AN HONOROUS OUTPUT

Honor in Japan has been a concept of their culture since the beginning of their history as a people.. Today's date, still fervent that feeling rooted by their respectable ancestors.

Taking them back to the feudal era, where life was considered a state of transition to another world, the attachment to it did not have the same anchor as that which we can understand from the western mind.

This encouraged the option of not dismissing taking one's life with a heroic act, before losing it in an unseemly way or continuing to live with shame for any kind of disgrace such as that circumstance could be understood back then. This exit was also used as a protest against decisions of his superiors that were not shared or not well accepted.. Even some samurai, after the death of his feudal lord, a symbol of loyalty, used this method to meet their lord in the White Jade Pavilion.

 This heroic and honorable act that he tries to keep even in the last breath of life, their dignity and moral integrity, was known as SEPPUKU; something beyond a mere sacrifice (the suicide ceremony).

It was an act focused more on samurai warriors who maintained the ethical codes of bushido, although it was also practiced by other men not included in this social class.

Wrongly, it has become known as HARAKIRI, a composition of two words (Hara = belly / Kiri = cut), since this was usually the way they used to detach themselves from their life, thus showing the courage of the Japanese spirit in the face of adversity, abiding by his destiny and hoping to be so remembered.

This sacrifice in question had a pre-established protocol as a kata. A ceremony where your spirit leaves the earth to enter the other world and be able to reunite with your ancestors.

He began his process with a bath in order to cleanse the body. They carefully combed their hair with the intention of not losing their image both at the beginning and after taking their own lives.. They wore pants and a white jacket, color representing death or mourning; a pure and clean color to enter the afterlife. They drank a cup of sake, as a characteristic symbol of the fuel that would ignite the engine of courage just as if they were on their way to battle.

After arriving at the chosen place, the ceremony continued the position of seiza (on knees) on a mat commonly made of braided straw or fabrics that would soak up spilled blood well. This position is the characteristic to show not only respect but also submission., understanding such as acceptance to their destiny.

They will place with great care in the front left corner of your mat, his last words, generally dedicated to someone you love, family members or a general appointment, which they will have previously written on a papyrus, wooden tablet or their own fan and that sometimes they wrote it in the form of verses with beautiful rhymes to the ear and deep feeling for the conscience. These types of poems are known as YUIGON.

Loose-fit jacket with wide sleeves allows arms to easily reach between lapels, that with a protocol movement similar to the beginning of Kanku Dai, they leave the naked torso in view of all those present. These sleeves were tucked under the knees to avoid unseemly falling backwards., since dying on your back is considered in bad taste.

They then stretched out their right arm to grasp the dagger or other short weapon (the tanto or the wakizashi was generally used) that was housed horizontally in front of him. He took it out of its case and placed it completely perpendicular to his belly, with the tip resting just below your floating ribs on the left side and with the edge pointing to the right, they plunged him energetically within themselves, trying to keep my composure, without moaning, without gesturing, since the process was not finished.

Once nailed, they took out the courage that they had left, that was not little, and tore horizontally from left to right his belly, cutting the guts that crossed their path.

The ideal process for the suicide is that after this horizontal cut, retract your dagger toward the center of the cut for a second upward vertical cut until you reach the sternum, thus forming inverted T-shaped cuts. Obviously there were few who could go this far.

Prostrate in pain, they remained motionless until death took them by the hand. Could spend minutes, hours and even days until this happened. An inhumed suffering, typical of heroes who border on the inhuman.

Those who did not want such suffering or because of their social status, they had the option of being cared for by someone they trust to avoid this latest episode (kaishakunin), in such a way that I am stationed behind on his left, katana in hand, he waited for the moment to deliver the final thrust that would end with a blow with said suffering by separating his head from the trunk with a clean cut. As a curiosity, the assistant tried hard not to finish cutting off the head and with precision, leave a shred of skin to hold it so that it does not roll off on the floor, being able to give rise to mockery and lack of seriousness.

In this way, his honor and that of his family was purified..

But not always a disgrace could be cleaned with this protocol. Sometimes, circumstances were pressing and it was impossible to prepare so much formalism. See the case of wars where before losing a fortification, the commanding general took his own life in this way in a secluded compound, away from enemy eyes. There was no time for poetry, no white clothes; It was a quick solution whose end reigned the ritual.

Also comment that a dagger was not always at hand, or did not always want to approach human sacrifice in the same way. Some thought that if the suffering was greater, the greater the honor that would endure in future years. This is the case of Akechi Mitsuyosi who after gutting in front of a Buddhist temple, with the blood that flowed from his belly, he had the strength to use it as ink and write a poem on the door.

There are other perhaps faster methods that avoid so much pain. An example we have in letting himself fall face down on his sharp sword.

More dramatic seems to dive headfirst as he gallops on his steed, keeping the sword between the teeth. Imagine such a scene when the hilt touches the ground and the edge of his katana slices through the skull as the body reaches down to the ground.. Imai Kanchira will always be remembered for this feat in the year 1184.

They passed close to 400 years when Matsunaga Kojiro emulated him, but not having a horse at that time, He did it by jumping from the tower of his castle with katana in his mouth and hands on his head.

Other forms of suicide are pouncing on the enemy under a hail of arrows or bullets. Let's remember this scene in the movie The last Samurai, based on real situations of the time.

There are many more forms of suicide used. We list some: drowning under the weight of your armor or tying yourself to a temple bell, to be starved, be buried alive and even the most curious technical feat such as self-beheading, which requires great anatomical knowledge in addition to a very well sharpened sword.

It's funny to think that in this feudal age, where the place of men and women were well differentiated, there were some who also decided to kill themselves for similar reasons, especially those who were among the nobility. In these cases, they were not advised to cut their belly, possibly because they would not have enough strength and courage once nailed, keep cutting, which would cause an unfinished process that would remain as an act of bad taste in the view of the observer. Even in the cases that were in your privacy, they preferred a different protocol but with the same ending. Instead simulate men's protocol with seppuku, would mean in those minds, that a woman can do the same as a man, and that was not well considered.

Holding the seiza position, legs were previously tied at thigh height, just above the knees. In this way, when falling to the ground, they would keep their legs firm and together, not revealing parts of her body that were forbidden and reserved for her husband or master.

Once her thighs were tied, with a sharp dagger they approached the edge to his left carotid and with a swift mowing motion, they cut her so that the blood would flow until she fell asleep eternally. Another way to approach this act of sacrifice in an accurate and courageous way.

This act, is not considered SEPPUKU, but it is known by the name of JIGAI (suicide).

Daniel Tchey

6º dan RFEK




TAMASHI-DO Club Kyus Exams

Download the Tamashi-Do Club Exam Program for Kyus Belts (from white to brown).

Click the following link to download: Descargar

Explanatory videos of each exam:

The examination to obtain the brown belt of the Tamashi-Do club will be based on the black belt examination proposed in the RFEK regulations. In this way, our students will be more prepared to take an exam similar to the one they will face to obtain their kuro obi. A continuación, we show the wazas and renzokus as an example:

 

 




PHYSICS applied to KARATE

The art of Karate is not only about its beauty in positions, of his formal acts or his exquisite search for perfection. Art also seeks to guarantee maximum efficiency with the essential effort without the need to waste it in vain.; es decir, the optimal use of our physical and mental conditions for a specific purpose, conduct or technique.

Use this study to analyze this last part, which is directly related to physics.

For this we will connect three concepts present at all times in Karate techniques: space, Mass and Time. This combination properly treated through training, it will improve our Strength and Energy used in each execution.

We will start for clarification, a basic definition of each acting element that will adapt the reader to a better understanding of the study.

  • Speed. It is the displacement of an object per unit of time. We represent it through the following formula, where "V" will be the velocity, “E” the space traveled and “t” the time necessary to carry out said movement:

V = e / t

  • Acceleration. It is the change in speed per unit of time. In this case "A" will refer to the acceleration.

A = V / t

A = e / t2

  • Force. It is the action capable of modifying the movement or shape of an object. The simplified equation that leads us to this definition is the following, where "F" will be the force used to move an object that has a specific "m" or mass.

F = m x A

F = (m x e) / t2

  • Kinetic energy. It is the energy that the object possesses as a result of its movement, being the concept energy as the ability to do a job. It is represented by the nomenclature "Ec".

Ec = ½ m x v2

Ec = (0,5 x m x e2) / t2

  • Power. It is the amount of force applied to a body in relation to the speed with which it is applied. We will represent it with the letter "P".

P = F x v

P = (m x e2) / t3

Based on the physical formulas raised, we are going to carry out some practical examples where we can observe to what extent each concept interacts according to the value we contribute.

To simplify our study, so that the comparison is easy to understand, We will give a fixed value to the Space that will represent the distance, for example, from when my fist starts the action until it reaches its goal. En este caso, the space will have a fixed value of 1m.

In the same way, we will start the study giving an initial value to the Mass (which represents, for example, the weight of the arm that performs the technique) and the time that elapses from the start of the action to the impact with its objective. These values ​​will be 10 kg and 1 seg. respectively.

Posteriormente, in order to evaluate the different combinations depending on the variability in Mass or Time, we will increase or decrease these parameters in a percentage 10%. This increase or decrease will show the comparative evolution offered by the Force and kinetic Energy developed in the same technical action..

Por tanto, we start the analysis with the following fixed data:

e = 1m t = 1seg m = 10kg

And from this data, we obtain the following results after applying the corresponding formulas:

F = (10 x 1) / 12 = 10 Newtons (Nw)

Ec = (0,5 x 10 x 12) / 12 = 5 Joules (J)

P = (10 x 12) / 13 = 10 Watts (W)

These results will be the comparative basis with the following variations. Remember that we will increase or decrease a 10% the value of Time and Mass.

EXAMPLE 1. Increase 10% Run time (t = 1,1seg)

F = (10 x 1) / 1,12 = 8,26 Nw (-17,36%)

Ec = (0,5 x 10 x 12) / 1,12 = 4,13 J (-17,36%)

P = (10 x 12) / 1,13 = 7,51 W (-24,87%)

EXAMPLE 2. Decrease 10% Run time (t = 0.9seg)

F = (10 x 1) / 0,92 = 12,35 Nw (+23,46%)

Ec = (0,5 x 10 x 12) / 0,92 = 6,17 J (+23,46%)

P = (10 x 12) / 0,93 = 13,72 W (+37,17%)

EXAMPLE 3. Increase 10% body mass (m = 11kg)

F = (11 x 1) / 12 = 11,00 Nw (+10,00%)

Ec = (0,5 x 11 x 12) / 12 = 5,50 J (+10,00%)

P = (11 x 12) / 13 = 11,00 W (+10,00%)

 EXAMPLE 4. Decrease 10% body mass (m = 9kg)

F = (9 x 1) / 12 = 9,00 Nw (-10,00%)

Ec = (0,5 x 9 x 12) / 12 = 4,50 J (-10,00%)

P = (9 x 12) / 13 = 9,00 W (-10,00%)

Popular belief, mistakenly tells us that body mass, muscle development or extra kilograms a person can weigh, give you an advantage a priori in Strength, Energy or Power, However, science tells us in EXAMPLE 2, that Time is the crucial factor that tips the balance. The smaller it is, the higher the result obtained, since it acts exponentially in the formulation, while the Mass does it progressively and constantly. We may have heard the quote "A bullet doesn't kill; kills the speed it takes ".

Por este motivo, martial arts seek speed of movement (reduce execution time) before a muscle gain, which is beneficial to the extent that it is not to the detriment of our muscle contraction and expansion.

For a better visualization of the impact that Time has on the Force, Energy and Power, Some evolutionary graphs are attached where you can check the way that Time affects exponentially with respect to Mass.. In this comparative case, the registered data of the Mass is progressively increased in value by one 10% until reaching the 50% of the initial value. In the same way, Time we reduce it gradually in values ​​of the 10% up to a maximum of 50%.

Daniel Tchey Baffioni – 6º dan RFEK




PLURIDIMENSIONALISMO DEL KARATE-GOSHIN-DO

Karate has gone through various phases since its inception where some may think that it has been distorted, while others understand a breadth that offers us greater diversity.

It is not a question of judging in this article or showing any preference, Although considering that its origins based this practice for the purpose of self-defense. It is worth thinking about those times when the continuous wars and confrontations gave little value to the lives of others, and the separation between life and death, it was hardly far from a simple attitude, opinion, thought or reflex action.

They were delicate moments where survival prevailed over offensive action; and I say this because the karate practitioner, I had to know how to defend before attacking.

Go has the meaning of defending, while Shin refers to the human body as matter. Suffix Do shows us the way to reach that goal.

By putting all the concepts together, we get the Karate-Goshin-Do, es decir, the path of self-defense empty handed.

Understanding this concept, It is easy to understand that teachers preferred to teach defense techniques before attack techniques, because in this way they safeguard their vital points in a greater percentage, trying to risk in combat as little as possible, since any mistake will be paid with life.

These defenses must be converted into attacks and diminish the opponent's capabilities.. In this way, we can tip the balance in our favor to bide the time and deliver the coup de grace.

We see a certain similarity with the second precept of the master Gichin Funakoshi which reads “Karate ni sente nashi” 1 (in karate there is no first attack), making parable with the sense of defense as the first intention.

Continuing the thread of the article, the martial artist had to professionalize himself to the maximum in all levels of Karate-Goshin-Do, crossing the threshold of the simple learner to enter the multidimensional field.

Technique and physical condition remain in the first dimension, where inexperienced pupils begin to integrate through repetitions, basic techniques while strengthening your body. With time and perseverance, they will be able to enter a later dimension with the mastery of distance (maaï), equilibrio, rhythm and cadence (hyoshi)2, and later with continued practice, reach a last and elevated dimension of the mental state where they can intuit or anticipate the movements of the opponent (yomi), so that the mind works without slowing down the body; that both complement each other and be one. In this special dimension is the sakki (predict in advance the will or intention of killing you by another).

Here fits the quote of the sword master Takano Sazaburo: “You don't win after you've hit; hit after winning ". It argues that after mastering the maaï, hyoshi y yomi, you are in an advantageous situation; you are the potential winner. It's time to hit.

Unlike current times, where an error can be corrected with subsequent strategies and where at the end of the fight, the marker is reset to start from scratch, Those warriors had no place in their vocabulary for the word "error". With one carelessness they could lose their arm, and in case of still achieving victory, the next match they will start with one arm.

Of course there is one last dimension that is the ideal of mastery; the one that achieves victory without fighting. An attitude (physical or mental), a gesture, a few words or the simple look that forces the opponent to dismiss his intention of aggression. Something reserved for a few.

As a curiosity, mention the art of Muto (mu "without", to “espada”), with the purpose that a warrior cannot depend his victory or defeat on his skill with the sword, Well, in case of being snatched, I would be exposed to the cruelest of fatalities. It will be necessary to know how to fight bare-handed against the sword, control the distance that favors the opponent, severely block your grip in a timely manner, and know the disarmament techniques to get hold of the opposite sword. We see here the similarity with Karate that seeks a similar objective; take advantage of an unfavorable situation (in this case with bare or empty hands) instead of sinking psychologically and giving up the meeting. If I had to assign a qualifier, it would certainly be resilience.

Here are some brief brushstrokes of the art of Karate-Goshin-Do that make us understand its learning process as well as how hard the life and training of our warrior ancestors was and how they had to delve into hidden dimensions that border on mysticism in order to survive and defend a cause. A purpose that with practice enriches and strengthens their interior; his spirit.

 

  1. The meaning of this precept has been generalized as the state of tranquility in the face of a possible aggression, where initially we should not actively participate in an attempt not to encourage the degree of violence, but nevertheless, we must remain attentive to its possible onslaught (zanshin) and when the time comes, react with complete safety, efficiency and guarantee of success.
  2. It is not only possible to improve our maaï o hyoshi, But he must also analyze the opponent's and adapt his own according to the needs at each moment of combat.

 

Daniel Tchey – 6º Dan RFEK




Examen 2º Dan – WAZAS –

Example of Wazas for exam nidan according to the official criteria of the Rules of the Court of Degrees of the R.F.E.K. y D.A.

 




THE WOODCUT TREE

Karate has sometimes been compared to trees; a strong root that symbolizes the basic technique and its roots in martial art (KIHON), a powerful trunk representing KATA as a support for the development of Karate, and some branches that are shelled in others such as the BUNKAI, that analyzes the deconstruction of each technique for its study and possible applications.

This type of simile forms a beautiful allegory that brings together a set of metaphorical associations to extol the concept of Karate.

Sin embargo, the vast breadth of Karate in its various types of teaching, of teachers, of styles and schools, teaches us that in the same way, there are countless trees cataloged in their different varieties and families; and in our wandering through life, we will find many and very diverse that we must observe to know how to act.

We can find trees with little root, left at the mercy of the wind's whim. They are scrawny and baseless, and as soon as you contemplate them, you can make sure of its weakness. A tree with limited life that has a short way to go. A karate without DO.

There are others whose only option is to grow up. They want to reach the sky soon and touch the clouds, but they are trees without shade; more like a cold pole than what we can conceptually understand as a tree. People who mistakenly define themselves as teachers with deformed teaching styles who wish at all costs to progress without having their feet on the ground. They put personal interest before the general.

Others, sadly despite myself, they do not offer leaves to the passerby. Nor any fruit, because its trunk is hollow. They can contribute nothing except being there. They do not harm but they do not serve.

Of all of them, you have to take care of the most dangerous. I call it the lumberjack tree. A climbing species that is solid in appearance with a crown brimming with lush green foliage. Attractive to the eye. Beautiful to be photographed with him. The tree that we all want in our garden and that stands (never better said) the flag of honesty.

But you have to know it well, and time helps us discover that its roots spread underground, where no one can see them, in search of other goals without caring about razing crops and homes; without questioning whether its intended expansion goes beyond the limits of respect or honor.

Tends to act maliciously by gaining the trust of others, who lowers his guard and neglects his zanshin (something a martial artist should never lose but sometimes does to show their trust and friendship).

Its ambitious branches grow wide and tall in favor of satisfying your self-centeredness. It will be bold as it walks through your window, enter your home and cloud your peace. Capable of suffocating the freedom and oxygen of other surrounding trees with its leaves, companions of his who had the misfortune to grow up in a nearby place. An invasion of your privacy, without respect, no empathy, without compassion. A lumberjack who chops down his fellows without any remorse. Quite the opposite of the true meaning of KARATE DO.

My advice is to keep being a good tree. Do not change your essence for that; your inner self. Give it between your branches, shelter the lost bird,  freshness to the heated visitor and fruit to the hungry stroller friend.

Maybe one day one of these trees will grow near you or on your way you come across a lumberjack, but you should not stop offering your shadow, because at the end of the day, your way is to be a good tree.

Daniel Tchey – 6º Dan RFEK




BEYOND THE KURO OBI

It is daily to see around us practitioners who after some years of training reach their desired and recognized black belt. A goal longed for by many that represents the triumph of that career in the Dojo.

How many times do we see these karate fighters abandon their teaching, understanding that they have finished with that color?. However, nothing is further from reality.

At the moment that your Sensei indicates that it is now when the road begins, and that all of the above was a set-up to start it, they change their faces with a state of disappointment that leads the vast majority to surrender. A few words that could be a motivation to overcome and unfortunately on many occasions, a barrier to the individual psychology of each.

Those who persevere in their practice and study, with the right time they get new degrees that will add up. Possibly goals to achieve that satisfy that insatiable self, but in its essence, a natural path to follow that bears fruit in the turns we walk.

Once the Godan is reached, the next step by its nature is a special grade; a degree that opens a new door to mastery and is thus recognized with a difference in the color of his belt.

We are going to deal with this new state, but first we must know a little about the origin to better understand its evolution.

We know that the label in karate is very marked by the experience of the master Gichin Funakosi when he performed in 1917 his frustrated first exhibition at the Butokuden in Kyoto, where he understood that an art should have order, methodology and label. It was the great teacher Jigoro Kano who showed him a system of degrees used in Judo and that later, in 1935 expanded with the colors we know today. This art is where Karate was influenced for its label and graduation system, and this is how over time the range scale has arrived from white to tenth dan.

Although it is true that in Judo they have assimilated the red-white ribbon from 6th to 8th dan, and the red one for 9th and 10th dan, in karate we see that many teachers can carry it or not, and such reason makes us think that showing the officiality of the belt is at the mercy of the individual in question.

But following the thread of the topic to be treated, once they reached the gates of the Rokudan, that color change reflects something else.

We go back to the flag known by the name of Nisshoki (disk shaped sun flag) o Hinomaru (solar disk), that the empire of Japan established in 1870 with white background and red circle in its center. These colors symbolize the sun and the moon. They both represent Yang and Yin, the full and the empty; very special colors in the Japanese mentality.

Before this and based on the same colors, there was one that symbolized the rising sun during the Edo period (1603-1868) and that today they continue to use in their navy as a military flag. There is no doubt the similarity with the Rokudan degree and that we will clarify later.

Nisshoki o Hinomaru

Rising Sun

 

 

After seeing these flags, we found that there is a parallelism between the respectful concept towards life (Sun and moon) as a whole within the circle, and the flag that the Ming dynasty used (1368-1644), where the kanjis of these elements coincidentally appeared. A curiosity that moved to Okinawa as a symbol of the Meibukan in Goju Ryu and that Shito Ryu also used in part in its emblem.

Ming dynasty (Sol Luna)

Menbu Kai

Shito Ryu

 

In the same way, are influenced by Japanese colors and circular shapes, the emblems that Shotokan will later take, the well-known JKA or our well-loved AEKA to name a few examples.

 

Shotokan

QA

AEKA

 

After seen, the change in color from Rokudan is probably also encouraged by the vast period that the black belt has been hanging around our waist since we were Shodan. A period where time has worn its threads and revealed a white background as if we were scratching the painting of a painting, revealing the whiteness of the canvas. It is time to give a relief to this colleague who has accompanied us in thousands of hours of training and on that outcropped white background, capture strokes of red; the color of love and passion for this art; the color of courage and fire; the color of mastery and knowledge.

Red is a highly prized color in Japan. Attract energy and health; that is why healing powers are attributed to it.

The white soothed with red represents honor and perseverance in a long and intense journey where human strength and will have been captured.. A lifetime of learning to form body and mind in a single ME full of values.

Once a karate fighter asked his sensei: "What is the difference between a man of the Do and an insignificant man?”.

Su Sensei replied: “When the insignificant man receives the first Dan, he runs quickly to his house yelling at everyone the fact. After receiving his second Dan, climbs the roof of his house and yells at everyone. By getting the third Dan, he will tour the city telling how many people he meets ”, and continuing his explanation he continued: "A man of the Do who receives his first Dan, he will bow his head in gratitude; after receiving his second Dan, will bow his head and shoulders; and upon reaching the third Dan, will bow to the waist, and in the street, will walk by the wall, to go unnoticed. The bigger the experience, skill and power, greater will also be his prudence and humility. ”

Now that we understand a little better the meaning of red on white, we can imagine the greatness of the AKA OBI, or red belt reserved for deities from the ninth dan.

 

Daniel Tchey

6º dan RFEK




KATA: A DIFFERENT CONCEPT

From well started in our walk along the path of Karate, We learned to relate the KATA concept to the FORM meaning, understanding such definition as a set of pre-established technical movements that carried out in a certain provision, interpret the battle before one or more imaginary opponents.

This definition, not lacking in truth, offers an a priori interpretation that can satisfy the curiosity of the initiate. Sin embargo, KATA is a concept whose breadth can be transposed into various experiences of our day to day.

KATA is order. We have commented on the preset movements. So is, since improvisation is not contemplated in traditional Japanese culture. This is the order that we can glimpse, without looking away at the beauty that the same procedure and its established ordination entail.

KATA is feeling. Expressing with our actions what we internalize is to open the door of the internal self so that others can enjoy what has developed in the mind and heart of the executor.

KATA is good to do. Mixing order and feeling results in a beautiful work, at least that will be the intention of the maker; show something good that borders on excellence. Try to turn the mundane into art; ordinary.

We could add multiple definitions that reinforce the idea that I want to express, However, I think these are sufficient to understand the direction the text intends to take..

Based on the exposed references, we could well extrapolate the KATA to other arts that come to mind and that I will slightly list some as examples:

IKEBANA (flower arrangement art), where an ascending direction of its flowers and branches is looked for while they are grouped in 3 sets (heaven, earth and man) forming a scalene triangle; a ceremony performed in the strictest silence.

HIAKU (poetry art), composed of poems by 17 syllables ordered in 3 verses of 5, 7 y 5 syllables respectively that refer to a season of the year.

SHODO (calligraphy art), practiced with a brush, an inkwell and ink bar with great precision required to write in a pre-established order on each stroke.

HOW MUCH DO YOU WANT (tea ceremony) that not only takes care of the selection of a certain kind of tea, it encompasses knowledge of appropriate gestures and postures, traditional costume, phrases to use or proper way to make and drink tea, adding to purify, water on the path leading to the venue where you will then enter on your knees. All wrapped in a quiet environment that facilitates the spirit of the ceremony to unify the 5 elements: the metal of the kettle, coal wood, the land of ceramics, the fire that heats the water as the last element turned into the final goal.

KYUDO (archery art). Pay special attention to every moment and every gesture, from the material with which the bow and arrow are made, up to the required breathing mode. All this as a consequence of a repertoire of mental exercises that lead to the last 8 acting steps: open legs, fix posture, set arrow, raise arc, stretch rope, set target, release arrow and final stance.

Undoubtedly, the examples presented are about ceremonies. All of them and many more, are examples of KATAS and have common denominators where concentration integrates the body with the mind, so that the consciousness of the observing SELF, that ME that seeks perfection and how, abstract to make way for the void, shedding the end in favor of reaching non-consciousness. Stop being two opposing objects to merge into a single reality. This is how the good karate fighter becomes KATA. This is how the florist becomes a flower center, the poet in poetry, the calligrapher in kanji, the hostess in tea or the archer in white. A spiritual rather than physical exercise.

Sin embargo, The exclusivity of the KATA as we have presented it is not from the empire of the rising sun. We have it around us and we will be the ones who will have the option of transforming the everyday into art, the informal in solemnity, the usual in extraordinary.

To give an illustrative example, the process of getting up in the morning until we leave home to head to work, It could well be considered a KATA execution if every day we carry out the same guidelines and with the same procedure: get up, shave, take a shower, get dressed, have breakfast, take the keys and briefcase, leaving home.

Changing third, I speak now in the first person to express my own experiences and emotions, and equate here the KATA concept that I have ingested so much in my life as a karate fighter, with other facets that I fully enjoy.

I was born in Valencia, and my 53 years I continue loving my land, its smell of orange blossom and Mediterranean light. I love their customs and traditions, and without any intention of frivolizing, paella. To such an extent that one day I decided to learn how to make a traditional wood-fired paella. They say, that in the world of paellas, It is the most complicated to carry out and that was a challenge that invited me to create this company.

To start a KATA (I refer now to the art of karate), the soul must calm, because the movements and techniques that are carried out next will depend on it, which will express in the eye of the good understanding, your mood. The beginning of the paella requires facing with serenity the responsibility of satisfying the diners with exquisite palates, and it will be necessary to calm your interior to proceed to action.

The label is essential. Dress up your karategi well, your obi must present a correct knot, your hair clean and well groomed, your hands and feet in perfect cleanliness. This is how we will proceed with the metal container, cleansed, balanced and sweaty in olive oil, chopped meat and vegetables into suitable sizes for cooking, grated fresh pulp tomato, special rice,  calcareous water in proportion 4 a 1 regarding rice, ironed culinary apron, supplies and firewood placed in the right place.

We entered the tatami and solemnly placed ourselves in the correct space so as not to interrupt the lie; in musubi dachi we will make the initial greeting. The olive oil in the container two thirds of the way from the shore. Sprinkle the rim with salt to avoid burning the container. The firewood will be ready. The short ones that turn on easy, under, and on them some thicker orange tree from which we obtain a uniform fire. It starts to burn and the oil to heat.

We start the first movements, the first techniques, a few pauses with soft breathing rhythms, like the slow and patient stir-fry of meat; vegetables that accompany after; tomato and paprika that brown the show. Other vivacious, with powerful displacements and unparalleled explosiveness that will take us to the kiai and we can release tension that will provide a moment of relief. It's time to change the flame. Introduce easy-burning wood that raises the temperature, make the introduced elements scream to get their ki. And then the water will come and silence those sounds of effusion to return to peace.

But the KATA continues, and after the short but intense kiai, another avalanche of techniques is coming. The fire flares up and the water begins to boil. Vegetables jump and saffron joins the party.

New rhythms in the KATA force to lower intensity, moderate movements and thus reduce the water level while the flavors present in the cauldron mix.

We measure our forces well so that the execution does not decline in its course and we simultaneously calculate the remaining water, allowing only a quarter of the introduced water to evaporate.

The crucial moment arrives. Everything can fall apart with a simple imbalance: the jump. If it is premature, out of time; if it slows down, lose experience. It's time to introduce the rice, that thanks to the previous calculation, it will be at the moment where eighteen minutes are left for the total consumption of the remaining liquid. Before there will be a last grain; then, raw.

At last it seems that the most complicated thing has happened. The jump came out well balanced and technically correct. Not for this reason, relaxation should appear. The rice is in its place, but we must be vigilant with the fire that must give such calorific power to adapt the flame in the first ten minutes and withdraw it gently and towards the edges in the last eight.

We reached the end of our exercise. Everything within an order and continuous attention. We only have to go back to the beginning, greet and thus close the initial open circle. We will remove the paella from the heat to let it rest for a few minutes and settle the grain better.

All this ceremony, KATA and paella, seems to have developed in a systematic and normative way. Sin embargo, in each of the steps mentioned, in every action executed, the inspiration of that moment will be together with our spirit, the guidelines that will have worked for such a great execution, so that karate fighter and kata are one; cook and paella, same thing.

And so, We will leave the tatami with the same solemnity and satisfaction that we will present our plate to those called to the table.

Now it remains to enjoy that feeling of having done things well.

This is my KATA in Valencia. What's yours?.

 

Daniel Tchey

6º dan RFEK.




Examen Rokudan Daniel Tchey

Presentation of the practical exercise based on the bunkai of Sochin applied to a third person with physical inferiority, following the line of the submitted thesis and alluding to the concept of protection.

By Daniel TCHEY for obtaining the 6th dan through the National Court Judges of the Royal Spanish Federation of Karate.

Held in Cheste 14 December 2019. Assistants: Benita Alvaro and Alma TCHEY.

Descargar Tesina Rokudan:  Descargar

graphic development of the practical exercise:

     




KARATE of KARATE-DO

KARATE of KARATE-DO

time ago, where a person's life was hanging by a moment, where every day could be the last, which it was daily assaults, conflicts and wars, KARATE was used as a self defense system to have any choice between life and death.

Over the years, society has evolved and circumstances around us have ceased to be so violent. KARATE evolved in parallel, adapting to the current needs of society and wanted to add the suffix DO represent the way, The Guide, a way of life.

This is how the KARATE, martial art used to stay alive, It becomes a martial art that adds ethical and moral values; that seeks to conduct its practitioners and an improvement in the formation of character.

This suffix means so many things that would be impossible to list them all without letting any in the pipeline.

Of all, I have one in particular predilection for highlighting. A concept which marks the line between the KARATE and KARATE-DO. I mean FORGIVENESS.

KARATE not fit in forgiveness, because it depends on giving a second chance to your enemy. It depends on your life and your family. Forgiving was synonymous with weakness and in these troubled times, They could not have frailties.

Hoy día, Karatedo teaches us to respect, to be better people, to commit ...

Forgiveness is not forgetting, but give a second chance to our neighbor, who see a gesture of humility and humanity on our part. It is to show that in life we ​​all make mistakes and we must not sentence. We are not judges; we are not executioners. We are partners of a walk together, must help the needy and who errs in his actions.

Who forgives enlarges your heart and that makes him grow as a person.

Forgiveness is turn the page to start over. It is restore life.

 

Autor: sensei Daniel Tchey Descargar