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"Interview with Russell Stutely - Part 5 of 5"
COMBAT Hi Russell, back to the interview. Please expand on these
Kata Bunkai unlock key principles that you mentioned previously.
RS It is this simple Paul. They are principles that allow you to
translate the movements in your Kata, in to workable, effective
and useable Bunkai.
COMBAT How does it work?
RS Ok, let me give you and the readers some simple keys that can
be explained via this medium. Please note that the main and best
keys do require a hands on demonstration. They can be shown and
explained in a matter of moments, but to explain in the written
format could take reams of paperwork and still the message would
not be properly conveyed.
Here are some basic Keys or Rules if you like
1. There are no wasted movements
2. You are only fighting one person at a time
3. There are no Blocks&; per say
4. You must understand the how and why the body works the way it
does ( This is a simplified, westernised method of understand
what is meant by Ancient Masters saying that you must understand
the nature of man)
5. Two way action is for locks and breaks, not for strikes.
6. Always try to take the 45 degree angle
7. To begin learning your Bunkai, completely disregard your
stances. They can only be added back in when you have a good
understanding of the above and much more
8. The movement must be simple and natural
COMBAT I must say Russell, you are beginning to sound a little
vague to say the least. For example, what is this no wasted
movement?
RS It means EXACTLY what it says Paul. EVERY single tiny
movement that you make in your Kata has a reason. Otherwise,
what is it there for? Take a simple Gedan Berai or Low Section
Block as it is commonly called and as it is commonly taught!
The preparatory movement alone for this Block&; opens up a whole
new World of Bunkai for those with the appetite to learn it.
That is without the extra multitude of Bunkai when you make the
Block movement. Look at it this way. As your blocking hand moves
upwards preparing to Block, what is it doing? Why is it moving
that way? Some Karateka might argue that it is preparing in
order to gain power for the block or for the strike. In that
case, why not start the movement from there, instead of from
where it starts? It is a bit like asking a Boxer to Jab by
moving his hand backwards first in order to gain the power in
his Jab. This is ludicrous of course, as this would never work
against an actual opponent. But against a bag or an imaginary
opponent or against a compliant opponent, then of course it will
work that way all the time. But that argument opens up a whole
new can of worms!
Let’s take this preparatory movement and work it all round our
training partner. From the front, sides and rear, from the in
between angles as well. Picture this, you are going to prepare
for a left hand Gedan Berai (Low Section Block). Your training
partner is sideways on to you with his left side closest. Your
left hand as it rises up and back pushes / strikes your training
partner under the chin. Your right hand pushes / strikes your
training partner in the centre of the lower back. The movement
of the arms is exactly as in the Kata, however, instead of
preparing to block, you have just put your training partner on
the floor, or at the very least completely taken his balance.
Work this self same movement all round the body and at various
heights. This is the way to start to understand about no wasted
movements Paul!
COMBAT So this then ties in with your No Blocks&; rule
RS In so much as, what we are traditionally taught as Blocks are
not necessarily Blocks, but that there are of course Blocks as
there are in any fighting system. But the correct Blocks are
nothing like the movements we have been taught as Blocks or in
some cases we have assumed to be Blocks. A great example of this
being Knife Hand Block or Shuto. It just LOOKS so much like a
strike I am continually amazed at high ranking Karateka, still
calling it a block. Not only that, but still teaching it as a
block!
COMBAT Why have you said to completely disregard stances, surely
they are a fundamental part of Martial Arts?
RS I like the line that Peter Consterdine once used several
years ago now at my old Club in Bourne when talking about Self Defence. Just stand natural, that is the best stance you will
ever get.&;
A stance implies that you are static. They are usually taught as
static. How often have you heard an Instructor say stand in
front stance&; or stand in horse stance&; etc etc. Why on earth
would you want to stand&; in a stance&; when you are fighting?
Boxers use a stance when fighting in the ring for a reason. To
initiate some movement. They do not reCOMBATn static, the good
ones anyway. Their stance&; is forever changing.
The stances found in our Kata are simply speaking a still frame
of a moment in time. NOT A METHOD OF FIGHTING. I like to make
the analogy of a video clip vs a photograph.
Video usually runs at say 25 frames per second. These frames
pass by so quickly that we see it as motion. The stances that we
use in Kata are just one of those frames taken in isolation. Our
problem, as Karateka, is that we have taken these one frame
stances as being more important than the other 24 frames!
COMBAT So what you are saying is that a stance is merely a clip
in time of a much longer movement?
RS That’s right Paul. Let me give you an easy example to visualise. Try doing a few front kicks or Mae Geris as fast as
possible, landing forward each time and then kicking off the
opposite leg. You will find, that if you do these fast, you will
appear to be in a front stance as you transition between each of
the kicking movements. So, that moment in time, between kicks is
a front stance if you like. This is of course a very basic
example made to explain a point. But I trust that you understand
where I am going with this.
In other words, you do not move from stance to stance, you just
move. Stances will appear at the appropriate time. Watch a good
Ju Jitsu practitioner like my old mate Eddie Stokes or Malcolm
Keith in Peterborough. They move and whilst in the middle of say
a takedown or throw you will see various Kata movements and
stances appear in front of your eyes. They NEVER stay static,
they are fluid in their movement.
Try sparring with my mate and also OCFM Coach Herol Bomber&;
Graham and watch fluidity, stances and pure poetry in motion.
It is by watching and training with great people like these that
I have managed to learn so much. To be able to combine the power
and ferocity of Eddie with clinical technique of Malcolm and the
pure style, fluidity and grace of Herol is something every
Martial Artist should aspire to.
COMBAT I agree with that. Russell we have run out of time again.
Can we meet later for more of a chat?
RS Of course Paul. I look forward to it. |
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