Each style or art of self defense has at its root, theory and principles. This is the part of anyones art that can not be taught. You can learn techniques, but to learn the essence of ones art you must feel it. You can not teach feeling you must experience it for yourself. This feeling is where your art begins to separate the beginner from the master. An art, in time, and hard work, should produce an artist. When I first learned Karate, my kata was filled with blocks. In time, when I began to spar, I would use these blocks, and at times they would work. What became very apparent to me after a while was the fact that these blocks did not work well with the more experienced students, and almost never when sparring my Sensei. Some how when we sparred Sensei, he was never where he was suppose to be when we attacked him, but always showed up to cream us. So I guess the question we are all asking and defining here is, are there blocks or not? I would have to say yes but not the same as when I learned them. As a novice a block was a block, but as I advanced and started to practice the more advanced kata, I discovered proper foot work along with proper body shifting would transfer my blocks into a whole new realm. With the opening of the hand when blocking and a more circular approach derived from the advanced kata my blocks started to blend with strikes. When doing drills the blocks turned into traps and deflections. Once we incorporated Tensho kata which is the pushing hands kata of Okinawan GoJu, did we truly start to feel our opponent, and with this feeling came a sense of moving with them and to help them move toward their destruction. Because Tensho was derived from White Crane, and White Crane theory and principles were brought back from China by Chojun Miyagi it stands to reason that there is more then meets the eye here. White Crane and Karate did not seem to mix well, or does it? What part of White Crane was being blended with karate? If you were to go to art school to learn to paint you would be given techniques on how to hold the brush along with proper brush strokes and the blending of colors. With this knowledge alone would you become an artist? I think any serious student of martial arts in time needs to move past what he has learned and begin to feel within himself what the art is saying. In my art of GoJu which means Hard/soft I have spent a life time trying to understand where my art would take me in my older years. Well now, by some standards, I have arrived. I can tell you that from this vantage point my mental outlook pertaining to martial arts looks and feels nothing like it did when I was banging with the best of them. Everything in life is subject to change and our chosen art is no different. I feel that with an open mind and a yearning to understand we can take this art into old age with the confidence that we will not be side lined but will continue to learn and if need be kick some butt. Where, are your blocks taking you?