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Rating: 
Summary: A book as important as "Barefoot Zen" - Persuasive,Effective
Review: "The down block is perhaps the most common technique used in martial arts. The down block motion is found in virtually all kata and is utilized in various stances.One hand comes up toward the opposite side of the head then moves down to groin level, while the opposite hand is brought back to one's side. The inclusion of this movement in so many kata is a clear indication of how important this movement must have been in the eyes of the old masters. So, why are we taught such simplistic bunkai if kata are so important to our understanding of the martial arts? When I began to look at explanations for the various movements in the kata, I became very interested in the answer to this question. I began looking into the history of the martial arts and, in doing so, I discovered a number of reasons why we have been taught this way. * Knowledge of more esoteric aspects of the martial arts has been kept secret from the general population, so those in the upper ranks can maintain their position of authority
* Historical developments in Japan-specifically, the western "opening" of Japan in the mid-nineteenth century-made it necessary for the nation to move beyond the martial arts as part of its military culture.
* When combat techniques, which had been restricted to the warrior class, began to be taught to the general public, they were often to be less dangerous-or less effective, depending on how you look at it.
* These techniques were further simplified when the martial artist were introduced into school system, more formalized aspects of the martial art forms began to dominate. " Here are the types of attacks most likely to occur in a self-defense situation: 1. A grab
2. A push
3. A punch
4. A kick A grab will probably be for your wrist, forearm, upper arm, lapel, or throat. Technique 1 1. Your Opponent strikes long distance with a L back snap kick
2. L downward block Technique 2 1. Your opponent kicks at your chest with the right foot, medium distance away
2. Shift your weight to the rear, sweep deflect with the left hand
3. Punch to the ankle (spleen 6), pressing with the left hand on the other side of the ankle Additional thoughts: Reach with the right hand over and grab the heel, full circle of your head flipping while stepping back into a horse stance, the opponent flips onto his face, left stomp to the tail bone. Technique 3 1. Your opponent prepares a R thrusting side kick at solar plex level.
2. You are in a L cover, shift weight into a cat stance, Draw your hand up and under the opponent leg (spleen 6) and grab the ankle with the L hand
3. R elbow down on upper thigh (gall bladder 31)
4. R downward hammer strike to groin or tail bone Technique 4
1. Your opponent prepares to deliver a R front snap kick with R punch combination
2. L 45, sidestep movement, deflect R punch with L inward block, right scoop his ankle with the R hand and pull to the R hip. You now have the opponent center control at the most powerful leverage point on your body.
3. L downward sweep knocking him down over your left knee. Additional thoughts: follow through with a pivot 90 degrees to the L, shuffle downward with the knee about 3 inches above the ground and finish with a R punch to his L ribs.
Rating:
Summary: A book as important as "Barefoot Zen" - Persuasive,Effective
Review: "The down block is perhaps the most common technique used in martial arts. The down block motion is found in virtually all kata and is utilized in various stances. One hand comes up toward the opposite side of the head then moves down to groin level, while the opposite hand is brought back to one's side. The inclusion of this movement in so many kata is a clear indication of how important this movement must have been in the eyes of the old masters. So, why are we taught such simplistic bunkai if kata are so important to our understanding of the martial arts? When I began to look at explanations for the various movements in the kata, I became very interested in the answer to this question. I began looking into the history of the martial arts and, in doing so, I discovered a number of reasons why we have been taught this way. •Knowledge of more esoteric aspects of the martial arts has been kept secret from the general population, so those in the upper ranks can maintain their position of authority
•Historical developments in Japan-specifically, the western "opening" of Japan in the mid-nineteenth century-made it necessary for the nation to move beyond the martial arts as part of its military culture.
•When combat techniques, which had been restricted to the warrior class, began to be taught to the general public, they were often to be less dangerous-or less effective, depending on how you look at it.
•These techniques were further simplified when the martial artist were introduced into school system, more formalized aspects of the martial art forms began to dominate. " Here are the types of attacks most likely to occur in a self-defense situation: 1.A grab
2.A push
3.A punch
4.A kick A grab will probably be for your wrist, forearm, upper arm, lapel, or throat. Technique 1 1.Your Opponent strikes long distance with a L back snap kick
2.L downward block Technique 2 1.Your opponent kicks at your chest with the right foot, medium distance away
2.Shift your weight to the rear, sweep deflect with the left hand
3.Punch to the ankle (spleen 6), pressing with the left hand on the other side of the ankle Additional thoughts: Reach with the right hand over and grab the heel, full circle of your head flipping while stepping back into a horse stance, the opponent flips onto his face, left stomp to the tail bone. Technique 3 1.Your opponent prepares a R thrusting side kick at solar plex level.
2.You are in a L cover, shift weight into a cat stance, Draw your hand up and under the opponent leg (spleen 6) and grab the ankle with the L hand
3.R elbow down on upper thigh (gall bladder 31)
4.R downward hammer strike to groin or tail bone Technique 4
1.Your opponent prepares to deliver a R front snap kick with R punch combination
2.L 45, sidestep movement, deflect R punch with L inward block, right scoop his ankle with the R hand and pull to the R hip. You now have the opponent center control at the most powerful leverage point on your body.
3.L downward sweep knocking him down over your left knee. Additional thoughts: follow through with a pivot 90 degrees to the L, shuffle downward with the knee about 3 inches above the ground and finish with a R punch to his L ribs.
Rating:
Summary: A wealth of interesting ideas
Review: In recent years we have learnt that to understand our style thoroughly we have to go beyond our style; but in so doing we can find the effective self defence principles that were there all along. So practitioners of karate, tae kwon do, kung fu and so on are realizing that their kata and even basic kihon can make sense as self defence -in a way they never did as "traditionally" taught - if we have the eyes to see what they could be. Because at this stage in the evolution of our arts this is largely a process of reverse engineering, the sticking point is having the range of conceptual tools to see what the moves could be. Having trained with Rick Clark regularly on his seminars in the UK, I was always struck by how someone could show him some piece of kata from their style, and Rick could see immediately a number of interesting and worthwhile applications. He has taken that vision of his and inspected one of the most basic movements in many styles - the down block. What comes out is a wealth of ideas - just the inspiration the modern practitioner needs to understand his art. Any one person should reject many of the ideas and accept only a few for regular training, so that what they take fits in most coherently with what else they use for other movements in their kata etc. But each student will select something different, and so seeing a wide range of possiblities is invaluable for guiding one to create one's own personal self defence system. Presented here are many principles of jujutsu, arnis and kyusho jutsu applied to a simple move of karate, illustrating the fundamental unity of all styles. It's a book I will return to many times.
Rating: 
Summary: Starting point, but not really worth buying
Review: Pros: Conceptually, an interesting approach. Rather than waste time trying to determine exactly what the original application of a down block is (almost impossible to do in even one art, let alone when addressing the down block among many arts), Clark has expanded the idea of determining sensible applications that work for the individual. A martial artist can determine what application the down block seems to resonate with, without worrying about the "proper" down block application.
Cons: The applications themselves seem very unrealistic. About four-fifths of the techniques he uses seem to be useless, many of them beginning with the defender rather impossibly catching the punch in mid-air. Many of the others involve small-joint manipulation that seems very unrealistic; for example, in one sequence the attacker has grabbed Clark's hand, and in the next photo, Clark suddenly has a wrist lock on the attacker, with no transition or explanation. Most of the 75 down block applications Clark does are simply unworkable.
Cons also include the fact that he uses the confusing terminology of pressure points like "spleen 32" that is not at all helpful.
Cons additionally include Clark's appearance. In the photos he seems to be terribly flabby and out of shape. A small thing, perhaps, but it gives him less credibility.
Cons also include the photography, which is dark and often difficult to see.
Overall, just a starting point to see how one can find out applications for oneself. Clark himself admits that it would be more helpful to think of the book's applications as a starting point for one's own research, and I concur, since most of the applications he suggests are unworkable. Between 12 and 15 of the 75 applications Clark gives might actually be workable, with some modification, so the ratio may not be high enough for some readers who might expect the number to be closer to the 75 in the title. Conceptually, though, his approach does give food for thought, although the book is a little pricey for what you get. An expansion of some of his theories on kata applications, and a much more realistic set of them, is included in Bill Burgar's "Five Years, One Kata," which I would recommend greatly over this book. In summary, rent this book from the library, don't buy it.
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