RMAXimizing Dan Kumite (Uechi Ryu)

[Adam Steer]

RMAXimizing Dan Kumite

Dan Kumite is a partner series of "prearranged fighting sets." It was created, I believe, in the 50s on Okinawa and has become part of the test requirements for Shodan. It is a matter of rote memorization and execution, but I intend to go beyond that in order to own more fully the material. This process is still not fully clear to me, and will be a matter of exploration. But I do have an idea where I want to take this and will be sharing my process here in the hopes of benefiting from the experience of the tribe. Don't be shy in piping in! I know there are some extremely experienced people out there in the Tribe and I want to know what you know. :D

We started today with Kumite number 1. We didn't get all the way through it, but I thought I would share the first part here. Please keep in mind that we are a couple of punters here, not MA masters. :D We are figuring this stuff out as we go. What I tried to do today is guide us through different components of the set, applying general movement principles as best I could. We worked exclusively at Softwork level this week and did not throw in any variables. Right now we are just focused on the rote execution.

To give you an idea of the set, here is a clip of two of my Sensei's students doing number 1 slowly and in staccato for the camera.
Dan Kumite 1 (http://www.ski.inline-skate.com/dankumite/Dan_Kumite_1.mov)

The first thing we did, after a DROM warm-up and a zeroing out drill, was to work with that first punch which starts the set off. We exchanged blows at Softwork speed, careful to make sure the blows landed heavy and deep. We also adapted the punch to make it a right cross instead of a "Herman Munster" punch where you step forward and punch with the same side fist. :)
Exchange 1 (http://www.ski.inline-skate.com/dankumite/First_Exchange.mov)

Once we were warmed up with that we started playing with the "guide block" which is essentially creating a plane for the punch to slide along. We were careful to also "take a few" to make sure we didn't move into a motor set (which we were certainly guilty of). We also let the speed ramp up a tiny bit.
Guide Block (http://www.ski.inline-skate.com/dankumite/Second_Exchange.mov)

Next we moved on to integrating the "Wauke" which is a circular movement often used as a block in the system. However, I think it would be pretty hard to make it work as a block on its own in real life. So here we were using it as a "hook" to disrupt our partners movement as they withdrew the punching arm. This also was a cue for us to make sure we didn't do that "karate arm" where you leave that straight arm hanging out there for your partners convenience. :D We also had to play around a lot at this stage to make sure the time framing was right. It was very tempting to make the wauke movement faster than the rest of the movements.
Wauke (http://www.ski.inline-skate.com/dankumite/Wauke.mov)

That hooking movement is accompanied by a front kick. One of the first elements we ran into here that needed work was commitment. In this clip you can see me showing a front kick with no commitment and then with commitment (always at Softwork level).
Commit (http://www.ski.inline-skate.com/dankumite/commit.mov)
Once we figured that out and worked on shock absorption, we added in the confirmation of the kick down to the ground. This is done with a screwing motion which also serves to get out of that hooking hold. The vanilla version is more like a circular down block. But I liken it more to a screwing move out of PYBE which you can see here:
Arm Screw (http://www.ski.inline-skate.com/dankumite/CST_armscrew.mov)
We then used this screwing movement to confirm the kick to the ground.
Confirmation (http://www.ski.inline-skate.com/dankumite/twist_confirm.mov)

With the individual elements in place, we started to sew them together to perform the set up to that point. One of the first problems we ran into, again, was time framing. We found that the kick would come faster than the rest of the movements, which would throw off the overall time framing.
Time Framing (http://www.ski.inline-skate.com/dankumite/time_framing.mov)

Once we got the time framing squared away, we got into a pretty good flow, but were careful to make sure that we took a few blows from time to time to make sure we were actually striking with the intension to land the blow.
Putting it all together (http://www.ski.inline-skate.com/dankumite/Put_it_together.mov)

Obviously, this is all done up to this point as a static drill and at the Softwork level. The goal for the coming sessions is to ramp up closer to the Hardwork end of the continuum as a static drill then back off to Softwork again and start throwing in variables which would make the drill more dynamic. Once we go through this process we will move on to the second set, etc.

There were lots of other little nuances and steps in there, but that gives you the general idea. I hope you all chime in to give us some advice and guidance, we need it! :D

Cheers,
Adam

[David Nicol]

Great work Adam! I'm very interested in your explorations as I'm a nidan in Shotokan karate. I recieved a lesson from Coach Wilson at Iota on Rmaxing Shotokan for kumite which was inspirational so you could try him if he's got time for some suggestions.

Some of my suggestions would be taking a judan punch with shockability and transfering the energy to a jodan kizamizuke (adapted from what coach sonnon does to dan in the softwork trailer), working on absorbing more front kicks using a downward block with a smooth transition to counter attack, absorbing mawashigeri's (roundhouse kicks) moving to takedowns, and using the opponenets guard (kamae) against them by lightly running your hands over their's and moving to a jodan kizamizuke (front jab).

Hope that gives you some ideas.

Peace,
Dave

[sames]

Brian,

Good stuff. One technical difficulty. The link for the 'Commit' video has an extra . at the end. No biggie.

Change the initial punch didn't change things as radically as I thought it would when I read through what you were doing prior to watching the video. The reason is that in the first video (with you sensei's other students) The initiator does step with the punch but then immediately brings his back foot forward and stands pretty much even. I'm assuming the punch comes from wwaaaayyy back there for safety as well as a means to close the distance.

Couple of questions on your modification that I'm wondering if you've pondered:

1. Using a right cross means you have to start in striking range so if "the closing" is part of what should be learned here its missing;
2. With your right leg back it makes it way easier to let the kick slid by than if you were standing straight (or even with the right leg slightly forward) as in the original video.

I'm not sure either of these has any real impact just you might want to try it both ways to make sure your not missing anything important.

I really enjoyed the way you broke down the elements and began to apply RMAX principles to it. Very nice.

[Adam Steer]

Hey Guys,

Thanks for the advice and ideas. I really appreciate it!


Some of my suggestions would be taking a judan punch with shockability and transfering the energy to a jodan kizamizuke (adapted from what coach sonnon does to dan in the softwork trailer), working on absorbing more front kicks using a downward block with a smooth transition to counter attack, absorbing mawashigeri's (roundhouse kicks) moving to takedowns, and using the opponenets guard (kamae) against them by lightly running your hands over their's and moving to a jodan kizamizuke (front jab).
Even though Uechi is a traditional style, my sensei has never been into the Japanese terms. However, when I read carefully I can figure out pretty much what you are suggesting and will definately throw it into the mix when we start adding variables in! Thanks...


1. Using a right cross means you have to start in striking range so if "the closing" is part of what should be learned here its missing.
Steve, that is a great point, and one I don't think I would have thought of myself. Maybe we could experiment with a drop step to slingshot forward while throwing that right from a farther distance.


2. With your right leg back it makes it way easier to let the kick slid by than if you were standing straight (or even with the right leg slightly forward) as in the original video.
When we start adding in variables I will play with this point. I am not even sure if the guy in the original vid wasn't "supposed" to step back anyway. But the point is valid that this should be tested from different stances.

Thanks again guys. Your comments are very valuable to me!

Cheers,
Adam

[David Nicol]

Glad to be of some help Adam. Will hopefully get to play some RMAX karate with you next time I'm in the states.

Keep up the good work,

Dave

P.S. Congrats on your recent RMAX challenge success

[Ryan Murdock]

Adam,

The new training room looks good! Don't let the dog in there, whatever you do!!!

Couple suggestions.

Your work at the static level looks very smooth. Don't spend too much time there. As soon as you've nailed down the particular mechanic that you're examining, go Fluid. I'm sure you see lots of options within the movements that you presented to craft fluid drills. You could make it incremental by adding one element at a time. Begin with the punch and absorption, then add the plane of the arm, add the enveloping hook when you can land it, add the kick,...

Start incorporating footwork. Don't get in the habit of "striking from a platform", or allowing your feet to become too nailed down. You could also craft some drills along these lines for your solo practice. Incorporate these movements with changing footwork. Treat it like a kinetic chain. Go Fluid, as you saw us do in the Hardwork DVD Combat Conditioning supplement. You get the idea.

Don't forget to train both sides. ;)

[peterng25]

Coach Murdock,
this is a post I will reread again and a...
I see on your Bujinkan dvd you're doing weapon fencing. And I wish someone would post some fencing forms, as Adam does in this post, so you could comment, and maybe ;0) post some pointers on rmaxing, turning some moves into kinetic chains. Who knows?...

[Ryan Murdock]

I see on your Bujinkan dvd you're doing weapon fencing. And I wish someone would post some fencing forms, as Adam does in this post, so you could comment, and maybe ;0) post some pointers on rmaxing, turning some moves into kinetic chains. Who knows?...

Peter,

Lead the way, amigo. ;)

Actually, I was considering releasing an RMAX Powered weapons video for TMA folks. There's a lot of great stuff here, and a couple simple concepts that will totally revolutionize such training.

But of course my project list is backed up... One thing at a time... Filming the next project this weekend.

[Soheil John Ward]

That was fun to watch Adam!

It would be cool the same drills at closer range and modify the attacks and defenses: ie lapel or neck grab instead of a wrist grab, knee or hip instead of a front kick, elbow, elbow pit, or shoulder instead of a punch. Varying the target may give you a more realistic feel.

[Adam Steer]

That was fun to watch Adam!

It would be cool the same drills at closer range and modify the attacks and defenses: ie lapel or neck grab instead of a wrist grab, knee or hip instead of a front kick, elbow, elbow pit, or shoulder instead of a punch. Varying the target may give you a more realistic feel.

Thanks Soheil! Great ideas! That kind of thing is what we will need when we move into "phase 2." I want to ramp up to "Hardwork" then go back to softwork but with fluid drills, adding in variations like those you have mentionned. I am thinking the best way to proceed, once we feel comfortable with the set from beginning to end (we didn't get all the way through last week) is to "mandate" one person or the other to throw in a variable/variation part way through the set and to see where that variable takes us...

Cheers,
Adam

[Ryan Murdock]

I want to ramp up to "Hardwork" then go back to softwork but with fluid drills, adding in variations like those you have mentionned.
Keep in mind that the ramp up to Hardwork and back to Softwork can happen in the same drill (as your comfort levels increase, its a natural acceleration). It can also be used purposefully as a diagnostic. Hardwork isn't necessarily something that you train up for as your end goal.



I am thinking the best way to proceed, once we feel comfortable with the set from beginning to end (we didn't get all the way through last week) is to "mandate" one person or the other to throw in a variable/variation part way through the set and to see where that variable takes us...


You can accelerate the pace by adding variables just a little sooner than you think you can handle it. In one session (going by your video examples), do a quick run through of your Static drills (10 reps max). Then go Fluid. If the drill is Asymmetrical (as is suggested by the kata you're RMAX Powering) have your partner attack with strikes at their own pace (time-framed of course - the ramp up will be natural) and you attempt to use the first "block" where you create planes. Do this for a few minutes (and switch roles). Then immediately add the next variable - now you can apply the parry plus the little hooking motion to confirm. Same progression. Then immediately add another variable. For example, parry + hooking + the kick. It should all be fluid, meaning that you're increasing the level of resistance. Your partner should not be overly cooperative. He should be commited to his strikes, but he shouldn't stand there and let you counter. You have to earn your hits. And again, make sure your feet aren't glued to the floor. Move around (you can come to own the footwork of your style by crafting solo drills for your personal practice, as outlined above - more on this in RMAX Powered Bujinkan Vol 2).



It would be cool the same drills at closer range and modify the attacks and defenses: ie lapel or neck grab instead of a wrist grab, knee or hip instead of a front kick, elbow, elbow pit, or shoulder instead of a punch. Varying the target may give you a more realistic feel.

Yep, Soheil is right on. This is what I had written you by email earlier, what I was getting at when I talked about exploring the kata, changing the attack to see how that strategy might manifest, applying that same strategy with a weapon or tool, changing the roles so that as you attack and the defender applies that strategy you explore how you might "counter the counter"... That sort of exploration will fuel the creative juices, and will give you greater insight into the way of thinking of those who founded the school. You'll get much farther much faster than rote repitition.

Good work!

[Adam Steer]

Awesome Coach Murdock! This post really helped clarify the path for me. Thanks! :D

Adam

[Adam Steer]

October 29th

We had a really great session yesterday working with Dan Kumite once again. Even though we are only half way through the first set, I decided not to continue on with the rest of the set, but to take what we were already doing and play with it.

We started with a DROM warm-up and a zeroing out drill. We then moved into exchanging and absorbing the right cross. Very quickly, we started to make this a bit more fluid by varying the timing so that it wasn't just "tick-tock" back and forth. Once we got warmed-up with that, we took Coach Murdock's advice and added one element at a time, but this time instead of staying static, we let each step ramp itself up into more fluid drills. This happened quite naturally once we let it. We did this for "creating a plane," the wauke and finally the front kick.

We noticed with the wauke that if the partner pulls back his punch into a low position that the "hook" doesn't work. So if we detected that happening, the goal was to instead use the wauke as a shearing strike to the head or neck. You'll see one in slow motion on the clip. It is quite evident that my partner would have made a good World Cup soccer player, judging by his theatrical reaction. :D

I also spent a bit of time helping my partner make the connection between the Intu-Flow movements he is doing and his shock absorption (especially on the kick).

It was a really interesting session because it just seemed to wave naturally along the static-fluid-dynamic spectrum and the Softwork to Hardwork Continuum. We were actually going pretty hard at the end of the session. Unfortunately the tape ran out in my camera so I didn't get it on film!

As always, any advice, feedback, etc is appreciated.

Here is a clip with a few highlights from the session.
Session Clip (Quicktime Movie) (http://www.ski.inline-skate.com/Dan_Kumite2.mov)

Cheers,
Adam