The Basics

kōsa	交差	crossing; intersecting
uke	受け	block

Kōsa uke is the block developed by Sōke Kaichō Kinjō. Kōsa uke and the circle block, hirate mawashi uke, of Uechi RyÅ« are quite different.  In kōsa uke both hands work together for more blocking effectiveness.  Kōsa uke can be compared to the two-handed backhand popular in tennis for its greater power.

The circle block of Uechi RyÅ« uses each hand independently. The thought process for learning circle block was “slap drop around back.” Sometimes the slap hand does nothing at all, relying on the circle hand to do all the blocking. This one-handed block does work, but not well against an opponent who may be much stronger.

Yes, kōsa uke has a hand that’s purpose is to slap, but let’s call the other hand the control hand.  Both hands come together to force the opponent’s thrust aside.  The slap hand is then free to come to hikite in preparation for the counterattack while the other hand takes control (hence the control hand). Pay special attention to the control hand.  Dropping too low with the control hand wastes valuable time.  It also negates the advantage of using both hands together.  In effect, the kōsa uke devolves into the Uechi RyÅ« circle block.

The slap of kōsa uke is not always delivered shōtei, the base of the palm.  There are four ways to perform kōsa uke, for all of which the “slap” is actually an attack to the opponent’s arm.  Shōtei is the least painful and therefore preferred for partner work. In karate kata, the flatter appearance of haitō is preferred. Interestingly, in Kōbu no Tinaka, both haitō and tetsui are applied to great effect, using the points on either end of the small hand-held weapon.

shōtei	掌底	palm heel
haitō	背刀	ridge hand
shutō	背刀	sword hand
tetsui	手槌	hammer fist

1. Shōtei
2. Haitō
3. Shutō
4. Tetsui

How much force you can deliver to an opponent is dependent on two factors: mass and acceleration.

F = MA

Loosely speaking, you have to be both strong and fast.

To be as fast as possible in the short distance from your fist to your opponent you need acceleration. Follow through is important.  You want to still be accelerating as you hit. Imagine that you are creating a hole for the punch to travel through.

To increase the mass delivered to the opponent, use the whole side of your body and not just your arm. To make the collision as inelastic as possible, tighten on contact so that all of your force will be delivered to the opponent. In other words, you don’t want to bounce off like a ping pong ball hitting a billiard ball.

The central axis of the body is called chūshin. As the punch is launched you rotate around chūshin, causing the opposite shoulder to naturally move back. This sets you up to deliver the next attack. Potential energy is increased because there is more distance to accelerate through.

Sōke Kaichō Kinjō learned his physics by punching a makiwara. You can do the same. Punch until you feel you are delivering the most power possible.

There are many different ways of attacking with the hand, fist or elbow. 

Keri -geri

è¹´ã‚Š

kick

Your weight should be on the balls of your feet.  As you kick the knee of the support leg should flex and the heel should turn inward.  The turn of the heel with the knee flexed adds power and reach to the kick. The hip of the support leg will naturally pivot back as the kick extends, much as the opposite shoulder moves back as a punch is extended.

musubi dachi	結び立ち	heels together stance
heikō dachi	平行立ち	parallel stance
sanchin dachi	三戦立ち	Sanchin stance
suegoshi	据え腰立ち	“sit down hips” stance
neko ashi dachi	猫足立ち	cat foot stance
shizen	自然	natural

There are many stances found in karate kata and taisabaki waza.

tenshin

転進

shifting position

The safest place for a defender to be is outside the path of the attack.  The opening moves of the kata, Kanshiwa, are good examples of tenshin, moving to the outside of an attack.  

mawaru	回る	to turn
mawatte	回って	turn (command)

Turn and look.  Use your shoulders.  Don’t rely on peripheral vision.  As you look begin your step and block.  The whole side of the body turns as one.  Shift your weight onto the ball of your pivot foot as you turn.  Shifting your weight immediately moves your head and body out of the path of the attack.  Practice the turn with a bend of the knee as you shift your weight.  It looks like a swoop into the block.  This lowers your center of gravity for a more stable base as you intercept the attack.

Two common errors:

1. if you first turn your foot and then step into the turn you leave your head in the path of the attack. You may be hit.
2. If you step across and then pivot you can’t see what is coming until it is too late to respond properly. With your legs crossed over you will be unstable. Plus, this is even slower than turning your foot first. You are vulnerable for far too long.

Ask a partner to check your turn.  Stand in sanchin dachi with your hands at the ready position.  Have your partner place his fist an inch or two from the back of your head. Turn.  Did your head immediately move out of the path of the fist?

kokyū	呼吸	breathing
hō	法	method

The KōburyÅ« breathing method is very different from that of Uechi RyÅ«. Uechi RyÅ« practitioners are taught to breathe after the strike. They are also taught to control the breath by stopping the exhale using the tongue, making a “tssst” sound.

KōburyÅ« practitioners breathe at the moment of contact for delivery of maximum power.  Breathing is united with the movement and helps focus power.  Push the exhale from the diaphragm. Imagine that you are a balloon. When a filled balloon is released the air exits explosively and completely. This is what your exhale should feel like.

Sōke Kaichō Kinjō recommends a breathing exercise to improve the strength of your exhale. Inhale until you feel you can hold no more. Then exhale completely, using your diaphragm to force out the last available air. You can pound your stomach at the last of the exhale. The exhale should take three times as long as the inhale. You can imagine that you are inhaling the essence of the universe and then exhale the impurities.

KōburyÅ« students who are still using the “tssst” should work to remove this breathing method. The Uechi RyÅ« breathing method can not possibly add to power.

The kiai is the martial artist’s fighting yell. Like the powerful exhale of KōburyÅ«, a great kiai can help deliver maximum power at contact. It can also become part of your defense strategy, showing confidence and determination.

The three rules of kiai for defense:

1. Express your kiai before your opponent.
2. Express your kiai stronger than your opponent.
3. Express your kiai more often than your opponent.

Does the kiai really increase power?

An answer from Scientific American magazine:

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Does making a loud noise while hitting the ball actually help?  Quite possibly, says ScientificAmerican.com.  In a recent study, physical-therapy researcher Dennis O’Connell found that by grunting, college players could speed up their serve by 4.7 mph on average and their forehand by 4 mph.  He notes that the grunt occurs during what is known as the Valsalva maneuver, when a tennis player – or weight lifter – forcefully expels air in moments of extreme muscle strain.  Grunting appears to recruit more muscle fibers to the activity, thus generating more force, and “can have a role in helping anyone do a maximal exertion,” O’Connell says.     

Why Tennis Players Shriek and Grunt; The Week; September 18, 2009

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kamae	構え	pose
zanshin	残心	unrelaxed alertness
yame	止め	stop (command)

The last move of a karate kata is a kamae, a pose.  The purpose the pose is to show zanshin, a tension in the body and an alertness of expression that shows readiness to continue the fight, if necessary.

Even though kata is an imaginary battle, remain on guard after the last movement of the kata until the command is given to stop, yame. There may be places during the kata where zanshin is appropriate, showing that one imaginary opponent has been finished off but you are ready in case of another attack.

Similarly, after completing a bunkai, withdraw out of range of the opponent but remain alert and poised to fight again.