The basic ideas behind any style of karate can in general be reduced to the goal of achieving the most effective movements with the least effort. Specifically, with a strike such as a punch, kick, knife-hand or similar, the karateka attempts to move smoothly through the strikes, conserving energy towards the impact point. When thought about in terms of energy, the most common equation is that of rotational kinetic energy, or KE=(1/2)mv^2 + (1/2)Iω^2.
Another way to think about a strike is to attempt to focus as much force as possible at the point of impact. In many strikes, this is facilitated by drawing an almost straight line with the striking tool from the original point of rest to the point of impact. This is based on the fact that the fastest path between two points is a direct line, and greater speed leads to corresponding greater force upon impact, as shown by Newton's Second Law, F=ma. This equation also leads to the conclusion that if increased mass is used in the strike, the force upon impact will be greater. Because of the obviousness of this idea, most strikes are thrown through the rotation of the body in some way, instead of simply from the arms or legs. The body has much more mass, and therefore contributes greatly to achieving a strike that is highly forceful, yet doesn't require nearly as much effort as one thrown from the extremeties.
Front Stance
Equations:
W=mg
Τ=Iα
Τ=Fr;
friction F=μN
The most basic part of a succesful technique is a proper stance that is well grounded and solid. This helps in many ways, including providing the initial push behind a technique, grounding the karateka during the moment of impact, and providing a solid base from which to defend against an attacker.
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...rown into the rotation, the more energy is contained in the leg at this stage in the kick.
The next stage of the kick switches to upwards and forward rotation of the knee around the hip joint. This is also connected to the equations v=ωr and KE=(1/2)mv^2 + (1/2)Iω^2, thus KE=(1/2)m(ωr)^2 + (1/2)Iω^2. In a properly executed kick, this transition is completely smooth, and energy is conserved. This leads to the idea that a vital part of a proper, focused front kick is how quickly and smoothly the back leg is pulled forward.
The last step in the kick is the upwards rotation of the foot around the knee joint, the kinetic energy of which is found through exactly the same equations. To ensure that the energy is expended on forward impact rather than upwards, during the rotation around the knee, the hip should be extended forward slightly just before impact.
The three principle forces are the summing of joint forces, continuity of joints, and the linear motion (McCaw, n.d). In the summing of joint is when the thoracic, the shoulder, the elbow, the knee, the ankle, the atlas and skull, and the phalange joints gain the momentum. When joints are in fast action it produces more muscle force and all joint are moving to help produces the muscle force (McCaw, n.d). The second principle is continuity of joint forces. This is when the hip is going into flexion first. Then after the hip the knee goes into flexion, then followed by the ankle. This movement should be smooth and fluid (McCaw, n.d). The last principle for the force producing phase is linear motion. In this phase the start of pirouette should be gaining momentum (Hall, 2011). The direction the pirouette is going in is clockwise because the body is rotating counter clockwise. As a dancer is performing a pirouette an outside force is acting on the body. This force is what causes the body to be able to turn. When the dancer starts the body is at rest and not moving until they initiate the turn with their arms and
One initiates the preparatory phase of the roundhouse kick from the fighting stance: rotation of the torso in the direction of the front leg, flexion and abduction at the hip, flexion at the knee of the back leg which brings the knee to the torso and maintains a minimal relative angle at the knee to the thigh, plantar flexion of the foot, and lateral flexion of the spine toward the ground away from the kicking leg (Table 1).
In the 1980’s Karate Kid, the Bonsai is an important symbol of balance. The Bonsai can be a fragile plant and without special care, dies quickly. One must find the perfect combination of water, nutrients, and sunligt to achieve balance in the care of these fragile plants. In the same way Daniel must find his balance socially and physically as he moves from New Jersey to California. Upon arriving in California Daniel’s life becomes unbalanced further by Johnny and the other members of Cobra-kai. The Cobra-Kai use their unbalanced karate to demonstrate their power over Daniel. Later, Daniel is able to use balanced karate to best them. As the movie moves along, through its movement and music it shows how Daniel is able
The class begins with middle punches. This entails bringing the left foot out into a sitting stance where our legs reflect a person riding a horse. The hip is rotated backwards then propelled forwards as the fist on the belt twists towards our imaginary opponent in front of us. Then Master Copper pairs each student with a partner of equal height to practice kicks. When my partner extends his sidekick, the crusty dirt on the sole of his foot brushes past my eyes, and the speed of the kick creates a breeze of stale air. In the middle of class, we incorporate the punching bags into our workout. The low belts use the tall, thin sun colored bag, and the high belts utilize the thick, blood colored bag. However, the black belts utilize “Bob the Bully”, the tan, lifelike bag with dense padding and broad shoulders. After six hours of school and at least four hours of homework, punching and kicking the toned face and rippling abs of Bob brings a substantial amount of satisfaction. As my knuckles make contact with Bob’s rigid jaw, I grit my teeth and each blow connects with more power than the last. Beads of sweat roll down my face as Bob’s head shifts from side to side following each blast of force. The instep of my foot creates indents in the sides of Bob as my half turning kicks
Daniel E. Lieberman, Madhusudhan Venkadesan, William A. Werbel, Adam I. Daoud1, Susan Andréa, Irene S. Davis5, Robert Ojiambo Mang’Eni, Yannis Pitsiladis6. Foot strike patterns and collision forces in habituallybarefoot versus shod runners.2010. Nature Journal. Vol 463 . p531-534
This skill involves jumping in the sagittal plane about the transverse axis. It consists of hip, knee, ankle, and shoulder joints. In the preparation phase in propulsion, the subject has flexed knees and hips which will need to be straightened by the strength of their corresponding joints such as the hinge joint at the knee joint. The hip joint is a ball and socket joint that bears the body weight and allows for jumping motion. During th...
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Let's examine a basic tumbling run. All three of Newton's Laws can be seen in this one tumbling run. We can see Newton's first law before the gymnast takes even one step. Until she takes a step, the gymnast is at rest. When she is ready to tumble the gymnast applies the force. A gymnast takes a running start when approaching a tumbling run, and as she is moving across the floor she is increasing her momentum. This is a demonstration of Newton's second law.
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Pike, toe touch, eagle spread, left herkie, right herkie, these are all forms of jumps in cheerleading. When doing these jumps the cheerleader jumps high up into the air bringing both legs up and out simultaneously in a specific shape or form, while pointing the toes. The jumps that cheerleaders perform can easily be compared to the dunking of a basketball player. All of these jumps require adequate leg, thigh, and abdominal muscle just as any basket ball player. Not only must cheerleaders jump, they also must kick. By this I do not mean a simple karate kick, I’m talking about something much more difficult. In order to perform a cheerleading kick one must be very flexible. Cheerleaders have to be able to maintain their upright body form while raising their foot from the ground to the highest point possible above their heads with the toes pointed, sharp and precise, without looking sloppy or stumbling. This requires flexibility, skill, stamina, and strength. Not only must cheerleaders be able to jump high and kick higher, they must be able to hold another’s body weight. The base person must li...
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