Karate helping to deal with a heart condition:
Karate fighting, Cardiovascular workout, confidence, rebuilding stamina, fun, self defence, over 50s but not only, over 50, is it too late, exercise, nerd, okinawa karate, shorin ryu, full contact karate, heart, aging
Of my original introduction to Karate through Shorin Ryu never included Sanchin, but through my interest in the history of Karate, I always had a hankering to have a look at that kata and Tensho. I learnt Naihanchi as the fundamental kata of my style, but there were three kata named as fundamental to Karate in the first official meeting of Masters in 1936: A nerd blog, the birth of Karate
First came Tensho; when I asked for a Mentor to show me how to use Karate as a form of breathing exercise, Noah Legel offered to help using that kata. I didn't learn the sharp breathing normally used with Tensho, and indeed Sanchin, rather slow, deep in through the nose, out from the mouth breathing to accompany the "draw in" and "push out" elements of the hand movements. This was to help me cope with COPD, and I still use in any kata I have picked up since based on the Goju style. Tensho and Breathing Kata
Then Covid hit, I had been lucky to chat with PJ Broomy before that, due to us both having heart issues. Covid gave us the chance to train together through some formal online lesson, and then develop on a more personal basis. PJ kindly agreed to show me his style of Sanchin (Bukai, not strictly Goju), which I happily took on board. My latest video of this kata is shown below.
Bu Kai Sanchin
Post Covid, I still have strong fears of going into crowded places due to my co-morbidities, COPD and hereditary heart problems. As a result, I decided to ask Russ Smith if I could study some of his Five Ancestors lessons (very much a precursor to Karate). Some of the basic moves there suggested something similar to Sanchin but different. (The double outward block. followed by a strike particularly). So I used the Sanchin embusen to practice these.
5 Ancestors basics on the Sanchin Embusen
I suppose the next development was inevitable, in practising, I merged the two together. Sanchin embusen, final arm positions and punches, with 5 ancestors turns and arm crossings (traps rather than blocks, which resulted in the below hybrid version.
5 Ancestors basics / Sanchin Hybrid
Probably of no practical value other than to keep me practising, but isn't that the same goal for us all? Whether it be for competition, body mechanics, self discipline or health, we all have to have our motivation. Health is mine.
Thank you for reading, and thank you for Ben and Alison (my first Sensei), Noah, PJ and Russel for getting me this far.
I have a penchant for trying to learn kata and forms both for mental
stimulation. I started to try to work out Ho Chien Wat out of curiosity,
as I thought it was a beautiful form with definite elements of sharp
contrast. In doing so, I found that I was learning something that
was both potentially good for breathing and, for me, good for exercise if
performed as close as I can in the manner I originally viewed.
Where I am with the latter version of the form now is shown below.
Ho Chien Wat to the Best of my Ability
What I did find in the early stages though, was that although I studied
the form many times and wrote down as much details as I could from what I had
viewed (Anatomy of a Form: Ho Chien Wat), translating
that into a decent approximation of the form. Then I got a chat from my
friend PJ Broomy about doing one of our occasional chats/training
sessions. I had an idea that trying to explain it to someone else from a
similar background would help me work things out, so I asked PJ if I could show
him what I was up to.
The below videos were made after the video session and can be contrasted
with those of the earlier blog. As to how it worked, I broke the
form down into the three elements: Salutation, Mid-Section (repetition) and
Final Sequence. Then I showed PJ the movements to each part slowly. The mid-section,
was not as long as it looks here, as I just did the RHS then LHS progression
once.
Ho Chien Wat salutation
Ho Chien Wat middle section
Ho Chien Wat final sequence
Showing and trying to explain what I was doing I found helped my own
understanding of the movements involved, and feedback received, helped me to do
some fine tuning. I spent four or five days taking on board the
better understood version, and finally felt comfortable in using the form in
the same manner I use Tensho, for slow, deep breathing connected to the
movements.
Ho Chien Wat slow
Given that I sometimes don't have a lot of room to practice in, I had
also worked out a static version of Tensho, for specifically just relaxation
and clearing the mind. I have now developed a version incorporating Ho
Chien Wat with a part of Tensho. As this requires more focus to perform
than Tensho on its own, I find that this is even better for clearing the
mind. the exercise itself is shown below.
Static Slow Breathing exercise
With more confidence, I found I wanted to use Ho Chien wat more often as
exercise, and with that came the quicker articulation of the form as shown in
the first video. I make no claim to understand the form as a tool for
fighting, that I acknowledge would take years of work. However, as a tool
for deep breathing, mindfulness and exercise, I believe that there are clear
benefits to the form, for me at least.
Hope you enjoyed reading.
Thank you to Russ Smith and PJ Broomy for their support and input.
The Motobu Udun dii has basic forms called Muutu dii. There are two kinds, called ichi (one) and ni (two). The first is done with clenched fists, the second with open hands. The images below show Muutudii ni performed with open hands.
It resembles the Sanchin of the Gōjū school, but according to Master Uehara Sekichi, it is very different from the kata of the Gōjū-ryū. In fact, in this school one performs this kata with clenched fists, and, in this case, one performs Muutudii with open hands. In addition, Sanchin is accompanied by a particular breath called ibuki (forced breathing), whereas in Muutudii is natural. In addition, in the Gōjū, the toes are oriented inwards, according to an "internal hachimonji position: uchi hachimonji", but in Muutudi, they are roughly parallel. And also, the general posture or the way to lock the knees is also different.
Master Uehara learned it from Master Motobu Chôyû, but as in other schools there is no Muutidi, I initially thought in the past that it was a creation of Master Chôyû. However, several decades ago, I heard disciples of Master Uehara from the 1950s say, “Back then, we called him Sanchin!” ", I then came to think that perhaps Muutudi is Sanchin". In this case, this would mean that originally, the Sanchin of the Gôjû school was done in a form close to an execution with open hands and with natural breathing.
The current Muutudii is carried out according to the model: move forward three steps and turn around, move forward again by three steps and turn around, and once again move forward three steps. I learned from disciplines of the time that this form was established around the time of the first Motobu-ryû Sashiki Demonstration which took place in Sashiki (now Nanjô) in 1974. Until then, it seems that the The execution model consisted of starting from one wall and moving towards the opposite wall, and when you reached it, you turned around and moved forward again. In other words, it was not a kata with a fixed form.
According to Higa Kiyohiko who had learned with master Uehara in the years 1950–1960, there was this format, but also a fixed form and his father (Higa Seitoku) had learned it. So would this mean that from the beginning, there was indeed a fixed form for Muutudii? As Master Uehara taught different movements to different disciples, this is a plausible version. Otherwise, there is also a Sanchin transmitted by Matsumura Sôkon, called “Shô Sanchin” [“Shô” being the other reading of the pine character “matsu” which happens to be the first sign of Matsumura’s name].
So, was there a Sanchin in the shurite?, many intrigued people will ask.
In fact, in addition to Master Uehara, the current sôke, Motobu Chôsei, heard from Mr. Miyagi Chôjô, a person originally from Okinawa who lived in his neighborhood, a testimony according to which Master Chôyû taught Sanchin.
(Photograph: from left to right: the family of Motobu Chôsei, Uehara Seikichi, and jumping a person Miyagi Chôjô: Osaka, 1976)
It seems that Mr. Miyagi learned a little karate from Master Chôyû for a short time. And according to him, the latter then taught Sanchin. Furthermore, this same Mr. Miyagi told the legatee of our school the following thing. “Among Master Chôyû’s disciples, there was a truly gifted young man who was extraordinarily powerful. When he made Sanchin, the grass that passed under his feet was torn out.”
This is how there was indeed a Sanchin in the shurite. However, why did this kata suddenly disappear? This is another mystery in the history of karate.
For the last few months I've been sticking to practicing the basics from the first two lessons of Russ Smith's five Ancestors lessons, as I have had other things on my mind. However, a vide recently appeared in my FB feed of Russ executing the Ho Chien Wat form. It immediately grabbed my attention as something I would have to take another look at. So much so that I found myself taking notes on the form, as I knew i wanted to try it myself.
These are notes, along with videos of the first run through, for comparison with the notes. It is very much a work in progress, but I thought it might interest one or two people, so I decided to share it.
Long Salutation
Step out with Left foot into opening stance, relax.
Move hands inwards, pointing flat, fingertip to fingertip, palm own.
Form fists, while turning hands inwards so facing thumb tip to thumb tip
Draw Right shoulder back, Right fist following upward to chest level. Left fist moves upward to chest level across the body.
Hands open rapidly palm up, then turn over and push down quickly with Right should moving forward so torso is front facing, hands open and palm down, pointing inwards.
Right shoulder moves forward, hands move upwards, fingertips up with arms bent at elbow to shoulder height. Right arm in front of Left, Right palm facing outward, Left palm facing shoulder.
Hands sweep out rapidly to either side, arms bent at elbows, to head height. Hands hook into Crane posture, arms angled outwards to approximately 25 degrees.
Hands open up, fingertips upwards, rotated outwards about 30 degrees at wrists. Arms come down, elbows bent until forearms are parallel to the ground at waist height, hands rotate out to 45 degrees on descent.
Right hand rotates outwards and clenches into a fist, as Right shoulder is drawn back, Left hand moves upwards across face. Right fist is pulled fully back to chest height and Left hand continues to cover with open palm.
Body rotates so torso is front facing, hands are extended outward together, Right first in Left open palm until forearms parallel with floor in front of body.
Right fist opens so fingers pointing outward, back of RH still in palm of LH. Open hands (thumbs out) move out to shoulder width, forearms slightly angled upwards, with hands at a slightly steeper angle.
Body rotates to Right, Right shoulder back. Arms maintain their position but move slightly downwards, so that when Right shoulder is drawn back fully both hands are parallel to the ground, with the Left arm being across the front of the body.
Body rotates so torso is front facing, hands rotate outwards and up (thumbs in), ending up with hands in front of shoulder line and forearms slightly angled up, hands about 30 degrees from vertical.
Forearms drop slightly, until they are parallel with ground. Hands tilt outward slightly to about 40 degrees from vertical, settling into Guard position.
Mid - Stepping sequence
Right step forward (RL in front)
Right step forward, wide gaited stance, knees slightly bent, hands palm open (thumbs in) facing forward.
Hands turn in, palm down. Right shoulder and arm pulls back, hand drawn up to chest level with the Left arm being across the front of the body, also at chest level.
(*All sequences ) Body rotates rapidly, torso to the front. both arms push fully out in front, hands open and parallel to the ground.
Hands close to form One knuckle fist, index middle knuckle prominent. wrists rotate inwards, so backs of hands face floor.
Hands open out, and arms move outwards in a circular motion. Hands rotate outward and move with arms until the circle is closed and arms cross if front of face.
Left hand moves in front of Right as they the cross and move forwards and down (back of hand to back of hand at moment of crossing). Hands move into crane (hooking) hands as the come in line with the shoulders.
Hands pulled inwards and upwards, forming fists whilst elbows remain bent until fists reach above head height with arms fully extended.
Hands come down to head level, elbows bending slightly and fists turn inwards before opening up into splayed hands with clawed fingers.
Hands come down and inwards, in line with shoulders and level with chest. Arms are bent at elbows and fingers turn outwards, closing with palms forward (thumbs in) and at angle and pushing forward at the same time. Settle into Guard position. (48 seconds)
Left step forward (LL in front)
Left step forward, wide gaited stance, knees slightly bent, hands palm open (thumbs in) facing forward.
Hands turn in, palm down. Left shoulder and arm pulls back, hand drawn up to chest level with the Right arm being across the front of the body, also at chest level.
Sequence repeats as from * above until next step forward.
Right step forward (RL in front) - repeat RH move sequence as for previous RL in front
Right step back (LL in front) - repeat LH move sequence as for previous LL in front
Left step back (RL in front) - repeat RH move sequence as for previous RL in front
Right step back. (LL in front) - repeat LH move sequence as for previous LL in front
End Sequence
Right hand moves down and back, behind the body line. Left hand moves upwards in line with shoulder with wrist turning inwards.
Right foot moves outward and forward, until toes in line with Left heel, Right arm continues moving in an upward arc with Right shoulder going back. RH ends up alongside Right ear, fingers splayed and pointing forward, palm pointing away from ear. LH continues moving up in line with face and pushing across open palmed an vertical, to outside the Right shoulder.
Weight moves onto Right foot, hands move up in line with top of head (finger tips LH, blade of RH), winding up for strike. Left foot drags inwards and back behind heel line of Right foot, shoulder width gap between, then pivoting to Left on balls of feet to 45 degrees off forward facing. At same time LH sweeps down palm down to waist height, whilst RH strikes across at neck height, palm up, in a bladed strike. Both strikes to 45 degrees in line with body.
Left foot steps out into wide legged 45 degree stance, knees bent. LH moves down and back, behind the body line, continues moving in an upward arc ends up alongside Left ear, fingers splayed and pointing forward, palm pointing away from ear. RH moves upwards in line with shoulder with wrist turning inwards then continues moving up in line with face and pushing across open palmed and vertical, to outside the Left shoulder.
Weight moves onto Left foot, hands move up in line with top of head (finger tips RH, blade of LH), winding up for strike. Right foot drags inwards and back behind heel line of Left foot, shoulder width gap between, then pivoting to Right on balls of feet to 45 degrees off forward facing. At same time RH sweeps down palm down to waist height, whilst LH strikes across at neck height, palm up, in a bladed strike. Both strikes to 45 degrees in line with body.
Right foot turns inward to face forward, pivot Left foot backwards to present a sharply bladed stance, with Left leg almost behind Right leg, but with Left foot angled outwards. LH remains in place relative to the body, whilst RH moves across to under Left, in vertical line with Left shoulder. Body weight shifts back onto back leg, which bends at knee to accommodate. RH goes back under Left arm, RF drags back into Cat stance. LH pulls back in line with L side of chest, R arm flicks out and up, RH is initially pointing down, but flicks up into ridge hand at the end of the arm extension.
RH moves in from should line to in front of face, LH draws across to RH side of body. R foot takes long stride forward, RH pulls back in line with R side of chest, L arm flicks out and up, LH is initially pointing down, but flicks up into ridge hand at the end of arm extension. So there is a counter point of RF going forward, as LHS of torso twists forward.
LF pulls up, LH comes back RH comes to front as torso realigns. R Elbow bent and RH open at an angle. Footing settles into standard stride length, L arm pulls back until LH in line with LHS of chest, R arm extends as elbow is straightened RH extends into a flat position parallel to ground, wrist bent slightly inwards.
L foot goes back half a foot distance, coming inward to give a more bladed stance, RH rises slightly to above height of LH. R foot pulls back into Cat stance, RH moves across and wrist tilts up so RH palm facing forward at an angle. L foot drags back further into deeper Cat stance, R arm drops slightly and R wrist rotates so RH is pointing downwards. At same time LH starts to move forward, with L wrist rotating so that LH palm starts to face forward with fingers pointing upwards. RH stops at groin height on Centre line, facing palm out fingers down, LH stops at chin height on Centre line, facing palm out fingers up.
LH closes into fist, wrist turning and LH pulling back to RHS of chest, RH closes into fist and R arm rises to cross over L arm, with RH resting to LHS of chest. RF goes back to side of LF, standing straight. Fists pull back to just under chest line either side of the body. Hands draw back further and hands open, palm up, wrists rotate so hands facing palm down. Then hands push down quickly, palms parallel to the ground, fingers facing forward Knees bend slightly as arms extend to full extent. Knees unbend, hands fall naturally by sides.
First Run Through
I tried my first end to end "walk through" of the form on 10th December. Very jerky with some pauses and in a limited space (which meant stepping back and forth, rather than three steps forward, three steps back as the form actually requires), and I definitely ended up on the wrong foot (stepping through with left foot, rather than stepping up and pushing on with right).
Very much a work in progress and different to most Karate kata, but for me it's just the kind of form I find relaxing and will be a good addition to Tensho.
Before I get started, please note I did not learn Sanchin as a part of
the core syllabus from my Dojo. Rather from a friend, PJ Broomhall, who
teaches it as a part of his Bu Kai syllabus. Firstly, I learnt it out of
curiosity, as it is labelled as one of the three "core" Kata of
Karate (along with Naihanchi and Tensho #1). I then added it directly to
my own repertoire as a part of my CBT/Karate routine (#2) that I use to remain
calm and focus.
This routine has three elements, for Mindfulness, Tensioning and
Relaxation. Sanchin, used to develop the "iron body" techniques
of Karate, seemed to be the absolutely natural Kata for the Tensioning portion
of the routine. Not done fully in the style that many Goju teachers
would approve, but at Firstly, least tensioning the arms and legs to make the
arms rigid in the legs "rooted".
My curiosity was piqued about the kata after watching Jesse Enkamp's
China series (#3) on YouTube. There may be some dispute about the
veracity of the claim to have found the oldest Kata, but there can be no doubt
at all about the genuine nature of the Kung Fu featured. SanZhan was the
Crown Jewel of the series. It was claimed to be the root of Seisan, which
is a possibility. What is undeniably true is that it is the root form
that led to Sanchin (#4).
Sanchin is known mainly for its association with Iron Body an Goju Ryu,
but although the Karate kata is simplistic in appearance, its roots tell that
there is much more to it. Although many may use it simply as a body
training kata, it embodies fighting techniques as well. I have been lucky
enough to listen to many talks and train online with many people that I would
probably never have met, but for Covid. Two of these, Les Bubka and PJ
Broomhall, quite happily consider and teach how the Kata can be applied.
Therefore, I was both amused and saddened by a member of the Karate
world saying that Sanchin is only intended for and should only be used for,
body training and conditioning. It seems that some of the extended
family still live in denial of the roots of Karate and that any kata derived
from Kung Fu are not just going to be "training" kata. (An example of
a Chinese training form would be the likes of "8 brocades", which
would never be translated into karate #5).
I have the pleasure of slowly learning some aspects of Five Ancestors
Boxing from online lessons with Russ Smith, and some of the material seemed
directly aligned with Sanchin, though less stylised. The material in
question is in no way intended as body training and has an explicit direct
follow on from the deflecting aspect of the crossing arms in a double outward worlds
block.
To show what I mean, this is a video of my amended version of Sanchin,
showing the more attacking potential I can see hidden in the movements:
Sanchin modified to incorporate
Five Ancestors techniques:
1) Turns half front, half back,
followed by leg sweep. 2) Outward crossing of arms open
handed, then bringing down as hooking hand to trap the opponent's arms. 3) In place of a punch, back
hand hook turns into a ridge hand “bump" to the trapped arm, followed by a
finger strike up the line of the arm into the throat.
Whilst this is strictly speaking
neither SanZhan or Sanchin, I don't think that most people would deny the
Sanchin base, or argue too much with the intent of the Five Ancestors
added techniques. Of course, apart from our doctrinally
blinkered brethren. So maybe to let them live happily in the
belief that Sanchin is solely a training/conditioning kata, by referring to
anything derived with purposeful intent as SanZhan?
I have a friend in Australia, Paul Broomall (aka PJ Broomy), who during Covid was one of the online teachers who helped out with Guest Lessons, along with Les Bubka amongst many others. due to some similarities in health conditions, and it seems outlook on life, we became friends, and we have continued to work together online since then. However, last winter and our own personal circumstances since then, we only managed to arrange our first online session together for 14th of May. PJ kindly consented to become the first victim to try out the CBT kata I have been using for the last 18 months or so, so I was both somewhat excited and worried by showing had been doing it and the reasoning behind it.
To recap, that kata in question are Naihanchi (or Tekki) Shodan, Sanchin and Tensho. The principles of CBT being worked on are Mindfulness, Tensioning, Relaxation and Breathing.
Naihanchi (Tekki) Shodan I use for mindfulness, which in CBT is feeling every part of your body, both statically and when in motion. The kata is done at whatever speed you feel comfortable with at the time, but ensuring that you concentrate on how your body is moving and where you end up. It doesn't need to be the perfect kata, neither do any of the three.
The second kata is Sanchin, which I use for Tensioning. This one is PJs, though a variation on the way he does it. He showed me the version where by turning your wrists you can tension your arms to rigidity. I do the same with my legs (I think this picked up in a seminar from Okinawa online, where rooting your feet was said to be important). Sanchin as used by Goju Ryu seems to be used extensively for this, so seemed a natural choice.
The third kata is Tensho, for Relaxation and Breathing. Originally, I was taught Tensho as a breathing kata by Noah Legel, to help with my COPD. Then Les Bubka showed me how it could be used for relaxation (Teisho). Combining the two seemed the perfect choice for what I wanted to achieve. There are two versions that I do,
one for full space and one for limited space. The latter in arm kata only.
However, both work the same for me.
In short, by the third set of hand movements in Tensho, my breathing is comfortably in synch with the arm movements, I find myself feeling relaxed and with a clear mind. PJ seemed to enjoy the exercise.....
=
PJ Broomy's view of what we went through: "A very interesting way of practicing kata. Naihanchi with a focus on mindfulness, Sanchin on muscular tension and Tensho for relaxation. There is no rule saying each kata must be done a particular
way. To the contrary our Okinawan masters have been documented encouraging us
to make karate our own. Bob is doing this and getting more and more out karate
as a result.
Recently we applied Bob’s method to these three core kata in the dojo. Focusing on where the body was in time and space during Naihanchi not only gave the kata another dimension but lead to some very effective bunkai/oyo latter in the class.
Sanchin is known for tension however we focused on proper spine alignment when applying that muscular tension. This also helped induce some fatigue that assisted with the transition into Tensho.
Tensho was performed in a more relaxed manner with a distinct focus on breathing. This is a great way to round out what is an excellent routine for any karateka to do."
As this was the first time I had actually shown someone else, and they did it for the first time themselves (I had no idea he got his dojo to try it out later), I thought it worthwhile sharing the results.
Hope some of you might find it of interest.
REY/PJB 16/05/2023
I think it fair to say that many people who have practiced martial arts originally learnt indoors and in later years, on mats. If we're talking karate, then it will have been in Gi and barefoot. If your dojo leans towards self defence, it will have include thinks like knees and low kicks.
However, "real world", if you ever have to use your learnt skills, it won't be in a controlled environment, barefoot and on a flat surface. Students are obviously expected to practice on their own, and hopefully some of that would be outdoors and uneven surfaces with shoes on.
My personal favourite strike is with the knee, but that can be followed up by another one from natural instinct for me, a stomping kick, which I believe would be much more effective with shoes off rather than on. (Blame my Sensei and Naihanchi for these choices.)
The dojo in which I learnt includes outdoor lessons in normal clothing as a part of their training, as well as the more typical dojo lessons. Is this a common practice? Also, are there any specific aims in the teaching of lessons outdoors, other than those already suggested?
This is the third in a series of blogs, starting with Kata, what is it good for?", and followed by "How do your Students grow?". These are in response to a critique of what I have done to now, and an assertion that I was trained in a McDojo. There seems to be a genuine difference of opinion at the base of this, which I think is worthy of some discussion.
So lets start off with what might constitute a traditional dojo or "martial arts school", dating back to say the 1960s in origin.
Introduction might be to do 40 knuckle press ups.
Basics only taught a lower levels. Not learnt slowly but at the proper speed and force. This includes kicks, blocks, strikes and above all stances. Speed makes no difference with regard to understanding what a punch or block is.
When Grading take place, it is the student's choice to take them, and if not good enough they should be allowed to fail.
No concessions in general should be made for acknowledged medical conditions.
Forms or Kata not taught until a higher grade is reached. Once the basics have been learnt to a degree, then simply linking them all together as a form or kata will not require doing things slow.
Kata of forms can be learnt a stage at a time but never in a slow way.
No separate classes for minors in training.
Then let's take what might be commonly agreed on as signs of a McDojo.
Very large classes with not enough instructors to give attention to detail for individual students.
Head instructors who never instruct.
Self defence (as opposed to self awareness / protection) instruction that is totally non-contact.
Cases where all students grade at exactly the same time and nobody fails
Schools with 6 year old Black Belts
Schools promising to unlock "the hidden secrets"
Schools promising the ability to defeat anyone by unlocking the "power of chi energy".
Ultimately, schools where money is God
Any thoughts so far? I certainly would never assert that a "traditional" school is a MacDojo, although maybe some of the teaching methods could possibly improve with the inclusion of ore modern techniques. Then, we have the massive space of the middle ground, that could incorporate:
Sports martial arts
"Modern" martial arts, with a more inclusive approach and perhaps less stringent teaching methods to accommodate
Non combative martial arts, such as Tai Chi, which concentrate more of the mental and physical health aspects
Genuine self awareness, protection and defence classes
Now, as far as I am, concerned, the dojo where I received my training sits firmly in the "Modern" category. The features of that dojo include:
Warm up exercises are done for approximately 20 minutes prior to the lesson starting formally. This may include traditional elements such as press ups, trunk curls, planking, squatageris, star jumps, sprints, shrimping, along with other exercises. Varies from week to week.
Gradings take place regularly, but Students aren't allowed to take a Grading until the Sensei think they are ready.
Kata are taught at an early stage, along with the basics.
Students learn the kata in chunks, at first slowly then faster as they improve their techniques and confidence.
Pad work solo and paired drills, light sparring are practiced. Ground work is emphasised as well as upright techniques. These are all set against breaking out and implementing techniques from kata.
Lessons often end with cool down kata.
Kobudo drills are taught for Bo and Nunchaku as an element of some classes, both Cadet and Adult.
Modifications to drills and kata maybe made for students with acknowledged medical conditions.
So, then set this against the opinion of one "traditionalist":
To explain what a McDojo is would take ages. A very big subject that covers many things. For example everyone at a McDojo club will pass their first few student grades because the instructor does not want to lose a paying customer. A traditional old school will not do that.
Some karate clubs do it <kata> slow without it being physically demanding so students don't leave. Same with the basics. No effort, all nice and slow. And they say it is so students can learn things better that way. Hence the term go slow first.
A McDojo class is all about keeping students and money coming in. Hence everything is soft and slow.
McDojos have separate classes for younger students.
The bottom line is this is that the dojo in which I trained was judged as a McDojo against these criteria and in part at least based on what I do. Much of the material I learnt during Covid and beyond is off my own bat, and what I use it for works for me. In this case I would conclude that there are valid instances of what some would consider to be a McDojo to actually be the real thing. My conclusion is that the term "McDojo" is distinctly subjective as opposed to objective on the basis of this.
This is meant to be a conversation starter, so all responses welcome.
