Kase Interview continued...

When at war, the ancient Samurais gave great importance to the Ko-Waza movements (short distance techniques), in need of immediate action, since their lives were at stake at this distance. Later, when at peace, the space for the techniques was increased, giving more importance to O-Waza (long distance) as a training method. For example long distance techniques were used in Kendo, in order to develop and strengthen the body as in exercise. However, a good use of this training system helps prepare the muscles and after that practice Ko-Waza efficiently.

With respect to the position work, Funakoshi's (senior) specialty was Kiba-Dachi (horse-riding stance).

Yoshitaka watched it and after some experiments created the Fudo-Dachi position, following his style of more explosive and long distance techniques. This is the reason for this new position, since these techniques performed from a front stance lose a lot of their efficiency. The same thing happens with the different types of movements. From Fudo-Dachi we can move and change our direction at maximum speed and stability, which is not the case with the others. A clear example of the aim for more distance and depth in the advance of a tsuki (punch), is the technical sequence of: "Fumi-Komi - Soe Ashi ; Gedan Tsuki - Soto Uke" of the Empi Kata.

B.I.: When did you see Yoshitaka Funakoshi for the first time?

T.K.: It was in 1944. Although the beginners class was usually taught by Sensei Hironishi, one day a different Sensei came in. I did not know him and when I asked who it was they told me he was Waka Sensei (the young Sensei), son of Gichin Funakoshi.In this class , Yoshitaka Sensei taught us how to kick Mae-geri  slowly, and without lowering his leg to the floor, also how to do a yoko-geri, then withholding the yoko-geri, how to do a mawashi-geri. After that he sais: "now I will show you how we do it normally" and gave three kicks that were so fast and strong, that I still remember seeing the white flash of the Karate Uniform pant and a noise that sounded like a storm. We were all very impressed.

B.I.: You always talk to us about the importance of breathing and the Hara in your classes. Could you tell us about it?

T.K.: The importance of the Hara (about three centimeters above the navel) in Budo comes from two different sources. One is Zen meditation. In Zen they discovered that after the normal or chest breathing, in the lungs, the air could be lowered, while breathing, to the center of the body - to the Hara. This allowed a greater stability and ability to control the  inside of the body. With this method the movements improved considerably. On the other hand there are the Samurais, some of them noticed that if instead of using the muscular strength of the shoulders, they used a point that was lower, meaning the Hara. They realized the techniques were more efficient and had greater possibilities of success.

Since Kendo, Ju-Jutsu, etc., already existed in Japan as Budo Arts, little by little this direction was followed in the Karate-Do, breathing the following way:

You push the air towards the Hara, keep it compressed there and use that extra energy as a powerful force to perform the techniques. The correct breathing towards the Hara and the subsequent compression, allows the development of the powerful force that is essential for example in the Sanbon-Tsuki, Sandan-tsuki, or in the Hente (techniques carried out with the same arm). These could not be efficiently performed with the lung level breathing, nor with the muscular strength of the shoulders. Maximum efficiency is only possible with the powerful force generated by the breathing, the stabilizing and the compression of the Hara.

B.I.: You have sometimes spoken to us about some very important and unknown concepts, such as TOATE. Could you give us a simple explanation of it?

B.I.: What parts of the Budo practice would you like to emphasize?

T.K.: One of the most imprtant parts of the Budo Arts practice is the repeated technique or combination...But they must not be made random. For example, when somebody repeats a certain technique or movement many times - about 500, 1000 or 10,000 tsuki blows, he must look inwards and feel his sensations, because probably only two or three of the tsukis have been correct (speed, force, settlement), in short, efficient. And only these two or three tsukis are the important ones, the ones we must remember. Therefore, we must be very perceptive and be able to feel the moment when we have done it correctly, look inwards and impress that sensation in our mind and in our body. After that you must ask yourself: Why have I done it better this time than others? This is the step from the quantities (amount) to the qualities (quality), this is what is really important in the process of learning - how to go from one level to another. Next time you practice that technique or any other, so you must try to recall the sensation, so that on future occasions you perform the techniques with it. This way, maybe doing it only 100 times, you can get two or three correctly. Therefore you go faster every time and can incorporate the correct sensation to more techniques. This is one of the keys to success. What is not sufficient is to work out the same exercise for 30, 40 or 50 years, thousands of times without noticing what is happening inside our body, not improving the quality of our techniques and counting only on the repetition. This is not enough, you have to see which has been the correct technique, how you have felt it and work with that sensation.

HOME