Foreword: Last year in November I wrote a follow-up article, from one I wrote 19 years earlier, on 五本組手 (Gohon Kumite). In that piece, I mentioned that I'd write a 'secondary follow up article', so here it is. Rather, than moving on to other forms of kumite, I thought I'd recap some key points featured in the previous article and answer a number of questions I've received since then on this topic; moreover, expand on these aspects. Overall, I hope that you find this article useful. As always I look forward to hearing your feedback and questions, All the best in your training and greetings from my dojo here in Oita City, Japan, Osu, André
Generic description of Gohon Kumite and format of this article:
Here is a brief description of the ‘basic’ form of Gohon
Kumite (Five step ‘sparring’. This form
of engagement match is the required ‘Kumite’ for the Hachiryu and Nanakyu
examinations. In this article I will: (a) describe basic Gohon Kumite; (b)
provide some ‘additional key points for ‘Basic’ Gohon Kumite’; (c) explain more
advanced Gohon Kumite and list some variations; and (d) wrap up with some
conclusive notes. Overall, while I written about this topic before, I hope that
this latest article provides yet another analytical lens on Gohon Kumite as a
Shotokan Karate training routine.
Both attacker and defender are decided. After ojigi (bowing)
they face each other in hachiji dachi: ryo ken daitai mae. Being at the correct
distance to make maximum impact, the designated attacker steps back with the
right foot to execute gedan barai in hidari zenkutsu dachi. It is probably
worth mentioning that some instructors and groups kiai when making this ready
position, however, I do not.
The attacker then announces ‘joudan’ then precedes to attack
five times with alternate seiken jodan oi zuki and a sharp hikite each time to
aid in this process. Each time the opponents jinchu (the upper lip, just below
the nose) is targeted, and the aim is to use zenkutsu dachi to attack without
breaking the shomen position of the hips. In this process the drive and stretch
of the sasae ashi is paramount. Attack with the kahanshin. On the fifth and
final tsuki kiai strongly
To fend off these five tsuki the defender retreats five times in zenkutsu dachi receiving each attack with jodan age uke over their lead leg.
In contrast to the opponent driving forward into shomen, the defender strongly
rotates the hips into hanmi to launch their uke. Again, the hikite is fully
applied to increase the velocity and power of each ukewaza. The essential point
of stepping rearward is that the rear leg is slightly bent for both balance and
reciprocal action. When turning into hanmi this also allows the hips to remain
anatomically level. On the fifth step the defender straightens the rear leg to
apply ground power to rotate the hips for a strong counterattack with a gyaku
zuki. This counter is either aimed at the opponents jinchu or the suigetsu
(solar plexus).
From here both the attacker and defender return to hachiji
dachi with ryo ken daitai mae. The attacker steps back whilst the defender
steps forward. The roles of attacker and defender are then reversed, and
process repeated.
After both sides have attacked and defended against ‘jodan’,
chuudan (seiken chudan oi zuki) is then practiced. The process is the same
however the ukewaza employee is chudan soto uke.*
* Note — for middle kyu ranks and up, the hangeki
(counterattack) is always distance and angle appropriate. For example, when too far away a mae geri or another kick may need to be utilized. Likewise, when too
close, an enpi may be optimal. In sum an incorrectly distanced gyaku-zuki,
unable to break a solid board is indicative of its incorrect deployment.
How about ‘mae-geri’?
In the eighties we also practiced attacks with chudan
mae-geri keage in standard ‘Basic’ Gohon Kumite (including the 8th and 7th Kyu
examinations). However, this is generally not included now (as lower grades
tend to get bruised up pretty badly, sometimes worse). Of course, the great
thing about attacking and defending against mae-geri in Gohon Kumite is that
one “…learns to do gedan-barai correctly” and also a proper trajectory with
your front snap kicks. I have many memories of egg shaped purple bruises on the
insides of my shins and forearms. It also wasn’t uncommon for lower grades to
be downed: via a solid kick to their solar plexus. A quick way to learn that
‘zenkutsu-dachi is used to escape’ and one’s uke is in fact the secondary waza;
that is, ‘the back up technique’/‘the cover’. Taken as a whole, I probably
don’t think that mae-geri in Gohon Kumite—for beginners here now, in 2022—is
probably a good idea. Nonetheless, it is excellent training for senior kyu
grades and above: once ‘technique and conditioning’ is sufficient..
At one Dan Examination, when I was sitting next to Asai
Sensei, he leaned over to me and quietly said “Gohon Kumite”. All of the Shodan
candidates had just completed the Jiyu Ippon Kumite portion of the test. So, I
informed the candidates and had them form staggered lines, adjacent to our
table.
Asai Sensei then stood up and announced “attack ‘mae-geri, defend gedan-barai, no count”.
It was immediately clear that all of the candidates could not
manage deflecting the mae-keriwaza coming in at them. They messily attempted
zig zagging maneuvers to escape from the line. Likewise, it was clear that they
were getting hurt when kicking and, after the second kick, were purposefully
missing to avoid bruising to their shins. Overall, what was relatively clean
and sharp jiyu ippon was erased by the inability to do the most basic Shotokan
kick and (gedan barai) which, of course, is one of the five core ukewaza. Taken as a whole, it was a disaster,
resulting in all of the Shodan candidates, failing the examination.
So what’s the lesson to be learned here? If you can’t
deflect a full speed, full power mae-geri front on (without taisabaki) with
gedan-barai, your gedan-barai is wrong. Furthermore, if you can’t deflect five
consecutive full speed, full power mae-geri (plural) going rearward on the line
(with gedan-barai), your gedan-barai is not reliable. Lastly, if don’t hit your
training partner in the solar plexus five times—if they don’t make a good
gedan-barai—your mae-geri keage is incorrect.
To conclude, if you think you ‘need to get hurt and just be
tough’ to properly defend against mae-geri in Gohon Kumite, you are also wrong.
Correct ‘timing and distance of the rearward’ step into zenkutsu dachi, koshi
no kaiten, shime of the wakibara, hikite, and correct timing of the forearm
twist will result in you deflecting the biggest and fastest of
opponents/training partners. In saying that, when committing with any chudan
kicks, there is the inherent risk of bruising. But this is something one gradually
gets used to. That being said, with a good linear trajectory, bruising will be mitigated. The key here is that when you plant your kick you do so with strict
form and utter commitment.
Some additional key points for ‘Basic’ Gohon Kumite:
a. With age
uke and soto uke utilize the wrist; furthermore, target your opponents wrists
(for mae-geri and other kicks target the ankle).
b. Beware of
trajectories when making all tsuki and ukewaza. Tsuki must be as direct as
possible and uke must use the proper arcs and connect to the wakibara. Avoid
over-stretching tsuki and, indeed, ‘over blocking’ with uke.
c. When
attacking and defending move in a straight line. This is for effective
attacking and training your defense under maximum pressure.
d. Use your
stance when attacking to overwhelm the defender; likewise, when defending, use
your stance to escape. This form of ‘kumite’ highlights it’s better to be out
of distance than to rely solely on ukewaza. This is a key lesson of Gohon
Kumite.
e. When
attacking collapse the front knee and utilize juryoku (gravity) without
breaking the posture; furthermore, the fist should impact slightly before the
stance is completed. The purpose of this is twofold, firstly, hand speed is
increased, and secondly, the movement of the center and optimal mass can be
transferred into the target.
f. After
your final attack do not try to physically escape from your opponents
counterattack. Instead, allow them to counter you. I know of people who have
tried to avoid being countered and, here in Japan, (if you are with a senpai) it will sometimes erupts into Jiyu Kumite. The key here is to watch the
hangekiwaza, and visualize countering of their respective counterattack. This
skill of visual analysis is very valuable even in the context of basic Yakusoku
Kumite.
g. When
attacking, always aim to hit. Contact depends on the training partner
(comparative size, strength, health, experience, etc...) and what’s agreed on
beforehand. Common sense and mutual respect is the key here. Even if there is
no contact, even with young children, still aim for maximum speed and power,
distancing and targeting, but don’t touch. In this way, even without contact,
training time is not wasted for both partners.
h. When
countering, counter with full speed and power but make no contact. Your
training partner is trusting your control and giving their body to be your
target. Respect them!
i. Try to
match your kokyu (breathing) with the attacker. From the eyes to the shoulders
form a triangle for observation. You should see all four limbs, also
maintaining peripheral vision. Practice to be aware of all your surroundings,
this simple drill allows one to practice such skills, which can be further
developed in higher level training routines.
More advanced Gohon Kumite:
What I’ve covered up until now is the basic ‘grading form’
of Gohon Kumite. For higher practitioners, there are many variations. In
particular, higher grades practice with greater intensity when attacking. Also,
the counterattacks used must be optimal based on distancing and target
availability. The counterattack employed must be instantaneously selected and
optimal for that moment. The capacity to cause maximum damage in that moment is
what dictates this reactive hangeki (counterattack).
Here are some variations of Gohon Kumite:
1. Continuous
fast attacks and defense: tobi konde five times etc..
2. Broken
kankyu (rhythm)/timing.
3. Uke and
hangeki on every step.
4. Only
using the techniques from one particular kata or group of kata.
5. Utilizing
different attacks, heights of attacks, ukewaza, tachikata, unsoku etcetera.
6. Attacking
with a renzokuwaza on each step.
7. Moving in
different directions with attacks and/or defenses.
8. Tenshin.
9. Combinations
of the above…
As you can see, the possibilities are virtually unlimited.
In saying that, as I often stress, ‘innovation for the sake of innovation is
time not well spent’. Accordingly, when a variation is used, the achievement
objectives should be well defined and concentrated. Moreover, this should be
steered by the overarching objective of developing/enhancing budo/bujutsu
karate skill.
The use of 三本組手
(Sanbon Kumite):
You will know that some dojo and groups utilize Sanbon
Kumite as opposed or in addition to Gohon Kumite. Sanbon Kumite is sometimes
used when there is simply less space; however, some groups, such as SKIF
(Shotokan Karatedo International Federation) treat it as a different form of
kumite and use it to practice different level/height techniques on each step;
namely, jodan, chudan then mae geri. Asai Sensei, and JKA style Shotokan karate
as a whole, treat Sanbon Kumite in such a manner, as “…not a separate form of
training but, rather, a variation of Gohon Kumite”. I am by no means saying
that one way is better than the other; rather, I’m merely pointing out this
difference in approaches.
Conclusive notes:
Sometimes to wrap up a class I might use an innovative form
of yakusoku kumite, such as those listed above. In that case, it might just be
a hard out conclusion of the session (to sweat and train spirit). That being
said, when serious practice of Gohon Kumite is the aim, I teach and practice it
primarily as a form of ‘partner kihon’. That is, when fighting is my aim, I
prefer to do jiyu kumite, impact training etc. Certainly, I’m not completely
diminishing variations here; however, I am putting them in their rightful place
(from the overarching budo/bujutsu karate perspective).
© André Bertel. Oita City, Japan (2022).
