Reciprocal action - Revision history

YellowHatGuy at 20:57, 8 July 2018

2018-07-08T20:57:11Z

YellowHatGuy at 19:18, 5 January 2018

2018-01-05T19:18:00Z

YellowHatGuy at 19:16, 5 January 2018

2018-01-05T19:16:52Z

YellowHatGuy at 19:16, 5 January 2018

2018-01-05T19:16:23Z

YellowHatGuy at 18:59, 5 January 2018

2018-01-05T18:59:40Z

YellowHatGuy: Blanked the page

2018-01-05T18:48:40Z

Blanked the page

YellowHatGuy at 18:48, 5 January 2018

2018-01-05T18:48:06Z

YellowHatGuy at 18:47, 5 January 2018

2018-01-05T18:47:17Z

YellowHatGuy at 18:46, 5 January 2018

2018-01-05T18:46:51Z

YellowHatGuy: Created page with "right '''The Eight Points of Harmony''' represent the eight directions which attacks can come from -- and the eight directions that one can move..."

2018-01-05T18:46:09Z

Created page with "right '''The Eight Points of Harmony''' represent the eight directions which attacks can come from -- and the eight directions that one can move..."

New page

[[File:Points_of_Harmony.png|right]]
'''The Eight Points of Harmony''' represent the eight directions which attacks can come from -- and the eight directions that one can move to stop these attacks. Although people can move or attack from any direction, we will limit ourselves to eight directions at first, until all of our biomechanics lessons have sunk into your muscle memory. There is one Point of Harmony for each of the cardinal points of the 2-D plane you are currently atop. As such, aerial bombardments, [[https://www.youtube.com/watch?v=aCbfMkh940Q|orbital strikes]], and [[https://www.youtube.com/watch?v=aCbfMkh940Q|subterranean mole-person attacks]] will not be addressed in this art.

One wall of your dōjō needs to be arbitrarily declared the #1 wall, and some subtle and tasteful wall art is usually hung there to denote that it is special. Since this wall art is usually a portrait of a martial art’s founder (joseki), the #1 wall is commonly called a “joseki wall.” Ideally, the joseki wall will face the door. From there, the corners and walls are each numbered in a counterclockwise fashion. '''Please note that this numbering scheme is entirely arbitrary and devoid of symbolism'''; these numbers could be exchanged for compass points without any real loss of meaning.

Karate is primarily taught through a series of solo exercise sets, called [Kata|kata]. The directions on how to perform the kata (e.g., where to put what foot and how, etc.), will be described using this convention. Non-square rooms can still be used as a practice space (“any place can be a [[Dōjō|dōjō]]”), by marking a square on the floor with tape to allow correct orientation. Move with respect to the square, and not to the room. (New people often struggle with this.)
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 Unlike most other striking arts, there is a peculiar component to karate techniques -- '''hikite''' (literally: “pulling hand”). '''As one hand drives outward to perform a technique, the other hand must pull back inward.''' This is why within [[Goshin-Jutsu]], hikite is referred to as '''reciprocal action''', because your arms reciprocate like the pistons in a gasoline engine. Many practitioners of other striking arts criticize karateka for pulling their opposite-side hands to their hip, instead of using it to cover their head. However, the advantages of hikite far outweigh that of using your arms as a temporary meat shield. These advantages include:
-#'''Fewer exploitable openings'''. While throwing a technique, the opposite-side hand pulls back to set up (“rechamber”) the next technique. By reloading one gun as the other shoots, constant fire can be achieved.
+#'''Improved balance.''' A punch's momentum can pull people off-balance. This is why most people lean forward as they punch, and this excess motion wastes energy and creates exploitable openings. Pulling the opposite-side hand to the hip counter-rotates the torso, leading to improved stability.
-#'''Optimized power.''' You can’t push down on both pedals when riding a bike -- one must push, while the other does nothing. Otherwise, half of your body will fight against the other half, and your strength will be countered by itself. Thus, to maximize efficiency, when one side of the body does something, the other side must do the opposite.
+#'''Fewer exploitable openings'''. While throwing a technique, the opposite-side hand pulls back to set up (or “rechamber”) the next technique. By reloading one gun as the other shoots, continuous fire can be achieved.
-#'''Augmented striking power.''' The act of grabbing and rechambering will pull the opponent into your incoming counterattack. In addition to merely punching your opponent in the face, reciprocal action forces the opponent to smash your fist with their face. Reciprocal action causes simple fender-benders to become head-on collisions.
+#'''Balance breaking.''' Any hand technique can become a grab, since the hand is conveniently there. By grabbing and rechambering, reciprocal action pull opponents off-balance, rendering them less able to intelligently defend or counterattack.
-#'''Improved balance.''' The forward momentum of a punch can pull people off-balance. This is why most people lean forward as they punch, which creates excess motion that wastes energy and creates exploitable openings. Pulling the opposite-side hand to the hip generates momentum in the opposite direction, counterbalancing the punch for improved stability.
+#'''Augmented striking power.''' The act of grabbing and rechambering pulls the opponent into your incoming counterattack. In addition to merely punching your opponent in the face, reciprocal action forces the opponent to smash your fist with their face. Reciprocal action causes simple fender-benders to become head-on collisions.
 #'''[https://en.wikipedia.org/wiki/Defence_in_depth Defense-in-depth] against sneak attacks.''' Reciprocal action can be interpreted as a [[Elbow_strikes#Rear_elbow_strike|rear elbow strike]] to a second opponent sneaking up from behind.
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-Unlike most other striking arts, there is a peculiar component to karate techniques -- '''hikite''' (literally: “pulling hand”). As one hand drives outward to perform a technique, the other hand must pull back inward. This is why within [[Goshin-Jutsu]], hikite is referred to as '''reciprocal action''', because your arms reciprocate like the pistons in a gasoline engine. Many practitioners of other striking arts criticize karateka for pulling their opposite-side hands to their hip, instead of using it to cover their head. However, the advantages of hikite far outweigh that of using your arms as a temporary meat shield. These advantages include:
+Unlike most other striking arts, there is a peculiar component to karate techniques -- '''hikite''' (literally: “pulling hand”). '''As one hand drives outward to perform a technique, the other hand must pull back inward.''' This is why within [[Goshin-Jutsu]], hikite is referred to as '''reciprocal action''', because your arms reciprocate like the pistons in a gasoline engine. Many practitioners of other striking arts criticize karateka for pulling their opposite-side hands to their hip, instead of using it to cover their head. However, the advantages of hikite far outweigh that of using your arms as a temporary meat shield. These advantages include:
 #'''Fewer exploitable openings'''. While throwing a technique, the opposite-side hand pulls back to set up (“rechamber”) the next technique. By reloading one gun as the other shoots, constant fire can be achieved.
 #'''Optimized power.''' You can’t push down on both pedals when riding a bike -- one must push, while the other does nothing. Otherwise, half of your body will fight against the other half, and your strength will be countered by itself. Thus, to maximize efficiency, when one side of the body does something, the other side must do the opposite.

@@ Line 5: / Line 5: @@
 #'''Improved balance.''' The forward momentum of a punch can pull people off-balance. This is why most people lean forward as they punch, which creates excess motion that wastes energy and creates exploitable openings. Pulling the opposite-side hand to the hip generates momentum in the opposite direction, counterbalancing the punch for improved stability.
 #'''Balance breaking.''' Any hand technique can become a grab, since the hand is conveniently there. By grabbing and rechambering, reciprocal action will pull an opponent off-balance, rendering them less able to put up an intelligent counterattack or defense.
-#'''[[https://en.wikipedia.org/wiki/Defence_in_depth Defense-in-depth]] against sneak attacks.''' Reciprocal action can be interpreted as a [[Elbow_strikes#Rear_elbow_strike|rear elbow strike]] to a second opponent sneaking up from behind.
+#'''[https://en.wikipedia.org/wiki/Defence_in_depth Defense-in-depth] against sneak attacks.''' Reciprocal action can be interpreted as a [[Elbow_strikes#Rear_elbow_strike|rear elbow strike]] to a second opponent sneaking up from behind.
 ----
 {{Navigation}}

@@ Line 1: / Line 1: @@
-Unlike most other striking arts, there is a peculiar component to karate techniques -- '''hikite''' (literally: “pulling hand”). As one hand drives outward to perform a technique, the other hand must pull back inward. This is why within Goshin-Jutsu, hikite is referred to as '''reciprocal action''', because your arms reciprocate like the pistons in a gasoline engine. Many practitioners of other striking arts criticize karateka for pulling their opposite-side hands to their hip, instead of using it to cover their head. However, the advantages of hikite far outweigh that of using your arms as a temporary meat shield. These advantages include:
+Unlike most other striking arts, there is a peculiar component to karate techniques -- '''hikite''' (literally: “pulling hand”). As one hand drives outward to perform a technique, the other hand must pull back inward. This is why within [[Goshin-Jutsu]], hikite is referred to as '''reciprocal action''', because your arms reciprocate like the pistons in a gasoline engine. Many practitioners of other striking arts criticize karateka for pulling their opposite-side hands to their hip, instead of using it to cover their head. However, the advantages of hikite far outweigh that of using your arms as a temporary meat shield. These advantages include:
 #'''Fewer exploitable openings'''. While throwing a technique, the opposite-side hand pulls back to set up (“rechamber”) the next technique. By reloading one gun as the other shoots, constant fire can be achieved.
 #'''Optimized power.''' You can’t push down on both pedals when riding a bike -- one must push, while the other does nothing. Otherwise, half of your body will fight against the other half, and your strength will be countered by itself. Thus, to maximize efficiency, when one side of the body does something, the other side must do the opposite.
-#'''Augmented striking power.''' The act of grabbing and rechambering will pull the opponent into your incoming counterattack. Instead of merely punching your opponent in the face, reciprocal action forces the opponent to smash your fist with their face. Reciprocal action causes simple fender-benders to become head-on collisions.
+#'''Augmented striking power.''' The act of grabbing and rechambering will pull the opponent into your incoming counterattack. In addition to merely punching your opponent in the face, reciprocal action forces the opponent to smash your fist with their face. Reciprocal action causes simple fender-benders to become head-on collisions.
 #'''Improved balance.''' The forward momentum of a punch can pull people off-balance. This is why most people lean forward as they punch, which creates excess motion that wastes energy and creates exploitable openings. Pulling the opposite-side hand to the hip generates momentum in the opposite direction, counterbalancing the punch for improved stability.
 #'''Balance breaking.''' Any hand technique can become a grab, since the hand is conveniently there. By grabbing and rechambering, reciprocal action will pull an opponent off-balance, rendering them less able to put up an intelligent counterattack or defense.
-#'''Additional defense against sneak attacks.''' Reciprocal action can be interpreted as a rear elbow to a second opponent sneaking up from behind.
+#'''[[https://en.wikipedia.org/wiki/Defence_in_depth Defense-in-depth]] against sneak attacks.''' Reciprocal action can be interpreted as a [[Elbow_strikes#Rear_elbow_strike|rear elbow strike]] to a second opponent sneaking up from behind.
 ----
 {{Navigation}}

← Older revision	Revision as of 18:59, 5 January 2018
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−	+	Unlike most other striking arts, there is a peculiar component to karate techniques -- '''hikite''' (literally: “pulling hand”). As one hand drives outward to perform a technique, the other hand must pull back inward. This is why within Goshin-Jutsu, hikite is referred to as '''reciprocal action''', because your arms reciprocate like the pistons in a gasoline engine. Many practitioners of other striking arts criticize karateka for pulling their opposite-side hands to their hip, instead of using it to cover their head. However, the advantages of hikite far outweigh that of using your arms as a temporary meat shield. These advantages include:
	+	#'''Fewer exploitable openings'''. While throwing a technique, the opposite-side hand pulls back to set up (“rechamber”) the next technique. By reloading one gun as the other shoots, constant fire can be achieved.
	+	#'''Optimized power.''' You can’t push down on both pedals when riding a bike -- one must push, while the other does nothing. Otherwise, half of your body will fight against the other half, and your strength will be countered by itself. Thus, to maximize efficiency, when one side of the body does something, the other side must do the opposite.
	+	#'''Augmented striking power.''' The act of grabbing and rechambering will pull the opponent into your incoming counterattack. Instead of merely punching your opponent in the face, reciprocal action forces the opponent to smash your fist with their face. Reciprocal action causes simple fender-benders to become head-on collisions.
	+	#'''Improved balance.''' The forward momentum of a punch can pull people off-balance. This is why most people lean forward as they punch, which creates excess motion that wastes energy and creates exploitable openings. Pulling the opposite-side hand to the hip generates momentum in the opposite direction, counterbalancing the punch for improved stability.
	+	#'''Balance breaking.''' Any hand technique can become a grab, since the hand is conveniently there. By grabbing and rechambering, reciprocal action will pull an opponent off-balance, rendering them less able to put up an intelligent counterattack or defense.
	+	#'''Additional defense against sneak attacks.''' Reciprocal action can be interpreted as a rear elbow to a second opponent sneaking up from behind.
	+	----
	+	{{Navigation}}

← Older revision		Revision as of 18:48, 5 January 2018
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−	~~[[File:Points_of_Harmony.png\|right]]~~
−	'''The Eight Points of Harmony''' represent the eight directions which attacks can come from -- and the eight directions that one can move to stop these attacks. Although people can move or attack from any direction, we will limit ourselves to eight directions at first, until all of our biomechanics lessons have sunk into your muscle memory. There is one Point of Harmony for each of the cardinal points of the 2-D plane you are currently atop. As such, aerial bombardments, [https://www.youtube.com/watch?v=aCbfMkh940Q\|orbital strikes], and [https://www.youtube.com/watch?v=aCbfMkh940Q\|subterranean mole-person attacks] will not be addressed in this art.

−	One wall of your dōjō needs to be arbitrarily declared the #1 wall, and some subtle and tasteful wall art is usually hung there to denote that it is special. Since this wall art is usually a portrait of a martial art’s founder (joseki), the #1 wall is commonly called a “joseki wall.” Ideally, the joseki wall will face the door. From there, the corners and walls are each numbered in a counterclockwise fashion. '''Please note that this numbering scheme is entirely arbitrary and devoid of symbolism'''; these numbers could be exchanged for compass points without any real loss of meaning.
−
−	Karate is primarily taught through a series of solo exercise sets, called [[Kata\|kata]]. The directions on how to perform the kata (e.g., where to put what foot and how, etc.), will be described using this convention. Non-square rooms can still be used as a practice space (“any place can be a [[Dōjō\|dōjō]]”), by marking a square on the floor with tape to allow correct orientation. Move with respect to the square, and not to the room. (New people often struggle with orienting themselves.)
−	~~----~~
−	~~{{Navigation}}~~

@@ Line 4: / Line 4: @@
 One wall of your dōjō needs to be arbitrarily declared the #1 wall, and some subtle and tasteful wall art is usually hung there to denote that it is special. Since this wall art is usually a portrait of a martial art’s founder (joseki), the #1 wall is commonly called a “joseki wall.” Ideally, the joseki wall will face the door. From there, the corners and walls are each numbered in a counterclockwise fashion. '''Please note that this numbering scheme is entirely arbitrary and devoid of symbolism'''; these numbers could be exchanged for compass points without any real loss of meaning.
-Karate is primarily taught through a series of solo exercise sets, called [[Kata|kata]]. The directions on how to perform the kata (e.g., where to put what foot and how, etc.), will be described using this convention. Non-square rooms can still be used as a practice space (“any place can be a [[Dōjō|dōjō]]”), by marking a square on the floor with tape to allow correct orientation. Move with respect to the square, and not to the room. (New people often struggle with this.)
+Karate is primarily taught through a series of solo exercise sets, called [[Kata|kata]]. The directions on how to perform the kata (e.g., where to put what foot and how, etc.), will be described using this convention. Non-square rooms can still be used as a practice space (“any place can be a [[Dōjō|dōjō]]”), by marking a square on the floor with tape to allow correct orientation. Move with respect to the square, and not to the room. (New people often struggle with orienting themselves.)
 ----
 {{Navigation}}

@@ Line 1: / Line 1: @@
 [[File:Points_of_Harmony.png|right]]
-'''The Eight Points of Harmony''' represent the eight directions which attacks can come from -- and the eight directions that one can move to stop these attacks. Although people can move or attack from any direction, we will limit ourselves to eight directions at first, until all of our biomechanics lessons have sunk into your muscle memory. There is one Point of Harmony for each of the cardinal points of the 2-D plane you are currently atop. As such, aerial bombardments, [[https://www.youtube.com/watch?v=aCbfMkh940Q|orbital strikes]], and [[https://www.youtube.com/watch?v=aCbfMkh940Q|subterranean mole-person attacks]] will not be addressed in this art.
+'''The Eight Points of Harmony''' represent the eight directions which attacks can come from -- and the eight directions that one can move to stop these attacks. Although people can move or attack from any direction, we will limit ourselves to eight directions at first, until all of our biomechanics lessons have sunk into your muscle memory. There is one Point of Harmony for each of the cardinal points of the 2-D plane you are currently atop. As such, aerial bombardments, [https://www.youtube.com/watch?v=aCbfMkh940Q|orbital strikes], and [https://www.youtube.com/watch?v=aCbfMkh940Q|subterranean mole-person attacks] will not be addressed in this art.
 One wall of your dōjō needs to be arbitrarily declared the #1 wall, and some subtle and tasteful wall art is usually hung there to denote that it is special. Since this wall art is usually a portrait of a martial art’s founder (joseki), the #1 wall is commonly called a “joseki wall.” Ideally, the joseki wall will face the door. From there, the corners and walls are each numbered in a counterclockwise fashion. '''Please note that this numbering scheme is entirely arbitrary and devoid of symbolism'''; these numbers could be exchanged for compass points without any real loss of meaning.