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| My final practice in New Zealand before returning to Japan. From l-r: Matt Brew, me, Lyall Stone Sensei & Andrew Makin. |
Based on several emails sent to me “questioning
my `pivot foot timing’, and timing in general”, I decided to simultaneously
answer both questions by synthesising both of these themes/technical enquiries.
I did this as they are clearly related.
Enough of my small talk, on with the article and the bigger picture of "timing"…
The “timing of the pivot
foot”—a fundamental point in isolation (the small picture): When
turning the jiku-ashi (pivot foot) must coordinate with the turn. Whilst this
is highly comprehensive, and easy to understand in text, it still requires practice
of `reserving’ the pivoting action. What I mean by reserving the pivoting
action is keeping the foot in place and only turning it when the rest of the
body completes its tasks. Unambiguously, when done correctly this results in single
harmonious waza. For example, movement 10 of Heian Shodan (the 270 degree turn
with hidari gedan barai); the second half of movement 25 in Heian Yondan (the transfer
from migi hiza-geri into hidari shuto-uke) etc… Of course, there are numerous
such examples throughout all of the JKA kata.
A “generic methodology to
improve and/or resolve timing problems” (the big picture):
If
timing in this, or any other regard, is problematic for you or your students—here’s
a simple tip. Just remember there are “three broad categories” of timing in
karate-do: firstly, `same time’; secondly, `before’; and thirdly, (and less
commonly in Shotokan) `after’…Basically, if something is wrong in your timing—or
not working—(irrespective of whether it’s kihon, kata or kumite) use these three
categories to guide you. TRY THE TECHNIQUE, OR APPLICATION, USING ALL THREE TYPES
OF TIMING’…Decisively establish “what happens?” If nothing else, this will help
you to better understand your waza.
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| Unsu kata |
For
example, in Jiyu Ippon Kumite (and of course, all other forms of kumite for
yudansha in dojo training), when attacking, don’t only attack with the same
timing of your footwork (the orthodox way); but also try `punching then
advancing’—the best `oi-komi’ way; and `advancing then punching’. Generally
speaking, these variations when applying appropriately and instinctively (and
at a higher level, in an ever more subtle manner, can result in one’s opponent `mistiming
their defensive action’ or `beating it’…Practicing in this way, so that one
instinctively applies the appropriate timing for any given
situation/opponent(s) “is utterly essential”: if mastery of karate techniques
is a personal objective. This is something that is often weak outside of Japan,
and, where it isn’t, has been reduced to means of merely `tagging’ ones
opponent: as opposed to downing them with a single blow.
Jiku-ashi: Back to the timing of
pivot foot, and its timing in turns.., why are such precise and harmonious
movements sought after? The answer is that “by seeking perfection of movement,
of harmonious/coordinated action (in a strict form) one can effectively deviate
from this form very easily. Therefore, this training results in a clear path
that, whilst being “never-ending”, functions as ‘subconsciously grooved line of
reference’ for `variations’. Intrinsically, this is the base of henka-waza—a
big part of my karate education between 1993 to 2006. Nonetheless, this is
something I certainly won’t delve into today.
Conclusion: I would like to end by saying that “only by using/training the body as
coordinated unit can we learn to use the different parts of the body—independently—with
great effect”. Above and beyond physical skills, otherwise known as ‘optimal
performance/ability’—the outcome of our `good days’, this must be grooved into
the subconscious mind/ via relentless training. Good days are not reliable! Accordingly,
this can only come from conscious effort and, as just said a moment before,
relentless training. Thinking about the timing of the jiku-ashi in this way
helps us to see karate-waza as whole—this is something that elucidates the
importance of kihon. I hope you found this little article useful. But don’t
think too much about it. Rather, get down to the dojo and sweat it out. All the
best from chilly Nippon, André.
©
André Bertel. Aso-shi, Kumamoto. Japan (2013).
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