Self-Protection

What Is the Art in Martial Art?

Someone recently told me that karate could not be viewed only through the lens of self-defense. Karate, he said, is also an art. I am not entirely sure that he trains his own karate for self-defense, but that is perhaps beside the point. His comment raises a question that is rarely asked. What does “art” […]

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The Danger of False Confidence

I was shown a video recently of a child being taught how to escape from an adult’s grab. The intention may have been good. But the method being shown was deeply flawed. It was the kind of technique that can look convincing in a calm demonstration. The adult holds the child’s arm in a certain

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If It Doesn’t Serve the Purpose

Kata, kihon, and two-person drills are all part of the language of karate. Each has value. Each has a place. But none of them should exist in isolation, and none of them should be kept simply because they have always been there. Karate has changed over time. It has been taught for physical education, discipline,

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When Simplicity Holds the Lesson

I’m sure many of you have a favorite kata. I know I do. Several, actually. There are certain kata we keep going back to, sometimes because they feel good to perform, sometimes because they keep revealing something new, and sometimes because they simply stay with us. For me, Naihanchi is one of those kata. Simple

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When the Label Says Self-Defense

Social media algorithms are a strange phenomenon. Lately, mine seem to be filled with video clips of karate students, including black belts, spending an extraordinary amount of time perfecting stances, hand positions, hip alignment, and body posture. The hikite hand placed just so. The open front hand measured, corrected, and adjusted until it matches someone’s

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Empty Hands, Armed Assumptions

Karate is translated as “empty hand”. Karate-do, the way of the empty hand. Most karateka know, at least in general terms, that the older characters for karate referred to “China hand”, and that the later change to “empty hand” helped reshape the art for a different time, a different audience, and a different cultural setting.

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Waiting for the Attack

Someone once told me that if you do not wait for an attack, or at least attack and defend at the same time, then you have effectively become the attacker. His argument was that we can never truly know the exact method of attack, so we should wait. The exact method? Perhaps not. We may

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