"Internal" martial art or external martial art, which training can help you to live longer?

[Kung Fu Wang]

Whether the strike hits or not, the body should be balanced and controlled over the feet at the end of the technique.

I may look this from a different angle.

After a punch and your pull your punch back, your pulling process may help you to set up your next move. When you pull, your legs should ready step in, and your center of gravity may have already shifted forward in front of your base.

In other words, if you train form in a non-stop continuous way, your mind is already thinking about striking art and throwing art integration. When you pull your punch back, it's the time that you move in and enter.

 

[Wing Woo Gar]

No offense, but I think you do not fully understand Okinawan karate dynamics. The quote below explains:

Just so. Power is projected but the momentum is stopped at the moment of intended impact. The transfer of power is not accomplished by follow-thru momentum, but rather by chinkuchi, the focus of power at a particular point.

Whether the strike hits or not, the body should be balanced and controlled over the feet at the end of the technique. Snapping punches are a main signature feature of my style and allow quick reaction to a hit or miss for follow-up.

I mean you, nor your style any disrespect. Spoken like a true karateka. Again, you appeal to technique over athletic context. That is, linear rather than curved. Snappy rather than fluid. Rigid rather than flexible. But this is not wrong, just different. I’m sure there will be protestations to the contrary, and such arguments are as old as the hills. It’s just my opinion, and it doesn’t matter to anyone but me.

 

[Wing Woo Gar]

Mmmm- there really shouldn't be a "miss harder". This is one of the reasons, a big reason imo, that karate punches tend to be short and snappy (the punch being stopped at a set point rather than being stopped by exhausting its own momentum) So if/when you miss, there should be as little recovery time as possible. Prioritizing recovery time over power to a degree since it's a defensive art at heart.

Shouldn’t be…

 

[Wing Woo Gar]

…I should shut up. Someone tell me to shut up.

 

[isshinryuronin]

your center of gravity may have already shifted forward in front of your base.

That is something we try to avoid.

This video clip (nicely illustrative as most of yours are) shows a technique similar to what Okinawan karate may use in a kata, though yours is a bit more refined (such as you doing a full kick-out of the opponent's lead leg whereas we would place a bent leg behind his and then just suddenly straighten it to apply pressure to break his balance).

You are using continuous motion in your takedown combo. This is exactly what I was describing when I wrote each word is continuous against each specific attack. In this case, the word deals with defending a right jab. In kata, there would be a pause after the finishing strike (not shown in your clip) when the opponent is on his back, a pause, and then a new continuous word would be applied against another different attack.

 

[isshinryuronin]

. Again, you appeal to technique over athletic context.

Don't quite know what you mean here. Can you explain these terms as they apply to this topic?

That is, linear rather than curved. Snappy rather than fluid. Rigid rather than flexible.

Somewhat true as a very general characterization, at least compared to many CMA/FMA. But "snappy" can lead to quickness. During the "snap" back, the hand is repositioning for the next move. Doing two fast consecutive moves with the same hand is often facilitated by a tight circular transition. Also, some techniques have a circular component but so subtle it's hard to see at an advanced level.

"Rigid" is not a word I'd use to describe classic Okinawan karate. Shotokan and TKD techniques are typically more drawn out and extended to emphasize the form in execution (there is also a mental doctrine involved such as "one hit - one kill"), but this is an evolutionary change in how the art ("do") is perceived and what results/benefits are desired.

I've found that as a general rule, labels such as hard/soft, linear/circular, defense/offense, etc. are only useful for very specific purposes and beyond that are often misleading as one can lead into the other and the boundaries between them can be murky.

I mean you, nor your style any disrespect.

I'd hate to have to pay you a visit at 3am on a stormy night.

 

[Badhabits]

Shouldn’t be…

Lol so true. Something that always comes to mind for me is what Funakoshi said, to paraphrase- karate should be like sunlight streaming into a room. Meaning that the pauses between techniques should be there, but should be so small as to be imperceptible. But like you said- should be. Ain't always.

 

[windwalker099]

Meaning that the pauses between techniques should be there, but should be so small as to be imperceptible. But like you said- should be. Ain't always.

“Pauses should exist but be so small they’re imperceptible.”

Reminded me of something from The Unfettered Mind: Writings of the Zen Master to the Sword Master:

"There is such a thing as an interval into which not even a hair can be put."

We can look at it, as change.
The exact point where yin becomes yang, and intent becomes action.
“timing” the rhythm of transformation.
How it’s expressed depends on the art.

Catch someone’s timing, and you can influence it.
Become part of it, and you can lead it.

As Master Gao Zhuang Fei explained:

“Wuji represents the field (emptiness), while Youji is the object (substance). Tai Chi practice involves the dynamic interaction between these two, where Wuji influences Youji, and Youji reflects back to Wuji. "

Demonstrated in transitions between movements in sets / kata.

Reflections of style
.Tested in usage.

 

[Wing Woo Gar]

Don't quite know what you mean here. Can you explain these terms as they apply to this topic?

Somewhat true as a very general characterization, at least compared to many CMA/FMA. But "snappy" can lead to quickness. During the "snap" back, the hand is repositioning for the next move. Doing two fast consecutive moves with the same hand is often facilitated by a tight circular transition. Also, some techniques have a circular component but so subtle it's hard to see at an advanced level.

"Rigid" is not a word I'd use to describe classic Okinawan karate. Shotokan and TKD techniques are typically more drawn out and extended to emphasize the form in execution (there is also a mental doctrine involved such as "one hit - one kill"), but this is an evolutionary change in how the art ("do") is perceived and what results/benefits are desired.

I've found that as a general rule, labels such as hard/soft, linear/circular, defense/offense, etc. are only useful for very specific purposes and beyond that are often misleading as one can lead into the other and the boundaries between them can be murky.

I'd hate to have to pay you a visit at 3am on a stormy night.

You might catch a cold, or me snoring.

 

[Kung Fu Wang]

Funakoshi said, to paraphrase- karate should be like sunlight streaming into a room. Meaning that the pauses between techniques should be there,

The striking art has pauses. The throwing art has no pause. When you throw your opponent, there is no post there.

This is why your striking art point of view may be different from the throwing art point of view. I believe Taiji training may apply the throwing art method.

 

[isshinryuronin]

The striking art has pauses. The throwing art has no pause.

IMO this is not accurate. It is sometimes true. When I do a lead backfist to set up a step-in punch with the other hand, there is no pause in the action. By the time my backfist is halfway to the target my rear leg is already stepping in. By the time my step is two-thirds complete, my punch is initiated. Step and punch finish together. Also, at the same time, my backfist hand pulls back to a guard, ready for follow-up. From start to finish there is no pause. One move flows into the next, overlapping. This is a simple compound attack with continuous motion.

Some attacks are not like this. For example, I can't do two kicks at the same time (a flying drop kick like one might see in the WWA being an exception). One leg must retract before the second kick can be launched, so the action is more staccato. I can also do a jab, jab, front kick. There are pauses here as they facilitate the feints and set up.

In throwing art, one may pull the opponent in one direction, then reverse and push him down in the other direction (which your recent clip showed). This reversal of direction necessitates a pause, as slight as it may be.

(One may make the arguement that the change in direction is done in a flowing circular motion without pause, but the same can be said in some striking combinations.)

If you simplify this to just a hip throw, there is no pause. Once you begin the throwing action, there is no pausing. But the same thing can be said about a roundhouse kick. Once the kick starts there is also no pausing.

These examples show how such concepts may exist in the eye of the beholder. As I mentioned in my last post on this thread, boundaries can be murky. X and Y may not be that different. Things can be one or the other and sometimes combine in sequence.

I well understand your point and there is truth to it, I agree. But there are other truths that co-exist.