Shimabkuu Kumite - My Interpretation

 

I was never trained directly in the Shimabuku Kumite. At one of Sherman Harrill's clinics he shared a list of what those Kumite covered. Years after his death John Kerker shared a video of Sherman presenting those Kumite at a clinic. From that video I worked up these notes. Of course any errors are all mine.

 

 

Shimabuku’s Kumite – Notes

D:\Victor Files\Sherm-pedia\Sherm-pedia source\14 Miscellanous

01 How to counter basic grabs
02 How to counter punching attacks
03 Striking the back of an attacking fist
04 Special blocking techniques
05 How to grab and control the attacker
06 How to counter the Gi Grab
07 How to counter the Full Nelson
08 How to counter the Bear Hug
09 How to counter the Devil’s handshake
10 How to counter chokes (including from the mount position)
11 How to counter a straight stab
12 How to counter an ice pick stab
13 How to counter a straight stab with both hands up
14 How to counter a straight stab leaning forward
15 How to counter double knife stabs


1. This section is dealing with hand grabs
        a.   Left hand hold right wrist   (Straight hand grab)
              From Seisan, pull the hand back to the release position and strike to the solar plexus.

In Chart One, as taught by Tom Lewis, Number 5 was Right Foot steps back as you deliver a left side block, followed by a right punch [Which is a reversal of the opening of Seisan kata.]

Against a left grab of your right wrist, Shimabuku Tatsuo technique simply stepped back with the right foot and chambered the right hand, which pulls it right out of (or away from) that grab, and followed with a right front punch into the opponents chest.

The stronger your kata practice, the more precise your chambering movements in the kata, the stronger your release from their grab.

Two hands hold one wrist

Step in and grab your hand from the top, drive the elbow up to the chin for a strike followed, with a backfist. This can also be done by going underneath grabbing your fist stepping forward into Seiunchin doing a elbow strike reinforced with the other hand.

    For the first counter, after they’ve grabbed your wrist with both their hands, you reach across the top of their hand and grab your own wrist. As you step forward (with the foot of the hand grabbed) as you drive your elbow up, the arm crossing across their arm becomes a lever into their arm, and the combination of your driving force, and the pressure of the crossing arm bearing down, you strip your arm free, opening the backfist into their face.

    For the second counter, after they’ve grabbed your wrist with both their hands, you reach underneath their arms and grab your fist. Then the foot of the hand grabbed, steps in and the forward (with a crescent step) into Seiunchin and you do a cross elbow strike into their arm.

    Alternative choice, for the third counter, after they’ve grabbed your wrist with both their hands, you reach underneath their arms and grab your fist. Then the foot of the hand grabbed, steps in and the forward (with a crescent step) and out in Seisan, as you use the re-inforced block section of Seiunchin to pressure both their arms from the inside out. This will break the grab and put them in a twisted controlled position, ready for a counter-attack.

Left hand hold right hand, from side position   (hand grab from side)
From Chinto, hand grab is from over the top, trap his hand and go into a hand bar.

    When you’re right hand is grabbed from the side with their left hand, as in a mirror image of Chinto’s opening, your left foot will step back as you shift into right cat stance to the side. Your right hand will circle clockwise away your hand staying on your centerline, and then continue the circle shifting back towards the opponent. As you do this your left hand grabs their wrist.

    The wrist grab and turn towards them, presses their hand down between your wrist grab and your right hand pressure. You slide your right palm down their palm and lock it in, then press their hand back (into a hand lock) which I believe is the hand bar in question.

    Alternatively you can do this by bringing your left hand up underneath their arm, and just use it to pressure their wrist/hand. Of course this is more pressure sensitive skilled, and prone to escape if not perfect.

Right hand hold right wrist   (Cross Hand Grab)
Thumb on the top, bring the hand to the outside and over the top striking to the throat with a shuto strike. The left hand will go underneath the right arm in a open palm to protect the ribs.

    This is against a cross hand grab, grabbing the side of your wrist.  Using a motion such as in Kusanku kata’s ‘feeling in the dark section’ or the double knife hand kame of Wansu, your right hand (thumb on top) rolls over the top of their hand (at the thumb) releasing their grip, and then you strike into their throat with a shuto strike. As this occurs your left hand goes underneath the right arm with an open palm to protect the ribs.

    If they’ve used the grab to grab your sleeve, you use your left hand to grab their wrist, weakening the thumb and then you proceed as above.

    This can also be done with a larger motion, by bringing the right hand back to your left ear, as your left hand presses across their right arm.  Then follow with your right shuto strike.

Right hand hold right wrist from top  (Top of the hand cross grab)
Grab comes from over the top, from Seiunchin reinforced block traps the hand and goes into backfist strike to the nose.  

One choice would be to begin using the motion of Seiunchin kata’s re-inforced block. They’ve grabbed your hand from on top, your left hand grabs their wrist and presses down. That grab weakens their grip, and your right hand rolls down and clockwise out, to backfist into their nose.

Alternately, when grabbed your hand circles clockwise, your left hand presses into their hand as you do the re-inforced block to the right. This rolls their arm over and you continue with the kana and step through, your right hand grabbing their arm as your left hand strikes into their nose.
 

2.     Defenses against strikes

 a.    Outside block, punch inside
                 Attacker right foot forward, right hand punch.
                 Defender steps back, right foot back side block, reverse punch to the solar plexus.

This is a case as you step back with your right foot, you left arm uses a dragging Side block (interior line of defense) , where you block out, and pull the blocking hand back to the waist to draw the opponent forward with the ‘blocking’ effect, creating the opening for the standing fist knuckle reverse punch to the solar plexus.

Inside block, punch side
Attacker right foot forward, right hand punch.
Defender steps back right foot,  inside block, reverse punch to the ribs.

In this case as you step back with your right, you strike inside with your blocking arm (external line of defense), deflecting their strike away creating an opening for a standing reverse punch to their ribs.

Step forward, punch
Attacker right foot forward, right hand punch.
Defender ( from the end move of Naihanchi) steps back into Naihanchi and punch.

Your attacker is driving into you with their strike. Your left foot steps back and you rotate 90 degrees counter clockwise.  Your left hand comes up with a deflection, as your right punch strikes into their face (the double side strike from Nihanchi Kata).

Shoulder block
From Sunsu attacker steps forward lead punch, block then backfist.

Your attacker is driving forward with their strike. Your left foot steps back and you rotate 90 degrees counter clockwise. Your right hand chambered at your waist as you elbow block across during your turn, deflecting your attacker to the outside. You finish with a backfist to their face.

Grab arm, elbow
From Sunsu attacker steps forward lead punch, defender steps in grabs the wrist
steps around breaks elbow, then elbow strike to back.
Hook wrist from over top, arm bar then elbow strike.
Open palm deflect fast spin around with elbow strike.

As in SunNuSu Kata

Your attacker is driving in with their strike. Your left hand grabs over and pulls down, as your right hand strikes up immediately behind their elbow. This has the potential of an elbow break, or dislocation.

Then your right arm hooks under and over their arm as you spin around (further compounding the pressure on their arm) and conclude with the other elbow strike into their spine.
 
 
3.  Striking into the attacking arm/hand creating an opening for other counter-attacks.This series uses the principle you can always hit your own hand, and your shifting gets your other hand on the oher side of the arm/hand being struck.

      a.    Punch back of hand
  Attacker throws twist punch, defender down strikes to  the back of the hand, the same as knocking on a door. Use cat stance from Seiunchin backfist for punch or kick.

Against a twisting punch towards your center, your left foot steps back (as you are in right cat stance), your left hand flows under their punching hand as your right hand backfist strikes down onto the top if their punching hand.  The possibility of a following kick from your cat stance is always possible.

Punch back of hand side
Isshin~Ryu punch attacker right foot forward, right lunge punch. Defender left foot back, backfist with right hand.

Against a standing right punch from your attacker, step away with your left foot, rotate your body counter-clockwise 90 degrees, and with your left hand sliding behind their hand, strike into their wrist with a right backfist.  You’re working an interior line of defense.

Punch back of hand knuckle
If the attacker steps in with left punch strike with knuckles of fingers on the back of the fist.
This can also be use to strike on inside of the wrist.

Against a left lead strike, you step away with your left foot, rotate your body counter-clockwise 90 degrees, and with your left hand sliding behind their hand, strike into their arm/hand with the knuckles of your right fist..  This knuckle strike contains great deadening power.  You’re working the exterior line of defense.

 
Countering Kicks

         a.    Knuckle block for kick, counter kick
Attacker kicks from right leg, defender steps back down block with knuckle strike  to the Shin then counters with a kick with the right leg.

Against a right kick, you step back with your left foot (into right cat stance), your left hand slides down and behind their calf as you deliver a right knuckle strike into their Shin, and then counter with a right kick into their leg. This may be an interpretation of the stacked hands and front kicks at the end of Wansu kata.

Cross arm block
From Chinto kata X block, blocking with the back hand and knuckle strike with the lead hand.

Against a right kick, step in with a left low back hand block to their leg with a knuckle strike from the lead hand following, into their shin.

Left hand push right leg inside counter kick
Heel palm block leg across (close out) then counter kick to groin or inside of  leg.

I see this as from Chinto Kata. When the attacker leads a right kick at you, your right foot steps back into Left Kake dachi, as your left hand heel palm blocks across (inside to outside) deflecting their kick to the exterior, then you counter with a front kick to the groin or inside of the supporting leg.

Alternatively, as you step back with your right (to distance yourself from the kick) the left hand could sweep across with the palm heel, moving the person’s leg to your right side, and you then kick under their leg to the groin or the inside of the opponent’s supporting leg.

Knee block, kick
From Wansu kata, knee bump the leg across then counter with a kick.

As the opponent kicks with their right, you rotate your torso to the left (releasing the left knee and dropping your center), as you do so your right rising knee strike becomes an inside counter strike into their kicking leg, and then counter with the right front kick to target of choice.

Grab leg, grab Adam’s apple, trip punch
From SNT hook the kick, while grabbing Adam’s apple, drive knee into the groin while Keeping control of the trapped leg then punch.


      
From Sherman October 2001, Attacker throws a right front kick (one of Shimabuku Sensei’s Kumite)

You shift to the right (interior line of defense) hook your left arm under and up outside their kick, then your right hand strikes into their throat, and your right leg hooks behind their left. They are now set up for a big takedown. Drive your right knee into their groin, while keeping control of the punched leg, and with the hand grabbing their Adam’s apple, punch it into their throat.

 

Using the Attackers Arm to counter another technique

     a.   Hold arm, use against punch
             Trap lead punch with both hands as the attacker punches with other hand jerk
              the arm to the inside of the body.


Left kick
Same as (a) arm will be jerked towards the kicking leg.


Right kick
        Same as (b)

Twist
The attacker attempts to spin out and around, bring their arm up and over the shoulder into a arm bar.



6. Gi Grab Defenses   
      a.    One hand hold gi,  grab, twist,  kick
              From Sunsu the first toe rip. The attacker grabs your gi, grab thumb and wrist rotate, toe rip.

Two hand hold gi, push kick
                From Sunsu the second kick, toe rip or heel push. The attacker has a judo lapel cross grab, reach up underneath as in the kata and kick.

Trip two feet kick
The same as a and b except you sweep the leg out and follow up with a kick.
 

 7.    Defenses against the full nelson

      a.   Full nelson, karate cut groin
              From Sunsu hands go up and out to the sides (little fingers facing out)
              bump with the hips then strike to groin.

Attacker applies headlock from behind, under armpits and behind head.
You press both hand tops to your forehead. Then step out into Seiunchin and drop your elbows to break the lock……..       THIS IS AS IN SunNuSu.

Full nelson,grab leg, heel kick
Same as a except after the bump step to side grab their left leg, keep your Right leg in close to their left leg and do heel stomp into the groin.



Full nelson, grab both legs, karate cut groin
After the bump slip leg behind them, grab and bring  both leg into the air release one and strike to the groin.

Back neck breaker and choke hold, cut groin
Point hand into air while striking to the groin. You can also just grab a  hand full.



 
   8.  Defense against a Bear Hug and Head Lock

        a. Bear hug waist, hands free, grab one finger, break or hit back of hand
                 Grab one finger or thumb and hit  your hand with a open hand, if you kant Grab a finger just rap on the back of the hand until they let go.


Bear hug around arms and waist, grab groin
Sensei  said to dust hips off, each time striking to the groin while moving  leg to the inside.  You can also step to the side grab the leg and do as in  7 b.


Head lock, grab groin and one shoulder break
Attacker has you locked with his left arm, reach in and grab the groin with your right hand while the left hand grabs the front of the gi by the neck, step in with your right leg in front and dump followed with a
a counter.

Same grab, left hand hooks behind the leg at the knee while the right hand goes over the head and with the index finger under the nose pull back and raise the leg sticking the groin with right hand.


Head lock, knuckles in side
Take knuckles and grind into the sides until they release.



Head lock, jerk shoulder up kick legs out in front
Throw arms straight up in the air, drop straight to the ground, punch to the Groin and kick to the mid section.

Attacker applies headlock from behind (as no. 37). Master Shimabuku’s favorite answer.

You jump out to the sides and drop in Seiunchin, as your both hands reach straight up.
You then drop to the floor (on your butt) and fall back between their legs. Finish with a right punch straight up in to the groin.

The Devil’s handshake is often a MP or Police come-along lock.

    a.   Devils hand shake, grab your fist , pull, kick
              Pull your hand to your center and hold on as you kick (push) the leg
              out  SNT then counter.




Double devils hand shake, twist over, elbow kick
Have to be a young person to do this. Step forward to make the attackers hold on tight then flip over and counter with a kick and elbow strike.


Attacker Applies Devils Handshake

You reach across with your other hand and press across at your elbow, relieving the pressure, and then your closer leg delivers a heel slash  across their calf  ‘pain’.

 

10.  Choke Defense from a MOUNT position.

    a.    Two hand straight choke, break, grab Adam’s apple
                Attacker is setting on top and has a choke hold. The defender reaches inside with his left arm at the their elbow, at the same time bring the right arm up inside and grabbing the throat. Pressure is applied to their right arm and throat                while rolling over onto your side, holding their right arm down and controlling them with the choke.

Same attack as above except they are choking with their left and attempt to strike you with their right hand. Defender brings right hand to the inside and blocks their right hand strike as you go for the choke. Finish the same as 10 a.

Cross arm choke, one arm and shoulder up between his arms and grab Adam’s apply Judo cross arm choke.  Same as above.

Smother hold, knuckles in side
Judo cover from the top down with attacker holding onto your obi.
Knuckles into the side until they get off.

 

        Knife Defenses

        11.   a.    Straight stab, grab hand and wrist, twist, kick, trip, kick
                         Attack comes from below the waist up with right foot forward, right hand stab.
                         Step back with right foot, left hand  to inside of the wrist, right hand comes up
                Twist joint to the outside, kick, sweep leg and drop down, heel stomp and punch. This can be done with out the sweep, just take down with the joint lock.


          12.    a.    Ice pick stab, block across, kick
                          Knife is raised high above the head in a down strike with right hand and right foot forward. Step back right foot, left hand open ark sweep, right hand chop  to the neck. Right foot kick to the groin. The person can be taken down with a sweep, heel stomp and a kick.
       

        13.    a.    Straight stab, both hands up, karate cut block, kick Coming in with knifes in both hands, hands raised to high port, down strikes And apart as in Sanchin then kick.

            14.  a. Straight stab leaning forward, grab hand with both of yours, pull, trap at elbow then they Lunge in with right hand and right foot forward, step back deep deflecting with the left hand grabbing the wrist with the right then left hand grabs. Pulling them to the deck as you turn and place your left knee on the back of their arm (rub point) right hand has the wrist control or break at elbow.

             15.    a.    Two knife straight stab, squat kick
                Person attacks with both knifes, same deflect as 14a squat to the side and kick.



 



        Other Technique from Sherman Harrill October 2001

Attacker RFF Right Punch  (one of Shimabuku Sensei’s Kumite)

Your left foot steps forward (exterior line of defense). And deliver a left inner horizontal elbow(forearm) strike across their striking arm.  Your right foot then circles clockwise, your left hand flows down and up inside their arm, and you finish with a right rear elbow strike into their spine… [Almost identical to a similar Eagle Claw technique.]

 Attacker RFF Right Punch  (one of Shimabuku Sensei’s Kumite)

You raise your open right palm to the interior line of defense, forming a high block.  You then pivot counterclockwise and drop a descending vertical palm strike into their closest clavical (trying to break it). Follow with a knee strike into the groin  (Variation of Kusanku)


      Against an attackers RFF Punch  (Using Shimabuku Tatuso’s Chinto response (and an original TS Kumite technique)

Your rising X block stops with the attackers arm on top of the “X”…
Your right hand (behind the left) circles the attackers arm down clockwise, as the left arm (open hand) crosses your right biceps. You can then left backfist to the side of their head, or alternatively left shuto their neck.

Ghost techniques annual training

 

A Ghost Moon on April 25,2054

With the world becoming more unstable and the chance of facing random attack more credible, perhaps is it time to suggest an older training I offered my students that should be considered.

One time when I initially began training with Ernest Rothrock he gave me a copy of his students Advanced training manual. Of course it contained many things I had never trained in. One of them was most interesting, it was called the Ghost Techniques, again something I had never heard of anywhere.

I asked Ernest about them. He explained they came from his training with Dennis Decker, his first instructor, and he was not sure where they came from. The manual was given to students when they passed the equivalent of his school's Black Belt test, it was to provide them a glimpse of what their training could become. He also mentioned that none of his students ever expressed an interest in the Ghost Techniques.

The descriptions were brief. But the idea entered my head and those techniques became a personal study for me.

I worked out what they could mean to me, further research led to other clues. From Dennis Decker's background they might have come to his grandfather's time in China. Likewise they might have come from a Nijiutsu group he once associated with. I did discover a book on Japanese sword technique that reportedly came from a Tengu (demon) who shared his sword techniques with a Japanese sword group. Among them were the Tengu Ashi or Demon Steps of evasion when fighting with a sword.

Regardless of their origin I felt they were a very serious study  for my adults. Then I simplified them a bit and developed a fun training  for the youth Halloween class. I only covered them once a year for fun with the youth. That did not mean I did not consider them a serious study.

I believe that in today's changing world they are still needed.

They were methods to elude an attacker. To move away from their attack, using the reality that many times they know where you are and attack without true focus, allowing you to not be there when the attack is delivered. Of course, using the Eye must See All Sides and the Ear must listen in All Directions is necessary too.

The Ghost Technique Training

Every year at Halloween we have some special training, based on very serious black belt studies.  It is how to disappear before an attacker. Not by magic, but based on the principle most attackers believe they know where you are, and because they know where you are, they aren’t really looking at you. So you move to where they are not looking and disappear before their eyes.

In ancient Japanese legends there are stories that Goblins taught these techniques to ancient warriors. They are called ‘Tengu Ashi’ which translates into ‘Goblin Steps’ or translated into more modern English “Ghost Techniques”.

While today Okinawa is part of Japan, not so in the distant past, yet part of karate is based on the same principles.

As I mentioned this is a very serious Black Belt study, but we are going to look at the first steps tonight.

Ghost Techniques or How Not To Be There.

For this practice each attack the attacker steps forward with their right foot and throws a right punch at your center line.

⦁    The first Ghost Technique involves stepping back from an attack.

Right foot steps back with a crescent step, avoiding the strike.

⦁    The second Ghost Technique involves side stepping from an attack.

Step to the left side with your left foot, Slide your right foot over and parry with your right hand sweeping right, your left hand held at your solar plexus.

Or

Step to the right side with your right foot. Slide your left foot over and parry with your left hand sweeping left, your right hand held at your solar plexus.

⦁    The third Ghost Technique involves stepping away with a surprise technique and walking away.

Step with the left foot ot 45 degrees left (away from the strike), spin counter-clockwise with your right foot, then walk away on the diagonal line.
Of course if there is time, you can practice doing this to the right, using mirror image of the first technique.

⦁    The final Ghost Technique involved stepping forward outside the attack, then stepping forward with the other foot and spinning so you are behind the attacker.
⦁    Then you can Moon Walk away from them, and avoid conflict.
⦁    Or if tightly done, end up behind them to counter their attack from the superior position.

Step forward with the left foot (as close to their strike as possible), then crescent step forward with your right foot (placing it behind their position), spin clockwise with your  left foot to end up behind their back.

This  can be done paired, to work on the movement and to work towards increasing speed, After the spin movement, both people slap hands together. It almost becomes a duel to see who can do it faster, Using the slap to strike their body instead of their hands where both are using the same speed.

Kanegawa no nichogama

 Kanegawa no nichogama

 https://www.youtube.com/watch?v=YnkMd5BMYqY

 

kanshiwa.mp4

The second kata to be mastered in Uechi-ryu Karate-do

 https://www.youtube.com/watch?v=QwGkHrGKpIk

 

The idea of a Neverending Kata - Linking Naifanchi and Sanchin

 I believe it is important to be honest up front.
As a student of Tom Lewis and Charles Murray I have always followed the Isshinryu they taught me. I realize at different times Lewis Sensei taught differing version of our kata. But I did not experience that myself. When I began training with Charles he told me do perform my Ishinryu that I had been taught in Salisbury always that way. and my new kata should be done his way.

I followed that advice for the rest of my life.

When I saw videos of Tatsuo and Angi I realized the versions they were showing might have differenced, however I never considered those videls a reason not to perform as I had been taught. Then at tournaments I ofter saw other ways, eventually on the internet and you tube I sas more. I was interested in those variances, but never used them as a reason to find a new way.

For example i was taught Naifanchi by my senior Dennis Lockwood with the toes facing inward for naifanchi dachi. Nothing others did gave me a reason to change from that.

Now the past discussion.

Considering Nihanchi and Sanchin

 

Tatsuo Naifanchi
https://www.youtube.com/watch?v=48HPCTktT70

 

Tatsuo Sanchn
https://www.youtube.com/watch?v=3WunF0nHUvI

In today’s class, while working on Nihanchi kata, some earlier training stuck in my head.

Murray Sensei when training me told me that Nihanchi was the Shorin version of Sanchin.

His explanation was that the lower body (stance)  should be locked in tight (similar to Sanchin stance), but the upper body should be flexible to move cleanly from side to side.

I’m not sure where he picked that up, but its one of the focal points I’ve always considered.

Now as I’m prone to do, I’ve done more than my share of ‘special’ training with Nihancihi.  For strong, energetic late-teenagers, I’ve often taught them Nihanchai with two jumping spinning crescent kicks (a great way to reduce their energies).

But far more appropriately, I’ve used Nihanchi as a never ending kata. When you finish the kata you simply continue to keep doing it again and again.

The long repletion of Nihanchi, besides strengthening the legs and the torso, when repeated endlessly:

1. Allows the instructor  to readily see where the mistakes in the students performance are located.
2. Becomes a great strength in technique drill.  

I find it has a distinctly different flavor than just doing the kata, stopping, doing the kata, stopping and doing the kata, and so forth.

 Today this got me thinking, this ‘never-ending’ Nihanchi has a different link to Sanchin than the one Murray Sensei suggested.

[I especially like Nihanchi because so many people hate it for its unaccustomed lateral movement. I find the best way to guage a students real abilites can be done by their ability to execute Nihanchi, most especially in advanced Black Belt level.]

The histories (based on oral testimony) of Hiagonna teaching, didn’t use Sanchin of a fixed number of steps. Instead they would continue down the space of the dojo (inside or outside) until they couldn’t go further. At that point they’d just turn around and to Sanchin back the way they came. Eventually this turn worked its way into the finished Sanchin kata (expressed through Miyagi’s Goju-ryu).

I understand there are several theories (in tandem or apart?) regarding Miyagi’s Sanchin (without the turns), which later translated into Shimabuku’s Sanchin.  One that Miyagi specifically wanted to work on moving backwards.

But it is the oral history of Hiagonna’s Sanchin, the never ending, go down the floor, turn, go down the floor, turn, go down the floor, etc. also is a never ending kata.  

[Which does not imply that Isshinryu’s Sanchin can’t be done as a never ending kata either).  Thus you can find a common ground  linking these practices together (if you choose to practice this way].

Perhaps this will give those of you who are instructors some interesting class ideas.

Of course this brings up a larger question I posted in May, regarding Nihanchi and Motobou. We never did discuss that adequately (IMO) though there may be no ‘logical’ answer.

A closing comment, in the kata’s never-ending kata version,  the instructor can more readily see the small problems in the student’s execution. If the kata isn’t done very correctly small mistakes begin to build and create a counter-vibration to the kata’s correct execution.

Pondering Isshinryu studies for a change.

Victor

The Art of Kata Application

                           

I’ve been thinking that a discussion of the elements involved in the analysis of kata application may make for an interesting discussion.  This discussion will not examine a larger potential issue, how to mix and match techniques from a single kata, or from multiple kata, to find other application answers.

As the arts have been passed, except as our instructors shared or didn’t share applications, there are no concrete rules in most cases that must be followed The only exception is in the actual direct teaching of an instructor or group of instructors. In such cases, if you remain their student you have the answers you need.

The first consideration may seem simple, that one has to know the material, but it is extremely important. Knowing the material is much more than just moving through space. It is having true knowledge in the material to have faith in it.

Many individuals working a specific technique application find when facing the pressure of an attack, even with a technique series they’ve been doing for years don’t have the faith to follow through with the technique they were just shown, an application that will work, and instead do something else. A reasonable choice for sheer survival, yet short cuts won’t build skill in the long run.

It’s not the technique doesn’t work, especially when the instructor just showed it to them, and explained what to do in detail. But you have to believe that you can actually drop somebody with it too.  That faith is a critical element in technique analysis. If you write a technique off as ‘useless’, you’ll live up to that prediction.

So let’s assume you truly have faith in the technique, one which your instructor or lineage did not explain the application potential. What general components might one look at in the analysis process.

I think the first is defining the sequence that you are using. When you’re taught a kata the sections were drawn for you by your instructor.  For general discussion I’ll use the opening section of Isshinryu Karate’s Seisan Kata.

1 Bow feet closed.

2 Step to ready stance with both hands performing a double down block stopping before each knee

3 Step forward into the left front stance as you execute a left front block, while your right hand chambers.

4 Then retract your left hand to chamber and throw a right reverse punch.

5 Step forward into the right front stance, retract the right hand to chamber and throw a left reverse punch.

8 Step forward into the left front stance as you execute a left front block, while your right hand chambers.

 

I’ll discard bow motion applications, leaving them for another time.  This is a personal thing I’m not into bows.

The most common usage would be seen as no’s 3 and 4 done together, step in block and reverse punch.  In fact I’m going to use this as the base application in other points I’ll be examining.

But, there is a much wider range of answers. The answer could be 2, or 2 and 3, or 2, 3 and 4, or 2 through 6 using the large picture of the motions involved. But complete techniques can be found in the fractals of the motions involved. The sub components of a technique may be complete techniques or all the sub components within a technique may be a complete series in their own right.

Another avenue to explore is the role of timing and breathing in the series of execution. These aspects can change the technique potential in many ways.

Then the direction your technique motion addresses an attack must be considered.  That section of Seisan I’ve previously mentioned, 3 and 4, is most often shown against a lunging punch, and you’re replying straight on, which gives one set of answers. Another answer is to change the angle of insertion into the attack, say cross the line of attack by 20 degrees, giving a separate set of answers.

The motion of striking must be considered. What looks like chambering and striking contain various components when combined with say changing the angle of attack. Is that reverse punch just a strike into the chest, from some angles of insertion it could strike ito the chest several times as it ends striking into the triceps of that attackers arm.  The kata motion may give one option, but high and low strike potential coming from that same motion can be logically explored. The retracting hand also has vast striking, slicing potential into an opponent.

The full use of the body, upper and lower, must be maintained. Often the act of moving hides lower body applications, kicks, knee strikes, stomps, checks, sweeps, reaps. The act of moving can be used as a shearing plane of force in addition to karate’s percussive aspects. Techniques dropping to the floor may be throws. Techniques rising into the air may hide more than just kicks, after all when you go up you come down.

 

The direction of kata technique can be reversed providing more options. At times stepping back can be more than just defensive, getting away from an attacks pressure, it can create a void the target moves into, creating an opening to attack/counter-attack.  This strongly means breaking kata from just one way of potential, and instead exploring all its implications.  In fact with replacement stepping you can do a kata with all it’s movement staying in one place.

The technique of no movement must be explored.  You can do a complete kata without taking a step, and without sacrificing any of the above principles.

Even more abstract is the fact kata technique could be seen as the opening, then intermediate and even closing response to an attack, not necessarily the entire picture.

Kata provide many layers of technique execution. Say a side block/strike. Are you blocking across with one answer, or are you going out and drawing back as you execute the sucking block, provides a separate answer. Both have uses.

The method of execution incorporating many force multipliers must be taken into account.  Examples would be the role of chambering, the use of the knee release, the alignment of the body especially where one hand touches the arm of execution, and the use of the eyes in conjunction with the rest, all can be tools to increase the effect of a technique.

There is no fast rule to how these issues are incorporated in the study of kata application potential.  In fact they are likely layered in over long study, not everything at once.  As your understanding deepens, the potential to see more aspects increases too.

 

Information pertaining to Isshinryu kicking – old style

                                                                   
A long time ago, back in the mid 1990s, there were many things no longer discussed about Isshinryu. This was one of those discussions.  The reality is there are many divergent Isshinryu traditions, each with their own history back to the beginnings of Isshinryu. This is one of them.

 

I was recently reading several interviews with senior Okinawan Shorin-ryu instructors,  Iha Seikichi and Miyahira Katsuya, and in the course of those discussions they both made the same point about kicking.

 “In the “old days,” the kick was never extended past the extended punch. You always kicked within the extended fist.  It is too difficult to do nowadays and students just ignore this concept. Nowadays, the students often seek the easier way and extend their kicks way past their fist. This is the sport kick, but it is okay for those who do not really understand kicking.”

“Remember that in kicking, the foot itself must be tight with the leg loose. You then hinge the kick out. The kick must be chambered, then kick and then re-chambered before the foot is set down. All the kicks in Shorin-ryu are done with the toes. I think that 85% of all the kicks are done mid-body. We then do have a thrust made to the head, but only about 15% of the time.”

Miyahira  Katsuya stated, “The Shorin-ryu student must work on retracting their kicks quickly. They must also practice kicking within an arm’s reach. This is highly important in doing good Shorin-ryu kicks. The kick does not extend out but within the length of one’s arm.”

IMO, this fully describes how Shimabuku Sensei was kicking in our video reference of his technique.

Kicking at the range of direct engagement, striking distance. Fully raising the leg and then kicking out and retracting the kick, at a very close distance.


Victor

 

 
Hi Rich,

I don't offer this as proof of anything, but as something provocative to consider. One of the more interesting developments from our computer age is continual new material to consider, as well as ongoing translations of older 'stuff' we haven't seen before.

I certainly think Okinawan senior's descriptions of their own arts worth pondering.

When I watch Shimabuku Sensei's kicking technique on the video's, I can see a connection to that point of view.

Of course this doesn't mean you can't kick at a further range, either, or that it doesn't have relevance.

I do look forward to your own observations.

Victor



isshim2@... writes:
Of course this doesn't mean you can't kick at a further range, either,  or that it doesn't have relevance.

Victor,
                I agree with what you wrote in your last email. The above statement says it all.  I actually stood up, arm extended and kicked a few times to see where my kicks were in relation to my arm. It passed my hand by a few inches (about 6") and I have long arms. Anything less chokes the kick.  I retract my kicks fast and think of kicking myself in the butt with the heel. The rest of what Iha sensei wrote I agree with.
 
  This is just what I needed, more food for thought, another thing to study. Good article and a keeper.
 
Thanks or should I say gee thanks,
                                                     Richard

 Rich and Victor,
 
Mr Harrill taught front snap kick with the ball of the foot and the toe's at this distance, same length as a punch, with the ball of the foot as the weapon it tends to be an upward angle kick into the abdomen, this took a little bit of time to get use to,
 
 
John


 
I was taught the same kick by Harrill Sensei. Once he tapped you with it you understood it's effectiveness immediately. ~Lee Norton

Lee is right, the knee is as high as you can get it almost,
 
My best example as to were to find the kick in Kata is in Kusanku were we do the backfist Front kick at the same time, the knee comes up and almost touches the elbow.
 
John



Some katas I was taught to kick low with either the ball of the foot or the shin to targets like snkle, shin or groin; others used the ball of the foot to the inner thigh or groin; still others into the abdomen.
~Lee

 
Kerker added:
Mr Harrill taught front snap kick with the ball of the foot and the toe's at  this distance, same length as a punch

 
Rich recalls:

Let's not forget the brush. Ah yes the brush kick. The one where he kicked you on the outside of the lower leg, in an upward brushing motion. Then there was the return to chamber heel kick. The kick would either strike or pass it's intended target and on the way back, just when you thought the worst was over, he nailed you with the heel as the foot returned to chamber. I got these two types to the legs and more then once.
 
Kicking within the extended punch.
 
Now back to this other kick Iha sensei spoke of in the article Victor supplied.

Take this test and you decide:

1 - fully extend an arm ( try it with either the left then the right arm )
2 - lift a leg into chamber ( try both legs )
3 - now kick with full intent making certain you foot does not pass the extended arm
 
I did this yesterday to test what Iha sensei said was the proper way to kick. First, the length of my thigh ( upper leg ) is almost as long as the extended arm to begin with leaving me with only a few inches of forward movement. By the time my lower leg hinges forward, I am past the extended arm. The only way in God's world I can stay within the distance of my arm is to kick short and choke the kick. No matter how I tried it reduced the power of the kick immensely. I tried pulling my hips back to gain some more distance, but that helped very little. I can use a rising kick to the groin, but that went way past the arm.

I didn't stop here. I went to several video's of Harrill sensei and others doing kata. In every case they kicked past the extended arm. Now I am doubting myself thinking I missed the class on kicking 101. But I realize I didn't and contrary to Iha stating people would can't do this don't understand the proper way to kick, I do understand.

Being I liked most of what Iha said and agree with him, I will conduct more experiments with my students on the subject of kicking.

Additionally, in July I will take this subject to Kyoshi Marquez, a fine Goju ryu and Kobudo teacher.John and Lee we have to go over this at next meet.
 
Darn Victor, look what you started. If I didn't like it so much, I wouldn't be posting.  Rich


 
Try pulling you knee higher than you are used to. That's how I learned it.
~Lee




Hi Rich,

I’ve been thinking about this kicking concept for some time “In the "old days," the kick was never extended past the extended punch”.  

First I think we must consider that the use of language (and of course translation) may not fully describe what is being done.

I can see this several different ways:

1. Delivering the kick as if you in distance to strike a wall, and instead using the kick.
     i. Targeting the lower abdomen.
    ii. Targeting the groin/legs

2. Delivering a kick with the same body alignment as if you were striking, and not shifting the hip into the strike. In that case your kick might hinge further than the fist.

3. Targeting a space one arm length from the body that the opponent will be moving into as your kick is delivered. That is not the same as kicking a static distance, but one where the opponent is moving into the space you have taken.

I see each as having a different launch mechanism in practice.

I tried doing a search but didn’t locate any video of IHA SEIKICHI SENSEI to watch. I did locate some video of his contemporary, Miyahira Katsuya, but nothing that makes a case either way.

When I watch Shimabuku Sensei’s kicking technique in the 1966 Seisan kata versions, I see his marvelous chamber, and kicks that appear to strike to the groin or the legs. In that case I see striking the distance a fist can strike, reasonable.  You can watch them yourself and make your own decision.

And that may well tie into Harrill Sensei’s Brush Kick. [And perhaps the cutting kick of the Kashiba Juku folks.

I’m not sure any explanations of a systems kicking technique can fully describe what they may do.

At one time or another I’ve been trained in kicking from several different Isshinryu traditions, Korean Tang Soo Do Moo Duk Kwan, several different Chinese traditions (N. Shaolin and Tam Tuie) as well as Indonesian ones. They each have their time and place, execution theories and strategy.

I firmly believe in my Isshinryu core and teach it as I was taught, but even in that there is flex. I was taught that one’s kicking potential was taken as far as they could go, and in turn use my other studies as appropriate for student growth.

IMO, the only lower body chart I’ve studied for the past 35 years is mostly focused on striking into the lower body of the opponent.

 

Lower Body Combinations

Front Snap Kick
Knee Strike (45degrees)
Front Kick (Side)
Cross Kick
Side Snap Kick
Heel Strike (Knee)
Knee Strike
Rear Kick
Side Kick (45 degrees rear)
Squat Kick
Side Kick (on  Floor)
Front Thrust (from floor)
Double Jump Kick
Roundhouse Kick
Side Kick (Rear 45 degrees), Rear Kick

Victor


 
Some katas I was taught to kick low with either the ball of the foot or the shin to targets like snkle, shin or groin; others used the ball of the foot to the inner thigh or groin; still others into the abdomen.
~Lee



Hi Rich,

Last night my group too was working on kicking in the striking range.

Working on the standing bag we found it was exactly as John described,a rising kick into the lower abdomen range.

Opening a fascinating line of kicking investigation.      Victor




In a message dated 6/4/2008 4:21:11 A.M. Eastern Daylight Time, isshim2@... writes:

Working on the standing bag we found it was exactly as John described, a rising kick into the lower abdomen range.

Victor,

          Every kick a purpose. I am well aware of a rising kick and of course I teach it. Iha, in his interview, led me to believe a person not kicking within his extended arm does not understand kicking. To that I say nonsense. A rising kick has it's purpose, but it is not, in my opinion, our primary front snap kick. Gedan uke ( lower block ) travels downward, a rising kick upward. I believe a rising kick is easier to block being it travels toward the block. I think it's harder to block a snapping kick which hinges and remains parrellel to the ground. I still like all kicks and that's not the point. I understood Iha to mean all mae geri stay within the extended arm. I just don't see this being true.
 
  Draw a straight line down either your left or right side. One from the center of the arm socket to the center of the hip. Now extend your arm and measure from that line to the end of your fist. Do the same with the leg. I guarantee the leg is longer then the arm. Therefore, you must choke the kick or make it rise and choke it to stop it at the end of that arm.
 
  Lee suggested bring the knee up more. If I pick my knee up more, then the rising kick can go higher. But I still, according to Iha, can't past the extended arm. I have seen a great deal of people kick and for sure they are passing the extended arm. I am referring to Isshin ryu people, including myself. Yet they snap and pop the kicks. The kicks are fast, smooth and very effective.

Your going to tell me Harrill sensei's kicks didn't pass his extended arm? Then I must have his double on video's doing kata and kicking wrong according to Iha.
 
  I am waiting for Iha to write me back. Then I will clarify what he wrote in his interview. This made me stop and think which is a very good thing.
 
Rich



Hi Rich,

I agree it is fascinating topic and look forward to any response you get from Iha Sensei. I do belive the concept is open to a number of different meanings depending on definition.

If I had been a student of Harrill Sensei I would practice exactly as trained. Having been a student of others I follow those paths, but am always willing to learn and try.

The immediate result of this will not change my basic teaching approach, but it may have an impact on advanced kicking studies.

Of course it's not necessary one has the strongest kick (or technique) or the fastest kick (or technique) but simply that one has the right speed and power to place the kick (technique) into the right space and time so it has an effect on the attacker. Not a suggestion how to train but a comment on the use of strategy and tactics. The time to strike is when the opportunity presents itself, of course.

Victor


Rich and Victor,
 
Sensei first showed me this kick in the summer of 1992, After he showed this to me he said," Now young man, don't let this change the way I taught you to kick in Kata." The two places he told me to think of this was the back fist front kick combo in Kusanku, and the last kick in Seisan Kata.
 
Also when Sensei would apply this, a trapping seizing type of technique was used prior to the kick
 
Think of it this way, how many different types of handstrikes did you see him employ? Those many ways of striking though never changed the way he ran his Kata.
 
John
 
 
 
In a message dated 6/4/2008 2:47:52 P.M. Central Daylight Time, rlilricky@... writes:

Your going to tell me Harrill sensei's kicks didn't pass his extended arm? Then I must have his double on video's doing kata and kicking wrong according to Iha

Rich

 Mentioned videos:

Miyahira Katsuya performing Pinan Godan
http://www.youtube.com/watch?v=gElz6vYH9tk

 

Shugoro Nakazato Sensei performing the Kusanku Dai   

http://www.youtube.com/watch?v=znNZKMaBVDg

 

Tom Lewis – Seisan kata
https://www.youtube.com/watch?v=TvPnE085r9g

 

Ambidextrous Defense, The Two-Handed Forearm Strike

https://nagarate.blogspot.com/
Tuite Jutsu (Personal training/teaching methodologies in Te)

 

  We teach this technique as one of several “beginning” Defensive combinations to student's when they begin their study of RyuTe.

  
 When instruction is initially began, the student should determine their dominant (or “Strong-side”) hand. If the student is Right-handed, then (usually) the Right hand will be their “dominant” hand (and vise-verse, if Left handed).

  This technique is often taught as a Reaction/response motion for unperceived, or surprise aggression as it is a very simple, yet effective protective motion. As with most RyuTe beginning techniques, this motion is ambidextrous in it's response capability (meaning it works equally well in defeating a Right, or Left hand Strike from an aggressor/uke, though the tori's motion doesn't change, regardless of which hand the uke uses).

 

  Practice of this, as with most RyuTe combinations, Begins with the tori and the uke standing face-to-face, at an arms length of distance from each other (confirmed, by the tori placing his hand on the shoulder of the uke to establish “distance”).

  Practice is began with both parties having their hands at their sides. As the uke begins their strike, the tori will raise both hands straight up (bending at the elbow), then will loosely close the finger's of their strong-side hand. This is done without clenching them together, so as to keep the muscle's of the forearm relaxed, while protecting the finger's from accidental injury.

  The fingers of the other (non-dominant, or weak-side hand) are left open, intending to parry an approaching strike. The dominant hand then crosses in front of the tori (to the opposite side) at face level, while the weak-side hand, will also cross in front of the tori's face, but is done with an open-hand.

  The strong-side's motion will be closer to the uke, and performed with the intent of being a strike, the weak-side will motion with the intent of a parry, or deflection. Both of these motions will cross (in front of) the tori's face (to protect it), and be performed with the intent of Injuring the aggressor's striking arm. Emphasis should also be placed on utilizing the forearm of the strong (striking) arm, as opposed to the (sole) utilization of the hand as being the striking implement.

  When performing these actions, the tori's body should rotate slightly to face towards the tori's weak side. This is done to add (body-weight) emphasis to the dominant (striking) arm as well as repositioning the tori's head (which was commonly, the originally intended target of the uke).

   The tori has several targeting options available to them (upon the uke's striking arm). There exist numerous atemi points on the uke's arm that could be utilized (depending on the tori's desired reaction from the uke). Initially, the tori should limit their (defensive) strikes to the uke's striking arm's forearm. As the tori becomes comfortable with striking specific points on the forearm, they should begin practicing strikes upon the uke's upper arm (at the relevant points located upon it).

  When these strikes are performed correctly, the uke's arm will be unable to close it's respective hand's fingers, and/or will be unable to bend at the elbow (depending on the struck point).
 
  Too often (especially beginning) students attempt to “target” their defensive strikes towards the uke's Head/Neck area. It Must be remembered, the threat, is the uke's arm's (and/or legs), and our goal is to immobilize those threats. If necessary, any other threats are dealt with after the offending arm (ie. The “Punch”) is neutralized.

  At beginning levels, the tori can rotate into a Back stance (which is faster), or step towards the uke into a step stance. Once the student is confident with the action, then tori will add the option of a straight kick to the defensive action. Doing so, will change the dynamics of the student's initial stance use/choice (usually) because of the change to the uke's reaction resulting from the kick. For this reason, the addition of a kicking motion, will usually be delayed until the student has been shown several of the initial combination technique's.

  

There are multiple “follow-ups” available, and student's should be encouraged to experiment with discovering what (and/or which one's) would work best for them (be it Tuite, arm-locks or strikes) in varying circumstances and/or their individual level of instruction.

Right-Handed Strike
  

When student's are comfortable with the execution of this motion/technique, we offer them the option of full-speed/power practice (utilizing Full-Coverage Protective Head-Gear). This optional practice method is encouraged, but not mandated. It's utilization illustrates (to the student) how this motion will work effectively for either a Right or Left-handed strike attempt.
 
 

Left-Handed Strike

  There are multiple “follow-ups” available, and student's should be encouraged to experiment with discovering what (and/or which one's) would work best for them (be it Tuite, arm-locks or strikes) in varying circumstances and/or their individual level of instruction.