Karate The Art of "Empty-Hand" Fighting. Hidetaka Nishiyama
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Название: Karate The Art of "Empty-Hand" Fighting
Автор: Hidetaka Nishiyama
Издательство: Ingram
Жанр: Спорт, фитнес
isbn: 9781462902811
isbn:
It should not be forgotten that this maximum exertion of energy is instantaneous and in the next instant is withdrawn in preparation for the next movement, i.e., the muscles are relaxed, the breath inhaled, and a position appropriate for the next technique assumed. A karate technique which is not focused is ineffective and so much wasted effort.
responsing (hen-ō)
This karate concept refers to the correct apprehension of the opponent's movements and the conscious adoption of the proper techniques in accordance with them. Both parts of this process are performed as a single momentary act and appear to an onlooker almost as a reflex action. It is this character of karate that creates self-confidence in its practitioner, i.e., he knows that his mind-directed reflexes don't have to "think" what to do.
4 organization of karate techniques
Karate techniques, like the techniques of any other highly developed sport or physical art, have been organized over the years in to a distinct system. Before giving instruction in the individual techniques, it may be worthwhile to outline the essentials of this system.
overall organization of karate techniques
As shown in the following chart karate techniques can be broken down into the two major categories of blocking opponent's attack and counterattacking. In addition, throwing and joint-twisting techniques are used in certain circumstances.
The major categories of blocking, counterattacking, throwing, and joint-twisting techniques are in turn based on the use of hand techniques, foot techniques, stance, posture, and body shifting. Since karate is an art based on the maximum use of all parts of the body, various special techniques are occasionally resorted to, such as using parts of the head or striking with the body.
organization of hand techniques
Broadly speaking, hand techniques can be separated into punching (tsuki-waza), striking (uchi-waza), and hooking waza). As shown on the right-hand side of the following chart, in actual practice, by using particular parts of the hand in various ways, these techniques are broken down into more specific hand techniques.
For example, by punching directly ahead with the front of the fist, the straight punch (choku-zuki) is performed. By punching in a semi-circular motion, it becomes the roundhouse punch (mawashi-zuki). The same part of the hand used in punching may also be used to perform various kinds of punching blocks (tsuki-uke). Similarly, striking with the hand as with a knife is called the knife-hand strike (shutō-uchi). Using the same part of the hand for blocking produces the knife-hand block (shutō-uke).
organization of foot techniques
Foot techniques may be broadly divided into kicking (keri-waza), stamping (fumi-waza), and miscellaneous. By using specific parts of the foot in various ways, specific foot techniques may be performed.
For example, by kicking with the ball of the foot, the front snap kick (mae-geri-keage), the front thrust kick (mae-geri-kekomi), the roundhouse kick (mawashi-geri), and flying front kick (mae-tobi-geri) may be performed. Again, striking with the knee becomes the knee kick (hittsui-geri), and so on.
organization of stance
Stances may be broken into natural stances, in which the muscles are relaxed, stances where the legs are put under tension by forcing the knees outward, and those where the legs are put under tension by forcing the knees inward. As these are adapted to specific purposes, they become specific kinds of stances.
The natural stances are preparatory to moving into a specific technique, while those in which the legs are kept under tension help in maintaining balance and add strength to both blocking and counterattacking techniques.
organization of posture
There are postures in which the upper part of the body is vertical to the ground and those where it is not vertical. Each of these is broken down into postures in which one directly faces the opponent, faces him at an oblique angle, or faces him at right angles.
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