Secrets of Shotokan Karate. Robin L. Rielly

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      In Figure 31, the cat-foot stance is demonstrated. Balance here is difficult since the weight of the body is carried primarily on the rear leg. Still, it is possible to maintain balance, since the forward foot extends the base of support, and the knee is bent, lowering the hips. In addition, the upper body forms a straight line with the hip, affording maximum balance in this stance. Compare this with Figure 32. The model here deliberately has adopted a faulty cat-foot stance. Note that the upper body seems to lean backward slightly, upsetting the balance since hip and back are not in alignment. In addition, the knee is straightened, lessening the body’s ability to balance correctly. If the performer were attacked in this position, he would likely lose balance to the rear if his opponent charged into him.

      Figures 33 and 34 demonstrate how the misalignment of hip and back can cause a loss of balance. The balanced position in the straddle stance is one in which the upper body is straight, as compared to Figure 34, where the upper body inclines to the rear in an unbalanced position.

      One of the subtleties of body movement affecting balance is the manner in which the feet are positioned against the floor. In Figures 35 through 38 correct and incorrect methods of using the feet are demonstrated. In order to maintain solid balance in any stance, it is necessary to tense the foot and toes downward as if trying to grip the floor with them, as demonstrated from the front and side in Figures 36 and 38. Figures 35 and 37 show an incorrect tension of the feet with the toes actually raised, causing less of the foot surface to contact the floor, and upsetting balance.

      These may seem to be minor points as far as fighting technique is concerned; however, it must be remembered that balance affects all karate movement, and an unbalanced fighter is incapable of delivering the strongest technique.

      Generating Force

      The generation of force in karate techniques is a complex matter, combining a number of coordinated principles and movements, including hip movement, centrifugal force, reaction force, leg drive, proper muscle use, speed, and focus. To accomplish this, the body must be maintained in the correct position for each technique so that the coordination of these principles and movements is maximized. Figure 39 demonstrates some of the factors adding to the generation of power in the counterpunch. The fighter stands in the left front stance, executing a counterpunch with the right fist. The punch commences with a sharp rotating motion of the hips (A). This rotation of the hips is aided by the driving force of the leg (B). As the punching fist travels forward (E), the opposite arm is withdrawn sharply (D), causing the shoulders to rotate in the same direction as the hips and adding reaction force to the punching arm (E). As the punch makes contact with the opponent, the rear leg is stiffened, adding a reaction force (C) to the punch.

      Similar force is gained in the execution of some hand movements, using hip rotation opposite from that of the counterpunch. This type of reversed rotation may be observed in the rising block, inside block, downward block, knife-hand block, back-fist strike, and other hand techniques. Figure 40 demonstrates this reversed hip rotation in the performance of the rising block. The block begins with the rotation of the hip (A), to which is added the reaction force of the withdrawn hand (D). The driving force of the rear leg (B) creates a reaction force (C) that is added to the power of the blocking arm (E).

      The power of the hip is also added to kicking techniques, as demonstrated in Figure 41. As the front kick is thrust forward, the hip is rotated in the direction of the kick (A). At the same time the supporting leg is thrust against the floor (B), creating a reaction force (C) that adds to the power of the kick.

      In the roundhouse kick (Fig. 42), the power of the hips is added to the kick by rotating the hip in the direction of the kick (A, D). The supporting foot must be turned in the same direction in order to facilitate the kick (B). In order for the kicker to keep balance, the upper half of the body must rotate in a direction opposite to the hip.

      Coordinating Body Movement

      In the execution of karate techniques it is necessary to coordinate all body movements, in order to produce maximum power. This means that the directional movement of the body must be coordinated with hand and foot movements to maximize the effect of a kick, punch, or block. In schools where the instructors are lacking in basic knowledge, ignorance of this principle seems to be common. Many of these unqualified instructors produce students whose body movements are grossly uncoordinated. Some of the most common errors can be observed when these students complete a step forward and then follow with a punch or block. In other cases, the student shifts into a stance, and after body movement has been completed, the arm movement follows. Any physical education instructor not versed in karate technique could spot these coordination errors. A similar lack of coordination might be observed in a baseball player’s batting technique. If the batter were to step toward the pitch and rotate his hips without moving the bat, and then, having completed the hip rotation, begin to swing the bat, the error would be obvious. No body power would be added to the swing, and the resultant hit would not have the full power of the batter.

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