Core Ebook PDF

# 01 / 2012
IN THIS ISSUE:
INTERVIEW

KANCHO JACK SIMS

The forefather of
Karate in New Zealand
KUMITE TIPS
36 Useful Sparring Tips
LOW KICKING
Below the Belt?
PLUS
l
STILLNESS TRAINING

l NO FIRST ATTACK
IN KARATE

l
HEALTH & MIND

+ MUCH MORE...
www.physicalarts.com
cont
4

Interview with Kancho Jack Sims

The forefather of New Zealand Karate
16 The Nature of Fighting

Understanding the applications of
Karate Katas.
24 Stillness Training
The benefits of contrasting
movement with stillness
30 Learning Effective Breathing Methods

One of the most important aspects of
martial arts training is proper breathing
38 No First Attack in Karate
The issue of pre-emptive striking
42 Low Kicking

Below the belt?
2 CORE | ISSUE ONE 2012
46 Flexibility
Improving our level
of flexibility
50 Kumite Tips
36 effective sparring tips
52 Effective Lesson
Planning

The four main
components of an
effective lesson plan
54 Chuck Norris
Interview with a
a Karate legend
66 Mental Strength
Accomplishing our goals
68 Dealing with Knee Pain
Helpful exercises to try
69 Blueberries

Powerful antioxidents
70 Nuts about Nuts
Natures energy bundles
74 Martial Arts Retreats
Enjoy a holistic holiday
76 The McDojo
What are they? And how
can you avoid them
tents
24
38
60 Letitia Carr

Up and coming New
Zealand Karate champ
80 Japanese Terms

Reference guide
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Core Magazine is an amalgamation of some of the articles currently available

to read on PhysicalArts.com. Opinions expressed in this magazine are
those of the authors and not necessarily those of Mega Media Limited. The
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ISSUE ONE 2012 | CORE
CORE | INTERVIEW
INTERVIEW WITH
CHIDOKAN
KANCHO
JACK SIMS
BY SHANE CLAPSON
PHOTOGRAPHY BY BRYCE CARLETON
INTERVIEW | CORE
ISSUE ONE 2012 | CORE 5
CORE | INTERVIEW
Kancho Sims (Chidokan 9th dan)
INTERVIEW | CORE
Jack Sims established his own karate-do organisation NZ Chidokan in 1968

with his wife Mardie and close friend Ben Griffiths. This was the first Chidokan
dojo to be established outside of Japan. In 1968 Jack was contracted to teach close
quarter battle skills to the elite NZ SAS which he continued for the next 26 years.
In 1970 Jack represented New Zealand at the first World Karate-do Championships
held in Tokyo and was awarded one of just three medals for karate excellence. He
was instrumental in the formation of the New Zealand National Karate-do governing
body (UNZKO) in 1972 and went on to become an international referee, judge and
New Zealand coach. At its peak, New Zealand Chidokan boasted 22 branch dojos
and a membership of 3000 plus. In 1986 Jack was officially awarded New Zealand
Kancho status. Now at over 70 years of age Jack Sims, 9th dan continues to teach
and train with passion and belief in the art of his boyhood dreams.
hank you for the opportunity to

interview you Kancho. You are one of
the founding fathers of martial arts in
NZ. When you first boarded the boat
to Japan in 1967, did you have a grand
plan beyond just getting through your
training which you have described
in your excellent book Seven Times
Down Eight Times Up?
Even on my sea voyage to Japan I recall having lofty ideas of
simply continuing on from my seven years of previous martial
arts training. I would pick up some experience at Chidokan
hombu dojo, and slot in some Judo and Aikido training. After
all, I would have plenty of spare time so I thought.
I was in for a rude awakening and thats exactly what I got.
My first night in Japan I did not train, but was invited to observe
the class in action through the open door. My heart sank with
what I saw kyu grades performing at a standard I never knew
existed. The green belts were scary by my standards. Worse was
to come!
Chidokan Kancho Sasaki, on meeting me for the first time
asked what I did back in New Zealand. When I replied, I teach
martial arts, he looked at me for a while, then replied, how
can you teach what you dont know. I felt quite foolish but
managed to reply Sensei, hai wakarimasu (I understand) I
have come to Japan to learn from the beginning.
I never did find too much spare time for Judo or Aikido
training. Whatever my early plans were before arriving in Japan
had now dramatically changed I was a white belt uchi-deshi;
living above the dojo and required to train six hours every day.
I was fighting to survive.
When you returned to NZ what shape was karate in then?

Not too flash at all. Same as before I went to Japan in fact. Many,
many very keen and willing students being taught; largely by self
appointed dan grades the blind leading the blind so to speak.
The style of martial arts you teach is Chidokan. How
does that differ from other karate styles? What style is it
closest to?
Chidokan came into existence in 1954. Takeshi Sasaki and
his younger brother Kiyoshi were up until this time, studying
karate at Waseda University, which at the time was the very
centre of Master Funakoshis Shoto ryu organization.
By this time, Master Funakoshi was quite elderly so much
of the instruction was conducted by his senior dan grades,
including his son Yoshitaka.
Another very senior dan grade at this time was Obata Sensei,
who in fact became the Sasaki brothers Sempai.
After the death of Master Funakoshi in 1957, there was a
great deal of disruption within the Shotokan organization a
bit of a power struggle I imagine - resulting in several senior
dan grades breaking away and forming their own Shotokan
based organizations.
For many years Kancho Sasaki insisted that Chidokan was
the name of his organization but the actual style practiced
was Shotokan, as taught to him by the founder. However, with
respect and in my opinion, there were always differences.
Movements in Chidokan are not as large, less exaggerated than
those used by Shotokan practitioners Chidokan has its own
unique basic exercises (kihon waza). There are small subtle
differences in the kata. If you placed a Shotokan and Chidokan
practitioner side by side you would see clear differences.
CHIDOKAN KANCHO SASAKI, ON MEETING ME FOR THE FIRST

TIME ASKED WHAT I DID BACK IN NEW ZEALAND. WHEN I
REPLIED, I TEACH MARTIAL ARTS, HE LOOKED AT ME FOR
A WHILE, THEN REPLIED, HOW CAN YOU TEACH WHAT YOU
DONT KNOW. I FELT QUITE FOOLISH BUT MANAGED TO REPLY
SENSEI, HAI WAKARIMASU (I UNDERSTAND) I HAVE COME TO
JAPAN TO LEARN FROM THE BEGINNING.
CORE | INTERVIEW
Kancho Sasaki was very strict when it came to dojo etiquette and traditions. No
hands on hips, arms crossed. Must kneel to tie and untie the obi, dojokun recited
with spirit and passion after every lesson.
What is your view on the current state of Martial Arts in NZ, specifically karate?
We have an abundance of excellent karatedo organizations currently operating
within New Zealand. Of course we have, and will always have what I call fringe
organizations or dojos. Our National Governing body Karate New Zealand (KNZ)
is well organized, in particular with regards to the sporting aspects.
There does appear to be a growing trend Internationally towards fostering
traditional karatedo I guess it will come down to organizations choosing which
path they wish to follow; sport karate or karatedo in its original, traditional form.
Each with merit but striving for quite different objectives.
There was a period in the 80s to early 90s when karate was very popular and dojo
sizes were huge. What did you attribute that to, as you would have undoubtedly
witnessed that era? Do you think that we will see a return to those days?
Even as far back as the 70s we experienced a membership boom. I feel it was
because karatedo was new and it was surrounded by a certain mystique. Karate
practitioners were seen as people with amazing fighting skills.
The Bruce Lee and Karate Kid movies only heightened the reputation and aura of
learning karate. But as well as all this, I believe it came down to good marketing. We
were there right place, right time.
Will those days return? Be nice, but I think not. People have so many choices
now, even in the wide and varied range of martial arts available not to mention
other choices including sport, entertainment (video games) and the like.
How should karate go about making itself relevant to this generation of
practitioners, both young and old? In other words, how should karate go about
attracting more practitioners.
I feel Karatedo is not particularly well marketed. Most dojos/organizations are geared
around training. We have some very experienced and highly qualified instructors
here in New Zealand, doing what they do best teaching karatedo. Maybe we
should enlist the services of marketing managers.
If we want to reach out and expand our numbers, spread the benefits of learning
traditional martial arts, we need more capable people/organizations prepared to
promote the arts. When I say promote, I dont mean commercialize in order to make
a quick dollar. I mean genuine people who have the expertise and qualifications to
not only teach, but also able operate a dojo/organization successfully. In this day
and age it amounts to naive thinking to suggest that teaching and operating a dojo
does not require a professional business like approach.
Most martial arts require the sort of individuals who have some degree of mental
toughness and resilience prior to ever taking their first lesson. In this new
modern society are we seeing less and less of these types of people.
To start with we have less numbers venturing onto the dojo floor. So fewer students
equals less men and women of substance. Karatedo is at best, a hard task master.
It is difficult for students to put in the dojo time we were able to back in the 70s
80s. In those days, most worked five days a week and had the weekend free now
its not uncommon to be required to work (or shop) six days a week, plus overtime.
During the early years we would claim that, on average, a diligent student could
make Shodan in three to three and a half years of hard consistent training. Can we
honestly use this rule of thumb these days?
Rather than use years or months as a method of measuring ones progress or part
of a grading criteria, it may be more prudent to count the actual number of hours of
dojo training achieved.
Have you and your senior instructions had to modify their teaching style to
ensure students arent put off by the discipline side of karate? In other words has
there been any softening of your approach to teaching over the years?
Absolutely, yes of course. Try slapping a student in the face for not responding fast
enough or a swift kick in the midriff in order to lower their stance. All common in
the good old days All jokes aside, we are still strict and very demanding, but a lot
of the brutality has gone from most karatedo schools and I think this is a good thing.
Better to motivate and attempt to instill a self desire to improve or train harder, than
to knock people about.
INTERVIEW | CORE
CORE | INTERVIEW
INTERVIEW | CORE
PERFECTION IS THE
RESULT OF DOING A
LOT OF LITTLE THINGS
WELL A GOOD TIME TO
WORK ON SUCH LITTLE
THINGS IS DURING SELF
TRAINING.
Kancho Sims (Chidokan 9th dan) and Shihan Parker (Chidokan - 8th dan)
11
CORE | INTERVIEW
COMMITMENT IS ALSO A MAJOR CONSIDERATION. DONT QUIT

WHEN THINGS GET A LITTLE TOUGH. I OFTEN ASK MY STUDENTS,
IF YOU QUIT KARATEDO TRAINING, WHAT WOULD YOU REPLACE
IT WITH ? IF THEY DONT KNOW, I SUGGEST THEY CONTINUE
WITH KARATEDO IN THE MEANTIME, UNTIL THEY DO.
What are your views on sport karate?

It has its place but I prefer my karate with do on the end
rather than sport at the beginning.
In my opinion sport karate, although popular by some,
changes the arts purpose and objectives.
In the words of the founder, Master Gichin Funakoshi the
ultimate aim of karatedo lies not in victory or defeat, but in the
perfection of character of its participants.
In my experience, all of my students who have chased
the sporting accolades of karatedo soon tire of winning or
losing on the tournament floor and give up their involvement
altogether, such a waste.
The future of traditional karatedo lies in the hands of the
stout hearted; those with the courage and fortitude to follow
the way of budo.
Is there any aspect of karate that you enjoy above all others?
Yes indeed, Kata. Here I believe we have a direct line to the
masters who created them. Each kata represents various
levels of learning. Different themes, lessons, and traps are all
contained within each kata.
Kata represents the blueprint of our style/organization,
handed down over many generations. A kata rendition is a
reflection of ones acquired skill and deep understanding of the
art studied.
What does your self-training consist of and how much
self-training do you do over a week?
I treasure an opportunity to self train, usually before or after a
class. A lot of my self training these days involves preparation
for what I intend to teach in the days, weeks ahead. I still
manage to get to the gym several days a week. I find a little
weight training helps keep the muscles toned I am always
careful not to bulk or bind up muscle groups that might
interfere with the demands of karatedo training.
Perfection is the result of doing a lot of little things well a
good time to work on such little things is during self training.
I am also a great believer in the kohai sempai system.
Everyone should have a coach or senior to watch over them
a one on one relationship.
Would you like to see martial arts represented in the
mainstream media such as Sky, TVNZ or a dedicated martial
arts channel?
Personally, no. Unless it promoted traditional martial arts
and this is very unlikely, as the media tends to reflect on the
spectacular rather than serious endeavours.
What are some of the highlights of your martial arts life/
career so far?
Receiving Shodan was a highlight. Dan grades that followed
were celebrated for a day or so but such highs were soon put
on the back burner and replaced by the normal day to day

training routine.
Another highlight would have been competing at the first
World Karate Champs in 1970 and receiving one of just three
medals awarded for karatedo excellence. These medals were
awarded for winning matches with Ippon rather than an
accumulation of points.
During my younger years I used to really enjoy running.
A highlight being my first marathon completed before my
fortieth birthday I managed the distance in 3 hours and 23
minutes.
There has been a list of firsts in my career, WUKO (WKF)
referee, National coach, team manager and dan grade
promotion milestones. Although I look back with a certain
amount of pride on such achievements, much of being first
was because my time started back in the early pioneering days
so again right place at the right time; I just developed along
with the flow of time.
What do you think the study of the martial arts has done for
or given you?
In the early years fire in the belly. As a young man everything
was possible and achievable by way of self discipline and hard
training.
The ambition and confidence to establish and maintain the
first Chidokan dojo outside of Japan. To build this organization
in accordance with Japanese traditions, but headed by a
dedicated group of highly motivated, talented hard men and
women functioning under the leadership of a New Zealand
leader (Kancho).
Do you think martial arts is separate from you or do you
think you live a martial arts lifestyle?
Karatedo is a very important part of my life, but we should not
lose sight of other aspects of equal importance in our lives,
such as ones family and friends.
Although I have managed to separate my lifestyle to some
degree, I cannot say that the influence of my karatedo training
has not affected almost all aspects of my life being Sims
Kancho or that of just Jack. For example, as a hobby I began
competitive pistol shooting some twenty eight years ago and
soon discovered that to excel in pistol shooting required the
same mental and physically disciplined approach necessary in
other martial arts (yes pistol shooting is a martial art). My friends
in the shooting world know little if anything of my involvement
or position in karatedo to them I am simply Jack.
My wife occasionally reminds me that at home she reigns as
Kancho !
What advice would you give to anyone contemplating
taking up martial arts?
Take the time to visit various dojos in order to determine if
INTERVIEW | CORE
Kancho Sims (Chidokan 9th dan)

and Shihan Parker (Chidokan - 8th dan)
demonstrating tai subaki
13
CORE | INTERVIEW
INTERVIEW | CORE
this is the martial art for you. Listen and watch a teacher taking
a class there are many approaches, but do you see and feel
an atmosphere of respect and learning present. Sometimes
the best dojo for you is not conveniently down the road or the
one with cheap fees. Quality is worth the extra time and effort
to find I drive two hours to take a class, three times a week. I
would be happy to do the same if my teacher was still around
in order for me to attend his classes.
Commitment is also a major consideration. Dont quit
when things get a little tough. I often ask my students, if you
quit karatedo training, what would you replace it with ? If
they dont know, I suggest they continue with karatedo in the
meantime, until they do.
What do you think of the dan grade system and its value or
means of measuring a persons skill, experience and ability.
A universal standard for black belt accreditation or progression
does not exist. Standards and requirements differ greatly from
one organization to another. As long as styles of karatedo exist
this will always be the case.
Traditionally, a teacher awards dan rank to a student
who has fulfilled all that is required for such promotion.
Such certification should be treasured above any other
Regional, National or even International sanctioned
recognition of this grade.
Any credible system falls down when dan grade
certification can be bought, sanctioned or awarded by some
faceless panel or group of people, simply on receipt of a
substantial sum of money.
We are fortunate here in NZ, as our National Governing
Body (KNZ) operates a robust, fair National Dan Grade Council
which respects and supports the leaders of its member
organizations.
Do you have any heroes or role-models?
I thought the world of my teacher Kiyoshi Sasaki Sensei. These
days, I respect and admire a good number of people in all walks
of life.
I think it is natural and a good thing for young people to
have heroes or role-models as long as it is tempered with a
feeling of self motivation, belief and a desire to, in time become
that role model themselves.
I always remember the words of my teacher when I asked
to film (video) his wonderful kata. He implied that I should not
dwell too much on his skill, rather train hard and achieve the
skills I admire so much in others instead.
Do you have any more goals left in karate and what are they?
Yes I do. I will always be eternally grateful for the skills and
direction received from my Japanese teachers. I went to Japan
to learn karatedo, always with the objective of returning to New
Zealand in order to teach and pass on this art in a way (version)
my people could understand, adopt and benefit from. As the
Japanese have successfully adopted many of our European
customs, I believed we could do likewise with their martial arts.
Now at seventy years of age, time is precious. I have
willingly and gladly spent a lifetime immersed in practicing
and teaching karatedo. The role of NZ Chidokan Kancho is a
trusted responsibility and a position I do not take lightly but
the future lies in those willing to step forward and take charge.
I look upon my Japanese counterparts as equals, not my
seniors. I believe the future of traditional karatedo requires
masters of all races to stand up and confidently claim their
roles as leaders rather than followers.
15
KNOWLEDGE | KUMITE
THE
NATURE
OF FIGHTING
Before studying the information that the various
katas contain, it is important to understand exactly
what that information is for. Karate is a civil tradition
and hence the fighting methods recorded within the
katas are for use within a civilian environment. The
applications of the karate katas are for use against the
attacks of the violent and untrained, they are
not for use against a skilled warrior on a
battlefield, or in a sporting contest.
KUMITE | KNOWLEDGE
KNOWLEDGE | KUMITE
18 CORE | SPRING
ISSUE ONE
20112012
KUMITE | KNOWLEDGE
ACTION IS ALWAYS FASTER THAN REACTION. IN A REAL

FIGHT YOU MUST NEVER ALLOW THE OPPONENT TO
GAIN THE ADVANTAGE. YOU MUST BE THE ONE WHO
TAKES CONTROL OF THE SITUATION AND YOU SHOULD
NOT SIMPLY RESPOND TO YOUR OPPONENTS ACTIONS
he methodology applied in the katas is

ideal for self-defence today (if correctly
interpreted and expressed). There is very
little difference between a civilian fight
in feudal Okinawa and a civilian fight
today. However, the way in which battles
are conducted has radically altered.
A samurai warrior armed with feudal
weaponry would not last long against the missiles, tanks, etc,
employed by their modern counterparts. The weapons of war
may have evolved a long way, but the human body has not.
Two unarmed civilians brawling in an Okinawan street would
employ similar methods to two unarmed civilians fighting in
a modern city. In order to understand and apply the methods
contained within the katas, it is necessary to understand the
nature of civilian combat.
How Fights Start
What we will be looking at in this section is what happens at
the start of fights, not what caused the fight to begin in the
first place. Why? fights start is beyond the scope of this text,
but I feel this aspect deserves a brief mention, as it is very
important when discussing self-defence. I would encourage
you to research why fights begin in great detail, as it is with
this knowledge that fights can be effectively avoided (Geoff
Thompsons The art of fighting without fighting is well worth
a look). Try to avoid placing yourself in locations or situations
were violence is likely. Also, be sure not to make yourself an
attractive target to any would be attackers. Keep all valuables
out of sight, park your car in well lit areas, avoid isolated places,
travel with the car doors locked, avoid suspicious looking
people and situations, dont consume too much alcohol,
walk towards oncoming traffic, keep away from aggressive
individuals or groups, do not stop to talk to strangers etc.
Be aware of your surroundings and should an undesirable
situation start to develop, you may be able to avoid it all
together, and if you cant, then at least the element of surprise
is lost to your assailant.
Gichin Funakoshi (Karate-Do Kyohan) wrote, The secret
principle of martial arts is not vanquishing the attacker but
resolving to avoid an encounter before its occurrence.
To become the object of an attack is an indication
that there was an opening in ones guard and the
important thing is to be on guard at all times. A
fight avoided is a fight won. Good martial artists
are secure enough in themselves, and humble
enough, to be able to walk away from a fight. It
is a sorry state of affairs when an individuals
ego prevents them from avoiding violence.
A true martial artist will have the wisdom
to avoid placing themselves in danger,
and the compassion to avoid placing
their opponent in danger unless
violence becomes absolutely necessary. If you have done

everything possible to avoid the confrontation, you will be
unfettered by any moral concerns, as you know that harming
the opponent is now the only option left available to you.
If your awareness is not what it should be, the opponent
will be able to take you by surprise and hence will have a
large advantage. As youll be aware, the katas should always
be performed with Zanshin (awareness) and hence they will
further develop that awareness and serve to remind the katas
practitioner of its importance. If the opportunity for ambush
is lost to the opponent they will have no option but to attempt
a direct attack. As an aside, directly approaching an individual
takes greater courage on the part of the assailant, as the
potential risk - either in terms of physical injury or the fact that
others may be alerted to their activities - is now greater. This
may cause the assailant to abort their attack in favour of finding
an easier victim later on.
An assailant who approaches you directly may appear to
be very friendly at first as an attempt to still yet take you by
surprise. They may ask you for directions, or for a light, in
a very friendly manner in the hope that you will drop your
defences and allow them to get closer. When close enough
they will then launch their assault, either verbal or physical.
It is very common for an assailant to begin their attack with
a barrage of swearing and verbal abuse. The assailant may
wish to frighten you in order to get you to comply with their
requests (give them your money etc.), or they may simply be
after a fight, in which case the verbal attack is being used in
order to soften you up.
It may also be that your would be assailant is not overly sure
of their ability to beat you and hence the verbal exchange is an
interview of sorts, that will help them to determine the risk
of engaging in a fight. Either way, the important thing to note
is that there is very likely to be some kind of verbal exchange
before a fight begins. It does not take a psychic to see when
an attack is about to commence. Your assailant is likely to
do a number of the following when their verbal aggression
is about to escalate to the physical. Look for a change in skin
colour, rapid breathing, an aggressive facial expression or
stare, a clenching or shaking of the fists, pointing or pushing, a
change in voice tone or pattern, excessive swearing, insults or
challenges.
Many of the techniques within the katas incapacitate the
opponent at this early stage. Although the attack has not yet
escalated to the physical, it makes little sense to wait until it
does. When analysing Kata, it is important to understand that
many fights will begin with the protagonists involved in a
verbal exchange as one, or both, attempt to close the distance.
The winner will normally be the first to act
Action is always faster than reaction. In a real fight you must
never allow the opponent to gain the advantage. You must
be the one who takes control of the situation and you should
SPRING 2011 | CORE 19
KNOWLEDGE | KUMITE
not simply respond to your opponents actions. If you allow

the opponent to land the first punch they will most likely be the
winners. Whilst in karate much store is placed in Karate ni sente
nashi or there is no first attack in karate I feel this statement
needs closer examination. Most people interpret this statement
as an instruction to let the opponent launch the first attack which is a suicidal strategy in a live fight - but it is my belief that
Karate ni sente nashi is a far more profound message which
does not require the karateka to act in such a suicidal fashion.
See my article No First Attack in Karate? for further details.
Most fights begin close up

Modern day sparring matches tend to be conducted with the
combatants outside kicking distance. From there, one or both
of them will close the distance, execute a few techniques and
then move back out again. This exaggerated distance is also
often employed during pre-arranged sparring. Real fights
typically begin at punching / conversation range and rarely,
if ever, have the back and forth motion seen during a boxing
match or a karate tournament. A few punches will be thrown,
and if none should stop the fight, it will quickly collapse into
grappling range. Once the combatants have latched onto
one another, moving back to punching range will not be
possible due to the opponents grip keeping them in close.
The techniques within kata are for use within real fights and
hence the majority of kata applications are for dealing with an
opponent who is close up. It is also important to understand
that because most fights involve some form of grappling, so do
the applications of the kata.
The opponent is very unlikely to use martial arts techniques
In a real fight, it is highly unlikely that the opponents will use
techniques such as Oi-Zukis or Mawashigeris. Karate is a civil
tradition and hence kata contains very few techniques for dealing
with the skilled combinations of a trained fighter. Kata is all about
defeating an attacker in a real life civilian encounter.
Kata is not about winning trophies in the rule bound arena
or about defeating a warrior on a battlefield. As martial artists
we spend a great deal of time practising with, and against,
practitioners of the same discipline. As a result boxers get
good at fighting boxers, Judoka get good at fighting other
Judoka, and Karateka get good at fighting other Karateka. The
techniques within kata are designed for use against the violent
and untrained not other martial artists. Kata techniques are
most often counters to attacks such as wild swings, grabs,
tackles etc. Any kata application that is interpreted as a defence
against a lunging punch or other such karate technique is
incorrect.
Real fights are sloppy affairs

Real fights are not choreographed like the fights in films, nor
are the combatants limited to a certain set of techniques as they
are in sporting matches. Real fights are not visually pleasing and
are extremely sloppy, fast and crude affairs. As martial artists we
spend a great deal of time trying to perfect our techniques. A
well-executed technique is very often visually striking to those
who witness it. In a real fight, the opponent will not play ball in
the same way a compliant practice partner would and hence the
technique will not be as pretty in appearance. What is a graceful
movement when performed in the kata, or against a compliant
practice partner, will become rough round the edges when
applied in an all out situation.
A technique that is very easy to apply on a compliant practice
partner may become next to impossible on a live opponent.
In particular, the accurate placement of blows becomes much
more difficult. The more complex a technique, the greater that
chances of it failing in a real situation. It is also important to
understand that the effects of the huge adrenaline surge you

will experience in a live situation will greatly reduce your ability
to perform complex tasks (See Geoff Thompsons books, Dead
or Alive & Fear). The techniques of the katas are should be
relatively simple to apply. Should a suggested kata application
be overly complex, or if it is reliant upon the opponent
behaving in a certain way, it is extremely unlikely to work and
hence is incorrect.
Most fights are decided by blows to the head

Once a fight has begun, it is most often decided by who lands
the first solid blow to the head. The head controls all and
hence it is the prime target in order to end the fight as quickly
as possible. As a result of this, one would expect the majority
of strikes contained within the katas to be directed at the
opponents head - which they are! At first glance it may appear
that many punches are aimed at the opponents chest. This is
not the case however, as most of the middle level punches are
preceded by techniques that will cause an opponent to buckle
at the knees or bend at the waist. These techniques will bring
the opponents head down, such that it is in line with the kata
practitioners chest, and hence what appears to be a middle
level blow is in fact aimed at the head.
There are two key things to take into account when

striking the head;
1. The head is very mobile and hence can be difficult to strike
in a live fight.
2. The bones of the skull are far denser than the bones of the
hand, and hence punching the skull with a clenched fist
may well result in a broken hand.
The katas consistently deal with both of these points such
that effective blows to the head can be delivered. At close
range, the head is often secured before a blow to the head is
attempted. This is achieved either through a lock being applied
that will suitably position the opponent, the direct control of
the head itself, or the limbs or body being seized such that the
opponents motion is severely limited. It is very rare in kata
for a blow to the head to be attempted at close-range without
control being gained first. With regards to the point that a
blow to the head could result in damaged hands, it must be
remembered that;
1. Hand conditioning was regarded as a vital part of the
original karate.
2. Many of the strikes that are now punches were originally
palm-heels etc. But were modified as the result of Master
Itsous changes (making the kata more suitable for
children).
3. If, when defending yourself in a real situation, all you suffer
are damaged hands, then you have done very well indeed!
High and middle level kicks are unlikely to be effective

In the unlikely event that you get the room to kick, attempting
a high kick is almost certain to end in disaster. As soon as you
take a foot off the floor you are unable to move and easy to
unbalance. The higher you lift your foot the more vulnerable
you are. In a real fight your aim is to win - not to look good! In
a real fights all kicking techniques should be kept low, ideally
lower than the level of the finger tips when the arms are down
by the side. Low kicks are harder to block, they do not have
as far to travel and the chance of the kicking leg being caught
is greatly reduced. The practice of kicking low is one that is
encouraged by the katas. Many of todays karateka kick high
during the performance of their kata, presumably for visual
effect, however it is vital to remember that originally all the
kicks were low.
KUMITE | KNOWLEDGE
KUMITE | KNOWLEDGE
www.shutterstock.com
KNOWLEDGE | KUMITE
KUMITE | KNOWLEDGE
Most fights are over in seconds
Real fights are not like sporting contests
Although there are exceptions, the majority of fights are over

almost as quickly as they begin. It is a rarity for live fights
to last more than a minute at the outside. More often than
not, the winner of the confrontation will be decided in the
first few seconds. One of the combatants will be rendered
semiconscious by a solid blow to the head and from that
point on they will be at the mercy of their opponent. This
is an important fact when attempting to understand kata. If
most fights only last a few seconds, how many techniques do
you need to know? Knowing thousands upon thousands of
techniques is not only unnecessary but it can be downright
harmful! For a technique to be useful in a live fight, the
practitioner needs to be able to apply that technique with little
or no conscious thought. If the practitioner has to choose from
the thousands of differing techniques available to them, they
will stall whilst the brain makes this decision (during which
time the situation will no doubt have changed) and hence their
opponent will be given the advantage.
The katas provide instruction on a key number of
techniques and concepts. They do not try to provide a
technique for every conceivable situation, as to do so will
prevent those who practice them from responding quickly and
appropriately in a live fight. Each and every kata is designed to
be a stand-alone system that will instruct those who practice
them in the key concepts and strategies of the systems
(katas) founder. Do not attempt to learn an infinite number of
techniques but instead try to understand the principles upon
which the techniques of Karate rest. It is far better to know very
little, very well, than it is to know a great deal superficially. It
is this approach that will lead to success, and hence this is the
approach adopted by the katas.
In a real fight there is no limit of the techniques that can be used

and there will be no referee to ensure fair play. Real fights are
violent and thoroughly repugnant affairs. Your opponent can
bite, gouge your eyes, seize the testicles, spit, use weapons etc.
Losing a real fight can result in permanent physical or mental
damage, or even the loss of your life. In combat you have to be
prepared to use violent and repugnant methods when it becomes
absolutely necessary. Many of the methods in the katas are as
brutal as they are effective. It must be remembered that the
techniques and concepts recorded within the katas are for use
in the extreme danger of unprovoked attack. Real fighting is not
pretty, and hence neither are the methods recorded in the katas.
It is also important to understand that the opponent in
the street will not respond in the same way as an opponent
in a sporting contest. In a civilian self-defence situation, the
assailant is very unlikely to be a martial artist and hence will
not use complementary techniques, respond to feints, counter
is expected ways etc. The techniques of the kata are all about
defending ourselves in real situations. When studying bunkai,
any mention of feints, skilled counters etc, is a good indication
that the particular application in question is incorrect.
It is vitally important you understand the nature of live fights
if you are to successfully understand your katas. Most karateka
do not engage in realistic training and hence do not see the
errors in their interpretation of the katas. The founders of our
art were all experienced fighting men who had used and relied
upon their skills in real situations. They lived in violent times
where the acquisition of fighting skills were a must if they
wished to take care of themselves and their loved ones. The
majority of people in todays society do not have to face violence
on a daily basis and hence have no idea of what it is like. When
these same people fail to study the art of karate in the required
depth, and hence fail to understand the advice and methodology
of the past masters, they start to make assumptions about the
nature of violence. They misinterpret the art so that it becomes in its mutated form -woefully inadequate.
There are some of todays martial artists who fully
understand violence due to the experience they have gained
during the course of their employment in the fields of security
and law enforcement. We need listen to their hard won advice
and use it to keep our training upon the right track. One thing
that always strikes me is that these modern day masters of
self-protection are rarely at variance with the founders of
karate. The masters of old understood real fighting and that is
reflected in their writings and in the katas they left behind. If
we practice the art in the manner its founders intended, then
karate is a very potent system.
Blocking and countering is unlikely to work

As mentioned previously, action is always faster then reaction.
Blocking works fairly well at long range when the opponent
is limited to a finite number of techniques (as in a karate
tournament). Blocking also works well when you know exactly
what technique the opponent is going to use. Neither of these
situations is likely in live fight. It is almost impossible to block
and counter an opponents punches at close range in reality.
The idea of blocking and countering is one that many modern
martial artists are reluctant to give up. If you have any doubts,
I suggest that you get a partner, put on a pair of 16oz boxing
gloves and go for it! Have a go at blocking and countering and I
guarantee you will get trounced.
From this we can conclude that the katas are unlikely to
contain much blocking. Now again this may be surprising, as
many modern interpretations of the katas would have every other
move as a block. If you remember that at the start of the 1900s,
Itsou began teaching the katas as mainly blocking and punching
as a way to conceal the dangerous techniques they contained.
Prior to this time the large karate classes - with which we are
so familiar today - would not have existed. As the number of
students grew, so did the need for a common terminology.
The terminology that was adopted was the one used by
Itsou at that time, and hence many of the techniques that
are currently labelled as blocks were never actually intended
to be used as such. That is not to say there are no defensive
techniques within the katas, as there are, but the katas do
not contain what is commonly thought of as a blocks. All
the defensive techniques within the katas are designed such
that the initiative is regained and the opponent is placed in
a position of disadvantage. Blocks merely attempt to stop an
opponents attack (in the unlikely event that they work) and do
nothing to secure a position of advantage.
This article has been reproduced

with the permission of Iain
Abernethy
Iain Abernethy has been involved
in martial arts since childhood. Iain
holds the rank of 5th Dan with both
the British Combat Association
and Karate England (the official
governing body for Karate in England). Iain regularly
writes for the UKs leading martial arts magazines, he
has written a number of critically acclaimed books on
the practical application of traditional martial arts and
he is a member of the "Combat Hall of Fame". Visit his
website www.iainabernethy.com where you can read
more articles and purchase copies of his books and dvds.
CORE | TRAINING
KNOWLEDGE
| TRAINING
STILLNESS
Images: www.shutterstock.com
24 CORE | ISSUE
SPRING
ONE
2011
2012
TRAINING | KNOWLEDGE
TRAINING
BY AARON HOOPES
One of the most important things I have learned in teaching

breathing to martial artists is that one can only understand its
importance by actually practicing deep breathing oneself. The
same is true with stillness training. It is impossible to adequately
understand the benefits of contrasting movement with stillness
without actually trying it yourself.
ISSUE
SPRING
ONE 2012
2011 | CORE 25
KNOWLEDGE | TRAINING
hotokan karate is a powerful

and dynamic martial art.
Yet, sometimes its emphasis
on strong, hard techniques
seems one-dimensional and
overshadows the need for
contrast. Without weakness
there is no such thing as
strength. Without soft there is no hard. This
idea of contrast or balance in the martial arts
is best symbolized by the concept of Yin and
Yang. The Yin/Yang symbol is one of the oldest
and best-known life symbols in the world. It
represents the two poles of existence, which
are opposite but complementary, and which
exist everywhere in every part of the universe.
The light, white Yang moves up blending into
the dark, black Yin which is moving down. The
two aspects are in opposition to each other but
they are also interdependent. Yin and Yang can
be described as dependent opposite forces that
must always be in balance. The opposite forces
flow in a natural cycle, one always replacing the
other. Each force contains the seed of the other,
which is why we see a black spot of Yin in the
Yang segment and a white spot of Yang in the
Yin. They do not merely replace each other but
actually become each other. Absolute or pure
Yin (or Yang) does not exist. Everything contains
some degree of its opposite.
What the Yin/Yang dichotomy is telling
us is that in life all things have two opposite
dimensions. If light exists then darkness exists
as well. Wherever there is an up there will
also be a down. If something has a front it
must have a back. Something that is born will
eventually die. There are no advantages without
disadvantages; there are no disadvantages
without advantages. All the opposites one
perceives in the universe, then, are embodied
in the opposing forces of Yin and Yang. This
changing combination of negative and positive,
dark and light, cold and hot is what keeps the
world in motion. In our individual lives all
change can be seen as one opposite becoming
the other.
As something reaches an extreme, it always
gives way to its opposite. Just as the seasons
cycle through summer-fall-winter-spring and
create opposite periods of hot and cold, windy
and still, rainy and dry. Yin and Yang cycle
through active and passive, dark and light,
strength and weakness. If Yin and Yang are
balanced and flowing, life itself is balanced and
flowing. Each of us must have this balance to be
complete.
For people who train in the martial Arts, one
of the most important principles embodied by
the concept of Yin and Yang, is the relationship
between stillness and motion. Stillness is
the natural state before movement begins,
and yet it is also the basis of all movement.
Understanding the symbiosis of stillness and
movement can guide you in establishing true
THE BALANCE OF YIN AND

YANG IS APPARENT IN
EVERY ASPECT OF LIFE.
WE JUST DONT TAKE THE
TIME TO PAY ATTENTION
TO IT. STILLNESS
TRAINING IS A METHOD OF
ENHANCING AWARENESS
OF THE INHERENT
BALANCE IN LIFE. IT IS A
TOOL FOR KEEPING US ON
THE PATH OF KARATE AS A
WAY OF LIFE
balance and control within yourself. A technique which begins

from perfect stillness enables you to execute the movement
in a coordinated and efficient manner which, in turn, allows
your body and mind to reach together a balanced harmony.
Furthermore, by increasing your efficiency of movement, you
can release unnecessary tension and relax more completely.
The best method for learning the principle embodied in
stillness and movement is to stand still - completely still. To
begin, choose an individual position from your favourite
kata. For beginners it may be a back-stance, knife-hand block
(kokutsu shuto-uke). More advanced karateka may choose the
first move from Sochin or the last move from Gojushiho-sho.
The actual position of the arms and legs is less important than
the requirement of the training, which is simply to remain
completely still. Once in position, do not move at all. The goal
is to achieve total, pure stillness. This is different from just
getting into a stance and holding it. The point here is to make
absolutely no movement at all. No adjustment, no shifting
of weight, nothing. I realize that this may sound simplistic.

But if you practice this training you will eventually come to
understand the difference between absolute stillness and what
passes for stillness in your regular training. You will become
intimately aware of each and every muscle that is in use. Then
the quality of your movement will naturally move toward
perfection.
Once you have achieved stillness, relax the focus of your
eyes and bring your attention inward to your hara or dan
tien (the spot just below the navel). Begin slow Abdominal
Breathing (see my article, Breathing Training for Martial
Artists ). Keep completely still in every other way. Ignore the
itch on your cheek, the twinge in your foot and the ache in
your muscles. Hold the position for as long as you can without
moving. If you are training alone at home, it may be useful to
play music and stay in position for the duration of a song, then
gradually lengthen the time to two or three songs. When you
cannot stay still any longer, slowly - as slowly as possible - shift
CORE | TRAINING
BY LEARNING TO ACHIEVE A STATE OF STILLNESS, YOU

ENABLE THE BODY AND MIND TO COME TO A RESTFUL
POSITION. THEN, ANY MOVEMENT INITIATED FROM THIS
STILLNESS IS DONE WITH COMPLETE AWARENESS AND
TRUE INTENT
28 CORE | SPRING 2011
TRAINING | KNOWLEDE
your position so that you are in a mirror image of the original

position. Hold still again for another session.
By learning to achieve a state of stillness, you enable
the body and mind to come to a restful position. Then,
any movement initiated from this stillness is done with
complete awareness and true intent. Your actions become
the embodiment of quality and perfection. As you become
more adept at practicing stillness, you will learn that it can
be incorporated into your regular training. Once you have
a feeling for perfect stillness you will be able to call on it
whenever needed. In a kata you may only be still for a split
second between moves, but if it is perfect stillness then the
transition between the moves becomes flawless.
Finally, there is an additional benefit to this training muscle strengthening. But its a different type of strengthening.
In weight lifting, for instance, we breakdown muscle tissue
so that it grows back stronger. Stillness training, on the other
hand, rather than breaking down the muscle. Tones the fibres
of the muscle tissue. While it does not expand the size of your
muscles, it does make them stronger. The more you practice
the exercise the stronger your muscles will become and the
longer you will be able to hold you stances.
As you get used to this exercise, see if you can bring it into
your daily life. When you find yourself with a free moment,
practice it - or one adapted to your particular situation. Soon
you will become more and more aware of the feeling of true
stillness and you will begin to recognize how it contrasts with
movement. We are constantly moving all during the day. Try
to take a moment and bring stillness into your daily life. It will
benefit your training immensely.
The balance of Yin and Yang is apparent in every aspect of
life. We just dont take the time to pay attention to it. Stillness
training is a method of enhancing awareness of the inherent
balance in life. It is a tool for keeping us on the path of karate as
a way of life.
This article has been reproduced with the permission

of Aaron Hoopes visit his website www.artofzenyoga.
com/karate to purchase copies of his books you can
visit www.artofzenyoga.com/store.htm
Aaron Hoopes is a native of Vermont
and the founder of Zen Yoga. He is
the author of: Zen Yoga: A Path to
Enlightenment through Breathing,
Movement and Meditation, Breathe
Smart, and Perfecting Ourselves:
Coordinating Body, Mind and Spirit.
He has studied the martial arts,
Eastern philosophy, and alternative
medicine in the United States, Australia, and Japan
for over twenty-five years and has a degree in Asian
History and Japanese Culture from Tulane University.
He spent a number of years in Japan studying
under Masatoshi Nakayama, chief instructor at the
headquarters of the Japan Karate Association, until
his death in 1987. Currently Aaron is a third degree
black belt in Shotokan Karate, is a certified instructor
and is one of the Hoitsugan Instructors. He is also a
certified instructor of Shanti Yoga and Meditation and
Tamashii Tai Chi. He is trained in Chinese Qigong,
Energy Healing and studied Shiatsu Finger Pressure
Therapy under Hitoshi Koeda in Japan. In addition, he
has extensive knowledge of Iyengar Yoga, White Crane
Qigong, Okinawan Karate, Shorinji Kenpo, Wing Chun
Kung Fu and Zen Meditation.
32 CORE | ISSUE
SPRING
ONE
20112012
Learning
Effective
Breathing
Methods
BY AARON HOOPES
ne of the most important

aspects of martial arts training is
proper breathing. However, for
practitioners of hard styles, effective
breathing methods are often left
to the students to figure out on
their own. The central principle of
breathing is of internal cleansing,
getting rid of that which is old, worn
out, and stale, and exchanging it for what is new, fresh, and
energized. During inhalation we are bringing in fresh oxygen,
nutrients, and vital energy. During exhalation we are expelling
carbon dioxide and other toxins and poisons that we produce
or collect in our daily lives.
There are a large number of breathing exercises. Some
are simple and easy while others require years of practice. I
will discuss the five I believe to be the most effective for the
martial artists who are beginning to explore the potential of
proper breathing. First, we will describe the two methods which
are best suited for becoming aware of the body: Attention
Breathing and Abdominal Breathing. We will then go on to
the more advanced exercises of Reverse Abdominal Breathing
and Nose Panting. Finally we will introduce The Complete
Breath which is more challenging and requires increased
concentration and practice.
In practicing these breathing exercises it is important to
concentrate on breathing through the nose, both during
inhalation and exhalation. Of course when training in the
martial arts, breathing strictly through the nose is unrealistic.
In fact it is physically impossible since the bodys demand
for oxygen increases too fast for the nose to handle the flow.
However, while doing these specific exercises it is important.
Think of it as a closed circuit within the body, breathing in
through the nose and out through the nose. If you open your
mouth, you break the circuit and the energy dissipates.
Attention Breathing
It is important to realize that people breathe differently.
Children tend to breathe with their abdomen, while
middle-aged people breathe with their stomachs, and older
people often breathe mainly with their upper chests. But the
way people breathe is also affected by other factors, emotions,
for instance, or ill health. Someone who is excited will breathe
faster and shallower than someone who is sad. Someone who
is calm will breathe slowly and deeply. Someone out of shape
may be panting after a short walk or climbing some stairs.
Attention breathing, as its name implies, is about focusing
your awareness on the natural rhythm of your breath, not to
control it but simply to observe it as a bodily function. Your
awareness is the instrument which enables you to shift from
unconscious breathing to conscious, or dynamic, breathing.
This shift is accomplished by concentrating on the feeling of the
body as it breathes. Feel the air as it enters your nostrils. Follow
it as it flows into the lungs and notice how deeply it reaches into
them. Maintain your full attention and follow it back up as you
exhale. Feel the used air as it is expelled from the body.
Gradually, as you become aware of the feeling of the breath
it should become smoother and more relaxed. But dont try to
change your breathing during Attention Breathing. Your aim
is to observe your unconscious breathing habits so you will be
able to feel the difference when you actually begin dynamic
breathing. If you find your mind wandering, simply catch
yourself and return to the breath. Try to perform Attention
Breathing for five minutes each day at the same time of day,
perhaps in the morning when you wake up or at night when
you are about to go to bed. As you become used to it, see if you
can focus on your breath at other times throughout

the day. Eventually the awareness of the breath and
your breathing should become an integral part of
your life.
Abdominal Breathing
Once you become aware of your breathing, it is
time to begin modifying your breathing habits.
Abdominal breathing is by far the best
breathing method for people beginning to
study breathing exercises. Regular practice
brings quick, tangible results. It is easy
to learn and difficult to do incorrectly. In
addition, Abdominal Breathing has the benefit
of invigorating the abdominal muscles. Their
constant movement massages the internal
organs and increases blood circulation.
The basic idea is simple: fill the lungs from the
bottom up. Abdominal Breathing is about filling the
lungs completely. Most people breathe using only their
chests or the top half of their lungs. Abdominal Breathing
seeks to expand lung capacity by starting from the
lowest part of the lungs. The focus, therefore, is on the
abdomen, an area roughly three finger widths below the
navel. Known as the hypogastrium in Western medical
terminology, this area is called the dan tien in Chinese
and hara in Japanese. This point is the focal point of
Abdominal Breathing.
Start in whichever stance or posture you feel most
comfortable. Inhale through the nose. Expand the abdomen
gradually by lightly pushing out and down as the oxygen
fills the lower lung cavity. Focus the mind on expanding
the abdominal area. Dont be overanxious and forcefully
protrude the abdominal wall. Instead, try to achieve a
gentle and smooth expansion in time with the inhalation.
When the abdomen is full, exhale through the nose
and pull the abdomen gently back into the body,
compressing the lungs from the bottom. With
each inhalation the abdomen expands, with
each exhalation the abdomen contracts. It
is important to remember that you should
not expand or contract your chest; instead,
feel as if you are drawing the air deep into
the lower part of your body. Repeat for ten
cycles of inhalation and exhalation, filling
to maximum capacity and emptying
completely with each breath.
Reverse Abdominal Breathing

Reverse Abdominal Breathing is more
difficult than Abdominal Breathing simply
because it reverses the natural flow of the breath.
Reverse Abdominal Breathing is a breathing method
best suited for those who study the martial arts since it
concentrates focus on the hara during exhalation. Regular
practice strengthens the abdominal muscles and makes
breathing naturally strong. Try blowing up a balloon while
keeping one hand on your abdomen. As you blow out,
your abdomen naturally expands instead of contracting.
The same is true if you are trying to push a car that has
run out of gas. In order to express the power you are
putting into the act, you exhale while pushing out.
Reverse Abdominal Breathing is a breathing
method which tends to infuse the breather with
power.
Again, start in whichever stance or posture
you feel most comfortable. Inhale through the nose. Slowly

draw the abdomen in and up. The upper chest will naturally
expand as oxygen fills your lungs. As you inhale, contract the
muscles of your perineum. The perineum is the area between
the anus and the lower edge of the pubis at the front of the
pelvis. The central point of the perineum is called the huiyin
in Chinese and is the focal point for Reverse Abdominal
Breathing. By contracting and pulling up the huiyin you are
able to concentrate on the abdominal area. Again, dont be
overanxious and forcefully squeeze the abdomen. Instead,
focus on keeping a smooth and relaxed motion. When the
lungs are full, exhale through the nose, release the huiyin,
and push the abdomen out and down. Repeat for ten cycles
of inhalation and exhalation, filling the lungs to maximum
capacity and emptying them out completely with each breath.
Nose Panting
Breathing through the nose is of the utmost importance when
practicing breathing exercises. The nose has a number of
defence mechanisms that prevent impurities and extremely
cold air from entering the body. First, a screen of nose hairs
traps dust and other particles that could injure the lungs if we
breathe through the mouth. Next, there is a long passage lined
with mucus membranes, where excessively cool air is warmed
and very fine dust particles that escaped the hair screen are
caught. Finally, in the inner nose are glands which fight off any
bacteria that may have slipped through the other defences. The
inner nose also contains the olfactory organ that gives us our
sense of smell, which can detect poisonous fumes that could
damage our health if we were to breathe them.
The Nose Pant is a great exercise for charging yourself
up with energy if you feel sleepy or for releasing stress any
time during the day. Imagine that you are blowing a piece
of dust out of your nose by sharply puffing out through the
nostrils. This is immediately followed by an equally sharp
intake of air through the nose. This in-and-out ventilation
should be repeated in rapid succession ten times. As you
become comfortable with the exercise, increase the number
of repetitions. When beginning, just concentrate on the nose
and upper chest when breathing, but as you progress try to
focus on the abdomen. Abdominal Nose Panting consists of
contracting the abdomen as you puff out. Reverse Abdominal
Nose Panting expands the abdomen on the puff out. After
completing a session of Nose Panting, always follow with a
couple of deep slow breaths to calm the body down.
This article has been reproduced with the permission of
Aaron Hoopes visit his website www.artofzenyoga.com/karate
to purchase copies of his books you can visit
www.artofzenyoga.com/store.htm
DURING INHALATION WE ARE

BRINGING IN FRESH OXYGEN,
NUTRIENTS, AND VITAL ENERGY.
DURING EXHALATION WE ARE
EXPELLING CARBON DIOXIDE AND
OTHER TOXINS AND POISONS
THE COMPLETE BREATH DYNAMIC BREATHING EXERCISE

The Complete Breath is a dynamic breathing exercise that is both simple and complex. Regular practice expands lung capacity,
which, in turn, slows down unconscious breathing and makes it smoother and more regular. In addition, The Complete Breath
maximizes oxygen intake and enables oxygen-rich blood to flow to the extremities. It also cleans and invigorates the lungs.
In the beginning it is best if The Complete Breath is practiced from a lying-down posture so maximum concentration can be
placed on the exercise itself, which consists of four separate aspects: inhalation, retention, exhalation, and suspension.
Inhalation
Inhale through the nose. Expand the lower abdomen, pushing out and down, just as if you were starting Abdominal Breathing.
Once the abdomen is full, continue inhaling and expand the chest, filling the upper lungs. Raise the collarbone and shoulders as
you continue inhaling. Fill the throat and the nose. Stop.
Retention
Hold the breath in. Bring your attention to the fullness of the body. Feel the expansion circulating the oxygen-rich blood
throughout the body. Continue to hold the breath in for a count of ten.
Exhalation
Exhale through the nose. Contract the lower abdomen pushing in and up. Continue to
exhale by squeezing the air from the lungs and chest. Lower the collarbone and
shoulders. Blow the air from your throat and nose. Empty it all out. Stop.
Suspension
Hold the breath out. Bring your attention to the emptiness of the body. Feel
your body like an empty balloon waiting to be filled. Continue to suspend
breathing for a count of ten.
Repeat
On the next inhalation dont gasp for air. Calmly and smoothly inhale just as
before. Feel the air reaching far beyond your abdomen, filling every corner of
your body like an expanding balloon. Notice the sensation of your body as the new
oxygen is brought in.
Do the complete set five or ten times each day.

The purpose of breathing exercises is to enable you to bring awareness
to your breathing. When you are aware of your breathing you can
use it to maximum effectiveness. The change from unconscious to
conscious breathing is accomplished by thinking about your breathing
and becoming aware of your own body. Most of our behaviour is
unconscious. We walk around in our bodies, rarely noticing how
they feel unless there is pain. Seldom do we consciously think
of the body as feeling good. Feeling good
shouldnt be an absence of pain.
It should be an invigorated,
energetic state where you are
comfortable and happy in
your body. Becoming aware of
your breath is a way to reach
that feeling. Expanding your
breathing ability is a way of
extending that feeling.
Try to become more aware
of your breathing during
training and at other times.
Take deeper breaths. Do regular
Abdominal Breathing. If you feel
yourself getting tense or angry,
do some Attention Breathing and
notice how your feelings change.
If you are bored or sleepy, do some
Nose Panting to re-energise yourself.
No matter what you are doing, breathe.
Make conscious dynamic breathing a regular
part of your life and you will find it naturally benefits
your martial arts training.
ITS NOT
BRAGGING
IF YOU CAN
BACK IT UP
MUHAMMAD ALI
THE PROOF IS IN YOUR HANDS

element design. bloody good designers
ph 09 636-0558 or www.element.co.nz
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KNOWLEDGE | KUMITE
TRAINING
KUMITE | KNOWLEDGE
NO FIRST
ATTACK IN
KARATE
BY IAIN ABERNETHY
KNOWLEDGE | KUMITE
n recent years there has been much debate

as to the legitimacy of pre-emptive striking.
Some support the method stating that action is
always faster than reaction, and emphasise the
importance of seizing the initiative in high-risk
situations. Others object to the method on
ethical grounds. Gichin Funakoshis famous
quote, Karate ni sente nashi or There is no first attack in
karate is normally used to justify this stance. As a traditional
karateka, it is my belief that training should revolve around
self-development and self-defence, and should effectively
promote both. We do not wish to produce training grounds
for thugs nor do we wish to fail to equip our students to deal
with societys violent minority.
The issue of pre-emptive striking is certainly controversial
(as I found out after I included it in my book Karates
Grappling Methods!) One thing that both camps agree on is
that fighting is to be avoided whenever possible, it is what to
do when fighting cannot be avoided that causes the debate.
There can be very few martial artists who believe that the
individual has no right to fight back, the question seems to
be at what point is the use of force legitimate?
I believe that Karate-do ni sente nashi and the
pre-emptive strike are in no way mutually exclusive and
can exist side by side. To my mind once an assailant has
decided to attack us, the attack has begun and we are well
within our rights to use whatever methods are appropriate
to ensure our safety. Obviously we cant read our opponents
attack him as opposed to, ...at that time wait until the
assailant attacks before countering It would seem that
once all other options have been exhausted, Funakoshi
had no problem with the pre-emptive strike as a means
to facilitate escape. I believe the pre-emptive strike to be
a defensive method in so much as it is a way to avoid
the unprovoked assaults of others. Striking an individual
when they did not initiate the assault would undoubtedly
be a violation of karate-do ni sente nashi, however, I feel
that being pre-emptive, when one is convinced that the
aggression of others can in no way be avoided, is
ethically just.
Another reason that acting preemptively is often scorned
is the fact that all the kata begin with a defensive technique.
Much has been written about how this underlines the
importance of not striking first. Indeed all the katas do begin
with defensive techniques, some of which are pre-emptive!
The opening salutation and movement of Passai (Bassai-Dai)
is a good example (see page 112 of the KGM book). The
opponent has merely acted in an aggressive fashion (shaking
their fist) and the kata regards this as justification enough for
action to be taken.
There are many other examples of the katas being
pre-emptive (Page 45 & 124 are good examples).
The practice of pre-emptive striking can be found as
part of everyday practice within Wado-ryu (whether it is
recognised as such is a different matter). On the Wado-ryu
syllabus we can find Tobo-Komi-Tsuki which is a head
IF WE DO NOT ACT PRE-EMPTIVLY, WE WILL BE FORCED

INTO A POSITION OF HAVING TO DO ENSURE THE
OPPONENT CANNOT FUNCTION, AS OPPOSED TO MEALY
BEING SUFFICIENTLY STUNNED TO ENSURE EFFECTIVE
ESCAPE
mind so we must look for physical indications that an
attack is imminent. Behaviour such as threatening body
language, verbal threats, raised voice, excessive swearing
etc. If an individual is behaving in an aggressive way whist
attempting to invade our personal space then there is a
strong possibility that their verbal aggression is about to
escalate to the physical. This verbal assault is an attack
in itself and waiting until the attack becomes physical is
foolhardy in the extreme. (Read Geoffs excellent books
Three Second Fighter & The Fence).
In his book Karate-do Kyohan Gichin Funakoshi wrote,
When there are no avenues of escape or one is caught
even before any attempt to escape can be made, then for
the first time the use of self-defence techniques should be
considered.
Even at times like these, do not show any intention of
attacking, but first let the attacker become careless. At that
time attack him concentrating ones whole strength in one
blow to a vital point and in the moment of surprise, escape
and seek shelter and help. This is exactly what many of
those who teach the pre-emptive strike recommend. It is
interesting that the preceding quote states, at that time
punch that is delivered from natural stance before assuming

a fighting posture. The technique has no preceding block
and would appear to be contrary to karate-do ni sente
nashi if the prevailing interpretation of there is no first
attack in karate were correct. I believe that Otsuka meant for
this technique to be used as an assailant was preparing to
launch an unprovoked attack and by including it in his style
acknowledged the importance of practising such methods.
Otsuka - like Funakoshi - also emphasises pacifism and the
importance of avoiding conflict wherever possible, and in no
way advocates striking an individual whom is not preparing
to launch an attack. In his book Wado-Ryu Karate Otsuka
wrote, There is nothing as unfortunate as finding ones self
in a situation where he must utilise martial arts to protect
himself. The objective of martial arts training is to train hard
and yet search for a state where martial arts need not be
used. Hence, one must seek the path of peace and desire
that path as well.
Acting preemptively has always been a part of Budo. In
the classic text on strategy Go Rin No Sho or The book of
the five rings Miyamoto Musashi tells us of three methods
to forestall the enemy, one of which is, attacking on the
enemys preparation to attack. This is exactly what we are

doing when we deliver a pre-emptive strike. If we attacked
when the enemy was not preparing to attack, then we
are acting in a manner inconsistent with the ethics of the
martial arts. If, however, the opponent is preparing to attack
then we are simply gaining the initiative and ensuring our
safety.
Once the initial strike has been delivered we should
seize the opportunity to flee. If we continued to strike the
opponent we would be morally (and legally) in the wrong as
well as putting ourselves at risk should the opponent have
accomplices that we were not previously aware of. The
pre-emptive strike should not be used to settle arguments
or as a means to weaken an individual to enable us to
give them a good kicking. What we are taking about is
the legitimate use of a pre-emptive strike, when no other
options are available, to distract the assailant in the instance
of unprovoked attack in order to facilitate escape. If the
pre-emptive strike is used in this way than I believe it is in
no way contrary to karate-do ni sente nashi (and - judging
by the quote from Karate-do Kyohan - neither did Gichin
Funakoshi).
Should we not gain the initiative, and the chance to
escape that it provides, we will be forced to fight (it we
are still able) and that could result in far greater violence
being committed either to our opponent or ourselves. As
true martial artists we should always desire to cause as
little damage to our opponent as is necessary to ensure
our safety. If we do not act preemptively, we will be forced
into a position of having to do ensure the opponent cannot
function, as opposed to mealy being sufficiently stunned to
ensure effective escape.
Another vital consideration is the strong possibility of
multiple opponents. If we do not seize the initiative in
this situation we are putting ourselves at great risk. When
setting the standard of karate-do ni sente nashi I do not
believe that it was the intention of the masters to ask us to
act in a manner that would give societies violent minority
the advantage, but to ensure that we do not become part of
that minority. Some would say that by striking first we are
lowering ourselves to their level. I strongly disagree with
this statement as when a true martial artist is forced into the
position of having to use a pre-emptive strike it will be with
a sense of regret.
They will have done everything possible to avoid and
defuse the situation and now must use force if their safety is
to be assured. Compare this with the assailant who is using
force for personal enjoyment or financial gain, who will
feel good about the infliction of pain, and far from avoiding
violence, has actively sought it out!
To my mind karate-do ni sente nashi is a reminder for us
to always avoid violence, to never fight as a result of ego and
only fight to ensure our safety (or the safety of others) in the
instance of unprovoked attack when no other options are
available. I do not believe the intention was to demand that
a woman who has just been informed - by a knife wielding
assailant - that she is about to be assaulted, and who has no
means of escape, must wait until the knife is actually thrust
towards her before she may act! Striking on the opponents
preparation to attack, when we can not initially escape, is a
just and legitimate method, it is supported in the writings of
past masters, contained within the katas and (to my mind) is
fully consistent with karate-do ni sente nashi.
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This article has been reproduced with the permission of

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www.martialartssupplies.co.nz
KNOWLEDGE | KUMITE
LOW-K
KUMITE | KNOWLEDGE
WHILST IT IS RELATIVELY EASY TO HIT A PUNCH-BAG,

STRIKE A FOCUS-MITT, OR DELIVER ACCURATE BLOWS
WHEN PRACTISING WITH A COMPLIANT PRACTISE
PARTNER, IT IS EXTREMELY DIFFICULT TO DELIVER AN
ACCURATE STRIKE TO AN OPPONENT WHO DOESNT
WANT TO BE HIT!
KICKING
BELOW THE BELT?
BY IAIN ABERNETHY
n this article we will be looking at the effective

use of kicks in live situations. One thing I should
probably say at the very onset is that kicking is
probably the least effective of all the combative
methods. This is because your motion and
stability are severely curtailed the instant you
take a foot off the floor, and you rarely get the
space to use kicks anyway. That is not to say that
kicking does not have a role to play, because it does. However,
I do want to point out that this role is nowhere near as large as
much of modern practice would suggest.
In the modern dojo, practically every combination has a
kick somewhere within it. This is primarily because kicking is
very effective in the competitive environment (you have the
space and they score more points). Also, because high-level
competitors are amazing athletes, they can apply kicks in ways
that would be totally inappropriate for those who are not as
physically gifted. If you compare the techniques of modern
karate with the techniques recorded within the katas - which
are a record of the original version of the art - you will note
that kicks are nowhere near as widely used. The simple reason
for this is that the techniques of the kata were designed for
real combat, and because kicks are not that effective or readily
applicable in that environment, they are not emphasised to the
same degree.
A key difference between the kicks of the katas and their
modern offspring is the height at which they are applied. In
modern karate, kicks are generally applied from the waist up due
to that fact that this is a requirement of modern rules and safety
standards. In real situations, it is always best to kick low; ideally
lower than the level of the fingertips when the arms are down by
the side. Low kicks are harder to counter, they are quicker, and
the chances of you being unbalanced are greatly reduced.
It should be understood that in relatively recent times, many
of the kicks within the katas have been elevated, presumably for
visual effect and to comply with the methodology of modern
competition. However, originally, all the kicks throughout
the katas were aimed low. If you practice a modern version
of a kata then you may find middle-level or head-height
kicks. Practicing your kicks at an elevated height, as a form of
physical conditioning, can help to improve your explosiveness
and power; however, when interpreting, expressing and
applying the katas, and when training for self-protection, all
the kicks should be aimed low. Certainly there are no head
height kicks within the original katas, as to execute such a kick
in a real situation is suicidal! Within the katas, there are some
instances of kicks directed to the head, but in these instances
the opponent has been positioned so that they are on the
ground or on their knees, and therefore the kick is still low.
Another difference between modern kicking and the
kicking techniques recorded in the katas is one of power. In
the modern competitive environment, kicks are executed
with control (they are pulled on contact) to scoring areas.
Being able to deliver a high velocity kick and pull it on contact
KNOWLEDGE | KUMITE
ALTHOUGH KNOWLEDGE OF WEAK POINTS CAN BE

USEFUL, AND IDEALLY WE SHOULD AIM TO HIT THESE
AREAS, IT SHOULD BE REMEMBERED THAT HITTING
THESE WEAK POINTS IS NOT AT ALL EASY IN THE CHAOS
OF A LIVE FIGHT
requires tremendous skill. However, in a live situation, we
should not control or pull our kicks and we need to have
trained so that we are capable of kicking with great force.
It is for this reason that we must ensure that we make use
of kick-shields, full-length punch-bags etc in our training.
Practicing kicks against the air can help to develop good form,
but only practicing against pads etc will allow you to develop
power. For superb advice on how to deliver your kicks with
real power, I strongly recommend that you purchase Peter
Consterdines Power Kick video.
To make our kicks as effective as possible, we need to keep
them low and deliver them with force. Another component of
effective kicking is accuracy. During the chaos of a fight the
accurate placement and delivery of strikes becomes extremely
difficult. Whilst it is relatively easy to hit a punch-bag, strike a
focus-mitt, or deliver accurate blows when practising with a
compliant practise partner, it is extremely difficult to deliver an
accurate strike to an opponent who doesnt want to be hit!
If youve engaged in realistic combat training, or have been
unfortunate enough to experience a real fight, youll know
that live fights are incredibly messy and frantic affairs, and this
makes the accurate delivery of blows extremely difficult. It is
for this reason that power is more important than accuracy.
So long as your kicks are powerful, they will have an effect
regardless of where they land. It should be obvious that a kick
which hits a weak area will have a greater effect than it would
have done otherwise, but it is a grave mistake to say that power
is not important if you have knowledge of the weaknesses of the
human anatomy. Having knowledge is one thing, being able to
apply that knowledge is something else. Although knowledge of
weak points can be useful, and ideally we should aim to hit these
areas, it should be remembered that hitting these weak points is
not at all easy in the chaos of a live fight, and therefore power is
the main requirement for effective kicking.
Having discussed the problems associated with accuracy,
we will now move on to look at the key targets for low kicks.
It is important to understand that there are no safe striking
areas. A strike to anywhere on the human body can have
severe effects e.g. a kick to the shin could cause the recipient to
fall which, should their head hit the floor, may result in a fatality
just as easily as a blow to the throat. Real fights can have very
severe consequences and that is why we must always ensure
we do our utmost to avoid them.
As we have already discussed, kicks should ideally be
delivered to targets no higher than mid-thigh. However, because
this article is entitled Low-Kicking: Below the Belt? We will first
look at a small number of target areas that are below the belt, but
are higher than we should ideally kick in live situations.
Coccyx
This point is located at the tip of the spine or tailbone. The
Coccyx is part of the spine. A blow here will affect the entire
KUMITE | KNOWLEDGE
spinal cord and can have severe consequences. The Coccyx

is also directly above the sacral plexus, which is where all the
major nerves of the lower limbs originate. A blow to this point
will affect all these nerves and will result in extreme pain.
Testicles
The testicles are very delicate organs and are loaded with
nerves. A blow to the groin can result in pain, shock, nausea,
vomiting, unconsciousness, difficulty breathing and possibly
even death. Although an attack to the groin can be completely
incapacitating, it is difficult to land such an attack. Most men
will instinctively defend the groin and the protection provided
by clothing can often reduce the effect of a blow. Its also worth
pointing out that there can be a slight delay between landing
a blow to the testicles and the pain being felt by the recipient.
In training, have you ever received an accidental blow to the
groin, thought that you were ok, and then a few seconds later
realised that you were far from OK!? I know I have. Although
it is only a very short delay, it should be remembered that in a
live fight, everything can change in a split-second and hence
landing a kick to the groin does not instantaneously mean you
are safe. Kicks to the groin are obviously very effective when
they land, but kicks to the groin are not the guaranteed instant
fight winners which they are sometimes portrayed as.
Inguinal Region
The Inguinal Region is the area at the front of the leg where the
thigh joins the torso. A kick to this point will affect the femoral
nerve, femoral artery, femoral vein and genitofemoral nerve.
This will result in great pain and a severe weakening of the leg.
A strong kick could also result in temporary paralysis of the
thigh muscles.
pain, severely limit an opponents mobility and will most

likely need corrective surgery. A blow to the side of the knee
can damage the ligaments that hold the knee joint together.
This will again cause pain and severely reduce mobility. If the
ligaments are damaged by a kick to the knees, it is very unlikely
that the recipient will make a full recovery as there is a good
chance that their knee joint will be permanently damaged.
Kicking to the back of the knees can cause the leg to buckle
and is often used to unbalance an attacker. Throughout the
karate katas, attacks to the back of the knee are frequently
accompanied by a pull to the upper body (these movements
are frequently mislabelled as simultaneous kicks and hand
strikes, or simultaneous kicks and blocks). This accompanying
pull will obviously aid in the unbalancing of the opponent. The
simultaneous kick and pull also results in great tension around
the knee joint and can cause severe muscle damage.
Shins
A kick to the shins is very painful and frequently results in
the opponent bending at the waist. A kick delivered around
two-thirds of the way down the shin will hit the deep Peroneal
nerve, which will cause a sharp pain and a weakening of
the lower leg. Control over the foot may also be reduced.
In a number of katas the Nidan-Geri (double level kick) can
be found. Whereas today, the movement is most frequently
performed as two airborne head-height kicks, a more effective
application is a grappling manoeuvre followed by a kick to this
weak area and then a kick to the Saphenous nerve (see my
video Bunkai-Jutsu Volume 3: Kushanku / Kanku-Dai). This
will cause the opponent to fall forwards where they are then
vulnerable to a follow up strike (in Kushanku / Kanku-Dai, a
dropping elbow strike - most often mislabelled as a back fist is delivered to the opponents back).
Sciatic Nerve
This point is located on the back of the leg just below the
buttocks. The Sciatic nerve is the largest nerve of the body and
plays a major part in the control of the hamstring and lower leg.
A solid kick to this point will produce cramping, loss of control
over the leg, and pain in the hips and abdomen.
We shall now move on to discuss the weak areas of the
legs that are located from the mid-thigh down. These are the
ideal target areas for kicks, and hence they are also the most
frequently used target areas for the kicking techniques of the
katas (see my Bunkai-Jutsu series of video tapes).
Lower Calf
Vastus Lateralis
Instep
This point is located halfway down the outside of the thigh.

The Vastus Lateralis is the large muscle running down the
outside of the upper leg. A blow to this point will produce pain
and cause temporary paralysis of the thigh.
A stamping kick to the top of the foot will affect the medial
plantar nerve, deep peroneal nerve and superficial peroneal
nerve. This will result in pain in the leg, hip and abdomen, and
loss of control over the leg.
Kicking has a limited role to play in self-protection situations
because there is rarely the space needed, and your stability and
mobility are greatly reduced the moment you take your foot off
the floor (which is why they are relatively sparse in the traditional
katas). If you do use kicks, they should be used sparingly, they
must be powerful and they should be delivered lower than
mid-thigh. Although you would ideally like to hit one of the
weak areas covered in this article, it should be remembered that,
due to the nature of live fights, delivering an accurate blow is
not easy and hence the key thing is to ensure that your kicks are
delivered with great force. Thank you for taking the time to read
this article. I sincerely hope that you found it useful.
Saphenous Nerve
This target area is located halfway down the inside of the thigh.
The nerve is relatively close to the surface, and therefore kicks
to this area tend to have a much greater effect than those on
the outside of the thigh, where the surrounding muscle affords
greater protection to underlying nerves etc. However, this weak
area is generally not as accessible to attack because the leg
needs to be far enough in front in order to provide a clear path
for the kick (the other leg needs to be out of the way).
Knees
The knees can be attacked from the front, back and sides;
all of which can have permanent effects on the recipients
mobility. In addition to damaging the joint itself, a blow to the
front of the knee could displace the knee cap. This will cause
A kick to the lower part of the calf will cause pain and
temporarily paralyse the muscle. This will greatly reduce the
opponents ability to move. Striking the inside of the shin, below
the bulge of the calf muscle, is very painful and will again reduce
your opponents mobility. Kicking this area will also drive your
opponents leg to the outside, which will unbalance them and
cause their head to drop (see my Combat Drills video tape for an
example of how a roundhouse kick to this region can be used to
drop an opponents head and set them up for a strike).
This article has been reproduced with the permission of Iain

Abernethy. www.iainabernethy.com
Improving
Flexibility
BY TED BROOKS
Most martial arts styles

require some level of
flexibility and therefore
improving flexibility for
martial arts will help you
grow to new heights in your
practice while still remaining
safe from injury. While some
people seem to have a natural
ability to be flexible most of
us need to work at improving
our level of flexibility for
martial arts. This article gives
you a basic introduction of
the types of information and
training which professional
martial artists carry out.
oing stretches correctly will increase

your flexibility but if they are done
incorrectly you can actually cause
more harm than good. It is important to
remember that a large portion of injuries
experienced in martial arts are caused
by flexibility issues, mostly because the
person does not have flexible muscles
or fails to stretch the muscles properly before carrying out
techniques.
So to get more flexible we need to learn how to do stretches
correctly. The fundamental point regarding stretching
techniques is that they can be either dynamic (involving
motion) or static (those that involve no motion). The six main
types of stretching which incorporate these are listed and
discussed below.
Improving Flexibility for Martial Arts
First lets start by examining the different methods of stretching.
Ballistic Stretching
Dynamic Stretching
Active Stretching
Passive (or relaxed) Stretching
Isometric Stretching
PNF Stretching
Ballistic Stretching
Here you attempt to use the momentum of your weight to
stretch beyond your normal comfort zone. Ballistic stretching
involves bouncing to the end of your natural stretch and using
the momentum of your weight to force you beyond your
normal range of motion. An example of ballistic stretching is
when you bounce up and down on your toes by bending your
knees and stretching your hamstrings, then using the stretch
to bounce back upright. In general Ballistic stretching is not
WHEN YOU PULL A MUSCLE OR RIP MUSCLE TISSUE

IT CAN TAKE MONTHS BEFORE YOU CAN GET BACK
TO WHERE YOU WERE BEFORE THE INJURY
considered helpful and may actually decrease your flexibility

by not allowing your muscles to stretch into or relax in the
stretched position.
Dynamic Stretching
This involves moving your body and limbs while gradually
increasing both the speed and range of each movement. By
skirting along the edge of your limits you use the warming of
the muscles to gradually and gently increase the range of those
movements. Dynamic stretching should only be used until the
muscle starts to become tired. Tired or overworked muscles
wont be able to maintain the maximum stretch and the result
will be less flexibility.
A martial artist when carrying out dynamic stretching to
increase flexibility might perform techniques such as kicking,
starting a low kick height, working up to a much higher height
with every kick. This is illustrated in the picture (right).
Active Stretching
This type involves assuming a pose and then holding it through
nothing but the strength of your muscles. True active stretching
poses can usually be help for only 8 to 10 seconds. The tension
of the muscles working to hold the pose allows them to stretch.
Active stretching is common in many Yoga poses.
Passive Stretching
Also called relaxed or static stretching this involves assuming
a pose then holding it with the help of some other part of the
body, the aid of a partner or some other apparatus. In terms of
a martial artist using this sort of flexibility training, the picture
may help. The martial artist may begin the stretch a muscle
by moving their limb either with some apparatus or with
their own bodily force, however upon holding the position
of stretching the muscle, the actual muscle being stretched is
relaxed. Slow relaxed stretching such as this can be useful in
releasing pain in injured

muscles and is also very good
as a cooling down after a work-out to
avoid muscle fatigue and soreness.
Isometric Stretching
This type of stretching is also a static stretch in that it doesnt
involve actual movement. Rather it uses the flexing of muscles
to stretch and lengthen them. This type of stretch is one of the
quicker ways to increase flexibility and strength of the flexed
muscles.
A common way to perform isometric exercises is to
manually apply resistance using your own limbs.
An example would be holding onto your toes as you
attempt to bend your foot forward using your calf muscle. Or
pushing against a wall even though you know you cant move
it. Another good example is when you place the palms of your
hands together and push creating flexing and stretching of
your arm and chest muscles.
LEARNING THE CORRECT

WAY TO STRETCH AND
THEN MAKING IT A PART
OF BOTH GETTING READY
FOR YOUR PRACTICE AND
THE COOLING OFF AFTER
A PRACTICE WILL ENSURE
THAT YOU TAKE CARE OF
YOURSELF AND CAN ENJOY
YOU CHOSEN MARTIAL ART
FOR YEARS TO COME
To do this type of stretching make sure that you

have first used dynamic stretching to loosen the group of
muscles that you are wanting to work. Then assume whatever
position will allow you to create resistance on the chosen
muscle. Flex the muscle for 7 to 15 seconds then relax it for at
least 20 seconds.
Realize that a full set of isometric stretching creates a big
demand on the muscles you are working so should not be
done more than once a day.
PNF Stretching
This is currently considered the fastest most effective way
to increase flexibility. PNF is an acronym for proprioceptive
neuromuscular facilitation. It is actually not a way of stretching
in itself but rather a way to combine passive and isometric
stretching together in order to achieve maximum benefit. PNF
was originally designed to help stroke victims but also works
just as well for anyone else trying to increase their mobility.
Here is one way to use PNF. This technique is called
hold-relax. In this technique you first passively stretch the
muscle you want to work then isometrically contract the
muscle for 7 to 15 seconds, relax for a couple seconds then
passively stretch the muscle just a little further than your first
stretch. This final passive stretch should be held for 15 to 20
seconds after which you release, pause for a few seconds and
continue.
PNF stretching is a way to quickly strengthen and increase
the flexibility of your muscles.
How often should I stretch for martial arts?

The answer to this varies from person to person depending
on how far you wish to push yourself and also how far you
need to push yourself. Remember, every time you undergo
a stretching session, very small tears in the fibres of your
muscles occur - they are so small that you probably will not
feel them however it is important that you allow your muscles
to recover. Unless you feel your muscle is in pain then it should

be safe to stretch almost every day. However it is important not
to stretch every single day to allow that redevelopment of your
muscle fibres.
If you are a martial artist looking to have excellent flexibility,
you should be looking at undergoing a stretching session twice
a day, almost every day. Whilst this may sound like a lot of work ,
the more supple you become, the less time you need to dedicate
to each session. People with excellent flexibility need only
spend 5 minutes per session. It is the frequency, regularity and
efficiency of each session which directly affects your flexibility.
To conclude
If you have never done stretches before it is a good idea to seek
out the help of someone who has the experience to show you
the correct way to do them.
When improving flexibility for martial arts it is important
that you learn how to remain in touch with your body. The
last thing that you want to do is cause an injury by stretching
incorrectly. It is important to remember that when you pull a
muscle or rip muscle tissue it can take months before you can
get back to where you were before the injury.
Learning the correct way to stretch and then making it a
part of both getting ready for your practice and the cooling
off after a practice will ensure that you take care of yourself
and can enjoy you chosen martial art for years to come.
Remember to listen to your body and take note of how it feels.
Any pain from your muscles while stretching is a message
from your body to your brain to tell you to stop what you are
doing, under no circumstances should you stretch muscles
which are painful. There is a difference between pain and
uncomfortableness, learn this difference and do not over
stretch yourself, ever.
You can visit Ted Brooks blog at www.intermartialarts.com/
martial-arts-flexibility
CORE | INTERVIEW
USEFUL SPARRING TIPS
SPARRING | KNOWLEDGE
You need to size up your opponent before you engage. If

he strikes you first then you'll know he is an OFFENSIVE
fighter. If he waits for you to attack then you'll know he
is a DEFENSIVE fighter.
Find out which technique your opponent is good at by

giving a fake. If your opponent moves his hands then you
know he is a puncher. If your opponent moves his leg then
you know right away that he is a kicker.
Try to get your opponent to attack first, either by a

fake or taunt. You will quickly learn what technique
your opponent relies on, (every fighter will have their
favourite move) then plan a counter for that attack.
Do not telegraph your attack.
Never show fear when you are sparring. Your opponent

will sense that fear and go on the attack. However,
remember that fear can also be used as a fake.
When you and your opponent are in hitting range make

sure youre legs are never wider than your shoulder
width. A wider stance makes your movements slower.
Always set up your opponent before you strike. Set
up high, strike low. Set up low, strike high. Most
experienced fighters will never get hit unless you set
them up.
18
If your opponent is good with sliding kicks then the

time to attack is when his feet comes together right
before he tries to launch a kick.
19
If your opponent has a great counter back kick with

his right leg and you also fight with right leg back then
you must switch your fighting stands with left leg back
instead of right, this way you can move away faster and
not walk into his back kick.
20
Watch your opponents body movement, not just their

eyes. Experienced fighters do not show emotion so you
must focus on their whole body.
21
Use back knuckle to set up opponent or to cover their

vision.
22
Never turn your back on an opponent.
23
Dont try to score on the first attack. Have in mind to set

up and score on the 2nd or the 3rd attack.
24
The most common technique used in sparring is the

round house kick. Learn various counters for the round
house, such as, back kicks and spin heel kicks.
25
If you are cornered, jam your opponents attack before

they can fully extend their leg, or hand and slip out to
the side.
26
Every attack has a counter so learn them. You learned

this if you played rock, paper, scissors as a kid.
27
If you get hit, never lose your temper and go after your
opponent, rage will make you more vulnerable for a
counter attack and you lose focus.
Always relax your body before you strike. Tension will

slow down attacks. Visualise a snake attacking its prey.
Calm, relaxed, then strike with lightening speed.
Close the gap between your thought and action. Dont

spend too long thinking or the opportunity will be lost.
10
The moment to strike an opponent is when he is about

to launch an attack or as he is landing from his attack.
28
When fighting against a defensive fighter, you must use

fakes to open them up before you start attacking.
11
Jabs and back knuckles are the fastest weapon for your
hands which is done with the lead hand. Also practice
round house and side kicks like a jab with the lead leg to
set up or jam oncoming opponent.
29
Learn to side step when kicking in close distance.
30
Do not use high jump kicks for sparring. Low jump kicks
are okay at a higher level.
12
Always remember when your opponent attacks - a part

of their body will be exposed for counter. This applies to
your counter as well.
31
Do not back up straight against a combination attack,

move side ways or jam them before they can launch
their attack.
13
If you are constantly clashing with your opponent then

you must work on timing. If you dont understand
timing then go back to tip #10.
32
When you attack there must be no doubt or hesitation,

you must completely commit otherwise you are left
open to a counter attack.
14
Try to focus on the target in your mind, without looking

at the target.
33
15
Do not always try to beat your opponent in the first

round, especially if they are bigger. Cover up well, make
them move, get them tired then move in.
Dont kick just for the sake of kicking. Let each technique
have a purpose rather than kicking or punching for the
sake of just sparring.
34
Never under estimate your opponent.
35
No one person fights the same. Quickly adopt and assess

your opponents weakness.
36
Sparring has 3 principles. RELEASE energy. RESERVE

energy and REGENERATE energy.
16
Dont block unnecessary attacks.
17
Pace your energy, kicking takes more energy than

hands so kick sparingly.
51
Lesson Planning
for Karate
Instructors
BY PAUL A. WALKER
FOUR MAIN COMPONENTS OF AN EFFECTIVE LESSON PLAN
s a karate instructor, you no doubt

understand the importance of lesson
planning. Developing an effective lesson
plan is of vital importance, especially
for new instructors. However, even for
a highly experienced instructor it does
not hurt to revisit some basic lesson
planning principles. There are several main
components that are critical to the overall lesson content of karate
at all levels. These components are:
Element, which includes basic training, forms, and partner
work; Type, which includes quality, quantity, fun, and serious;
Level, which is beginner, intermediate, and advanced;
Focus, which includes grading syllabus, analysis and application
of forms, self-defence, target training, and general drills.
Generally, every lesson will include all four of these
components. The parts of each component relate to the actual
lesson content. By combining these components and making
slight changes, each lesson will be interesting yet different while
still sticking with the necessary content required at each rank level.
Lets define each component and its parts
Element
The element component refers to what kind of content the lesson
includes. Generally, each lesson will use one or more of the three
ks - kihon (basics), kata (forms), and kumite (partner work or
sparring.)
Type
The type component deals with how the lesson is delivered.
Does the lesson focus on quality (detailed explanations of
basic techniques, forms, or partner work), quantity (a hard
workout using repetition of technique as the main teaching
tool), or fun (a more relaxed atmosphere than normal, with
activities such as target training, games for the kids, light
sparring, or something completely different such as kata from
another style)?
Alternatively, is it a serious lesson-working on etiquette,
posture, correct behaviour and habits, traditional philosophy, and
history of karate? Each lesson can incorporate more than one of
the four methods of delivery.
Level
This component refers to the three main levels of students in
class or to the level of content delivered in each class - beginners,
intermediate students, and advanced students. However, lessons,
at times, could still include beginner content for advanced
students, to remind them about the things they should already
know. Likewise, advanced content can be given to beginner
students.
This gives them a chance to see what they have to look
forward to if they stick with their training. In a club with a large
membership, there may be enough black belts to warrant a
black belt-only class. If so, there could be a distinction between
brown and black belts as to their level of class. This is for
the instructor to decide, depending on the membership and
resources of his or her club.
Focus
This component guides the reason behind the content.
When a grading is coming up in the next couple of weeks, a
lesson on the techniques that will be tested in the grading is
a good idea. When students have learned and memorized the
moves to the kata they are studying, it is time to focus on the
application of the kata.
Perhaps one of your students is being bullied at school, and
you feel it is time to revisit some self-defence techniques. Maybe
you just want to have a general lesson that has a bit of something
for everyone.
With these four essential components, multiple effective
lesson plans can be created. Also see How Karate Instructors Can
Motivate Students In Three Easy Steps and For Karate Instructors:
The Art of Effective Feedback in Class
Paul A. Walker has been studying karate since January 1982.
Shotokan is his main style and he had the privilege and honor
of studying under Master Hirokazu Kanazawa for three years at
his Hombu Dojo in Tokyo and for many years since as one of
his overseas instructors.
For more great articles and resources by Paul A. Walker visit his
blog at http://blog.shotokansensei.com.
To purchase his book documenting his training with Master
Hirokazu Kanazawa please visit the book's website at
www.lessonswiththemaster.com.
CORE | INTERVIEW
INTERVIEW | CORE
AN INTERVIEW WITH
CHUCK
NORRIS
INTERVIEWED BY GEOFF THOMPSON
CORE | INTERVIEW
I THINK SETTING A GOAL, GETTING A VISUAL

IMAGE OF WHAT IT IS YOU WANT. YOUVE GOT TO
SEE WHAT IT IS YOU WANT TO ACHIEVE BEFORE
YOU CAN PURSUE IT. IVE ALWAYS FOUND THAT
ANYTHING WORTH ACHIEVING WILL ALWAYS HAVE
OBSTACLES IN THE WAY AND YOUVE GOT TO HAVE
THAT DRIVE AND DETERMINATION TO OVERCOME
THOSE OBSTACLES ON ROUTE TO WHATEVER IT
IS THAT YOU WANT TO ACCOMPLISH. A LOT OF
PEOPLE GIVE UP JUST BEFORE THEYRE ABOUT TO
INTERVIEW | CORE
hat was your first break in to

the film business?
Well, really my first big break was
a movie called Good Guys Wear
Black. This was a screenplay
that I helped develop and write.
I peddled it around Hollywood
for four years before I was able
to finally make it a reality (laughs). But before that I had a chain
of martial arts schools that a company wanted to buy and go
nation-wide with. You know, like a whole chain of Chuck
Norris schools. I thought that maybe 500 schools was better
than owning six schools (laughs), well turns out it wasnt.
Anyway two years later I lost everything. It took me five years
to get out of that hole and pay all the creditors back. In the
meantime I was trying to decide what I was going to do with
my life.
I was teaching private students at the time and one of them
was an actor by the name of Steve McQueen. He asked me
what I was going to do and said that I wasnt really sure yet
whether I was going to start over again or what. I had a family
at the time so I was making it by with private lessons and
seminars. So he said I would suggest that you try the acting
field. I said why? Ive never had an acting class in my life. I
never even did a high school play (laughs). He said well, acting
is not just having lessons.
You either have a certain presence that comes across on
the screen or you dont. And he said I think you may have it.
I strongly suggest that you give it a try. So, of course I tried to
go to acting school but, you know at this time I had no money.
Nothing. And I was checking into acting schools and they were
just too expensive. Finally I found an acting school that I was
able to take on my GI bill through the military. So I went back
to school to learn acting. Then I went out trying to find work
(as an actor) but I was competing against guys with years and
years of experience. I said this isnt going to work. So I wound
up writing my own screenplay and finally, you know through
sheer determination and faith I sold the idea and made it a
reality. That was in 1977. That, really was the beginning of my
career.
You played a wonderful role opposite the legendary Bruce
Lee in Way of the Dragon (Return of the Dragon - renamed
for US release), now a movie classic how did that come
about?
Well Bruce and I met when I won the world (karate) title in
New York City in 1968. He was doing that TV series The Green
Hornet at the time. He was at the tournament as a special
guest. We hit it off pretty well and so we started working out
together in Los Angeles for a couple of years. Then he left
for Hong Kong to pursue his movie career. He called me up
in 1972 and said Ive done two movies in Hong Kong and
Im really big over here. He said I want to do a movie with a
fight scene that every one will remember and since you and I
have worked out together so much how about you being my
opponent (in the film)?
So kiddingly I said to him who wins? (Laughs) Bruce said I
win, Im the star (laughs). I said Oh, I see you want to beat the
world champion (laughs). But any way, you know at that time I
was teaching, I had no aspirations toward acting but I went and
did the fight scene in the movie with Bruce just as a kind of a
break out of my schedule.
And it was a classic too.

Yes it was. It was amazing because when I got to Rome my
fighting weight was 168 (lbs.) and at the time Bruce weighed
about 145. The producers of the film looked at us together
and said to me you know you two dont look much different
in size, you need to be bigger than Bruce, can we make you
bigger? I said what do you mean? He said can you put on
some weight (laughs)? I said well, I dont know. You know
by this time Im intimidated because Ive never done this
before, Im scared and I said well how much weight do you
want me to put on? He said well can you put on 20 pounds
(laughs)? I said well Ill try. So I started eating hamburgers and
drinking malt. But I was training every day so I was burning
the weight right back off again. I had to literally stop training
and just eat. And then of course you know it wasnt muscle it
was more fat than it was muscle (laughs). So I went up to about
180 for that fight scene. Thats why you didnt see me do any
jumping kicks I couldnt get off the ground (laughs). But it was
a real experience to see Bruce Lee who was far ahead of every
body else in that field. He had a vision that was years ahead
of everyone. Then I came back to America and I thought my
life would be teaching. Then, as I said in 1974 I lost everything
with my schools then thats when I started pursuing and acting
career. Fortunately in 1977 Good Guys Wear Black became my
first break.
What was Bruce Lee like to fight?
He was very fast. And he learned from everybody, he had a very
open mind. Bruce never believed in only one style, or one style
is the best, he felt that there were so many best of everything.
He said that everything had strengths and weaknesses and
what he wanted to do was find the strengths and use them.
When I first started training with Bruce he only believed in
kicking below the waist, from the groin down. He didnt believe
in kicking any higher. And I said well you know the thing is to
be able to do anything. Dont limit your self to only being able
to kick from the waist down. At least develop the ability to kick
high, not meaning that you have to, but at least have the ability
to kick high if you choose. Then make it work however you
want. So then I started to do my spinning heel kicks and hitting
the pads and all this kind of thing then Bruce started doing it
and off course in six months he could do it as well as anybody.
So Bruce was a guy who learned and absorbed everything. He
worked with me, he worked out with Joe Lewis and Mike Stone
and he learned from all of us. Then he added it to his repertoire
of techniques.
When you finally sold Good Guys Wear Black, that must
have been a very exciting time.
Yes it was, because fortunately for me at the time I didnt realise
how hard acting had to be (laughs) I was too stupid. I just
didnt realise it was so difficult. So I went in there very nave
and not realising there was so much to it. And off course the
critics crucified me because my acting was so bad (laughs).
But fortunately the martial arts in the film was adequate and
people loved it, my flying kick through the car windshield and
stuff like that. Thats what people remembered and the movie
did well. My next one was A force Of One where I played a
world champion kick boxer and that one did really well. Then
I did the first Ninja movie, The Octagon and that was the big
fight scene movie so yeah it was very exciting times but I was
always learning, I am always learning and thats whats so great
CORE | INTERVIEW
SUCCESS BEGETS SUCCESS

JUST LIKE FAILURE BEGETS
FAILURE. SO WHEN YOU
START DEVELOPING THESE
LITTLE SUCCESSES IT MAKES
YOU WANT TO BECOME
MORE SUCCESSFUL. KEEP
FOCUSED ON IT AND DONT
LET ANYTHING GET IN
YOUR WAY
about it. And you know people ask me if I still enjoy it and I say
whats so great is that Im still doing the martial arts and Im still
doing everything I love but Im making more money doing it
(laughs). So Im making a better living doing something I love
which is the martial arts. You know acting is my career, martial
arts are my life. Itll be a part of me as long as Im alive.
You are known globally What is the key to your success?
I think setting a goal, getting a visual image of what it is
you want. Youve got to see what it is you want to achieve
before you can pursue it. Ive always found that anything
worth achieving will always have obstacles in the way and
youve got to have that drive and determination to overcome
those obstacles on route to whatever it is that you want to
accomplish. A lot of people give up just before theyre about to
make it. You know you never know when that next obstacle is
going to be the last one. A lot of times people give up and say
well I cant do it but that next obstacle might have been the
final one for them. And so I always kept that in my mind and
Id say to my self well maybe the next one, the next person I
meet might be the one.
You need the tenacity to stick to it when things get tough.
And have faith that you can do it. A lot of times people look
at the negative side of what they feel they cant do. I always
look on the positive side of what I can do. And when I got into
the film business I didnt say look Chuck youre 34 years old,
youve had no acting experience, theres 16,000 unemployed
actors in Hollywood, the average income of an actor is $5,000
a year. Now if I had looked at that side of it, the negatives, it
would have probably made me give up. But I didnt, I said you
know since Bruce has sadly died theres a gap there for a good
strong positive heroic image on the screen. And thats what
I wanted to portray, a positive image. Because movies in the
seventies were kind of negative movies, anti-hero type movies.
And I said, you know I think theres an opening here, a spot
here for a positive influence on the screen. And thats how I
went for it and thats what saved me because my acting left a
lot to be desired. But I think that the image I tried to portray on
the screen, a strong positive person, is what saved me and why
people tolerated the poor acting.
You are a very humble person. Do you think that has helped
you, the fact that you are obviously genuinely grateful for
everything you have been given and have achieved.
Oh yeah, absolutely. Im very grateful for every thing I have.
You know when you start losing that then you start losing what
lifes all about.
But people do though dont they, why is that?
Unfortunately they do and I dont know why that is. I think they
forget, you know. People need to realise what real happiness
and success is, because success as an actor is fleeting. You
can be up there one day and gone the next. Its very transient.
Arnold Schwarzenegger and I have talked about this and he
feels the same way I do. You know you take it for what it is.
Its great to have the acclaim and all that but its not going to
be there forever so dont go thinking that Im it forever, too
many people do that. Too many actors feel Im the best and
Ill always be the best. It doesnt work like that. Its like being
a competitive fighter in the martial arts, youll be the best one
day, some one else is going to be the best the next day. So
youve got to understand that and realise that the real secret
to happiness is friends, camaraderie, for me its my (karate)
organisation, my family.
This is what success and happiness is about. People say well
if I make a lot of money Im going to be happy. Negative. Some
of the most miserable people I know are some of the richest
people in America, they are the most miserable individuals Ive
ever seen. So the money has not guaranteed their happiness.
Its working toward something that you want to achieve in your
life, seeing those goals and striving for those goals. Its like, you
INTERVIEW | CORE
know, some one said to me when you won the world title isnt
that your greatest accomplishment? I said no, the greatest one
was the first tournament I won because I worked so hard trying
to win it. It was the tournaments in between the world title that
was the fun part.
Once youve achieved it then say well now what? Then
you need a new goal see. Thats what lifes all about, working
towards them goals and striving toward them and making your
life the best you can make it.
Are you a spiritual man, do you have God in your corner?
Oh yes. I definitely feel I do have God in my corner. Ive been
very fortunate that way, I am very spiritual. Im a very religious
person. Theres to many things in life for us to cope with
without the faith of God.
I think thats why there has been so many suicides today, the
kids dont have the strength of God in their hearts and so they
give up, as individuals they dont have the strength to cope.
Thats why the third leading cause of death for teenagers in
America is suicide. Thats very sad. You need internal strength. I
think thats where martial arts are such an integral part, because
it does give you that strength of character, it does build internal
strength. It becomes spiritual at a high level.
I notice that you use your Walker (Texas Ranger) character as
a vehicle to pass on a on a positive message.
Ive been very fortunate to be able to use my series as a
platform to show a good message for the kids. We actually use
the Kick Drugs (Kick Drugs Out Of America) kids in some of the
episodes. We just finished an episode last night actually that we
hope will have a tremendous amount of influence. In America
the schools have become too permissive, the kids now are
controlling the schools, the tail is wagging the dog. Weve got to
make a change there and get it back to where the teachers have
control of the classrooms. We need to take it back to grass roots
and hopefully one day thats going to happen.
What is Kick Drugs Out Of America?
With the Kick Drugs association we work with inner city
children. A lot of out kids are kids who already have two strikes
against them and were just trying to keep them from striking
out altogether. We have helped a lot of children. We have
3500 children now on our programme, a lot of these kids have
become black belts. The ones we are trying to help are kids that
have problems. We have one who was a gang member, on the
way to destruction who has just been admitted into one of the
biggest universities in America. We just want to help as many
kids as we can, help get them on the right track and away from
drugs and crime.
What is your ethos in life? Is it to serve.
Oh yes, absolutely. You know I find that when you serve, when
you help others it comes back to you, automatically, it is a
philosophy that is true. What you give out is what you are going
to get back and if you put out that negative vibe you are going
to get the same thing back again. And when you serve there is a
gratification there and youre going to find that life is worth living.
Have you a final message to leave the readers?
Focus on what it is that you want, set a realistic goal. Start
setting goals that you feel you can accomplish. Dont try to go
right to the top in one leap. Every time you accomplish a goal
you develop the strength and wisdom to accomplish the next
one. Success begets success just like failure begets failure. So
when you start developing these little successes it makes you
want to become more successful. Keep focused on it and dont
let anything get in your way.
Thank you so much for you time Mr Norris.
You bet ya.
This article has been reproduced with the permission

of Geoff Thompson
Geoff Thompson has written 30 published books 250,000 copies in print - and was on the Sunday Times
Best-Seller list with his autobiographical book Watch
My Back about his nine years working as a night club
doorman. He has published several articles for GQ
magazine, and has also been featured in FHM, Maxim,
Arena, Front and Loaded magazines. For two years he
was a contributing editor for Mens Fitness magazine.
He has been featured many times on mainstream TV
about his book and his articles. Geoff has completed
several book signing tours of Great Britain promoting
his books in Waterstone and W.H. Smith.As one of the
highest ranking martial arts instructors in Britain, Geoff
was voted the number 1 self defense author in the world
by Black Belt Magazine USA and was invited to teach for
Chuck Norris twice in Las Vegas Nevada.
Visit his website www.geoffthompson.com
to purchase copies of his books/DVDs go to
http://www.shop.geoffthompson.com/acatalog/
CORE | INTERVIEW
KICK
ASS!
INTERVIEW | CORE
KING
Letitia Carr of Wellington, competing for New Zealand at the
2009 Karate World Games on the back of her wins at the 2008
Oceania Karate Championships becomes New Zealands most
successful Karate Athlete narrowly losing to Slovakia 6-4 in a
thrilling final that until the last 25 seconds she was leading 4-1.
Silver in the open kumite event is New Zealands first medal at a
senior WKF tournament in more than 35 years of trying and we
are sure it is just the beginning, at 19 years of age she will be a
force to reckon with on the world stage.
CORE | INTERVIEW
AVERAGE TRAINING A WEEK CONSISTS OF ABOUT 7

SESSIONS PER WEEK. DURING THE LEAD UP PERIOD
TO MAJOR COMPETITION THERE CAN BE UP TO 9-10
TRAINING SESSIONS PER WEEK. TRAINING SESSIONS
CONSIST OF KARATE, PLYOMETRICS, POWER/STRENGTH,
AGILITY AND FITNESS TRAINING.
INTERVIEW | CORE
Thank you for the opportunity to interview you Letitia. What

got you interested in the martial arts and how old were you
when you started training?
I wanted to learn self-defence, I started when I was 11 years old.
How long have you been training?

8 Years (had 1 year off)
are your competition goals?

I became interested in competition when I was 11. My coach
encouraged me to compete in a NZ competition only 3
months into my training. I got through to the finals as a white
belt competing against a black belt. I bet her and this is what
gave me the starting spark for competitive karate I believe.
My competition goal is to become a World Champion. This
years main goal is to win Senior Worlds. I also want to win
World Universities, World Combat Games and Oceania, but in
saying this my main peaking point/goal is for Senior Worlds in
October.
How often do you train and what does your training

consist of?
Average training a week consists of about 7 sessions per week.
During the lead up period to major competition there can be up
to 9-10 training sessions per week. Training sessions consist of
karate, plyometrics, power/strength, agility and fitness training.
You participate in a number of national and international

competitions, how are you supported financially?
Initially I was helped entirely with my parents pocket, however
now that I am a carded player within Karate NZ I have flights
and Accommodation paid for and have also received grants
from different organisations.
Do you supplement your training at the gym or other

exercise such as yoga or pilates etc?
Yes, plyometrics, power/strength, agility and fitness are all
trained in the gym.
How do you prepare for competition?

All psychologically including using a lot of imagery, apart from
the obvious physical training in the lead up.
Which style do you study?

I started off doing Shotokan karate, but now train Goju-Ryu
karate.
Do you have a specific diet, and if so what does it consist of?

Not normally, but when trying to make weight divisions
sometimes I have to try and lose weight. I tend to go on a no
Carbohydrate diet (however this is only when Im desperate to
lose weight).
When did you become interested in competition and what
What was it like competing at the World Games?

It was very well organised. After I made it to the final, while
waiting to fight it was so noisy. Then the music stopped, the
crowd went silent and as both our names got called out we had
to walk out onto our mat.
I was pumped and so ready! I will admit however it was
scary having that much attention on you, as there was only
one mat fighting during the finals, so all eyes were on us. It
CORE | INTERVIEW
I WAS PUMPED AND SO READY! I WILL ADMIT HOWEVER

IT WAS SCARY HAVING THAT MUCH ATTENTION ON YOU,
AS THERE WAS ONLY ONE MAT FIGHTING DURING THE
FINALS, SO ALL EYES WERE ON US. IT WAS AMAZING AND
ITS NOT REALLY EASY TO DESCRIBE, ITS KIND OF LIKE
ONE OF THOSE MOMENTS WHERE YOU JUST HAVE TO
EXPERIENCE IT YOURSELF TO KNOW THE FEELING. IF I
COULD, I WOULD DEFINITELY DO IT ALL AGAIN.
was AMAZING and its not really easy to describe, its kind of like
one of those moments where you just have to experience it
yourself to know the feeling. If I could, I would definitely do it
all again. Just Amazing.
How did it feel to stand on the podium receiving your Silver
medal?
Once again its hard to describe but pretty much on top of the
world at the time. However, it was a little bit disappointing to
say the least knowing how close I was to the GOLD. But would
do it all over again.
What did you learn competing at the World Games and will
it change your training program looking forward?
Letitia Carr: I learnt a lot, I always do. Things such as its not
over until its over, be aware of the clock myself, and learning
how the rest of the world fights. Yes it will have a positive
change to my trainings from now on.
What age is a good age to retire from competition?
35
Would you like to see martial arts represented in the
mainstream media such as Sky, TVNZ or a dedicated martial
arts channel? [Note: There is little to none martial arts
coverage in New Zealand media].
Yes, for sure. We need more people in NZ to be aware of our
sport. We might be a small sport in NZ but its big overseas
especially in the European countries. So for NZ to be
competing against European champs and bringing medals
home from these events its pretty significant. In the big sports
like Rugby, Netball, cycling etc the coaches get paid a lot of
money but my coach and two Personal Trainers never got
paid anything for the build up to last years World Games.
They trained me because they enjoy it and wanted to help.
If a single NZ cyclist had represented not only NZ but all the
Pacific countries at a World Event and won a Silver Medal Im
sure it would have been all over the news. Not saying they
dont deserve it because they certainly do but so do the small
sports who are proving successful like Karate. Our coaches,
athletes and trainers put in just as much hard work and without
all the financial backup the big sports have. I had a write up in
the local Upper Hutt paper which was good but would have
been nice for my coaches and trainers to have seen the final
result and their own efforts recognised more by the national
media as well.
What are your favourite techniques?

Over the top and counter punching.
Do you prefer kata (set number of moves), kumite (sparring)
or kihon (fundamental technique)?
Definitely Kumite. Its a massive adrenalin rush!!
What are some of the highlights of your martial arts life so far?
Letitia Carr: Winning Silver at the World Games, x2 Bronze at
Junior Worlds, x2 Golds World Koi Cups, Wellington Sports
Award finalist, and Scholarships along with these results.
How do you balance your training and non-martial arts life?
Letitia Carr: Wouldnt be without my Diary, organisation skills
and having great friends and family supporting me.
What are your martial arts goals?
Become a World Champ and bring home to NZ our first GOLD
medal from a Senior Event.
Do you have any plans to become an instructor in your
own-right?
No, not at this point
What do you think the study of the martial arts has done for
or given you?
Self-discipline, body conditioning and confidence
Would you recommend the martial arts to other people, why
and what advise would you give to those starting out?
Letitia Carr: Yes, because its great for self-discipline and body
conditioning. For people starting out Id say anythings possible.
What advice can you give to other martial artists?
Believe in your-self , thats what Ive learnt through my Karate
career. If you believe you can, you can!
Do you have any heroes or role-models?
Yes, I admire Mahe Drysdale. I think he is a real Champion
.
Is there anyone you would like to acknowledge?
My Coach Leo Donnelly, my trainers (2009) Phil Silverman and
Che Todd, the Karate NZ team, all sponsors, my family and
friends for all their ongoing support. No athlete can make it
on their own and Im grateful that Ive always had a great team
of people behind me to help me achieve my dream to be a
champion.
Core Blue Label 9oz
Core Black Label 10oz
Core Red Label 12oz
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Best quality yarns are used for heavy duty
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High quality material allowing the garment to
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Please note: Belt not included. Not Pre-shrunk
12-oz 100% heavy-weight brushed cotton canvas

Two layers of rugged cotton on the shoulder
part for special comfort and superior
reinforcement and durability
Best quality yarns are used for heavy duty
reinforcement stitching to offer powerful
strength and durability with 7 rows of stitching
on the cuffs and hem
High quality material allowing the garment to
move with the body
Belt not included
Please note: Belt not included. Not Pre-shrunk
Adidas Karate Evolution K200E
Adidas Karate Heavy Uniform K220
Adidas Karate European Cut K460E
$69.95
Sizes: 110, 120, 130, 140, 150, 160
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In 195grm/sqm 3% brilliant white bleached

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Length Adjustable
Un-Sanforised (not pre-shrunk)
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Patented 2 sizes in 1 system, removable hem
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and Pants
Please note:
This uniform does not come with a belt.

2x1 twill weave CVC 55:45 cotton polyester
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un-sueded super-high quality
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9-oz polyester cotton
Comes with white belt
elastic waist band
CORE | FOCUS
MENTAL
STRENGTH
BY IAIN ABERNETHY
HEALTH & MIND | CORE
Its a common misconception throughout the martial arts

that technique is the key; if we have good technique then
we will be effective in combat.
n his book Wado-Ryu karate, Hironori

Otsuka tells us that there are three
kinds of strength - Physical Strength,
Technical Strength and Mental Strength
- and if any of those is deficient it will
be the downfall of the individual . Its a
common misconception throughout the
martial arts that technique is the key;
if we have good technique then we will be effective
in combat. The fact is that technique is no more
or less important than physical fitness or mental
conditioning. Many martial artists dislike this idea as
it infers that those with poor technique can defeat
those with good technique (if they lack the required
mental and physical condition). A labourer on a
building site (physically conditioned) who regularly
gets involved in bar fights (mentally used to combat)
could easily defeat the martial artist who concentrates
on technique to the exclusion of the other forms of
strength.
If we are to be able to effectively defend ourselves
then we need to ensure that our training also
develops physical condition and mental strength in
addition to technique. The key is to ensure that our
training is intense enough to encourage growth in all
three areas e.g. We drill our techniques with intensity
and to the point of exhaustion (stimulates physical
strength) and no matter how much we want to quit
or ease off, we then drill them some more (stimulates
mental strength).
We need at least two sessions a week that take
us to our very limits. They key is not duration but
intensity. We can train for hours and never break
sweat or we can work flat out for around two
minutes and be close to throwing up. Real fights
are extremely intense and, if our training is to be
valid, we also need to train in an intense way. This
intensity in training has many benefits besides
increased combative effectiveness.
To make progress physically, we need to attempt
activities that are currently outside our capabilities.
To get stronger, we attempt to lift more weight that
we can currently lift. To increase our aerobic and
anaerobic capacities we try to do more than we can
currently do in a given time. Through attempting
to accomplish that which currently lies beyond our
reach, our bodies will adapt, our physical fitness
will be advanced and the initial task becomes easier
to accomplish. Our minds work in a similar way. If
we wish to strengthen ourselves mentally, we also
have to attempt tasks that are currently beyond
us. This not only applies to our training but to
our lives in general. Through our training, we get
accustomed to reaching beyond ourselves. We are
therefore more likely to reach beyond ourselves in
all areas of our lives.

We should be prepared to take on difficult tasks
in order to develop ourselves and the quality of
our lives. The task needs to be difficult if it is going
to develop our capabilities. If the weight lifter
does not put enough weight on the bar, he isnt
struggling and hence hes not getting any stronger.
Likewise, if our lives are plain sailing, we are not
developing ourselves. If things are too easy, our
abilities are not developed and hence our potential
for progress becomes limited. We wont experience
any discomfort so long as we remain exactly where
we are; but in my opinion thats no way to live.
We should push our boundaries and not remain
tethered to our fur-lined rut. We should actively
court discomfort and the growth that results from
that discomfort.
It is through attempting difficult tasks that we
develop the ability to accomplish them. They
key thing is to ensure that we are consistently
trying to lift that weight. Regardless of what that
weight may be - better health, more money, more
rewarding jobs and relationships etc - the only way
well get it is through attempting to get it. It may
be very uncomfortable at first; however, it is that
very discomfort that will develop your abilities and
ensure that you eventually succeed. For example, if
you take on a new job, it certainly wont be as easy
as the old familiar job, but any difficulty experienced
will strengthen you and develop your capabilities. As
your talents grow, there will come a point where the
new job will become easy and hence you now have
the ability to reach yet further.
To achieve great things we need great abilities,
and the only way to develop great abilities is through
great struggle. Once we understand that resistance
is a vital part of the process, we actually start to desire
that resistance and the associated struggle.
Our training gets us used to reaching beyond
ourselves and helps us to understand the process of
resistance and advancement. Our intense combat
training (Jutsu) should lead to us applying the
lessons learnt in our daily lives (Do). We train in a
way that takes us beyond our current limits, so that
we can expand those limits.
In life, we should also constantly reach beyond
our current limits so we can develop our capabilities
and lead the lives we want to lead. In training and in
life we need to seek out discomfort, strive to develop
ourselves and ensure that we are constantly moving
forwards.
This article has been reproduced with the
permission of Iain Abernethy.
www.iainabernethy.com
EXERCISING
WITH BAD
KNEES
f you have suffered a serious knee injury in the past or

have had recent knee surgery, activities that involve a
lot of running are going to be counterproductive for
you. However, if you can find an effective low impact
workout that is gentle on your joints, your previous
injuries should be of no concern.
Tip 1:
If you have bad knees, one of the most important things to

keep in mind is that running is your adversary. When you are
running, every stride you take puts the equivalent pressure of
three times your body weight on each of your knees. If you
have bad knees, you should do your best to avoid running,
jogging, jumping, lower-body weight training activities (such
as squats), and most high impact sports.
Tip 2:
An exercise that uses the leg muscles without putting much
strain on the joints is bicycling. Whether you ride an actual
bike or an exercycle, cycling can be the perfect exercise
for someone with bad knees as it is low impact. Often, the
exercycle is a favourite tool of trainers and physical therapists
for their patients rehabilitation.
Tip 3:
Elliptical machines (cross trainers) provide many of the
same benefits as running, but like bicycles, they do not
exert must strain on the joints. The motions employed by
elliptical machines are something of a cross between biking
and walking or running, using mainly the legs to propel
movement. They also pro-vide a workout for the arms, albeit
to a lesser extent, as they are the secondary force in making
the ma-chine move.
Tip 4:
A favourite exercise for people with bad knees or people
rehabbing from injury is swimming. Because of the
combination of resistance provided by the water and the
simulated weightlessness it projects on the body, swimming
can burn a lot of calories without straining the knees or other
joints. It is a great cardiovascular exercise that is a great
option for weight loss, rehabilitation, or basic fitness activity.
Tip 5:
Any workout that can avoid using the lower body altogether is
ideal for people with bad knees. Upper body weight training,
including bench presses, curls, chin-ups, and pushups among
other activities can be used for general fitness (using less
weight for more repetitions) or for muscle growth (using
more weight with less repetitions). Similarly, workouts that
focus on the midsection such as crunches can be added to a
fitness routine without any effect on the knees.
FOCUS | CORE
BLUEBERRIES WHY ARE

THEY NUTRITIONAL STARS
ith flavors that range from mildly

sweet to tart and tangy, blueberries are
nutritional stars bursting with nutrition
and flavour all the while being very low
in calories. Blueberries are at their best
from May until October when they are
in season. Researchers at Tufts University in Boston USA,
analysed 60 fruits and vegetables for their antioxidant capability
and the blueberry came out on top, rating highest in their
capacity to destroy free radicals.
A Powerhouse
Packed with antioxidant phytonutrients called anthocyanidins,
blueberries neutralise free radical damage to the collagen
matrix of cells and tissues that can lead to cataracts, glaucoma,
varicose veins, hemorrhoids, peptic ulcers, heart disease and
cancer. Anthocyanins, which are the blue-red pigments found
in blueberries, improve the integrity of support structures
in the veins and entire vascular system. Anthocyanins have
been shown to enhance the effects of vitamin C, improve
capillary integrity, and stabilise the collagen matrix (the ground
substance of all body tissues). They work their protective magic
by preventing free-radical damage, inhibiting enzymes from
cleaving the collagen matrix, and directly cross-linking with
collagen fibres to form a more stable collagen matrix.
Protection against Macular Degeneration

Your mother may have told you carrots would keep your eyes
bright as a child, but as an adult, it looks like fruit is even more
important for keeping your sight. Data reported in a study
published in the Archives of Ophthalmology indicates that
eating 3 or more servings of fruit per day may lower your risk
of age-related macular degeneration (ARMD), the primary
cause of vision loss in older adults, by 36%, compared to
persons who consume less than 1.5 servings of fruit daily.
In the study, which involved over 110,000 women and
men, researchers evaluated the effect of study participants'
consumption of fruits; vegetables; the antioxidant vitamins
A, C, and E; and carotenoids on the development of early
ARMD or neovascular ARMD, a more severe form of the illness
associated with vision loss. Food intake information was
collected periodically for up to 18 years for women and 12 years
for men.
While, surprisingly, intakes of vegetables, antioxidant
vitamins and carotenoids were not strongly related to
incidence of either form of ARMD, fruit intake was definitely
protective against the severe form of this vision-destroying
disease. Three servings of fruit may sound like a lot to eat
each day, but by simply topping off a cup of yogurt or green
salad with a half cup of blueberries, tossing a banana into your
morning smoothie or slicing it over your cereal, and snacking
on an apple, plum, nectarine or pear, you've reached this goal.
Cardioprotective Action
While wine, particularly red wine, is touted as cardioprotective
since it is a good source of antioxidant anthocyanins, a recent
study has found that blueberries deliver 38% more of these
free radical fighters. In the study, published in the Journal of
Agriculture and Food Chemistry, researchers found a moderate
drink (about 4 ounces) of white wine contained .47mmol
of free radical absorbing antioxidants, red wine provided
2.04mmol, however wine made from high bush blueberries
delivered 2.42mmol of these protective plant compounds.
A Better Brain
In laboratory animal studies, researchers have found
blueberries help protect the brain from oxidative stress and
may reduce the effects of age-related conditions such as
Alzheimer's disease or dementia. Researchers have found
that diets rich in blueberries significantly improved both the
learning capacity and motor skills of aging animals, making
them mentally equivalent to much younger ones.
Promotion of Gastrointestinal Health

Visionary
Extracts of bilberry (a cousin of the blueberry) have been shown
in numerous studies to improve night-time vision promoting
quicker adjustment to darkness and faster restoration of visual
after exposure to glare. This research was conducted to evaluate
claims of bilberry's beneficial effects on night vision which
were made by British Air Force pilots during World War II who
regularly consumed bilberry preserves before going on their
night missions.
In addition to their powerful anthocyanins, blueberries

contain another antioxidant compound called ellagic acid,
which blocks metabolic pathways that can lead to cancer. In
a study of over 1,200 elderly people, those who ate the most
strawberries (another berry that contains ellagic acid) were
three times less likely to develop cancer than those who ate
few or no strawberries. In addition to containing ellagic acid,
blueberries are high in the soluble fibre pectin, which has been
shown to lower cholesterol and to prevent bile acid from being
transformed into a potentially cancer-causing form.
CORE | HEALTH
NUTS
ABOUT
NUTS
BY JENNIFER HOBBS
uts are natures energy bundles. They are

the mature (dry) fruit of flowering trees
where the nut itself constitutes a single
seed contained within a hardened ovary
wall. Shoved in backpacks and pockets nuts
have traditionally been a convenient energy
boost for campers, hikers and boy scouts
(girls too I imagine) since well, forever. Interestingly peanuts are
not nuts as they are members of the legume family, which gives
us beans, however as they are still the mature fruit of the plant and
contain many of the same nutrients they are just as valuable, nutritionally speaking. Each nut will produce a whole tree and contains
all the fat, protein and nutrients to required to create a new tree so
it should be no surprise that a single almond contains 10 calories,
much of this coming from their high fat content.
It is just this high fat content that made nuts a no no in
diets for many years. All calories are not created equal though
and studies reveal nuts are much less fattening than many
other sources of energy. Healthy, tasty and full of protein nuts
are easily one of the healthiest snack foods available. They
are high in essential fatty acids, minerals and other important
nutrients. It is said they can lower cholesterol and help prevent
heart disease.
There are many health benefits of nuts. They are high in
fibre, protein and fat so they are very filling, which is good
both for muscle mass and body fat loss. They contain Vitamin
E, folic acid, magnesium, copper and are a good source of
anti-oxidants. A small handful of nuts a day may help prevent
diabetes, heart disease, macular degeneration (loss of sight),
and cancer.
Nuts are high in both calories and fat. If you are an athlete
you may not be bothered by this, after all they contain loads
of protein and their fats are of the good variety; key players in
prevention of all the nasty diseases mentioned above. If you are
dieting to lose body fat nuts can help you feel fuller for longer,
but balance this with their their relatively high calorie value.
Before you start munching them by the cup full though,
there are some things you should know. Nuts alone do
not offer a complete protein source for the human body.
Vegetarians needs to eat nuts with beans or legumes to form a
complete protein. Nuts, like many foods, have more Omega 6
than Omega 3, so in a balanced diet foods rich in both Omega
3 and Omega 6 are important.
Nuts are high in the so called good un-saturated fats.
Mono-unsaturated and poly-unsaturated fats have been shown
in a number of reputable studies to substantially reduce the
risk of heart disease by lowering levels of bad cholesterol and
helping to keep arteries supple and flexible. There are studies
that show people who regularly eat small amounts of nuts
can reduce their risk of death from heart disease by up to 35%.
Additionally those people tend to weigh less. I suspect the nut
eaters are probably more health conscious generally but there
are other benefit to nuts as well.
Many nuts are very high in protein. This combined with
their fat content helps you feel full for longer so a small serving
of nuts can really help with weight management. There is even
CORE | HEALTH
NUT BUTTERS ARE A USEFUL WAY OF ADDING PROTEIN

TO SMOOTHIES AND POWDERED NUTS ADD TEXTURE
AND SUBSTANCE TO CAKES AND BISCUITS JUST
REPLACE SOME OF THE FLOUR WITH EQUAL QUANTITIES
OF GROUND NUTS
some evidence out there suggesting including nuts in your diet
promotes weight loss. Almond and brazil nuts contain roughly
equal amounts of protein and carbohydrate by weight making
them a good low GI food option. In walnuts and hazelnuts the
ratio slightly favors carbs, but the star in the low carb stakes
is the cashew with two and a half times more protein than
carbohydrate! Dont go nuts though, each variety has its own
specialities so the best approach is to eat a variety.
Nuts are high in both Omega 3 fatty acids and Omega 6
fatty acids. Both are essential for health. They have opposing
roles in the body with Omega 6 promoting inflammation in
the body and Omega 3 having anti inflammatory properties.
Omega 6 has been getting a bit of a bad rep lately and it is
true that too much can contribute to inflammatory conditions
behind many chronic illnesses however it plays a vital role
in preventing bleeding, in activating the immune system, in
stress, in brain development and growth as well as promoting
healthy skin and hair.
Most nuts have significantly more Omega 6 than Omega
3 and for this reason consumption of nuts (as well as other
Omega 6 rich foods) should be balanced with equal levels of
Omega 3 in the diet. Foods rich in omega 3 and low in Omega
6 include Flax seeds and cold water fish species such as wild
salmon and tuna, sardines and mackerel. The need to balance
Omega 6 and Omega 3 in the diet can also be achieved with
Omega 3 supplements such as fish and krill oil. Too much
Omega 6 in the diet promotes all inflammatory conditions
including injury and may slow the healing of sports injuries
where inflammation is a factor so if you are recovering from
such an injury it may be best to lay off the nuts for a while.
One of the types of fat found in nuts is alpha-linolenic acid,
a type of Omega-3 fatty acid machine. This little goody is used
by the body to make EPA and DHA. These in turn are essential
in cell function and have been found to play a positive role in a
range of conditions, from depression and ADHD to rheumatoid
arthritis, stroke and high blood pressure.
Being anti-inflammatory Omega 3 fatty acids play an
important role in the management of inflammatory conditions
such as rheumatoid arthritis by helping to calm the pain
sufferers experience. They also are important for healthy skin
and hair, brain function, eyesight, joint health and are an
important element in the aging process. Deficiencies of Omega
3 have been linked to a wide range of problems from obesity
to depression and consumption of nuts has been linked to
improvements in and prevention of many such disorders.
Omega 3 is needed to maintain the wall of the cells
in the body. With out it the cell walls become fragile and
permeable, causing the cell to leak. This leakage happens
in both ways making the person more vulnerable to allergies

and inflammation. Cell damage and inflammation contribute
to many chronic conditions. All nuts contain some Omega
3 but almonds, brazil nuts and hazelnuts contain only very
small amounts with loads of Omega 6. Walnuts are high in
Omega 3s but, like all nuts are commensurately high in
Omega 6s so if you are concerned about inflammation nuts
may not help.
An important question about nuts is weather to eat them
raw or cooked. The answer is raw, but if you want to want to
cook them it is best to buy them raw and cook them yourself.
The reason for this is the unsaturated fats found in nuts
have a low melting point. This is the temperature at which
the fats start to oxidize. This makes them vulnerable to heat
degeneration. Cooking them yourself means you can control
the cooking temperature. Lightly roasted at a low temperature
is best. Commercially cooked nuts are sometimes fried in oils
which rather negates the whole point of nuts as a health food
as it destroys all the benefits of the healthy oils reducing them
to a high calorie snack.
Freshness is another vital point. Nuts do not keep well at
room temperature. This is because unsaturated fats are not very
stable and become rancid quickly when exposed to warmth
and light. The nutrients break down becoming useless and the
oils become oxidized. Oxidized oils form free radicals in the
body and damage cells. Nuts should be stored in the freezer
and can be eaten frozen. They gain a pleasing chocolate-like
crunch. Yum!
When buying nuts from the store make sure they are stored
away from sunlight. Chose a store that you know has high
turnover. The best and cheapest way I have found is to buy
them online. They are between 20% and 50% cheaper than
even the specials prices in my local supermarket and I have
found that nuts in supermarkets are not always fresh.
My favorite nutty snack is a few almonds poked into slices
of banana. Nut butters are a useful way of adding protein to
smoothies and powdered nuts add texture and substance to
cakes and biscuits just replace some of the flour with equal
quantities of ground nuts. Almonds are traditionally used in
some cultures with dates to help women who have problems
lactating after giving birth, who knew!
The upshot is nuts are great. They are an excellent source of
good fats and help mitigate the negative effects of the bad fats
so common in our diets. They are rich in protein and fibre and
contain a host of other goodies. Store them in the freezer as
they can get soggy in the fridge and pop a hand full in the kids
pockets when they leave the house in the morning. But dont
go nuts. Like all foods, nuts are best in moderate quantities.
CORE | HEATH & MIND | RETREATS
DO NO KAI MARTIAL
ARTS RETREAT, MEXICO
t Do No Kai - You tell them when, what and how long

you want to train. For example, you have five days off
over Easter and you want to learn the Wing Chun Mook
Jong and Plum Blossom Poles, plus review and polish
your existing forms. Assuming your dates are available, Shihan
will determine if it is possible to instruct you in all that information during that amount of time.
Retreats pricing:
One days training is $250 USD. Second days training is $150
USD. Third day, and every day thereafter: $100 USD. Price
includes all your instruction and lodging at the Temple. If more
than one student attends the retreat, please contact us and we
can discuss a proportional group discount. This attractive offer
has been made because one of the Yudansha, Soke Heenan,
has recently built a retirement home on the Temple property,
and wants the house to be used to billet retreat students. The
house can easily sleep five, and offers a sweeping view of Lake
Chapala. For a small fee to cover insurance, you can also be
provided with a car. Students are welcome and encouraged to
bring cameras and recording devices to seminars, so they can
refer to the experience at the Temple long after they've gone.
Do No Kai awards students a certificate of completion and gives
printed material and relevant DVDs for students to take home.
Martial arts taught at DoNo Kai Ju-Jitsu might be considered martial Judo, since Judo
was created more as an Olympic Game competition than
a martial art. These days, Ju-Jitsu consistently proves its
timeless value in self-defense in every Ultimate Fighting
Championship.
Kobu-Jitsu (weapons art) - Do No Kai teaches at least one
complete form for each of the following weapons: Yawara,
Keibo, Jo, Bo, Tonfa, Nunchaku, Kama, Sai, Naginata and
Katana.
Wing Chun Kung Fu, an extremely effective close-in style
of Chinese boxing. This system of Kung Fu is just as famous
for its ability to be quickly learned as it is for its deadliness.
Tai-Chi Chuan, also known as moving yoga, martial
meditation and Grand Ultimate Fist, is presently the most
widely practiced form of exercise in the world. Its health
benefits are legion, as are its martial applications.
Pak-Qua Chuan, the sister system to Tai-Chi Chuan, could
also be considered its martial complement. A fascinating study
in the superimposition of metaphysics and the physical.
www.martial-arts-retreats.com
HEATH & MIND | RETREATS | CORE
THE HILL THAT

BREATHES, ITALY
ill That Breathes is an award-winning retreat centre

in the heart of Italy running yoga and holistic holidays but it is a yoga holiday retreat centre with a
difference (thus the awards and press coverage)
The Hill offers yoga holidays and yoga retreats with some
of the worlds best teachersbut also international 'Masters'
including The Barefoot Doctor and Karl Grunick and holds the
now-world-famous 'F**k It' weeks run by the owners, John C.
Parkin and Gaia Pollini.
There is a very impressive venue and setting, a 100 acre
wooded hill in the heart of Italy, with renovated farmhouse,
salt-water pool and a huge geodesic dome.
The food is delicious, Italian, healthy, vegetarian food
in fact, just the food brings people back to The Hill again and
again.
Unlike many retreat centres, nothing is taken too seriously
so there's no getting up at the crack of dawn to chant, no strict
regimes, there's as much emphasis on pizza.
Now, some people ask us if we do 'holistic holidays' as well
as 'yoga holidays' or 'yoga retreats', The Hill offers both and is
simply a way of having a great holiday, relaxing even more
than you normally would, and taking something home that will
last longer than your suntan.
www.thehillthatbreathes.com
Is that Karate
School you
are thinking
of joining a
McDojo?
The term McDojo has come to be quite popular
nowadays in the various martial arts business and
trade journals and is a derogatory term used to
describe certain types of martial arts schools. What
are these types of schools and why is this term
relevant to you as someone looking to get started in
the martial arts? This article will first explain what
a McDojo is and will then give you some advice on
how to avoid joining one.
CORE | ADVICE
PART OF THE PROBLEM

LIES WITH THE CONSUMER
BECAUSE FOR THE MOST
PART, THE CONSUMER
DOES NOT KNOW WHAT
TO LOOK FOR. WHAT IS
A GOOD SCHOOL AND
WHAT DOES A GOOD
INSTRUCTOR LOOKS
LIKE. THE GOAL WITH
THIS ARTICLE IS TO HELP
YOU KNOW WHAT TO LOOK
FOR BEFORE YOU MAKE
A MISTAKE THAT YOU
WILL REGRET
s the martial arts have grown in

popularity since the initial Bruce Lee
craze that then lead to Jackie Chan,
Chuck Norris, Jet Li, Steven Seagal,
Jean-Claude VanDamme, The Karate
Kid etc, martial artists across the country
have begun to understand the potential
of the martial arts as a money-making
opportunity and a viable business opportunity.
Not too many years ago, the idea that somebody could
make money teaching karate was simply ludicrous, in fact
legendary Chuck Norris set up a Karate school which failed.
However, nowadays there are a growing number of so-called
successful schools making upwards of seven figures in gross
annual revenues. Some of these schools are reputable and
offer quality programs with quality martial artists as the Chief
Instructors/Owners, others are not. So how do you tell which
is which?
You have probably figured out by now that a McDojo is not
considered to be a reputable school. A McDojo quite frankly
represents the worst example of a martial arts school. It is one
that has lost touch with what the true values of the martial arts
are, such as honesty and integrity, and is intent on one thing
- getting the most money out of each and every person who
walks in the door. Part of the problem, however, lies with the
consumer because for the most part, the consumer does not
know what to look for or what a good school is and what a good
instructor looks like. The goal of this article is to help you know
what to look for before you make a mistake that you will regret.
Here are the four warning signs that your school is a McDojo.
1. Hard-Sell Tactics
From the moment you walk into the door, or before you get in
the door as some McDojos come to you first. In New Zealand
we have one particular McDojo that sell door-to-door offering
deals to join their club. You will be met by hard-sell tactics that
are focused primarily on you opening up your cheque book or
surrendering your visa card before anything about the actual
martial arts, instructor qualifications or programs have been
discussed. Think about it and research the club before you sign
up for anything.
2. Contracts
Yes, you guessed it. You may have to sign up for a one year
minimum, then three years, then five years or longer. Or you may
be offered the chance to purchase a "life-time" membership, then
pay for your individual classes as well.
After all karate is about commitment, right? Its about never
giving up and always doing your best. You know what, theyre
right on this one. Karate is about commitment, it is about never
IT IS CRUCIALLY
IMPORTANT THAT YOU ARE
TAUGHT BY AT LEAST A
FIRST DAN BLACK BELT BUT
PREFERABLY SANDAN (3RD
DAN/DEGREE) OR ABOVE!
giving up and always doing your best.
However life is such that things can happen beyond your
control and despite the fact that you wanted to get your black
belt, you may have lost your job, got a promotion in another city,
had a death in your family etc, and can no longer continue.
A reputable martial arts school will give you a way out either
through an agreement that provides an escape clause for any
of the reasons listed or simply because they have integrity and
understand and sympathise with your predicament. Many
schools will not have a contract at all, you simply have the
option to pay either by class, monthly or yearly.
3. False promises
You may be told that you will be able to defend yourself against
a crazed knife-wielding attacker within just three months. There
are specialised courses that can teach this, your average martial
arts school doesnt.
Or that it is possible to get your black belt in just over a year,
or even in two years. Quite frankly this is a joke, it takes years of
training to achieve your black belt.
You may be asked to purchase expensive full body gear and
padding. Basic sparring does not require full combat gear in
the name of safety, it requires a good instructor, clear rules
and appropriate guidance and supervision. Nothing more and
nothing less.
4. Tips from Core Mag

We do have McDojo Karate clubs in New Zealand, so remember
to always check the grade of your instructor! They should be
more than happy to divulge this to you. As an example: If the
instructor is not wearing a solid black belt ie; it may have a white
stripe running its length - then the instructor may not be a black
belt at all, in fact they might only be a green belt. We know as a
fact that this has been the case within many dojos, which is very
disturbing. You may be told that your instructors grade is not
important as they are part of a special instructor programme, this
is just smoke and mirrors - the grade is important.
It is crucially important that you are taught by at least a First
Dan Black Belt but preferably Sandan (3rd Dan) or above!
This subject of McDojos is incredibly important for all
prospective students of the martial arts. Please dont take it
lightly. You must educate yourself and do your research.
Good luck and best wishes on your journey in karate.
Contact us today
about our MASSIVE
30% Club Discounts
VISIT THE ONE-STOP SHOP
FOR EVERYTHING KARATE
GLOSSARY
OF JAPANESE
TERMS
GLOSSARY | CORE
A
Age Tsuke: Rising Punch
Age Uke Gyaku Ashi: Upper Block (Reverse Foot)
Age Uke: Rising Block
Ago: Chin
Ashi Waza: Foot Techniques
Ashi: Foot
Ashibo Kake Uke: Leg Hooking Block
Ashikubi Kake Uke: Ankle Hooking Block
Atama: Head
Ate Waza: Smashing Technique
Atemi: Striking The Vital Points
Awase Tsuke: U Punch
B
Bassai: Breaking Down the Fortress
Budo: Martial Ways
Bunkai: Application of Techniques in Kata
Bushido: Way of the Warrior
C
Choku Tsuke: Straight Punch
Chudan: Middle or Chest Area
Chudan Choku Tsuke: Straight Punch to Body
Chudan Mae Geri: Front Kick to The Middle Area
Chudan Shuto Uke: Middle Knifehand Block
Chudan Uchi Uke: Block from Inside Out with Top of Wrist
Chudan Ude Uke: Forearm Block against Body Attack
D
Dachi: Stance
Dan Tsuke: Consecutive Punches
De Ashi Harai: Advancing Foot Sweep
Deai Osae Uke: Pressing Block Stepping In
Do: Way
Dojo: Practice Hall, Literally Place Of Learning The Way
E
Empi Uchi: Elbow Strike
Empi: Elbow
En Sho: Round Heel
Eri: Collar Or Lapel
F
Fudo Dachi: Rooted Stance
Fumikiri: Cutting Kick
Fumikomi Age Uke: Upper Block, Stepping In
Fumikomi Shuto Uke: Knifehand Block, Stepping In
Fumikomi Ude Uke: Forearm Block, Stepping In
Fumikomi: Stomping Kick
G
Gai Wan: Outer Arm
Gedan Barai Uke: Downward Sweeping Block
Gedan Choku Tsuke: Straight Punch to Groin
Gedan Kake Uke: Downward Hooking Block
Gedan Kekomi: Thrust Kick to Groin
Gedan Tsuke: Punch to Groin
Gedan Uke: Downward Block
Gedan: Lower Body Area
Geri: Kick
Gi: Uniform
Goshi (or Koshi): Hip
Goshin Waza: Self Defense Techniques
Gyaku Ashi: Reverse Foot
Gyaku Juji Gatame: Palms Up Strangle
Gyaku Mawashi Geri: Reverse Round Kick
Gyaku Tsuke: Reverse Punch
H
Hachiji Dachi: Open Leg Stance
Hadaka Jime: Naked Strangle
Hai Wan: Back Arm
Hai Wan Negashi Uke: Back Arm Sweeping Block
Haishoku: Instep
Haishu: Backhand
Haishu Uchi: Backhand Strike
Haishu Uke: Backhand Block
Haito: Ridgehand
Haito Uchi: Ridgehand Strike
Hajime: Begin
Hangetsu Dachi: Half-Moon Stance
Hangetsu Kata: Half-Moon Formal Exercise
Hanmi: Half Front Facing
Hara: Stomach
Harai: Sweeping
Hariken: Fore-Knuckle Fist
Hasami Tsuke: Scissors Punch
Heian: Peaceful Mind
Heiko Dachi: Parallel Stance
Heiko Tsuke: Parallel Punch
Heisoku Dachi: Closed Feet Stance (Attention)
Hidari Shizen Tai: Left Natural Position
Hidari Teiji Dachi: Left T-Stance
Hidari: Left
Hiji Ate: Elbow Strike
Hiji Suri Uke: Elbow Sliding Block
Hiji Uchi: Elbow Strike
Hiraken Tsuke: Fore Knuckle-Fist Straight Punch
Hiraken: Fore Knuckle Fist
Hiriki No Yosei: Elbow Power
Hiza: Knee
Hiza Geri: Knee Kick
Hizagashira: Kneecap
I
Ichitaita: One Against Many
Ikkaijo: First Control
Ippon Ken Tsuke: One Knuckle-Fist Straight Punch
Ippon Ken: One Knuckle Fist
Ippon Kumite: One Step Exercise
Ippon Seoi Nage: One Arm Shoulder Throw
Irimi: Entering
Irimi Nage: Entering Throw
J
Jo Sokutei: Raised Sole
Jodan: Head Level
Jodan Age Uke: Upper Block against Head Attack
Jodan Choku Tsuke: Upper Straight Punch
Jodan KeKomi Geri: Thrust Kick to Head
Jodan Mae Geri: Front Kick to Head
Jodan Uke: High Block
Judo: Gentle Way
CORE | GLOSSARY
Juji Kumite: Free Exercise

Juji Nage: Crossed Arm Throw
Juji Uke: Cross Block
Jujutsu (also Jiu-Jitsu): Gentle Art
Jumbi Undo: Warming Up Exercises
K
Kage Geri: Hooking Kick
Kage Tsuke: Hook Punch
Kaisho: Open Hand
Kaiten Nage: Open And Turn Throw
Kaiten: Turning
Kakato Geri: Heel Kick
Kakato: Heel
Kake Geri: Hooking Kick
Kake Shuto Uke: Hooking Knifehand Block
Kake Tsuke: Hooking Punch
Kake Uke: Hooking Block
Kakiwaki Uke: Reverse Wedge Block
Kakuto Uke: Bent Wrist Block
Kakuto: Bent-Wrist Block
Kamae: Posture
Kanku: Viewing the Sky
Kansetsu Waza: Joint Manipulation Techniques
Karate: Empty Hand
Kata: Formal Exercise
Kata: Shoulder
Keage: Snap (Kick)
Kebanashi: Kick Off (Snap Kick)
Keito Uke: Chicken Head Wrist Block
Keito: Chicken Head Wrist
Kekomi: Thrust (Kick)
Kendo: Sword Fighting
Kentsui Uchi: Fist Hammer Strike
Kentsui: Fist Hanmer
Keri (or Geri) Waza: Kicking Techniques
Kesa Geri: Diagonal Kick
Ki: Inner Spirit or Strength
Kiai: Yell Or Shout
Kiba Dachi: Horse (Straddle Leg) Stance
Kihon Dosa: Basic Movements
Kihon Kumite: Basic Sparring
Kihon Waza: Fundamental Techniques
Kihon: Basics Or Fundamentals
Kime: Focus
Kin Geri: Groin Kick
Kiostuke: Attention (Command)
Kizami Tsuke: Jab
Ko Soto Gari: Minor Outside Reaping Throw
Ko Uchi Gari: Minor Inside Reaping Throw
Koken Uke: Wrist Block
Kokutsu Dachi: Back Stance
Konoe Gaeshi: Leaf Turning Wristbend
Kosa Dachi: Crossed Leg Stance
Ko-Shi: Ball of The Foot
Kote Gaeshi: Outward Turning Wristbend
Kote Hineri: Inward Turning Wristbend
Kubi Nage: Neck Throw
Kubi: Neck
Kumade: Bear Hand
Kumite: Free Exercise
M
Ma Ai: Distancing
Mae Ashi Geri: Front Leg Kick

Mae Empi Uchi: Forward Elbow Strike
Mae Geri Keage: Front Snap Kick
Mae Geri Kekomi: Front Thrusting Kick
Mae Geri: Front Kick
Mae Hiji Ate: Forward Elbow Smash
Mae Tobi Geri: Jumping Front Kick
Maeude Deai Uke: Forearm Pressing Block
Maeude Hineri Uke: Forearm Twist Block
Makiwara: Striking Board
Masubi Dachi: Informal Attention Stance
Matte: Stop
Mawashi Geri: Round Kick
Mawashi Tsuke: Round Punch
Migi: Right
Mikazuki Geri: Cresent Kick
Momo: Thigh
Morote Sukui Uke: Two-Handed Twist Block
Morote Tsukami Uke: Two-Handed Grasping Block
Morote Tsuke: Double Fist Punch
Morote Uke: Augmented Forearm Block
Mudansha: Ranks Below Black Belt
Mune: Chest
Musubi Dachi: Open Feet Stance, Heel Together
N
Nagashi Tsuke: Flowing Punch
Nage Waza: Throwing Techniques
Nai Wan: Inner Arm
Naihanchi: Iron Horse
Nakadaka Ippon Ken: Middle Finger One KnuckLe Fist
Nami Juji Gatame: Half Cross Strangle
Negashi Uke: Sweeping Block
Nekoashi Dachi: Cat Stance
Nidan Geri: Double Kick
Nihon Nukite: Two Finger Spearhand
Nikaijo: Second Control
Nukite: Spearhand
O
Obi: Belt
O Soto Gari: Major Outside Reaping Throw
O Uchi Gari: Major Inside Reaping Throw
Oi Tsuke: Stepping or Lunge Punch
Okuri Ashi Harai: Sliding (or Gathering) Foot Sweep
Okuri Eri Jime: Sliding Collar Throw
Osae Uke: Pressing Block
Otoshi Empi Uchi: Downward Elbow Block
Otoshi Hiji Ate: Downward Elbow Strike
Otoshi Uke: Dropping Block
R
Rei: Bow
Reinoji Dachi: L Stance
Ren Tsuke: Alternate Punching
Renzoku Geri: Combination Kick
Ritsu Rei: Standing Bow
S
Sanchin Dachi: Pigeon-Toed (or Hour-Glass) Stance
Sankaijo: Third Control
Sanren Tsuke: Three Consecutive Punches
GLOSSARY | CORE
Seiken Choku Tsuke: Forefist Straight Punch

Seiken Tsuke: Forefist Strike
Seiken: Forefist
Seiryuto Uke: Ox-Jaw Block
Seiryuto: Ox-Jaw Hand
Sensei: Teacher Or Instructor
Shihan: Head Instructor
Shiho Nage: Four-Corner Directional Throw
Shiho Wari: Breaking Boards on Four Sides to Test Power
Shikko Ho: Knee Walking
Shiko Dachi: Square Stance
Shime Waza: Strangulation Techniques
Shintai: Body Movement
Shitage: Uniform Pants
Shittsui: Knee-Hammer
Shizen Dachi: Natural Stance
Shizen Tai: Natural Position
Shomen Tsuke: Front Punch
Shomen Uchi: Front Strike
Shotei Uchi: Palmheel Strike
Shotei Uke: Palmheel Block
Shu Wan: Palm Arm
Shubo: Arm Stick
Shumatsu Undo: Cool Down Exercises
Shuto Uchi: Knifehand
Shuto Uke: Knifehand Block
SochIn Dachi: Diagonal Straddle-Leg Stance
Sode: Sleeve
Sokumen Awase Uke: Side Two-Hand Block
Sokutei Mawashi Uke: Circular Sole Block
Sokutei Osae Uke: Pressing Block with Sole
Sokuto Keage Geri: Snap Kick with Edge of Foot
Sokuto Keage: Snap Kick with Foot Edge
Sokuto Osae Uke: Pressing Block with Foot Edge
Sokuto: Foot Edge
Soto Uke: Block from Outside Inward with Bottom of Wrist
Suki: Opening
Sukui Uke: Scooping Block
Sutemi Waza: Sacrifice Technique
T
Tai No Henko: Body Change
Tai Subaki No Kihon: Basics of Body Movement
Tai Subaki: Body Movement; Pivoting
Taikyoku: First Cause
Tameshigeri: Test Cutting with the Sword
Tameshiwari: Power Demonstration, Breaking
Tanden: Area Below the Navel and the Center of Ki
Tatami: Mat
Tate Empi Uchi: Vertical Elbow Strike
Tate Hiji Ate: Upward Elbow Strike
Tate Shuto Uke: Vertical Knifehand Strike
Tate Tsuke: Vertical Fist Punch
Te Nagashi Uke: Hand Sweeping Block
Te Osae Uke: Hand Pressing Block
Teiji Dachi: Stance
Teisho Awase Uke: Combined Palm Heel Block
Teisho Tsuke: Palm Heel Punch
Teisho Uchi: Palm Heel Strike
Teisho Uke: Palm Heel Block
Teisho: Palm Heel
Tekatana: Hand Sword
Tekki: Iron Horse
Tekubi Kake Uke: Wrist Hook Block
Tem Ben Nage: Elbow Lock Throw
Tenkan: Turning
Tobi Geri: Jumping Kick
Tobi Yoko Geri: Jumping Side Kick
Tori: Defender
Tsukami Uke: Grasping Block
Tsuke Waza: Punching Techniques
Tsuke: Punch
Tsumasaki: Tips Of Toes
Tsuro Ashi Dachi: Crane Stance
U
Uchi Hachiji Dachi: Inverted Open Leg Stance
Uchi Mawashi Geri: Inside Cresent Kick
Uchi Uke: Inside Block
Uchi Waza: Striking Techniques
Uchi: Striking (Also Inner)
Ude Garami: Coiling Armbar/Figure Four Shoulder Lock
Ude Uke: Forearm Block
Ude: Arm
Ukae: Attacker
Uke: Block
Ukemi: Breakfalls
Ura Tsuke: Close Punch
Uraken Uchi: Back Fist Strike
Uraken: Backfist
Ushiro Ashi Geri: Rear Leg Kick
Ushiro Empi Geri: Back Elbow Strike
Ushiro Geri: Back Kick
Ushiro Hiji Ate: Back Elbow Strike
Ushiro: Back, Rear
Uwagi: Uniform Jacket
W
Wake Gatami: Elbow Lock
Wan: Arm
Wanto: Arm Sword
Washide: Eagle Hand
Waza: Technique
Y
Yama Tsuke: Wide U Punch
Yoko Empi Uchi: Side Elbow Strike
Yoko Geri Keage: Side Snap Kick
Yoko Geri Kekomi: Side Thrust Kick
Yoko Geri: Side Kick
Yoko Hiji Ate: Side Elbow Strike
Yoko Kekomi: Side Thrust
Yoko Mawashi Empi Uchi: Side Round Elbow Strike
Yoko Mawashi Hiji Ate: Side Round Elbow Strike
Yokomen Uchi: Side Strike to Head
Yoko Tobi Geri: Jumping Side Kick
Yoko: Side
Yokomen Uchi: Side Strike to Head
Yonhon Uchi: Four Finger Spearhand
Yonkaijo: Fourth Control
Yubi: Finger
YudaNsha: Black Belt Level
Z
Za-Rei: Kneeing Salutation (Bow)
Zenkutsu: Dachi Forward Stance
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# 01 / 2012

KANCHO JACK SIMS

36 Useful Sparring Tips

Interview with Kancho Jack Sims

16 The Nature of Fighting

30 Learning Effective Breathing Methods

Publisher: Mega Media Ltd

Core Magazine is an amalgamation of some of the articles currently available

ISSUE ONE 2012 | CORE

4 CORE | ISSUE ONE 2012

ISSUE ONE 2012 | CORE 5

Kancho Sims (Chidokan 9th dan)

6 CORE | ISSUE ONE 2012

Jack Sims established his own karate-do organisation NZ Chidokan in 1968

hank you for the opportunity to

When you returned to NZ what shape was karate in then?

CHIDOKAN KANCHO SASAKI, ON MEETING ME FOR THE FIRST

ISSUE ONE 2012 | CORE

8 CORE | ISSUE ONE 2012

ISSUE ONE 2012 | CORE

10 CORE | ISSUE ONE 2012

ISSUE ONE 2012 | CORE

COMMITMENT IS ALSO A MAJOR CONSIDERATION. DONT QUIT

What are your views on sport karate?

12 CORE | ISSUE ONE 2012

on the back burner and replaced by the normal day to day

Kancho Sims (Chidokan 9th dan)

ISSUE ONE 2012 | CORE

14 CORE | ISSUE ONE 2012

ISSUE ONE 2012 | CORE

16 CORE | ISSUE ONE 2012

ISSUE ONE 2012 | CORE 17

ACTION IS ALWAYS FASTER THAN REACTION. IN A REAL

he methodology applied in the katas is

violence becomes absolutely necessary. If you have done

SPRING 2011 | CORE 19

not simply respond to your opponents actions. If you allow

Most fights begin close up

Real fights are sloppy affairs

20 CORE | ISSUE ONE 2012

understand that the effects of the huge adrenaline surge you

Most fights are decided by blows to the head

There are two key things to take into account when

High and middle level kicks are unlikely to be effective

SPRING 2011 | CORE 21

22 CORE | ISSUE ONE 2012

Most fights are over in seconds

Real fights are not like sporting contests

Although there are exceptions, the majority of fights are over

In a real fight there is no limit of the techniques that can be used

Blocking and countering is unlikely to work

This article has been reproduced

ISSUE ONE 2012 | CORE 23

One of the most important things I have learned in teaching

hotokan karate is a powerful

26 CORE | ISSUE ONE 2012

THE BALANCE OF YIN AND

balance and control within yourself. A technique which begins

of weight, nothing. I realize that this may sound simplistic.

ISSUE ONE 2012 | CORE 27

BY LEARNING TO ACHIEVE A STATE OF STILLNESS, YOU

28 CORE | SPRING 2011

your position so that you are in a mirror image of the original