Maila school of martial arts

we having a open day active free and open to the public from 3pm to 9pm come have a session with me if u can

Old School Karate Recipe:
1) PACE OF KATA
You must slow down the pace of Kata to a normal walking pace. NO RUSH. Stop being aware of your kata from the outside, only concern yourself from the inside. Do not care about how you look to others. You must be able to listen to your kata, it wants to talk to you and teach you, if you are ready to learn.
2) SPEED OF MOVEMENTS
Do not move in over-speedy "REACTIVE" mode, your opponent controls you here. The speed in which you move your body from point to point, is NOT important, SLOW DOWN. Speed Kills in the higways and also it kills your kata. Only when you KIME, then you apply speed to that very small part of the move. You do not need to match your opponent's speed in order to make timing, think about this, timing uses the speed it needs and no more. Your Karate cannot be measured by speed alone, for if your opponent is faster you loose, same as power, if your opponent is stronger than you, and you measure your Karate on strength (like speed) you also loose.
3) TIMING IS EVERYTHING
TIMING is more important than Speed. Apply your Kime with timing, then you will become truly fast.
4) OSAE BRINGS KATA TO LIFE
Apply "OSAE" to all transitions of Kata. With Osae you control the tempo and the situation. Osae can be applied both forward and backward. With Osae you develop Bushi character, without it you are an OPEN target to your opponent. With Osae applied you will not be open and you will force your opponent to react to you (instead of the other way around). Also as you walk into your opponent, he will either backup or fight you, but because you control the situation, you will HAVE AN ADVANTAGE. Some moves may not have the use of hands in the Osae, this is Ok especially when in some part of Kata, in this case your Osae is with your chest and Kimochi (your feeling).
5) TIMING of HAND
Blocking hand/arm "direct-path-to-target". Avoid exaggerated "wrapping" of arms, techniques do not need a precursor or preparatory move, you do not prepare to defend or attack, you just do it. You always go directly towards the opponent. Get close to target in a normal speed, not fast nor slow, approach the point of interception and apply 100% Kime and Kikomi, this is TIMING.
6) BREATHING RHYTHM "IKI no Hyoshi"
Follow your own breathing rhythm rather than your opponents, if you adjust to your opponents breathing you have lost control leaving you vulnerable. Use short/forceful "audible" exhale with Kime. You cannot go silent, you must exhale with explosive force equal to the force applied in your Kime, if it is not equitable you are not in synch. General guideline for breathing in kata: When you begin a technique, you inhale, as you reach the point of contact you smoothly transition from inhale to a forceful exhale to go along with your kime/kikomi.
7) KOSHI (HIP)
Koshi is to be applied on impact just like Kime, not at the beginning of the technique, otherwise you loose power when the technique gets there. Koshi-Kime-Impact at same time. Become aware of "firing Koshi" too early. Some techniques may not require any Koshi - remember this. Also do not exaggerate the use of Koshi.
😎 HARA
Hara is to be applied constantly. Physical Hara (lower abdomen) to be pressed into technique upon timing point when Kime (body tightening) and Kikomi (pe*******on) are applied. Hara is the center of balance point in your body. When you move, you move using your Hara, you project your Hara point forward and out 45 degrees down. Your power is magnified with Hara by aligning the body and transmitting your weight and force.
9) KIME & KIKOMI
Kime at the last part of stroke, No over travel, set up short path "approach". Kime is to be applied on impact, not before. Like the "energy exercises" every move has a built-in energy exercise in it (same thing as Kime, the moment when you squeeze and tighten your entire body). Kime requires these elements: Breath, Koshi and Hara, then Kime can be done correctly. Along with Kime, you need "Kikomi" or pe*******on. Kikomi refers to entering the opponents body with your technique, without Kikomi your technique will not work.
Note: Sports Karate has no Kime since it does not use Hara, of Kikomi in sparring since there is never any contact.
10) MIND "No Mind"- Mushin
The mind is NOT to be in charge, do not use the mind to fight your opponent, your mind is in neutral and allows for instinct-based, instantaneous, unplanned movement and technique to emerge from within your emptiness.
11) REVERSE SHOULDER or "Reverse Lock up"
Reverse shoulder motion when applicable in order to apply torso counter-rotation with the technique you are using. It allows multiple fulcrum points in the body to be used to allow leverage and force to be transfered and applied to the waza so that you are using your whole body in the application.
12) NEKO ASHI DACHI
50/50% weight on Neko-Ashi, not 90/10% as is popular today (this is sports), front foot open (25-35 degrees), the front foot lands flat and then when applying technique the heel comes up a little bit, the Hara is projected forward and down as the entire body drops 1 or 2 inches. The tension in the arc between the legs is magnified. When you step in Neko dachi, land with the heel and roll into the flat of the foot, this allows your weight to transfer smoothy. When you land in Neko Ashi be at 50/50%, when you execute transfer to 70/30% (70 on the front foot).
Itosu Sensei said that we should move with our hara / tanden. To do this as we walk, we need to take each step with our toes pointing outward about 45 degrees. If we step with our toes pointing forward, we will be bouncing as we are walking. The toes are the obstruction, and we need to have the toes pointing outward to keep our weight from going over the toes.
13) GRIPPING "NIGIRI-KOMI"
Practice re-gripping constantly. To develop strength, fingers, wrist, and to set the fist and forearm right before you impact. In REAL karate you grab your opponent by his hand, arm, hair, ear, throat, neck, elbow, clothing, what ever you can get your hands on, and when you do you paralyze him by the strength of the "vice-grip" like grip of your hand. The grip has been lost in modern sports karate, it is in old school karate. We need to bring it back as a primary "precursor" technique. When practicing gripping always do it right before the technique (not during the technique). Focus on the first two fingers so your index knuckle is the tightest, but make sure the pinky finger also is wrapped fully and tight (don't let it stick out).
14) KATA IS REAL FIGHTING
All movements done with 100% power on Kime. This is how you "FIGHT thru your Kata" with the heart of a Bushi, Breath, Koshi, Hara, Osae, Kime and Kikomi. Otherwise you are imitating Karate, not really doing it.
15) CHARACTER OF A KARATE-KA
Practice Bushi Awareness & character in Kata and in class. Character must be pressed forward or projected like a knife, it is the way to defeat your opponent with one "stare of your eyes", without this you are NOT serious about your Karate, you are playing a game.
16) FIGHTING and Walking-in method
The Walk-in method is a Budo concept and it is only for actual combat. It lends itself to 'ippon kowashi no waza' (one technique to destroy). This leads to the study of each technique offensive or defensive being decisive. Your Kata training and study should encompass this. It is in many cases tied-in with maai, which is about distance or range. In general you are 3 steps away from your opponent as you walk in to him, as you approach, your goal is always to take him out. There are 3 possible scenarios:
1) If he freezes and does nothing, you take him out as planned.
2) If he retreats out of fear/intimidation you have won.
3) If he attacks you as you approach you neutralize his "forced attack" and take him out as planned.
The idea here is that you have taken away the "initiative" while you are in control, also as you walk in, you put him in a situation of defense and "wait to see what you are doing", when it is too late (around step 2) he will be overcome with anxiety and most likely throw an unplanned/rushed attack which is much easier to deal with for the one walking in. In addition at this point you have defeated him mentally and spiritually.
Here it is the "Walk-in method" described by the great swordsman Miyamoto Musashi said in his "Book of Five Rings", "Move straight into the opponent. Do not adjust to the opponent. Let the opponent adjust to you. As the opponent adjusts to you, cut him down."
PRINCIPLES
Atifa
Atifa is the skill to send the shock of a kick or punch all the way through the opponent's body. On the surface this may sound simple. In fact the skill of Atifa can be very complex in understanding. Sending a shock wave through an opponent can be done in regard to the body's ki and vital striking points. This can involve the development of striking weapons which are meticulously developed by the Karate-ka. Strength, speed, and focus of striking techniques, especially the weapon can achieve Atifa. It should be considered a skill basic to the practice of karate. Focus of ki on the weapon is vital to this application. This is to say the mental and physical skills become one. The flow of ki is mechanized in this process.
Chinkuchi
Chinkuchi is an Okinawan word meaning "Tendons/Muscles & Bones". It refers to the last instant before contact is made when the skeletal structure becomes correctly aligned, all the agonistic muscles are very suddenly and sharply contracted, and the muscles which stabilize the relevant joints are engaged to an appropriate degree. It differs from kime in that it doesn't involve all muscles equally and depends on structural alignment and stability from connective tissues. Chinkuchi is a physical conditioning process and focus of mind and body, which employs the skeletal muscle system, sinew, connective tissue, and balance to hasten and strengthen the striking velocity or absorption of a karate blow. The physical act of employing chinkuchi in karate moves is to help enable the practitioner to brace himself for the impact of a blow, protect his joints from hyperextension, and add strength and speed to the technique.
Muchimi
Muchimi is an Okinawan word with many meanings such as subtle, flexible and resilient. It comes from the word “muchi” which is an Okinawan pastry which uses a dough that is thick, heavy, and very sticky before it is baked. Muchimi refers to the ability to stick or “adhere to your opponent”, to feel and move with him while being flexible and strong much like a bamboo stick. Muchimi also represents a “quiet” power that is unseen but certainly felt by your opponent much like ocean waves represent hard power contained in something soft. Muchimi power is felt like the snapping of a wet towel, it is soft but can be snapped with whip-like force if moved suddenly. Muchimi is at the core of a Karate master;s defense and offense.
Remember this old saying:
The study of Karate is the study of Kata. If you want to improve your fighting, you need to practice and study Kata.

in maila school of martial arts we practice kobujutsu with integrated karate and they really shouldn’t be separated, and Tai Chi it’s kind of a mixture of hard & soft... if you're doing karate/kobujutsu focus on your "physical aspects of the art" that is technique, power and so on, but if you're doing more of so-called "soft arts" e.g. tai chi then focus on the meditative/therapeutic aspects more!!! you'll find that one posture or technique can be practiced and analyzed for many years and still teach you so much more....

We train hard,we train with heart

dont worry about how you did today,
dont worry about how you going to to do tomorrow,
let go of perfection,
trust the process,
trust your sensei...

Just my point of view!!!! OKAY we do kobujutsu with integrated karate and they really shouldn’t be separated, and Tai Chi it’s kind of a mixture of hard & soft... if you're doing karate/kobujutsu focus on your "physical aspects of the art" that is technique, power and so on, but if you're doing more of so-called "soft arts" e.g. tai chi then focus on the meditative/therapeutic aspects more!!! you'll find that one posture or technique can be practiced and analyzed for many years and still teach you so much more....

TAI CHI is the future CROSSFITNESS

As sansei Isaac says, always train with the "HEART"/"SHIN"...
the importance of SHOSHIN-training with an open minded attitude