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Hello everyone, before I start, as one senior instructor wisely said, keep practicing, every technique can get better with experience.
First, repetition of a technique will turn into a reaction,
by reacting instead of pausing and thinking to long, any technique can
be faster and stronger. You start off with being taught the basic mechanics
of a technique, at first it is very robotics, ridged, slow and you feel
unbalanced and uncoordinated. That's OK. With repetition
and guidance, everything begins to feel better, then you take the technique
to a heavy bag and the process starts all over again and then you take
the technique to a live partner attacking or defending and the process
starts again and then you move to kumite and the process starts again.
(I have found as you advance, the threat of harder contact produces a higher
level of concentration for some. If you know you will be hit you will move
properly).
Just my observation and experience. These are all training
levels, as the level rises so will the practitioners ability, if the level
of training
exercises does not increase the practitioners ability
will not increase of develop to the next level.
Everyone has their theories and written studies about the Isshinryu "snap" punch VS everything else and the best way to throw it, and as one of my instructors used to say "if you can make it work, there is nothing wrong with it". For myself, not being a large person, I have learned to use every part of my being and throw it behind all my techniques, so if I hit you, I will hit you with 158lbs. The strike will start from the tip of my toes and out the first two knuckles of my fist and will penetrate the striking surface and explode, sending a shock wave through what ever I may be hitting, but again it is all just a bunch of theory until you experience it.
For example, when executing a punch, your body is like the hammer of a gun and your first two knuckles are the bullet, the hammer will shoot out of the bullet fast and hard, the entire weapon plays a part in the execution of the bullet, the barrel, the action, the grip and the sites work together for a well placed shot. If one area is not working the shot will not be as good or as accurate as it could be, the same applies with any strike. Whether you are sitting down, lying down, or standing up you must and will learn to execute your punch or any technique to the best of your ability, you will learn to use your body mechanics from those positions, some positions may be stronger but you must learn to strike or throw from any of those positions.
When I teach a beginner the basics of Isshinryu I break everything down, we start with a basic ready stance, then we step, using what we refer to as a "C" step, which when broken down and explained teaches shifting of body weight to keep balance, evading a basic attack and shifting our body forward and into the attacker to physically block or depending on what basic exercise we are doing, we may just evade and strike. Note that we have led the defense and counter attack with our lower body, the block and strike will follow the hips and the rest of the lower body movements, producing a forward driving force. Note Sanchin, same movement slowed down and exaggerated. Focus and breath control are also a great part or the movement, slow or fast. The loose tight loose application is also very important for speed, power and recovery, before executing the strike one must stay relaxed. On executing the punch, for example, stay loose until just before striking point, at that point you cannot freeze up or your punch will not get a good follow through, the biggest mistake is that practitioners tense up completely on impact and the punch stops, but the opponent doesn't and the bricks don't break. That is not a good psychological or physical feeling.
I will continue this discussion tonight, I will talk about the heel coming up, during basics it doesn't come off the floor but your weight should not be on your heels, the heel will come up when practicing knock down or kickboxing techniques.
With my best intent,
Albert Mady
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