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Thread: Short Form 3 - DMA

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    SifuDangeRuss is offline
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    Thumbs up Short Form 3 - DMA

    As promised, a glimpse of a form common to both EPAK and Sam Pai. This is Kimberly, DMA - blue belt, performing Short Form 3 at the 39th Annual Bremerton Open Karate Championships. Interesting footnote, she learned the entire form on Thursday evening and competed with it on Saturday and managed to take her division. Good Job Kimberly.

    http://video.google.com/videoplay?do...82738831123373
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    Default Re: Short Form 3 - DMA

    Awesome job!
    More Shugyo!

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    Default Re: Short Form 3 - DMA

    Looked good. I don't know if it was because she was thinking what comes next (having just learned the form) or because you train it that way, but I liked the fact that she had a very short pause between techs. Most people tend to rush technique forms, trying to flow seamlessly from one tech to the next. Just that very short pause gave a sense of definition to the form. Congrats to her, and her instructor (whoever that could be).

    Dan C
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    SifuDangeRuss is offline
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    Wink Re: Short Form 3 - DMA

    Quote Originally Posted by thedan View Post
    Looked good. I don't know if it was because she was thinking what comes next (having just learned the form) or because you train it that way, but I liked the fact that she had a very short pause between techs. Most people tend to rush technique forms, trying to flow seamlessly from one tech to the next. Just that very short pause gave a sense of definition to the form. Congrats to her, and her instructor (whoever that could be).

    Dan C
    The term is 'sesura' - a dramatic pause for effect.

    I agree wholeheartedly with the seamless flow comment. I equate those with monotone run-on-sentences. They are difficult for the judges to digest what it is they have just seen. I told her to give each opponent time to attack...and time to die, before beginning the next technique. (She listens well)
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    Default Re: Short Form 3 - DMA

    Quote Originally Posted by thedan View Post
    Looked good. I don't know if it was because she was thinking what comes next (having just learned the form) or because you train it that way, but I liked the fact that she had a very short pause between techs. Most people tend to rush technique forms, trying to flow seamlessly from one tech to the next. Just that very short pause gave a sense of definition to the form. Congrats to her, and her instructor (whoever that could be).

    Dan C

    Russ: I was going to ask about the pauses too. I noticed that you (Russ) and your student who did the other kata, had dramatic pauses too. Other than your own personal sense of drama, is there another reason for the pauses?
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    Default Re: Short Form 3 - DMA

    Quote Originally Posted by SifuDangeRuss View Post
    The term is 'sesura' - a dramatic pause for effect. ... I told her to give each opponent time to attack...and time to die, before beginning the next technique. (She listens well)
    I suspected it was training- she looked more purposeful than confused. But I had to ask. It is, very obviously, very effective.

    Dan C
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    Default Re: Short Form 3 - DMA

    Quote Originally Posted by thedan View Post
    I suspected it was training- she looked more purposeful than confused. But I had to ask. It is, very obviously, very effective.

    Dan C
    Agreed. I didn't know that it had a name. I like to do some pausing in my katas too, but not quite that dramatic. I have always thought of it as 'phrasing' like with singing. If you sang every note of a song right on the beat, it would be very boring. Some words need more emphasis and different timing.

    Now I learned a new word.

    --Amy
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    Default Re: Short Form 3 - DMA

    I like it ... nice job!
    PARKER - HERMAN - SECK

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    SifuDangeRuss is offline
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    Wink Re: Short Form 3 - DMA

    Quote Originally Posted by amylong View Post
    Agreed. I didn't know that it had a name. I like to do some pausing in my katas too, but not quite that dramatic. I have always thought of it as 'phrasing' like with singing. If you sang every note of a song right on the beat, it would be very boring. Some words need more emphasis and different timing.

    Now I learned a new word.

    --Amy
    Very much like, Amy~san. Look at what we are trying to do, Grasshopper...we are communicating with movement. If we accept that our special weapons are the Alphabet of Motion, then stringing the letters together form words (techniques)...and further stringing the words/techniques together form katas, or stories. As a listener, how engaging or entertaining is a story, told in a bland, monotone, with no change in cadence, rythm or intonation? I think it is our duty, to tell as compelling a story as we are able in the brief time we are alotted in the execution of a kata, so as to make it entertaining and interesting to even those unfamiliar with the style or martial arts in general. This form, unlike the others I hav epreviously posted is one you are familiar with, as such, you know what techniques to expect, in what order and have some preconceived notions as to what it should look like. I like to make sure, even the most jaded judge, who watches 37 other versions of that same form during the course of his day, remembers ours. I guess that's just the storyteller in me.
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    Default Re: Short Form 3 - DMA

    Thanks for sharing the clip.
    "Fear is the true opiate of combat."

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    Billy Lear is offline
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    Default Re: Short Form 3 - DMA

    Quote Originally Posted by SifuDangeRuss View Post
    Very much like, Amy~san. Look at what we are trying to do, Grasshopper...we are communicating with movement. If we accept that our special weapons are the Alphabet of Motion, then stringing the letters together form words (techniques)...and further stringing the words/techniques together form katas, or stories. As a listener, how engaging or entertaining is a story, told in a bland, monotone, with no change in cadence, rythm or intonation? I think it is our duty, to tell as compelling a story as we are able in the brief time we are alotted in the execution of a kata, so as to make it entertaining and interesting to even those unfamiliar with the style or martial arts in general. This form, unlike the others I hav epreviously posted is one you are familiar with, as such, you know what techniques to expect, in what order and have some preconceived notions as to what it should look like. I like to make sure, even the most jaded judge, who watches 37 other versions of that same form during the course of his day, remembers ours. I guess that's just the storyteller in me.
    He said Grasshopper! Ha ha ha!

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    Default Re: Short Form 3 - DMA

    I think it looked great!
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    Question Re: Short Form 3 - DMA

    Mr.Dangeruss,

    First let me say, she did a very nice job. Secondly, I could really see the EPAK influence. Some of the form was virtually identical to what I was taught. Although I would like to hear the names of the teks involved in your version. Now I have a question. What does the DMA signify? Thanks for your time.

    1stJohn1:9

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    Default Re: Short Form 3 - DMA

    Quote Originally Posted by kenpochrstn View Post
    What does the DMA signify?
    DangeRuss's Martial Arts.

    --Amy
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    Default Re: Short Form 3 - DMA

    Quote Originally Posted by amylong View Post
    DangeRuss's Martial Arts.

    --Amy
    Thanks Amy.
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    Default Re: Short Form 3 - DMA

    Excellent video! Very close to what I practise

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    Default Re: Short Form 3 - DMA

    I watched this video of Kimberly doing Short Form 3 this morning.

    This is what I would like to say about her form.

    1) She showed great presence in her presentation.

    2)I loved the way she spotted her attackers prior to her application of the techs. Which shows in-depth visualaltion.

    3) She allowed time for the her strikes to take effect on the attacker prior to the finishing of the tech.

    4) She exploded through the attacker and not to the surface of the attacker.

    5) She seperated the techs.

    Short form 3 is often done as a very fluid form, no breaks,and looks like one continous tech. While there is a place for this, I dont agree with it. Nor would I agree with doing Long 6 ( The flowering hands form) without showing the seperation of techs and the power principles found within them. Im not saying that form 6 should not be continous, and Im not saying that it should be either.

    The Spirit of the form should carry the spirit of the techs found within them, and Kimberly showed her personel interpretation she found through her preparation.

    I would have scored her very high at the tournament.

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    Jim Hanna is offline
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    Default Re: Short Form 3 - DMA

    Quote Originally Posted by SifuDangeRuss View Post
    The term is 'sesura' - a dramatic pause for effect.

    I agree wholeheartedly with the seamless flow comment. I equate those with monotone run-on-sentences. They are difficult for the judges to digest what it is they have just seen. I told her to give each opponent time to attack...and time to die, before beginning the next technique. (She listens well)
    Very refreshing form. Nicely done.

    "Caesura" is a poetical device of rhythm. Not only does she use caesura but she uses "masculine caesura" which is a pause following a stressed beat as illustrated in her escape from the hammerlock (Locking Arm).

    Jim

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    Default Re: Short Form 3 - DMA

    Quote Originally Posted by nelson View Post

    As far as the "dramatic" pauses go I favor the original recipe or "seamless integration" as today's computer geeks would call it.
    I seem to recall seeing Mr. Parker doing short form 3 as a demo or something and he had a number of dramatic pauses.

    --Amy
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    Talking Re: Short Form 3 - DMA

    Quote Originally Posted by nelson View Post
    As far as the "dramatic" pauses go I favor the original recipe or "seamless integration" as today's computer geeks would call it.
    Nelson Kari
    Mr. Kari
    Dramatic pauses or use in all of the Sam-Pai Kenpo Kata's.
    To show your focus and power of your techniques.
    This is not the only way we do Kata, just one way.
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