Wednesday, November 20, 2013


 The majority of the forms of (Okinawan) karate that I observe today, instruct some manner of joint-manipulation (Torite/Tuite) and seem to be of the belief that it is not (allowed?) supposed to change (nor therefor improve). I understand the need to establish the groundwork (basics) for beginning students to learn general motions. But what I don't understand, is why the higher level students (mudansha) aren't expanding their (own) understanding of what's already been shown.
  The “Typical” Torite/Tuite seminar being offered will present 20 new or different ways to do something, like some “new” technique.  That would be fine, except the majority of students (regardless of rank) regularly perform the elementary forms of the techniques incorrectly.
  It seems that every time I hear someone tell me that they (already) know a technique, they (only) know how to perform the “practice” manner of it's performance. They have rarely applied it in every possible (or practical) manner of it's use/application.
  It has become commonplace for practitioner's to believe that there is only one way to perform some (any) technique that they've previously been shown (and I use the word “shown” on purpose, because I don't feel that they've actually “learned” the application).
  There is an immense vacuum of knowledge where the fundamental techniques are concerned. Most practitioner's are aware of those motions, but rarely are they adept at their utilization.
  This is a sad (enough) statement to be made regarding “Yudansha” students/instructors, but what's more sad, is the denial of it's occurrence.
  Commonly, any technique will have several (different) manners of situations that it could be utilized within. Most techniques are demonstrated using only “1”. This is usually the one in which they were taught the technique, and will therefor (only) utilize it in.
  I detest the description/term, but in the (supposedly) “live” practice method, a technique is attempted in several different circumstances (with the uke resisting). This manner of practice is essential for learning and understanding the 6 Basic Tuite Principles.
  Those principles allow the student to (individually) dissect all of the techniques that have been taught to them. Every technique, regardless of how simplistic one may consider that technique to be, should be scrutinized to the level of ad nauseam.
  We are repeatedly encountering individual's who (want to) claim that such and such technique won't work on “them”. And just as often, we discover that “whomever”, has been attempting to perform the technique incorrectly upon them (meaning we have always achieved a correct reaction).
  Just as often we observe what (other systems?) members are calling “tuite”, is being performed incorrectly and/or resulting in incorrect responses from their techniques application.
  When queried, those same individual's will (often) “brag” about how they (only) practice those tuite techniques hard and fast.  Although seeming to be “realistic”, the objective of practice is (or should be) to learn, and study. Simulating realism, can only go so far towards that learning/study ability. More will be gained from the examination and understanding acquired from the focused study of the technique.
  The majority of techniques will create some manner of reaction regardless of how sloppily that technique is performed (when done with greater speed). Unfortunately many practitioner's consider “any” reaction to be acceptable. This is only accurate if that reaction is sufficient to accomplish the desired goal (at that time).
  Though an increase in speed (may) often produces a “reaction”, that response is not always an acceptable one (in our opinion).  
 What is most commonly seen, is a simplistic forward bend (at the waist of the uke). This is often resisted through simple strength, and/or the uke having a high pain threshold. Correct technique reaction should consist of a knee “buckle” accompanied by the uke's rotation away from the tori (which will prevent their ability to strike the tori with the uke's free hand).
  The tori should additionally be capable of placing the uke in any location and/or position that is required (be that at the immediate location, or relocated to a preferred one, via one of the instructed escort applications).
  The preferred goal, should be to create the desired reaction that is required at the time, and being successful, regardless of any attempt that is being made to counter it.
  That ability is only possible if/when the practitioner is knowledgeable of the taught 6 principles (which can additionally be used to “test” one's knowledge and/or ability of the techniques).
  For our own students, we begin having them place the uke in positions “circular” to the uke's original location (forward, back, Left, Right and any intermediate direction as well). This reviews the tori to numerous “options” for directing the uke to a control location.
  Once these differences (in placement) are understood, we begin to have the students training in “control” and immobilization of the uke.
 Not every situation will allow for these variances, but the knowledge acquired from this practice exposes the student to numerous situations and/or requirements that they may experience (when required to utilize the taught applications).
  When applicable, and/or possible, Tuite is a preferred option to striking methods. Striking methods have their place, and (may) be required in certain situations, but the goal of training is to prevent any injury to the defender (tori) first. When that's possible through some manner of limb manipulation, the ability to achieve that goal provides numerous advantages (including causing minimal damage to the aggressor (uke) as well. 


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