The Way of Least Resistance

Introduction Readers might recall that last year I wrote a piece titled " A pivotal question " - an essay where I analysed where and when one should pivot on the ball of foot versus the heel . In that essay I noted that most of the time we martial artists pivot on the ball of the foot.  Why?  Principally for two reasons: balance and "power" .  This sentiment is echoed by Lucio Maurino sensei in the video below (one that is embedded in Jesse Enkamp's recent  article covering this issue ): But really, judging by the comments on Jesse-san's article I really don't get any sense that people are aware of where and when it might be appropriate to pivot on the heel - which is something I've previously covered.  Some insist that it is never appropriate, while others insist on defending their own particular tradition.  But relatively few seem to accept that both ball of foot and heel are appropriate pivot points depending on one's objective ...

When I first started the martial arts, I recall being chastised for pivoting on my heel occasionally, especially when turning in kata. Sempai Leon (my supervising senior during the first 2 months of my training) would say: "Don't do that. Mobility requires you to pivot on the ball of the foot ." I recall Sempai Leon teaching us to stand with the weight slightly biased to the ball of the foot when we were in ready stance. This would, he explained, facilitate quick movement in response to an attack. "If you have your weight on your heels, you'll first have to rock forwards onto the balls of your feet before you can even start to move. Under the pressure of combat, this is time you won't have." All this made perfect sense then and still does now. [It's strange how, long after Sempai Leon has disappeared into the dim recesses of my history (and long after he has almost certainly forgotten that I even exist), I still remember his lessons well ...

Introduction I have made my views very clear on this blog that I believe "blocks" (better termed "deflections") work . However, now comes the hard question: How should "blocks" be performed? Many karateka and other martial artists (in fact, some of my most esteemed friends and colleagues) believe that the "hard" block is the "mainstay" of their art. I find this view particularly common in the various shorin ryu karate schools. However I disagree. I adhere to the view that the majority of blocks - whether from karate or the Chinese arts or whatever - should be "soft". In fact, I believe that "hard" blocks are rarely useful - so rarely useful that this is part of what accounts for the fact that blocks are very seldom even contemplated in combat sports. Yet I see no reason why they should not be used in that arena. It seems to me that relatively few martial artists today practice "soft" blocks; ...