Basic Physical Principles of
Martial Arts and Ways
copyright
© 2007 Ed Thibedeau, all rights reserved
In most martial arts or ways instructors mention “principles” The
implication is that you have to understand the principles in order to
be able to perform whatever style martial art or way you are
practicing.
In most cases the instructor will give a short English definition of a
Japanese term without exploring the full meaning of the word. In some
martial arts and ways this omission of detailed verbal explanation is
intentional. The point being that the student should discover the
principle on their own through physical and mental practice. This often
leads to frustrated students who soon quit. In some schools the English
definition has been shortened to the extent that all semblance to the
original Japanese meaning or intent has been lost. Students, and
instructors, perform a maneuver but with little or no comprehension as
to why they do it.
The aim of this report is to provide a thorough understanding of the
major mechanical or physical principles related to effective execution
of techniques. To begin with, working definitions are provided for each
of these major principles.
Taisabaki
In the simplest form taisabaki is defined as body movement. In reality
taisabaki is an intricate principle that must be fully appreciated in
order to perform any martial art technique. In a deeper sense taisabaki
is the management of body movement. It is not simply moving your body
but rather it is managing your body movement in a controlled and
explicit manner to allow you to perform and properly execute
techniques.
Ashi sabaki
This is the principle of foot movement. Ashi sabaki is moving our feet
in specified ways depending on the intent of our movement and the
distance or maai between our self and our opponent. There are two
general types of ashi sabaki related to martial arts.
Tsugi ashi – following/sliding foot. This type of foot movement can
occur in any direction.
Ayumi ashi – normal walking, stepping one foot ahead of the other. This
type of foot movement is usually done in a forward or rearward
direction.
Kamai
Kamai is posture. In jujitsu kamai implies a posture ready to defend
ones self. Basic natural posture is known as hontai. This is a posture
of natural stance with our hands at our sides. Jigo hontai is known as
self defense posture. This is a slightly wider than normal stance, legs
bent slightly at the knees. Knees are flexible, not locked. Most
importantly, our hands are raised in some fashion to our mid torso in a
position to be able to parry or block strikes or perform strikes or
grappling. Variations of jigo hontai are numerous. The use of various
weapons requires the use of many different kamai from those used with
empty hands.
The important thing to know and remember for empty handed techniques is
that when one foot slides forward of the other foot the hand for the
forward foot must also move forward of the other hand. Depending on the
specific style being taught, the forward hand may be at the same height
or higher than the other hand. Having the forward hand higher than the
other hand is the generally preferred posture as this affords the
ability to parry and block to protect the head and shoulder area while
the lower hand can do the same for the torso and hip area. In the case
of weapons the specific type of weapon being held will dictate which
hand is forward. In the case of swords the right hand will always be
forward (assuming the usual right hand grip). In the case of jo and
depending on the specific technique being executed the hand of the
forward foot may or may not move forward with the foot.
The goal of having a good kamai is to maintain a posture where you are
centered and balanced and ready to move without hesitation in as many
different directions as possible.
Maai
This is usually considered in the simplest form to mean the
engagement space or distance between combatants. Like taisabaki, maai
has a deeper meaning and is a principle that must be fully appreciated
in order to be able to perform techniques effectively. Maai is not
simply engagement distance but is the principle of knowing the correct
distance at which specific techniques can be executed from effectively.
Conversely, and more importantly, maai is knowing what techniques are
effective for any given distance between you and your opponent.
Along with appreciation of the distance there must also be appreciation
for the actual angle of attack between two people. Although certain
techniques work at certain distances they may not work at certain
angles of attack even though the distance or spacing between opponents
is correct.
Kuzushi
This is the breaking of an opponent’s posture. It is the unbalancing
and off centering of your opponent. In a deeper sense it is the
unbalancing of your opponent while maintaining your own center and
balance. Terms like hara, tanden, jushin, shindashi are sometimes used
to define the center of gravity or center of balance. Disturbing a
person’s center and balance may be done by physical contact or by
physical movement without actual contact.
Tsukuri
Is the entry into a technique. While this term is generally used in the
context of fitting in for a throw it actually is applicable to all
techniques, whether grappling or not. Tsukuri means to position your
body correctly in order to execute a technique most efficiently and
effectively. This could be as simple as stepping forward when striking
with a jo or the required stepping, turning and lowering of center
required to perform a koshi nage (forward hip throw).
Kake
Kake means attack or execution of the technique. This would be the
actual swinging and striking with a jo or the hip and torso rotation
required to throw a person with a koshi nage.
Applying the Principles
Now that we have a set of definitions let's see how they all work
together to correctly perform or execute techniques. The following is a
description of these various principles in the context of a judo shiai.
If your not familiar with judo that’s not a problem. The descriptions
are detailed enough that the actions can be transferred to any martial
art.
To begin with two opponents (uke and tori) face each other at some
distance and bow to each other. Using taisabaki with ayumi ashi walking
they approach each other. As the distance between the opponents closes
to within a couple of feet or so they start walking in tsugi ashi. This
allows them to take measured steps while maintaining as much balance as
possible until they have the correct maai for actual engagement. At the
same time they start tsugi ashi they should adopt their
offensive/defensive kamai, namely they have their arms raised out in
front of them which will allow them to grip the opponent, along with
taking a slightly wider stance and lowering their center.
Uke and tori move around in tsugi ashi feeling each other out while
trying to adopt a maai that will afford them the opportunity to get a
grip and perform a technique. Once they grip the next objective is to
perform kuzushi on the opponent. Once kuzushi is in effect tori moves
in the correct manner to put himself in a position to perform a throw,
this is the tsukuri. In actuality kuzushi and tsukuri occur almost at
the same time. Kuzushi must be maintained during tsukuri.
Once kuzushi and tsukuri have occurred all that is left is the kake or
completion of the throw. This is done while holding uke in an
unbalanced position and then tori manipulating his own body (leg sweep,
hip rotation, etc.) to complete the throw. The goal is to perform
kuzushi, tsukuri, and kake quickly and smoothly, expending as little
energy as possible.
While Tori has some degree of control over how uke will move about he
will not have full control. The level of resistance and the difference
in experience levels between uke and tori will be the major factors as
to how much tori can unbalance and control uke. You can’t predetermine
(except in kata) that you will perform a specific technique. The actual
maai and angle of attack established between uke and tori will allow
for certain techniques while attempting others would be a waste of time
and energy. This is why it’s important to know techniques and their
variations so that for any particular maai and angle of attack you find
yourselves in you’ll be able to execute an appropriate and effective
technique.
It should be appreciated that in judo, jujitsu, and a few other arts
techniques are performed while lying, sitting, or kneeling on the mat,
this is often referred to as newaza, or suwari waza. These principles
apply in newaza and suwari waza as well as in standing techniques
(tachi waza). Proper appreciation and use of these principles in newaza
will greatly improve a person’s ability to apply techniques while
expending as little energy as possible.
In the above scenario each principle was described in a sequential
linear way. In actual practice many of these principles can, and in
many cases should, occur simultaneously. Furthermore, it is quite
common for certain mechanical principles to be repeated: the maai may
close to engagement distance and then be opened up again, switching
movement between ayumi ashi and tsugi ashi may occur – depending on the
maai and the reaction of uke, kuzushi may be gained, lost, and
regained. The important point to understand is; what is the next
principle that must occur, from where you currently are, in order to
execute a technique.