Let's get back to basics

When you took part in your first introductory session, it's highly likely that you spent two hours..., Zen Kutsu Dachi stances, moving forwards and backwards and perhaps also Ko Kutsu. Is this just a habit in most teachings, or is there something more subtle going on?

We could indeed prefer to start by introducing arm and leg techniques, starting from the natural attitude (Shizen Taï), or even have students practice a few "Karate Jutsu" type releases to illustrate arm blocks, which would undoubtedly be more fun and less frustrating for the neophyte.

Certainly, but it turns out, as with so many other things, that everything begins and ends with the most fundamental elements, and among these stances and movements are perhaps the most essential. First of all, there can be no speed in overall execution if the technical gesture, whether offensive or defensive, is not accompanied by fluid, controlled movement. And in the term "defensive", of course, we include dodging, which is essential to gaining in the quest for combat advantage and opponent control by managing the "Ma-Aï".

Furthermore, to create the conditions for maximum efficiency, the overall release of energy must occur in phase with movement, i.e. in line with the axis of movement, or, at the very least, the strengthening of the stance.

Straight or broken line?

When thinking in terms of step, for example in Ippon Kumite or Jiyu Ippon Kumite, or even in Iaï, it seems obvious to say that that the movement is in a straight line, i.e. towards the opponent or, in defense, by countering as well as retreating or dodging in all the most opportune directions.

But, even at this stage, there is a risk of non-coherence between the axis of movement (displacement of the body's center of gravity) and the axis of development of the technique. To illustrate this point and make it easier to understand, we will first confine ourselves to non-circular" techniques, such as Oï Tsuki, Gyaku Tsuki, Mae Geri, etc.

To produce optimal effect, it is essential that the movement of the hand or foot rigorously in line with the axis of movement, so that body-hip-arm speeds add up. For apprentice physicists, this is easily demonstrated by the definition of kinetic energy, which is proportional to the square of the velocity of a moving mass.

Fig.1 illustrates this principle: for an identical overall distance (AB + BC), the resulting displacement (AC) in Zen Kutsu and the speed velocity are greater in diagram II than in diagram I, noting in passing the slight difference in the angle of the resulting axes in the direction of the target:

Fig.1

In black, we have the initial position of the feet, in red the final position. We'll also assume that the intermediate position (in grey) remains "dynamic", i.e. without stopping otherwise, the resulting displacement will be as follows BC, i.e. clearly askew in relation to the target.

If now, we're no longer thinking in terms of "a single step", but several, there are two cases. The first is "pursuit" in a straight line, as in straight line, as in Kendo, where the aim is to overrun. In this case, it is necessary to maintain a straight trajectory zigzags and undulations, which would result in a loss of both speed and penetration. The second is that of Gohon or Sanbon Kumité, for example, in which Uke constantly steps out of the axis of the attack, forcing Tori to reposition himself each time to launch a new attack. It is this repositioning that determines the quality of the attack, any off-axis attack is by its very nature ineffective, even if, in an illusion of speed, you manage to hit your opponent in one way or another.

Let's not forget the 3rd dimension!

Our space is not flat, it has three dimensions. While it's important to pay straight lines in the plane of movement, we mustn't forget vertical plane. This would mean neglecting the fact of "going up and down" during movement, for a variety of reasons. The first is simply to give in, more or less consciously, to the ease, relieving the stance and relaxing the muscles. The second is caused by insufficient technique or inadequate technique, both in terms of weight transfer and the correct the right muscle groups at the right time, or even and above all joint limitation (mainly ankle flexion), which are not resolved by opening the hips.

In such cases not only do the above principles apply, that the overall movement is a "roller coaster" or "sea serpent". roller-coaster" or ‘sea serpent’ effect, but another physics formula physics tells us that energy is wasted unnecessarily, proportional to the amplitude of the rise and the braking of our body mass on the way down.

Fig.2 takes the example of a movement with Oï Tsuki, showing an intermediate position with elevation of the center during transition:

Fig.2

For greater clarity, successive stances are offset, in fact, the triangle formed by the colored lines and dots is less flattened. This triangle measures energy during movement. Similarly here dynamics are insufficient, the axis of impact will be downward (blue arrow) rather than the body's center of gravity (red axis).

To give you an idea, not to mention the efficiency and quality, those who correctly master Kiba Dachi movements in Kiba Dachi in Tekki Kata, while maintaining a horizontal position, will "make the most energy 2 to 3 times better than those who constantly do the "elevator" all the time. In fact, it's misleading to believe that the muscular effort required to maintain the right stance, as long as parasite tensions are eliminated.

What about the circular movement?

Paradoxically, the previous reasoning can still be applied, albeit with a slight adaptation. First of all, if there is a prior displacement movement, it must take place in a straight line, either by advancing directly towards the opponent, or by deliberately moving off-center. Second, the engagement of the body, in connection with the hips, must be global, so that the circular technique is applied exactly along the tangent of the trajectory circle. This means circular with "longitudinal", a Mawashi Geri or a Mikazuki Geri or Mikazuki Geri must remain the result of a rotation and not a rotation + translation, which would actually weaken the the technique in question.

Let's stay "straight"...

Without going into too much mysticism, let's be aware that the fact of to “go straight”, to “stand straight”, in short, to “go straight straight”, is perhaps in some way a sign of ”thinking straight”. Isn't what we're after, after all, to go straight for ourselves, without cheating or weakness, so that we can then go straighter towards others, with sincerity, confidence and empathy?

On the contrary, this doesn't mean we shouldn't give in to preconceived ideas, prejudices and insufficient openness, but to be circumspect and diplomatic in all situations. After all, the “front stripe” is also an integral part of billiards...