Conceptual Recycling
 

One area of training rarely considered is the recycling and ongoing evolution of existing knowledge and techniques into new patterns and applications.
 

Bear in mind that martial arts at their best provide a vehicle for self awareness and liberation. Awareness means confidence in who and what you are, and liberation leads to freedom of movement and thought wherein your skill becomes completely fluid, and your are free to fully integrate into every situation. It is this ability to integrate which represents the ultimate skill (and benefit). Every situation is familiar turf, as though you ve been there many times before.

So that s the message. Use your knowledge to propel new discovery and growth. Work from the known into the unknown. Avoid repetitive starting from scratch wherever possible,
 

The Principle:
 

Skills already developed are the foundation of skills to be acquired, either through evolution, modification, experimentation or new discovery.
 

Let s say you re interested in exploring this in your own training. Try focusing on the following modes of experimentation:
 

Modalities
 

Phase 1. Working from known drills;

Phase 2. Working from known forms or Kata;

Phase 3. Improvisational experiments
 

Phase 1 -Working From Known Drills:
 

Every system has its favored drills, usually seen regularly in the course of practice, particularly as their repetitive nature reinforces perfection of basics. As an example, let s consider two drills common to Isshinryu Karate. They are the Punching Standard, and the Kicking Standard.
 

Punching Standard (Demonstration))
Punching Standard (By the Numbers)
Punching Standard (Opposite View)
Kicking Standard

Standard One

Standard 1 & 2 Explained
Standard Two
Closing Thoughts

With Tonfa, Sticks & Kama

Once you get comfortable, try experimenting for yourself, vary the routine into angles, and circles, try with a Bo (Yes it can!), a Short Stick, or anything else you can come up with.
 

Phase 2 - Working From Known Forms or Kata:
 

Use a form with which you have familiarity as the architecture for something completely different.
 

The late Master J. Cui Brocka understood this completely when he extracted from Shotokan (Takiyoku Kata) to create the form architecture for his system of Combat Arnis (Anyo Uno (#1) & Anyo Dos (#2)).   Let's start by having a look at Takiyoku.
 

Takiyoku Kata

Anyo Uno (front and rear view)
Anyo Dos (front and rear)
Anyo Dos (alternate views front and side)

There is no end to the possibilities.  Click here to see the same concept extended to creating drills for mastering basic tonfa techniques in a dynamic flow.

 

Phase 3 - Improvisational Experiments:
 

Elsewhere on the website we discuss flow in considerable detail. It would be worthwhile to take a few minutes to visit that page ( click here to visit), as it will connect some of the dots in how our current concept of using what is already known and familiar, becomes the catalyst for acquiring and mastering more complex technique. Picking up where that article left off, one can take any of the aforementioned forms or drills and apply them to new situations, varying the lines, angles, adding weapons, etc.
 

Again, possibilities are limitless. On your own, try applying the same Takiyoku to improvised Sai, and then to Bo. You really can t go wrong, the underlying coordination of eye, foot and hand is preserved and attaches to the new movement. In the alternative, look within your style, or your realm of experience and pick out a form, pattern or routine, and see where you can take it.
 

Never lose site of the objective. The art must become you, and everything you undertake must lead to that end. It is within each of you to fully actualize a complete martial art, and way of life, unique to your personal talents. Don t sell yourself short, and don t become dependent on others to provide answers to questions which can only be resolved by you getting off your duff and solving them for yourself.