Martial Art Talks: Renshi Paul Lopresti

Welcome to Martial Art Talks! The MAT is an interview blog series where I speak with the best and brightest the martial arts industry has to offer.

This week on the MAT, I speak with Shotokan 5th dan and Aiki Kenpo Jujutsu 5th dan, Renshi Paul Lopresti. Renshi Paul has over 40 years of experience, first starting in Karate with his father at 7 years old!

Renshi Paul Lopresti

Today he shares his experiences training MMA fighters and what he will be teaching at the 2017 Koryu Uchinadi North American Gasshuku. Feel free to watch our interview or read below.

JT: What is it about KU and Sensei McCarthy’s method that made you want to stick with it?

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PL: The fact that it was eclectic. It had everything that I didn’t have in my training as a Shotokan stylist. We were good at kicking, punching, kata and kumite, but I hadn’t done a joint manipulation, strangle, any ground work or throwing; those parts of my game were missing.

And, I guess in the late 90’s, UFC had started to become very popular and I knew that the parts of my game that were missing were either going to get me hurt or get me killed if I had to use it in real life.

Overall, I felt that KU was a complete system and I needed to go in a direction that was going to give me those missing elements.

JT: How would you describe your teaching style?

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PL: As you may or may not know, adult learners are generally classified three ways: visual, auditory and kinesthetic. I find that I have a direct hands-on approach and I use all three of those methodologies when I teach in a regular class or seminars.

JT: What is the process you go through when teaching or assessing your students?

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PL: I roll with every one of my students every week. I get physical with them because I want to feel their progress, so I know where their weaknesses are. I’ll identify those whether it be in class or the next class where I’ll do something like guard passing or something I know a bunch of students are struggling with.

I also have a two-hour open forum. The first hour we basically work on technique, usually directly from or something that relates to our curriculum. The second hour is an open roll for about 45 minutes or so. Then at the end of class, I take open questions from anyone on our curriculum material or on anything they encountered while rolling that they had trouble or difficulty with. Then lastly we finish up with some conditioning. That’s a typical class, step-by-step, how I run it.

And, just like anything else, there’s no magical pixie dust that I can sprinkle on somebody, it’s just hours on the mat.

JT: Your club participates in cage fighting, how is the preparation different from BJJ or Karate tournaments?

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PL: If you look at wrestling, wrestlers are put under intense cardiovascular and strength training, dietary restrictions and then they’re wrestling. Cage fighting encompasses the same thing.

Generally, we’ll have a eight to ten week camp before a cage fight. I don’t like the cut a lot of weight for amateurs only because dehydration sets in, it’s not good for their body long term, and they lose a lot of muscle mass. I don’t really like weight cuts. I determine their weight before we start a camp, generally within five pounds up or down. Then, we’ll start a camp with a lot of cardio and strength training. I have a minimum requirement for cardiovascular stamina and speed; if my fighters can’t perform to that level, I do not let them fight for me. Their strength training has to be done outside of the dojo. They have to put in their cardio and their weight training. I’m not standing over them with their weights and cardio. However, I will work on their striking, grappling and transitional game, whether its throws, takedowns or whatever.

Generally, we work for their strengths. If they’re good at striking we work mostly their striking. If they’re good at grappling were going to work their grappling and takedowns and try to close the distance.

At the end of our eight weeks, depending on when the fight is, we have the weight, the strength, the cardio, the grappling and the striking; it all comes together.

We’ve been very successful in the amateur scene and we’ll have a few pros soon and keep going.

JT: What is your greatest strength as an instructor?

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PL: My experience. I’ve had a long career and had the opportunity to train with some of Shoto Kan’s greatest instructors in the US and beyond.

Obviously now, I’m with an international group of like-minded people and obviously Sensei McCarthy is world renowned as an author, competitor, instructor, as an instructor’s instructor, and as a practitioner!

JT: How do you acquire new knowledge?

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PL: I classify myself as a visual learner. If I can see and I can question, then I can learn. I don’t have to do it because the visual pathway for me is conceptual. If I can see what’s going on, if I can see the pathway, then once I see, I understand.

JT: What do you plan on teaching at the 2017 Koryu Uchinadi North American Gasshuku?

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PL: I’ve been asked to run over a set of drills I’ve shown a few times in Canada. We’re going to look at those as an addition to our core curriculum. We’re looking at the ne-waza material.

I also plan to marry the lessons of the other instructors and my own. I intend to modify or amplify what has already been taught for students who need to work more on a certain principle or process.

JT: How does it feel to go from a attendee to an instructor at the Gasshuku?

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PL: First of all, this is a great honour! This is a big deal. I’ve only taught in front of Sensei McCarthy twice. So, for me to be asked to teach along side him is a HUGE honour. It’s very intimidating; he’s a world-renowned martial artist. To share the stage with someone like that, it really is a phenomenal experience for me, and very enriching.

JT: What would you say is the best part of the Gasshuku experience?

PL: You’re going to get good training. You’re going to get good information. You’re going to get good learning.

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The real “umph,” the real thing you’re going to take back is the extracurricular: the conversations that you have, the people that you meet, train and share with. THAT is what’s going to make the Gasshuku. THAT is the piece you’re going to remember.

JT: If you had one piece of advice to give, what would it be?

PL: You NEED to be at this event. You really do! If you do one thing this year, come out to this event, even you are going to have Sensei at your dojo, come out and get the group experience, get the senior instructors’ experience along with Sensei McCarthy’s.

My God! How do you get that much experience into one place for five days! You have GOT to get there!

JT: Wow! That sends the message loud in clear! Thanks so much for your time Sensei Paul!

 You heard the man! Get your ass to the 2017 Koryu Uchinadi North American Gasshuku!

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Being A Good Uke; It’s Harder Than You Think

Have you ever watched your Sensei choose one individual over and over again to be his Uke and thought, “Why not me!?”

In any seminar or class, you’ll find the head Sensei will consistently pick the same individuals to work with when demonstrating techniques. I think many of us would love to “volunteer as tribute” and feel the glory of being at the front of the dojo with your head Instructor!

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But, there are many reasons why some people are chosen more than others.

From time to time, an individual is chosen because of their size. A Sensei may choose the largest person in the room—usually to prove a point about technique vs. strength/size.

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Sometimes an individual is chosen because of flexibility, so that the Sensei can execute the full extent of an armbar or leg lock without the individual tapping.

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But usually, one is chosen as a demonstration Uke because they’re amongst the best in the room.

You would think that letting the teacher hurt you would be easy, that any dumbie can do it!

But, not just any dumbie, a very skilled dumbie. . .

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To be a good Uke and especially an Uke for demonstrations, you literally have to know what you’re getting yourself into. By that I mean you have to be familiar with many, if not all, the possible positions the Sensei may put you in, sometimes without the Sensei even telling you what she/he will be applying. So, unless you have a crystal ball with you, you either have to have superb body awareness and biomechanical knowledge or completely memorized the curriculum.

The Sensei, like Goldilocks, is looking for someone that is not too hard or too soft.

They’re looking for an individual that will

  1. Comply and restrict at just the right moments and with just the right intensity
    • Nothing (and I do mean NOTHING!) is more annoying to a head Sensei than a Uke who anticipates a technique and gives an unrealistic reaction, like moving before the technique was actually applied, OR actively resists when the Sensei is demonstrating. The key here is to respond, not anticipate, the Uke must have a complete understanding of the intent of every technique that they are subject to and respond accordingly with enough resistance for the demonstration to run smoothly and realistically.
  2. Set a good technical example when they return a technique
    • The Uke must know how to receive, counter and execute techniques with the same speed, power and skill as the Sensei applying it. If the Uke does not adequately perform a technique, the lesson the Sensei is trying to teach could be lost and the entire group could end up doing the technique, counter or sequence completely wrong! (No pressure or anything!)
  3. Most importantly, make the head Sensei look good!
    • As an Uke, it is your responsibility for the demonstration to look as good as your body will physically allow because when you are asked to present with the Sensei (especially at a seminar), you have become a representative of that Sensei, an extension of their name/style.

AND

The Uke must do all of this while being submitted to various degrees of pain, being put in the most awkward of awkward positions and essentially getting the crap kicked out of them!

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So, the next time you ask “Why not me!?” remember we often overlook the skill of the Uke. Instead, concentrate on the small details the Uke demonstrates because getting the crap kicked out of you isn’t as easy as you think.