Secrets of Shotokan Karate. Robin L. Rielly

her own mind by imagining an attack and responding to it. This stimulus and response reaction is extremely difficult to attain in the early stages of training. When such a stage is reached in kata practice, performers truly feel the presence of attackers and their concentration is so developed that they will find it easy to sense the attacks of actual opponents. This is one of the reasons why karate practitioners in the past spent so much time in the practice of a single kata. It enabled them to devote full concentration to each movement and develop the ability to provide their own stimulus to which they could respond.

      Kime

      Kime, or focus, is the prime ingredient in the generation of force in karate techniques. It is a combination of physical and psychological factors resulting in maximum power in karate blocks, kicks, punches, and strikes. Kime is achieved by instantaneously tensing the muscles of the entire body for a split second at the moment of impact. This tension should be coordinated with a sharp exhalation of air and total mental concentration on the area of impact at the moment contact is made with the opponent.

      In general, kime lasts only a fraction of a second, since to hold tension in the body past the instant of contact with a target area would not add to the force generated. In addition, such tension would slow down the transition to the next move.

      Kiai

      The kiai, or spirited yell, is usually performed as a technique is executed. If done properly, the kiai will add force to the technique. Unlike most sounds human beings make, the kiai is not generated in the throat, but rather in the lower abdomen. It is usually performed by tensing the stomach muscles while sharply exhaling. The sound that is heard should be “eh,” “yah,” or “to.” It is a monosyllabic grunt, rather than a word.

      For combat purposes, the kiai serves three functions. First of all, a loud noise, properly made, will startle an opponent and possibly create an opening in his defenses. Second, it will give a psychological lift to the performer, helping to build his spirit. Last, the kiai requires that the breath be exhaled and the stomach muscles tensed, adding force to a technique or preparing the body to absorb a blow from an opponent.

      Plate 3 The author assists Master Masatoshi Nakayama as he demonstrates the rising block. Master Teruyuki Okazaki looks on.

      CHAPTER TWO

      Principles of Physical Movement

      Natural Body Movement

      One of the major problems that many karate practitioners have is overcoming awkward movement as they perform karate techniques. In many cases awkward movement is the direct result of a failure to follow the natural movement of the body.

      Our muscles are trained daily to operate in an efficient manner that makes it possible to walk and perform a number of physical tasks effectively and with a minimum expenditure of energy. Such movements usually are smooth and effortless, since the body is used to them. In the practice of karate techniques, in fact in all physical endeavors, adherence to these normal patterns of movement is necessary in order to perform at our best.

      Let us consider the natural movement of the body as it walks forward (See Figures 1-4). As seen from the front, the normal position of the body is one in which it is balanced evenly on both feet and held erect, with the feet about the same width apart as the shoulders (Fig. 1). As seen from the side, the erect position is obvious (Fig. 2). As the model steps forward with his right foot, it is apparent that the movement begins with the hip rotating forward; the upper leg moves next, and finally the lower leg and foot (Figs. 3-4). This should be no mystery to the reader, and simply walking forward will verify that this is the manner in which movement is accomplished. It follows then, that in order for a karate movement to follow the natural movement of the body it must follow the same sequence of movements: hip, upper leg, and finally lower leg.

      Figures 5 through 6A demonstrate the body’s forward movement. In the beginning position (Fig. 5), the upper body is naturally upright and the feet shoulders’ width apart. As the model steps forward, the hips move first, followed by the upper and then the lower leg. Any other sequence of movement would be awkward. The principle to be understood here is that the hip must move first, and the upper body must be in its natural erect position.

      When one is stepping in a new direction, the head turns in that direction as one looks to see where one is going (Figs. 7-8). The hips then rotate in that direction (Fig. 9), and the upper leg, lower leg, and foot follow (Fig. 10).

      A natural body position is usually the beginning point for basic drills and katas. As demonstrated in Figure 11, the feet are about the same width apart as the shoulders, and the inside of the knee is directly above the inside edge of the foot. It follows then that in the basic stances this positioning should also be the case. In Figure 12 a stick is used to demonstrate the line between the inner knee and the inner edge of the foot. In the front stance (Fig.