Showing posts with label karate. Show all posts
Showing posts with label karate. Show all posts

My introduction to Japanese culture

 My introduction to Japanese culture

My relationship with Japanese culture dates back to early childhood. In retrospect, it is neither random nor surprising.

I grew up on Japanese cartoons, which were a dramatic improvement over depressing socialist television Poland had to offer in the 1970s.

As I write this in 2026, my three daughters also love watching Japanese cartoons.
The kawaii 可愛いかわいい culture is even stronger now than it was in 1990s Japan. The boy heroes are still swinging katana swords.

When I was a teenager, I practiced a very traditional Shotokan karate; Japanese culture was as important to us as the physical training.

I remember that when I was young, I watched the TV series Shogun, which exposed me to the nuances of Japanese culture.

Consequently, I left Poland, joined my already established family in America, enlisted in the U.S. Marines, and, at my own request, was sent to Okinawa, Japan, where I lived (mostly off-base) for three very formative years.

I studied "Cultural Anthropology of East Asia" in the Asian division of the University of Maryland with professors who were absolutely dedicated to their subject.

The word "culture" would later become a life's passion in the context of Japanese, East Asian, Slavic, and Proto-Indo-European (PIE) studies.

The word "Anthropology", in other words, means a "Behavioral Science" of humans.



As an Amazon Associate I earn from qualifying purchases.

Kakato geri


 



As an Amazon Associate I earn from qualifying purchases.

Pinan Shodan bunkai

 




As an Amazon Associate I earn from qualifying purchases.

Measuring movement with computer vision

Today, I was measuring my movement using computer vision. 

Because of my interests, the numbers show Karate kata, which I need to improve.


Technique

Speed (ms)

Performance Score (%)

Morote-uke Gedan-barai (migi)

410

68

Chudan-tsuki (migi)

330

76

Yoko-tsuki (migi)

290

82

Morote-uke Gedan-barai (hidari)

395

70

Chudan-tsuki (hidari)

320

78

Yoko-tsuki (hidari)

285

84




At a basic level, video is a time-stamped measurement tool. Every frame is a discrete snapshot of body position at a known interval. At 60 frames per second, each frame represents about 16.7 milliseconds. That is already within the range where clinically meaningful differences in reaction time, initiation latency, acceleration, and braking can be observed.


What this allows, even from a simple smartphone recording, is segmentation of movement into phases. We can identify true stillness, first detectable motion, peak velocity, end position, and recovery. By counting frames between these events, we can estimate timing for each phase with reasonable accuracy, typically within ±15–20 ms at 60 fps. This is sufficient to distinguish preparation from initiation, early acceleration from late acceleration, and controlled stopping from overshoot.


From a biomechanical perspective, the most valuable measurements are not raw speed, but timing relationships. For example, which segment initiates first, the pelvis, trunk, shoulder, or distal limb? Even without full 3D motion capture, relative timing can be inferred by observing when each segment begins to move from frame to frame. Small delays of 30–50 ms are visible and repeatable when the video is consistent.


Acceleration profiles can also be approximated. By tracking the displacement of a joint or endpoint frame by frame, we can derive velocity curves and infer acceleration patterns. While this is not laboratory-grade kinetics, it is enough to distinguish relaxed, late-accelerating motion from tense, early-loaded motion. This is a key in my Karate kata training. In practice, this distinction often correlates strongly with efficiency, injury risk, and motor control quality.


Another important capability is repeatability analysis. By comparing multiple executions of the same movement, video analysis can reveal whether a motor pattern is stable or variable. As motor control improves, trajectories become more consistent even as speed increases. This is something clinicians often feel intuitively when watching patients, but video allows it to be tracked objectively over time.


It is also possible to infer aspects of neuromuscular tension indirectly. Excessive co-contraction often manifests as hesitation before movement, uneven velocity curves, micro-stutters, or prolonged deceleration. Relaxed, efficient movement tends to look sudden, clean, and symmetrical. While video cannot directly measure muscle activation, these kinematic signatures are surprisingly reliable when compared across sessions.


There are, of course, limits. Video cannot directly measure force, joint moments, or muscle activation. Depth perception is limited without stereo or depth cameras. Absolute joint angles are less reliable than relative timing unless the camera setup is carefully controlled. But for timing, sequencing, coordination, and motor learning, standard video is far more powerful than most people assume.


In short, video analysis sits in a useful middle ground. It is not a replacement for EMG, force plates, or optical motion capture, but it is far more than subjective observation. When used consistently, it becomes a practical tool for studying motor control, rehabilitation progress, and skill refinement, especially when the goal is improving timing, coordination, and efficiency rather than raw strength.


If your interest comes from physiotherapy, this approach aligns well with modern motor learning principles. It supports external observation, objective feedback, and gradual refinement without overloading the patient or practitioner with complex instrumentation.


I hope this gives you a clear picture of what can be done, and why it is both technically sound and clinically relevant.

My next step is to convert it to true 3D perception.







As an Amazon Associate I earn from qualifying purchases.

Shobudo new year's resolutions and goals

 Yesterday, Kevin Cummings Sensei and Michael Morris Master Sensei mentioned that they trained under Matt Sensei. Our Shōbudō(尚武道)karate traces its lineage to Toyama Kanken’s Toyama-ryū(當山流), transmitted through Shūdōkan dōjō(修道館道場)in Naha, Okinawa(沖縄). At this point, I do not yet have further details.

To my pleasant surprise, as a 2026 new year's resolution, Sensei discussed tradition, discipline and the use of Japanese language. I really welcome it because as a student of cultural anthropology of East Asia, ex-U.S. Marine I am a traditionalist and I dislike the current trend of "Mc-dojos".

Seiretsu(整列) Line up! Students line up in sempai(先輩)to kōhai(後輩)order on a single line, by belt rank first and age second, juniors closer to the door.

Musubi-dachi(結び立ち) Attention stance. Heels together, toes slightly apart, used when receiving formal instruction and during opening and closing.

Hachiji-dachi(八字立ち) Ready stance. Feet shoulder-width apart, forming a stable hourglass shape, used while awaiting the next command.

Shōmen ni rei(正面に礼) Bow to the front. A formal bow toward the shōmen(正面)of the dōjō(道場).

Sensei ni rei(先生に礼) Bow to the instructor. A formal bow directed to the sensei(先生)leading the class.

Onegai shimasu(お願いします) Spoken before training begins. A formal request to train together under instruction.



As an Amazon Associate I earn from qualifying purchases.

shijū ichi 始 終 一



Literal meaning:


  • 始 (shi), beginning
  • 終 (jū), end
  • 一 (ichi), one


Taken together, the phrase points to a single, unbroken continuity from beginning to end. The start and the finish are not separate. They are held within one line, one mind, one action.




This idea appears often in Zen and in martial traditions, even when the exact phrase varies. You may know the fuller expression 始終一貫 (shijū ikkan), meaning consistency from start to finish. Here, the calligrapher has stripped the idea down further, removing explanation and leaving only the spine of the thought.


In practice, this speaks directly to budō, kata, and daily discipline. A movement is already complete at its start. The bow, the first step, the final posture, all belong to the same act. There is no rushing toward the end and no attachment to the beginning.


Visually, the brushwork reinforces the message. The strokes are confident but not decorative. The spacing is generous, allowing each character to breathe. This is not meant to impress. It is meant to remind.


Placed in a tokonoma or dōjō, this scroll quietly instructs without words. Begin correctly. Continue without wavering. Finish as you began. All of it is one.




As an Amazon Associate I earn from qualifying purchases.

jita kei 自他敬

 自他敬

jita kei


Literal meaning:

Self and others, respect.


Natural interpretation:

Respect yourself, and respect others.





This phrase is commonly used in Okinawan and Japanese martial arts contexts. It expresses an ethical foundation rather than a technique: cultivation of dignity, humility, and mutual respect.




As an Amazon Associate I earn from qualifying purchases.

Machida-sensei













 

 



As an Amazon Associate I earn from qualifying purchases.

Shobudo

 


1. Entering the dōjō (道場)



The etiquette begins before stepping on the floor.


  • Bow at the entrance
    rei (礼), a simple standing bow.
    Purpose: acknowledge the training place and leave daily life behind.
  • Say quietly:
    onegai shimasu (お願いします)
    Meaning: I ask for your guidance.
  • Adjust gi (着) and obi cleanly
    No snapping, no dramatic gestures.






2. Lining up



Commands you will hear:


  • Seiretsu (整列) – line up
  • Chakuza (着座) or seiza (正座) – sit
  • Mokusō (黙想) – quiet reflection
  • Mokusō yame (黙想止め) – end meditation
  • Shōmen ni rei (正面に礼) – bow to the front
  • Sensei ni rei (先生に礼) – bow to the instructor



After bowing, everyone says again:

onegai shimasu (お願いします)


At the end of class:

arigatō gozaimashita (ありがとうございました)





3. Basic training commands



  • Hajime (始め) – begin
  • Yame (止め) – stop
  • Yoi (用意 / 準備) – ready
  • Mawatte (回って) – turn around
  • Kamae (構え) – guard posture
  • Kiai (気合) – spirited shout
  • Naore (直れ) – return to natural stance
  • Kōtai (交代) – switch partners






4. Directions and levels



  • Migi (右) – right
  • Hidari (左) – left
  • Mae (前) – front
  • Ushiro (後ろ) – back
  • Ue / jōdan (上段) – high
  • Chūdan (中段) – middle
  • Gedan (下段) – low






5. Stances (立ち, dachi) used in Shūdōkan



  • Heisoku-dachi (閉足立ち) – feet together
  • Heikō-dachi (平行立ち) – parallel stance
  • Zenkutsu-dachi (前屈立ち) – front stance
  • Shuto-dachi (手刀立ち) – L-stance
  • Neko-ashi-dachi (猫足立ち) – cat stance
  • Tsuru-ashi-dachi (鶴足立ち) – crane stance
  • Usoku-dachi (右足立ち) – lean-away stance (unique to your dojo context)






6. Strikes and blocks used in your Keishin kata



  • Oi-tsuki (追い突き) – lunge punch
  • Gyaku-tsuki (逆突き) – reverse punch
  • Mae-geri (前蹴り) – front kick
  • Shuto-uke (手刀受け) – knife-hand block
  • Shuto-tsuki (手刀突き) – knife-hand strike
  • Gedan-barai (下段払い) – low sweep block
  • Age-uke (上げ受け) – rising block
  • Nukite (貫手) – spear-hand strike
  • Tettsui-uchi (鉄槌打ち) – hammer-fist
  • Nijū-uke (二重受け) – double block






7. Common dojo phrases



These are used in Shūdōkan just as in traditional Okinawan karate.


  • Osu / Oss (押忍) – acknowledgment, respect, I understand
    (Not shouted, used with awareness.)
  • Ganbatte (頑張って) – do your best
  • Hai (はい) – yes
  • Wakatta (分かった) – understood






8. Etiquette during partner work



  • Bow before and after each drill
    rei (礼)
  • Say
    onegai shimasu before,
    arigatō gozaimashita after.
  • Never correct another student unless you outrank them and the sensei delegated instruction.
  • Keep full control.
    Shūdōkan emphasizes form and safety, not impact.






9. Etiquette specific to kata practice



  • Announce kata name clearly:
    Keishin! (敬心)
  • Begin from heisoku-dachi.
  • Stay quiet unless asked.
  • After finishing,
    naore and rei.






10. Vocabulary list (clean alphabetical list)



This is ready for your Obsidian file.


age-uke 上げ受け – rising block

arigatō gozaimashita ありがとうございました – thank you very much

barai 払い – sweep

chūdan 中段 – middle level

eri 襟 – collar

gedan 下段 – low level

gedan-barai 下段払い – low sweep block

gyaku-tsuki 逆突き – reverse punch

hai はい – yes

hajime 始め – begin

heikō-dachi 平行立ち – parallel stance

heisoku-dachi 閉足立ち – feet together

hidari 左 – left

hikite 引き手 – pulling hand

jōdan 上段 – high

kamae 構え – guard posture

kiai 気合 – spirited shout

mae-geri 前蹴り – front kick

migi 右 – right

mokusō 黙想 – quiet reflection

nankuru naisa なんくるないさ – it will be ok (Okinawan spirit, optional)

naore 直れ – return to natural stance

neko-ashi-dachi 猫足立ち – cat stance

nijū-uke 二重受け – double block

nukite 貫手 – spear-hand

oi-tsuki 追い突き – lunge punch

onegai shimasu お願いします – please guide me

rei 礼 – bow

seiretsu 整列 – line up

seiza 正座 – kneeling

sensei ni rei 先生に礼 – bow to instructor

shomen ni rei 正面に礼 – bow to front

shuto 手刀 – knife-hand

shuto-dachi 手刀立ち – L-stance

shuto-tsuki 手刀突き – knife-hand strike

shuto-uke 手刀受け – knife-hand block

tsuru-ashi-dachi 鶴足立ち – crane stance

usoku-dachi 右足立ち – lean-away stance

yame 止め – stop

yoi 用意 – ready

zenkutsu-dachi 前屈立ち – front stance




As an Amazon Associate I earn from qualifying purchases.

apt quotation..