Martial Art Talks: Renshi Danny Spletter

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. 

The first person to hit the MAT is Koryu Uchinadi Renshi, Sensei Danny Spletter. In addition to being a 4th dan in KU, Sensei Spletter also holds a 3rd dan in Shoto Kan. 

Renshi Danny Spletter

In our talk he shares what he feels are the most rewarding and sometimes frustrating aspects of being an instructor and gives us a taste of what he will be teaching at the 2017 North American Gasshuku! Feel free to watch our interview or read below!

JT: How did you get introduced to Koryu Uchinadi and Hanshi Patrick McCarthy?

Hanshi And Renshi Spletter

DS: I was a part of the Australian Karate Federation in Brisbane; they would bring him over every year for a seminar. He would explain, in depth, katas we were doing and until then I had no idea that they had applications—or had asked and never received an answer.

JT: How would you describe your teaching style?

Renshi Spletter Teaching

DS: I fall back on the JKA style of teaching, which is more Kihon oriented, in the KU sense. I still very much like that formality. I roll out with that more traditional style karate. I like things to be fairly disciplined and orderly.

JT: Take me through the step-by-step process you go through teaching or assessing your students.

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DS: That’s hard. It depends on the student. The way my curriculum is set up is we have the solo first and then the two person. I think that gets some muscle memory about where the body should be moving. But, sometimes it’s very difficult for people to imagine that other person there, so there’s some fusion.

JT: What do you think is the most frustrating part of teaching? In KU and/or just generally.

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DS: I’ve thought about this the last few years: KU really requires a good partner and it’s very difficult when you have mismatched students. It occurs to me that’s probably what happened with the evolution of Karate from Okinawa to Japan. You originally have these small classes with individual attention, possibly two to three people, then moving to larger classes, it would be a very difficult task to make that transition and teach two person drills to a mass amount of students. I find it works better for us to have smaller groups, more individual attention and to limit the ratio of students to instructors. It certainly works out and I find the students progress much faster when they have a evenly matched partner.

JT: What’s your greatest strength as an instructor?

Sensei Darrin Johnson, Hanshi Patrick McCarthy, Renshi Danny Spletter

DS: I try to be pretty organized. I’m a chef by profession and the culinary term is mise en place, which means “to put everything in its place.” That’s why I’ve set the curriculum up to be very orderly. That works for me in my personal life. The students that we have seem to be very comfortable with that. They know where they’re headed and there are no mysteries.

JT: What is your greatest strength as a student?

Renshi Spletter Kaishu Waza

DS: The stand up from JKA. The stand up impacting is where I probably feel the most comfortable.

JT: What’s the most frustrating part for you as a learner? 

Tsuki Naka Ken

DS: As KU has progressed, it’s gathered a lot of drills. With the limited amount of time I have, its sometimes difficult to practice those drills and I really have trouble keeping up with them. We have a group of black belts now that are learning those drills and we’ll be able to work them together. Like the old adage says “karate is like boiling water, if you do not heat it constantly, it will cool.”

JT: What will you be teaching at the Koryu Uchinadi North American Gasshuku?

DS: I’ve volunteered to do the Kihon section at the start. We call it the Kihon Kickoff, with “old school” Volume 9 (Basic KU Curriculum) and REALLY work those drills. Hopefully, we’ll get a bit of a sweat up to start the Gasshuku!

JT: What do you think is the best part of the Gasshuku experience?

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DS: The thing I love about the Gasshuku is the networking and the people. Sensei McCarthy always says it attracts like-minded people, but I guess its not just like-minded in the martial arts, it’s a group of people I genuinely enjoy spending time with. I’ve been all over the world and it really seems to attract a similar group. They’re all pretty good people to get along with. I always have fun.

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

DS: Follow your passion. Do what you want to do because life is short!

JT: Thank you so much Sensei Danny Spletter for taking the time to speak with me. I look forward to working with  you at the Gasshuku!

Want to learn more? Check out the Koryu Uchinadi North American Gasshuku Facebook Page!KU_IRKRS

Guest Post: “The Instructor-Student Gap: Why Your Students Still Suck” by Josh Stewart

Any good instructor’s process is always under scrutiny. The instructor looks at the students and wonders, “Why aren’t they doing what I asked?” or “Is that really what I showed them?”

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Self-doubt is a valuable tool in martial arts both as a student and as an instructor. As a student, when the instructor makes a correction or provides feedback, there should always be the assumption that you are the one doing it wrong. If that’s the baseline assumption, then if it’s not true, you have reminded yourself of something you are doing correctly, and if true, then you have found an area to fix.

As an instructor, this can be somewhat more difficult. The reality is that there will always be a gap between what you teach and what somebody else learns. It could be physiological differences, miscommunication, or varying learning styles that cause this discrepancy to exist.

Physiological Differences:

Age and injury account for a number of physical limitations that may prevent students from doing exactly what the instructor does, but there are also a number of other biological factors that affect how an individual performs a particular technique.

Flexibility, or lack thereof, has a vast effect on how the body moves. Stances and kicks are obvious areas where flexibility provides a greater range and may limit a student from copying exactly how an instructor executes a movement. Grappling is another area where strategy or technique selection can be largely determined by flexibility. For example, Eddie Bravo’s 10th Planet system is designed with the assumption of a certain range of motion, and someone without that capacity may struggle to emulate those exact sequences.

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However, I have also noticed that double-jointed students often have difficulty limiting their flexibility by contracting muscular groups effectively at the right times. Even a simple straight punch, executed by someone with a lot of flexibility, sometimes gives the appearance and feeling of being floppy when joints hyperextend without suitable muscular contraction to support the energy transfer.

Stature is another contributing factor. Bigger, more muscular people may rely on their size and strength advantage when working with a smaller partner, leading to neglect of correct footwork, positioning, or body mechanics because they can “get away with” doing the technique incorrectly—until they encounter a training partner their own size. Conversely, smaller students may have to supplement their techniques with extra kicks, knees, or groin slaps to help bring larger partners down to their own level. Otherwise, they may struggle to achieve the intended outcome because they simply can’t reach the targets designed in the training exercise.

Miscommunication:

As the word suggests, this occurs when one or both parties involved are not on the same page in regards to what is being asked. Any martial arts instructor who teaches kids knows that lack of listening or focus has a vast impact on this process, but it is certainly not limited to children.

Adults, especially advanced ones, tend to experience miscommunication because they believe that they already know the message being delivered. Again, the correct default for a student should be to assume they know nothing and are doing it all wrong, but naturally after several years of training, the ego may want us to assume otherwise.

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Of course, it takes two to tango. Instructors sometimes give vague or contradictory pieces of information about how a technique or strategy should be applied. Another source of miscommunication that can be blamed solely on the instructor is talking over the students’ heads. At times there may be too much technical jargon that learners will not be familiar with, in which case the verbal instruction may not transfer any useful information to the group. Instructors always need to remember who their audience is to ensure that the right level of detail is being provided at the right time in the learning process.

To limit miscommunication, creating an environment where it is safe to ask questions is vital. If a student asks for clarification and gets an abrupt, rude response, that will be the end of the process. Unfortunately an instructor’s ego is also involved in this process, often leading to the conclusion: “Well, I explained it clearly . . . What’s wrong with these students for not getting it right?” Just like the student, the instructor’s baseline assumption should be the opposite. If the students aren’t getting it, the onus should first be on the instructor to try again to deliver the lesson clearly and effectively.

Learning Styles:

Of course, there has been a lot of research into kinesthetic, auditory, and visual learning. The established reality is that, while we may rely more heavily on one rather than the other, each is a spectrum, and depending on what we are learning, we use each to varying degrees. In martial arts, we virtually always rely on them all: we listen and watch as the instructor presents the material, then we practice it physically.

Learning style also affects how an instructor delivers lessons in terms of how much context to give. Some learners are “big picture” oriented—they won’t understand the piece of a puzzle unless they know what the entire scope of the puzzle is. However, others are happy just to take one piece and practice it, and worry about the next step in the process when they get there. While one learner might be confused by being asked to deliver a technique without knowing what came before and what will come after it, another will be bored by the teacher’s long, unnecessary rant about the history and functionality of a certain sequence that they haven’t had the chance to practice yet.

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Body language is a key to understanding a student’s learning style. An auditory learner stands closely to the instructor and leans in to hang on every word; a visual learner re-positions to get the best angle to see what’s happening; a kinesthetic learner mimics the instructor as the movement is being demonstrated. Global learners may walk back to their partner shaking their heads or linger longer than others, hoping for more explanation. Analytic learners may look restless when the big picture is explained and will be the first one back to their partners.

In any group of students, there will typically be a standard distribution of students who will learn faster than average with less practice, those who will achieve proportionally to the amount of effort they expend, and those who are ultimately destined for failure despite their best efforts. The instructor’s role dictates catering to those in the second category. If students are struggling to perform the technique as being explained and demonstrated, the instructor should first look at the potential of his or her own failure before moving to the conclusion (although sometimes correct) that the student is the one responsible for missing the mark.

Author Bio Josh Stewart

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5 Phrases That Need To Be Used MORE In The Dojo

5 words that need to be used more in the Dojo-4

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Dojo Gossip: Let’s Kick Some Scuttlebutt! (Part 1)

In Buddhism, they have a set of tenets called the Eightfold Path that serve as a guide for moral action and to relieve us from suffering. Amongst it’s precepts is “right speech,” which includes avoiding lying, hurtful speech and today’s topic, gossip!

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In the post Dojo Disillusionment, I touched on drama in the dojo. This topic received a strong reaction from the martial arts community.  It seems this gossip fuelled phenomenon is not unique to one person, club or style, but is universally experienced and fostered across MANY fighting systems around the globe.

The martial arts preach about the nature of respect, discipline and any other typical word or phrase that implies honour and we know very well that gossip and drama do nothing to help us in our individual progress. Then why is it that the martial arts seems to foster so much gossip? What is it about the martial arts that attract such drama?

By applying the insight of “Can Gossip Be Good?” (written by Knox College Psychology Professor Frank T. McAndrew) to the martial arts community, I hope to be able to provide plausible answers to these questions—in the end, helping us realign our compass along the path that can sometimes “become skewed in the mist of frivolous nonsense that seeps into our practice brought on by human inadequacies.”

Social Bonding

2015 Gasshuku Go KU

It’s strange, isn’t it? In an art where we constantly practice how to demolish the human body, we can build such meaningful and long-lasting relationships.

Just as overcoming adversity, whether physical or otherwise, can act as a form of social bonding, so can gossip. Ron Dunbar from the University of Liverpool says, “gossip is a mechanism for bonding social groups together, analogous to the grooming that is found in primate groups.”

According to Frank T. McAndrew, this type of social bonding helped our ancestors address problems such as “remembering who was a reliable exchange partner and who was a cheater, knowing who would be a reproductively viable mate and figuring out how to successfully manage friendships, alliances and family relationships.” Surely, we can all think of ways this applies to the martial arts.

“Reliable Exchange Partner”

For some, the term “reliable exchange partner” might stand out in the previous paragraph. Although McAndrew uses the phrase to refer to those who our ancestors might have had monetary investment in, as martial artists, we might think of those whom we exchange blows with, our training partners. At seminars or even our own classes, we take into consideration whether or not we can trust the people we work with.

We wonder:

“Can I work with this person and not get physically injured?”

“Is that person here just to be physical with the opposite sex?”

“Are they good at what they do?

“Can they help me improve?”

Where possible, we rely on those who have had previous experiences to help us guide our decision to work with specific people. Gossip, then, serves as a means of determining who will help us thrive in the martial arts, while at the same time avoid situations that could be detrimental to our safety; in other words, it acts as a means of self preservation and protection.

“Cheaters”

In the martial arts, those who are dedicated have a lifelong investment in their teachers, style and dojo. Hence, knowing whom McAndrew refers to as “cheaters” through gossip, we can learn who is loyal and will help in the progression and preservation of our dojos, its culture and the people who encompass it. 

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Perhaps you know people who try and cheat the system to attain a new rank, giving those who have the power to promote them the impression that they are training hard and consistently, when in reality they are amongst the lowest in skill, effort and attendance. Others may praise a teacher to his face and secretly poison his name behind his back. Gossip serves as a means of exposing these “cheaters” as unworthy exchange partners for the greater good of the community.

“Deep Trust”

Our relationships in the martial arts are heavily dependent on trust. Based on trust, we allow other people to come within millimeters of breaking our limbs and spend years of our lives investing in instructors who we believe know what’s best.

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McAndrew goes on to say that “sharing gossip is a sign of deep trust because you are clearly signaling that you believe that this person will not use this sensitive information in a way that will have negative consequences for you; shared secrets have a way of bonding people together.”

As we see in the movies, the Master only shares his secret techniques with his most dedicated pupils; this is also true with gossip. When the instructor shares his experiences about instructors of other styles or dojos, he is not only doing so to help protect his pupil against “false prophets,” or those with low ethical standards, but also demonstrates to his pupil that he has faith in their discretion. It communicates to the student, just as learning the “secret technique” does, that this information is meant for them and them alone—in the end, building a stronger bond between pupil and instructor.

Human Beings First

Ultimately, we are human beings first and martial artists second. As human beings, we are social creatures; we crave acceptance and deep social bonds. Gossip, in it’s most innocent form, is simply a form of social bonding. It helps build trust amongst those in our dojos. We share the appropriate information to help others protect against potential physical or emotional threats that can occur in a seminar, tournament or class. This act also serves as a means of preserving those who share our values and isolate those who are untrustworthy or disloyal. In doing so, we create a community of like-minded individuals built on trust and friendship, where we can practice our art safely and free of fear.

Yet . . .

As we all know, there is a very dark side to gossip, used as a means of manipulation and deception. In the upcoming blog, Dojo Gossip Part 2, I’ll explore how the dark side of gossip is a reflection of ego and thrives in the martial artists’ competitive natures, which we so often ignore.

A Charmed Martial Arts Life

My mother always said I had a charmed life—not necessarily in the sense of extreme luck such as winning the lottery, but more in the sense that I’m presented with fortunate circumstances that allow me to make the best of any situation.

I feel especially charmed when it comes to people. I’ve always been fortunate to find people who seem to be willing to invest in me.

This has been extremely influential in my pursuit of the martial arts.

I know wholeheartedly that I would not be as successful in the martial arts if it weren’t for those who took the time to challenge, teach and encourage me. I value them especially because I know I am an imperfect human being. When I feel, I feel strongly, and on more than one occasion when my passion gets the best of me I’ve challenged them in return, often with great bluntness and sometimes without courtesy.

But, this is, of course, the nature of the student-teacher relationship. It is not simply an exchange of knowledge; it’s more than that.

It’s a mutual dialogue built on trust and friendship.

It’s camaraderie that helps us find our way through the twists and turns that the martial arts and life throw at us along our path.

And, very often, it is a test of wills.

With that said, I would like to take the time to recognize those who have helped me in my most recent martial arts journey: The Martial Arts Muse.

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In October, The Martial Arts Muse exceeded my goal of 10,000 views within the year. I strongly believe it would not have been as successful if it weren’t for those who encouraged me to be a little bit better than I was the day before.

Hanshi Patrick McCarthy 

My Australian-based instructor is the Director of the IRKRS and head Sensei of Koryu Uchinadi. Sensei McCarthy has probably forgotten more than we will ever learn. Many of the concepts and ideas I touch on in my blogs I learned through my experience training with him and those who are a part of the IRKRS. He is the central hub through which I could find a community of like-minded individuals in which to share my point of view.

Renshi Mike Coombes

Renshi Mike Coombes is the head instructor of Hatsuun Jindo Martial Arts and a Sandan in Koryu Uchinadi. Although he might be unaware of it, many of our conversations have served as inspiration for my writing. Through our conversations, I’ve learned that the issues that I once thought unique in my own sphere are actually shared amongst others in the martial arts community. This emboldens me to continue my writing in the hopes to inspire others to overcome the challenges we sometimes face in the martial arts.

Renshi Cody Stewart

Renshi Cody Stewart is a Godan in Koryu Uchinadi and the YouTube personality of KU Quick Tips. I don’t think anyone challenges me as much as he does. It is because of this he is my favourite person to postulate theory with. I feel he adds equilibrium to my writing by asking the right questions, so I may come to my own conclusions. And he is also a savagely meticulous editor. Without his help I would certainly have much less to say with far more grammatical errors.

Josh Stewart

My dear husband, Josh is always the first and last to see my writing before I officially post it. A martial artist and writer himself—and a far better one, at that—I turn to Josh during my greatest insecurity in search of support. Whenever I ask him to read my work, he always has the right answer, “It’s good. I like it!” This is the little push I need to finally press the “Post” button and gives me the courage to expose what are sometimes intimate thoughts on the art I so very much love.

Chonin Kan and Toronto KU Study Group

My students and those I train with are my greatest muses. I feel a strong emotional investment in those I work with, both at my home dojo and in the Toronto KU study group.

As I mentioned before, when I feel, I feel deeply, because of this I feel their successes and failures, optimism and frustration concerning training as if I was experiencing it myself. They not only give me something to write about, they give me someone to write to. Many times, I’ve written blogs with specific individuals in mind. I don’t know if they’ve always read them, but like a message in a bottle, even if it doesn’t reach its intended destination, if it reaches and resonates with someone, it’s worth it.

You, the reader

I don’t know who are, but I am constantly pleasantly surprised and humbled that you chose to visit The Martial Arts Muse. I sincerely appreciate the time you take to read what I have to say. As a female martial artist, it’s not uncommon for me to experience a greater amount of questioning and interruption when expressing my opinion on the martial arts; it’s easy to feel like my voice isn’t heard or, at least, doesn’t hold the same value as if it comes from my opposing gender. The Martial Arts Muse has served as a means to overcome this and is an unimpeded way to shed light on issues that many of us are sometimes afraid to address.

I am sincerely grateful for everyone’s support this year. My life as a martial artist is truly charmed. I feel beholden to you. 

 

Dojo Disillusionment

The martial arts world attracts strong egos, big politics and more drama than a high school play.

Maybe, someone received a rank that you felt they didn’t deserve or someone of high esteem lacks what martial arts writer Dave Lowry calls “moral stamina.” Perhaps, there’s constant gossip and you hear more about the people training than about the skills you should be mastering.

Because of this, at some point, you may feel disillusioned and disheartened. You might even have the urge to quit and think “I don’t need this drama in my life. If this is what the martial arts attract, why am I still doing this?”

That is the question, isn’t it? Why am I doing this?

Japanese martial arts have been likened to a path. As many of us know, the term “do” is attached at the end of martial arts, like Judo and Kendo, that means “the way.” This suggests that the martial arts is a journey that goes beyond the cultivation of physical skill, and hones both mind and spirit.

There are many things that attract us to the martial arts when we first begin our journey. Some pursue the martial arts for self-defense, physical fitness, to avoid boredom and even just for a sense of community.

But, there’s something beyond physical reasons that makes us return to the dojo time and time again. It’s an intangible, not qualified by how hard you kick or the belt you wear.

Koryu Uchinadi Black Belt

Something more. . .

Something deeply personal. . .

Something else. . .

It’s the calm that radiates through the dojo when you’re the first and only person in there practicing.

It’s the final breath of your kata, when you know it’s the best you’ve ever done it, but bow with the knowledge it will never, ever be perfect.

It’s the effortlessness in which someone slams to the floor when you get a throw JUST right.

It is the moments that lie between aggression and tranquility. A harmonious combination of our most animal nature with our greatest serenity that paradoxically brings us into a frame of being that transcends words and our human imperfections.

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An internal stillness propelled by breath and what I call a “return to centre.”

It’s sometimes easy for our compass to become skewed in the mist of frivolous nonsense that seeps into our practice brought on by human inadequacies.

So, when you lose your way along the path, focus on the most basic of human functions, breathe and return to centre.

It’s in that moment you realize there was no trick of the light. . .

No magical unveiling. . .

And, there was no illusion to begin with.

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Lady Looks In a Mirror-Part 2

For those who may not know, “lady looks in a mirror” is an English translation of a Chinese martial arts term.

 It was common in Chinese martial arts to give techniques unique or “secret” names to differentiate those who were “insiders” of a martial arts system and those who were “outsiders.”

Chinese martial arts manuals would often have songs or chants, which were codified patterns. This practice in turn would aid in the memorization of forms.

I will use these classical Chinese terms as an introductory frame to explain my experience training with Hanshi Patrick McCarthy during his North American Tour.

Hanshi Patrick McCarthy Calgary 2015

As said in my previous post, Lady Looks In a Mirror-Part 1, Riai Kumite translates into the harmonizing laws of grappling hands. Riai Kumite is a continuous flow of attacks and defenses between two people, which includes all the elements of fighting: groundwork, throws, percussive impact, etc.

This practice builds students practice from passive resistance to full on functional spontaneity, imitating real fighting in a safe and controlled format.

2015 Calgray Semina Tegume Line Drill

Although many pursue the martial arts for the ultimate goal of better health and self-defense, many practitioners lose sight of the intention behind techniques, destroying the gains that could be attained in practices like Riai Kumite.

Upon reflecting on the practice of this drill and how we engage with it with our partners, I see areas that sometimes inhibit Riai Kumite.

Intent

When I switch from one partner to the next, it is clear who understands intent—the intention of the technique, their intention towards me and the intention of the exercise—and who does not.

Technique

The first thing that gets lost for many people, especially beginner students, is the intention behind the technique. When I talk about this I am referring to the application formula: tool, location, direction, angle and intensity.

When people forget the intention of the technique (to emulate physical violence), they forget to:

  • Use the correct part of the body to attack
  • Aim!
  • Strike/Block from the correct direction
  • Strike/Block on the correct angle
  • Use the best amount of force for their situation

One simple example of this is punching in a straight line to the chin.

Inspiration Strikes

Now, you would think that the intent of this would be simple to understand. The intent is to punch in a straight line to the face.

Yet, in many instances, when hearing these instructions many people will throw bad hook punches and hammer fists while at the same time striking towards the chest, shoulder or even nothing at all!

Sometimes, this is a result of inexperience.

Or, it is the result of going too quickly, usually because people think it looks more impressive. At best, it hides poor execution.

When people fail to grasp the intention of a technique, the execution of the technique will be incorrect and the defence, as a consequence, will also be incorrect.

Thus, the learning process deteriorates and what would be Riai Kumite turns into nothing more than rough patty-cake.

And nobody likes rough patty-cake!

WINNING!

Usually someone’s attitude towards training in general will dictate how they treat you as a their partner.

There are those who feel the need to “win” when working with a partner—either through believing they’re superior in the amount of things they actually know or just through their physicality.

Winning

Alternatively, this inclination is the result of anxiety that our partner will harm us because of their size or rank. From this, we unknowingly up the tempo out of shear fear.

I should add that both these attitudes can be an unconscious act.

When people feel this way the response of many is to go harder and faster. The point of the exercise is not to go hard or fast, but to flow and realize where openings lie.

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If we go too hard, the movements become rigid. If we go to fast, we can overlook blatant opportunities.

When there is a greater focus on how am I doing in comparison to another, whether we deem ourselves superior or inferior to our partner, there will always be an inclination to go harder and faster than is necessary—in the end, destroying one’s ability to learn effectively through Riai Kumite.

In other words, the goal of the exercise is not to “win.” That would imply that the exercise should have some type of definitive end. Rather, Riai Kumite can be infinite with the type of combinations of defences that can be accomplished.

The Exercise

Riai Kumite, as I have experienced it, demands a certain type of continuity or flow. As mentioned before, Riai is the concept of harmony. When this flow ends, you are no longer practicing Riai Kumite.

Many people may know many techniques, but perform them mechanically, restricting the transfer of energy between partners that should be performed in this exercise. When the movements become rigid, we lose the opportunity to perform techniques that demand continuity in order to be executed properly, for example any type of throw.

I’ve also watched people who know only three movements, but can gracefully flow between them.

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I believe Riai Kumite as an exercise is dependent on being mindful of the correct intentions and not on how many techniques you know.

One must be mindful of

1) All the elements to execute the technique properly

2) The ego and how it affects the practice

3) The goal of the exercise

When we are mindful of these three things, one can achieve the harmony of grappling hands.

Ultimately, through changing partners and practicing Riai Kumite, I’ve learned that how we treat others and engage with the material we wish to practice is a reflection of our own ego and how honest we are with ourselves about our abilities.

My question for you is, what do you see when you look in the mirror?

That concludes what this lady reflects.