ZERO VELOCITY POINT

INFLUENCE
ON STEPPING AND TURNING
(SPORT KARATE PRACTICE IMPLICATIONS
ON TRADITIONAL KARATE TRAINING)


























Dragan Kljenak, (Dipl.Ing.Arch.) a graduate of University of
Zagreb, Croatia, has been involved with karate from 1971, in former
Yugoslavia and, from 1988, in Canada. In the early days (1976 up to 1985)
he was competing on local level tournaments in Croatia and Slovenia
(winner of 1977 open provincial tournament). In 1990 he became member
of Karate Ontario and trained with Sensei Z.Celebija,7
th
Dan, WKF
Referee, of Mississauga Shotokan Karate Club receiving also top level
instruction in officiating. D.K. is holding both KAO and NKA Karate
Referee highest licences (officiating on Karate Ontario tournaments from
1995 and, from 1998, on National Karate Association of Canada
championships). He has also completed karate coaching program NCCP
level 2. From 2003 he has been teaching full time in his club (Karate-Do
Shotokan) in Mississauga preparing few promising young athletes for
competition career.
Presently holding rank of Rokudan (6
th
Dan) Hachi-O-Kai and Godan (5
th

Dan) NKA, his personal traditional karate development was significantly
influenced by internationally known karate teacher Kancho Takemasa
Okuyama, 8
th
Dan IKA.
His theoretical papers on specific bio-mechanical, technical and officiating
aspects of Karate have been published in local and international karate publications. He is now actively
compiling his own research materials and previously published papers for his book Precision Karate.

1











ZERO VELOCITY POINT INFLUENCE ON STEPPING AND
TURNING
(SPORT KARATE PRACTICE IMPLICATIONS ON TRADITIONAL KARATE TRAINING)















2
ZERO VELOCITY POINT INFLUENCE
ON STEPPING AND TURNING
(SPORT KARATE PRACTICE IMPLICATIONS
ON TRADITIONAL KARATE TRAINING)



In the early days of karate sport some competitors were performing techniques
with no hikite (pulling arm) and no fixed, static, stance..fluid and almost relaxed!? Many
dismissed these attempts with comments such as not real karate In fact, they were
predecessors of todays fast paced kumite bouts and fluid karate techniques.

Old controversies will inevitably appear again if they are not resolved when they occur.

I would like to remind younger karate-ka of an infamous picture where two prominent
J KA competitors demonstrate Gyaku zuki attempting to score.
1
Older ones need not be
reminded, these questions were around for quite some time. When one of those
competitors was asked
2
about his un-orthodox stance he replied with only a smile,
refusing to go deeper into discussion
A great schism between traditionalists and modernists is still present in karate. The
main difference is related to a sport kumite form: completeness of a technique execution
and a stance (or posture) while scoring.
Unfortunately, uncompromising insistence on these differences lead karate only to a
damaging division and definitely influenced decisions that prevented presence of karate in
Olympic games.
If these issues were approached from a scientific point of view, instead of from a dogmatic
one, we could have witnessed faster development of sport karate as well as karate in
general.

Generations of karate trainees were instructed one way and then were confronted with
application of acquired skill in a sport the other way. Because of this duality, without a
clear explanation of necessary modification, training was only partially productive

It is very difficult to literally apply fundamental karate techniques in sport kumite. If a
Gyaku zuki is performed (sliding in or stepping forward) with very strong hikite it is
impossible to quickly step back. If Oi zuki is performed in the same manner, with a strong
hikite, it is impossible to quickly step forward.
Intuitively, modifications ensued in a sport kumite.
Careful observers of karate tournaments have noticed that kumite technique adaptation
occurred gradually over the last two decades or so. Still shots of tournament actions
revealed details that, at first glance, contradict correct karate technique delivery! Gyaku
zuki will, for example, have a stance with back foot raised, hikite will be applied very
reservedly, only in a reduced form, etc.

1
M. Nakayama, Best Karate #4: Kumite 2, first edition 1979 Kodansha International Ltd., Tokyo, J apan;
pg.80
2
Kawasoe Sensei commenting the picture to editor of a Shotokan Magazine,a British bi-monthly
publication devoted solely to Shotokan ryu
3

It is necessary to accept the fact that scoring a point in a sport kumite bout is
fundamentally different than hitting
3
if we really want to fully understand both sides of this
division.
Contestants inevitably must adopt technical principles that lead to efficient scoring.
A competition bout may resemble a duel but it is not one!
4


It is indeed necessary to accept technique adaptation (we may even refer to this as
transformation) in order to make competition possible. There is no danger for karate in
accepting these modified techniques as correct. Understanding of the technique found
through these modifications must be incorporated in regular practice of karate
fundamentals!
Okuyama Sensei
5
always emphasizes in his teaching that the advanced practitioner may
introduce logical and well researched change in his or her everyday karate practice but
responsibly and only with full awareness of a specific purpose.

A trained person moves with amazing flexibility, amplitude and vigor: we have to, finally,
banish the idea of robotic, overstrained and rigid moves that are very often
misrepresented as karate.

This article will establish that questions about transformed technical details have
scientific and logical answers. Particularly, I will show how basic laws of classic
mechanics provide relatively simple explanations regarding characteristics of some
techniques, stepping and turning as well as hikite application in sport kumite and connect
these findings to traditional training of Kihon, Kata and prearranged Kumite.







3
Experienced practitioners certainly know fundamental difference between fist (form as well as position with
respect to wrist angle) when training on makiwara or punching the air.
4
I want to point out some basic characteristics of competition score prerequisites:
a/ since touch is a perfect score (only limited amount of impact is acceptable and only to a certain body
areas!) dynamics of technique are changed: speed and accuracy are the most dominant aspects of technique;
b/ distance traveled is quite larger in a sport competition: competitor must be able to enter opponents space
and score with arm technique from a kicking distance(!);
c/ requirements for proper score (rules of competition prescribe correct elements of applicable karate
technique) are significantly increased compared to the old ones;
d/ the absence of strict blocking requirement (however, there is still rudimentary requirement for self
protection- Mubobi rule) leads to absence of attacks to arms and legs;
e/ safety requirements are at the highest level since karate sport was established.
We could obviously expand further these explanations. I will not venture in that direction further: for purpose
of this article those references should be sufficient.

5
Kancho Takemasa Okuyama of J apan Martial Arts Centre, Toronto

4
GENERAL MOTION AND ZERO VELOCITY POINT

Note on diagrams: I have devised a system of body representation (karate plan diagrams) in order to
accurately illustrate my explanations. This representation is based on an existing system of body
representation that is commonly used in modern scientific literature
6
. Karate plan diagrams used here are
explained in the Appendix A.

General motion is a combination of translation and rotation.
7
It is further understood that
the general motion is equivalent to the sum of translation along and rotation about an
instantaneous axis.
8


Figure 1 General motion

When a body both translates and rotates, the velocity of a point in the body can be
represented as a vector sum of the velocity caused by the translation and the velocity
caused by the rotation. An axis or point for which velocity equals zero is an instantaneous
axis or center of velocity. The rotational velocity at this point cancels the translational
velocity.
9


Note: there is significant difference in terminology when velocity and speed is
defined. Further, displacement and distance are specifically determined.
10



6
Zatsiorsky, Vladimir, Kinematics of human motion, 1998, Human Kinetics, USA
7
Same as above, pg 3
8
Same as above
9
Same as above, pg 149
10
Same as above
5
Translation is such a motion where all points of the body move along parallel paths
and have the same velocity and acceleration at any given instant.
11
Any line fixed to the
body will stay parallel to itself as body moves. Simply put, the body will change position
facing the same direction whether moving forward or backward. It is understandable that
this is assumed, ideal, theoretical condition. The motion in the example is caused by two
pairs of parallel forces acting in the same direction.

The motion in presented example is consequence of the very basic, fundamental, steping-in
move. Distance traveled is presented in reduced size: trunk displacement will be quite large
with full step (one Zenkutsu dachi length). The mechanism in question is presented with
respect to Shotokan ryu in all illustrated examples; the other styles will have different
(style specific) approach to this issue.



Figure 2 Body translation; diagrams show how frontal plane (as
well as sagittal plane) remains vertical and perpendicular to base transverse plane.
Distance traveled is presented as ab distance between plane positions a and b,
measured on transverse plane (before and after action) as a shortest distance between
planes.










11
Zatsiorsky, Vladimir, Kinematics of human motion, 1998, Human Kinetics, USA , pg 149
6
Rotation (or angular motion) is such a motion where all parts of the body travel in the
same direction through the same angle of rotation
12
, around the axis of rotation. It is
assumed that parts of the body that lie on the axis of rotation are excepted, not
rotating. Angle of rotation should be measured on the transverse plane, the one that is
perpendicular to axis of rotation. Distance traveled is presented as zero distance :
between plane positions a and a, measured on the transverse plane as a shortest
distance between planes before and after action. Rotation in the example is caused by two
pairs of parallel forces acting in opposite directions: Moment of the couple.


Figure 3 Body rotation; diagrams show that rotation of the
hips (shaded form) and rotation of shoulders (slightly larger elliptical form) have different
angle of rotation; shoulders are rotated more! Hip level has limited rotatory capabilities in
comparison with shoulder belt if rotation is executed on a certain karate stance. Length of
the stance is one of the major determining factors regarding hip level rotation amplitude.
Example assumes CW rotation performed on Zenkutsu dachi
13
.

The axis of rotation, cardinal longitudinal axis, is presented with a black dot: projection on
the transverse plane. This axis is an interception of two frontal planes depicting hip and
shoulder planes (with two distinctive rotated positions) respectively.

12
Zatsiorsky, Vladimir, Kinematics of human motion, 1998, Human Kinetics, USA , pg 149
13
The functional classification of karate stances have to be established first in order to discus further my
position regarding relationship of form and function in karate. Understanding of the full effect of rotation as
an important acceleration mechanism of karate, with all limitations and conditions, is still an uncharted area.
For now it will suffice to state that I regard Zenkutsu dachi as the only karate stance that enables full
utilization of this mechanism. Zenkutsu dachi must first fulfill certain formal requirements in order to
provide optimal base for execution of techniques: anthropomorphically sized stance and precise geometrical
alignment are fundamental conditions.
7
ZERO VELOCITY POINT AND HIKITE

The main technical purpose of the hiki-te is to increase acceleration of hand technique(s).
Hiki-te may be effectively used as an acceleration vehicle from the fixed, stationary
position as well as in full motion, while stepping or turning. Probably the largest benefit of
the pulling hand may be ascribed to nullifying inertia, which is the main obstacle in
technique startup. If the practitioner uses hikite properly, initial motion becomes sudden,
surprising and often comes as a shock to the opponent.
14

With all this said, it is easy to discover (video and printed materials are now widely
available and easy accessible) that in modern karate competition the use of hikite
mechanism is sparse, sometimes non-existent!?
Analysis of basic technique will reveal why this occurs. I would like to stress once again
the general purpose of this research: to explain mechanism in question with scientific
method and re-affirm the importance of informed training, based on such findings!

First example is fundamental karate punch: Oi zuki on Zenkutsu dachi.


Figure 4.1 Oi zuki on Zenkutsu dachi; 4.1a shows body translation while
stepping forward; 4.1b shows body CW rotation about longitudinal axis; 4.1c shows final
phase with left Oi zuki and instantaneous axis (zero velocity point) shift denoted.
Hikite representation is omitted for clarity of diagram.

According to general motion explanation (Figure 1), strong right hand hikite, coupled with
intense hip and shoulders rotation, will cancel influence of the forward body translation (of
the appropriate side) and, as a consequence, shift instantaneous axis (center of velocity)
from central position - denoted in Figure 4.1b by full black dot at the intersection of two
rotated frontal planes - to the back position , denoted in Figure 4.1c by full black dot on the
upper body frontal plane projection, roughly at the right hip/shoulder position. This is an
axis (point) with zero velocity! This will have, as I will show next, serious implications
when stepping or turning is required for follow-up techniques.

14
Kljenak, D., Hikite , Kaiten & Mysterious Power of Karate, 2006, presented on KSV karate Symposium,
Novi Sad, SCG, pg 4.Hikite often includes significant influence of shoulder (kata kaiten) rotation
contribution as well as hip(koshi kaiten) rotation!
8

Figure 4.2 Step forward after Oi zuki; shows movement of an
instantaneous axis (zero velocity point, depicted as a full black dot) while stepping
forward as well as a movement of a right foot. This is inherently difficult step:
practitioner must move the point that has been stopped instantaneously when Oi zuki was
completed!



Figure 4.3 Step/turn CW 270 after Oi zuki; shows movement of an
instantaneous axis (zero velocity point, depicted as a full black dot) while stepping and
turning forward as well as a movement of a right foot. This is inherently difficult step:
practitioner must move the point that has been stopped instantaneously when Oi zuki was
completed!
9

Figure 4.4 Step/turn CCW 180 after Oi zuki; shows
movement of an instantaneous axis (zero velocity point, depicted as a full black dot) while
stepping and turning backward as well as a movement of a left foot. This is inherently
easy step-turn: practitioner must move around the point that has been stopped
instantaneously when Oi zuki was completed!

These examples (Figures 4.1 to 4.4) are chosen because they appear in a teaching
curriculum (in our particular case Shotokan ryu) relatively early. Heian Shodan, the first
kata taught in most dojos, contains these steps and turns as they are considered
fundamental in development of technique. They certainly are! However, we should refrain
in naming these steps and turns basic, in somewhat derogatory way (!), because this
material represents a challenge for many experienced karate-ka.

Based on these examples it is possible to conclude that, as a rule, it will be difficult to
move zero velocity point/ instantaneous axis (the part or the side of the body where it
occurs). The last example shows that, as a rule, it will be comparatively easy to move
around zero velocity point/ instantaneous axis (the part or the side of the body where it
occurs).







10
Second example is also fundamental karate technique: step-in Gyaku zuki on Zenkutsu
dachi



Figure 5.1 Gyaku zuki on Zenkutsu dachi ; figure 5.1a shows body
translation while stepping forward; 5.1b shows body CCW rotation about longitudinal
axis; 5.1b shows final phase with left Gyaku zuki and instantaneous axis shift denoted

According principles that determine general motion (Figure1), strong left hand hikite,
coupled with intense hip and shoulders CCW rotation, will cancel influence of the forward
body translation velocity (left side of the body) and, as a consequence, shift instantaneous
axis (or center of velocity) from central position - denoted by full black dot at the
intersection of two rotated frontal planes (Figure 5.1b) - to the new position , denoted on
upper body frontal plane projection, roughly at left hip position (Figure 5.1c). This is an
axis (point) with zero velocity!
This will have, as I will show next, serious implications when stepping or turning is
required for follow-up techniques.

11

Figure 5.2 Step forward after Gyaku zuki; shows movement of
an instantaneous axis (zero velocity point, depicted as a full black dot) while stepping
forward as well as a movement of a right foot. This is inherently easy step: practitioner
must move around the point that has been stopped instantaneously when Gyaku zuki was
completed!




Figure 5.3 Step/turn CW 270 after Gyaku zuki; shows movement of an
instantaneous axis (zero velocity point, depicted as a full black dot) while stepping
forward and turning, as well as a movement of a right foot. This is inherently easy step:
practitioner must move around the point that has been stopped instantaneously when
Gyaku zuki was completed!
12

Figure 5.4 Step/turn CCW 180 after Gyaku zuki; shows
movement of an instantaneous axis (zero velocity point, depicted as a full black dot) while
stepping backward and turning, as well as a movement of a left foot. This is inherently
difficult step: practitioner must move the point that has been stopped instantaneously
when Gyaku zuki was completed!

These examples are chosen because they appear in a teaching curriculum (Shotokan ryu)
relatively early: second kata taught in most dojos, Heian Nidan, contains some of these
steps and turns as they are considered fundamental in development of technique.
However, we must note that Gyaku zuki remains , in many variations and combinations,
the most frequent scoring technique in sport karate contests, even the highest ranking
ones.
15

Let me repeat once again: based on these examples it is possible to conclude that, as a
rule, it will be difficult to move zero velocity point/ instantaneous axis (the part or the
side of the body where it occurs). It will be comparatively easy to move around zero
velocity point/ instantaneous axis (the part or the side of the body where it occurs).

The next example will give us the opportunity to examine a third possibility: although the
practitioner steps and turns in a complex manner, instantaneous axis (zero velocity point)
remains identical with cardinal longitudinal axis throughout the complex movement.

15
S.J ovanovic, R.Mudric, Analysis regarding rules changes and frequency of scoring techniques, Karate
Simpozijum, 2004, Karate Savez Vojvodine, SCG, pg 103. Authors have found that competitors on European
level competitions scored with gyaku zuki in over 65% cases, Kizami zuki in over 20% cases leaving only
15% of scoring techniques to all other techniques: kicks, takedowns, etc.

13

Figure 6.1 Nukite on Zenkutsu dachistep/turn forward CCW
360 Tetsui uchi on Kiba dachi; shows movement of an instantaneous axis (zero velocity
point, depicted as a full black dot) while stepping forward and turning, as well as a
movement of a right foot. This is complex but not difficult step: practitioner must move
the point (centered!) that has been stopped instantaneously when Nukite was completed;
then move it (translate) to new position and, at the end, perform rotation around the
translated point/axis.

This example depicts the third possibility (with respect to previous Oi zuki and Gyaku zuki
examples) : even after technique has been completed (in this example right Nukite zuki)
instantaneous axis (zero velocity point) remains centered throughout the complex
movement. Simple observation leads to a clue: the left arm did not perform hikite!
Figure 6.2 shows that instantaneous axis (zero velocity point) remained centered in the
initial left Morote uchi uke (being initiated from Musubi dachi): no hikite here either!
This example is chosen because it appears in a teaching curriculum (of Shotokan ryu)
relatively early: the third kata taught in most dojos, Heian Sandan. These steps and turns
are considered fundamental in the general development of a karate technique.








14

Figure 6.2 Morote uke on Kokutsu dachi Nukite on Zenkutsu
dachi; figure shows displacement (at the same position with respect to body!) of an
instantaneous axis (zero velocity point, depicted as a full black dot) while stepping
forward as well as a movement of a right foot.

Figure 6.3 Half turn backward through Kokutsu step back with
turn; figure shows displacement (at the same position with respect to body) of an
instantaneous axis (zero velocity point, depicted as a full black dot) while turning and than
stepping backward as well as a movement of a left foot.
15

Figure 6.4 Tetsui uchi on Kiba dachi; shows minimal
displacement of an instantaneous axis (zero velocity point, depicted as a full black dot)
while rotating CCW.

Translation of a zero velocity point (fig. 6.2, 6.3 and 6.4) is performed and completed
by controlled foot movement. Hikite performed at the end of technique only reinforces
(with Gyaku Kaiten!) completion of Tetsui uchi; the technical part of a concrete action
develops around zero velocity point/ instantaneous axis.

This example analysis corrects our findings: It will be difficult to move zero velocity
point/ instantaneous axis (the part or the side of the body where it occurs) if this point/axis
has been moved to the lateral part of the body! It will be comparatively easy to move
around zero velocity point/ instantaneous axis (opposite part or the side of the body
where zero velocity point occurs) . It is especially easy
16
to move around zero velocity
point when it remains identical to a cardinal longitudinal axis (of rotation)!













16
In all these cases, I am referring to a well trained practitioner; in full control of his/her faculties when
qualifying level of difficulty.
16
KIHON

When we know that in all three examples (fig. 4.1, 5.1 and 6.1) body rotation has been
classified as J un Kaiten
17
(direct rotation; body rotation follows direction of technique), on
the same stance in first two cases (!), then it appears difficult to discern, seemingly,
different consequences that result from these motions. We must also point out that these
situations last only for infinitesimal time instance, only as long as it is necessary for
realization of the technique.
The assumption is that the practitioner has executed techniques, stepping forward or
backward respectively, with feet firmly planted at the finish of a technique, full and strong
hikite motion of the appropriate hand is performed, with intensity as in prearranged
kumite.
We may classify this mode of technique execution conditionally as authentic and as
close as possible to traditional training principles. When we refer to similar techniques
used in sport competition we can not, contrary to some traditionalist karate-ka, refer to
those as wrong! We should describe those as adopted techniques since clear
difference in a purpose exists.
Hikite influence (as well as shoulder and hip rotation) was in both cases, (fig. 4 and 5),
crucial for positioning of zero velocity point/instantaneous axis: The virtual translation
of longitudinal axis occurs as a direct result of a strong application of pulling hand motion,
combined with shoulder rotation, in conjunction with forward translation of the entire
body.
Third case (fig. 6.1) further refines possibilities: the body movements are performed with
zero velocity point/instantaneous axis remaining identical to cardinal longitudinal axis.
The practitioner then moves freely and independently of hikite influence: in this case body
rotates continuously CCW; only at the very end arms execute technique (both arms
actually perform action around zero velocity point/ instantaneous axis!).

Based on a now full understanding of zero velocity point location there are ways to
return the actual instantaneous axis of rotation (from lateral position) to a neutral, centrally
located, position identical with the cardinal longitudinal axis, in order to enable the next
technique or step. To accomplish this the practitioner must use the same mechanism that
leads to the shift of instantaneous axis but in the reversed direction: Hikite
18
! The
consequence of the intensive hikite application will be mainly foot position adjustment.
Since application of this mechanism in kata performance is not acceptable, practitioners
are forced to overcome the problem only with arduous everyday practice
Applying hikite and foot adjustment in a kumite bout will have a relatively high price:
energy spent on preparation of a next move or returning to neutral position will be equal to
the amount of energy spent on the attempt to score!
19


17
M. Nakayama, Best Karate #2: Fundamentals, 1978 Kodansha International Ltd., Tokyo, J apan; pg.20
18
Hikite is almost always considered in conjunction with respective shoulder and hip rotation contribution.
19
Statistics regarding actual ratio between attempts and successful scoring are not yet ready available. Based
on practical experience , particularly the one of intensive kata training and performance where all techniques
must be executed without any adjustments, energy expenditure increases twofold! Mr. L.Valdesi , WKF
kata champion for 2006, demonstrated this on recent clinic for Karate Ontario: rest period after his kata
performance (which was one minute in length) was 4-5 minutes! If we apply this ratio to kumite (single bout
lasting 3 minutes) competitor will need 12-15 minutes to recuperate
17



Figure 7.1 Oi zuki on Zenkutsu dachi; 7.1a shows position of an
instantaneous axis of rotation (zero velocity point, depicted as a full black dot) at the
moment of technique; 7.1b shows front foot pull back and shift of zero velocity point to
the centre; 7.1c shows back foot pull forward and shift of zero velocity point to the
centre.


Figure 7.2 Gyaku zuki on Zenkutsu dachi; 7.2a shows position of an
instantaneous axis of rotation (zero velocity point, depicted as a full black dot) at the
moment of technique; 7.2b shows front foot pull back and shift of zero velocity point to
the centre.

Pull of the front foot is a common consequence in both situations: hikite will be paired
with a second technique or performed as an independent mechanism.
Back foot pull (forward!) in the case of Oi zuki (or full step forward in case of Gyaku
zuki!) are more complex solutions. The first one will require Oi-Gyaku-Oi (last element:
slide in!) rapid combination and second one consists of Gyaku-Gyaku (second element:
step in!) combination.
20


20
Technical possibilities that lead back to a full balanced position are so important for modern kumite
competition that this detail alone deserves separate study.
18
KATA

Steps and turns (fig.4.2-4.4; 5.2 and 6.2-6.4) are part of a particular Heian kata: Shodan,
Nidan and Sandan respectively. Careful analyst will also detect some other sequences of
these kata that can be discussed in greater length regarding zero velocity point issue. One
may be tempted to question whether those difficult combinations are intentionally inserted
there or a simple mistake?
21

If we look further, in a Heian Yondan kata we will find that punches after Kakiwake uke-
Mae geri combinations are sequenced in such a way that stepping and turning to another
similar combination are difficult: zero velocity point must be moved instead moving
around it!? Heian Godan does not contain such arrangements: it has only one Oi zuki on
Zenkutsu dachi. This punch starts from virtual shomen position body facing straight
forward, with the instantaneous axis coinciding with the cardinal longitudinal axis!

In the more advanced kata (of a Shotokan ryu standard 26 kata curriculum) the steps and
turns confirm to principle of instantaneous axis of rotation shift mechanism.

Take for example J ion kata. At the very beginning, the punches after Kakiwake uke-Mae
geri combinations are arranged in such a way that the last tsuki shifts instantaneous axis of
rotation to a position similar to the one in fig. 4.1c. Stepping and turning to another
combination is now relatively easy to do: one moves around the zero velocity point!
Most of the remaining steps and turns are arranged in such a way
22
.
In the Kanku dai kata we will find a fine example when after a right Shuto uke on Kokutsu
dachi a turn is performed CCW 270 with left Uchi uke-Gyaku zuki on Zenkutsu and
immediately CW 180, on the spot, with right Uchi uke- Ren zuki (left-right). It is fairly
easy to pull the right leg well back, closer to dachi-ashi
23
, for a third , right legYoko geri
keage
Examples similar to these may be found in all kata from Shotokan curriculum.

Whenever one finds a combination in the standard kata that has technical difficulty relating
to stepping and turning, one may apply the zero velocity point principle and discover
possible solutions.
I would recommend dojo practice of alternative solutions, comparable to practice of a
left and a right version of a standard kata.

However, we should refrain from permanently changing accepted, established, version of
standard kata without further research and general consent of qualified instructors as well
as official governing bodies.

21
If we take in consideration that Heian kata were composed by Itosu Sensei, one of the best karate-ka on
Okinawa (according to Funakoshi Sensei) it is not likely that we are looking at mistakes: I would refer to
those difficulties as planted.
22
I would like to point out that spin-turn has a very different characteristics when compared to step-turn.
In a case of spin-turn shift of an instantaneous axis of rotation to a cardinal axis is possible because next
stance, usually coupled with specific technique, has a centered zero velocity point (Kiba dachi, Kokutsu
dachi)! Both mechanisms ,spin-turn and step-turn , will be subjects of a separate research article.
23
Dachi-ashi refers to the leg supporting particular stance(!); waza-ashi will refer to the leg supporting
particular technique (terminology is mine).
19
KUMITE
This part of a discussion is limited to only sport kumite implications: combat applications
are out of the scope of this research paper.

Scoring is a main goal in competition. To achieve this goal, competitors are required to use
tools at their disposal permitted by the rules (of the game). The winner is the one that
scores more points than the opponent: One does not die if he or she is scored upon!
These elements are obviously in contradiction with pure principles of karate martial art;
one has to accept the difference in order to continue practicing both!
Speed is the most dominant prerequisite of scoring in karate competition. This leads to
special adaptation of stances as well as technique delivery: getting close to the opponent,
scoring and then exiting an opponents space as soon as possible.
24


Competitors and their coaches have started very early the process of adapting original
(combat) kumite elements in order to make the contest faster and safer. Stances and
footwork were probably first adapted to new requirements becoming as mobile as possible
and opening the possibility to enter, attempt to score and then exit the opponents space
after the planned task is performed. Going back to the example from the beginning of this
paper (infamous picture of two top competitors with raised heels of the back foot) I will
conclude that even at the very early stage of competition development it was necessary to
save the opponent from possible injury by arresting the incoming force first by stance
adaptation. Competitors realized very quickly that the foot supporting technique (waza-
ashi) must be sufficiently movable! Any technique performed without this type of stance
control leads inevitably to hitting and injuries were frequent at those early days of
competition.
It was also necessary to introduce fast body translation and rotation to enable competitors
to significantly increase their speed in stepping and turning Competitors soon discovered,
empirically, that strong hikite (in standard form) does not fit in the game of scoring.
Many used, intuitively, one hand to cover opponents incoming technique and deliver
their own at the same time. Understanding that the passive guard, with body rotated in
hanmi position, is not any more required soon prevailed. An active guard became a newly
discovered factor that shaped modern kumite skill. The competitor will stay as long as
possible centered (neutral balance position) and in constant motion, developing more
scoring opportunities. Since hikite was not performed automatically and always, it did not
contribute any more to instantaneous axis shift, zero velocity point remained on the
cardinal longitudinal axis. It became considerably easier to switch directions from such a
versatile state of balance. This way, competitors were indeed able to step in and out (of the
opponents space) fairly easy All these empirical findings correspond to zero velocity
point principle application explained in this article!



24
Throws, that are permitted to unprecedented level with current rules, are exception. Some prominent WKF
Referees are already expressing doubts about this direction in Kumite competition rules development,
foreseeing revisions in the near future.
Z.Celebija, Canadian WKF Referee, has witnessed wrestling and consequent injuries on a last few World
Championships and expressed, on number of occasions, his opposition to allowing such a practice.
20

CONCLUSION

After this analysis one may ask: What is the use of all these observations and findings?
Simply put: Experience of both types of training, sport kumite on one side and traditional,
prearranged (Ippon ,Nihon, Sambon and Gohon kumite) training, including diligent kata
practice as well, provides necessary and important source for studying karate and
improving practical karate skill.

Sometimes empirical discovery, through necessity, may help to uncover the underlying
essence of a particular technical aspect or a hidden detail. I have presented here how
actual application that occurred gradually, mostly based on a trial and error practice, could
have been introduced earlier to competitors training if there was sufficient research
available.

I stand firmly on the position that competition karate leads to a better understanding of
fundamental techniques and, if we adopt scientific developments that have already
occurred in all other sports, we will in the long run further improve traditional karate
training.

I would insist also that both aspects of karate training are equally important. First, we have
to admit that there is no karate sport without karate fundamentals! On the other hand, if
we do not produce appropriate feed-back from sport science to everyday training and fully
explore competition experience, karate is doomed to obscurity!

Further, if we refuse to see and understand the mutual dependence of both these aspects of
karate, traditional source and wisdom on one side and modern sport training practice on the
other, we are risking to let karate slowly slip to a status of somewhat exotic, marginal
activity and sport for only a few devotees.





















21
BIBLIOGRAPHY



Nakayama, Masatoshi, Best Karate #2: Fundamentals, 1978,Kodansha International Ltd., Tokyo, J apan

Nakayama, Masatoshi, Best Karate #4:Kumite 2, first edition 1979 Kodansha International Ltd., Tokyo,
J apan


V.M. Zatsiorsky, Kinematics of human motion, 1998, Human Kinetics, USA


Kljenak, D., Hikite , Kaiten & Mysterious Power of Karate, 2006, presented on KSV karate Symposium, Novi
Sad, SCG

S.J ovanovic, R.Mudric, Analysis regarding rules changes and frequency of scoring techniques, Karate
Simpozijum, 2004, Karate Savez Vojvodine, SCG

0 0 00
Story of zero is one of Void, Emptiness, Story of zero is one of Void, Emptiness,
N hi S ill N hi S ill Nothingness, Stillness Nothingness, Stillness
Originating in the East, fulfilling most Originating in the East, fulfilling most
important mathematical concepts in the important mathematical concepts in the important mathematical concepts in the important mathematical concepts in the
West West
We will appropriate this important tool We will appropriate this important tool
11
We will appropriate this important tool We will appropriate this important tool
for an instant; to explore our Art and for an instant; to explore our Art and
Sport Sport
ZERO VELOCITY ZERO VELOCITY
POINT INFLUENCE ON POINT INFLUENCE ON POINT INFLUENCE ON POINT INFLUENCE ON
STEPPING AND STEPPING AND
TURNING TURNING
KATA AND KUMITE PERFORMANCE KATA AND KUMITE PERFORMANCE
IMPLICATIONS IMPLICATIONS
22
SCOPE OFPRESENTATION SCOPE OFPRESENTATION SCOPE OF PRESENTATION SCOPE OF PRESENTATION
1. 1. TRAINING FORM VS. COMPETITION TRAINING FORM VS. COMPETITION
FORM FORM (4 (4- -7) 7)
THEORETICAL BACKGROUND THEORETICAL BACKGROUND 2. 2. THEORETICAL BACKGROUND THEORETICAL BACKGROUND
(8 (8- -14) 14)
33 MECHANICS OF MOVEMENT MECHANICS OF MOVEMENT 3. 3. MECHANICS OF MOVEMENT MECHANICS OF MOVEMENT
(15 (15- -24) 24)
4. 4. KATA KATA (25 (25--35) 35) 4. 4. KATA KATA (25 (25 35) 35)
5. 5. KUMITE KUMITE (36 (36- -41) 41)
6. 6. CONCLUSIONS CONCLUSIONS (42 (42- -44) 44)
33
(( ))
1. 1. TRAINING FORM VS. TRAINING FORM VS.
COMPETITION FORM COMPETITION FORM
IS IT CORRECT IS IT CORRECT
TO PERFORM LIKE TO PERFORM LIKE
THIS? THIS?
FUNDAMENTAL FUNDAMENTAL
KARATE FORM IS KARATE FORM IS
DIFFICULT TO DIFFICULT TO
APPLY IN KUMITE APPLY IN KUMITE APPLY IN KUMITE APPLY IN KUMITE
MODIFICATIONS MODIFICATIONS
OF FUNDAMENTAL OF FUNDAMENTAL OF FUNDAMENTAL OF FUNDAMENTAL
KARATE FORM ARE KARATE FORM ARE
NECESSARY IN NECESSARY IN
SPORT KUMITE SPORT KUMITE
1. TRAINING FORM VS. COMPETITION FORM 1. TRAINING FORM VS. COMPETITION FORM 4 4
WHERE ISHIKITE? WHERE ISHIKITE? WHERE IS HIKITE? WHERE IS HIKITE?
HIKITE WILL HIKITE WILL
OCCUR AT THE OCCUR AT THE
END, AS AN END, AS AN
ZANSHIN ZANSHIN ZANSHIN ZANSHIN
EMPHASIS, RATHER EMPHASIS, RATHER
THAN THAN
ACCELERATION ACCELERATION
MECHANISM MECHANISM MECHANISM MECHANISM
HIKITE & KATA HIKITE & KATA
KAITEN KAITEN
ARE SECONDARY ARE SECONDARY
TO POWERFUL TO POWERFUL
LOUNGE LOUNGE
FORWARD FORWARD
1. TRAINING FORM VS. COMPETITION FORM 1. TRAINING FORM VS. COMPETITION FORM 5 5
EARLY EXAMPLE OF ADVANCED EARLY EXAMPLE OF ADVANCED
UNDERSTANDING UNDERSTANDING
EARLY SPORT EARLY SPORT
KUMITE KUMITE
DEVELOPMENT DEVELOPMENT
PHASE AS AN PHASE AS AN
EXPRESSION OF EXPRESSION OF
PRECISE TIMING PRECISE TIMING
AND CONTROL AND CONTROL
1. TRAINING FORM VS. COMPETITION FORM 1. TRAINING FORM VS. COMPETITION FORM 6 6
AND A RECENT MISUNDERSTANDING AND A RECENT MISUNDERSTANDING
OF PRINCIPLES INVOLVED OF PRINCIPLES INVOLVED
FIGURE FROM NCCP MANUAL FIGURE FROM NCCP MANUAL
(TECHNICAL LEVEL 2) (TECHNICAL LEVEL 2)
SUPPOSEDLY SHOWING SUPPOSEDLY SHOWING
CORRECT SCORINGFORM CORRECT SCORINGFORM CORRECT SCORING FORM CORRECT SCORING FORM
FORMAL APPROACH WITH FORMAL APPROACH WITH
LIMITEDTECHNICAL LIMITEDTECHNICAL LIMITED TECHNICAL LIMITED TECHNICAL
UNDERSTANDING UNDERSTANDING
1. TRAINING FORM VS. COMPETITION FORM 1. TRAINING FORM VS. COMPETITION FORM 7 7
2 THEORETICAL BACKGROUND 2 THEORETICAL BACKGROUND 2.THEORETICAL BACKGROUND 2.THEORETICAL BACKGROUND
AXES AND PLANES OF HUMAN BODY: AXES AND PLANES OF HUMAN BODY:
KARATE PLAN DIAGRAM KARATE PLAN DIAGRAM
CLASSICAL MECHANICS REFRESHER: CLASSICAL MECHANICS REFRESHER:
TRANSLATION AND ROTATION TRANSLATION AND ROTATION
ACCELERATION MECHANISMS: ACCELERATION MECHANISMS:
KOSHI KAITEN, KATA KAITEN, HIKITE KOSHI KAITEN, KATA KAITEN, HIKITE
2. THEORETICAL BACKGROUND 2. THEORETICAL BACKGROUND 8 8
AXESANDPLANESOFHUMANBODY AXESANDPLANESOFHUMANBODY AXES AND PLANES OF HUMAN BODY AXES AND PLANES OF HUMAN BODY
AXES: LONGITUDINAL AXES: LONGITUDINAL
LATEROMEDIAL LATEROMEDIAL
ANTEROPOSTERIOR ANTEROPOSTERIOR
PLANES: TRANSVERSE PLANES: TRANSVERSE
FRONTAL FRONTAL
SAGITTAL SAGITTAL
2. THEORETICAL BACKGROUND 2. THEORETICAL BACKGROUND 9 9
TRANSVERSE PLANESSLICES TRANSVERSE PLANESSLICES TRANSVERSE PLANES SLICES TRANSVERSE PLANES SLICES
2. THEORETICAL BACKGROUND 2. THEORETICAL BACKGROUND 10 10
KARATE PLANDIAGRAM KARATE PLANDIAGRAM KARATE PLAN DIAGRAM KARATE PLAN DIAGRAM
COMPOSITE DIAGRAM COMPOSITE DIAGRAM
CARDINAL TRANSVERSE PLANE LAYER SHADED CARDINAL TRANSVERSE PLANE LAYER SHADED
2. THEORETICAL BACKGROUND 2. THEORETICAL BACKGROUND 11 11
GENERAL MOTIONPRINCIPLE GENERAL MOTIONPRINCIPLE GENERAL MOTION PRINCIPLE GENERAL MOTION PRINCIPLE
2. THEORETICAL BACKGROUND 2. THEORETICAL BACKGROUND 12 12
BODY TRANSLATIONANDROTATION BODY TRANSLATIONANDROTATION BODY TRANSLATION AND ROTATION BODY TRANSLATION AND ROTATION
2. THEORETICAL BACKGROUND 2. THEORETICAL BACKGROUND 13 13
ACCELERATIONMECHANISMS ACCELERATIONMECHANISMS ACCELERATION MECHANISMS ACCELERATION MECHANISMS
SEQUENCE PRESENTED FROM STATIC SEQUENCE PRESENTED FROM STATIC
POSITION ONLY POSITION ONLY
c. c. TE TE
(PUNCHINGARM) (PUNCHINGARM) (PUNCHING ARM) (PUNCHING ARM)
b. b. KATA KAITEN KATA KAITEN b. b. KATA KAITEN KATA KAITEN
(HIKITE AND SHOULDERS) (HIKITE AND SHOULDERS)
a. a. KOSHI KAITEN KOSHI KAITEN
(THIGHS AND HIPS) (THIGHS AND HIPS)
2. THEORETICAL BACKGROUND 2. THEORETICAL BACKGROUND 14 14
33 MECHANICSOFMOVEMENT MECHANICSOFMOVEMENT 3. 3. MECHANICS OF MOVEMENT MECHANICS OF MOVEMENT
ZERO VELOCITY POINT SHIFT: ZERO VELOCITY POINT SHIFT:
ACCELERATION MECHANISM INFLUENCE: ACCELERATION MECHANISM INFLUENCE:
HIKITE & KATA KAITEN (ROTATION) HIKITE & KATA KAITEN (ROTATION) & ( O O ) & ( O O )
KOSHI KAITEN (ROTATION) KOSHI KAITEN (ROTATION)
STEP FORWARD(TRANSLATION) STEP FORWARD(TRANSLATION) STEP FORWARD (TRANSLATION) STEP FORWARD (TRANSLATION)
J UN KAITEN & GYAKU KAITEN J UN KAITEN & GYAKU KAITEN
IMPLICATIONS IMPLICATIONS
3. MECHANICS OF MOVEMENT 3. MECHANICS OF MOVEMENT 15 15
IMPLICATIONS IMPLICATIONS
OI ZUKI WITH ZERO VELOCITY OI ZUKI WITH ZERO VELOCITY
POINT INTERNAL SHIFT POINT INTERNAL SHIFT
3. MECHANICS OF MOVEMENT 3. MECHANICS OF MOVEMENT 16 16
OI ZUKI OI ZUKI - -
DIFFICULT STEP DIFFICULT STEP DIFFICULT STEP DIFFICULT STEP
FORWARD FORWARD
3. MECHANICS OF MOVEMENT 3. MECHANICS OF MOVEMENT 17 17
OI ZUKI OI ZUKI - -
EASY STEP EASY STEP--TURN TURN
180 180 CCW CCW
BACKWARD BACKWARD
3. MECHANICS OF MOVEMENT 3. MECHANICS OF MOVEMENT 18 18
OI ZUKI OI ZUKI - -
DIFFICULT STEP DIFFICULT STEP--TURN TURN DIFFICULT STEP DIFFICULT STEP TURN TURN
270 270 CCW CCW
3. MECHANICS OF MOVEMENT 3. MECHANICS OF MOVEMENT 19 19
GYAKU ZUKI WITH ZERO VELOCITY GYAKU ZUKI WITH ZERO VELOCITY
POINT INTERNAL SHIFT POINT INTERNAL SHIFT
3. MECHANICS OF MOVEMENT 3. MECHANICS OF MOVEMENT 20 20
GYAKU ZUKI GYAKU ZUKI - -
EASY STEP EASY STEP EASY STEP EASY STEP
FORWARD FORWARD
3. MECHANICS OF MOVEMENT 3. MECHANICS OF MOVEMENT 21 21
GYAKU ZUKI GYAKU ZUKI - -
DIFFICULT DIFFICULT DIFFICULT DIFFICULT
STEP STEP--TURN 180 TURN 180 CCW CCW
3. MECHANICS OF MOVEMENT 3. MECHANICS OF MOVEMENT 22 22
GYAKU ZUKI GYAKU ZUKI - -
EASY EASY EASY EASY
STEP STEP--TURN 270 TURN 270 CW CW
3. MECHANICS OF MOVEMENT 3. MECHANICS OF MOVEMENT 23 23
SPECIAL CASE: SPECIAL CASE:
NO ZERO VELOCITY NO ZERO VELOCITY
INTERNAL SHIFT: INTERNAL SHIFT: INTERNAL SHI FT: INTERNAL SHI FT:
STEP STEP--TURN 360 TURN 360 CCW CCW
FORWARD FORWARD
(Heian Sandan of (Heian Sandan of
Shotokan, Pinan Sandan Shotokan, Pinan Sandan
of Shito andWado) of Shito andWado) of Shito and Wado) of Shito and Wado)
3. MECHANICS OF MOVEMENT 3. MECHANICS OF MOVEMENT 24 24
44 KATA KATA 4. 4. KATA KATA
MODIFICATIONS MODIFICATIONS
CROSS CROSS--STYLE ADAPTATION STYLE ADAPTATION CROSS CROSS STYLE ADAPTATION STYLE ADAPTATION
WKF MEXICO 2005 VIDEO EXAMPLES WKF MEXICO 2005 VIDEO EXAMPLES
4. KATA 4. KATA 25 25
MODIFICATIONS IN KATA MODIFICATIONS IN KATA
COMPETITION COMPETITION
TRADITIONAL TRAINING TRADITIONAL TRAINING
GENERAL CHARACTERISTICS: GENERAL CHARACTERISTICS:
SPECIFICSTYLE TECHNICAL SPECIFICSTYLE TECHNICAL
COMPETITION APPLICATION COMPETITION APPLICATION
GENERAL CHARACTERISTICS: GENERAL CHARACTERISTICS:
SPECIFICSTYLE TECHNICAL SPECIFICSTYLE TECHNICAL SPECIFIC STYLE TECHNICAL SPECIFIC STYLE TECHNICAL
DETERMINATION RETAINED DETERMINATION RETAINED
ALL MECHANISMS OF ALL MECHANISMS OF
ACCELERATION APPLIED ACCELERATION APPLIED
PERFORMANCE SPEED PERFORMANCE SPEED
SPECIFIC STYLE TECHNICAL SPECIFIC STYLE TECHNICAL
DETERMINATION MODIFIED DETERMINATION MODIFIED
LIMITED MECHANISMS OF LIMITED MECHANISMS OF
ACCELERATION APPLIED ACCELERATION APPLIED
INCREASEDPERFORMANCE INCREASEDPERFORMANCE PERFORMANCE SPEED PERFORMANCE SPEED
REALISTIC REALISTIC
COMBAT AND DUEL COMBAT AND DUEL
IMPLICATIONS STRESSED IMPLICATIONS STRESSED
STRICT PARAMETERS OF STRICT PARAMETERS OF
INCREASED PERFORMANCE INCREASED PERFORMANCE
SPEED SPEED
CLEAR MESSAGE OF SKILL CLEAR MESSAGE OF SKILL
PRESENTATION STRESSED PRESENTATION STRESSED
PARAMETERS OF INDIVIDUAL PARAMETERS OF INDIVIDUAL STRICT PARAMETERS OF STRICT PARAMETERS OF
INDIVIDUAL TECHNIQUES INDIVIDUAL TECHNIQUES
IMPOSED IMPOSED
PARAMETERS OF INDIVIDUAL PARAMETERS OF INDIVIDUAL
TECHNIQUES MODIFIED TECHNIQUES MODIFIED
4. KATA 4. KATA 26 26
ZERO VELOCITY ZERO VELOCITY
POINT SHIFT BACKTONEUTRAL POINT SHIFT BACKTONEUTRAL POINT SHIFT BACK TO NEUTRAL POINT SHIFT BACK TO NEUTRAL
POSITION POSITION J UN KAITEN J UN KAITEN
CROSS CROSS- -STYLE STYLE
ADAPTATION: ADAPTATION:
aa -- TYPICAL OF SHOTOKAN TYPICAL OF SHOTOKAN a a TYPICAL OF SHOTOKAN TYPICAL OF SHOTOKAN
b b - - TYPICAL OF WADO AND TYPICAL OF WADO AND
SHITO RYU SHITO RYU
4. KATA 4. KATA 27 27
ZERO VELOCITY ZERO VELOCITY
POINT SHIFT POINT SHIFT -- GYAKU KAITEN GYAKU KAITEN
NO ADAPTATION: NO ADAPTATION:
a a - - TYPICAL OF SHOTOKAN TYPICAL OF SHOTOKAN
GEDAN BARAI WITH GEDAN BARAI WITH
GYAKU KAITEN GYAKU KAITEN
4. KATA 4. KATA 28 28
ZERO VELOCITY ZERO VELOCITY
POINT NO SHIFT POINT NO SHIFT -- J UN KAITEN J UN KAITEN
ADAPTATION: ADAPTATION:
b b - - TYPICAL OF WADO RYU TYPICAL OF WADO RYU
GEDAN BARAI WITH J UN GEDAN BARAI WITH J UN
KAITEN KAITEN KAITEN KAITEN
29 29
ZERO VELOCITY ZERO VELOCITY
POINT NO SHIFT POINT NO SHIFT -- J UN KAITEN J UN KAITEN
ADAPTATION: ADAPTATION:
b b - - TYPICAL OF SHITO RYU TYPICAL OF SHITO RYU
GEDAN BARAI WITH J UN GEDAN BARAI WITH J UN
KAITEN KAITEN KAITEN KAITEN
4. KATA 4. KATA 30 30
CROSS CROSS STYLE ADAPTATION STYLE ADAPTATION CROSS CROSS--STYLE ADAPTATION STYLE ADAPTATION
SHOTOKAN EXAMPLE 1: SHOTOKAN EXAMPLE 1:
L.VALDESI REMAINS MOSTLY L.VALDESI REMAINS MOSTLY
TRUE TO ORIGINAL TRUE TO ORIGINAL
APPLICATION OF STANDARD APPLICATION OF STANDARD APPLICATION OF STANDARD APPLICATION OF STANDARD
ACCELERATION MECHANISM ACCELERATION MECHANISM
(MODIFYING ONLY STEP (MODIFYING ONLY STEP- -
TURN INTO SPIN TURN INTO SPIN- -TURN) IN TURN) IN
HIS KIHON VIDEO HIS KIHON VIDEO HIS KIHON VIDEO HIS KIHON VIDEO
PRESENTATION PRESENTATION
COMPETITION FOOTAGE COMPETITION FOOTAGE
SHOWS HOW HE MODIFIES SHOWS HOW HE MODIFIES
TURN AND ACCELERATION TURN AND ACCELERATION
MECHANISMS CONSIDERABLY MECHANISMS CONSIDERABLY
ATTEMPTING TO INCREASE ATTEMPTING TO INCREASE
PERFORMANCE SPEED PERFORMANCE SPEED
4. KATA 4. KATA 31 31
4. KATA 4. KATA 32 32
CROSS CROSS--STYLE ADAPTATION STYLE ADAPTATION
(contd) (contd)
SHOTOKAN EXAMPLE 2: SHOTOKAN EXAMPLE 2:
A.TAMASHIRO ALSO MODIFIES A.TAMASHIRO ALSO MODIFIES
SIGNIFICANTLY MECHANISMS OF SIGNIFICANTLY MECHANISMS OF
ACCELERATION ACCELERATION
COMPETITION FOOTAGE SHOWS COMPETITION FOOTAGE SHOWS
HOW HE MODIFIES TURN AND HOW HE MODIFIES TURN AND
ACCELERATION MECHANISMS ACCELERATION MECHANISMS
CONSIDERABLY ATTEMPTING TO CONSIDERABLY ATTEMPTING TO
INCREASE PERFORMANCE SPEED: INCREASE PERFORMANCE SPEED:
--MODIFYING STEP MODIFYING STEP--TURN INTO TURN INTO
SPIN SPIN--TURN TURN
--MODIFYING GYAKU KAITEN INTO MODIFYING GYAKU KAITEN INTO
J UNKAITEN J UNKAITEN J UN KAITEN J UN KAITEN
4. KATA 4. KATA 33 33
34 34
CONSEQUENCES OF CROSS CONSEQUENCES OF CROSS- -STYLE STYLE QQ
ADAPTATION ADAPTATION
POSITIVE: POSITIVE:
--POSSIBLE UNIFICATION OF KARATE STYLES LEADING TO POSSIBLE UNIFICATION OF KARATE STYLES LEADING TO
INCREASEDWORLD INCREASEDWORLD--WIDE RECOGNITION OF THE KARATE WIDE RECOGNITION OF THE KARATE INCREASED WORLD INCREASED WORLD WIDE RECOGNITION OF THE KARATE WIDE RECOGNITION OF THE KARATE
SPORT SPORT
--POSSIBLE EXPERIMENTAL DISCOVERY OF OPTIMAL POSSIBLE EXPERIMENTAL DISCOVERY OF OPTIMAL
MOVEMENT BIOMECHANICS MOVEMENT BIOMECHANICS MOVEMENT BIOMECHANICS MOVEMENT BIOMECHANICS
NEGATIVE: NEGATIVE:
--PROBABLE FAVOURING OF ONLY CERTAIN ASPECTS OF PROBABLE FAVOURING OF ONLY CERTAIN ASPECTS OF
KARATE IN SPORT COMPETITION ANDTRAINING KARATE IN SPORT COMPETITION ANDTRAINING KARATE IN SPORT COMPETITION AND TRAINING KARATE IN SPORT COMPETITION AND TRAINING
--PROBABLE LOSS OF HISTORICAL STYLE AUTHENTICITY PROBABLE LOSS OF HISTORICAL STYLE AUTHENTICITY
--MAY LEAD TO A SPECIFIC STYLE DOMINATION IN SPORT MAY LEAD TO A SPECIFIC STYLE DOMINATION IN SPORT
COMPETITION COMPETITION
4. KATA 4. KATA 35 35
COMPETITION COMPETITION
55 KUMITE KUMITE 5. 5. KUMITE KUMITE
RULES OF THE GAME! RULES OF THE GAME! RULES OF THE GAME! RULES OF THE GAME!
MODIFICATIONS MODIFICATIONS
ZERO VELOCITY ZERO VELOCITY ZERO VELOCITY ZERO VELOCITY
5. KUMITE 5. KUMITE 36 36
COMPETITIONBOUT ISNOT ADUEL! COMPETITIONBOUT ISNOT ADUEL! COMPETITION BOUT IS NOT A DUEL! COMPETITION BOUT IS NOT A DUEL!
MAIN CHARACTERISTICS OF A SCORE: MAIN CHARACTERISTICS OF A SCORE:
TOUCH IS A PERFECT POINT! TOUCH IS A PERFECT POINT! TOUCH IS A PERFECT POINT! TOUCH IS A PERFECT POINT!
SPEED, ACCURACY AND PROPER TIMING OF SCORING SPEED, ACCURACY AND PROPER TIMING OF SCORING
TECHNIQUE ARE CRUCIAL TECHNIQUE ARE CRUCIAL
TARGET AREAS ARE PRECISELY DEFINED TARGET AREAS ARE PRECISELY DEFINED TARGET AREAS ARE PRECISELY DEFINED TARGET AREAS ARE PRECISELY DEFINED
INITIAL DISTANCES FOR SCORING ARE RELATIVELY LARGE INITIAL DISTANCES FOR SCORING ARE RELATIVELY LARGE
ABSENCE OF BLOCKING REQUIREMENTS ABSENCE OF BLOCKING REQUIREMENTS
RUDIMENTARY SELF RUDIMENTARY SELF- -PROTECTION KEPT AS MUBOBI RULE PROTECTION KEPT AS MUBOBI RULE
SAFETY OF COMPETITORS SIGNIFICANT FACTOR SAFETY OF COMPETITORS SIGNIFICANT FACTOR
5. KUMITE 5. KUMITE 37 37
MODIFICATIONSINSPORT KUMITE MODIFICATIONSINSPORT KUMITE MODIFICATIONS IN SPORT KUMITE MODIFICATIONS IN SPORT KUMITE
TRADITIONAL TRAINING TRADITIONAL TRAINING
GENERAL GENERAL
CHARACTERISTICS: CHARACTERISTICS:
SPORT APPLICATION SPORT APPLICATION
GENERAL GENERAL
CHARACTERISTICS: CHARACTERISTICS:
FIXED STANCE FIXED STANCE
ALL MECHANISMS OF ALL MECHANISMS OF
ACCELERATION APPLIED ACCELERATION APPLIED
FLUID STANCE FLUID STANCE
LIMITED MECHANISMS OF LIMITED MECHANISMS OF
ACCELERATION APPLIED ACCELERATION APPLIED
DEPTH OF TECHNIQUE DEPTH OF TECHNIQUE
PRACTICED ON MAKIWARA PRACTICED ON MAKIWARA
COMBAT AND DUEL COMBAT AND DUEL
IMPLICATIONS STRESSED IMPLICATIONS STRESSED
DEPTH OF TECHNIQUE DEPTH OF TECHNIQUE
PRACTICED TO TOUCH PRACTICED TO TOUCH
CLEAR MESSAGE OF CLEAR MESSAGE OF
SCORINGSTRESSED SCORINGSTRESSED IMPLICATIONS STRESSED IMPLICATIONS STRESSED
SPECIFIC STYLE SPECIFIC STYLE
TECHNICAL TECHNICAL
DETERMINATION PRESENT DETERMINATION PRESENT
SCORING STRESSED SCORING STRESSED
RULES OF THE GAME (NO RULES OF THE GAME (NO
STYLE!) DETERMINATION STYLE!) DETERMINATION
PRESENT PRESENT
5. KUMITE 5. KUMITE 38 38
ZERO VELOCITY ZERO VELOCITY
POINT SHIFT BACK TO NEUTRAL POINT SHIFT BACK TO NEUTRAL
POSITION POSITION FOOT ADJ USTMENT FOOT ADJ USTMENT
AFTER OI ZUKI AFTER OI ZUKI
5. KUMITE 5. KUMITE 39 39
ZERO VELOCITY ZERO VELOCITY
POINT SHIFT BACK TO NEUTRAL POINT SHIFT BACK TO NEUTRAL
POSITION POSITION FOOT ADJ USTMENT FOOT ADJ USTMENT
AFTER GYAKU ZUKI AFTER GYAKU ZUKI
5. KUMITE 5. KUMITE 40 40
KICKING EXAMPLE: KIZAMI MAWASHI KICKING EXAMPLE: KIZAMI MAWASHI
vs. KIZAMI URA MAWASHI vs. KIZAMI URA MAWASHI
(VIDEO CLIP A.BRATIC) (VIDEO CLIP A.BRATIC)
41 41
66 CONCLUSIONS CONCLUSIONS 6. 6. CONCLUSIONS CONCLUSIONS
REALITY CHECK! REALITY CHECK!
ZERO VELOCITY POINT TOOL ZERO VELOCITY POINT TOOL ZERO VELOCITY POINT TOOL ZERO VELOCITY POINT TOOL
6. CONCLUSIONS 6. CONCLUSIONS 42 42
REALITY CHECK! REALITY CHECK! REALITY CHECK! REALITY CHECK!
HOW DO YOU RECONCILE PRINCIPLES OF *(STYLE NAME) HOW DO YOU RECONCILE PRINCIPLES OF *(STYLE NAME)
AND SPORT KUMITE? AND SPORT KUMITE?
WAS ANSWEREDSINCERELY BY AN EXPERIENCED ATHLETE WAS ANSWEREDSINCERELY BY AN EXPERIENCED ATHLETE WAS ANSWERED SINCERELY BY AN EXPERIENCED ATHLETE WAS ANSWERED SINCERELY BY AN EXPERIENCED ATHLETE
(COMPETITOR AND COACH/INSTRUCTOR) (COMPETITOR AND COACH/INSTRUCTOR)
I DO NOT! I DO NOT!
ORIGINAL ORAL/WRITTEN KARATE SOURCES CONTAIN ORIGINAL ORAL/WRITTEN KARATE SOURCES CONTAIN ORIGINAL ORAL/WRITTEN KARATE SOURCES CONTAIN ORIGINAL ORAL/WRITTEN KARATE SOURCES CONTAIN
NOTES ON DUAL NATURE OF FUNDAMENTAL TRAINING AND NOTES ON DUAL NATURE OF FUNDAMENTAL TRAINING AND
KUMITE CONTEST KUMITE CONTEST
6. CONCLUSIONS 6. CONCLUSIONS 43 43
ZEROVELOCITY POINT TOOL ZEROVELOCITY POINT TOOL ZERO VELOCITY POINT TOOL ZERO VELOCITY POINT TOOL
KATA APPLICATION: KATA APPLICATION:
A. A. PRACTICE VALUE OF CERTAIN ROUTINES WITH PRACTICE VALUE OF CERTAIN ROUTINES WITH
REGARDTOCORRECT MECHANICS OF MOTION REGARDTOCORRECT MECHANICS OF MOTION REGARD TO CORRECT MECHANICS OF MOTION REGARD TO CORRECT MECHANICS OF MOTION
B. B. POSSIBLE ESTABLISHMENT OF REALISTIC DIFFICULTY POSSIBLE ESTABLISHMENT OF REALISTIC DIFFICULTY
CRITERIA IN KATA COMPARISON WITH RESPECT TO CRITERIA IN KATA COMPARISON WITH RESPECT TO
MECHANICS OF MOTION MECHANICS OF MOTION MECHANICS OF MOTION MECHANICS OF MOTION
KUMITE APPLICATION: KUMITE APPLICATION:
A. A. TRAINING IN USE ACCELERATION MECHANISMS TRAINING IN USE ACCELERATION MECHANISMS
PURPOSEFULLY PURPOSEFULLY PURPOSEFULLY PURPOSEFULLY
B. B. RECOGNITION AND ACCEPTANCE OF CROSS RECOGNITION AND ACCEPTANCE OF CROSS- -STYLE STYLE
TRAINING VALUES TRAINING VALUES
6. CONCLUSIONS 6. CONCLUSIONS 44 44