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CHAPTER TWO

Principles of Physical Movement

Natural Body Movement

One of the major problems that many karate practitioners have is overcoming awkward movement as they perform karate techniques. In many cases awkward movement is the direct result of a failure to follow the natural movement of the body.

Our muscles are trained daily to operate in an efficient manner that makes it possible to walk and perform a number of physical tasks effectively and with a minimum expenditure of energy. Such movements usually are smooth and effortless, since the body is used to them. In the practice of karate techniques, in fact in all physical endeavors, adherence to these normal patterns of movement is necessary in order to perform at our best.

Let us consider the natural movement of the body as it walks forward (See Figures 1-4). As seen from the front, the normal position of the body is one in which it is balanced evenly on both feet and held erect, with the feet about the same width apart as the shoulders (Fig. 1). As seen from the side, the erect position is obvious (Fig. 2). As the model steps forward with his right foot, it is apparent that the movement begins with the hip rotating forward; the upper leg moves next, and finally the lower leg and foot (Figs. 3-4). This should be no mystery to the reader, and simply walking forward will verify that this is the manner in which movement is accomplished. It follows then, that in order for a karate movement to follow the natural movement of the body it must follow the same sequence of movements: hip, upper leg, and finally lower leg.

Figures 5 through 6A demonstrate the body’s forward movement. In the beginning position (Fig. 5), the upper body is naturally upright and the feet shoulders’ width apart. As the model steps forward, the hips move first, followed by the upper and then the lower leg. Any other sequence of movement would be awkward. The principle to be understood here is that the hip must move first, and the upper body must be in its natural erect position.

When one is stepping in a new direction, the head turns in that direction as one looks to see where one is going (Figs. 7-8). The hips then rotate in that direction (Fig. 9), and the upper leg, lower leg, and foot follow (Fig. 10).

A natural body position is usually the beginning point for basic drills and katas. As demonstrated in Figure 11, the feet are about the same width apart as the shoulders, and the inside of the knee is directly above the inside edge of the foot. It follows then that in the basic stances this positioning should also be the case. In Figure 12 a stick is used to demonstrate the line between the inner knee and the inner edge of the foot. In the front stance (Fig. 13), the line should remain vertical.

As the body moves forward in the front stance, the feet begin and end shoulder width apart. In order to follow natural movement, the hips move first (Figs. 14-15). This is also the case with the front kick (Fig. 16). The hips move forward first, the upper leg and knee are raised, and the foot is snapped forward to perform the kick (Figs. 16-17).

Note that in performing multiple kicks hip movement must also be in the direction of the kick. Figures 18 and 19 show the front kick, with the hips facing forward. The performance of the side kick (Figs. 20-21) gains power when the hip is thrust in the direction of the kick. The back thrust-kick (Figs. 22-24) requires that the hip position be maintained in order to execute the kick properly.

When an opponent approaches from the side, it is necessary to face the hips in that direction in order to kick at him. In this case the roundhouse kick is used after the hips are turned in the direction of the opponent (Figs. 25-28).

Balance and Stability

Common sense would dictate that balance is an essential ingredient in any successful athletic movement, and particularly relevant in combat situations. An examination of some of the factors affecting balance is therefore necessary.

The body at rest adopts what we refer to as a natural position, that is a position in which the feet are spaced approximately shoulder width apart, with the weight of the body distributed evenly on them. It follows, then, that whenever possible, karate stances should follow this principle. Depicted in Figure 29 is the front stance. Note that the feet are placed approximately shoulder width apart for balance; failure to do so will affect the performer’s balance. In Figure 30 the feet in the front stance are in line and the body is difficult to balance, since the base of support is narrowed. It should also be noted that the upper body is held erect, and the hips in their normal position are in line with the rest of the body.

In Figure 31, the cat-foot stance is demonstrated. Balance here is difficult since the weight of the body is carried primarily on the rear leg. Still, it is possible to maintain balance, since the forward foot extends the base of support, and the knee is bent, lowering the hips. In addition, the upper body forms a straight line with the hip, affording maximum balance in this stance. Compare this with Figure 32. The model here deliberately has adopted a faulty cat-foot stance. Note that the upper body seems to lean backward slightly, upsetting the balance since hip and back are not in alignment. In addition, the knee is straightened, lessening the body’s ability to balance correctly. If the performer were attacked in this position, he would likely lose balance to the rear if his opponent charged into him.

Figures 33 and 34 demonstrate how the misalignment of hip and back can cause a loss of balance. The balanced position in the straddle stance is one in which the upper body is straight, as compared to Figure 34, where the upper body inclines to the rear in an unbalanced position.

One of the subtleties of body movement affecting balance is the manner in which the feet are positioned against the floor. In Figures 35 through 38 correct and incorrect methods of using the feet are demonstrated. In order to maintain solid balance in any stance, it is necessary to tense the foot and toes downward as if trying to grip the floor with them, as demonstrated from the front and side in Figures 36 and 38. Figures 35 and 37 show an incorrect tension of the feet with the toes actually raised, causing less of the foot surface to contact the floor, and upsetting balance.

These may seem to be minor points as far as fighting technique is concerned; however, it must be remembered that balance affects all karate movement, and an unbalanced fighter is incapable of delivering the strongest technique.

Generating Force

The generation of force in karate techniques is a complex matter, combining a number of coordinated principles and movements, including hip movement, centrifugal force, reaction force, leg drive, proper muscle use, speed, and focus. To accomplish this, the body must be maintained in the correct position for each technique so that the coordination of these principles and movements is maximized. Figure 39 demonstrates some of the factors adding to the generation of power in the counterpunch. The fighter stands in the left front stance, executing a counterpunch with the right fist. The punch commences with a sharp rotating motion of the hips (A). This rotation of the hips is aided by the driving force of the leg (B). As the punching fist travels forward (E), the opposite arm is withdrawn sharply (D), causing the shoulders to rotate in the same direction as the hips and adding reaction force to the punching arm (E). As the punch makes contact with the opponent, the rear leg is stiffened, adding a reaction force (C) to the punch.

Similar force is gained in the execution of some hand movements, using hip rotation opposite from that of the counterpunch. This type of reversed rotation may be observed in the rising block, inside block, downward block, knife-hand block, back-fist strike, and other hand techniques. Figure 40 demonstrates this reversed hip rotation in the performance of the rising block. The block begins with the rotation of the hip (A), to which is added the reaction force of the withdrawn hand (D). The driving force of the rear leg (B) creates a reaction force (C) that is added to the power of the blocking arm (E).

The power of the hip is also added to kicking techniques, as demonstrated in Figure 41. As the front kick is thrust forward, the hip is rotated in the direction of the kick (A). At the same time the supporting leg is thrust against the floor (B), creating a reaction force (C) that adds to the power of the kick.

In the roundhouse kick (Fig. 42), the power of the hips is added to the kick by rotating the hip in the direction of the kick (A, D). The supporting foot must be turned in the same direction in order to facilitate the kick (B). In order for the kicker to keep balance, the upper half of the body must rotate in a direction opposite to the hip.

Coordinating Body Movement

In the execution of karate techniques it is necessary to coordinate all body movements, in order to produce maximum power. This means that the directional movement of the body must be coordinated with hand and foot movements to maximize the effect of a kick, punch, or block. In schools where the instructors are lacking in basic knowledge, ignorance of this principle seems to be common. Many of these unqualified instructors produce students whose body movements are grossly uncoordinated. Some of the most common errors can be observed when these students complete a step forward and then follow with a punch or block. In other cases, the student shifts into a stance, and after body movement has been completed, the arm movement follows. Any physical education instructor not versed in karate technique could spot these coordination errors. A similar lack of coordination might be observed in a baseball player’s batting technique. If the batter were to step toward the pitch and rotate his hips without moving the bat, and then, having completed the hip rotation, begin to swing the bat, the error would be obvious. No body power would be added to the swing, and the resultant hit would not have the full power of the batter.

Demonstrated next is the manner in which the hand, foot, and body movements must be coordinated in order to produce maximum power in the lunge punch. A similar process is necessary for blocks, strikes, and kicks. In Figure 43 the attacker (left) faces his opponent. Both are in sparring stances. The attacker steps forward in the front stance with his right foot, completing the step (Fig. 44). His right hand has begun the lunge punch, but has not completed it. The hand technique is not completed until after the step has been terminated (Fig. 45). This method of punching has divided the power generated by the body’s forward movement from that developed by the hand in the completion of the punch. The result is a loss of power in the lunge punch.

In Figures 46 through 48 the attacker has completed the punch before his body motion has stopped. Beginning in the left front stance (Fig. 46), he steps forward to begin a lunge punch, but his hand is fully extended in the punch before his body movement stops (Fig. 47). In the last photo (Fig. 48), the attacker has completed the step, but it has not been coordinated with the punch, and the combined power of body movement and hand movement has not been achieved.

Figures 49 and 50 demonstrate the correct method of utilizing hand and body power. The attacker begins in the left front stance (Fig. 49) and then steps forward with his right foot to execute a right lunge punch (Fig. 50). Note that his foot has advanced, but his hand has not begun the punch. This is necessary, since hand movement is much quicker than body movement. In Figure 51 we see the completion of the punch. Maximum force has been developed, since the hand and foot have reached their terminal position at the same time.

This coordination of body movement is possible in both forward and backward movements. The key to developing power in both directions is to make sure that the hand and foot stop at the same time.

Hip Movement and Centrifugal Force

A basic understanding of the physical forces that affect karate movements is necessary in order to achieve maximum power in techniques. Many karate practitioners fail to understand them and thus do not reach their full potential in regard to the amount of force that they generate. One such physical force is centrifugal force.

As demonstrated in previous sections, reaction force is generated in a kick, punch, or block by withdrawing the opposite arm or leg. This sharp movement usually causes some rotation movement in the hip. However, if a rotating movement is initiated by the hip as the punch is executed, then centrifugal force will be added to the reaction force, producing the strongest possible punch. An easy comparison is the swing of a batter as he attempts to hit the ball. Although coordination of the batter’s swing has been discussed above, it should also be noted that a batter who does not rotate his hips and body into the swing of the bat will have a very weak swing. Baseball fans can observe this easily, and recognize that the same principle applies to many other athletic movements, including karate punches, kicks, and blocks.