That was why I added that. I think it may be essential to have in some form for taking a lot of falls, perhaps less so in arts that don't. Though I do like the approach someone mentioned of starting with a kiai, then learning not to use it all the time. I had to learn not to kiai when I was teaching in a YMCA, right next to a meeting room.
The demonstration was pretty simple, and pretty convincing. Have someone punch you in the gut - not too hard, but hard enough that you feel it. The first time, tighten up (a kiai will do this for you, of course). Now repeat it, but push your belly out, like you're pretending to be pregnant. You push it out with force at the moment of the impact, the same timing you'd use with the kiai.
Agreed. And it's still my preference, though the other method I described appears to be more effective, because it doesn't require I different reaction. I kiai (even silently) often, so it's an easy part of my defense.
That''s very true - I used to hold my breath sparring too!
Kihap/kiai serves several purposes (or so I was taught): it focuses you, it hardens your abdomen, and it can distract/scare an opponent. It does feel strange at first for quieter people, but it can be addictive - I have been known to throw an extra kiai/Kihap in to a kata/pattern when fired up! If you want to train at that school, don't let this be an issue. ...
It causes the punch to land incorrectly by making punch land sooner than your opponent is preparing for. I use a similar method to jam front kicks. It's one of the techniques I use to explain kicks, where I let someone kick me in my stomach with a heel kick. At first students are amazed because I can throw people backwards when they kick me simply using my stomach.
Battle Cry
Yeah. For a while I experimented with different sounds to see what was less harsh in the throat, etc. None of them sounded a bit like either "kiai" or "kihap", both of which I've heard entire schools yelling during demonstrations.
I actually teach my students how to kiai, rather than just telling them to. So, they kiai on every fall. They exhale (no kiai, it needs to be smoother) on every roll. They kiai on every single punch. For combinations, they kiai on the power punch. And so forth. I also teach them what sound to use ("ha" to start with, and may change it if they need a different focus).
I've even seen a soloist (singing group) pass out holding her breath waiting for her part.
