Kūsankū - Revision history

YellowHatGuy at 02:05, 10 April 2022

2022-04-10T02:05:35Z

YellowHatGuy at 18:42, 5 February 2020

2020-02-05T18:42:37Z

YellowHatGuy at 04:05, 10 November 2019

2019-11-10T04:05:02Z

YellowHatGuy at 01:38, 8 June 2019

2019-06-08T01:38:23Z

YellowHatGuy at 03:41, 30 September 2018

2018-09-30T03:41:31Z

YellowHatGuy at 00:51, 30 September 2018

2018-09-30T00:51:58Z

YellowHatGuy at 21:11, 8 July 2018

2018-07-08T21:11:31Z

YellowHatGuy at 02:21, 7 April 2018

2018-04-07T02:21:19Z

YellowHatGuy at 15:57, 11 February 2018

2018-02-11T15:57:42Z

YellowHatGuy at 18:13, 5 January 2018

2018-01-05T18:13:29Z

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 The kata Kūsankū is characterized by the repeated use of a simultaneous [[Shutō_block#Rising_knife-hand_block|rising shutō block]] and a [[Tate-shutō uchi|tate-shutō uchi]]. While Kūsankū is not part of the [[Goshin-Jutsu]] curriculum, we still make use of its core concept -- that '''defenses and counterattacks ''can'' be performed simultaneously.''' Within [[Goshin-Jutsu]], any simultaneous block and counterattack is referred to as a “Kūsankū movement.”
-'''Kūsankū movements are intrinsically faster than performing two individual movements.''' Whereas the standard block-counter combination works on two beats (i.e, ♫, “1-2”), a simultaneous “blockcounter” only takes one beat (i.e., ♪, “1”). Training to perform block-counter combinations faster and faster will mitigate, but not change the fact that one-step processes are intrinsically faster than two-step processes. This is especially important in [[Kobudō|kobudō]], because '''two-handed weapons cannot perform Kūsankū movements'''. Many of the [[Waza|defenses]] against two-handed weapons (e.g., [[Bō|staves]], spears, swords, polearms, etc.) work through exploiting this weakness. Single-handed weapons (e.g., [[Sai|sai]], [[Tonfa|tonfa]], [[Kama|kama]], tanbō, etc.) are usually welded in pairs, so one weapon can block/parry/check the opponent’s weapon, while simultaneously counterattacking with the other weapon before the opponent can react.
+'''Kūsankū movements are intrinsically faster than performing two individual movements.''' Whereas the standard block-counter combination works on two beats (i.e, ♫, “1-2”), a simultaneous “blockcounter” only takes one beat (i.e., ♪, “1”). Training to perform block-counter combinations faster and faster will mitigate, but not change the fact that one-step processes are intrinsically faster than two-step processes. This is especially important in [[Kobudō|kobudō]], where single-handed weapons (e.g., [[Sai|sai]], [[Tonfa|tonfa]], [[Kama|kama]], tanbō, etc.) are usually welded in pairs, so one weapon can block/parry/check the opponent’s weapon, while simultaneously counterattacking with the other weapon before the opponent can react.
 However, there is trade-off -- '''Kūsankū movements create a "dead time" of complete vulnerability.''' Since Kūsankū movements require extending both hands, you must spend a beat to retract your hands, which briefly renders your unable to block, counter, or disarm. There is no margin of error; Kūsankū movements must succeed, or they must be immediately followed with a perfectly-timed [[Evasions|evasion]] to avoid the opponent’s counterattack. Because their timing is so critical, Kūsankū movements are considered to be an [[Advanced|advanced]] technique. Training to perform Kūsankū movements faster and faster will mitigate, but not change the fact that performing a technique and rechambering is a two-step process. This is why karateka usually prefer to use one hand at a time; by [[Reciprocal action|simultaneously rechambering one technique as the other is thrown]], continuous fire can be achieved with no vulnerable gaps.

@@ Line 5: / Line 5: @@
 '''Kūsankū movements are intrinsically faster than performing two individual movements.''' Whereas the standard block-counter combination works on two beats (i.e, ♫, “1-2”), a simultaneous “blockcounter” only takes one beat (i.e., ♪, “1”). Training to perform block-counter combinations faster and faster will mitigate, but not change the fact that one-step processes are intrinsically faster than two-step processes. This is especially important in [[Kobudō|kobudō]], because '''two-handed weapons cannot perform Kūsankū movements'''. Many of the [[Waza|defenses]] against two-handed weapons (e.g., [[Bō|staves]], spears, swords, polearms, etc.) work through exploiting this weakness. Single-handed weapons (e.g., [[Sai|sai]], [[Tonfa|tonfa]], [[Kama|kama]], tanbō, etc.) are usually welded in pairs, so one weapon can block/parry/check the opponent’s weapon, while simultaneously counterattacking with the other weapon before the opponent can react.
-However, there is trade-off -- '''Kūsankū movements create a "dead time" of complete vulnerability.''' Since Kūsankū movements require extending both hands, you must spend a beat to retract your hands, which briefly renders your unable to block, counter, or disarm. There is no margin of error; Kūsankū movements must succeed, or they must be immediately followed with a perfectly-timed [[Evasion|evasion]] to avoid the opponent’s counterattack. Because their timing is so critical, Kūsankū movements are considered to be an [[Advanced|advanced]] technique. Training to perform Kūsankū movements faster and faster will mitigate, but not change the fact that performing a technique and rechambering is a two-step process. This is why karateka usually prefer to use one hand at a time; by [[Reciprocal action|simultaneously rechambering one technique as the other is thrown]], continuous fire can be achieved with no vulnerable gaps.
+However, there is trade-off -- '''Kūsankū movements create a "dead time" of complete vulnerability.''' Since Kūsankū movements require extending both hands, you must spend a beat to retract your hands, which briefly renders your unable to block, counter, or disarm. There is no margin of error; Kūsankū movements must succeed, or they must be immediately followed with a perfectly-timed [[Evasions|evasion]] to avoid the opponent’s counterattack. Because their timing is so critical, Kūsankū movements are considered to be an [[Advanced|advanced]] technique. Training to perform Kūsankū movements faster and faster will mitigate, but not change the fact that performing a technique and rechambering is a two-step process. This is why karateka usually prefer to use one hand at a time; by [[Reciprocal action|simultaneously rechambering one technique as the other is thrown]], continuous fire can be achieved with no vulnerable gaps.
 It may seem that Kūsankū movements neglect [[Reciprocal action|reciprocal action]], but this is untrue. Reciprocal action is largely a mnemonic to remind students to tense the opposite sides of their bodies in order to optimize [[Snap|snap]]. An [[Advanced|advanced]] student should have enough control over tensing and relaxing their bodies to make ''anything'' snap.

@@ Line 3: / Line 3: @@
 The kata Kūsankū is characterized by the repeated use of a simultaneous [[Shutō_block#Rising_knife-hand_block|rising shutō block]] and a [[Tate-shutō uchi|tate-shutō uchi]]. While Kūsankū is not part of the [[Goshin-Jutsu]] curriculum, we still make use of its core concept -- that '''defenses and counterattacks ''can'' be performed simultaneously.''' Within [[Goshin-Jutsu]], any simultaneous block and counterattack is referred to as a “Kūsankū movement.”
-'''Kūsankū movements are intrinsically faster than performing two individual movements.''' Whereas the standard block-counter combination works on two beats (i.e, ♫, “1-2”), a simultaneous “blockcounter” only takes one beat (e.g., ♪, “1”). Training to perform block-counter combinations faster and faster will mitigate, but not change the fact that one-step processes are intrinsically faster than two-step processes. This is especially important in [[Kobudō|kobudō]], because '''two-handed weapons cannot perform Kūsankū movements'''. Many of the [[Waza|defenses]] against two-handed weapons (e.g., [[Bō|staves]], spears, swords, polearms, etc.) work through exploiting this weakness. Single-handed weapons (e.g., [[Sai|sai]], [[Tonfa|tonfa]], [[Kama|kama]], tanbō, etc.) are usually welded in pairs, so one weapon can block/parry/check the opponent’s weapon, while simultaneously counterattacking with the other weapon before the opponent can react.
+'''Kūsankū movements are intrinsically faster than performing two individual movements.''' Whereas the standard block-counter combination works on two beats (i.e, ♫, “1-2”), a simultaneous “blockcounter” only takes one beat (i.e., ♪, “1”). Training to perform block-counter combinations faster and faster will mitigate, but not change the fact that one-step processes are intrinsically faster than two-step processes. This is especially important in [[Kobudō|kobudō]], because '''two-handed weapons cannot perform Kūsankū movements'''. Many of the [[Waza|defenses]] against two-handed weapons (e.g., [[Bō|staves]], spears, swords, polearms, etc.) work through exploiting this weakness. Single-handed weapons (e.g., [[Sai|sai]], [[Tonfa|tonfa]], [[Kama|kama]], tanbō, etc.) are usually welded in pairs, so one weapon can block/parry/check the opponent’s weapon, while simultaneously counterattacking with the other weapon before the opponent can react.
 However, there is trade-off -- '''Kūsankū movements create a "dead time" of complete vulnerability.''' Since Kūsankū movements require extending both hands, you must spend a beat to retract your hands, which briefly renders your unable to block, counter, or disarm. There is no margin of error; Kūsankū movements must succeed, or they must be immediately followed with a perfectly-timed [[Evasion|evasion]] to avoid the opponent’s counterattack. Because their timing is so critical, Kūsankū movements are considered to be an [[Advanced|advanced]] technique. Training to perform Kūsankū movements faster and faster will mitigate, but not change the fact that performing a technique and rechambering is a two-step process. This is why karateka usually prefer to use one hand at a time; by [[Reciprocal action|simultaneously rechambering one technique as the other is thrown]], continuous fire can be achieved with no vulnerable gaps.

@@ Line 3: / Line 3: @@
 The kata Kūsankū is characterized by the repeated use of a simultaneous [[Shutō_block#Rising_knife-hand_block|rising shutō block]] and a [[Tate-shutō uchi|tate-shutō uchi]]. While Kūsankū is not part of the [[Goshin-Jutsu]] curriculum, we still make use of its core concept -- that '''defenses and counterattacks ''can'' be performed simultaneously.''' Within [[Goshin-Jutsu]], any simultaneous block and counterattack is referred to as a “Kūsankū movement.”
-'''Kūsankū movements are intrinsically faster than performing two individual movements.''' Whereas the standard block-counter combination works on two beats (i.e, ♫, “1-2”), a simultaneous “blockcounter” only takes one beat (e.g., ♪, “1”). Training to perform block-counter combinations faster and faster will mitigate, but not change the fact that one-step processes are intrinsically faster than two-step processes. This is especially important in [[Kobudō|kobudō]], because '''two-handed weapons''' (e.g., [[Bō|staves]], spears, swords, polearms, etc.) '''cannot perform Kūsankū movements'''. Many of the [[Waza|defenses]] against double-handed weapons work by exploiting this weakness. Single-handed weapons (e.g., [[Sai|sai]], [[Tonfa|tonfa]], [[Kama|kama]], tanbō, etc.) are welded in pairs, using one weapon is used to block/parry/check the opponent’s weapon, while simultaneously counterattacking with the other weapon before the opponent can react.
+'''Kūsankū movements are intrinsically faster than performing two individual movements.''' Whereas the standard block-counter combination works on two beats (i.e, ♫, “1-2”), a simultaneous “blockcounter” only takes one beat (e.g., ♪, “1”). Training to perform block-counter combinations faster and faster will mitigate, but not change the fact that one-step processes are intrinsically faster than two-step processes. This is especially important in [[Kobudō|kobudō]], because '''two-handed weapons cannot perform Kūsankū movements'''. Many of the [[Waza|defenses]] against two-handed weapons (e.g., [[Bō|staves]], spears, swords, polearms, etc.) work through exploiting this weakness. Single-handed weapons (e.g., [[Sai|sai]], [[Tonfa|tonfa]], [[Kama|kama]], tanbō, etc.) are usually welded in pairs, so one weapon can block/parry/check the opponent’s weapon, while simultaneously counterattacking with the other weapon before the opponent can react.
-However, there is trade-off -- '''Kūsankū movements create a "dead time" of complete vulnerability.''' Since Kūsankū movements require extending both hands, you must spend a beat to retract your hands, briefly rendering yourself unable to block, counter, or disarm. There is no margin of error; Kūsankū movements must succeed, or be immediately followed by a perfectly-timed [[Evasion|evasion]] to avoid the opponent’s counterattack. Because their timing is so critical, Kūsankū movements are considered to be an [[Advanced|advanced]] technique. Training to perform Kūsankū movements faster and faster will mitigate, but not change the fact that performing a technique and rechambering is a two-step process. This is why karateka usually prefer to use one hand at a time; by simultaneously rechambering one technique as the other is thrown, continuous fire can be achieved with no vulnerable gaps.
+However, there is trade-off -- '''Kūsankū movements create a "dead time" of complete vulnerability.''' Since Kūsankū movements require extending both hands, you must spend a beat to retract your hands, which briefly renders your unable to block, counter, or disarm. There is no margin of error; Kūsankū movements must succeed, or they must be immediately followed with a perfectly-timed [[Evasion|evasion]] to avoid the opponent’s counterattack. Because their timing is so critical, Kūsankū movements are considered to be an [[Advanced|advanced]] technique. Training to perform Kūsankū movements faster and faster will mitigate, but not change the fact that performing a technique and rechambering is a two-step process. This is why karateka usually prefer to use one hand at a time; by [[Reciprocal action|simultaneously rechambering one technique as the other is thrown]], continuous fire can be achieved with no vulnerable gaps.
-It may seem that Kūsankū movements neglect [[Reciprocal action|reciprocal action]], but this is untrue. Reciprocal action largely serves as a mnemonic to remind students to tense the opposite side of their bodies in order to optimize [[Snap|snap]]. An [[Advanced|advanced]] student should have enough control over their bodies to tense and relax in a way to make ''anything'' snap.
+It may seem that Kūsankū movements neglect [[Reciprocal action|reciprocal action]], but this is untrue. Reciprocal action is largely a mnemonic to remind students to tense the opposite sides of their bodies in order to optimize [[Snap|snap]]. An [[Advanced|advanced]] student should have enough control over tensing and relaxing their bodies to make ''anything'' snap.
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-'''Kūsankū''' is the Japanese rendering of Kwang Shang Fu (c. 1670-1762 CE), the ambassador from [https://en.wikipedia.org/wiki/Qing_dynasty Qing dynasty] China to Okinawa. Kūsankū, a kung-fu master, taught [https://en.wikipedia.org/wiki/Fujian_White_Crane White Crane] at [https://en.wikipedia.org/wiki/NahaNaha] area in 1756 CE. His student, Kanga Sakugawa (1733-1815 CE) created the kata Kūsankū as a memorial to his teacher. This kata was later sampled and remixed to create the Pinan/Heian and Taikyoku kata series, which constitutes the core curriculum of most karate styles and many karate-derived martial arts. In Shōtōkan Karate, the kata Kūsankū is referred to by an alternate name, Kankūdai.
+'''Kūsankū''' is the Japanese rendering of Kwang Shang Fu (c. 1670-1762 CE), the ambassador from [https://en.wikipedia.org/wiki/Qing_dynasty Qing dynasty] China to Okinawa. Kūsankū was a kung-fu master, and taught [https://en.wikipedia.org/wiki/Fujian_White_Crane White Crane] in [https://en.wikipedia.org/wiki/Naha Naha] in 1756 CE. His student, Kanga Sakugawa (1733-1815 CE) later created the [[Kata|kata]] Kūsankū as a memorial to his teacher. This kata was later sampled and remixed to create the Pinan/Heian and Taikyoku kata series, which constitutes the core curriculum of most karate styles and many karate-derived martial arts. In Shōtōkan Karate, the kata Kūsankū is referred to by an alternate name, Kankūdai.
-The kata Kūsankū is characterized by the repeated use of a simultaneous [[Shutō_block#Rising_knife-hand_block|rising shutō block]] and a [[Tate-shutō uchi|tate-shutō uchi]]. While Kūsankū is not part of the [[Goshin-Jutsu]] curriculum, we still make occasional use of its core concept -- that '''defenses and counterattacks ''can'' be performed simultaneously.''' Within [[Goshin-Jutsu]], any simultaneous block and counterattack is referred to as a “Kūsankū movement.”
+The kata Kūsankū is characterized by the repeated use of a simultaneous [[Shutō_block#Rising_knife-hand_block|rising shutō block]] and a [[Tate-shutō uchi|tate-shutō uchi]]. While Kūsankū is not part of the [[Goshin-Jutsu]] curriculum, we still make use of its core concept -- that '''defenses and counterattacks ''can'' be performed simultaneously.''' Within [[Goshin-Jutsu]], any simultaneous block and counterattack is referred to as a “Kūsankū movement.”
 '''Kūsankū movements are intrinsically faster than performing two individual movements.''' Whereas the standard block-counter combination works on two beats (i.e, ♫, “1-2”), a simultaneous “blockcounter” only takes one beat (e.g., ♪, “1”). Training to perform block-counter combinations faster and faster will mitigate, but not change the fact that one-step processes are intrinsically faster than two-step processes. This is especially important in [[Kobudō|kobudō]], because '''two-handed weapons''' (e.g., [[Bō|staves]], spears, swords, polearms, etc.) '''cannot perform Kūsankū movements'''. Many of the [[Waza|defenses]] against double-handed weapons work by exploiting this weakness. Single-handed weapons (e.g., [[Sai|sai]], [[Tonfa|tonfa]], [[Kama|kama]], tanbō, etc.) are welded in pairs, using one weapon is used to block/parry/check the opponent’s weapon, while simultaneously counterattacking with the other weapon before the opponent can react.
-However, there is trade-off -- '''performing a Kūsankū movement causes a "dead time" of complete vulnerability.''' Since Kūsankū movements require extending both hands, you must spend a beat to retract your hands, briefly rendering yourself unable to block, counter, or disarm. There is no margin of error; Kūsankū movements must succeed, or be immediately followed by a perfectly-timed [[Evasion|evasion]] to avoid the opponent’s counterattack. Because their timing is so critical, Kūsankū movements are considered to be an [[Advanced|advanced]] technique. Training to perform Kūsankū movements faster and faster will mitigate, but not change the fact that performing a technique and rechambering is a two-step process. This is why karateka usually prefer to use one hand at a time; by simultaneously rechambering one technique as the other is thrown, continuous fire can be achieved with no vulnerable gaps.
+However, there is trade-off -- '''Kūsankū movements create a "dead time" of complete vulnerability.''' Since Kūsankū movements require extending both hands, you must spend a beat to retract your hands, briefly rendering yourself unable to block, counter, or disarm. There is no margin of error; Kūsankū movements must succeed, or be immediately followed by a perfectly-timed [[Evasion|evasion]] to avoid the opponent’s counterattack. Because their timing is so critical, Kūsankū movements are considered to be an [[Advanced|advanced]] technique. Training to perform Kūsankū movements faster and faster will mitigate, but not change the fact that performing a technique and rechambering is a two-step process. This is why karateka usually prefer to use one hand at a time; by simultaneously rechambering one technique as the other is thrown, continuous fire can be achieved with no vulnerable gaps.
 It may seem that Kūsankū movements neglect [[Reciprocal action|reciprocal action]], but this is untrue. Reciprocal action largely serves as a mnemonic to remind students to tense the opposite side of their bodies in order to optimize [[Snap|snap]]. An [[Advanced|advanced]] student should have enough control over their bodies to tense and relax in a way to make ''anything'' snap.

← Older revision		Revision as of 21:11, 8 July 2018
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−	'''Kūsankū''' is the Japanese rendering of Kwang Shang Fu (c. 1670-1762 CE), the ambassador from Qing dynasty China to Okinawa. Kūsankū, a kung-fu master, taught White Crane ~~the Okinawans in the Kanemura~~/~~Naha~~ area in 1756 CE. His student, Kanga Sakugawa (1733-1815 CE) created the kata Kūsankū as a memorial to his teacher~~; this~~ kata was later sampled and remixed to create the Pinan/Heian and Taikyoku kata series, which constitutes the core curriculum of most karate styles and many karate-derived martial arts.	+	'''Kūsankū''' is the Japanese rendering of Kwang Shang Fu (c. 1670-1762 CE), the ambassador from [https://en.wikipedia.org/wiki/Qing_dynasty Qing dynasty] China to Okinawa. Kūsankū, a kung-fu master, taught [https://en.wikipedia.org/wiki/Fujian_White_Crane White Crane] at [https://en.wikipedia.org/wiki/NahaNaha] area in 1756 CE. His student, Kanga Sakugawa (1733-1815 CE) created the kata Kūsankū as a memorial to his teacher. This kata was later sampled and remixed to create the Pinan/Heian and Taikyoku kata series, which constitutes the core curriculum of most karate styles and many karate-derived martial arts. In Shōtōkan Karate, the kata Kūsankū is referred to by an alternate name, Kankūdai.

	The kata Kūsankū is characterized by the repeated use of a simultaneous [[Shutō_block#Rising_knife-hand_block\|rising shutō block]] and a [[Tate-shutō uchi\|tate-shutō uchi]]. While Kūsankū is not part of the [[Goshin-Jutsu]] curriculum, we still make occasional use of its core concept -- that '''defenses and counterattacks ''can'' be performed simultaneously.''' Within [[Goshin-Jutsu]], any simultaneous block and counterattack is referred to as a “Kūsankū movement.”		The kata Kūsankū is characterized by the repeated use of a simultaneous [[Shutō_block#Rising_knife-hand_block\|rising shutō block]] and a [[Tate-shutō uchi\|tate-shutō uchi]]. While Kūsankū is not part of the [[Goshin-Jutsu]] curriculum, we still make occasional use of its core concept -- that '''defenses and counterattacks ''can'' be performed simultaneously.''' Within [[Goshin-Jutsu]], any simultaneous block and counterattack is referred to as a “Kūsankū movement.”

@@ Line 1: / Line 1: @@
-'''Kūsankū''' is the Japanese rendering of Kwang Shang Fu (c. 1670-1762), the ambassador from Qing dynasty China to Okinawa. Kūsankū, a kung-fu master, taught White Crane the Okinawans in the Kanemura/Naha area in 1756. His student, Kanga Sakugawa (1733-1815) created the kata Kūsankū as a memorial to his teacher; this kata later sampled and remixed to create the Pinan/Heian and Taikyoku kata series, which constitutes the core curriculum of most karate styles and many karate-derived martial arts.
+'''Kūsankū''' is the Japanese rendering of Kwang Shang Fu (c. 1670-1762 CE), the ambassador from Qing dynasty China to Okinawa. Kūsankū, a kung-fu master, taught White Crane the Okinawans in the Kanemura/Naha area in 1756 CE. His student, Kanga Sakugawa (1733-1815 CE) created the kata Kūsankū as a memorial to his teacher; this kata was later sampled and remixed to create the Pinan/Heian and Taikyoku kata series, which constitutes the core curriculum of most karate styles and many karate-derived martial arts.
-The kata Kūsankū is characterized by the repeated use of a simultaneous [[Shutō_block#Rising_knife-hand_block|rising shutō block]] and a [[Tate-shutō uchi|tate-shutō uchi]]. While Kūsankū is not part of the [[Goshin-Jutsu]] curriculum, we still make occasional use of its core concept -- that '''defenses and counterattacks ''can'' be performed simultaneously. Within [[Goshin-Jutsu]], any simultaneous block and counterattack is referred to as a “Kūsankū movement.” '''
+The kata Kūsankū is characterized by the repeated use of a simultaneous [[Shutō_block#Rising_knife-hand_block|rising shutō block]] and a [[Tate-shutō uchi|tate-shutō uchi]]. While Kūsankū is not part of the [[Goshin-Jutsu]] curriculum, we still make occasional use of its core concept -- that '''defenses and counterattacks ''can'' be performed simultaneously.''' Within [[Goshin-Jutsu]], any simultaneous block and counterattack is referred to as a “Kūsankū movement.”
-'''Kūsankū movements are intrinsically faster than performing two individual movements.''' Whereas the standard block-counter combination works on two beats (i.e, ♫, “1-2”), a simultaneous “blockcounter” only takes one beat (e.g., ♪, “1”). Training to perform block-counter combinations faster and faster will mitigate, but not change the fact that a one-step processes are faster than two-step processes. This is especially important in [[Kobudō|kobudō]], because by definition, two-handed weapons (e.g., [[Bō|staves]], spears, swords, polearms, etc.) cannot perform Kūsankū movements. Many kobudō [[Waza|waza]] for defending against these weapons exploit this fact by using single-handed weapons wielded in pairs (e.g., [[Sai|sai], [[Tonfa|tonfa]], [Kama|kama}, tanbō, etc.), and using one weapon to block/parry/check the opponent’s weapon, while simultaneously ]counterattacking before the opponent can react.
+'''Kūsankū movements are intrinsically faster than performing two individual movements.''' Whereas the standard block-counter combination works on two beats (i.e, ♫, “1-2”), a simultaneous “blockcounter” only takes one beat (e.g., ♪, “1”). Training to perform block-counter combinations faster and faster will mitigate, but not change the fact that a one-step processes are faster than two-step processes. This is especially important in [[Kobudō|kobudō]], because ''two-handed weapons'' (e.g., [[Bō|staves]], spears, swords, polearms, etc.) ''cannot perform Kūsankū movements''. Many [[Waza|waza]] for defending against these weapons exploit this fact by using single-handed weapons wielded in pairs (e.g., [[Sai|sai], [[Tonfa|tonfa]], [Kama|kama}, tanbō, etc.); one weapon is used to block/parry/check the opponent’s weapon, while simultaneously counterattacking with your other weapon before the opponent can react.
-However, '''performing a Kūsankū movement will render you completely vulnerable.''' Since Kūsankū movements require extending both hands, you must spend a beat to retract your hands, rendering briefly unable to block, counter, or disarm. There is no margin of error; Kūsankū movements must succeed, or be immediately followed by a perfectly-timed [[Evasion|evasion]] to avoid the opponent’s counterattack. Training to perform Kūsankū movements faster and faster will mitigate, not change the fact that performing a technique and rechambering is a two-step process. As such, Kūsankū movements are an [[Advanced|advanced]] technique. This is why karateka prefer to use one hand at a time; by simultaneously rechambering one technique as the other is thrown, continuous fire is achieved with no vulnerable gaps.
+However, '''performing a Kūsankū movement will render you completely vulnerable.''' Since Kūsankū movements require extending both hands, you must spend a beat to retract your hands, briefly rendering yourself unable to block, counter, or disarm. There is no margin of error; Kūsankū movements must succeed, or be immediately followed by a perfectly-timed [[Evasion|evasion]] to avoid the opponent’s counterattack. Training to perform Kūsankū movements faster and faster will mitigate, but not change the fact that performing a technique and rechambering is a two-step process. Because timing is critical, Kūsankū movements are considered to be an [[Advanced|advanced]] technique. This is why karateka usually prefer to use one hand at a time; by simultaneously rechambering one technique as the other is thrown, continuous fire is achieved with no vulnerable gaps.
 It may seem that Kūsankū movements neglect [[Reciprocal action|reciprocal action]], but this is untrue. Reciprocal action largely serves as a mnemonic to remind students to tense the opposite side of their bodies in order to optimize [[Snap|snap]]. An [[Advanced|advanced]] student should have enough control over their bodies to tense and relax in a way to make ''anything'' snap.