Three Variations On Hand & Foot Timing

After learning how to make a proper fist and how to punch from shizentai (natural posture/stance), one of the first techniques beginners usually learn to execute while moving forward in zenkutsu-dachi (front stance) is oi-zuki (straight punch). Coordinating ipsilateral movement of the upper and lower limbs is not something that comes naturally to most, as human gait invokes alternating the swing of the upper limbs with the contralateral leg when walking or running. Thus, although one of the earliest sequences in motion learned in karate, coordinating a punch with the same side of the body as the front leg is paradoxically one of the most challenging.

It takes diligent practice to develop the timing and muscular refinement needed to coordinate such action in a controlled manner that generates power. Initially, and for some karate-ka, perpetually, focus is on ensuring that the punch finishes at the same time that the front foot lands when finishing a step. This is an important starting point for beginners, as this coordination and muscular control can be applied to other techniques and is the foundation for advancing to variations in distance and timing.

In this article, we will examine the 3 most common variations on hand and foot timing that can be applied to any technique: hand and foot finishing in unison, hand moving subordinate to the foot, and hand movement preceding that of the foot. As with most things in martial arts, one variation in timing is not necessarily superior to another. Context matters and the adept martial artist should strive to be able to efficiently apply all three variations to any technique.

Hand and foot in unison

When taking the example of executing oi-zuki while moving forward in zenkutsu-dachi, having the hand and foot in unison means that the punch finishes as the leading front leg is finishing its forward transition from the previous stance. The punch does not land after the front foot has made contact with the floor, and it does not finish before or just after the step forward has been initiated. The hand and the foot finish their motion in the exact same moment. Emphasis when executing oi-zuki should be on making sure that the hips and shoulders are oriented shomen and not open like in hanmi. While executing gykazuki (reverse-punch) can be much easier to do since the upper and lower limbs serve as contralateral forces balancing each other, it is important to develop the degree of muscular control necessary to coordinate and time as intended whole unilateral motion of the body in any given technique.

Hand motion subordinate to that of the foot

In the example of oi-zuki, hand moving subordinate to that of the foot means that the punch finishes after the front foot has already landed and finished its transition forward from the previous stance. There should be no more forward motion of the front leg when the punch is finishing, and if one were to take a snapshot picture of this variation in timing, apart from the actual step forward, it would look no different than if one were executing oi-zuki in a stationary zenkutsu-dachi without stepping forward.

Hand movement preceding that of the foot

In our example of oi-zuki, hand preceding the foot means that the punch has already finished before the front foot has landed, before the transition forward from the previous stance has been completed. This can be the most powerful variation in timing if utilized correctly because it means that the front leg is unloaded and not grounded with the floor as the technique is being executed. This allows for full transfer of body weight and momentum from the technique into the target. In the previous example of the punch finishing after the foot has landed, both feet are already back on the ground so it is harder to transfer the majority of one’s body weight into the target. In this variation, the back foot is the only point of contact with the floor, allowing more target penetration with the weight of one’s body.

To illustrate this benefit, try this simple exercise. Walk up to a wall and stand in zenkutsu-dachi. Make oi-zuki in place and inch forward until your fist is flush with the wall. Apply some forward pressure so that you feel a connection with the wall and the force of the wall on your fist. After getting comfortable with this feeling, lift the front foot off the floor while still maintaining contact with the wall with your fist. Immediately you should feel a stronger connection with the wall through your fist as you try and maintain your balance. The increased connection is your body weight suspended with the wall and wanting to fall forward due to gravity. This is what punching before the front foot lands emulates.

Try this simple exercise a few times and then try it against some resistance like a heavy bag. The difference in transfer of body weight should be very apparent through this last variation.

Dynamism of fighting and requisite plasticity of timing

Kumite or real-life combat is unpredictable, so it is unreasonable to expect that training static up-and-down the dojo floor drills with basic hand and foot in unison timing will simulate or facilitate advantageous carry over into fighting by itself. No opponent is going to stand stationary or wait to get hit by a punch or kick. The opponent may move forwards, backwards, left, right, up, down, and/or with varying timing – there is no way of predicting what will happen unless you know your opponent or have had enough time to get a comfortable read on them. Thus, one should be able to execute effective techniques at any range and with any variation in timing. Maybe the intention is to hit the opponent with a punch while stepping forward, but as the punch is being executed, the opponent moves forward – it shouldn’t matter whether the range of motion of the punch has been completed or not, nor should it matter where the front foot is relative to the hand at that point in time. If the punch was executed from the very beginning of the movement forward, it should still be effective regardless of where on its trajectory it actually makes contact with the intended target.

If you have never considered these other two variations on timing besides hand and foot in unison before, or have viewed them as being incorrect and hand and foot timing in unison as being the only correct version of timing, give the exercise mentioned in this article a try. Perhaps most importantly, try it against some resistance in the form of a heavy bag or sub-maximally against a willing partner. Decide for yourself what feels like the most powerful variant and practice being able to employ all three spontaneously.