Written by Shihan Norman way back in 1976, but as important and applicable today as it was then! - Pierre Jordaan
GENERAL STATEMENT
Fundamental to the success of every aspiring karateka is, and must be, a thorough knowledge of the basic techniques of the art. And if this knowledge is to be imparted successfully to the beginner, there must firstly be knowledge of the method of its execution, secondly an understanding of its purpose and, thirdly, the process of its application in the mind of the instructor himself.
SAMURAI CONCEPT
More importantly, however, before the teaching of any basic techniques is even attempted, the pupil must be taught the concept of the Samurai spirit, emphasising dedication to long and sustained effort to seek perfection. Students need to experience the inner serenity and confidence which 'perfection' can bring, when the student knows he is able to correctly and automatically execute these basic techniques not only inside the dojo, but also being able to effectively apply them in combat outside the dojo.
THE MENTAL APPROACH
Inspiration must become part of the pupil's belief in himself and this can only happen if the instructor has it, and demonstrates it quietly and confidently in all his dealings with his pupil during the instruction he gives.
The mental approach should become a form of 'benevolent indoctrination', based on the five cardinal principles of karate, and constantly exhibited through the instruction which must be patiently and correctly imparted. If the instructor can do this successfully and, as a result, inspire an enthusiastic response from his pupils, based on the principles that governed and guided the Samurai's spirit, the teaching of basic karate techniques then becomes a most rewarding endeavour.
NEED FOR CORRECT INSPIRATION
Should any of the essentials which I have set out in my general statement be absent in the mind of the instructor, any instruction of the basic techniques will then lack that inner fire of inspiration, and the result will be seen in the slow, uninspired and confused reaction of the pupil, whose body language will plainly exhibit that he is bored and confused by the teaching being offered.
USE OF IMAGINATION
From the inception of teaching the basics, pupils must be invited, persuaded and, if necessary (in extreme cases), compelled to use their imagination. Should the student still be unable or unwilling to do so, a correct demonstration of the particular technique must be given to indicate how it must be executed and how it can be used effectively. This gives instruction a more vivid meaning and conveys, more than any description, the need to perform the technique to the best of the pupil's standard of development and ability.
FLOW OF MOVEMENT
Once the essentials of a basic technique have been covered, the technique must be demonstrated in a flowing movement. The repetition of a technique at equally spaced intervals, whilst desirable on occasions in order to teach particular sequences and combine the individual components of the basic technique, leads to a negative approach by the pupil and his effort will become ragged and undisciplined. However, when the technique is incorporated in a practical movement, applied with imagination by the instructor, the pupil will maintain as high a level of effort as he is capable of, and the teaching will show a gratifying response.
FOCUS IN KIHON AND KATA
In the application of movement in kihon and kata, the execution of the basic techniques by the pupil in response to the instructor's count, or alternatively, without the instructor's count - but at equally spaced intervals - tends to deprive both the kihon exercise and the kata of their meaning. The performance invariably becomes unimaginative and listless. Focus - the one ingredient that lifts the pupil's movements from a mere flat, physical exercise to an inspired statement of defence and attack (no matter how imperfectly it may be executed) - then disappears. As a consequence, performance in both kihon and kata lacks conviction.
But, when the value of focus is correctly taught to and appreciated by the pupil, and a sincere effort is made to either focus an attack or apply a defensive technique (with kime) to meet such an attack, then the kihon exercise comes alive, the kata becomes meaningful, and the pupil's understanding of the general concept of all basic techniques is carried a step further into his consciousness, together with the underlying principles of attack and defence as taught in karate.
GROUPING OF MOVEMENTS AND THE EMOTIONAL TIE WITH KATA
It is imperative to explain each technique in a kata as part of a group of movements, separated by short, but distinct, meaningful pauses. When this is done, kata becomes an inspired exercise, telling a story of its own, enabling the pupil to understand the kata's importance as a training medium for the basic techniques. Failure by an instructor to follow this line of thought will produce a dull automaton-like response in the pupil who will perform a kata with basic Shotokan movements, but which will look absolutely meaningless to an onlooker.
CONCLUSION
In my constant endeavour to strive for perfection in the teaching of basic techniques, I have analysed each of these techniques and I have broken down the mechanics of execution, the posture during execution and the mental and physical attitude which must be adopted, into different sections. I have also, and more importantly, made an analysis of the most common mistakes made by students which must be corrected and I have always found that eliminating these typical mistakes raises the standard of performance significantly.
GENERAL STATEMENT
Fundamental to the success of every aspiring karateka is, and must be, a thorough knowledge of the basic techniques of the art. And if this knowledge is to be imparted successfully to the beginner, there must firstly be knowledge of the method of its execution, secondly an understanding of its purpose and, thirdly, the process of its application in the mind of the instructor himself.
SAMURAI CONCEPT
More importantly, however, before the teaching of any basic techniques is even attempted, the pupil must be taught the concept of the Samurai spirit, emphasising dedication to long and sustained effort to seek perfection. Students need to experience the inner serenity and confidence which 'perfection' can bring, when the student knows he is able to correctly and automatically execute these basic techniques not only inside the dojo, but also being able to effectively apply them in combat outside the dojo.
THE MENTAL APPROACH
Inspiration must become part of the pupil's belief in himself and this can only happen if the instructor has it, and demonstrates it quietly and confidently in all his dealings with his pupil during the instruction he gives.
The mental approach should become a form of 'benevolent indoctrination', based on the five cardinal principles of karate, and constantly exhibited through the instruction which must be patiently and correctly imparted. If the instructor can do this successfully and, as a result, inspire an enthusiastic response from his pupils, based on the principles that governed and guided the Samurai's spirit, the teaching of basic karate techniques then becomes a most rewarding endeavour.
NEED FOR CORRECT INSPIRATION
Should any of the essentials which I have set out in my general statement be absent in the mind of the instructor, any instruction of the basic techniques will then lack that inner fire of inspiration, and the result will be seen in the slow, uninspired and confused reaction of the pupil, whose body language will plainly exhibit that he is bored and confused by the teaching being offered.
USE OF IMAGINATION
From the inception of teaching the basics, pupils must be invited, persuaded and, if necessary (in extreme cases), compelled to use their imagination. Should the student still be unable or unwilling to do so, a correct demonstration of the particular technique must be given to indicate how it must be executed and how it can be used effectively. This gives instruction a more vivid meaning and conveys, more than any description, the need to perform the technique to the best of the pupil's standard of development and ability.
FLOW OF MOVEMENT
Once the essentials of a basic technique have been covered, the technique must be demonstrated in a flowing movement. The repetition of a technique at equally spaced intervals, whilst desirable on occasions in order to teach particular sequences and combine the individual components of the basic technique, leads to a negative approach by the pupil and his effort will become ragged and undisciplined. However, when the technique is incorporated in a practical movement, applied with imagination by the instructor, the pupil will maintain as high a level of effort as he is capable of, and the teaching will show a gratifying response.
FOCUS IN KIHON AND KATA
In the application of movement in kihon and kata, the execution of the basic techniques by the pupil in response to the instructor's count, or alternatively, without the instructor's count - but at equally spaced intervals - tends to deprive both the kihon exercise and the kata of their meaning. The performance invariably becomes unimaginative and listless. Focus - the one ingredient that lifts the pupil's movements from a mere flat, physical exercise to an inspired statement of defence and attack (no matter how imperfectly it may be executed) - then disappears. As a consequence, performance in both kihon and kata lacks conviction.
But, when the value of focus is correctly taught to and appreciated by the pupil, and a sincere effort is made to either focus an attack or apply a defensive technique (with kime) to meet such an attack, then the kihon exercise comes alive, the kata becomes meaningful, and the pupil's understanding of the general concept of all basic techniques is carried a step further into his consciousness, together with the underlying principles of attack and defence as taught in karate.
GROUPING OF MOVEMENTS AND THE EMOTIONAL TIE WITH KATA
It is imperative to explain each technique in a kata as part of a group of movements, separated by short, but distinct, meaningful pauses. When this is done, kata becomes an inspired exercise, telling a story of its own, enabling the pupil to understand the kata's importance as a training medium for the basic techniques. Failure by an instructor to follow this line of thought will produce a dull automaton-like response in the pupil who will perform a kata with basic Shotokan movements, but which will look absolutely meaningless to an onlooker.
CONCLUSION
In my constant endeavour to strive for perfection in the teaching of basic techniques, I have analysed each of these techniques and I have broken down the mechanics of execution, the posture during execution and the mental and physical attitude which must be adopted, into different sections. I have also, and more importantly, made an analysis of the most common mistakes made by students which must be corrected and I have always found that eliminating these typical mistakes raises the standard of performance significantly.
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