Tsuki in the SHOTOKAI by Yves Moshe Ayache


Tsuki in the SHOTOKAI The punch in Shotokai is particular in this discipline. It is not a blow for the occasion, but the representation of the use of a weapon. Tsuki must be able to be practised in all the directions and all the positions of the standing, seated body, slept etc. He is very important of not not forgotten this in his training. But Jodan tsuki, chudan tsuki gedan tsuki is three levels of punches which the followers of Shotokai meet in their study. These attacks always fascinated all the Military followers of Art. But little one really studied. The majority preferred to harden hands or to develop a thinking muscle structure to acquire of the power. But at the bottom of Tsuki he has nothing common with the extern but rather with the internal. It is enough to look at a demonstration of Shotokai to notice that Tsuki looks like not at all the image that we are made. Tsuki in Shotokai does not arm itself. The hand is for the rest on the side of the hip, the fist closes. There, as in all the strikings with the fist, it is deeply recommended to close the tightest possible fist to harden him as if it was a stone. The work of fingers is thus essential. Quite as with the sabre, it is necessary to close at first the little finger, then the ring finger, the major and finally the index. The thumb takes place under the second phalanxes and strengthens the closure of fingers. You should not especially place the thumb inside fingers or on the side, because he can easily break himself in the first big shock. The variant which consists in taking out slightly the angle of the major forward (Ippon Ken Nakada Ken) requires on one hand to train previously to have no more the sensation of a hand closed with the sensation of all the fingers but to arrive that a compact mass as a stone, and on the other hand has to smell to know correctly the anatomy of the body to touch that the vital points to affect(touch) them. The fist was never made to break bricks or wooden boards but to use him in a fight thing which has nothing to do with a composed static object. In a fight the opponents are in movement and he brings in in game many sensations of time what we call anticipation ( Irimi) The fist was slightly closed, the arm leaves in the direction of its target. The movement is almost made tense arm, without arming the blow beforehand. The fist which is at the end of arm thus follows a trajectory direct as an arrow. The shape of the wrist does not especially move and stays in the starting position, without transferring in the horizontal as the bottom many in the Karate. Why Tsuki so particular which appears deprived of logic and of power? In Shotokai, all the techniques and all the attacks arise from the practice of weapons. The blow of Why Tsuki so particular which appears deprived of logic and of power? In Shotokai, all the techniques and all the attacks arise from the practice of weapons. The punch is not an exception to the rule. He represents an attack with a blade, rather short, as Tanto. In the Japanese tradition, knife attacks were made of two manners. With the sharp edge directed downward, the blow is made to drill it is a pike(lance). She can be mortal, but not always. The purpose can be simply to hurt, to stop(arrest) an aggression. With the sharp edge directed upward on the other hand, it is not the same history. The blow leaves the top and comes down again in the stomach, with the intention to open entrails :it is a cup. it is generally mortal, because the cut intestines repair with difficulty. Furthermore it is not a fast death in the heart, but that causes horrible sufferings before dying. That is why this kind of attack was more severely punished by the Japanese law, because no excuse is possible. The intent to kill is automatically awarded to this attack. It is this shape which we adopt in Tsuki Shotokai. It is neither illogical thus nor surprising but of appearance less terrifying than Tsuki of karateka standard. How make develop the power of the blow? It is certainly possible to train moderately in the stomach of a partner as made him Sensei Egami or Murakami to feel the contact of a body, while strengthening him. A training can be made with a punch bag put on the stomach of his partner the makiwara being abandoned for decades in Shotokai bringing only physical disadvantages for the one who the used. Sensei Egami spoke about it in its works. What makes the power of Tsuki in Shotokai does not live there. But everything takes place in the travel(movement) of the body and the breath at the time of impacts on him.When the fist dashes, the body follows suit and does not hold him. At the time of the impact, the arm is perfectly placed and the body is in support behind. The body and the arm must not moreover have totally stopped spreading and especially having no sensation to grow at the time of the contact but the sensation to pierce his opponent throughout. We find there, the notion of the blade which sinks. If you coordinate the technique with the just breath and the just energy, the notion of Kime takes all its sense. The blow of continues in a wave who can be more destructive for the organs than the impact itself. The power is not thus absent in the Tsuki in Shotokai, on the contrary. But then, why we do not arm Tsuki as all other forms of Karate, except the symbolism of Tanto ? Simply because a fist which arms itself informs in advance the opponent of who gets ready and gives him quite latitude to get ready or take advantage of the armament to activate its own attack. Of course it is necessary to count with the notion of Irimi to launch its attack at the right time. But any voucher karateka has in heart to make disparaitre the forerunners of its attack to surprise his opponent. The work of the follower of Shotokai will not be to copy a gesture of an old man Sensei, because you can be sure that in his youth it gave thousands of Tsuki and that today it does not feel any more the need. On the other hand it is completely capable of returning to an effective version of Tsuki. A pupil who would only be Tsuki miming because master so makes, will never know the bottom of the question and will never have the capacity to knock or to progress. The training of the young people has to be made without search for result but rather in the abandonment of any contractions, blockings the body must be supple and elastic.

THE BOOK

THE BOOK
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