where you have the feeling that your weight is being applied to the ground in an even sort a way slightly toward the inner step. Your breathing is done in the fashion described above where your contraction of muscles gives you the inner tube sensation around and contacting around the spine. Half way to the destination the huiyin and anus contraction should be done. A sensation of lightness and speed in the movement should be felt. The Japanese call this lightness of step UKIMI and is an important concept which will be dealt more in detail in the following chapters more specifically in Chapter 7.

6.11 Pounding of the heels The third visual aid is seeing the energy sparked out from the ground and with the accumulated reservoirs of Chi ”KI” burst through the striking physical extremities of our bodies to the target. This burst can be visualized through the pounding of the heels to the ground at the very last fraction of a second as a technique is being executed. After reading all this material and practicing the techniques you should come

away with the understanding that the mind has a crucial role in accumulating, storing and directing energy. These techniques are proven techniques which a karate-ka should master in order to serve him when any martial art situation arises. A fine tuned body in perfect symmetry coupled with a keen sharp mind is a combination that is hard to defeat.

NOTES

Chapter 7 Intention, Direction and Explosion “Put your brain in your lower stomach”, “intention first, then breath, then muscles and technique”. O’Sensei Nishiyama ______________________________________________________ “The breath has to match and control internal muscle action and external body action and technique, it has to initiate action as chain reaction from the ground up, using optimal stance and posture and all parts of kinetic chain are linked. It has to use the right amount of motion and muscle action in the right time, from start to kime.” Ravi Rokah (June 2011)

7.1 Intention, Direction and Explosion A keen mind is what is needed to execute strong Mental Kime. We have looked into Energy Accumulation and Transformation and the mind’s role in properly performing these functions. We have explored the mind’s role in visualizing and directing energy to the body’s reservoirs and physical extremities. To better understand Mental Kime, we need to now investigate a few concepts that make up the corner stone to building ardent forceful mental strategies used when facing situations that require force. Intention generates thought. Thought activates emotions which in turn activates the driving force that creates an action. It is a fighting imperative to have this process under control. Nishiyama sensei was a master who advocated the idea of intention first and that could be read in the eyes followed by a control breath which controlled our minds. Minds and thoughts control our muscles and therefore our actions. Intention is complex for it encompasses our aims and designs. The Intention component swells up far within our psychic and bubbles to the surface of our Conscious mind as thought. That thought which surfaces must be grounded in a pure irreproachable motive to activate a faultless emotion. That motive must be non violent and imbued with total respect for the opponent. This should be a prime consideration if the karate-ka wants to exercise powerful Mental Kime. If the intention is not grounded in respect and non-violence, than the potential force will be tainted and consequently a weaker substantive energy will be directed towards the opponent. This will obviously make the technique ineffective. Pure intention generates pure thoughts which activate irreproachable behavior therefore strong and powerful energy or Todome which is strong lethal force or energy. With non-violence in mind a karate-ka must now focus his mind on targeting his intention towards his opponent. It must be direct and unwavering. The perfect balance is where the breath and not the mind is the trigger.The direction must be penetrating and sure of its mark. It is like the archer or any other weapons marksman who sees and sees only his target. He focuses on letting go a mass of potentially lethal force upon his adversary. The direction can be so strong that an antagonist will feel the need to opt out of the yet undeveloped confrontation. When the confrontation is deemed unavoidable than the trigger is squeezed, the string released, or if you prefer the power of “Ki” is exploded

unto the bulls-eye or mark. The results will be inevitable. The sequence of Intention, Direction and Explosion is so fundamental and logical yet so overlooked. Most karate-kas believe that the source of power comes from the physical. The contraction and expansion of sinews and muscles play a role as mentioned above but intention provides direction and the body sinews and muscles will naturally follow suit. After so many years of physical conditioning a karate-ka’s neuro-network is well developed to perform such or such a technique and action will intuitively kick in. The purer the intention the less the ego can fog our intuition and the more we can recruit our total developed neuro-networks to cooperate for the designed purpose. Let us go back a moment to Master Nishiyama’s instruction with regards to Intention, Direction and Explosion. His ground rules were as stated above. The eyes, the breath, the muscles and finally the technique. His teachings with regards to the breath, the muscles and technique were presented to me through the concepts of Ukimi and Zui Ban. I had heard these concepts from Nishiyama while attending one of his seminars given in southern California. These concepts were reinforced again during an ISKA summer camp. The keynote instructor at the summer camp was sensei Avi Rokah. His insights helped all the karate-kas who attended get a better understanding of the notions of Ukimi and Zui Ban and how they tied into Intention, Direction and Explosion. I have tried to incorporate those insights in the paragraphs below.

7.2 Ukimi In the last Chapter we spoke briefly of this concept. Ukimi was described to me as the suspension and floating of the legs underneath the body center. The breathing must come from the abdomen or hara (Tantem) for the body center to control the legs. The body centre remains grounded and stable at all times. The legs are suspended from it hanging beneath and feeling somewhat loose and free. We should feel light as if there is not much weight on the feet. However the toes should feel well grounded and strongly connected to the lower abdominals. The lower abdominals, buttocks and inner thighs are drawing the legs gently into the body’s center. Please remember the exercises outlined in Chapter 6 for they will no doubt help perfect this floating suspending feelings for the legs while being grounded.

7.3 Zui Ban The second concept is one of shifting to ensure hidden or camouflage movement.. The ground rule is such that as the front foot moves first controlled from body center by breath, then body center, followed by the technique. The reason we move the foot first and not the body center is that it takes more energy to move the whole body center. The shifting is done in a sequential manner for there is a hierarchy in movement one after another. Even tough everything shifts in sequence the time lapse is so small that it is unnoticeable and makes the individual movements appear to be happening at the same instant in time. I repeat the sequence is important: Eyes (intention), breathe, body centre and finally technique. It takes many years of practice to master the above sequence. Form and technique are tangible or the manifest elements of the art. We can practice and practice to get the forms right. In practicing correctly we discipline the mind to register the sequencing elements to perform the exact body movements and therefore neuro-muscular networks develop and register in our brains. Intention is highly personal and is the portion that is un-manifest. If intention is pure you will experience nodoubt, no fear, no other emotional interference and carry out and accomplish a very successful technique required in the moment needed. Accomplished karate-kas who master intention can project more explosive power (Ki) and sense the Ki that is projected from their rivals, adversaries or enemies. I am certain that most karate-kas have sensed this when facing their senseis or more seasoned competitors in their dojos. These seasoned karate-kas if you listen will tell you stories of when they were at their best was when there was only intention and breath with no conscious effort to perform any technique at all. It happens! I dedicate a chapter in this book to help Karate-kas develop habits to create strong and pure intention. It is a long arduous task to keep intention untainted and pure.

NOTES

Photo Album 3 ISKA – Over the Years

It was through ISKA that AAMC was able to grow in the ART. The organization has many proven and highly reputable karate-kas.

Among some of the Senseis I met through the ISKA organization was Nishiyama O’Sensei, whom I had the privilege to meet and be instructed by. Here is O’Sensei caught in a moment of reflection at a seminar a few of my students and I attended in New York.

A picture of one of my dear friends from ISKA Kyoshi Ricardo Llewelyn.

A picture of the many high ranking senseis from ISKA. The picture was taken at one the many Summer Camps the organization provides each year.

Robert Graves, Hanshi Cruz and myself in 2010.

A very found memory which I include here, a photo of myself and two of my students with Hanshi Cruz. The picture was taken during a visit to the ISKA summer camp. Despite failing health Hanshi presided consummately as leader and spiritual torchbearer of the organization.

A group picture of the attendees at an ISKA summer seminar in Merced California in 2013.

Two of my good friends from ISKA – left, Kyoshi Armando Jammott and right Kyoshi Ricardo Llewelyn. This photo was taken during their visit to our dojo in Canada. A great visit and memory often spoken of by my students.

This picture was taken in the summer of 2013 while attending the ISKA summer Camp in California. Jean and I had the pleasure of meeting Sensei Avi Rokah and benefiting of his tremendous knowledge in the art of Kumite. We had come back motivated and inspired – a truly worthwhile trip.

Chapter 8 Maai, Hyoshi, Kuzuchi (Distance, Cadence and UnBalance) Hopefully the investigation into the concepts provided in Chapter 7 will provide us the knowledge required to build ardent forceful mental strategies needed to face situations that require force. We must absolutely remember that we must possess a non-violence frame of mind. Your mind must be clear and unwavering. The direction of this nonviolent thought manifested intention must be penetrating and sure of its mark. The antagonist must sense that a whole lot of lethal energy is going to rain down and his demise is inevitable. How can we be so sure? We can be sure of this by first understanding the principles of strong mental strategies which if respected will assure us victory. There are four inseparable principles to strong mental strategies. Three of them will be elaborated on in this Chapter; the fourth will be dealt with in a separate Chapter entitled Yomi. This last principle “Yomi” will be dealt on its own merit and should prepare the reader for what awaits him in the understanding of Spiritual Kime which is PartIII of this treatise. The four principles of strong mental strategies are as follows: 1) Maai 2) Hyoshi 3) Kuzuchi 4) Yomi All of them have been part of the Martial Arts and taught in varying degrees by the different disciplines. The Maai, Hyoshi and Yomi principles have been taught in Karate while the Kuzuchi principle is one that has been elaborated on and exploited by Judo and Aikido practitioners. We will investigate Kuzuchi later for it is a key principle in arriving at strong mental kime for without it; no technique can be proficiently exploited to ensure victory over an opponent.

8.1 Maai The first principle of strong effective mental strategy is distance. The space that separates form and objects is the underlining primary principle to victorious strategy. All bodies from the micro cosmos such as subatomic particles to the macro cosmos of planets, solar systems and constellation have an underlining principle of respecting the distance between its component parts. It begs the question of why would it be different for human beings? Distance is an essential component to respect, especially in situations of conflict where distance from an antagonist is so very important. The interpretation of maai as “distance” is very narrow and should be viewed with a wider scope. The word is composed of the word “ma” that expresses the notion of distance or more precisely the interval of space between objects but also the interval of time as we in the West understand as interval of time in music. Maai is also composed of the word “ai” which we know in martial art circles to mean harmony. It can also be interpreted as the meeting of two or more people or objects. Therefore in a wider sense maai means distance and also the convergence and divergence of energies in predictable and unpredictable patterns. The historical saber masters knew very well the importance of Maai. Yagyu Munenori, for instance born in 1571 and died in 1646 was one of the masters who dedicated a book to some extent to this subject. The book is entitled Heiko kaden Sho. He stipulated very succinctly in his work that ones life depended on knowing the maai in which the convergence and divergence of your opponents movements would dictate if he could or could not strike and touch you with his saber. They perfected counter movements to even disarm the opponents, so it was and remains a key component to mental strategy, and thus a key concept in perfecting mental kime. When facing a potential conflict one must quickly ascertain factors that may affect the maai. In Japanese the following terms are used: To–ma, (long distance) Chikama (short distance)

Mikiru (estimating opponent’s range)

Understanding these factors means understanding the opponent’s sphere of power. The ability to develop offensive and counter offensive strategies with regards to the opponent’s range is primordial to ensure success. Other factors such as the opponent’s size for instance: 1) Is he or she short or tall? 2) Are his arms and legs proportional to his size? 3) Is his or her quickness reflective of his size? (Is he slow or quick?) There are many others which can be added to this list. Understanding these factors also means understanding the opponent’s sphere of power. Our ability to develop offensive and counter offensive strategies with regards to the opponent’s range is primordial to ensure our success. If we can limit the opponent’s range we can than strike at the opportune time to ensure victory. We must ask ourselves what is available at our disposal to limit the opponent’s range? The first thing that comes to mind should be footwork; the boxer who cuts off the ring and corners his adversary, and how about the fencer who shuffles and lunges to make a touché? In other sports such as basketball, footwork is necessary to maintain a man to man defense or a full court press. A tennis player continually moves his feet to anticipate and move into position to return a volley or serve.

8.2 Unsoku In the Martial Arts, and especially the Shotokan style of karate; footwork or UNSOKU, as it is called in Japanese is considered a basic principle to maintaining or limiting the opponent’s range and therefore his/her Maai. It permits the karate-ka to be in the right place at the most opportune time. But footwork has other purposes other than shifting for distance. Good and well executed footwork produces momentum and force to a technique and timing to apply the necessary technique demanded by the circumstances. For the moment let us concentrate on the fundamental of limiting the opponent’s range. We do this by making smooth and timely changes of space as necessary, with quick speedy movements to create space (Kyo) to counter attack. We must avoid slow backward movements. The footwork must be covert or hidden so the feet move underneath the body where the torso does not show any change which would give away our intentions. We do this by abiding by some ground rules that we explored in Chapter 7. The first ground rule was one we called Ukimi which means suspension or floating. The second ground rule to ensure hidden or camouflage movement is called Zui Ban which means shifting. The shifting if you remember from Chapter 7 is done in sequence with a time lapse so small that it is unnoticeable and makes the individual movements appear to be happening at the same instant in time. We must continually remind ourselves that good footwork is predicated on mastering these ground rules and the sequence as unnoticeable as it should be are important: Eyes (intention), breathe, body centre and finally technique. Now that we have reminded ourselves of these ground rules ; let us look at some specific footwork approaches that will help limit the opponent’s range and therefore sphere of power.

8.2.1 Ayumi Ashi – (frontward walking)

This is a way to get quickly and smoothly into the opponent’s space. By using the ground method of Zui Ban, the center moves and the legs accompany, feel as if the legs are hanging freely from the body center (Ukimi). The body must not slope towards the front. We must respect the axis and the head position on top of the body centre. The knees are slightly bent and the stance is not too deep, like in a natural stance. It should feel as if riding on wind. The front knee pulls the body forward as the hips push in the same direction. Once the back foot has passed the front foot the anchoring leg muscles push towards the front while the anchoring foot slightly turns outward. The torso mustn’t give away the initial movement. You must remember that you are trying to camouflage the intention; you are trying to sneak into an opponent’s maai, his sphere of power. You must remember that once you are committed to move you mustn’t hesitate or stop, give it your all.

8.2.2 Hiki Ashi – (backward walking) As much as we can move quickly into the opponent‘s space (maai) we should be prepared and able to retreat for purposes of defense of course but more assuredly to continue techniques that require more space than in close grappling. The knees are slightly bent and the stance is not too deep, like what was described above while moving forward. The back knee pulls the body backwards as the hips retreat in the same direction. Once the front foot has passed the back foot the anchoring leg muscles push towards the back. The

torso mustn’t give away the initial movement. Again you must remember that you are trying to camouflage the intention; you are trying to adjust to your opponent’s maai, his sphere of power. At all times you must be engaged and prepared to go to the end, commit with no hesitation or stoppage. You must be willing and engaged to give it your all.

8.2.3 Yori Ashi – (sliding)

This is a way to get quickly and smoothly rectify our maai in relation to the opponent’s maai. We can slide for small distances into an offensive position. We must use the ground methods of Ukimi and Zui Ban as described above. We must remain aware of our posture and continue to follow the body geometry as described above with no sloping of the head or body centre towards the front. We must respect the axis and the head position on top of the body centre. As in Ayumi Ashi, the knees are slightly bent and the stance is not too deep. What differentiates Yori Ashi from Ayumi is that the front knee pulls the body forward as the hips push in the same direction but the back foot never passes the front foot. The back foot slides and anchors precisely as the front foot advances is a sliding motion. The forward motion should be no more than 1/4 step of a normal Ayumi Ashi. We must practice this technique using all dashis more particularly fudo dashi, zen-kutsu dashi, kokutsu dashi and kiba dashi. Yori Ashi can also be used in backward motion; the difference will be that the rear foot is the trigger to draw the body centre back. At all times we must be careful to not give away our intention to move so the torso mustn’t give away any sign of motion. Remember you are trying to camouflage the intention; you are trying to sneak into and out his maai, his sphere of

power. Once committed you must give it your all.

8.2.4 Tsugi Ashi – (shuffle)

Tsugi Ashi is sometimes spelt without the beginning ‘T’. Regardless of the spelling this footwork is primarily used to advance into the opponent’s maai. The back foot advances as much as needed usually in half steps and once it touches the ground reaction springs to the front advancing foot. The body centre movement is always being triggered by the breath and the legs should feel light. The torso should be in a sideways position called Hanmi. You can see from the diagram that this shuffling is simple in its makeup but very difficult to master without giving away our intention. It’s strength is that it permits us to keep our guard up while advancing and sometimes in retreat. Done properly while the back foot sneaks forward the opponent will most noticeably stay put which allows a lunging shuffle and technique when executed properly. It has it weakness in that it is not effective if the opponent is in synch with us (Hyoshi) which means the opponent maintains the same cadence and rhythm not allowing us to sneak in while there is an off rhythm in the footwork. Another weakness is the back foot moving unloads the grounding and can create less of a dynamic or powerful technique. The advance is about 1/2 step of an Ayumi Ashi.

8.2.5 Okuri Ashi – (single or double step)

This footwork has the same dynamics as the Tsugi Ashi as described above. The need arises at times for greater distance to move by advancing into or retreating out of the opponent’s sphere of power or maai. When we need greater distance we can use Okuri Ashi. The back foot advances as much as six to twelve inches in front of the front foot. The front knee pulls and the front foot anchors until the back foot advances to a position to the front, as mentioned before to be six or twelve inches ahead. The lagging foot immediately springs and crosses over to become the lead foot. The body centre movement is triggered by the breath and the legs should have the feeling of being light. The torso should be in a sideways position called Hanmi. The diagram above should provide you with some sort of understanding of what has been described above. If the footwork is properly executed the opponent should not detect the initial movement into his /her maai. The retreating out is the reversal of what has been described above.

8.2.6 Mawari Ashi – (Pivoting around on front foot)

This type of footwork has also been described as a circular movement therefore in Japanese they also use the term Mawashi Ashi. Mawari Ashi is the type of footwork best described as a rotational movement of the body centre over the front foot. The front foot works as a pivot over which the spine (body centre) can move out of an opposing attack. The breath continues always to be the trigger to initiate the circular leg movements or rotation. As you can see from the diagram a left or right displacement is easy enough to do. To execute it in a timely and camouflaged fashion takes many years of dedicated practice. You should note that the feet stance should not be wide. During a seminar in California in 2013 we had the pleasure of being instructed by Avi Rokah who taught the fundamentals of Mawari Ashi to the fullest. A few noteworthy observations to share which were taught that weekend and later found outlined in a blog written by Kyoshi Rokah are the following: 1) When left leg is forward and right foot moves to left this is Kawashi (switch). There should be no noticeable shift of the body centre. 2) When right foot moves to the right, we use the rotation energy to shift the body center. It is a more natural and efficient way to shift which promotes acceleration of rotation. 3) All shifts be right or left shifts ; they must be minimal or unnoticeable to the opponent in order to get out the way of his or her line of attack. 4) All unnecessary and exaggerated shifting will cause you to miss the space that is given while the opponent attacks. Missing that window of opportunity will most likely give the opponent time to counter react and attack again.

8.2.7 Ushiro Mawari Ashi – (Pivoting around on back foot)

Ushiro Mawari Ashi is a rotational movement of the body centre over the back foot. The back foot works as a pivot over which the spine (body centre) can move out of an opposing attack. The feet stance is never wide. As you can see from the diagram above a left or right displacement is easy enough to do. Again it must be mentioned that to execute it in a timely and camouflaged fashion takes many years of dedicated practice.

8.2.8 Kae Ashi – (Switching legs) This footwork is design to mix up the cadence and rhythm of our opponent, the front and rear legs switch positions. In other words the front leg goes back to the rear foot anchoring position and the back leg switches to the front position. Usually this will take the opponent off guard and create a window of opportunity to execute a technique. It is often used in competition and the executer most often attacks with an accurate geri.

The torso should not give away any sign of movement which would give away the forthcoming

technique. There are many other ashis which can be described which are small off shoots from what have been presented above. It is not the book’s intention to provide an inexhaustible list of all that is possible. Working with the above will take time to master. Using your intuition will provide ample opportunity to explore other possibilities.

8.3 Hyoshi The second principle of strong effective mental strategy is cadence and rhythm. It is probably the most underrated principle and needs to be brought to the forefront of our awareness if we ever want to develop strong mental strategies. Our lives are based on cadence and rhythm. Our very existence relies on the rhythm of our breath and the beat of our hearts. Miyamoto Musashi (1584-1645) wrote that everything in the Universe has timing or rhythm. He said this is especially true for HEIHO, which means winning strategy. To win, he repeatedly emphasized the need to train continuously to master rhythm and timing. In today sports world the pundits speak of this principle as tempo. There are many tempos in a fight and we know that other than the martial arts the practitioners of the sport of boxing train very hard with a skipping rope to develop quick and slow tempos and endurance. Kenji Tokitsu a fellow Shotokan practioner wrote in his book entitled “La voie du karate” (Pour une théorie des arts martiaux japonais) that Hyoshi comes in different forms and exists in everything. All matter is composed of energy and energy vibrates at its primary level. It has a cadence and rhythm. He stresses for martial purposes that we should strive to know and understand the following forms of Hyoshi: 1) Concordant Hyoshi is simply being in harmony with the tempo of the opponent. Move and step in agreement with the opponents move. Keep and respect the size of steps and displacement and maintain the maai. I would like to add as a quick side note that the word concordance has its roots in the French (concordant) and Latin (concordare) languages which translates as ‘ being of one mind’. 2) Discordant Hyoshi is moving in manner that is in disharmony which allows respect of the maai or dominates the opponent’s position. From a Heiho perspective it would be to dominate to assure victory. 3) Static Hyoshi is the art of not moving at all. It is being stationary but in complete harmony with our inner rhythms and preparedness at a higher psychic level. A simple and analogical way to understand these notions is to imagine a baseball pitcher throwing strikes. He needs to throw with different Hyoshi to be successful. Not only does he need speed and off-speed pitches but also needs to provide spin of different sorts to strike out the batter. He also uses static Hyoshi when he deliberately takes his time staring down the pitcher’s mount to psyche out the batter. There is one thing that is so evident and yet so overlooked in the principle of Hyoshi and needs to be brought to the forefront of our consciousness and that is that Hyoshi is directly and forged in a manner of speaking to our breathing. It has always been emphasized by the masters to train hard to control your breathing for in fact you are mastering and controlling your rhythm and cadence on the physical plane. We must keep this in mind while working in our katas. We must work to achieve proper Cadence and Rhythm. We need to be precise in our breathing and movements. Every Martial Artist has his unique style and demeanor and therefore possesses a unique rhythm, a work of art in each one of us.

I mentioned earlier in the book going to Toronto to participate in a seminar given by our brethren Gojo Ryu practitioners. The Gojo Ryu community invited two masters: Hokama Tetshiro (Hanshi 10th dan) and Shiroma Kiyanori (Soke 10th dan) from Okinawa and assuredly both were incredible karate-kas. The lesson most remembered by my students who attended was one given by Master Shiroma. Shiroma O’Sensei was a specialist in the Martial Art of Ryu Kyu Bu Jutsu. He was a medium built man, taller than most Japanese men and most noticeably a man who was very light on his feet. You would no doubt and without hesitation notice him in a crowd and observe the graceful manner in which he would make his physical displacements. He explained to the attendees the importance in the manner of making such rhythmic smooth and precise spatial displacements. The most effective and devastating moves were explained very mathematically as a vector but done with such panache that at first you might have thought of it as laughable. However in the end as you did the exercises provided in his teaching there was nothing flamboyant and everything was devastatingly smooth. We must remember that Hyoshi is the first line of defense against any intruders of maai. My students remember fondly the lessons provided by Shiroma Kiyanori who died at an early age of 70 in October of 2012. What else can be said about Hyoshi? There are the principles of timing that have been explained by Myomoto Musashi in the art of fighting with a saber and have been adopted by practitioners of Karate-do. The three types of timing related to Hyoshi are: 1) A Taru Hyoshi 2) Ma No Hyoshi 3) Somuku Hyoshi The first timing, A Taru, means to engage your opponent. This does not necessarily mean that you make contact with an opponent; it means that you simply take action. You get involved according to a rhythm that fits you. Sometimes it could mean that you read some impending hostility and use your step work to get good distance and angle. The next timing Musashi describes is Manu Hyoshi. This Hyoshi, is very defensive as your strategy is focused on breaking off from your antagonist. It is usually a timing of effective and fast retreat as you feel that your opponent is reading your rhythm and sense that he is reading your next technique. At that point you would need to break away. It could be used also if the opponent’s spirit is very strong and you feel that he intends to crush you. Manu Hyoshi in this last instance would mean to break away and make him cool down. The final type of timing is Somuku Hyoshi. This means that you use opposite or different rhythms and techniques than your opponent. For instance if your opponent is setting up to crush you with a frontal drive than do the unexpected and move aside quickly at the last instance. If you read that he is not expecting a geri to the face, then that is the time to use a face kick. In short, whatever you read as your opponent is strategizing; you do something different or even the opposite. The whole point behind Somuku is to confuse and take control of the rhythm, the HYOSHI of the fight. This makes for good HEIHO or winning strategy. In the end what timing you use must be one that provides victory. It will be a blended Hyoshi (Ku No Hyoshi) which confuses, creates anxiety and ultimately provides the opportunity to overthrow the opponent’s Hyoshi. If you can do that you will have achieved dominance of the situation to do whatever is needed in that moment.

8.4 Kuzuchi We have now arrived at a very interesting principle in the realm of Mental Kime and it concerns body asymmetry and unbalance. To possess good mental strategy with regards to conflict “Kuzuchi” or unbalance is the third principle that we need to study. To know how to unbalance an opponent we must first understand Balance. Balance from a physical perspective is the function of the vestibular apparatus which lies in the ears. It is a series of three semicircular canals filled with liquid and tiny hairs. These canals provide us our sense of orientation in space. It tells us when we are upright, how gravity affects us and detects motion in threedimensional space. The first series of tubes pertains to the horizontal position of our bodies in relation to the earth at our feet. The second series of tubes pertains to the vertical axis of our bodies and the last to movement. The tiny hairs inside these canals or tubing are stimulated by the liquid and serve as a sort of sensory antenna. The antenna or hairs activate our nervous system to the brain. The signals from the vestibular apparatus reach the brain via a nerve and stimulate a specialized cluster of neurons called the vestibular nuclei. The brain processes them and in turn the brain returns commands to the different multiple muscles to adjust themselves to ensure balance. It is a process that we learned as a child and the neuron network was programmed in a manner of speaking early in life. Now that we have attained maturity this process has become an automatic one or if you wish an unconscious process, one that we can call reflexive. This is an important factor and consideration as we shall see. Balance is something that all human beings have cultivated into a reflexive automatic reactionary process within themselves. These reflexes have been refined through evolution and serves man to quickly address and self correct any situations of unbalance. As a Martial Artist we must examine these reflexive automatisms and develop strategies to exploit them to our advantage which will ensure victory HEIHO on our adversaries. I have broken down my study of Kuzuchi into four parts: 1) Static Kuzuchi 2) Dynamic Kuzuchi 3) Reflexive Kuzuchi 4) Subtle Kuzuchi 5) Mental Kuzuchi

8.4.1 Static Kuzuchi Judo is predicated on the fact that an opponent can be toppled by creating asymmetry in an opponent’s axis which will result in unbalancing him. Jigoro Kano (1860-1938) the founder of Judo developed a teaching model called “Harpo no Kuzuchi” to demonstrate Kuzuchi from a static position. The model deals with having a Uke stand in a normal stance his feet shoulder length apart. ( Hashi dashi) The Tori proceeds to have the Uke bend forward at the waste, back from the waste, from one side at the waste to the other side, all the time the tori pulls and pushes the uke in all cardinal directions all eight of them (North, South, East, West. North East, South East, NorthWest and SouthWest).

The exercise is to create awareness and understand the impact of creating body asymmetry and its effect on balance. Next the participants will get a feel and bring to consciousness the possible outcomes of once having asymmetry what is the easiest and most efficient way of creating Kuzuchi. The feet are not in a fighting like stance so it is viewed as a static exercise of Kuzuchi. You will observe most certainly that the Uke has a continuous struggle to try to regain symmetry and balance. What knowledge have we acquired from this exercise? How do we use this knowledge?

8.4.2 Dynamic Kuzuchi We know as Karate-ka that the possibility of having an opponent in a static stance would be a lucky chance and such fortuitousness cannot be counted on. We must next deal with something a little more real. This next step has been described as Dynamic Kuzuchi. Let us use the Uke and Tori model to study dynamic Kuzuchi. This time, however the Uke will perform a Zenkutsu dashi. This position, though not in motion is a picture of sorts of a moment in time. It is a much more realistic situation of readiness if a physical conflict would arise. The objective again in this more dynamic model is to have the Uke bend from the waste to the front and then to the back. This can be followed by the bending of the axis of symmetry from the waste from side to side. The Tori will need to move the Uke on a line that stretches straight from the Uke’s front foot big toe with the Uke’s rear foot big toe. Break the axis and move him by first pulling him and then pushing him on that line. The use of asymmetry by breaking the axis on the sides rather than the front or back needs another consideration. To create Kuzuchi on the sides the Tori must break the line of stance at a 90 degree angle to the toe to toe line previously explained. Again these exercises will help the participants understand the impact of creating body asymmetry and its affect on balance in a more dynamic reality.

8.4.3 Reflexive Kuzuchi I reiterate at this point that balance is something that all human beings have cultivated into a reflexive automatic reactionary process within themselves. The reflexes honed over the years to self correct any situations of unbalance are surprisingly similar in all human beings. The secret is to be conscious of this reality. This knowledge while conscious in you will be most likely unconscious in your opponent, therefore the knowledge can serve you well. For instance after a good evasion maneuver and performance of a hitting technique it usually follows by another hitting and or more probably with a grasping technique to unbalance. The later unbalance situation is what needs to be studied. Hypothetically, what do you think will follow? He or she will no doubt create resistance and if you are not quick enough to establish asymmetry in his axis your capability of maneuvering in any direction will no doubt fail. Do we create resistance against resistance? Not at all, we must expect this reflex and exploit his reflexive reaction. If he resist to the front by tugging towards the back, then do not resist his resistance. Speed up towards his reflexive and resistive tendency; by doing so your opponent will contribute his own force to his toppling into asymmetry and collapse. To really get an understanding of this reflexive reaction a little tug and pull in a Uke and Tori exercise can bring some knowledge to the Karate-ka with regards to these reflexive tendencies we all possess. Using the knowledge acquired in the above exercises the Uke and Tori should study in real time and real motion what reflexive patterns can be exploited as the one taken in example above. There is a

Martial Art form primarily dedicated to this study of this reflexive phenomena and it is called Aikido. As a Karate-ka we must remember that to ensure HEIHO for ourselves we must have strong mental kime, and this facet should be studied seriously to maneuver our opponents out of symmetry and into vulnerable position that can be exploited by karate hitting techniques. Bunkai reviews of techniques from katas are a case in point and a more in depth analysis of what I have tried to present above.

8.4.4 Subtle Kuzuchi This category of Kuzuchi is a deeper analysis of Reflexive Kuzuchi as described above. The study again of this form can be done in a Uke and Tori exercise. The main ideas is through subtle hidden movement of hips and knees and rolling of shoulders by the Tori that the Uke is influenced through Mirror Neurons to put himself or herself into asymmetrical postures. Again the assumption is that we are in contact with the opponent. The basic premise here is that man is a social animal and has through thousands of years lived in communities which require harmonization of movement with other individuals in the community. As we walk do we not try to get in sync with the person we walk with or respond to a smile with a smile to communicate our intention? The study of Mirror neurons is a fascinating area of research. People react to one another and continuously strive to remain in balance. Again these subtle harmonization movements can be studied and brought to consciousness to serve us. As it stands now most human beings have cultivated these harmonization movements into a reflexive automatic reactionary process within themselves. These reflexes and ultimate reactions to harmonize with our partners are surprisingly similar in all human beings. The secret is to be conscious of this reality and test some out to gain this mental knowledge and exploited to your advantage when a situation might call on this knowledge to achieve HEIHO. Let us take a look at a few of these subtle kuzuchi moves. The Tori and Uke grasps each other arms at the forearm level (Ude). The grasping is done lightly. This is a study exercise to determine Kuzuchi tendencies caused by Mirror Neurons. The Tori opens his right hip and shifts his weight to that side. The Uke will try to align himself to this shift created by the Tori in order to calibrate his center of gravity to the Tori’s. Creating this asymmetry is done in a very subtle way. Experiment by closing the right hip as in Hagentsu dachi and shift gain the weight. Observe and note the reaction of the Uke with regards to the Tori’s center of gravity. The arms remain passive on the part of the Tori and the Uke. Continue the exercise by opening and closing the left hip and observe and note the reaction and the effects of Mirror Neurons. By keeping the feet together and rolling the hips forward with bended knees, you will notice a subtle shift in the Uke’s posture which will create asymmetry and therefore the potential of creating Kuzuchi. Tori can than try an exercise of rolling the shoulders downward and again upward while the Uke holds on to the forearms. These movements will cause the Uke’s mirror neurons to react. The reaction will again be one of asymmetry which can be exploited. In the end the objective is to study subtle reflexive muscle behavior of an opponent as you move discreetly about. The more you work at this exercise the better you will get to know the behavior invoked by what Mirror Neurons are interpreting by trying to stay in balance.

8.4.5 Mental Kuzuchi

How do we unbalance our opponent’s mind? It can simply be done by presenting him a target and at the last moment leaving the area of attack with a fine evasion maneuver. Going by him while he is attacking can play havoc on his mind, the opponent realizing that you cannot be easily touched. You can also present him a target and at the last second remove it leaving the opponent grasping or punching thin air. The last one can really be exploited as opponents always like to grasp hands, wrists and arms. Presenting these targets in such a way that when your opponent shifts or moves towards what will be eventually taken out of reach will create asymmetry from his center of gravity which in turn can be exploited to create HEIHO. I am sure that few more will easily come to mind. Just remember that Mental Kuzuchi can be used to our advantage. Before embarking into the subject of Yomi, we will explore in the next Chapters certain Training techniques and concepts that relate to the subject matter described above.

NOTES

Chapter 9 Evasion Drills ______________________________________________________ If you perceive the true form of heaven and earth, you will be enlightened to your own true form. If you are enlightened about a certain principle, you can put it into practice. After each practical application, reflect on your efforts. You must progress continually like this. Seeing me before him, the enemy attacks, but by that time I am already standing safely behind him. Morihei Ueshiba ______________________________________________________ After reading Chapter 7 (Intention, Direction and Explosion) and Chapter 8, you will no doubt find this Chapter very practical as it will provide some standard exercises to practice all the concepts we have covered together in the last Chapters. Tai sabaki drills have been part of all martial art forms be it in kendo, jujutsu, aikido, judo, karate and Ninjutsu. The teachings and definitions of Tai sabaki are different from one art form to another. However, each discipline generally refers to Tai sabaki a total body movement. Tai sabaki in the Shotokan style of karate is taught primary to practice unsoku (footwork) and ashis to avoid attack where the defender gains an advantageous position on the aggressor and therefore is referred to as an “Evasion”. There are many practitioners who will argue this general

description of Tai sabaki as “Evasion”. This treatise does not attempt to produce arguments for or against the notion of “Evasion”. It will rather provide a description of the drills that are considered Tai sabaki drills in the Shotokan style. These drills and techniques can be used for many purposes and I urge my instructors to use them when developing lessons for their students. There are four drills that make up the Tai sabaki Waza which are: 1) Tai sabaki four winds 2) Tai sabaki eight movements (Happo) 3) Tai sabaki yori-ashi 4) Tai sabaki omote Each of these have there specific peculiarities and are designed to develop upper and more specifically lower body movements that will hopefully become second nature to the practitioners. Go back if necessary to re-read on Ukimi, Zui Ban in Chapter 7, and consider how useful these following drills will help in understanding and more importantly teach the concepts presented in Chapters 7 and 8.

9.1 Tai Sabaki Four Winds This drill is the simplest of the four. The exercise should be started from a position where the practitioner can move freely without hindrance for a step to the left and then to the right and from front to back. For presentation and explanation purposes we will say that the karate-ka is facing North. 1) From the position of hachiji dachi the karate-ka pivots 90 degrees to the left on the right heel as the left foot sweeps to left resulting in a Zenkutsu dachi stance. A left gedan barai can be coupled with this move to complement the stance. When the movement is completed the karateka should be facing East. 2) Pivot 180 degrees to the right on the heel of your left foot and sweeping the right foot to end up facing the opposite direction. The resulting position should be a Zenkutsu dachi with a right gedan barai, when you have completed the movement, you will be facing West. 3) Pivot 90 degrees to the left on the heel of your left foot and sweeping the right foot to end up looking in the same direction as when the drill started. The resulting position should be a right Zenkutsu dachi with a right gedan barai as you again face North. 4) From this position the karate-ka slides and sweeps his right foot directly back resulting in a left Zenkutsu dachi stance coupled with a left gedan barai uke. A Kiai signals that the exercise has been completed. The karate-ka returns to a hachiji dachi stance. When the movement is completed the karate-ka should be facing North. This drill can be exploited by using other stances and ukes. The ukes can be changed up with combination ukes and ushis. Technique

variations can bring some diversity to the drill. When the instructor senses that participation is wavering any variations are most of the time welcomed to break up any monotony. The instructor can make it free flowing calling out the beginning and allowing the class to go through the drill from beginning to the end. This can be varied by making each movement an individual exercise and the instructor can proceed to call out each and every move until the end.

9.2 Tai Sabaki Eight Movements (Happo) This specific drill is an offshoot of the one described above. Rather than have four movements, it has obviously eight distinct arrangements which are described below. For presentation and explanation purposes we will assume that the karate-ka is facing North. 1) From the position of hachiji dachi the karate-ka pivots 90 degrees to the left on the right heel as the left foot sweeps to left resulting in a Zenkutsu dachi stance. A left gedan barai can be coupled

with this move to complement the stance. When the movement is completed the karate-ka should be facing West. 2) Pivot 45 degrees to the right on the heel of your left foot and sweeping the right foot to end up facing in a North Westternly direction. The resulting position should be a Zenkutsu dachi with a right gedan barai. 3) From this position the karate-ka slides and sweeps his right foot directly back resulting in a left Zenkutsu dachi stance coupled with a left gedan barai uke. When the movement is completed the karate-ka should be still facing in a North Westernly direction. 4) Pivot 45 degrees to the right on the heel of your left foot and sweeping the right foot to end up facing in a North Easternly direction. The resulting position should be a Zenkutsu dachi with a right gedan barai. 5) From this position the karate-ka slides and sweeps his right foot directly back resulting in a left Zenkutsu dachi stance coupled with a left gedan barai uke. When the movement is completed the karate-ka should be still facing in a North Easternly direction. 6) Pivot 45 degrees to the right on the heel of your left foot and sweeping the right foot to end up facing East. The resulting position should be a Zenkutsu dachi with a right gedan barai. 7) Pivot 90 degrees to the left on the heel of your left foot and sweeping the right foot to end up looking in the same direction as when the drill started. The resulting position should be a right Zenkutsu dachi with a right gedan barai as you again face North.

8) From this position the karate-ka slides and sweeps his right foot directly back resulting in a left Zenkutsu dachi stance coupled with a left gedan barai uke. A Kiai signals that the exercise has been completed. The karate-ka returns to a hachiji dachi stance. When the movement is completed the karate-ka should be facing North. Tai sabaki eight movements (Happo) can be changed up by using other stances and ukes. All is permissible in an effort to vary the drill. For instance the instructor could request that the drill be done with a Kokutsu dachi combined with Shuto Uke. As mentioned before, instructors are encouraged to vary the techniques to bring some diversity to the drill. It also enables the karate-ka to hone other techniques. The instructor can make it free flowing calling out the beginning and allowing the class to go through the drill from beginning to the end. This can be varied by making each movement an individual exercise and the instructor can proceed to call out each and every move until the end.

9.3 Tai Sabaki Yori-Ashi

The drill is very different from the first two. The purpose of the dill is to practice a slight slipping and sliding of the feet in one direction or the other the movement should be no more than a ¼ step as previously explained in Chapter 8 under the topic of Unsoku. This drill is best performed in Kiba dachi combined with two quick repetitive ken tsukis. For explanation purposes we will presume that the karate-ka is facing North. The drill can be described as follows: 1) Pivot 90 degrees to the left on the heel of your left foot and sweep and advance the right foot to end up in Kiba dachi facing in a Westernly

direction. As soon as the position is assumed, the practitioner should be pushing slightly off the left foot to project the body to the right to create a slight slipping and sliding of the feet to the right. The sliding distance should be a few inches only. As the feet replant themselves from the sliding motion a right ken tsuki should be executed. The right arm and hand should be retracted quickly. As the tsuki is retracted the right foot should be pushing off slightly to the left. This should cause the body to slightly slip and slide to the left. Again as the feet replant themselves solidly a left ken tsuki chudan should be executed with a quick thrust and retraction motion. The karate-ka at all times is facing to the West. 2) From that position a pivoting of 90 degrees to the left on the heel of your right foot and sweeping the left foot back should be performed. The end result should be a Kiba dachi facing in a Southerly direction. As soon as the position is assumed, the practitioner should be pushing slightly off the left foot to project the body to the right. This action creates a slight slipping and sliding of the feet for a few inches to the right. As the feet replant themselves from the sliding motion a right ken tsuki should be executed. A quick retraction of the arm should be performed. As the tsuki is retracted the right foot should be pushing off slightly to the left. This should cause the body to slightly slip and slide to the left. Again as the feet replant themselves solidly a left ken tsuki chudan should be executed with a quick thrust and retraction motion. The karate-ka at all times is now facing to South. 3) As the karate-ka is facing South he or she must pivot 90 degrees to the left on the heel of the left foot and sweeping the right foot forward to assume the Kiba dachi to now be facing in a Easternly direction. Same as before the practitioner must be pushing slightly off the left foot to project the body to the right to create a slight slipping and sliding of the feet to the right. The distance of the sliding motion does not vary it

remains at a few inches only. As the feet replant themselves from the sliding motion a right ken tsuki should be executed quickly. The right arm and hand should be retracted as quickly it was trust out. As the tsuki is retracted the right foot should be pushing off slightly to the left. As the body slides slightly to the left and the feet replant themselves solidly a left ken tsuki chudan should be executed with a quick thrust and retraction motion. The karate-ka during this sequence of moves should be at all times be facing to the East. 4) Last but not least, the karate-ka while facing East must pivot 90 degrees to the left on the heel of his right foot and sweeping the left foot back to assume the Kiba dachi to now be facing in a Northerly direction. Same as before the practitioner must be pushing slightly off the left foot to project the body to the right to create a slight slipping and sliding of the feet to the right. The distance of the sliding motion does not vary it should be and remains at a few inches only. As the feet replant themselves from the sliding motion a right ken tsuki should be executed quickly. The right arm and hand should be retracted as quickly it was thrust out. As the tsuki is retracted the right foot should be pushing off slightly to the left. As the body slides slightly to the left and the feet replant themselves solidly a left ken tsuki chudan should be executed with a quick thrust and retraction motion. The exercise should be finished with a loud Kiai. The karateka during this sequence of moves should be at all times be facing to the North. At the end after the Kiai the karate-ka assumes the position of hachiji dachi. The instructor has less flexibility with this drill and it is difficult enough to perform wihout creating unnescessary confusion. That being said it is best in my opinion to keep simple as it was designed. That is to say to perform the drill with the Kiba dachi and two ken tsuki. The instructor who uses this drill will still have the flexibility to perform it

as a one flowing drill or truncating the drill in a series of logical sections as described and numbered above.

9.4 Tai Sabaki Omote The last drill that is described below can be qualified as a unique a drill as was the previously described drill of “Yori-ashi”. The “Omote” word in this title means a circular sweeping movement. The karateka will perform circular 180 degree turns to practice sweeping into the opponent’s legs to hit or unbalance the opponent’s stance. It can be also visualized as getting completely out of the opponent’s line of attack or fighting many opponents at the same time. For explanation purposes we will presume that the karate-ka is facing North. The drill can be described as moving around an area creating a box like figure. The moves are consistently a pivot to the left, than right and right again. Try to imagine in your mind’s eye the creation of this box figure

as you go through the description. A graphical depiction (below) is followed by a descriptive and picture representation of this waza:

1) From the position of hachiji dachi the karate-ka pivots 90 degrees to the left on the right heel as the left foot sweeps to left resulting in a Zenkutsu dachi stance (Step 1). A left gedan barai can be coupled with this move to complement the stance. When the movement is completed the karate-ka should be facing west. Exactly where our left foot has taken its solid position we will now call that position Corner 1. 2) Pivot 180 degrees to the right on the heel of your left foot and sweeping the right foot to end up facing to the East. The resulting position should be a Zenkutsu dachi with a right gedan barai (Step 2). Exactly where our right foot has taken position we will now call that position Corner 2. 3) Pivot again 180 degrees to the right using the left heel as the pivot and sweeping the right foot towards the rear position (Step 3). The resulting position should be a Zenkutsu dachi with a right gedan barai facing the West. We have effectively returned to Corner 1. 4) From this position and facing West again but this time the karate- ka should be in a right Zenkutsu dachi stance a pivot of 270 degrees to the left on the right heel as the left foot sweeps to left resulting in a Zenkutsu dachi stance with a left gedan barai (Step 4). When the movement is completed the karate-ka should be facing North. Exactly where our left foot has taken its position we will now call that position Corner 3. 5) Pivot again 180 degrees to the right using the left heel as the pivot and sweeping the right foot towards the rear position (Step 5). The resulting position should be a Zenkutsu dachi with a right gedan barai facing the South. We have effectively returned to Corner 1. 6) Pivot again 180 degrees to the right using the left heel as the pivot

and sweeping the right foot towards the rear position (Step 6). The resulting position should be a Zenkutsu dachi with a right gedan barai facing the North. We have effectively returned to Corner 3. 7) From this position and facing North again but this time the karate-ka should be in a right Zenkutsu dachi stance a pivot of 180 degrees to the left on the right heel as the left foot sweeps to left resulting in a Zenkutsu dachi stance with a left gedan barai (Step 7). When the movement is completed the karate-ka should be facing East exactly where our left foot has taken its position we will now call that position Corner 4. 8) Pivot again 180 degrees to the right using the left heel as the pivot and sweeping the right foot towards the rear position (Step 8). The resulting position should be a Zenkutsu dachi with a right gedan barai facing the West. We have effectively returned to Corner 3. 9) Pivot again 180 degrees to the right using the left heel as the pivot and sweeping the right foot towards the rear position (Step 9). The resulting position should be a Zenkutsu dachi with a right gedan barai facing the East. We have effectively returned to Corner 4. 10) From this position and facing East again but this time the karate- ka should be in a right Zenkutsu dachi stance a pivot of 270 degrees to the left on the right heel as the left foot sweeps to left resulting in a Zenkutsu dachi stance with a left gedan barai (Step 10). When the movement is completed the karate-ka should be facing South Exactly where our left foot has taken its position we will now be back at that position called earlier Corner 2. 11) Pivot again 180 degrees to the right using the left heel as the pivot and sweeping the right foot towards the rear position (Step 11). The

resulting position should be a Zenkutsu dachi with a right gedan barai facing the North. We have effectively returned to Corner 4. 12) Pivot again 180 degrees to the right using the left heel as the pivot and sweeping the right foot towards the rear position (Step 12). The resulting position should be a Zenkutsu dachi with a right gedan barai facing the South. We have effectively returned to Corner 2. 13) From this position and facing South again but this time the karateka should be in a right Zenkutsu dachi stance a pivot of 270 degrees to the left on the right heel as the left foot sweeps to left resulting in a Zenkutsu dachi stance with a left gedan barai (Step 13). When the movement is completed the karate-ka should be facing West. We will now be back at that position called earlier Corner 1. 14) Pivot again 180 degrees to the right using the left heel as the pivot and sweeping the right foot towards the rear position (Step 14). The resulting position should be a Zenkutsu dachi with a right gedan barai facing the East. We have effectively returned to Corner 2. The drill is completed with a loud Kiai. This will signal to the instructor that the drill has been completed by the karate-ka. 15) From this position the karate-ka pivots to the left 90 degrees and returns to hachiji dachi.When the movement is completed the karate-ka should be facing North. The karate-ka should be exactly where he or she started the drill. The instructor has the flexibility of changing up the dachis and ukes with this drill. It should be evident that this drill might be a little difficult at the beginning so the instructor should try to make it the least confusing as possible. It can be performed as a one flowing drill or as a truncated drill in a series of logical sections as described and numbered

above.

NOTES

Chapter 10 Kihon Training Kumite Strategies ______________________________________________________ “Nobody can reach the high level at the beginning. There are stages in the progress of martial arts training. We have to train the next generation at their level of mentality. When they are young, people need the stimulation of competition. This is an important stage in maturity. But after the tournament stage, we have to be educated into the traditional martial arts training of polishing our characters and minds with physical training. We must know from the beginning of training what our goal is. We must find the value of our own existence, the value of our own lives and that this value was created by ourselves.” Tsutomu Ohshima ______________________________________________________ The terms used in this Chapter are terms that were taught to me by my instructors. They were used to describe the Kumite Strategies. Through the years I have attended seminars and read books about the same strategies and often enough there were different terms to describe the same notions. I will not defend or argue the terms I have used but I will highlight in brackets other terms that I have run into through the years. Whatever terms you choose to use will no doubt be the ones you are most comfortable with. The ones I used and inscribed in bold are the terms I am most at ease with and have been using during the many years of my journey in Karate-Do; I beg for your indulgence in this matter. A karate-ka who wants to understand Kumite and relayed fighting strategies needs to focus on the variables that will limit the opponent’s sphere of power, his timing to attack and counter-attack. The ability to develop offensive and counter offensive strategies with regards to the opponent’s range is primordial to ensure success. In Chapter 8 we have spent some time examining some variables to which I explore here. It might be good to re-visit these notions and to pay particular attention to the section on Unsoku (footwork). For it will be with your understanding most specifically with Maai, Unsoku and Yoshi that the different strategies mentioned further on in this Chapter will make more sense to you. Also included are three forms of Kumite drills that will initiate karatekas to fighting in a progressive controlled manner. Most importantly though is that these drills permit instructors to assess the students’ abilities and their individual progress to perform the techniques taught to them in a somewhat more realistic situation. What is observed by the instructors serves as immediate feedback and a means to bring corrective actions to help their students better assimilate and improve their techniques.

10.1 Ken No Sen Ken No Sen is considered a fighting strategy where a block (Uke) is executed on an attack and countered immediately with an advanced lunge (Zuki). To practice this Kihon Kumite strategy two karate-ka can face off to perform a drill. Since the drill demands that you have a partner the “Tori” and “Uke” relationship described in previous Chapters remains applicable for this exercise. The karate etiquette required between “Tori” and “Uke” must be respected for this drill. You may go back to Chapter 6 to refresh your memories if the rules of etiquette are not clear to you at this point. On the command of Agime the drill begins. The “Uke” advances towards the “Tori” from the position of hachiji dachi executing a oi zuki chudan (straight punch to the plexus) aimed at the “Tori’s chest. The “Uke” should finish the execution in a right zenkutsu dachi. As the attack is launched the “Tori” drops back into a left zenkutsu-dachi with left gedan barai uke. The “Tori” blocks the “Uke’s” zuki. The moment the “Uke’s” zuki is blocked the “Tori” counter punches with a gyaku zuki to the “Uke’s” plexus. The timing of the block proceeded by the counter attack can be said to have two distinct timing. Both “Uke” and “Tori” return to hachiji dachi. It seems simple enough but the karate ka is encouraged to execute as quickly as possible without loosing good form. The block and counter attack by the “Tori” must be performed as mentioned above as two very distinct techniques. This is different from what is considered Tai No Sen.

10.2 Tai No Sen Tai No Sen is another fighting strategy where a block (uke) and counter attack (zuki) are timed in such a way that they are done simultaneously. In other words there is little or no perceptive delay between the block (uke) and the counter attack (zuki). You can practice this strategy alone but it’s better to have two karateka can face off to perform a drill that is similar to the one described above. The drill is a “Tori” & “Uke” face off which entails all the etiquette that has been described before. On the command of Agime the drill begins. The “Uke” advances towards the “Tori” from the position of hachiji dachi executing a oi zuki chudan (straight punch to the chest ) aimed at the “Tori’s groin. The “Uke” should finish the execution in a right zenkutsu dachi. As the attack is launched the “Tori” drops back into a left zenkutsu-dachi with left gedan barai uke. The “Tori” blocks the “Uke’s” zuki as he counter attacks instantly with a gyaku zuki to the “Uke’s” plexus. There should be no perceptive difference in timing with the block and counter attack performed by the “Tori”. If there is a difference than it is what is described above which is not what is required in Tai No Sen. The timing is of course the element which distinguishes Ken No Sen from Tai No Sen. Both “Uke” and “Tori” return to hachiji dachi. The karate ka will quickly realize the difficulty in getting the perfect coordinated timing between block and counter attack. It must be remembered that Tai No Sen can only be effective and strong if it is performed with perfect form. So I reiterate the block and counter attack by the “Tori” must be performed as one very distinct technique. This is what makes Tai No Sen different from Ken No Sen.

10.3 Tai Tai No Sen Tai Tai No Sen is by far the most lethal of all the strategies mentioned here in this Chapter. The karate-ka uses an element of surprise to lunge forward and strike his opponent. There should be no time for the opponent to react. Lightning fast reflexes would need to be possessed to block this attack. You can practice this strategy alone but it’s better to have two karate-ka can face off to perform a drill described below. The drill is a “Tori” & “Uke” encounter which entails all the etiquette that has been described before with regards such face-offs. On the command of Agime the drill begins. Both the “Uke” and the “Tori” take fighting positions and start to spar. The “Tori” without hesitation must pick a moment while the “Uke” is sizing up the situation to attack in a flash. The flash attack can be a oi zuki, a uraken, hiraken, haito whatever it takes to quickly finish the opponent with one blow. As the “Tori” delivers the blow a gut wrenching Kiai should also be delivered to accompany the striking technique.

10.4 Kihon Fighting Drill #1 – Ten No Kata This drill has been presented to you in Chapter 5 and repeated here for it was devised to help karateka sharpen there striking and blocking techniques while simulating a joust in a very systematic way. Let us go through the drill to understand what is meant by a “systematic way”. The drill is a “Tori” and “Uke” work out which entails all the etiquette that has been described before in this and previous Chapters concerning “Tori” and “Uke” encounters. On the command of Agime the drill begins. 1) The “Uke” advances towards the “Tori” from the position of hachiji dachi executing a mae oi zuki gedan (right low straight punch) aimed at the “Tori’s groin. The “Uke” should finish the execution in a (right) mae zenkutsu dachi. As the attack is launched the “Tori” drops back into a (left) hidari zenkutsu-dachi with a hidari gedan barai uke. 2) The “Uke” advances again towards the “Tori” from the previous position of right zenkutsu dachi to a left zenkutsu dachi executing a left oi zuki gedan (low straight punch) aimed at the “Tori’s” groin. As the attack is launched the “Tori” drops back into a right zenkutsu-dachi with right gedan barai uke. 3) The “Uke” recoils straight back away from the “Tori” from the position of left zenkutsu dachi to a right zenkutsu dachi executing a right zuki chudan ( right middle of body straight punch ) aimed at the “Tori’s” plexus. As the counter attack is launched the “Tori” advances forward into a (left) hidari zenkutsudachi with hidari uchi ude uke. 4) The “Uke” recoils back further away from the “Tori” from the position of right zenkutsu dachi to a left zenkutsu dachi executing a left zuki chudan (middle of body straight punch ) aimed at the “Tori’s plexus. As the counter attack is launched the “Tori” advances again forward into a (right) mae zenkutsu-dachi with mae uchi ude uke. At this point a systematic back and forth should be evident and speed should be added gradually to each technique. Let us continue with the drill: 5) The “Uke” advances again towards the “Tori” from the previous position of left zenkutsu dachi to a right zenkutsu dachi executing a right zuki chudan (middle of the body straight punch) aimed at the “Tori’s plexus. As the attack is launched the “Tori” drops back into a left zenkutsu-dachi with left Soto uke. 6) The “Uke” advances towards the “Tori” from the previous position of right zenkutsu dachi to a left zenkutsu dachi executing a left zuki chudan (middle of the body straight punch) aimed at the “Tori’s plexus. As the attack is launched the “Tori” drops back into a right zenkutsu-dachi with right Soto uke. 7) The “Uke” recoils straight back away from the “Tori” from the position of left zenkutsu dachi to a right zenkutsu dachi executing a right zuki chudan (right middle of body straight punch) aimed at the “Tori’s plexus. As the counter attack is launched the “Tori” advances forward into a (left) hidari zenkutsudachi with a shuto uchi.

8) The “Uke” recoils back further away from the “Tori” from the position of right zenkutsu dachi to a left zenkutsu dachi executing a left zuki chudan (middle of body straight punch) aimed at the “Tori’s plexus. As the counter attack is launched the “Tori” advances forward into a (right) mae zenkutsudachi with right shuto uchi. 9) The “Uke” advances towards the “Tori” from the previous position of left zenkutsu dachi to a right zenkutsu dachi executing a right zuki jodan (straight punch to the face) aimed at the “Tori’s” nose. As the attack is launched the “Tori” drops back into a left zenkutsu-dachi with left jodan uke or sometimes called age uke. 10) The “Uke” advances towards the “Tori” from the previous position of right zenkutsu dachi to a left zenkutsu dachi executing a left zuki jodan aimed at the “Tori’s” face. As the attack is launched the “Tori” drops back into a right zenkutsu-dachi with right jodan uke. The “Tori” lets a full body Kiai to signal the end of the drill. Both “Tori” and “Uke” return to the position of hachiji dachi.

10.5 Kihon Fighting Drill #2 – Roll the feet

This drill has been devised to help karate-ka sharpen their kicking techniques while simulating movements around the opponent. Let us go through the drill to understand how it can be useful in kumite situations. We begin by facing off with a partner. On the command of Agime the drill begins. The “Uke” advances towards the “Tori” from the position of zenkutsu dachi executing an oi zuki to the “Tori’s” chest (high straight punch). The “Uke” should finish the execution in a right zenkutsu dachi. As the attack is launched the “Tori” drops back into a left kokutsu-dachi with left shuto uke. The “Tori” blocks the “Uke’s” zuki and grabs the “Uke’s” right wrist with his left hand. 1) As the “Tori” holds the “Uke’s” wrist the “Tori” executes a left mae geri keage which is the front foot to the “Uke’s” head then returns his foot to its original position. 2) The “Tori” immediately proceeds to execute a right mae geri keage chudan to the “Uke’s” sternum and return his right foot to its original position.

3) Maintaining his left hand grip hold on the “Uke’s” right wrist the “Tori” proceeds to use his front

left leg to execute a Mae geri keage gedan to the “Uke’s” groin area and returns his left foot to its original position. The “Tori” begins a slightly different strategy from here. As he holds the “Uke’s” wrist the “Tori” takes his right hand and begins a clock wise movement around the “Uke’s” right arm. The “Tori’s” objective is to

twist the “Uke’s” right arm and maintain the twisted arm by now holding it at the wrist with his right hand. He slightly pulls forward forcing the ‘Uke’ to be a little unbalance towards the “Uke’s” front foot. The “Uke’s” head and shoulders should now be leaning slightly forwards.

4) The “Tori” begins to execute a right mawashi geri jodan to the “Uke’s” head. The kicking foot is return to a cocked position without bringing it down.

5) The “Tori” returns with yet another right mawashi geri. This time the target is the “Uke’s” mid section. The kicking foot is return to a cocked position without bringing it down. 6) For a third time the “Tori” returns with yet another right mawashi geri. This time the target is the “Uke’s” groin area. The kicking foot is returned to a lower cocked position without bringing it down and attacks the outside left knee area of the “Uke’s” simulating a breaking of the “Uke’s” knee. The ‘Tori” now returns his right foot to the floor. He should be in a right zenkutsu dashi still holding onto the ‘Uke’s” wrist. 7) Maintaining his right hand grip hold on the “Uke’s” right wrist the “Tori” proceeds to use his left knee to execute an attack to the “Uke’s” right rib cage simulating a break to the “Uke’s” rib cage. Followed by right knee attack. The “Tori” begins a slightly dif ferent strategy from this point. He releases the “Uke’s” wrist as described above and is now position to the “Uke’s” right. After executing the rib cage attack the “Tori” returns his left attacking foot slightly behind himself but he is now position very much to the “Uke’s” right side. From an on looker’s perspective both “Tori” and “Uke” are facing in opposite directions. Using a spinning technique the “Tori” rotates counterclockwise for 180 degrees on his right heel. As he comes to finishing his rotation the “Tori” simultaneously grabs the “Uke’s” right shoulder area with his left hand. Again from an onlooker’s perspective both are now facing in the same direction. As the “Tori” is spinning he lifts and cocks his left leg. As the spinning technique reaches its

completion the left cocked leg and foot extends and returns a blow (Ushiro Mawashi geri chudan) to the “Uke’s “sternum. The “Tori” returns his left foot to the floor and should be in heisoku dashi.

8) Releasing his left hand grip on the “Uke’s” right shoulder the “Tori” proceeds to rotate slightly to his left behind the “Uke’s “position of right zenkutsu dashi. The “Tori” advances and kicks the “Uke’s” inner part of his left trailing leg. The target is usually the knee area or just above in the sensitive inner thigh area of the “Uke’s” left leg. 9) Before returning his right foot to the floor the “Tori” grabs the “Uke’s” left shoulder with both hands. From an onlooker’s perspective the “Tori” is behind the “Uke” advancing towards the “Uke’s” left side. The advancement becomes a complete 180 degree rotation on the “Tori’s” right heel. As the right foot is positioned and rotated the “Tori’s” left knee is smashed into the “Uke’s” outer middle left thigh muscle causing a break or severe

Charlie Horse attack. 10) The “Tori” begins the last phase of the drill. He maintains hold of the “Uke’s” left shoulder with his right hand and positions his right foot down beside the “Uke’s” left foot. Both “Tori” and “Uke” appear to be facing in the

same direction side by side and proceeds to execute an ushiro mawashi geri to the “Uke’s” mid section. He cocks his right leg again and executes yet another to the “Uke’s” groin area. The “Tori” begins the last phase of the drill. He releases the “Uke’s” left shoulder and positions his right foot in front of the “Uke”. He then advances with a spinning left mae geri chudan to the “Uke’s” sternum area. From an onlooker’s perspective the “Tori” has move from the “Uke’s “left side to the “Uke’s” front now facing him face to face. The spinning kick can be defined as a 90 degree mawashi mae geri chudan. 11) As soon as the left foot is returned to the “Tori’s” rear position in a Zenkutsu dachi the “Uke” position his right hand in front of his face the arm extended about a foot from his body. It will serve as a target. 12) The “Tori” proceeds to execute a spinning 360 degree rear jumping back kick with the left leg to the “Uke’s” hand target which simulates the “Uke’s head. The technique goes by the

Japanese designation of Tobi Mawashi Ushiro geri jodan. It is a very difficult technique to perform properly but the karate-ka performing the “Tori” role in this drill should be urged on to try. The instructor can make this drill free flowing by calling out the beginning and allowing the class to go through the drill from beginning to the end. This can be varied by making each movement an individual exercise and the instructor can proceed to call out each and every move until the end. The main purpose as mentioned before is to build up speed for the striking techniques. It is important that the instructor keep the karate-kas focused on the many aspects outlined in the previous chapters. They can use this drill to practice Mai in kumite. They can use this drill to elaborate geri techniques. All drills have multiple purposes the objective is provide instructors and students some material to be creative with. They have been very helpful in my learning curve and extremely helpful in my teachings to my fellow karate-kas.

Kumite Type Drills Kumite type drills have been developed early in the twentieth century by the Japanese and came to be practiced and studied more intensely in the late 1920s. Today there are some drills that are widely known amongst karate practitioners which were develop and put into practice by the JKA and remains part of their teaching curriculum. As students of the traditional Shotokan style we include them into our teaching program. There are three types of kumite drills that can be qualified as more aggressive types of drills as compared to the two drills which can be viewed more as passive drills as the Uke’s role is quite tame allowing the Tori to perform the techniques in an un-obstructive manner. These three types of more interactive fighting drills are called: a) Basic Kumite which consists of Ippon Kumite, Sanbon Kumite and Gohan Kumite. b) Ippon jiyu Kumite c) Jiyu Kumite

10.6 Kihon Fighting (Kumite) Drill #3 – Basic Ippon Kumite The first of these basic kumite fighting drills is called Basic Ippon Kumite. The aim of this drill is to initiate the karate-kas to first type of fighting. We begin by facing off with a partner. On the command of Agime the drill begins by the “Uke” exclaiming his intention to execute a technique in Ippon Kumite, let us say for this example he exclaims to the his “Tori”: “Ippon Kumite oi jodan zuki”.

The “Uke” can than advance towards the “Tori” from the position of zenkutsu dachi executing an oi

zuki jodan to the “Tori’s” face (high straight punch). The instructor should encourage the “Uke” to perform the technique immediately and quickly as possible after declaring his intention. This will help develop immediate responses to critical situations. The “Uke” should finish the execution in a right zenkutsu dachi. As the attack is launched the “Tori” drops back into a left zenkutsu -dachi with left jodan uke. The “Tori” blocks the “Uke’s” zuki and counter attacks immediately (ken no sen) with a gyaku zuki chudan. Both return to the position of hachiji dachi and the “Uke” and “Tori” roles are reversed. Instructors must insist on safety and examine closely the techniques performed by both participants. Corrections must be brought to faulty execution of techniques be it from the “Uke” or “Tori”. Mixing up the attacking techniques jodan, chudan or gedan will provide variety to this drill.

10.7 Kihon Fighting (Kumite) Drill #4 – Basic Sanbon Kumite

in a stationary mode.

The second of the basic kumite drills is called as mentioned above Sanbon Kumite. It consists of two opponents facing off as in the Ippon Kumite drill only this time the objective of the drill is to have the “Uke” and “Tori” perform three techniques followed by a counter attack by the “Tori”. It can be done in movement or standing stationary. If the drill is done in movement the movement is done in a linear fashion directly head on. Since there are three techniques to execute the techniques can be mixed up jodan, chudan and gedan. Since it is hard to get a feeling of advancement in still pictures the following photos are expression of the Sanbon Kumite drill We begin by facing off with a partner. On the command of Agime the drill begins by the “Uke” exclaiming his intention to execute a technique in Sanbon Kumite, let us say for this example he exclaims to the his “Tori”: “Sanbon Kumite jodan, chudan gedan”. It will be a stationary drill otherwise the “Uke” would need to declare: “Sanbon Kumite oi jodan, chudan, gedan”. The gedan should always be a mae geri unless it is specifically declared to be otherwise. The target area for the jodan zuki should always be the area under the nose, or lower part of the chin; the chudan zuki target is the solar plexus and the gedan mae geri must be the area just below the opponent’s belt which is common referred to as the groin area.

su dachi with left jodan uke. Once the drill has been properly declared, the “Uke” can than advance towards the “Tori” from the position of zenkutsu dachi executing a oi zuki jodan to the “Tori’s” face (high straight punch). The instructor should encourage the “Uke” to perform the technique immediately and quickly as possible after declaring his intention. This will help develop, as mentioned before, immediate responses to critical situations. The “Uke” should finish the execution in a right zenkutsu dachi. As the attack is launched the “Tori” drops back into a left zenkut The “Uke” executes from that position a left chudan zuki and the “Tori” counters with a soto uke. The “Uke” proceeds to perform a left mae geri gedan and the “Tori” counters with a right gedan barai. An immediate counter attack of a chudan zuki is performed by the “Tori”. Both return to the position of hachiji dachi and the “Uke” and “Tori” roles are reversed.

Instructors must guard against any breech in this established protocol otherwise someone can get really hurt. Safety is of prime importance. All techniques performed by both participants must be closely examined. Corrections must be brought to faulty execution of techniques be it from either the “Uke” or “Tori”. Mixing up the attacking techniques and direction jodan, chudan or gedan will provide variety to this drill.

10.8 Kihon Fighting (Kumite) Drill #5 – Basic Gohon Kumite The third of the basic kumite drills is called Gohon Kumite. It consists of two opponents facing off as in the Ippon and Sanbon Kumite drills only this time the objective of the drill is to have the “Uke” and “Tori” perform five techniques followed by a counter attack by the “Tori”. The drill can be performed in movement or standing stationary. If the drill is done in movement, the movement is done in a linear fashion directly head on. Since there are five techniques to execute the techniques can be mixed up jodan, chudan and gedan. The same protocol mentioned above for Ippon and Sanbon apply here as well. The intention must be declared by the “Uke” and the “Tori” must respond to what the “Uke” has declared. The intention might be declared as follows: “Gohon Kumite oi jodan, chudan”. This declaration would mean that the “Uke’s” five advancing attacks would be in this order: 1) Jodan Zuki 2) Chudan Zuki 3) Jodan Zuki 4) Chudan Zuki 5) Jodan Zuki The “Tori’s” response would be: 1) Jodan Uke 2) Soto or Uchi Uke 3) Jodan Uke 4) Soto or Uchi Uke 5) Jodan Uke 6) Counter Chudan Zuki At the end both “Uke” and “Tori” return to the position of hachiji dachi and the “Uke” and “Tori” roles are reversed.

10.9 Kihon Fighting (Kumite) Drill #6 – Advance Ippon Jiyu Kumite

As I mentioned before there are three types of kumite drills of which three have been described above: Ippon, Sanbon and Gohon. These three form part of the basic type. The other two types are the jyu types of Kumite. What distinguishes Jiyu types from the three basic kumite types are that jiyu are freer flowing and more dynamic in nature. The Ippon Jyu Kumite while still free flowing remains a kumite where the “Uke” and “Tori” respond to declarations made before engaging into combat. Ippon also meaning that one technique is intended to be performed. The object of this type of free flowing combat is for analyzing offensive and defensive technique but more so for yoshi (cadence) and learning maai (distance). We begin by facing off with a partner. The drill begins by the “Uke” exclaiming his intention to execute a technique in Ippon Jiyu Kumite, let us say for this example the “Uke” exclaims to the his

“Tori”: “Ippon Jiyu Kumite Jodan Zuki”. Once the drill has been properly declared, the “Uke” can than advance towards the “Tori” from whatever dachi he decides to choose usually it is in fudo dachi. It becomes a real duo where the “Uke” tries to connect with, in this case a jodan zuki. The “Tori” must respond at the moment the “Uke” decides to attack, and must block and counter punch immediately or perform another counterattacking technique. The technique is left to the imagination and expertise of the “Tori”. Once the counter attack is performed the “Tori” and “Uke” must make a yori ashi (1/4 step) towards the rear and than followed by ayumi ashi (full step) again towards the back. The face off continues another technique is declared. At this point the roles can be reversed, the format for declaration must be predetermined before the drill begins. The instructor must be vigilant and have the karate-kas respect safety at the same time point out deficiencies in their performances and strategies. This is an advanced drill and more suited for adept students.

10.10 Kihon Fighting (Kumite) Drill #7 – Advance Jyu Kumite This leaves us with the last of the Kumite Drills which is the Jyu Kumite. I will leave you with a quotation from Nakayama which sums up very well what Jyu is all about: “In jyu kumite, there is no prearrangement of techniques. The partners are allowed to make free use of their mental and physical powers, but the student must strictly control his punches, strikes and kicks.” You must understand all the techniques and how to perform them well. You must have a large degree of self control. You must understand Maai, Yoshi, Kuzushi and Yomi in order to take advantage and benefit from this form of kumite. My view is that it should be left to the advanced students to decide if they will or will not participate in this kumite drill.

NOTES

Chapter 11 Yomi, Mushin (Mind no Mind) Our study into Maai, Hyoshi, and Kuzuchi leads us invariably to last of the four principles of strong Mental Kime. This principal is called Yomi. It is, I admit a difficult enough principle to grasp especially for the novice in the study of Karate-do. It should however be a well understood principle for the more serious and advanced student in the discipline and study of the Martial Arts. Yomi as previously mentioned in the last chapter is a concept or principle of Kime that lies between Mental Spiritual Kime. Many Masters have alluded to it but very few have been able to really define it. The reason for this lack of clear enunciation of this principle is simple; it is an area that lies beyond the physical and lives and breaths in a manner of speaking in the metaphysical. How can we easily define a principle that lies in the domain of the absolute with relative terms and symbols? How can we have students appreciate the infinite while trapped in a finite body? How do we understand the unconditional with a ruled conditionally trained mind? Here lies my challenge! In the next pages and chapters, we move from Mental Kime to Spiritual Kime. I will attempt to explain my understanding of what is Yomi and how to cultivate it and make it powerful. What I bring here was not learnt from any teaching I received as a Martial Artist but rather as a student of theosophy and a student and teacher of Reiki. What I learnt and practiced while a student led me to what I perceive as the principle of Yomi. Yomi is a Japanese word that means to ‘’Read’’. The word has also a connotation for the Japanese that lies on the psyche side of existence which translates as the art of divination. The word divination is defined as: “The practice of seeking knowledge of the future or the unknown by supernatural means’’. This must sound for the pragmatist and realist as a pretty far-fetched idea or at least an unrealizable ability. Believe what you like, but karate masters always alluded to this ability and named it ‘Mushin no Mushin’ which in English means mind no mind. The following passage is taken from “The History of Shotokan Karate’ written by Harry Cook, it is a quote said to be taken from Shiregu Egami which I share with you: “The real secret (of Karate) is to practice with perseverance and sincerity to achieve mushin (nonego). By doing so the doors of the Tandem (hara) will open up onto the true consciousness (awareness)! By hard work and dedicated practice the physical and spiritual will unite” It is the state Egami Sensei called Hei-Ho defined as the art of someone living who has transcended the thought of life and death.” So what is mind no mind.? It must have the capacity to do what the mind does yet not be the mind. It must transcend life and death so it must be beyond the physical. It is a state where the physical and metaphysical comes together and is one. Egami Sensei called the unification of the spiritual and the physical. What can it be? In my studies of Theosophy and Reiki I came across many Energy models that depicts human

existence in multiple layers of energy. Chapter 12 is dedicated to exposing some of these models and I encourage the reader to go there if he or she feels the need to learn of these concepts before continuing on this road to understanding Yomi. To continue now you must be aware of the following notions quickly defined to help you follow what is presented in this Chapter on Yomi : 1) annamayakosha is the lowest level of energy which relates to the physical body and material cosmos. It is the manifestation of energy at its lowest frequency and therefore densest expression. 2) manomayakosha is the level made of mind. This is the mind that stays close to the five senses. It is also referred to as intellect, mind ego, mental ego. It relates to secondary thinking processes. 3) vijnanamayakosha is a higher level is sometimes referred to as the subtle realm; a realm of faster moving and refined energy beyond the conventional mind and operational mind. It is where when realized a state of awareness where we experience ecstatic intuition, an extraordinary level of clarity and perception which is beyond body, ego and conventional mind. 4) anandamayakosha is a level of energy that is beyond conception; a level of perfect transcendence above and beyond conception, experience and imagination, so perfect that it is the blissful release into infinity. The model I present here (next page) is an offshoot from what is presented in Chapter 12 taken from my readings on the Kabala presented by Omraam Mikhael Aivanhov(1900-1986). This model is simpler and depicts human existence in a way that sheds light on the concept of Yomi. The model depicts life manifested in two realms. The first is the Physical divided in three dimensions; Physical, Emotional and Mental. It also portrays three dimensions in a Super physical or Metaphysical realm: Causal, Buddhistic and Atmic. The physical realm and associated dimensions according to this model are merely mirror

reflections of the super physical realm. The illustration should help in understanding what the model depicts. The mind dimension in the physical realm of existence is regarded as the mirror image of to the causal dimension in the super physical realm. That being said can we not see that this mirror image is what Egami Sensei and others alluded to with the concept of mind no mind? The minds unite when the spiritual unites with the physical. In Omraam’s world one must work hard to have the super physical dimensions dominate and thereby

guide and work through the physical. Sri Aurobindo (1872-1950) an Indian nationalist, freedom fighter, philosopher, yogi, guru and mystic was of the same school of thought and called this unification of the causal and mental the “Lifting of the Veil”. When this happens the power of the Super-physical takes command and guides ones life. The ego steps aside (Mushin) and the Psyche being takes command. When one works from the Psyche perspective we must conclude that we work from the causal mind and have at our disposal the awareness and power of the other dimensions in the physical realm. We live and perceive from the vijnanamayakosha or better yet from higher planes of energy. What powers do we have?

11.1 Emotional Dimension: Living from the Psyche perspective we would develop and possess the ability of discernment. It is the ability to read and judge well. It is defined also as the activity of determining the value and quality of a certain subject or event. How does one develop this ability? It is done through the Psyche being who guides us into the world of empathy which is the ability to understand and share feelings of another. You will never ever be able in my opinion to develop this ability unless you become thoughtful showing consideration for the needs of other people and therefore being very attentive. To attain the state of Mushin or to have Yomi karate-kas must develop thoughtfulness. This is the first step to attain powerful Yomi, the ability to read and understand.

11.2 Mental Dimension The second step to having a powerful Yomi would be from the Psyche perspective to develop and possess the ability of rational. It is the ability to reason and calculate well. It is defined also as the activity of Intelligence the ability to logically ascertain value and quality of a certain subject or event. It differs from emotional as the emotion deals with feelings and rational deals with facts. How does one develop this ability? It is done through the Psyche being who guides us into the world of mindfulness. Mindfulness is the ability to concentrate and sort through what is in the present moment. It is also regarded, and which I find terribly important, the ability to come to conclusions while calmly acknowledging one’s feelings and bodily sensations. You will never ever be able in my opinion to develop this ability unless you develop a serious meditation practice. A practice that will enable you to watch and control the thoughts that sequentially emerges in the mind. To attain the state of Mushin or to have Yomi karate-kas must develop mindfulness.

11.3 Causal Dimension It has been my observation as mentioned above that most mystics and master martial artists spoke of this dimension as the dimension from which to work from. It is one of the dimensions in the Super physical or Metaphysical realm of our existence. It is from all descriptions provided and personally experienced a world of revelation. I repeat again Egami Sensei’s observation on Mushin or if you wish Yomi ; it is a state of transcendence and “By hard work and dedicated practice the physical and spiritual will unite”. It is no other in my estimation the vijnanamayakosha spoken by the Hindus or the Alayavijnana spoken of by the Buddhists. It is this dimension of faster moving and refined energy beyond the conventional mind and operational mind. Again I repeat, when we experience this state of awareness or consciousness we will experience the ecstatic intuition, an extraordinary level of clarity and perception which is beyond body, ego and conventional mind. You will never ever be able in my opinion to develop this ability unless you develop a serious contemplation and meditation practice. A practice that will enable you to watch and control the thoughts and let emerge from the depths of your being the truth on which you are contemplating. The depths that I refer to above have been defined by religious pundits and given the name of Soul. Others such as Sri Aurobindo gave it the name of SuperConsciousness. Whatever the label that you want to give it, the sure thing that can be said is that it is omnipotent. Having liberal access to it is no easy matter. If it is from the “Soul” one must develop “ Soulfulness” and that is, again in my opinion, which I share with many others is a more than one lifetime job. From what is presented above I’m asking the reader to take a leap of faith in believing that these states of consciousness exist. I can understand their incredulity especially if you are drawn to the traditional Western physical (Science) manner of thinking as compared to the Oriental metaphysical manner. If that is the case, I suggest you familiarize yourself with the psychiatric research and continued work of the neuro-scientists in the field on consciousness. You will discover as I have that they describe what the Japanese have tried to describe as Muchin no Muchin or the state of Zazen as I have tried to outline above as a Transpersonal State consciousness. Transpersonal meaning a nonordinary state of consciousness, and one particular psychiatrist which I feel has bridge the gap between Western and Eastern thinking in explaining these states is Stanislav Grof. Dr. Grof is a clinical psychiatrist a former professor at John Hopkins University School of Medicine and founder of the International Transpersonal Association. He has written many books but one that I have read through the prodding of one of my student was The Holotropic Mind. This book can be a difficult read but some of his views are enlightening and can be digested to understand this state of consciousness called by the Japanese as “Yomi”. Dr Grof speaks of a transpersonal (Non-Ordinary) state of consciousness where a sudden revelation occurs and extraordinary results happen be it in the scientific, artistic or spiritualistic fields of human endeavor. He calls it the “Promethean Impulse”. “The third and highest form of transpersonal inspiration is the Promethean impulse. This occurs when the scientist, inventor, artist philosopher, or spiritual visionary has a sudden revelation during which he or she envisions an entire product in a completed form. The fact that a genius draws from

transpersonal sources is reflected even in everyday language when we refer to such extraordinary achievements as “Divine Inspiration” or a “gift from God”. – The Holotropic Mind by Stanislav Grof, M.D. Yomi is that magical experience where we are guided by shire inspiration from an unknown benevolent un-manifested source which aligns the physical and mental dimensions to act with pure energy and force (Kime). A question written to me by one of my students after I provided him an advanced reading of the above was: ‘’What do you think stops people from getting to these places? These places meaning this state where a karate-ka possesses the unobstructed abilities to be completely thoughtful, mindful and soulful. To achieve this state we must work diligently on changing our pre-programmed responses to external stimuli. These responses are called Vasanas.

11.4 Vasana In Sanskript, a Vasana is an unconscious cause. It’s the software of the psyche, the driving force that makes you do something when you think you’re doing it spontaneously. Not all the software that has been programmed in our psyche is good, in fact some are very harmful and requires some personal (Psycho –analysis) self analysis to uncover. The mere fact that it is hidden in our subconscious takes time and sometimes professional help to bring them to the surface so we can deal with them. Just think about it, the thing that is most you is something that you are mostly not aware of. By cleaning house in a manner of speaking allows you to uncover the repeated unwanted behavior which does not allow your true nature to come- forward. The trick is to begin by uncovering your true nature. Through a meditation practice you will discover these unwanted tendencies (behaviors) that keep us enslaved. Once we are freed we begin to live in a state of true “SELF” awareness. You become aware of the roadblocks that you have set up. It is obvious that once these unwanted behaviors are brought out of the unconscious state to the conscious you can address those roadblocks. The more you address the roadblocks the more you become YOU, the One and unique YOU with all the powerful essence that was bestowed on you when you were conceived in the ‘’WU’’, the ABSOLUTE, the GODHEAD or the ATMIC body. It is my belief that we all evolve to this state. Where we are in our evolution will be demonstrated through the display of omnipotence that we possess. Some will remain secretive while others more demonstrative. Remember that all teachings from all the masters that have passed before and amongst us now possess above all an absolute or lesser degrees of Thoughtfulness, Mindfulness and Soulfulness. I hope this will provide you incentive to continue to practice, practice... Martial Arts and the discipline it provides can help us. What is Funakoshi’s first principle stated in the Dojo kun: Seek perfection of the Character In Part III of this book, which deals with Spiritual Kime, more elaborate descriptions of these different dimensions by different schools of thought are provided. These descriptions will also provide the reader with an appreciation of the different complexities that have been written about them based on cultures and consequently belief systems. Yomi is but one small aspect which lies as the above illustration provides between the Physical and Metaphysical Realms.

NOTES

Photo Album 3 Tournaments – Over the Years A picture of myself and an accumulation of tournament awards won during a three year period in the late 1970s. A period in which I lived to compete.

Here is the news clipping reporting on the above mentioned Kumite Team and their eventual participation in the Mexican hosted event. Bottom left Stéphane Sexton gives a jacket to the local business man Pierre Bélanger who sponsored the Team’s trip to Mexico. Top, left to right, Michel Laviolette, Pascal Monette, Christian Legros, Jaki St Arnaud and Jacques Barbier. Some news clippings from the local papers describing the success and failures of my students and I at a tournament. My wife Lyne winning first place and I receiving a second place finish. A news clipping describing my nomination and eventual winning of sports personality of the year in Gatineau resulting from my successes in karate tournaments held in the region.

A picture of our AAMC World Class Kumite Team which participated in a competition in Acalpulco.

A photo my students and I after amazing some impressive trophies at one of our local karate tournaments. I have always been an ardent student and committed karate-ka with regards to kata as depicted by the following photos.

It is without question the kicking aspect of Karate that helped in providing me an edge when it came to Kata and Kumite.

Photo of my son and I. Cédérick had won the Junior Grand Champ title at one of the Association’s tournaments. A proud father posing with a very happy and successful contestant.

This news clipping outlines some success that our Karate-kas had in a competition in Long Island, New York. We had success not only in the Gatineau/ Ottawa region, but in the USA.

This International Team mentioned above came back with over thirty medals competing favorably against some international squads. They did so in katas, self-defense and kumite. All of these

karate-kas, except one continue along the path of Karate-do in Gatineau. Jacques Barbier our only exception regretfully passed away.

Pascale is one of the most successful Karate-kas the Association has been able to witness in recent times. She is providing a great example for our aspiring and hard working students to follow. This picture was taken at a Tournament in Gracefield Québec in 2008 where she walked away with the first place in kata and kumite. A Grand Champ we hope for many years to come.

Happy and successful karate-kas at a Tournament in Val-des-Monts, Québec in 2006.

Group photo of contestants at a Val-des –Monts tournament in 2006 at which the Association was able to raise some funds for the Canadian African Community Health alliance (CACHA), a local Non-Profit organization.

This is the news clipping that followed the competition. It was a very successful tournament from many point of views and one of which I have very fond memories.

PART 3 Spiritual Kime We undertook the study of Kime by first looking at the Physical components followed by the Mental. In this section, the book will attempt to tie the first two components we studied with an even greater element that makes up the total Kime experience. As you remember from the Part I, we defined Kime as the process of bringing together, or a point of focus of energy. It is the encapsulation of all degrees of energies at any particular moment in time. Therefore a total complete experience of Kime would be none other than the awareness or bringing all levels of consciousness or if you prefer all levels of energy into the present moment experience. The notion of multiple levels or layers of energy which makes up the Universe has been around for thousands of years. The ancient cultures in our civilization have provided their explanations. We have the scientist of today who continue their quest and research into matter and energy and surprisingly have come up with scientific theories that express all matter as a dimensional expression of energy. In the end today’s theories are not unlike the metaphysical theories provided by the ancients of our civilization. “Reality, according to the perennial philosophy, is not one-dimensional; it is not a flat land of uniform substance stretching monotonously before the eye. Rather, reality is composed of several different but continuous dimensions. Manifest reality, that is, consists of different grades or levels, reaching from the lowest and most dense and least conscious to the highest and most subtle and most conscious. At the end of this continuum of being or spectrum of consciousness is what we in the West would call “matter” or the insentient and the nonconscious, and at the other end is ‘spirit’ or “God-head” or the “superconscious” (which is also to be the all pervading ground of the entire sequence). Arrayed in between are the other dimensions of being, arranged according to their individual degrees of reality (Plato), actuality (Aristotle}, inclusiveness (Hegel), consciousness (Aurobindo), clarity (Leibniz), embrace (Plotinus), or knowingness (Garab Dorje). Ken Wilber –“Eye of the Sprit” pages 39-41. The key concept to grasp in the understanding for all these levels of energy manifestations is consciousness for all dimensions are expressions of CONSCIOUSNESS. Let me reiterate: “Kime is in essence bringing all levels of energy into focus out of consciousness into the present moment awareness or experience”. To possess this state of awareness and to continuously live this experience is the ultimate aim of the Martial Artist. The ability to live in this refined state of experience separates the adepts from the novices. Everything is contained in consciousness without consciousness nothing would exist. All our outer sensual experiences are expressions of consciousness, seeing, smelling, tasting, hearing and feeling are perceptions based in consciousness. All our inner experiences are based in consciousness, thinking, imagining, and remembering; our attitudes, memories, emotions, behaviors; and our social interactions. Everything but everything is an

energy expression in consciousness and of consciousness. Deepak Chopra, a well read author and Medical Doctor once described the process of “sound” to make an audience understand the magic of consciousness. The following thought experience is an attempt to paraphrase what Dr. Chopra’s presented to his audience and hopefully it will provide the karate-ka with an appreciation of the mystery of consciousness. More importantly though is getting a deeper knowledge and sense of magic of individual consciousness. If you get a small understanding of this mystery you will be surely on the road to higher knowledge and understanding without it you will truly be limited in trying to understand the concept of Spiritual Kime. The thought experiment went as follows. When I hear someone’s voice what (who) does the hearing? We have discovered through the scientific process of investigation that sound is merely compressed air molecules that hit an ear drum which stimulate fine hair in our inner ear. The fine hairs called ciliae stimulate and create an electromagnetic wave of energy which is transported along a nerve to our brains. The brain is a mass collection of neuron transmitters, a fine tuned electric circuit board and memory storage device. Once the electromagnetic frequency reaches the brain it stimulates a neuron which produces a bio-chemical reaction in the synapses. The synapses are tiny gaps between neurons. The chemical reaction is either one that stimulates or depresses (On or Off), a binary computer like process. The chemical reaction stimulates a neuron that lies at the other end of the synapse. You can imagine that there are many such reactions happening as result of these stimuli. The network of electromagnetic stimuli and chemical reactions are stored in itself as an electro-magnetic impulse which is saved in the different cortexes of the brain. So far we have spoken about nothing but energy expressions and bio-chemical reactions. Where inside your brain is the sound made? What makes the sound you hear, let alone the comprehensive language or music that result from the beforementioned stimuli? There in itself lies the mystery of consciousness; it is no way in your brain but outside, hearing and appreciation are not brain functions. Your brains are matter that collects and processes and retrieves energy impressions. Where is sound? Sound is a product of your consciousness. You can do the same thought experiments for all your senses. This mystery of Consciousness has been the subject of many great minds for some thousands of years. The first schools of thought approached the mystery by dissecting the different energy levels they believed existed. They knew as well that sense perceptions and other stimuli were discerned outside the brain. Therefore different cultures derived different approaches which consequently brought forth different theories, models or schools of thought. This section of the book will highlight some schools of thought which have influenced and, or are at the heart of the Martial Arts. We will also explore the Eastern metaphysical concepts of energy vortexes called Chakras and how they tie in to these schools of thought. We will dive into the concepts of thoughtfulness, mindfulness and soulfulness and how these concepts are important in the life of a karate-ka or any other martial artist or for that matter any sentient human being. We will explore the importance of the solar plexus and its importance in the sympathic nervous system and ultimately the connection to Spiritual Kime. The reader will most likely come to his or her own conclusions with regards to Consciousness, Energy manifestations and Kime which in the end pays tribute to the vastness of the subject matter and the never ending study of “IT”. My work here is not to convince you one way or another only to bring

the practitioner of Karate-do into contact with these notions and hopefully help them on the path they have chosen.

Chapter 12 Eastern Metaphysical Concepts of Energy Levels ______________________________________________________ “…each one – this totality of substance constituting your inner and outer body, the totality of substance with which your being is built from the outermost to the inmost – is a field of work; it is as though one had gathered together carefully, accumulated a certain number of vibrations and put them at your disposal for you to work upon them fully. It is like a field of action constantly at your disposal: night and day, waking or asleep, all the time-nobody can take it away from you, it is wonderful! You may refuse to use it (as most men do), but it is a mass to be transformed that is there in your hands, fully at your disposal, given to you for you to learn to work upon it. So, the most important thing is to begin by doing that.” Sri Aurobindo (Looking from Within) ______________________________________________________ We start Section III by bringing to light some of the different concepts that have been written about the multiple layers of energy which makes up the Universe. This is required in order to help the readers understand the complexities of the energy domains but more importantly help them appreciate and experience the existence of these domains. If the karate-ka can make these jumps in awareness than Spiritual Kime can ultimately be appropriated and experienced. The different schools of thought with regards to the grades of energy which make up human existence have been around for many centuries and their beliefs are at the core of many Eastern religions let alone influencing the practice of the Martial Arts. It is therefore crucial that we review these schools of thought in order to attempt to comprehend what the Oriental Masters had in mind when they spoke of Spiritual Kime.

12.1 Hinduism One of the schools of thought with regards to viewing the Universe as a hierarchy of dimensional levels is Hinduism. This school is truly at the heart of all the other ancient and modern schools of thought concerning energy components of our experience. In Hinduism the lowest level is called annamayakosha which means a level made of food or conceptually that what relates to the physical body and material cosmos. It is the manifestation of energy at its lowest frequency and therefore densest expression. The second level is called pranamayakosha. This is the level made of biological functions and bio-energy. The third is called the manomayakosha the level made of mind. This is the mind that stays close to the five senses. It is also referred to as intellect, mind ego, mental ego. It relates to secondary thinking processes. In Hinduism the mind that functions beyond operational thinking is a higher form of mind. It is called vijnanamayakosha. This higher level is sometimes referred to as the subtle realm; a realm of faster moving and refined energy beyond the conventional mind. It is said that it is where we experience ecstatic intuition, an extraordinary level of clarity and perception which is beyond body, ego and conventional mind. Further up in the dimensional latter of our existence the Hindu gurus have taught their followers to believe that there is level of even faster moving and refined energy beyond the subtle to the Causal realm. This level they called anandamayakosha. They call it the level of perfect transcendence. It is above and beyond conception, experience and imagination, so perfect that it is the blissful release into infinity. Finally if we experience this last level we will have been reawaken to our true nature our source our “One Taste”; also referred as the “Suchness” of our beings. It is for all intensive purposes the Primordial Force, God, Universal Consciousness or the Super Consciousness.

12.2 Buddhism This school of thought has many expressions that depict the different dimensional levels of energy but in short relate very close to the Hindu concepts. Buddhists believe also that each level is composed of realms of energy that manifest from denser to more refine essences of energy. What the Hindus believe exist in the first two realms as expressed above is referred to in Buddhism as the five Vijnanas the dominion of the five senses and their physical objects. The next level of more refined energy is called Manovijnana. This is the same as what the Westerners call intellect or sometimes mental-ego and relates to the Hinduism level before mentioned as Vijnanamayakosha (the subtle realm). The Buddhists often refer to this realm of energy as the manas. Again their concept relates the higher mind unattached from the five senses and far beyond the mental ego and body. A greater refined higher frequency energy exists for the Buddhists as well and it lies beyond the subtle realm to a causal realm which they call Alayavijnana. Conceptually it has all the characteristics of perfection; it is described as the release of consciousness into blissful infinity. This level described by Buddhism is as you probably noticed very similar to what Hinduism describes as Anandamayakosha. It is again for the Buddhists the Primordial Force, God, or the Universal Consciousness.

12.3 Taoism Taoism, it too has its dimensional realms of energy manifestations. Taoists believe above all that there exists at the heart of all an Energy base which permeates in substance into all other energy fields; it is one and one onto itself. It is known to the Taoist as the Wu. The Wu is this Primordial Field, the Entity, the Tao, God, Super Consciousness or whatever. It has no importance what name you give it; all schools of thought do not deny its’ existence. Not even the scientist of today from particle theorists to string theorists, they all have concluded to the existence of this Primordial Field. Albert Einstein spent his life trying to come up with a theory that would explain the different manifestations of A Primordial or Universal Field Theory. This Primordial Energy principal is believed to have manifested itself into denser energies which are akin to the dimensional levels explained by the other school of thoughts. The first stage for the Taoist is a transformation that makes up Individual Consciousness. Individual Consciousness can be further subdivided into two parts. The first layer of individual consciousness is more subtle which means that the energy vibrates at a higher frequency than the second. The higher level of Individual Consciousness is beyond mind and thinking, yet it is a key part of individual consciousness. It is the very part of Individual Consciousness that allows humans to appreciate life in its entire splendor both physical and metaphysical. That very part of Individual Consciousness is called Shen. It is akin to what western philosophers and psychologists refer to as the “Soul” of the person. The second layer of individual consciousness is denser than the first and relates to what western philosophers call the “Mind” and Intellect. It is the energy layer where thought energies are processed where “Ego” a sense of individuality and separateness abides. The thought energy mentioned above and processes in “Mind” creates a chain reaction and transforms itself again to a denser energy substance that activates our biochemical bodies and creates the electro magnetic muscular reactions we define as movement or action. Taoists define these manifestations and named it Chi for the energy substance that activates and Li for the actual object (body).

12.4 Spiritual Kime Now that all these concepts have been brought to light we can surely conclude that Consciousness is nothing other that a Field of Energy which vibrates at different frequencies and by doing so transforms and manifests itself differently at different frequencies. From all these discussions mentioned above, what can we conclude for Spiritual Kime? We know from the ancient Masters that Kime is a concept that is defined as the bringing together all these energies into the present moment awareness or experience. In fact if done right the Martial Artist can tap into this infinite ocean of energy. How can it be done? The graphic below is an attempt on my part to bring all these ideas together in a way that will bring some clarity to all these schools of thought and there position in the dimensional realms in which they have been explained to exist. This model will hopefully help Martial Artists view in their mind’s eye the dimensional energy bodies and their relations to the others. The purpose for all this dissection appears to be man’s insatiable quest to find a universal truth about himself seeking a sense liberation from the chains of ignorance about those areas of his being that are un-manifest, difficult to measure and to prove empirically. The search to a higher experience of oneself appears to be a goal shared by all past and current civilizations. The key here is to acknowledge man’s quest to find enlightenment about matters of his consciousness. By doing so we can start to fathom the mysteries and partake in the rewards that await us as we explore these dimensions within ourselves. The bonus will be the spill over to our study in the Martial Arts. Your individual study will no doubt bring you subjects to contemplate. The above graph will be re-utilized in Chapter 14 where I will venture into a realm of personal thoughts that helped me grasp what I believe to be a conspicuous explanation for what the Master’s referred to as Yomi or if you wish the kernel of Spiritual Kime.

NOTES

Chapter 13 Chakra Meditation ______________________________________________________ “Just so with any of the other interior experiments in awareness disclosing yet higher realms, of which meditation is one of the oldest, most tested, and most reproduced. So if you’re skeptical, that’s a healthy attitude, and we invite you to find out for yourself, and perform this interior experiment with us, and get the data, and help us interpret it. But if you won’t perform the experiment, please don’t ridicule those who do. And by far the most common interpretation of those who have seen this data is: you are face to face with the Divine.”

Ken Wilber ______________________________________________________ In the last chapter you came away with, I hope, an appreciation for a few the Eastern schools of thought regarding the energy composition of human beings. The multiple layers of energy that we live in are sometimes referred to in the esoteric literature as realms or bodies. It is common for those who believe in the existence of these realms, to report that through hard work, discipline and personal evolution that they have experienced these subtle energy levels. To do so would consequently mean that an individual would need to evolve to transcend his physical reality to a higher super conscious existence of life. Many of these schools as you have surely surmised are today’s eastern religions whose beliefs are that you can transcend physical awareness or experience to have greater experiences in higher more subtle energy bodies. Each one of these realms or bodies corresponds to certain Western concepts which are from subtler to denser energy levels, below is a simple comparative table: Realms or Body Atomic Body Buddhistic Body Causal Body Mental Body Astral Body Physical Body Western Concept Spirit Soul Intellect Mind Emotion Will It is also believed that each one of these bodies emanate energy that continuously vibrate at different frequencies and which nourish our physical, mental and spiritual bodies. The Physical and lowest density energy body receives all this energy nourishment through a Chakra system, a Chakra being a Sanskrit word for wheel or Energy Vortex. This subject matter and knowledge has become very

popular in the Western World and can be readily found in books, magazines and the internet. What I would like in the following paragraphs is provide you with a quick synopsis of this Chakra System to highlight some of the characteristics which hit me as noteworthy and helped me in my studies in Karate as well as Reiki and ultimately in my current understanding of Spiritual Kime. Before we mentally explore these concepts I would like to regress a little and share with you the origins of my interest into these energy bodies or realms. It began some time back when I read “The Monk who sold his Ferrari, by Robin S. Sharma. This book qualifies as an inspirational adult book which helps a person to question what life is really about. It is the story of lawyer who lives a successful life by western standards. His hectic life filled with consumerism gets the best of him and he barely escapes death from a heart attack. As you can imagine he goes through a spiritual crisis making him ask the big questions of life. In the hope to find happiness, he sells all his possessions and travels to India. In India he enters an Ashram of some Himalayan guru who teaches him “Seven Virtues of Enlightened Learning” These virtues are as follows: 1) Master your mind, 2) Follow your purpose, 3) Practice Kaizen (“change for the better” a Japanese Philosophy), 4) Live with discipline, 5) Respect your time, 6) Selflessly serve others, and 7) Embrace the present. Each virtue is discussed in a simple down to earth approach introducing concepts and habits that can be mastered to lead a fulfilled and flourishing life. The following paragraphs in this Chapter are the concepts and habits I have learnt and will share with you which have help me in my quest to better understand Spiritual Kime. Without further ado let us take some time to examine some of the components of this system.

13.1 The Chakra Energy System The Chakra System is made up of 7 main vortexes and three principle channels or energy conduits. The conduits are commonly known under their Sanskrit names which are as follows: 1) Sushumna 2) Ida 3) Pingala

13.1.1 The Sushumna is a main conduit that connects all chakras from the root chakra which is positioned at the end of the spine to the top of the head which is called the crown. This conduit is straight and runs along the centre of the spinal cord and is known as the ‘zero-null-line’. It is said to be a superconductive channel on which the ying and yang (female and male) white and red, negative and positive energies unite and cross each other at the Chakras. It is also the main channel for the Kundalini energy, a powerful energy that resides dormant at the base chakra curled up like a serpent and when awaken rises through the Sushumna transpiercing each chakra until it reaches the Crown. It is said that when this is achieved the awakening experience to higher bodies before mentioned commences. The notion of chakras is explained further below.

13.1.2 The Ida is the conduit that carries the ying energy or the female, black (Indigo in the illustration below) or negatively charged energy. It runs in a spiral fashion criss- crossing all the Chakras rising from the root chakra to end at the Ajna or 6 th Chakra. Some teachings in these matters indicate that it ends in the right nostril. It most certainly has to do with the breath and its connection to the parasympathic nervous system which will be discussed later.

13.1.3 The Pingala on the other hand is the conduit that carries the yang energy of male, white (red in the illustration below) or positive charged energy. It runs opposite the Ida in a spiral fashion running from the root chakra crossing over at the different chakras and evidentially finishing at the 6 th Chakra which is called the Ajna. It is said that the conduit ends in the left nostril. (see below) Connected to these conduits at the various junctions in our body are the Chakras.

13.2 Chakras Starting from the top to correspond with the table above; it is said that for each chakra there is an associated realm of energy. Let us delve further into this thought, for instance: 1) The Crown Chakra is known as the thousand pedal lotus, a wheel or vortex of energy that whirls at very high speeds. In Sanskrit it is called ‘Sahasrara’ which translates roughly as (a thousand fold). It is said to be the gateway to the Godhead (Bindu), Enlightenment, Super Consciousness, or Cosmic Consciousness. It is associated with white light and the portal to the Atmic Realm. 2) The Third Eye is just below the crown, a position in between the two eyebrows. It is a Chakra which is commonly known as the Third Eye. In Sanskrit it is called ‘Ajna’, which translates to as (to perceive and command). It is the point of final intersection for the Ida and the Pingala energy channels. It is associated with the higher Self, or Soul of Man (Atma). It is associated with the colors purple or Indigo and is said to be the portal to the Buddhistic Realm. 3) Further down just below the throat and adams apple is a Chakra known to some as the blue lotus or in Sanskrit ‘Visuddha’ which translates as (purification). It is said to be a wheel with 16 spokes or lotus with 16 pedals. It is associated with the higher mind or if you wish the intellect. It is associated with the color Blue and is said to be the gateway the Causal Body. It is the starting point to the higher realms and powerful experiences. 4) In the middle of your chest is the Heart Chakra known in Sanskrit as the ‘Anahata’ which translates as (un-struck or unhurt). It is associated to the seat of emotion and the connection to love. It is associated with emotions and the driving force behind thought energy. The Anahata revolves and emits the color green and is said to be the portal to the Astral Realm. 5) A little over to the right from the heart chakra and down a few centimeters is the Solar Plexus Chakra. In Sanskrit is called ‘Manipura’ which translates as (Lustrous Gem). It is known as the second brain. For some esoteric scholars it is the primary brain for it is said to be directly connected to the Higher Realms. It fact I believe that it this gateway to which the ancient masters were referring to when they spoke of the Martial Art principle of Muchin no shin or in other Martial Art circles as Yomi. We spoke and study these principles in Chapter 9 Part II under Mental Kime. It is a very powerful Chakra and is key element in a Martial Artist’s training for Powerful Spiritual Kime. We will speak about this gateway again in the coming Chapters. For the moment remember it as a direct connection to Pure Consciousness and ultimately Super Consciousness. 6) Still a little further down about a few centimeters below the navel is a widely spoken about energy vortex that Martial Artist have branded and popularized in all the literature about the Martial Arts. The centre is called the Hara. In Sanskrit the name for this energy vortex is ‘Svadhisthana’ which translates as (one’s own place). It is an important reservoir and requires a constant flow of energy for our well being. It is associated with the color orange. It is said to be a portal to the mental realm. 7) Finally lower near the end of the spine we find the Root Chakra or in Sanskrit the chakra is called the ‘Muladhara’ which translates into (Root Support). It is the vortex that binds energy into matter. It

is said to be the gateway to the Physical Realm and is represented by the color red. These are the principle components of the Chakra system. A system I believe to exist, and as a Reiki Master, I work with to help in my karate, healing and guidance practice. I encourage all my students to get acquainted and study this system thoroughly with the intention of acquiring the building blocks to experience what these ancient Rishis(sages) have discovered and build a Powerful Kime. Getting acquainted with this system requires some study in books which I urge all the readers to do but also to build a Meditation Practice.

13.3 Chakra Meditation There is most probably one burning question which is on your mind as I know from experience that every time the mention of the subject of meditation comes up there are always a few karate-kas that have no notion whatsoever what meditation really is. I would like to provide you with a quotation from Ken Wilber’s book (Grace and Grit p76). I share this with you as I personally resonate to this train of thought. I find it thorough and thought provoking with regards to the multifacets of meditation. “There are many ways to explain meditation, what it is, what it does, how it works. Meditation, it is said, is a way to evoke the relaxation response. Meditation, other say, is a way to train and strengthen awareness; a method for centering and focusing the self; a way to halt constant verbal thinking and relax the body-mind; a technique for calming the central nervous system; a way to relieve stress, bolster self-esteem, reduce anxiety, and alleviate depression. All of those are true enough; meditation has been clinically demonstrated to do all those things. But I would like to emphasize that meditation itself is, and always has been, a spiritual practice. Meditation, whether Christian, Buddhist, Hindu, Taoist, or Islamic, was invented as a way for the soul to venture inward, there ultimately to find supreme identity with Godhead. “ The Kingdom of Heaven is within” –and meditation, from the very beginning, has been the royal road to that Kingdom. Whatever else it does, and it does many beneficial things, meditation is first and foremost a search for the God within whatever which way you may define God.” Dr. Stanislav Grof a renowned researcher in matters of transpersonal awareness described the results of searching within and attaining the experience of this Kingdom if you wish, finding and experiencing what he qualified as “The Supracosmic and Metacosmic Void”. “One of the most enigmatic of all transpersonal phenomena is the experience of the Void, the encounter with primordial Emptiness, Nothingness, and Silence. This extraordinary spiritual experience is of a highly paradoxical nature. The Void exists beyond form of any kind. While being a source of everything it cannot itself be derived from anything else. It is beyond space and time. While we can perceive nothing concrete in the Void there is also the profound sense that nothing is missing. This absolute emptiness is simultaneously pregnant with all of existence since it contains everything in a potential form. The Void transcends all ordinary concepts of causality. People who have experienced it become acutely aware of the fact that various forms can emerge from this Void and take on an existence either in the phenomenal world or as an archetype, and that they can do so without any apparent cause or reason. While the idea that something could occur or take form for no reason at all may seem incomprehensible to us from our everyday state of consciousness, that same idea does not surprise us in the least when we experience the Void. As in the quantum wave theories of modern physics, the Void may be perceived as being made up of an infinite number of “quanta”, that is, bits and pieces that make up complete sets of possibilities for virtually anything to occur. By choosing a particular

reality, that reality is created in consciousness.” – Stanislav Grof, M.D. (The Holotropic Mind ) His description is very well articulated and very scientific and appeals to many of Westerners. However, I am of the opinion that searching within ( “meditation”) is not scientific, by no means is it religious, but certainly I believe it is spiritual. Let me share with you Ken Wilber’s view which I strongly resonate with. “Spiritual has to do with actual experience, not mere beliefs; with God as the Ground of Being, not a cosmic Daddy figure; with awakening to one’s true Self, not praying for one’s little self; with the disciplining of awareness, not preachy and churchy moralisms about drinking and smoking and sexing; with Spirit found in everyone’s Heart, not anything done in this or that church. Meditation is spiritual; prayer is religious. That is, petitionary prayer, in which I ask God to give me a new car, help with my promotion, etc., is religious; it simply wishes to bolster the little ego in its wants and desires. Meditation, on the hand seeks to go beyond the ego altogether; it asks nothing from God, real or imagined, but rather offers itself up as a sacrifice toward a greater awareness. Meditation, then, is not so much a part of this or that particular religion, but rather part of the universal spiritual culture of all humankind- an effort to bring awareness to bear on all aspects of life.” – Ken Wilber This whole line of thinking towards achieving an intimate relationship with a supreme entity call it Godhead, Cosmic, Universal Consciousness, or the Void appeals to me deeply. I have no pretension in having the answer or arguments to make katate-kas believe one way or another of the existence of this OmniPresent and Omni-Powerful field of Consciousness that lies within us as well as without us. I do however believe that past Karate and Martial Art Masters dabble and even some had very serious meditation practices. It is for this reason that I bring forward what I have discovered in the hope that those students who would pursue this avenue would have a good starting point and perhaps achieve some of the inner strength that the Masters had. Whatever this knowledge may do I am not certain but my hope that it will inspire you to try to go further, and beyond where the Masters have left us on the road to Strong Spiritual Kime. Meditation can be done while sitting down, standing, in Zeza as we karatekas are accustomed to and finally the lotus position as pictured above in the seven chakra figure. All of the Chakras which were described earlier with their connections to the different energy bodies have their origin as mentioned in the Hindu Tradition and the practitioners developed a whole process to become one with these Energy Fields. Ultimately they developed a process of meditation which brings your awareness to a Universal Consciousness beyond the physical realm, beyond the emotional and mental to the metaphysical realms. “There is a light of which all lesser lights are pale shadows, there is a Bliss of which all lesser joys are anemic copies, there is a Consciousness of which all lesser cognitions are a mere reflections,

there is a primordial Sound of which all lesser sounds are thin echoes.” – Ken Wilber

13.4 Pranayama The Rishis (Hindu Sages) realized that the only thing that we could really consciously control within the lower physical, emotional and mental realms and normally controlled by or (sympathical nervous system) was our breathing. Based on that realization they developed breathing exercises which they became very proficient at controlling and moving energy from one chakra to the next from the Mulahara (root Chakra) to the Sahasrara (Crown Chakra). They called this system of breathing Pranayama. For those of you who would like to study this and I encourage you to do so, and you can find some interesting sources of information which I have inserted in the bibliography at the end of the book. You will be surprised no doubt to the extent and degree of expertise that these Rishis achieved and phenomenal power that they eventually experienced on a routine basis.

13.5 Mantras Breathing combined with sounds were the components of their system to move up the ladder to subtler energies. The system of sounds which they emitted is another area of expertise which they called Mantras. Mantra is a compound word “Man” being of the Mind and “Tra” which means instrument The Sanskrit sounds developed by the ancient Hindu masters were as follows: Sahasrara M Ajna OM Visuddha HAM Anahata YAM Manipura RAM Svadishthana VAM Mulahara LAM First you must get comfortable in a meditation position. You must follow a bottom to top order in focusing on each Chakra and chant the related Mantra: LAM, VAM, RAM, YAM, HAM, OM, M.

13.6 Kototamas Mantras are a study in themselves and if you wish, you can bring an elaborate system to your meditation practice. For those who would like to explore this area; I suggest you bring into your repertoire of Mantras those that our Japanese Martial Artist were more than probably using on a daily basis. The Mantras that I am alluding to are the Kototamas. The English translation to this Japanese word is “Sacred Sounds of the Soul” and the guiding principles behind the Kototamas lie deeply in the Japanese culture and their mythology. I encourage the reader again to explore these and I have provided some titles of books that you can research this material. I will however provide you with a short version of a series of Mantras (Kototamas) that are used to build awareness and sensitivity in the metaphysical bodies. Amatu Futonolito First you must get comfortable in a meditation position. You must follow a TOP TO BOTTOM FROM LEFT TO RIGHT order in the mantras below. Therefore while focusing on each Chakra you chant the following Mantras: A A-WA WA A E E-WE WE E I I-WI WI I O O-WO WO O U U-WU WU U There is a whole history behind these mantras and how they tie into the Shotokan practice. I will provide some highlights here in the hope that it lights up some curiosity and inspire you the reader to look further into these matters. As Gishin Funakoshi was nearing the end of his life he had gathered a close knit group of Karate-kas which were known as the Shotokai. The following karate-kas were initial members : • Yoshitaka Funakoshi (Gishin’s Son) • Shigeru Egami (Yoshitaka’s close friend and fellow Sensei) • Motonobu Hironishi Also included in this group, but more informally, was a Karate-ka named Tadao Okuyama. This enigmatic individual was by far a very passionate and acetic karate-ka. It has been reported that he left the Shotokan Dojo to pursue his acetic interest and understanding for the esoteric side of the Martial Arts. He lived with the mountain Bushis and while he was there became a practitioner of the Buddhist and Shinto sect called Shugendo. It was there in the mountains that he honed his meditative practices with the other Bushis. On his arrival back to civilization he made friends with a visiting fellow martial artist in the Shotokan dojo by the name of Yoichiro Inoue. Inoue Sensei was the nephew of Moreihi Ueshiba and the founder of Aikido. O-Sensei Ueshiba was a very controversial person when it came to his religious beliefs. He was a founding member and close companion of yet another enigmatic character in Japanese history, a man by the name of Onisaburo Degushi. Degushi was the founder of a religious sect called Omoto-Kyu. a religion which had a major influence on the spiritual thinking of Morihei Ueshiba and his nephew Yoichiro Inoue. The beliefs were quite Universal and very contrary to the

Japanese establishment. The same thinking and meditative practices that flowed over to Okuyama through Inoue (Kototamas) spilt over yet again into the Shotokai way of thinking. A last note for those interested in this history; Inoue Sensei left Aikido and his uncle as political pressure from the establishment made it difficult for Inoue to associate openly with his uncle Morihei and members of the Omoto sect. Inoue later created his own style of Aikido called Shinwa Taido and his friend Okuyama joined him. Nevertheless, it can be said that these men were very familiar with these higher and subtler energy bodies and made it a practice to tune themselves to those subtler energy bodies through meditative practice using the Kototamas.

NOTES

Photo Album 5 Seminars – Over the Years

This article describes Sensei Yorhu Yamagushi’s visit to the Capital Region and in which my fellow karate-kas and I participated. This article was written on the return of some of my students and I from New York, where we attended a seminar given by the late O’Sensei Nishiyama.

Master Nishiyama in action at a seminar held in New York. A legend whose instruction was succinct and who advocated ‘’Todome’’. A single and powerful technique is all that you need.

This photo was taken at a seminar given by V. Cruz Hanshi. The purpose was to organize the AAMC administrative structure with proper titles and functions.

A delegation of Gatineau’s finest attended a seminar in New York given by Sensei Ronald Duncan, His expertise was known in the art of disarming aggressors with knives and hand guns.

This picture was taken in 2013 where some of my students and I attended a sponsored JKA seminar hosted by Sensei Saeki. We were very pleased with his invitation and took advantage of the instruction provided by Sensei Izumiya.

This is a closer view of the participants from the AAMC group who partook in the seminar provided by the seated Sensei Izumiya.

A small group picture of my trip to New York with two of my students in 2010 to attend a seminar given by my good friend Jemmott Kyoshi. We walked away with a deeper knowledge better understanding of the principle of SSE (Sensitivity, Stabilization and Explosion).

This picture was taken at an earlier time where Hanshi Cruz was blessed good health to travel to promulgate his Shotokan knowledge. The theme of this seminar was Kime, a starting block and inspiration for this book. We were so happy to have had the opportunity to share these moments in Cantley, Québec. This is a parting picture taken with Sensei Dr. Hokama Tetshiro (10th dan), an Okinawan Goju Ryu Grand Master who gave a seminar in Toronto, Ontario. His techniques and bunkais were well worth the trip.

Two of my friends and fellow karate-kas pose with Tetshiro Sensei. They were overjoyed with the knowledge that they came home with. Part of my group who attend the Toronto seminar pose with Shiroma Kiyanori (10th dan). This Okinawan Master provided us with an unbelievable insight into footwork (unsoku). He also provided some interesting starting techniques to work with the Bo. It is sad to say that this Grand Master is no longer with us and died shortly after his trip to Canada. Apparently it was his last seminar given outside of Japan. We all felt privileged to have had spent some time with him.

Some of my students taking instruction from Sensei David Tsuruoka at a seminar given in Ottawa in 2013. O’Sensei Tsuruoka takes a moment to joke around with one of my students at the Ottawa seminar in 2013.

This is a photo taken at the AAMC summer seminar, just north west of Gatineau in July 2014. This seminar provided the association members an opportunity to learn new self defense techniques against a knife and all around techniques on how to properly strike with a kali. The seminar was given by Michel Doiron with the help of one of my former students, Louis Lance.

Chapter 14 Kundalini Experience ______________________________________________________ “…our basic instincts have been meddled with so much that we no longer respond naturally and spontaneously; but react with our particular programming. We tend to mistake direct messages, sending them to the wrong centers.” Malcolm Godwin (Who are You? 101 Ways of Seeing Yourself) ______________________________________________________ “…there seems to be a much greater and expanded range of abilities available when a person can shift from consciousness to more natural or subconscious linking of mind and body.” Lee Pulos (Beyond Hypnosis) ______________________________________________________ We have finally come to the crossroads where I have taken you from Physical Kime to Mental Kime and in the last Chapters described some Metaphysical concepts that have, I hope, made you aware of the energy subtleties and variety of philosophical theories that demarcate, and define these energy nuances. What is important to grasp is the painstaking ways that philosophers have taken to describe none other than the “Un-Manifest” psychic energy hidden in total Consciousness and man’s propensity, drive or predisposition to connect and bring this hidden psychic energy out of hiding into our main stream Consciousness. Meditation as we have seen is a mere process to try and connect, unveil or unmask but it is a holistic method that we need that involves all three levels of our being, body, mind or spirit. I will let Malcolm Godwin describe this “The Perennial Philosophy, a term first coined by the German philosopher and mathematician Gottfield Wilhelm Leibniz, forms the esoteric core of Hindu, Buddhist, Tao, Sufi and Christian mysticism. Its central teaching implies a transcendental path that moves from the body to mind, then from mind to soul, and finally from soul to spirit. One part does not exclude another, however, as the essential message is one of wholeness and unity of being. A human being can be seen to evolve through seven stages and it is possible to see each type of person as one particular stage on an invisible ladder toward wholeness. It is also possible to view each stage as if it were a type, as if an individual could be identified by his or her attention. Our present dilemma is that we are caught up in the phenomenal world of science and technology, and in the consuming materialism that fast follows in its wake. So the tendency has been to become fixed at the first stage.. However, imbalance is not unique to our time. Other cultures have concentrated their attention on different stages—on more psychic and magical planes rather than those of the material world. The Perennial Philosophy directs our attention to a holistic view of being human and of the responsibility to awaken to our potential. For the whole is ever present, yet seldom realized. It

is the pure Nature of every human being, but has to be awakened from its sleep deep within our core.” – Malcolm Godwin (Who Are You ? 101 Ways of Seeing Yourself)

14.1 Sub-Conscious and the Sympathetic Nervous System Awakening from our sleep deep within our core means for me the lifting of the veil of unconsciousness and disrobing myself of any habitual boundaries, habits or behaviors. These boundaries are preventing me from experiencing higher psychic energy forces thus limiting my awareness. We must come to

the realization that we can connect with our intuitive subconscious “Self ”. This intuitive subconscious or unconscious self is the driving force behind our sympathetic system it doesn’t reside in our mind. These energy forces or higher consciousnesses communicate with our automatic nervous system. The latter consisting of nerves arising from ganglia near the middle part of our spinal Chords and are connected funny enough with our chakra system as depicted in the image on the previous page. This system is the base or connection to our subconscious mind which is connected to higher levels of energy or Consciousness. Let me share with you a passage which I feel will guide you into a frame of mind where I believe you will understand the connection that I was able to deduced from the study of the subconscious, sympathetic system and higher levels of consciousness. The passage is as follows: “Freud conceived of the subconscious, the id, as being a non-reasoning seat of basic instincts and drives, and a repository of repressed information, desires, and aggressions. Today we have to revise this idea of the subconscious given what we have learned about the mind in this century. The subconscious mind does reason, albeit with logic of its own, distinct from the conscious mind. Furthermore, the subconscious is not simply a repository of instincts and repressed urges, but rather an active agent of our behavior, constantly receiving, processing, and analyzing information and controlling hundreds of mental and physical functions. Everything that has ever happened to us is stored in its immense memory bank in complete detail. The vast storehouse of information carries a lot more than repressed childhood sexual fantasies; it holds the key to our entire personality because it is the sum total of our image of our self.” – Lee Pulos (Beyond Hypnosis) Lee Pulos uses the term self but I will at this point emphasize “ SELF” capital S as it is no other than this Spiritual Self alluded to by the philosophers of old. You will see from the diagram below that I have tried to conceptualize in this image all the subject matter that has been discussed in the past Chapters especially that which dealt with the different schools of thought and levels of our being in Chapter 12. As described by Yogis, Rishis and Sufis the evolution and study of consciousness was and continues to be done in a sequential in manner; these Eastern and Modern Approaches speak of a progressive fashion to study awareness which determines the level of our consciousness. The approaches that I have been exposed to have all been from matter to spirit. This is somewhat amusing and puzzling for all of them expounds their ideas by presenting a spirit to matter process of creation. So let us for a moment look at the diagram below and using the Taoist terminology and a Top Down approach to describe the evolution of Consciousness; the Wu is this Primordial Energy Field, the Entity, the Tao, God, Super Consciousness. The first stage for the Taoist is a transformation that makes up Individual Consciousness. Individual Consciousness can be further subdivided into two parts. The first layer of individual consciousness is more subtle which means that the energy vibrates at a higher frequency than the second. The higher level of Individual Consciousness is beyond mind and thinking, yet it is a key part of individual consciousness. It is the very part of Individual Conscious

ness that allows humans to appreciate life in its entire splendor both physical and meta-physical. That very part of Individual Consciousness is called Shen. It is akin to what western philosophers and psychologists refer to as the “Soul” of the person. The second layer of individual consciousness is denser than the first and relates to what western philosophers call the “Mind” and Intellect. It is the energy layer where thought energies are processed where “Ego” a sense of individuality and separateness abides. The thought energy mentioned above and processes in “Mind” creates a chain reaction and transforms itself again to a denser energy substance that activates our biochemical bodies and creates the electro magnetic muscular reactions we define as movement or action. Taoists define these manifestations and named it Chi for the energy substance that activates and Li for the actual object (body).

The subconscious (Sympathetic) as you will observe is linked to the Li (form, object or matter) and directly connected to the Shen or Soul. No mind intervention a direct conduit to higher energy manifestations or awareness. We can take each one of these Schools of Thought and map their depiction of the evolution of consciousness in the same way as I have attempted to do here. What should be captured for your contemplation is that there is this direct link to higher consciousness which by passes our cerebral spinal system. It has that quality of “Mind no Mind”, an intuitive quality that can trigger and access higher and more powerful energy subtleties of our being. This deep rooted visceral capability can be honed and is the aptitude most desired by the Master in the Martial Arts. “The real secret (of Karate) is to practice with perseverance and sincerity to achieve mushin (nonego). By doing so the doors of the Tandem (hara) will open up onto the true consciousness (awareness)! By hard work and dedicated practice the physical and spiritual will unite” It is the state Egami Sensei called HeiHo. If you achieve this level of consciousness you will have reached this state of “YOMI” as I tried to describe to you earlier in Chapter 11.

14.2 Kundalini Chakra Meditation & Equivalent Western States of Consciousness You might be asking yourselves at this point if I know of some way that will enable us to awaken this deep rooted visceral capability and provide us with aptitudes that would launch our journey in Karate-do in totally different manner and direction. The answer is yes. The method is through Kundalini Chakra Meditation. First you must dedicate yourself to the practice of meditation. I have provided a method for you in Chapter 13. The difference with the one I describe Chapter 13 and the one I mention here is the intensity of the results. Chakra meditation’s aim is to find and eventually acquaint oneself with this Universal Field, super consciousness, the Void, or the Wu. As our awareness raises through the Chakra vortexes our consciousness should markedly change. As you view the diagram below I will try to describe the changes you should encounter.

14.2.1 Muladhara Chakra The first three chakras are said to be functioning from birth, this first Chakra is linked to the consciousness of survival. The awareness is melded but starts to shift attention as to a separate entity. Some define this level of consciousness as Physiocentric, others call it Darwinian.

14.2.2 Svadhistara Chakra The second chakra is linked to pleasure and procreation. It is an awareness of personal gratification and satisfaction of desires. It is most often referred to in Western psychological terms as Egocentric or Freudian level of consciousness.

14.2.3 Manipura Chakra The third chakra is linked to an awareness of power and the means to acquire it . It remains in the realm of Egocentric consciousness with yet more control. It is referred to as the Adlerian psychological type. Alderian pertains to the theory and practices of Alfred Adler whose work id dedicated to the study of Individual Psychology. It is also referred to psychological circles as Ethnocentric consciousness.

14.2.4 Anahata Chakra The fourth chakra is linked to the awareness and commencement of a large surge of compassion and love. The experiences of awakening to higher intuitive states begin here. This is known in psychological circles as Jungian. It is named after the well known Swiss Psychoanalyst Carl Jung who developed the concepts of extraversion, introversion, archetypes and the collective unconscious. It is also referred to psychological circles as Socialcentric consciousness.

14.2.5 Vishuddha Chakra

The fifth chakra is linked to the point where awareness turns inward toward a cosmic reality and viewpoint. It is here where consciousness can experience planes of light and energy. It is where we can have direct experience of the vastness and blissfulness of our being. It is also referred to psychological circles as Soulcentric consciousness.

14.2.6 Ajna Chakra The sixth chakra is linked to the point where awareness not only turns inward but is able to decipher and attain great wisdom and knowledge. It is a realm of very subtle energy and there exist no longer any identification to body or ego.

14.2.7 Sahasrara Chakra The last center is linked to the point where awareness has direct experience with a state called Samadhi; it is an ultimate state of experience where awareness merges and blends completely with existence and we become nothing less than a presence and existence itself. It is sometimes referred to as Superconsciousness. or sometimes you will read or hear of the term Universal Cosmic consciousness.

14.3 Kundalini I am sure that you can appreciate and surmise that Chakra Meditation could be powerful enough, so what can be so great about Kundalini Chakra Meditation? Why would you want to explore further? As I mentioned before it is the intensity and direct experience one will have by trying to awaken all the centers simultaneously that stirs and guides us to want this experience This deep surreal level of being is one that I am convinced is pre-programmed in our DNA and our psychics. We are intuitively inspired to strive to attain realization of this level of consciousness and the responsibilities that are legated to the beneficiaries must be taken very seriously. I am convinced that the few that evolve to this level have not done it in one life-time. With access to the Internet you need only to type in “Kundalini” to get a plethora of information and I urge you to do just that with one warning. There are a lot of charlatans out there and if they are charging you some sort of monetary compensation to get quick and easy methods of awakening your Kundalini energy, I suggest you stay away. For those who would like to pursue this avenue here are some facts about Kundalini: 1) Kundalini is a Sanskrit word that means coiled, like a snake. It is an energy that is coiled at the base of the spine, latent and dormant and the process to awaken. 2) There is literature of Kundalini in Yoga and Tantra (both Buddhist and Hindu) 3) Arousing Kundalini usually happens to devout and meditative practitioners who have found the secrets of pranayama (breath control) 4) The Yoga literature cautions the Yoga practitioner; however, that he or she must undergo extensive preparations before attempting to arouse his or her kundalini. Otherwise it can cause trouble. 5) The aspirant should have a virtuous teacher (Guru) to aid him through the experiences as the Kundalini makes it way through the chakras from the Muladhara to the Sahasrara. 6) When the Kundalini energy makes its way up the nadis through the Chakras: “it moves from your coccyx where it resides at the base of your spine upwards. When it encounters barriers to its flow, it moves sideways into nerves and then muscles. This explains the characteristic movements that result from kundalini arousal. These movements are typically in the pelvis and legs, in the mid back, and in the neck and head. These are the three locations of the “safety gates,” called, in Sanskrit, “granthis” (knots) that protect the system from unimpeded kundalini flow. Traditional Tantra and Hatha Yoga teach an elaborate program of practices that alter this situation. They prepare the yogin’s (practitioner of Yoga) body for the powerful energies that it will need to carry. Then other practices open the “gates” while simultaneously stimulating the kundalini to flow upwards in the yogin’s spine. In traditional full-curriculum Hatha Yoga and Tantra Yoga systems the activation of kundalini without such preparation is considered unsafe and unhelpful for one’s spiritual journey.” Before closing off on this topic I would like to share with you a passage taken from a book entitled “Integral Yoga”. It is a compilation of some of the Teachings, Method and Practice created by Sri Audobindo. His method differs very much from other methods of Yoga in that he believes that such Kundalini awakening happens from the aspirants faith and very much less from his method and practice. Let me share a passage he wrote on the Kundalini experience: “There is a force which accompanies the growth of the new consciousness and at once grows with it and helps it to come about and to perfect itself. This

force is the Yoga-Shakti. It is here coiled up asleep in all the centres of our inner being (Chakras) and is at the base what is called in the Tantras the Kundalini Shakti.” But it is also above us, our head as a Divine Force-not there coiled up, inwide; it is there for manifestation and to this Force we have to open ourselves.” – Sri Aurobindo( The Integral Yoga) His belief and experience demonstrated to him that such awakening can come from the bottom of the spine but through devout aspiration the force may also come down through the Sashasrara down through to the Muladhara. I urge only that my students be aware that such awakening is possible and that we have choices to come into contact and communication with our higher consciousnesses. By doing so we can create in ourselves powerful Yomi and obviously extraordinary Sprititual Kime. Jiddu Krishnamurti, a philosopher and may I add a metaphysical inspiration to Bruce Lee was not in great favour of such devotional practices. However he did admit that knowledge of such practices lead to action which will eventually lead you to this inner awakening to a powerful source. In any case, I leave you with a testimony of one of my association’s black belts, who wrote to me after his black belt exam. It is filled with some revelation as to what meditation can do and how it transforms oneself. It will be up to each karate-ka to decide what is best for his or her evolution in the Art.

NOTES

Black Belt Exam with Kyoshi Lavigne November of the Year 2010 In the process of my black belt exam, I had the privilege to spend a session with Kyoshi Lavigne at his dojo for an evaluation of my skills and knowledge. In this short essay I will try to summarize my experience of this event. As mentioned, the setting was at Kyoshi Lavigne’s dojo. I was there with Yves Gingras and Paul Melansson who were also in the process of getting their black belt. With us was also our regular teacher: Sensei Groulx. The first part of the evening was my participation in the regular class of Kyoshi Lavigne. My impression right from the start was a feeling of discomfort. Discomfort for two reasons. A new environment with new participants and the definite impression, and I must say certitude, that Kyoshi was observing my two colleagues and I. This should not have been a surprise, as it was the reason we were there. Let me start with the new environment. After training at the Chelsea Karate dojo for more than 6 years, it suddenly hit me that I had never practise somewhere else. Going from a full size gymnasium to a much smaller local was strange. It dawned on me how limited my spirit was. How could I feel less capable just by being in a different environment? This was certainly a good first test for me, and made me realize that a good karateka need to be a able to perform his skills outside its usual parameters, such as a dojo. Through the regular class, when asked to perform Heian Waza, I was again surprise on how we could do this all at the same time in a smaller space. Being approximately twenty-five in the class, I was convinced we would hit and collide against each other. But this was not case, and we all did the Heian Wasa without colliding. It

was a lesson for me: being in your inner space doesn’t require a lot of free area around yourself. Then when were taught about SSE, i.e. Sensation, Stabilisation and Explosion. The SSE sequence was demonstrated through a movement as simple as a gedan berai. Again, to my astonishment, a movement that I knew since the first days of my training revealed more secrets. Gedan berai, which I tought was simple, was broke down into a 3 steps sequence of the toes, ball of the foot, the leg and finally the body to make a much more powerful block. The sensation of the toes starts, once the right leg tries to take its position. As the big toe touch the ground it feels if it’s safe. After the sensation (step 1) concludes that you want to continue the movement, stabilisation ( steps 2) kicks in for the completion of the stance. This stabilisation is followed immediately by an explosion (step 3) of the body executing the uke, i.e. the gedan barai. This explosion happens at the same time as the impact of the heel on the floor in a powerful movement. It is so powerful that it becomes more than a uke, but a tsuki. Just this lesson again convinced me that there is so much more to learn, about new techniques but also about old techniques that I have learned at the beginning. My second apprehension, was of course the testing of Kyoshi Lavigne aimed at me and my colleagues. I felt the questions were fair and that I managed to respond with a certain knowledge and confidence. But again, questioning from a different teacher was somewhat intimidating (especially from Kyoshi who is 8th Dan). The real exam came after the regular class. When all left except Kyoshi Lavigne, Sensei Groulx and my two colleagues, the real moment came. But to my surprise, it was more of a learning session than an exam session. Yes, Kyoshi asked us a few question and we were asked to do a demonstration of our katas, but he took this opportunity to teach us new

material and I’m grateful to him for this. After asking us to execute Heian Shodan, he made us quickly realize that we were far from being in a state of mind proper to execute the Heian Shodan at a high level of performance. He told us to first have our mind set to do the kata for us and nobody else. For me that was a clear affirmation of getting my spirit detached from any outside distraction, including those who are watching me. Secondly, I was told to have positive thinking. This is something that I always have used in my daily dealings of life, in business, with family, with friend and everywhere else. It has proven to be extremely useful in my life. But to apply this approach in the execution of a kata was for me a great joy. To have this philosophy of life incorporated in my practice of karate was a confirmation of the great spiritual journey that is karate. Again, all my life I tried to have this positive spirit, despite some difficult set backs that life confronted me to. All the sayings reflecting on positive thinking, such as : “The glass is not half empty but half full”, “There is always a silver lining to anything”, “There is always a lesson to learn from failure”, “You come out of failure a stronger person” and on and on. But at the end, positive thinking is simply never accepting defeat and moving forward. Finally, the last exercise that Kyoshi Lavigne made us do before we attempt to do our Heian Shodan one more time was a short kind of meditation. He made us sit on a small bench and asked us to concentrate on our breathing. To breathe from the belly ( like a Buddha’s breathing), to empty our thoughts and to concentrate. Whenever we were ready, then we could execute the kata. I don’t know about my performance, but my two colleagues did the exercise and performed their kata like I never saw them do it before. It was unbelievable! The focus, the execution, the rhythm and the easiness in the execution, it was all there at the same

time. I was told by one of my colleague that I had performed my kata like never before. This was an experience that I’m not about to forget. That night was really a learning experience for me. A new world where the body and the mind fuse together in harmony to execute something that seem so simple at the beginning but that in the end, is so hard to perfect. That is were the beauty of karate lies, in the ongoing search of perfection, in this symbiosis of the mind and the body. Finally I look forward to those new learning that my back belt will allow me to gain and to achieve this progress where I’m getting closer and closer to this perfect state of body and mind. I want to thank Kyoshi Lavigne and Sensei Groulx for this revealing experience. My body, at the age of 51, sometimes feels like its going downhill. But on the contrary, all the best experiences are to come! Raymond Brunet (alias Raymond San) December 12, 2010.

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