松濤館空手の稽古
○ Introduction ○ Kihon ○ Form
○ Concentration and
Relaxation
○ Rhythm and timing ○ Hips
○ Breathing
○ Basic_kumite ○ Ippon_kumite ○ Jiyuu kumite
はじめに
There are three components to Shotokan
karate training: 基本 kihon 形, kata, and 組手 kumite. Each plays a
crucial role to the development of karate skills. While particular teachers and
particular training sessions may emphasize some (or only one) components, none
of them can be neglected in the course of one's training.
基本
Kihon is the practice of fundamental
techniques: blocking, punching, striking, and kicking. These techniques are the
beginning and end of karate -- a karateka (practitioner of karate) may learn
them in a matter of months, yet fail to master them after a life's worth of
training. Hence, basic techniques demand regular practice, applied with as much
concentration and effort as possible.
According to the late Sensei Masatoshi
Nakayama, the karateka must practice kihon with the following in mind:
姿勢
Balance and stability are necessary to
basic techniques. Kicking -- in which one leg supports the entire body -- is an
example of technique that depends on the karateka's sense of balance. Karate
movements involve shifting the body's center of gravity, which demands good
balance and control of the body. In addition, the karateka requires stable
joints, stances, and posture to deliver (or withstand) maximum impact in (or
from) a blow.
力とスピード
Karate would be meaningless without kime, the ability to
concentrate the greatest amount of force at the point of attack (or block).
Those with great muscular strength do not excel at karate, if they never learn
to use their muscles to the greatest effect. The karateka who excels, does so
by maximizing her muscular power through kime. In addition, the karateka's
power is directly related to the speed of her techniques. However, speed is
ineffective without proper control.
Concentration and relaxation of
power.
力の集中と脱力
The karateka cannot generate maximum power
if her punches rely on the arm's muscles alone, or her kicks on the leg's
muscles alone. The greatest level of power comes from concentrating all of the
karateka's strength, from every part of the body, on the target. In addition,
the karateka must generate power efficiently, using power when and where it is
needed. Maximum power is required only at the point of impact. Until then, the
karateka should stay relaxed and avoid generating unnecessary power. By tensing
the wrong parts of the body or tensing at the wrong time, the karateka only
diminishes the amount of power that goes into her block or attack. While she is
relaxed, the karateka should stay mentally alert.
筋肉強化について
The karateka must not only understand the
principles of kihon, she must give them effect with strong, elastic muscles.
Strong muscles demand constant, earnest training. They also require the
karateka to know which muscles to use in her techniques: well-trained muscles
will lead to strong and effective karate.
リズムとタイミング
Karate has its own rhythm that karateka
should come to recognize and understand. No technique takes place in isolation;
in combining basic techniques, the karateka should pay attention to the timing
of her techniques as well as the techniques themselves. A master karateka's
movements not only contain a great deal of power but also rhythm and, in their
own way, beauty. A sense of rhythm and timing will help the karateka understand
the techniques and the art in general.
腰
The hips are a crucial, yet oft-neglected
component in executing karate techniques. Hip rotation adds power to the upper
body, and is thus essential to strong blocks and punches. The hips' proximity
to the body's center of gravity make them the foundation of strong, stable
movements, good balance, and proper form. The karateka cannot move as smoothly,
quickly, or powerfully if the hips are passive. For this reason, teachers often
remind their students to "block with your hips," "punch with
your hips," and "kick from your hips."
呼吸法
The karateka should coordinate breathing
with her techniques. Breathing enhances the karateka's ability to relax and
concentrate maximum power in her techniques. Correct breathing -- fully
exhaling when finishing a strike, for example -- is necessary to developing
kime. The karateka should not breathe in a uniform manner; her breathing should
change with the situation. Proper inhaling fills the lungs completely. Proper
exhaling leaves the lungs about 20 percent full -- exhaling completely makes
the body limp, leaving the karateka vulnerable to even a weak attack.
形
The kata are formal
exercises which combine basic karate techniques -- blocking, punching,
striking, and kicking -- into a series of predetermined movements. Kata
combines offensive and defensive techniques, proper body movement, and changes
in direction. The kata teach the karateka to dispose of numerous attackers from
at least four directions. Although the kata do not involve visible opponents,
the karateka, through serious study of the kata, learns the art of self-defense
and the ability to calmly and efficiently deal with dangerous situations. For
these reasons, the kata have been the core of karate training since ancient
times.
According to Sensei
Nakayama, there are five characteristics of kata:
1.
For each kata, there are a fixed number of
movements.
(The basic Heian kata have 20 to 27 movements; advanced
kata can have over 60.) One must perform the movements in the correct order.
2.
One must begin and end the kata at the same point on the
floor. Each kata has its own "shape" -- depending on the kata, the
karateka may move along a straight line or a "T"- or
"I"-shaped formation.
3.
There are kata that all karateka must learn, and kata that
are optional. The former consist of the five Heian kata and three Tekki kata. (Today, Tekki
2
and Tekki 3 are usually optional.) The optional kata are Bassai-dai (although most
brown belts practice this for their black belt exam) and Bassai-sho , Kanku-dai and Kanku-sho, Empi, Hangetsu, Jitte, Gankaku, Jion. Other kata
include Meikyo, Chinte, Nijushiho, Gojushiho-dai and Gojushiho-sho, Hyakuhachiho, Sanchin, Tensho, Unsu, Sochin, Seienchin, Ji'in, and Wankan.
There are three aspects to performing a dynamic kata: (1)
correct use of power; (2) correct speed of movement, be it fast or slow; (3)
expansion and contraction of the body. The kata's beauty, power, and rhythm
depend on these aspects.
5. One bows at the beginning and end of the kata. Bowing is part of
the kata, too.
組手
Kata and kumite are complementary
training methods. In kata, one learns basic techniques; in kumite, one applies
them with a sparring partner. The principles of kihon (see above) still apply
to kumite: the karateka must apply proper karate techniques, demonstrate
correct power and speed, and, above all, exercise good control -- contact is
prohibited. One must remember that, while kumite is a useful application of the
fundamentals learned through kata, it is not a substitute for kata.
There are three types of kumite: basic
kumite, ippon (one-step) kumite, and jiyu (free) kumite.
基本組手
consisting of five- or three-step
sparring, permits the karateka to cultivate basic blocking and attacking
through prearranged techniques. It is a useful introduction to sparring for
beginning students.
一本組手
also involves basic, prearranged
techniques, but adds emphasis on body movements and proper distancing from the
opponent.
自由組手
In Jiyu kumite techniques are not
prearranged. The karateka may freely engage her physical and mental powers, but
must strictly control her attacks -- contact is prohibited. The karateka must
be well-trained and disciplined enough to make a powerful blow that stops just
before it reaches its target. For these reasons, only advanced students may
practice jiyu kumite.
(Note: Most karateka learn jiyu ippon kumite -- a combination
of one-step and free sparring -- as brown belts. In this semi-free form of
sparring, both sides must use basic, prearranged techniques, but may act
according to their own rhythm and timing. Jiyu ippon kumite often serves as a
bridge between ippon and jiyu kumite.)
JKA of New York: Information about the dojo, 2007
Best Karate, Vol. 1, Masatoshi
Nakayama.
Dynamic Karate, Masatoshi
Nakayama.