FÍSICA aplicada al KARATE

El arte del Karate no solamente trata de su belleza en las posiciones, de sus protocolarios actos o su exquisita búsqueda de la perfección. El arte también busca garantizar la máxima eficacia con el esfuerzo imprescindible sin necesidad de malgastarlo en vano; es decir, el óptimo aprovechamiento de nuestras condiciones físicas y mentales para un determinado fin, conducta o técnica.

Sirva el presente estudio para analizar esta última parte, la cual viene directamente relacionada con la física.

Para ello conectaremos tres conceptos presentes en todo momento en las técnicas de Karate: el Espacio, la Masa y el Tiempo. Esta combinación adecuadamente tratada a través del entrenamiento, mejorará nuestra Fuerza y Energía empleada en cada ejecución.

Iniciaremos para su clarificación, una definición básica de cada elemento actuante que adecuarán al lector a un mejor entendimiento del estudio.

  • Velocidad. Es el desplazamiento de un objeto por unidad de tiempo. Lo representamos a través de la siguiente fórmula, donde “V” será la velocidad, “e” el espacio recorrido y “t” el tiempo necesario para realizar dicho desplazamiento:

V = e / t

  • Aceleración. Es la variación de velocidad por unidad de tiempo. En este caso “A” hará referencia a la aceleración.

A = V / t

A = e / t2

  • Fuerza. Es la acción capaz de modificar el movimiento o forma de un objeto. La ecuación simplificada que nos lleva a esta definición es la siguiente, donde “F” será la fuerza empleada para mover un objeto que tiene una “m” o masa determinada.

F = m x A

F = (m x e) / t2

  • Energía cinética. Es la energía que posee el objeto a consecuencia de su movimiento, siendo el concepto energía como la capacidad para realizar un trabajo. Viene representado por la nomenclatura “Ec”.

Ec = ½ m x v2

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

  • Potencia. Es la cantidad de fuerza aplicada a un cuerpo en relación a la velocidad con que se aplica. La representaremos con la letra “P”.

P = F x v

P = (m x e2) / t3

En base a las fórmulas físicas planteadas, vamos a realizar unos ejemplos prácticos donde podremos observar en qué medida interactúa cada concepto según el valor que le aportemos.

Para simplificar nuestro estudio, de forma que la comparativa sea de sencillo entendimiento, daremos un valor fijo al Espacio que representará la distancia por ejemplo desde que mi puño inicia la acción hasta que llega a su objetivo. En este caso, el Espacio tendrá un valor fijo de 1m.

De igual modo, iniciaremos el estudio dando un valor inicial a la Masa (que representa por ejemplo el peso del brazo que ejecuta la técnica) y el Tiempo que transcurre desde el inicio de la acción hasta el impacto con su objetivo. Estos valores serán 10 kg y 1 seg. respectivamente.

Posteriormente, a fin de evaluar las diferentes combinaciones dependientes de la variabilidad en la Masa o en el Tiempo, aumentaremos o disminuiremos porcentualmente dichos parámetros en un 10%. Este aumento o disminución mostrará la evolución comparativa que ofrece la Fuerza y Energía cinética desarrollada en una misma acción técnica.

Por tanto, iniciamos el análisis con los siguientes datos fijos:

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

Y de estos datos, obtenemos los siguientes resultados tras aplicar las fórmulas correspondientes:

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

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

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

Estos resultados serán la base comparativa con las siguientes variaciones. Recordemos que aumentaremos o disminuiremos un 10% el valor del Tiempo y de la Masa.

EJEMPLO 1. Aumento 10% el tiempo de ejecución (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%)

EJEMPLO 2. Disminución 10% el tiempo de ejecución (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%)

EJEMPLO 3. Aumento 10% la masa corporal (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%)

 EJEMPLO 4. Disminución 10% la masa corporal (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%)

La creencia popular, erróneamente nos dice que la masa corporal, el desarrollo de la musculatura o los kilogramos de más que pueda pesar una persona, le dan ventaja a priori en Fuerza, Energía o Potencia, However, la ciencia nos indica en el EJEMPLO 2, que el Tiempo es el factor crucial que decanta la balanza. Cuanto menor sea, mayor el resultado obtenido, ya que actúa de forma exponencial en la formulación, mientras que la Masa lo hace de forma progresiva y constante. Quizás hayamos oído la cita “una bala no mata; mata la velocidad que lleva”.

Por este motivo, las artes marciales buscan rapidez de movimientos (reducir el tiempo de ejecución) antes que un aumento muscular, el cual es beneficioso en la medida que no lo sea en detrimento de nuestra contracción y expansión muscular.

Para una mejor visualización de la repercusión que el Tiempo ejerce en la Fuerza, Energía y Potencia, se adjuntan unas gráficas evolutivas donde se puede comprobar el modo que el Tiempo incide exponencialmente respecto a la Masa. En este caso comparativo, el dato registrado de la Masa se aumenta progresivamente su valor en un 10% hasta llegar al 50% del valor inicial. In the same way, el Tiempo lo reducimos paulatinamente en valores del 10% hasta un máximo del 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




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.




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

 




EVOLUCIÓN DEL FUDO DACHI

evolucion-del-fudo-dachi




El KARATEGI . Un símbolo de valores.

El KARATEGI. Un símbolo de valores.

Corría el año 1917 cuando el maestro Gichin Funakoshi realizó su primera exhibición en el Butoku-Den de Kioto (Japón). Sin suscitar un notable interés, se volvió a su isla donde analizó los motivos de aquel evento que no terminó de cuajar entre los japoneses.

El pueblo nipón era y sigue siendo muy amante de la etiqueta, y uno de los puntos que desagradó en aquel encuentro fue la falta de indumentaria “oficial”; un aspecto que el maestro Jigoro Kano le hizo entender ofreciéndole un judogi como prenda más acorde para la práctica del Karate.

Así fue como el Karate introdujo, gracias al Judo, su vestimenta y su correlación de grados a través de los cintos, y fue de este modo que el karategi empezó a formar parte de cada sesión de entrenamiento.

Compuesto por pantalón y chaqueta, se le añade el cinto que simboliza según su color, el grado alcanzado.

Por otro lado, el Karate-Do, engloba una serie de valores éticos y morales que hacen de este arte, a way of life. Sería difícil cuestión elegir un valor que pueda representar al Karate-Do. Personalmente y sin menospreciar otros, si tuviera que elegir tres, me quedaría con el respeto, la humildad y el honor.

El respeto hacia todo lo que nos rodea y a todo lo que la naturaleza abarque. Algo crucial para convivir con armonía. Un camino de paz.

La humildad, sin la cual caeríamos en el pozo de la arrogancia y del egocentrismo y de donde difícilmente se puede salir. Evitar alardeos y presunciones nos acerca a nuestros prójimos que verán a un ser de igual a igual.

El honor. Un concepto que engloba compromiso, responsabilidad, deber, lealtad, integrity. Es firmar tus acciones con tu palabra, al igual que el verdadero samurai cuando solamente con decir que iba a realizar algo, ese algo ya se tenía considerado por hecho.

Tres valores que bien podemos relacionarlos y representarlos con nuestra vestimenta “oficial” y que vamos a detallar a continuación:

  • El pantalón (zubon). Es la representación material del respeto, ya que cubre a la vista de los demás, nuestras partes más íntimas que precisamente por respeto al prójimo, no debemos mostrar arbitrariamente.
  • La chaqueta (uwagi). Podría bien simbolizar la humildad al esconder y evitar hacer alarde de musculosos pectorales, marcados abdominales o una saludable condición física en general. Cubrir nuestro torso, hace pasar por alto nuestra fortaleza física en un intento de evitar cualquier tipo de provocación, altanería o demostración de superioridad; humildad al fin y al cabo.
  • El cinto (obi). Debe considerarse como un certificado de garantía sobre el nivel técnico adquirido y los valores humanos desarrollados. Llevar sobre las caderas el cinto negro, debería ser sinónimo de poseer dichos valores; valores que se han ido consolidando tras cada sesión de entrenamiento, tras cada gota de sudor, tras cada segundo de superación. Todo un honor, poder llevar este cinto y poseer un carácter tan íntegro.

Por tanto, y para no olvidar estos valores, bien podríamos reflexionar al inicio de cada sesión, y cuando nos colocamos el pantalón, pensar en engrosar y expandir nuestro respeto a todo lo que nos rodea; al atarnos las cinchas de la chaqueta, prestar atención a reforzar nuestra humildad para seguir aprendiendo en nuestro inagotable camino, y por supuesto, cada vez que anudamos el cinto, debemos sentir el honor de pertenecer a esta gran familia de karatecas. Ahora estamos preparados para abordar una nueva sesión.

Una vez que finalizamos nuestra sesión de entrenamiento, y precisamente en orden inverso al expuesto anteriormente, nos despojaremos del karategi y deberemos entender que el Karate no es exclusivo del Dojo, sino que es nuestra obligación llevarlo a buen término en cada momento y lugar de cada día. Por eso, al finalizar el cuidadoso plegado del pantalón, de la chaqueta y de nuestro apreciado cinto, deberemos alzar la vista, mirar al frente y con paso firme seguir practicando Karate.

karategi picanyaEsta ha sido una visión personal del karate, sus valores y su simbología representada en el karategi, la cual no intenta desmerecer ni contradecir cualquier otra opinión o versión al respecto.

 

Sensei Daniel Tchey – 6º dan RFEK

 

 




MUSCLE TONING

30 MINUTOS POR SESIÓN

Este estudio se elabora a partir de la necesidad de optimizar nuestro escaso tiempo libre dedicado al entrenamiento y su objetivo pretende la tonificación general de nuestra
musculatura.

No se pretende un aumento del volumen, desestimando por completo cualquier ejercicio que provoque atrofia muscular. Los ejercicios son aptos para cualquier edad, sexo y condición física, con la única
salvedad de aquellos que tengan algún problema cardiovascular. Las rutinas que a continuación se exponen, se deberán realizar con una carga liviana entre el 50 y 60% de nuestra Carga Máxima (CM = 100% de nuestra fuerza). Los ejercicios se desarrollarán con una elevada intensidad (velocidad de extensión/contracción aproximada = 1 repetición x segundo) y con cortos periodos de descanso.
La respiración también juega un importante papel, ya que convertiremos nuestras rutinas en ejercicios aeróbicos o anaeróbicos. Ambos son convenientes y por ello se detalla cada opción:
Aeróbicos. A cada repetición (extensión/contracción) le corresponde un ciclo completo de inspiración/expiración. De esta forma, se incrementa el volumen de oxígeno a los músculos, ayudando a aumentar el volumen del corazón y beneficiándonos en un futuro con un esfuerzo menor para un mismo ejercicio aeróbico ya se se aporta la misma cantidad de oxígeno con un menor número de
pulsaciones.
Anaeróbicos. Con un ciclo completo de inspiración/expiración, se realizan varias repeticiones (entre 3 y 5 es lo conveniente). El aporte de oxígeno es menor y el corazón está obligado a bombearlo con mayor potencia. Se refuerza la pared muscular del corazón, lo que nos permite tener una capacidad superior de riego sanguíneo con el mismo número de pulsaciones, aconsejable ante situaciones
que requieran un esfuerzo físico explosivo.

En cada sesión se dará especial atención a uno de los grandes grupos musculares (pectoral, dorsal, deltoides, pierna), siendo el resto, por su condición sinergista, trabajados en un segundo plano.
Según lo citado anteriormente, cada rutina se compone de 6 ejercicios. Tres corresponden a los grandes grupos musculares, dos pertenecen a músculos secundarios y el restante sirve de refuerzo o recordatorio de otro músculo importante (en nuestro caso será la pierna).

Por norma general, cada sesión se divide en tres fases:
FASE 1. Compuesta por 4 ciclos de 4 ejercicios cada uno (2 gran grupo, 1 secundarios, 1 refuerzo). No existe descanso intermedio entre cada ejercicio. Al finalizar cada ciclo, se descansan 30 segundos (los necesarios para beber un trago de agua e hidratar el cuerpo. Muy importante).
FASE 2. Compuesta por 4 ciclos de 2 ejercicios cada uno (1 gran grupo y 1 secundario). No existe descanso intermedio entre ciclos.
FASE 3 Aeróbica. Realizaremos 15 minutos de ejercicio aeróbico (abdominales, lumbares, cinta, elíptica, bicicleta estática, etc.).
En las tablas a continuación se indicará los grupos musculares a trabajar sin especificar el tipo de ejercicio, dejándolo a criterio del practicante, que deberá variarlos con el tiempo (principio de la variedad). Para ello, se adjunta anexo con algunos ejemplos de cada ejercicio.
Por último, indicar que el número de sesiones recomendable a practicar cada semana serán entre tres y cinco. Se expone a continuación dos rutinas: una de 3 y otra de 4 sesiones semanales. En caso de no poder llegar al mínimo, se empleará de forma cíclica la rutina de 3 días. Para quienes deseen entrenar cinco o más días a la semana, se deberá emplear de forma cíclica la rutina de 4 días.

IMPORTANTE: si no llegáis a finalizar en el tiempo establecido es debido a que lleváis una carga superior a la debida o bien que la velocidad de cada repetición es demasiado pausada. Para facilitaros los cambios de ejercicios, escoged en cada FASE aquellos que estén próximos físicamente con el fin de no perder tiempo entre cada cambio, evitando así una recuperación no deseada.

RUTINA 3 DÍAS

DÍA 1

– FASE 1
o Pectoral 15 repeticiones (unos 15 seg)
o Bíceps 15 repeticiones (unos 15 seg)
o Pectoral 15 repeticiones (unos 15 seg)
o Pierna 20 repeticiones (unos 20 seg)
La duración de la FASE 1 es aproximadamente 1 minuto y 40 segundos
teniendo en cuenta los tiempos muertos en los cambios de ejercicios.
Al finalizar la FASE 1, esperamos 30 segundos de descanso (necesario
para una rápida hidratación) y repetiremos la FASE 1 hasta un total de 4
rondas. Al finalizar las 4 rondas, habrá 1 minuto de descanso. Duración
total: unos 9 minutos incluido el descanso final de 1 minuto. (Igual para
todas las FASE 1 de cada DÍA).
– FASE 2
o Pectoral 15 repeticiones (unos 15 seg)
o Bíceps 15 repeticiones (unos 15 seg)
Al finalizar, sin efectuar descanso, repetir la FASE 2 hasta un total de 4
rondas. Al finalizar las 4 rondas, habrá 1 minuto de descanso. Duración
total: menos de 3 minutos incluidos los tiempos muertos en los cambios
de ejercicios y el descanso final de 1 minuto. (Igual para todas las FASE 2
de cada DÍA).
– FASE 3
o Carrera en cinta 15 minutos. Mínimo 8,5 km/h.

DÍA 2

– FASE 1
o Dorsal 15 repeticiones (unos 15 seg)
o Tríceps 15 repeticiones (unos 15 seg)
o Dorsal 15 repeticiones (unos 15 seg)
o Pierna 20 repeticiones (unos 20 seg)
– FASE 2
o Dorsal 15 repeticiones (unos 15 seg)
o Tríceps 15 repeticiones (unos 15 seg)
– FASE 3
o Series entre 50 a 100 repeticiones de abdominales y lumbares
alternativamente durante 15 minutos.

DÍA 3

– FASE 1
o Deltoides 15 repeticiones (unos 15 seg)
o Pierna 15 repeticiones (unos 15 seg)
o Deltoides 15 repeticiones (unos 15 seg)
o Pierna 20 repeticiones (unos 20 seg)
– FASE 2
o Deltoides 15 repeticiones (unos 15 seg)
o Pierna 15 repeticiones (unos 15 seg)
– FASE 3
o Elíptica o bicicleta estática 15 minutos. Mínimo 80 ciclos x minuto.

RUTINA 4 DÍAS

Los DÍAS 1 y 2 serán idénticos a la RUTINA 3 DÍAS.

DÍA 3

– FASE 1
o Pierna 15 repeticiones (unos 15 seg)
o Pectoral 15 repeticiones (unos 15 seg)
o Pierna 15 repeticiones (unos 15 seg)
o Dorsal 20 repeticiones (unos 20 seg)
– FASE 2
o Deltoides 15 repeticiones (unos 15 seg)
o Pectoral 15 repeticiones (unos 15 seg)
– FASE 3
o Elíptica o bicicleta estática 15 minutos. Mínimo 80 ciclos x minuto.

DÍA 4

– FASE 1
o Deltoides 15 repeticiones (unos 15 seg)
o Dorsal 15 repeticiones (unos 15 seg)
o Deltoides 15 repeticiones (unos 15 seg)
o Pierna 20 repeticiones (unos 20 seg)
– FASE 2
o Deltoides 15 repeticiones (unos 15 seg)
o Dorsal 15 repeticiones (unos 15 seg)
– FASE 3
o Series entre 50 a 100 repeticiones de abdominales y lumbares
alternativamente durante 15 minutos.

Con el fin de no acostumbrar al músculo a los mismos movimientos, iremos variando algunos de los ejercicios de cada músculo cada vez que repetimos un DÍA.
También será aconsejable cada 5 semanas intercalar una rutina que contenga parámetros de actuación diferentes. Para no complicar demasiado nuestra rutina, lo resumiremos con la siguiente explicación:
Comenzamos nuestro entrenamiento durante 4 semanas con la rutina elegida (de 3 ó 4 sesiones). En la semana 5, realizamos la rutina de 3 sesiones con la siguiente modificación: la FASE 1 será sustituida por dos FASES 2 independientes entre sí, de tal forma que en dicha semana trabajemos en cada sesión tres veces la FASE 2 (variando los ejercicios en cada FASE). El DIA 1 trabajaremos pectoral y bíceps, el DÍA 2 dorsal y tríceps y el DÍA 3 deltoides y pierna. Finalizadas estas 3 sesiones, volveremos a comenzar durante 4 semanas la rutina inicial de 3 ó 4 sesiones.

VÍDEO DEMOSTRATIVO FASE 1 VÍDEO DEMOSTRATIVO FASE 2

 

EJEMPLOS DE EJERCICIOS (INICIO Y FINAL DE MOVIMIENTO)

AEROBICOS

BICEPS

DELTOIDES

DORSAL

PECTORAL

PIERNA

  TRICEPS

 



Respiratory Physiology

Jose Mª Illán, medical doctor and 6th dan karate

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