Evidence Based Practice in the Fighting Arts: Appraisal and Suggestions

The practice of martial arts has come to be diverse in terms of the wide range of  arts and schools available and in terms of the population that is involved. Physical fitness and talent may only be required to a small degree, or they may be paramount to success. Students may be dedicated about conditioning, or they may be “weekend-warriors” whose primary physical activity is a class.  An instructor may be qualified in a technical realm but not be a good source of information in others, such as the nature of violence. The need for Evidence Based Practice (EBP) is just as high as in any other vigorous physical activity, yet appeals to tradition, history and authority and “experts” often lead students and practitioners to accept dubious information or ignore new information, which can have consequences on a number of levels. For this discussion, the practice of the various martial arts can be divided into two realms: non-competitive recreational (i.e., oriented at self defense, fitness, cultural pursuit, etc.) and competitive (amateur or professional competition). Most of this discussion will focus on the recreational realm.

What is EBP?

Briefly, evidence-based practice can be seen as a tool for:

• finding evidence to support decision making and for analyzing the quality of the available evidence
• distinguishing low quality sources of qualitative and quantitative information from high quality sources
• promoting critical thinking and synthesis of the literature
• recognizing that best evidence may change over time

Evidence-based practice is a key feature in modern medical education. In the above diagram of EBP components, it doesn’t take much effort to exchange “patient” for student and “clinical expertise” for instructional expertise

It’s also important to recognize what EBP is not:

• A cookbook approach to training and decision making
• Not based solely on hard evidence- empirical experience, intuition and active experimentation have a role. EBP considers personal experience, judgment, values, etc. alongside information from objective, quality sources.
• Not restricted to RCT’s and meta-analyses

Failures of EBP in the Fighting Arts

An extreme example of a lack of critical thinking and evidence-based practice can be found in  the cult of personality that has developed around Ueshiba Morihei, founder of the Japanese art of Aikido.

Linked Article: The significance of the Matsuyama study group

Garry Lever has posted an excellent discussion on the roots of Goju Ryu over at the Goju Kenkyukai blog. This is one of the more sober looks at the history of any karate group out there. Karate in general suffers from the effects of unnecessary myth-making and mysticism; as a result the histories of different practices and individuals are badly garbled and left open to some pretty silly stuff.  I think Garry hits this one head on- forget trying to pin down direct sources and secret transmissions; it’s more likely that Goju Ryu has it’s roots with a bunch of guys who knew a few things about fighting skills, getting together in the park to train. Hmmm…now why does that seem so familiar?

Check it out there

2010 Japanese Festival at the Missouri Botanical Garden

If you watch closely you will see two short clips from the TKRI demonstrations at the Missouri Botanical Gardens this year. Nice job guys.

Traditional Karate: Stumbling Block, or Useful Distinction?

Note: I would like to acknowledge the enormous contributions of my teachers and training colleagues to my thinking on this matter: most notably Robert Miller in his essay “Modern Karate: A Reconsidered Pedagogy”; Dr. Gillian Russell’s essay “Epistemic Viciousness in the Martial Arts” and David Campbell for providing a solid sounding board for my inchoate, all-over-the-place musings.

“Traditional Karate”: A Problem of Definitions

Over the past couple of years, an increasing level of conversation has developed amongst karate practitioners about what karate is. As practitioners of the fighting arts learn more about each other via books and the internet, and the rise of mixed martial arts has provided a yardstick for the superiority of this technique or that, the standard answers are becoming more and more inadequate. This process of reckoning is acutely noticeable on online discussion forums.  If you throw the question of “what is karate?” onto a discussion board, the replies will cover a very broad range of interpretations and practices. Some replies will take all facets of training and the contingencies of fighting into account and evaluate them carefully, while others will staunchly defend this major brand name or that as “the” keepers of correct tradition.” In an age where ideas and methods can be accessed at the click of a button and information is more available than at any other time in history, many karateka still insist on wearing blinders. Some who engage in these conversations become very distraught at the suggestion that their school of choice is not recognized by all as being the best (epistemic viciousness at its best), while others actively pursue new perspectives.

Thank you, Charles Goodin!

A while back we posted an announcement about the creation of a karate section in the University of Hawaii’s Hamilton Library. Charles Goodin has been the impetus behind this development, and the collection consists of hundreds of volumes that he graciously donated from his personal library. Yesterday, Goodin posted several links to the library’s newly established Okinawa Collection. The most exciting feature is a collection of complete digitized versions of many old and rare texts by authors such as Mabuni and Funakoshi.

Visit his blog here for more information and links.

Thank you, Mr. Goodin!

An'ichi Miyagi sensei

Senior Goju Ryu exponent An’ichi Miyagi sensi passed away on Monday April 27th. Miyagi sensei  was one of Chojun Miyagi’s last and most notable students. As a teacher he  produced a legacy that includes Goju Ryu maestro Morio Higaonna. Our sympathies go to his family and students.

An interview with Morio Higaonna about his teacher is available here.          More information about An’ichi Miyagi sensei is available here.

Recommended link: Okinawa HDR

I followed a link from one of our visitors to a site called Okinawa HDR. The site features some gorgeous HDR (High Dynamic Range) photography of Okinawan landscapes, people and culture. There are some jaw-dropping, vibrant and haunting images here, and it’s easy to spend and hour or more getting lost in them.

Check out Okinawa HDR here

This link takes you to the photos

Seiko Toyama sensei

Uechi Ryu pioneer Seiko Toyama has passed away at the age of 81. Toyama sensei was the last remaining practitioner to have trained directly under Kanbun Uechi. The first time I saw a video of him demonstrating kata I thought “wow, I can only hope that I’m in that kind of shape and moving like that if I ever get to his age.” Our condolences go out to his family and students.

Click here to watch a video of his performance of  Sanseiryu kata.

The Ude Makiwara, Pt. 3

Part 3 of 6. Footnotes, references, and demonstration video clips will be posted in the last entry.

Exploratory Project
To make one of these makiwara for some hands-on investigation I used the diagram provided in Higaonna’s book as a model, and that is the design that I will describe here, installed outdoors. I have taken a few liberties as far as materials and measurements go, and have attempted to err on the side of caution when deciding upon the post’s diameter and the length of the cuts needed. The post should be of the following dimensions:  8’ long and between 4” and 5” in diameter.

Depending on your location, a suitably sized round post of treated lumber might be easy or difficult to come by (I was amazed to find that no suppliers in my area, a rural part of Virginia, carried these with regularity). You may be able to find one at your local lumberyard, especially in the gardening section during the Spring and Summer months. If that provides no results, call around: rural farm communities and farm supply co-ops may carry them.

If this search is fruitless, there are naturally available alternatives that have the added bonus of involving you in the process of making your training equipment.

Black locust is a quick growing hardwood that has strong natural rot resistant properties. In fact, locust posts are known to remain solid up to 70 years in direct contact with the ground (our landscape is dotted with grayed locust posts standing beside their decaying treated lumber counterparts). Red and Western Cedar are also naturally resistant to rot and bugs and will hold up for quite a while as well, but cedar is much softer than locust wood. Locust will resist impact and splitting as well as decay. The bottom line is that you should be able to hurl all types of abuse at it with no problems, and it will last in the elements for a very long time. Extra steps, such as cutting, hauling and debarking, make this option a bit more labor intensive than simply buying a post at the store, but the payoff is worth the trouble. Since I could not readily find a treated post, I decided to use a locust cut from my property. (Fig. A)

Fig. A

The log should be as uniform in diameter as possible; irregularities in the circumference will be magnified once padding is applied. If there are little knobs or angular protrusions where branches were cut, smooth them out with a drawshave or jack planer. Secondly, make sure that the log is sound and doesn’t have fractures in it from past damage, which could weaken the potential striking areas. A seasoned (well cured/dry) piece is preferable to a green one. Carrying the 8’ log through the woods makes for nice Sanchin training. You will also need to remove the bark from the log. A drawshave (pictured in Fig. B) will take care of this in short order. If you don’t have one of those lying around, a horizontally held machete or hatchet can be pulled  down the log to achieve the same result. Fig. B shows the debarked and smoothed log.

Fig. B

The next part is slightly more involved, regardless of materials used. In order for the post to be able to give equally from all sides, two cuts must be made into the log lengthwise, making an X shape when viewed from above (Fig. C). These cuts result in four flexible slats that each offer a resistance similar to a typical flat makiwara. For the 5″ diameter log pictured above,  I measured my cuts to be about 30 inches from the top end, or roughly halfway down the above-ground portion. Once the post was firmly in the ground I used a chainsaw to make the cuts, but found in later experimentation that securing the log horizontally at waist height makes for more accurate cutting– it’s also safer. I do not recommend this method for those unfamiliar with chainsaws and the requisite safety precautions. A sure hand is required, particularly since locust can give even a sharpened steel cutting chain trouble.  I recommend that a table saw with a guide be used for accuracy and safety’s sake.  If you are blessed with a willing building supply store, using the cutting services of the lumber department might also be a possibility worth looking into- it usually only costs a few dollars to have them cut something custom for you. Whichever route you take, keep in mind that there needs to be enough space between the slats to allow for them to travel and recoil when struck, so at least ¼ inch of wood needs to be removed from the cut (a chainsaw will do this in one pass). The slats will begin to splay outward slightly as the cuts lengthen (Fig. C).

Fig. C

Once your cuts are made, the slats must be tested for resistance. Too little is dangerous, too much is useless.  As with a tachi makiwara the wood should give under moderate static pressure. To test this, stand in a frontward stance and extend a reverse punch, placing the knuckles firmly against an individual slat. Pick up the front leg and lean into the post: the slat should flex inward under this pressure, but not collapse completely. You should be able to bounce lightly against it by lowering your back leg and pushing  forward (while still pressing the knuckles firmly against it).  Repeat all around the makiwara. If there is too little flexibility, i.e., the slat does not move at all, increase the depth of the cuts. Or, following a variant makiwara shown in Higaonna’s book, a piece of durable rubber placed in between the slats near the bottom of the cuts may resolve the problem by splaying them outward a little bit more and providing some shock resistance. An industrial rubber bushing or piece of an old bumper is a good candidate for this.

Okinawa Survey

Click here to help out with an online survey about overseas interest in Okinawa.

The Ude Makiwara: pt. 2

Part 2 of 6. Footnotes, references, and demonstration video clips will be posted in the last entry.

A Tale of Two Miyagis
Despite the general scarcity of information in historical writings, there are at least two modern sources (available in English) that reference the ude makiwara and provide diagrams. The first, Traditional Karatedo Okinawa Goju Ryu Vol. 1 by Morio Higaonna, contains illustrations of several different types of makiwara, all of which are less common variations on the theme.

The round design pictured is comprised of a post of unspecified dimensions, with two intersecting cuts made into it lengthwise from the top. These cuts create four sections that serve as striking surfaces in lieu of a single tapered board. Rope is shown wrapped around the upper portion as a striking surface. The result is a makiwara that can be hit from all sides with presumably equal amounts of give.

No instructions for construction or usage accompany the diagram. Nor can any specific conclusions about its history be assumed. However, Higaonna trained under Miyagi An’ichi, a top student of Goju-Ryu founder  Miyagi Chojun. According to a recent interview, An’ichi was Morio Higaonna’s sole teacher, and An’ichi himself had been Miyagi Chojun’s only student at times.7

Miyagi’s teacher, Higaonna Kanyro, studied various boxing systems  in China as a young man, which  presents the possibility that the ude makiwara was brought back to Okinawa by him.  He may also have encountered the basic round striking post in China and later created the version pictured in Traditional Karatedo. If either is the case, then the  ude makiwara design shown is an artifact of Naha karate training as taught and propagated by Higaonna, and later Miyagi et al,  although the possibility that the design came from another source certainly does exist.

Notes From Matsumura Shorin Ryu
Another variation on the ude design appears in Bishop’s Okinawan Karate.8 This information comes from an interview with Seiki Arakaki, a late student of the late Hohan Soken, who trained in the Matsumura Orthodox lineage. When discussing makiwara training, Arakaki states:

“There were, and still are, basically two types of makiwara, the flat board and the round post. The flat one is used for practicing the straight corkscrew punch and the round one, which has one or two splits to halfway down the middle, is used for training the fist, elbow and the side of the hand.”

As for the makiwara itself, a clear drawing with measurements for the height of the post is included but no information for the diameter. The diagram indicates a 200cm long post that has been cut lengthwise four times as opposed to twice, resulting in eight flexible sections instead of four. The top of the post is also shown wrapped with rice straw rope.

As a royal bodyguard and officer at the end of the second Sho dynasty, Matsumura Sokon himself would have been privy to knowledge gained from exchange trips to China and resident Chinese envoys. According to Kerr’s work Okinawa: The History of an Island People, in the days of the second Sho dynasty “residence at Tomari suggested scholarship and association with the Chinese living there.” Given his access to these resources, it  would not be difficult to imagine that Matsumura introduced the ude makiwara from a Chinese source into the larger community.

But cultural diffusion seldom takes one path- Kerr continues,  “The Naha man was presumed to be less conservative, to be more knowledgeable in the latest songs and dances, the newest patterns and styles of dress, the latest slang.” And the Naha community was likely exposed to a wide spectrum of fighting- the ports there were backdrop to a shifting mixture of sailors from China, Japan, Korea, Siam, Java, the Pacific islands and continental Southeast Asia. The ude makiwara may have been an intentional import form China, or an incidental one from  exchanges at the ports.

Back to Goju?

Its tempting to attempt to trace this makiwara back to Matsumura’s days (via Hohan Soken), but Arakaki had more than one teacher. As well as training with Hohan Soken in Matsumura Orthodox Shorin Ryu from the 1950’s on, Arakaki had also trained in Goju-Ryu under Seiko Higa, who in turn was a student of Kanryo Higaonna (and later, Miyagi Chojun). Arakaki’s Goju background brings into play the possibility that the ude makiwara shown is a product of his Goju Ryu exposure, along the same lines discussed earlier.

Arakaki might well have come by this makiwara via his training under either teacher and lineage- but it may be that he knew it from an unrelated source, or that it was simply common knowledge via one or both routes of cultural exchange with China. If that is the case, the ude makiwara shown should have equivalent cousins in Chinese boxing systems that may well still be in use, or referenced in older reference publications and manuals. While it does not provide us with a definitive history, this information does suggest that either or both the Matsumura Shorin Ryu and Naha (Goju/To’on) traditions practiced (and practice still) with this design, and that it may have come to Okinawa as a result of inentional or informal exchange with Chinese martial artists.9

Without notes on the specific origins of any of the three versions (a tapered pole, a post with two splits, a post with four splits), its difficult to place these designs in context with karate’s historical timeline, or to compare the different methods of using them. However, given the reference in Motobu’s book, inclusion in Morio Higaonna’s work and the dual possible origins presented in Bishop’s (via Arakaki), it is safe to assume that the ude makiwara was at one point a relatively common piece of equipment in the generalized Shuri, Naha and Tomari karate circles that has been overshadowed in propagation and modern use by its flatter relative.

Link: Listing of historical Karate figures

Visit this page for a concise listing of notable Okinawan karate figures. The information is brief but accurate, includes information on some rather lesser known figures, and there are links to a very useful appendix of Ryukyuan feudal social rankings.

The Ude Makiwara: Notes on History, Construction and Usage, Pt. 1

Part 1 of 6. Footnotes, references, and demonstration video clips will be posted in the last entry. Update: See bottom of this post for links to parts 2, 3, 4, 5 & 6.

The makiwara is a familiar sight to most that practice “traditional karate” of some form or another. A simple plank tapered to provide springy feedback for striking techniques is relatively common in the karate world. It is an aspect of Okinawan karate culture that has survived quite well amidst the cultural transitions and subsequent transformations of the art over the last century. In fact, its ubiquity is interesting in an age wherein stylistic boundaries, commercialism and political bickering often redefine what “is” and “isn’t” karate in a seemingly arbitrary fashion. Politics aside, the need to hit things is a happy universal.

Although the makiwara itself has made it to present day practice, the existence and specific histories of several variant designs are not so well known among modern exponents. The language barrier itself is probably one of the most significant causes of this gap in information, as there may well be detailed references that are simply unavailable outside of Japanese, and thus unknown to English readers. From the available writings, we can see that the majority of the karate men writing in the early 20th century mention the makiwara and emphasize it as a necessity for correct development of karate striking techniques.1 Several works, such as Gichin Funakoshi’s Karate-do Kyohan, also include diagrams for reference and suggestions for usage. In at least one of these sources the standard makiwara shares mention with a round variety described variously as a pole or ude makiwara. However, compared to other information published on the makiwara in general, the reference is brief, which leads one to wonder at the reasons for the lack of equal mention. In this article, we will explore the background of this somewhat lesser known variety (based on the available source information), methods of construction for the modern training space, and some observations on its usage. For purposes of clarity, the standard variety will be referred to hereafter as a tachi makiwara, and the round as ude.

Motobu’s Notes
The only available “classical” work that mentions an ude makiwara and includes specifications for construction is Motobu Choki’s 1932 Watashi no Karate Jutsu. In the section “How to Make & Use a Makiwara”, Motobu mentions that there are two varieties, the sage (hanging) and tachi (standing).2 He notes here that the tachi is “usually referred to as ‘The Makiwara’” and was in common use among many people. Following some notes on the construction of the sage variety, he introduces “another kind of tachi makiwara that is not so popular but used for developing both arms.”  It’s referred to simply as a makiwara made from a round pole. He goes on to describe this version in some detail:

“…A round shaped pole 210 cm in length with a 9 cm diameter, with 75 cm buried firmly in the ground, leaving 135 cm above exposed ground …the top should be 3 cm thick with about 30 cm length wrapped with rope. This makiwara can be struck from the front and sides by either hand to develop power.”

Sadly, no diagram of this design or any pictures of one being used are included. By the description given, we can envision the pole as tapering to a smaller diameter at its top to provide a springy target, but with equal give from all sides. Motobu points out that either hand may be used to strike this makiwara, which may at first seem entirely obvious, and something that one can do on the tachi as well. However, if interpreted to mean that it may be struck by either hand from any position, i.e. an elliptical forearm smash followed by a reverse punch, the statement makes more sense and hints at the practice of more dynamic exercises, which we’ll explore later. Given the diameter that is prescribed, it may also be likely that it was intended more for use as a tool for arm conditioning and forearm/hand/elbow strikes.

Seeing as how Motobu trained under an eclectic variety of teachers from the Shuri and Tomari areas (Anko Itosu, Sokon Matsumura, Kosaku Matsumora and Tokumine Shitsunen Pechin), the historical origin of these plans can only be speculated upon.3 He was probably introduced to this makiwara by one or more of the men he trained with, who in themselves constitute an impressive pedigree of teachers. Judging by the fact that he regarded it as important enough to include in a book, it is reasonable to assume that Motobu made use of it in his own training, and it is further possible that he passed knowledge of this makiwara on to his students, who may then have disseminated it to their own; this record seems to be lacking, though. However, based on his learning from several prominent teachers as well as his exposure to the Motobu family ti tradition (via his older brother, Choyu), it is highly probable that this ude makiwara has a significant history in pre-twentieth century training in one or more of the major centers of karate/ti practice and development. Motobu sensei’s enthusiasm for makiwara training can be attested to by contemporary descriptions of his hands.4

There is another 1930’s publication that mentions yet another variation on this variation. In kobudo preservationist Taira Shinken’s Encyclopedia of Okinawan Weapons, a makiwara specifically for training with the bo is shown in the Bojutsu section. The detailed illustration shows a solid round post with a crosspiece set horizontally through it near the top, and a hole bored through the center. Straw padding is wrapped around these “arms” and the top and lower surfaces of the makiwara.5 Taira notes that the makiwara should be of “average human height.” Although this version is for weapons training rather than empty hand, it does demonstrate the adaptability of the basic “striking post” concept. Functionally speaking, it is reminiscent of the pell, a medieval European weapons training post of Roman extraction.6

Part 2

Part 3

Part 4

Part 5

Part 6

Linked Article: "Kotekitae: Chinese/Okinawan Conditioning"

I came across this article from Bugeisha magazine while looking for a good photographic depiction of Kotekitae, specifically as practiced by Uechi folks.   In this article, Uechi Ryu practitioner George Mattson provides a clear walk through of basic “arm rubbing,” the circular tanren-style arm pounding, a Chinese influenced version, and a composite “sparring” version.

Kotekitae article

Linked post: Kumite by Mario McKenna

Kakedamashi, kumite, kakie- these terms are often used interchangeably. What exactly do they mean, how are they different, and what role have they  historically played in karate training?

Mario McKenna has posted an excellent discussion  of these terms and their relevance in a Nahate-derived karate context on his blog. Spoiler: none of them translates to “duel to the death.” McKenna has recently been posting some excellent insights into the formation of modern Goju Ryu which are also well worth reading- take some time to look around his blog.

Kumite on the Okinawan Karate and Kobudo blog

Linked blog: Okinawa Goju Ryu UK

I’ve been eagerly following a series of postings by Garry Lever on the Okinawa Goju Ryu UK blog. The “Searching for the Truth” series follows his second trip to Okinawa, in which he trained with karate practitioner, historian, and author Hokama Tetsuhiro in an effort to find answers about the art that eluded him on his 2003 trip. It’s nice to see a bit of the Pioneer spirit in an age where the internet has made everyone an armchair black belt or Shaolin monk.

Take a look at the first part of the series here.

HDR, Okinawa Japan | Pictures | Photography | Photos | Travel | Guides, and more

This is a very well done site. It is easy to navigate and has lots of pictures of both contemporary and historical sites. Have a look, click here;  HDR, Okinawa Japan | Pictures | Photography | Photos | Travel | Guides, and more.

Shuri Castle New Year Festival « Chris Willson’s Blog

Shuri Castle New Year Festival « Chris Willson’s Blog.

A Brief History of the Uchinanchu (Okinawans) – Index

A Brief History of the Uchinanchu (Okinawans) – Index.

Vintage Uechi Ryu Footage Posted

Some excellent vintage footage of a Uechi Ryu demonstration is up on YouTube, courtesy of Mario McKenna. The film is from a commemorative demonstration on the 25th anniversary of Uechi Kanbun’s death. Uechi Kanei and students show kata, kitae, knife defenses (that are refreshingly rugged) and sparring. Lots of good stuff to be seen. Enjoy!

Start here.