This past weekend I was working with my students on the Aikido application of Chinto as I described in my original post.
Our Isshinryu Chinto section corresponded to Nagamine's Chinto pictures 23 to 26.
I was concentrating on a 'literal' linear interpretation of the kata section. I fully accept a more circular (aikido) interpretation as being consistent with the themes of Chinto, but chose to concentrate on the more literal answer at this time.
Uke (Attacker) steps Right Foot Forward with a Right Punch.
As the Uke (Defender):
1. I was stepping outside of the attack with my left foot and both hands held in front of me allowing my right hand to deflect the attackers punch.
2. My left hand swept back around their neck as my right arm swept back their arm, both dropping as in picture 24. (I did not draw the arms fully back as in the kata, as this alone would put the attacker on the ground (certainly an option), instead I only drew them back far enough to pull them forward, off
balance and rotate their face towards my chest.
3. This is where I stepped forward sweeping my right arm across their neck (and being sure to keep my palm facing the floor (as in the kata, and with the recommendation of various aikido texts, too.), disrupting the harmony of my attacker.
3.a. I found it more efficient as I practiced the technique, once I had their head rotated into my chest, to bring my arm up and wrap it around their head (speeding up the timing of the right arm), so when I stepped forward with my right foot, they would experience a faster attack of extreme 'harmony'.
In no small part because I believe in the technique, I found no problem working with my students.
However some of them are considerably less vertical than others (I'm 6'1") by as much as a foot, and they were finding it difficult to get control of the attackers head. Now when I trained with Tris Sutrisno, his lack of vertical made for no difficulty in his technique execution, but I treated this as a challenge in understanding the form.
What we came up with was:
1. Change the angle of the left foot step forward, and use the right hand (from picture 23) as a slicing knife hand across the attackers ribs, helping them drop a little.
2. Once you reach up with your right arm (which helps deflect their arm away, and reach around their neck with your left and begin puling back, take your right foot and slide it to the right, crossing their right foot. Then as you pull them back you're pulling them in more directly to your center.
3. Then we used a version of the movement I borrowed from Dr. Yang's Baguazhang text. With their left hand around their neck pulling them down, take the right arm and collapse the elbow for the right arm forward movement, becoming a focused elbow strike to the head. Then complete with the step through.
I still feel this movement is consistent with the energies being developed in Chinto, only the timing has been changed to protect the Innocent.
Starting my Saturday morning out that way, I then began considering the role of Chinto kata in Okainawn Karate.
Later Saturday I was able to view a friend's video tapes of Itosu's Chinto, Tomari Chinto and another Kyan based Chinto kata. The Tomari version was quite interesting going side to side,and not the 45 degree angle. although essentially the same form. Even more interesting were the use of the Koshi in the form, it made me think of the work Gary Michak (Goshin Jutsu Kyu Juo , Brague Joe instructor) used to do in the early 80's with his 'Superman' competition form. Not that I imply Gary was doing 'karate' in our sense, but he had great movement whatever you wanted to call what he did.
The Itosu version worked the straight line as I recall at this moment, and can see how the Funakoshi JKA version grew from it.
Well my thinking moved toward Goju's Seipai. Interesting form in that I works the turning techniques in a manner similar to Chinto Kata. Of course the Goju practioner has an entirely different energy flow (IMVHO), but I've always considered it as having similar potential. Wonder whether any KDG run the form, and whether there is an interest in considering the Aikido implication in Seipai kata as well.
Sorry I don't have more to report, but Seipai got under my skin a little, and outside of Tai Chi in 13 deg F. on Sunday morning, I spent the rest of the weekend attempting to translate Mabuni's Karate Kempo from 1934 describing Seipai Kata (from the french translation not the Japenese) with varying degrees of success so far.
As for the upcoming week, I have to get my mind back on my Tai Chi. This upcoming weekend my instructor, Ernest Rothrock is coming to visit, yell at my regrettable technique and conduct a clinic on Faan Tzi Ying Jow Pai Chin Na. (It will be the worlds' first (and maybe only) Isshinryu Eagle Claw Invitational
Clinic) I'm sure it will be fun and keep me occupied, too.
Well once again I've committed Chinto in Public. Hope I haven't broken any laws.