Fundamental Principles

Before we move onto the different sections it is important to have some understanding of the underlying principles that for the foundation of all the training, techniques and strategies when it comes to Wado Ryu karate.

These are not ordered in any manner of importance. They should all be a constant presence in our training and that is the hard part. It is easy to forgo some of these aspects in a bid to make life easier when doing certain things but none of these principles conflict and are what separates the art of Wado Ryu from simple aerobic exercises.

I sometimes refer to these principles and concepts permeating through our training like a mesh. Everything is always connected and interconnected. At first we all struggle with the training and these principles may be missing or very loosely connected but through time and endeavours we are able to 'join the dots' more.

I specifically added the word endeavours after the word time because, doing the same thing to the same level over time does not mean improvement, nor should people of any grade rest on their laurels.

When you train, you should be able to look around the dojo and see everyone from white belts to 7th dan black belts working to improve their junzuki and not treat it as something to do and get out of the way.

If you don't see that, then think again...

Each of the sections below could have many pages written about them but I will only aim to put a paragraph or two here.

 

 

 

Nagasu, Inasu and Noru

 

Nagasu - Parrying, moving off the line of attack to allow it to flow past.

Nagasu means literally "to float," and this movement is like the way a leaf flows around the rocks in a stream.  This is usually done in such a way that the opponent's force is used against him/her in the counter-attack.   In a nagashi punch, the defender falls off to the outside so that he or she is off the line of attack but is counter-attacking against the attacker's oncoming weight and power.

Shiomitsu Sensei also describes this as flow, and shows a river flowing. He also uses the example of a car heading towards you. This has to be nagasu to avoid it as the following two concepts will not help!

Inasu  -  Deflecting and dodging an attacking technique

An alternative to countering the attack with direct force, an attacking hand or foot is deflected, often with a palm heel or similar technique.  This is often combined with a twisting movement or a dodging movement.

There is an element of redirecting here so not just letting the technique go past.

Noru  -  Riding, using body pressure to control opponent’s technique

In Noru, the pressure is applied directly to "jam" and control an opponent's body movement, affecting his/her balance (taking kazushi) and limiting attacking movement. One example is to punch over the opponents own punch and in doing so displace theirs with your own.

 

 

San Mi Ittai - ten i, ten tai, ten gi

Ten-i   -  Moving the body away from the attack
Ten-tai -  Twisting the body to avoid a technique
Ten-gi  - Allowing attack to flow through while countering


These terms are a way of describing the elements of of body movement when countering an attack.  All three can be seen in Kihon Kumite Ipponme where the defender's body moves to the side on the first technique, twists on the second technique and brushes the attack through while countering.  Together, they are called "San-Mi-Ittai."

 

 

Shin Gi Tai

 

Shin Gi Tai stands for mind, body and technique but it is also the concept of bringing them all together in unity.

You must work on all three to be complete.

 

 

Su Ha Ri

"Su ha ri" is often a principle that is misunderstood and misused for personal gain.

I will expand on this when I get time. There is a lot to write but I may just point you in the direction of some fine web sites out there that have very fine explanations.

 

 

Mudana principles

  • Mudana no chikara - Do not use unnecessary force or strength
  • Mudana no iroki - Do not use unnecessary movements
  • Mudana no waza - Do not use unnecessary techniques

I think one of the main tenants in Wado is to do just enough as everything else is a waste of energy and time. It is vital to focus on the task at hand and have an approach that is equal to the seriousness of facing or using a sword. No second chances. No embellishments. Nothing is for show.

 

 

Futanren, Mikuzure and Kikioji

These are three samurai maxims which could cost the life of a samurai. Equally applicable to all martial arts and karate.

  • Futanren - Inadequate training
  • Mikuzure - Being afraid because the enemy looks very fierce and strong
  • Kikioji - Being afraid, before fighting because of your enemy's reputation


Pretty much self explantory from the notes above and definitely things to avoid. This can only be achieved through training but more importantly to face different people, inside and outside of your club, so that you do not develop a comfort zone with the same partner. See it as a personal challenge to face someone much bigger than you or smaller than you.

Summarised in one line as: daunted on hearing - cowed at sight - inadequate training

 

 

Sen

Timing can be divided into Kakete and Machite.  Kakete is preemptive timing which is called Sente (or Sen-no-Sen), Machite is when an opponent attacks first and is either Sensen no Sente (or Sensen no sen) or Gosen-no-Te (or Go-no-Sen).

  • Sen - pre-emptive timing, attacking when perceiving the opponent’s intent to attack
  • Sen sen no sen - Simultaneous counterattack, attacking as the opponent attacks and beating him to the attack
  • Go no sen - Reactive timing, the opponent’s technique is blocked or parried and counter-technique is delivered before opponent’s attack can be completed

 

 

 

Kata and igata, 形 not 型

When we perform kata it should be alive, it should embody your own personality and it should be done with controlled intent. It should not be a hollow pretence nor should it be a strict mimic of the instructor that has taught you.

Igata in Japanese means a mold or template. As people we are never totally identical. Only factories can make a never ending sequence of identical items. Martial arts is not like that.

 

 

Meotode

This phrase represents the concurrent use of boths arms/hands freely for attack and defence, also written as mefutode. Translated as "husband and wife hands", it is quite poetic. It has been said that the outer hand is the husband who goes to work and the inner hand is the wife that stays at home and looks after the house. It may represent a different era but it represents an important principle nonetheless.

In kumite (apart from the ippon kumite) when taking up kamae we do not adopt a posture with one hand in the hikite position ie held on the back hip ready to punch. Both hands are held ready and more importantly held in line with the body's centreline, the seichusen. The hands are held with the feeling of holding a sword. That means the grip is not too tight but also the alignment of the hands and wrists are mindful of that approach. too hard to explain in words here, so go and have a think.

When we punch or strike, unless the other hand is engaged in a defensive movement for example, it is otherwise held across the chest as protection over the solar plexus. From that position it is easier to bring into action for attack or defence.

 

 

 

 

Kuzushi

Unbalancing

 

 

 

Irimi

Entering