Chi and Me (ChiKi - pronounced Cheeky)

 

 

I’ve tried to follow the ‘Chi’ discussion this week and thought I might contribute a few thoughts.  Of course the standard disclaimer, “I really don’t know much I’ve just been practicing Tai Chi for 27 years and Isshinryu for over 30.”

 

First there is a great confusion of many different topics by just discussing Chi/Ki.  From the little I know there is much more involved and there is a lot of confusion from the different layers of abstraction using the term “Chi”. This isn’t one discussion, its multitudes of discussions hidden within the use of one term (my basic General Semantics orientation is showing there).

 

Let me put this on a very personal level.

 

Does Chi exist?  My answer, “Yep, 100%, them’s fight’n words to suggest otherwise”.

Does Chi work? “Yep”

Do you find Chi in your Karate? “Yep”

Does use of Chi change your art?  “Yep”

Do you make decisions on the use of Chi? “Yep”

 

There it is in a nutshell.

 

The first point I’d like to suggest is forget the name Chi. Why get into Chinese esoterica or the name game?  Chi as I would suggest just means energy. Everything you do is a result of you using energy.

 

Second if you try to look at the Chinese literature on this, they have many terms, and Chi’s use is more like the energy stored in a battery, and they have a wider range of terms about the release and use of that energy.  In reality, where we use energy, how we use it is the important thing. Can you use it more efficiently? Sure you can, that’s why all of us study and train, nothing more.

 

By the time you got to black belt, weren’t you more powerful than you were as a beginner, or more efficient using your energy? So you’re more efficient using your Chi. Is this hard to accept? Or that more work should make you more efficient in the future? Unless you have black belt disease where you’re not going further, and I’m sorry but that’s a fatal disease, because we all tend to become what we believe we become.

 

I can only talk about the uses of energy I’ve experienced. Some of the one’s being suggested,  meridian theory, acupuncture, etc. are beyond my experience and will always be. So I’d like to suggest a naming convention that might help us speak on some of the different aspects without getting too confused.

 

Definition of Terms

 

Chi = Ki = Energy

Chi1 = the experience and use of energy in the soft arts like tai chi (no I know they’re not soft but at least most understand there are levels of distinction)

Chi2 = the experience and use of energy in the faster soft arts like the Indonesian ones.

Chi3 = the esoterica in my discussion – Meridian theory – acupuncture and any others.

Ki1   = the experience and use of energy in the hard arts like karate.

Ki2   = the experience and use of energy from Chinkuchi or Sanchin style training.

Reality1 = there is no difference between any of these arts or the energy usage in them, but the false distinctions I’m making might ease the discussion process.

 

Chi1 in Tai Chi

 

I’m a student of Ernie Rothrock. For 27 years whenever we’ve discussed tai chi (Yang and Wu and others) not once have we wafted into the force. The discussions have been nothing but technical, such as him giving several hundred corrections after seeing my form. I’m a long distance away from him, receiving those corrections after decades of work is very humbling, believe me, but he does it not to knock me down, but as he says it to guide me over the next year(s). He’s right but it’s not fun either.

 

Within several months of training with him I began to experience a feeling of ‘energy waves’ in me for lack of better terms.  This wasn’t that I was creating ‘Chi1’, but I would put it I was becoming sensitized to my own energy. It’s not really hard to believe. You can become sensitized to feeling your teeth on occasion but most of the time you know they’re there but that’s about it (tooth pain is a different level of abstraction – one that hurts).

 

Outside of experiencing it, it doesn’t mean much, you need long years of work before more can be considered.

 

Some Chi1 observations based on personal experience: 

 

How you experience those feelings can be modified because of your environment. Inside in a quiet room is a very different experience than outside in natures noises and open space.

 

Experiencing your Chi1 is not a constant given. You have good versus less than good days. You progress, you fall back, and something experience nothing. Learning is not a constant progression.

 

You can experience the feeling of your instructors ‘Chi1’ under some circumstances. Whether this is sensitivity to the electromagnetic fields of a person, whether it’s using the slow motion training to increase skin and hair follicle sensitivity, or whether it’s some Chi3 inner experience I can’t say. Just that I have done so.

 

Others training in Ki2 can feel your Chi1 as you practice too.

 

I believe the issue of Chi1 is simply as you become more and more and more technically proficient, you’re ability to use your energy increases.  You discover how some very, very subtle techniques when your body is working together become incredibly effective, that without that harmony in movement would become nothing of use.

 

Take a karate example. Did you ever see as student so tight their muscles were bunched, trying to do a kata.  Their misuse of energy is so painful to watch, and you know their punch has no ‘power’ because their power is elsewhere.

 

In similar fashion the study of tai chi, correctly done, stops the misuse of Chi1 and makes its use more efficient.  Hardly different from any study.

 

What I eventually got from my instructor, once I had developed a personal level of sensitivity to my own training, was a conceptual framework to make my study better. It’s just a simple tool, but using it I more readily learn how to correct my technique, I can guide  student more efficiently, I can instantly evaluate martially any technique performance from anyone, and of course I can use it to recognize errors to attack.

And it works for karate too.

 

This tool isn’t magic, in fact its only a way to understand how and why you have to perform your system’s basics correctly as designed, but it’s use sensitizes the student to why they have to do it, and that’s a really big step to making improvement.

 

So larn’n Chi1 helps me teach and use Ki1……

 

In reality I am what I am. I’m Isshinryu, I’m a Tai Chi student, I’ve trained in many arts for a bit, and perhaps I’m not very good at anything. There are those who will support that, but then I’m not looking for anyone in the universe’s approval either.

 

What I found studying tai chi as a new Sho-dan in Isshinryu, I had a personal conflict between my tai chi study and the practice of Sanchin.  Perhaps I would put it today what I perceived as Sanchin did nothing for me to increase my Ki1.

 

So I made a very hard choice, and chose to de-emphasize Sanchin.  Decades later learning Uechi Sanchin I found something that sang to me, a truly magnificent release of energy (Ki1). It took me years before I was able to take the personal step and change my Sanchin to full speed and natural breathing, and personally found a link to what I would suggest is Ki1. A form when I run it makes me more alive, more explosive in my intent and more personal.

 

Not to suggest the study of Sanchin is one wit more important than anything else. It’s just what I experience in its release.

 

The truth is much that I focus on these years today is nothing but preparing cleaner and cleaner basics in all of our kata.  More Ki1. I’m not very good, but I have a few students that are making some strides I think.

 

Now Chi2 in the Indonesian arts, is done very fast but with an extremely relaxed use of energy in the extremely efficient techniques of those arts.

 

It’s hard to know if any of this makes sense to those outside myself.

 

But I’ve experienced strong Chinese arts that don’t discuss Chi, but use it, in Tai Chi. Or Chinese arts like Eagle Claw which are ultra efficient in their working vital points with their locks, but don’t study meridians at all, ever, nor do they need anything but the art they practice. I’ve experienced Indonesian arts at a level that make me think of magic must be involved, but it’s nothing but a very unique use of energy release and movement. I’ve experienced incredible karate at many levels, that are nothing but the same.

And once I got the tai chi development tool, and began looking very hard, all of the technical proficient people I’ve trained with, regardless of art, are using the same tools, just without the conceptual framework to express them.

 

The more advanced texts I’ve found on Energy, are the available Chinese ones on tai chi. It’s difficult to understand all they’ve written, even though conceptually I understand a little. It appears they’ve spent a lot of time trying to describe fine distinctions about how to create more efficient energy, and study the many ways it may be released. But most of what I read is simply Chi3 to me, and will remain so.

 

Arts don’t come from books or discussions.  Perhaps in several decades more those words will make more sense. Perhaps not. That’s not what I’m seeking.

 

So am I chi/ki or not?

 

 

Aikido

Aikido is the art Usheiba Morihei developed from his studies from Daito Ryu Jujutsu and other Jujutsu arts;  Basicall it’s techniques cover projections (throws) and immobilizations (locks). Pre WWII the art was more for self defense and included atemi (striking) where post WWII Usheiba moved away from combat as the main purpose and moved towards aikido as a way to make you a better person, Less focused attacks.

 

Tristan Sutrisno’s father studied with one of Usheiba’s students in the 1930’s and the aikido we study also incorporates kicking and striking. Obviously a result of the father’s additional arts. These are aikido wazza (techniques) use aikido principles (often first) and might incorporate other principles too (such as kicking).

 

We only use these aikido drills , which cover many of the basic skills, as tools. Perhaps as preparation for skills later used in the larger study of Isshinryu karate technique.

 

But to understand Aikido in principle the following video’s may be helpful. Though the attacks are often not realistic, trust me the skills they impart work if one reaches sufficient skill.

 

Perhaps you might enjoy to determine whether the skills shown are pre or post WWII.

 

 

The founder Usheiba Morihei What’s Aikido 

Ushiba Morihei  1935 

Ushiba Morihei jo and bokken

Ushiba Moihei later 

his son Ushiba Moriteru 

 

some of Usheiba’s students

 

Yoshimitsu Yamada Advanced techniques

       

     

Tohei Koichi  

Kenki Tomiki  

Gozo Shinpda 

Sa ito Morihiro 1972  

The source art Daito Ryu is a much larger study than Aikido, not more effective, but differently effective. There are hours of video on Daito Ryu, but it is not geared to your art. It may take 35 years to learn its thousands of techniques. In this light more does not mean more effective.

 

There are far fewer aikido techniques, but there are many time many variations of them. There are plenty of great books on aikido, but youtube video’s make more sense to review its’ techniques.

 

 

 

 

Interior versus Exterior Lines of Defense

 So you have worked up several applications for your kata.

You spent the time to understand the applications.

Then you undertook the larger journey to move to application realization so your skill could make that application actually work.

 

You understand what the difference on using that application

On the Interior Line of Defense or the Exterior Line of Defense.

 

Suddenly reality bites.

You have to actually use your technique.

But the in reality of extremes occurs and you find serendipity sets in

That means you step forward with the wrong foot

Making what you practiced impractical.

 

Error always has the potential to step in.

What you have to do is make the best of it

And switch to something else immediately.

 

 

John Kerker recently shared several videos with me,

And that got me thinking about this.

 

The videos show responses

That work the Exterior Line of Defense,

And the Interior Line of Defense.

 

 

 

https://www.youtube.com/watch?v=iJ7Qn35AUI4

 

https://www.youtube.com/watch?v=Jk1fur4gkhY

 

 

May you choose wisely!

Karate for Kids

 

Master Tom Lewis has obtained numerous accomplishments. In 1980 Sensei Lewis wrote “Karate for Kids”, which was one of the first books about karate for children and is still in circulation. 

Written by Tom Lewis, a karate expert who recognized that no books had been written for the young. Karate for Kids teaches you and your child the simple and effective ways to handle bullies, muggers and other situations Complete easy-to-use beginner’s manual for kidswith over 150 photos demonstrating stances, exercises, punches, kicks, and more. It includes the history of karate weapons, illustrations and extra pages for notes 

The author is a 7th degree black belt at the time the book was published, and has taught Karate for Kids in his own studio since 1965.  The book was about Self Defense for Children Made Easy

In the book the youth pictured are Tom Lewis son Rob Lewis, His half brother and sister. Gor and Barbie Lewis. his senior student Dennis Lockwood’s daughter Anna Lockwood, and senior student Reese Rigby’s two sons,

 _______________________________________________________

 

My teacher, Tom Lewis, did not have youth classes, but there were young people training. For example his son, Rob Lewis, his half sister, Barbie and Gor Lewis, and other instructors children.

 

They were very involved in tournament karate.

 

I attended the Black Belt testing for Rob (age 11) and Anna Lockwood (age 12). It was not for Junior black belt (that did not exist at that time), but  they were full ShoDan, They were regular winners in Tournament divisions, winning hundreds of trophies. They had one of the Best black belt tests I have ever seen, ((They did train much more than you guys do))

 

The next year Anna attended the Isshinryu Nationals in Knoxville, Anna was the daughter of one of my instructors. When she got there, they found out there was not a youth or woman’s kobudo (Weapons form ) division so she had to sign up for the men's black belt division.

 

When the men saw her warming up they protested to the tournament director, The director laughed , and said she could compete.

 

And she won first place in weapons forms (her father had raised her to become a clone of Mr. Lewis' technique.

 

 

 

Makiwara Training - my personal experience

 

 Something I really have not discussed in my makiwara training.

 

John Kerker recently shared some videos about how he strikes the Makiwara and that certainly brought back memories. (I will be sharing John’s videos with his permission).

 

When I began my Isshinryu studies Lewis Sensei had a makiwara in his dojo, but I do not recall ever being instructed to use it. There were so many things to learn, I really never got around to it back then.

 

I did hear a story about the training in Agena that Master Shimabuku did not want the Marines training there to strike the walls of his dojo. He even had a sign to that effect placed on the wall… Roll forward many years and Charles Murray eventually shared a movie about his training in Agena in 1972 and there was a photo of that sign in the movie.

 

 

Part of the reason I did not get around to exploring the use of the makiwara was that fist protection gear came to be used for our sparring.

 

I had just received my green belt in Isshinryu when relocating to Scranton Pa for work, and having to switch systems to Tang Soo Do as that was all there was there, I started over learning another art. The school had several good makiwara that almost on one ever used, so after class I began a regular striking regime. About 15 to 30 minutes striking after each class.

 

As time went on my striking knuckles somewhat flattened, but no calluses appeared. What I did discover was that as my fingers clenched at my fist when I struck the makiwara, gradually I began to form calluses on the inner pads of my palms. I continued that practice for the two years of my contract.

 

During that time I was very lucky to resume Isshinryu training with Charles Murray but as we trained in the basement of the Church he was pastor in, makiwara was not possible.

 

 I know he trained in Salisbury with Lewis Sensei and as a new black belt was able to train in Okinawa with Shimabuku Sensei for two years. I also knew that he did train in the Agena Dojo where there were several types of Makiwara.

 

Yet the last year of my contract for TSD training, I was also training in Isshinryu with Charles. But though training with makiwara at TSD, we never discussed it with my Isshinryu training.

 

When he returned to the USAF and I was on my own I began a program for youth through the Scranton Boys Club and there was no possibility of makiwara there in any case. I literally visited one dojo or another for 5 years to be able to train alongside adults. As it turns out none of them had makiwara training either. In fact in my area the only school which used kumite in training, while I was there, was the Kempo Goju of  David Brojack. They were the only people that I could fight with. And they often remarked at the sting of my strikes. That led Dave to remark one time that I had the strongest strikes he knew of. Now I was far from a good fighter so I did not pay much attention to that remark…

 

I remember one time I was fighting at a tournament and I lost my fight. I too often went to the body when my opponent would go for my head, and though the strikes were simultaneous the judges would most often score the head strike being what they would observe.  Later in the locker room while changing I remember my opponent telling me I really nailed him and how that hurt.

 

I came to realize that two years of makiwara work had made my strikes harder and that made the difference.  And the manner in which the makiwara change my fist remained with me for decades.

 

Now training the young and training adults at the Boys and Girls Club of Derry NH from 1985 on, again a makiwara was not possible there for any of my students.

 

Personally I do not believe Makiwara training is appropriate for youth. I have read too many articles making that point, such that striking could be detrimental to growing bones of youth. I also remember discussing this with a student who was also a Surgeon and my doctor, and he agreed.

 

Then in 1995 I began training at times with Sherman Harrill, who had at least 40 years of work with the Makiwara, and had occasion to feel the power of his fists from constant Makiwara work. He impressed on me that, often he discussed at how powerful the use of the makiwara was in training.

 

My opinion is that one does what one does.  Makiwara is a force enhancer to strengthen one’s karate. But it is not the only force enhancer. I believe karate can be very successful in many different ways of training.  I do believe all things being equal makiwara offers superior value for the karate-ka.  Unfortunately all this are not always equal.

 

When that is the case other ways to produce superior results must be used,

 

If anything there is so much warp and woof to what is possible to develop superior karate, that one must consider many possible ways.

 

So let me share those videos of John Kerker delivering Isshinryu strikes on the Makiwara.

 

 

John Kerker on Striking the Makiwara

https://www.youtube.com/watch?v=ojCZLm4XgZA

 

https://www.youtube.com/watch?v=1kPtOG9TxSc

Tan T’ui Poems

 

Verses for 10 and 12 rows There are many versions of Tan T'ui, i.e., 10, 12,14,16, 24 and 36 that I know exist. This is what I have: Tan T'ui Ten (10) Row (Spring Legs) Name of Row Number Of Movements 1. Coherent Steps 14 2. Cross Kick 13 3. Slash and Squash 12 4. Uphold Palm 12 5. Uphold Fist and Shoot 10 6. Crook and Sprinkle 12 7. Flowery Bending 10 8. Stamp and Thread 14 9. Lock and Stick 12 10. Flying Kick 09 '' Tan T'ui Twelve (12) Row (Ching Wu School) Name of Row Number of Movements 1. Coherent Steps 14 2. Cross Kick 15 3. Slash and Squash 21 4. Uphold Fork 24 5. Uphold and Shoot 18 6. Double Unrolling 18 7. Single Unrolling 18 8. Stamp and Thread 33 9. Lock and Stick 21 10. Cut 30 11. Hook and Hang 21 12. Advance Step and Cross 18 Since Tan T'ui was a very popular style, the people developed poems to aid in remembering the set. The poem for the Ten Row Tan T'ui Row one is to hit the enemy as you hit with a whip Row two is to buffet with both fist crossed Row three is to knock the enemy's head Row four is to bar the road with fist Row five is to buffet and protect yourself with the arms Row six is to hit with a single fist Row seven is to hit with both fist Row eight is to swing your fist sideward or backwards Row nine is to hold the fist together Row ten is to kick with your foot as if it is an arrow The poem for the Twelve Row Tan T'ui Row one: Buffet forward with a single fist in the advance position Row two: Hit the enemy with both fist crossed Row three: Knock the enemy's head with your body turning backwards Row four: Buffet with the fist and kick the enemy with the foot Row five: Protect your head and hit the enemy's chest Row six: Buffet with both fist; prostrating the leg Row seven: Hit the enemy's ear with one fist and kick him hard Row eight: Protect your head and groin with the fist Row nine: Hold the fist together and separate them Row ten: Kick your enemy with the foot as you hit him with an arrow. Row eleven: Buffet sidewards with hook - fist  Row twelve: Recover to the original position   BSL Lyrics: Tom Toy I remember Sal Canzonieri once sent me a list of like a dozen different lyric versions of Tom Toy. It was a really cool piece of research he was working on,  but I don't know if he ever published it. It's sort of what I'm going for here - let's compare some lyrics! TOM TOY (Springing legs) 1. Upper punch, sweep block like carrying a yoke. 2. "Crossed" character (Chinese character "ten"), pull the drill. 3. Swing block, double covering punch. 4. Thrust technique, grind the stone mill. 5. Down punch block, followed by heel kick. 6. Lock, control, jam, and push, moving naturally. 7. Double grab, "crossed" character kick. 8. Stomping heel kick, spin like a wheel. 9. Jam the lock, heavy, close the door. 10. Plant the flower, light, snapping straight leg. BTW, it's worthy of note that my BSL sifu Wing Lam changed this set in the late 80's. In line 3, we used to turn completely around to gongbu facing the other way in sort of a chin na move.  Now we do a reverse gongbu without turning around in a simple block. When he made the change,  he said he felt this was a more applicative move for our system. The 'new' way is what is on his video series. Interestingly, the lyric still works no matter which move it is... __________________ Gene Ching Associate Publisher Kungfu Qigong Magazine & www.KUNGFUmagazine.com     Tan Tui Originally Tan Tui was a ten section form that was developed during the late Ming Dynasty (1600s). During the Ching Dynasty it was adopted by Monks of Shaolin Monastery who developed their own version of it. T he form was also expanded to twelve sections. You can see some resemblance between the older 10 section version and the 12 section Shaolin version. Because Tan Tui lays the foundation for more advance technique so well, many martial arts schools,  both Northern and Southern, adopted it into their curriculum. In most cases these schools modified the techniques which resulted in different versions of Tan Tui. Liu Ho Tan Tui (6 Harmonies Spring Leg), Tui Quan (Leg boxing), and even an 18 section Tan Tui are examples of such forms. NorthernShaolin, you list even 24 and 36 verson which is interesting. Have you seen these? From what I understand Jing Wu Association in Shanghai adopted the Shaolin 12 section Tantui not the 10 section version. I know that we covered this before but from what I understand the Shanghai school listed these as part of their 10 forms as basic to the school. Tantui (12 section) and JieTantui (succeeding foot snapping) Was JieTantui, a contact form? In our school we also do follow-up form related to Tantui called Lui Lu Ying Quan (Six Methods of Hard Punching). r. Last edited by r.(shaolin) on 05-04-2002 at 01:20 AM ----- Kung Lek wrote: I was taught to perform Tan Tui at a slow to moderate pace to further encourage balance, form and fluidity ----- Applying 'jing' in all the attacks and counters, as well as doing them at fighting speed is the great bench mark for tantui. It requires, fluidity, effeciency, plus well timed, 'compressed power' (need I say fitness) to do a long form like tantui this way. When I think my senior students are getting a bit ‘soft,’ doing tantui is a great reality check : -)))) . . and memory is the lest of the issue. As far as the ‘lyrics’ are concerned, I'm not so sure memorization was the intent either. I find that objectives / intentions, are critical to effectiveness, these are aided by descriptives/poetry . ie. “Lock and Stick” or “Jam the lock, heavy, close the door” for section 9. Last edited by r.(shaolin) on 05-06-2002 at 12:05 AM

 

 

 

 

 

Knee Release Progress Report – Memorial Day 2001

 

Spending the weekend with a bad knee strain, I've been thinking on my research into the knee release this past week. Apparently I've stumbled on something which has been relatively undocumented. Such that those who address this haven't been going out of their way to let the rest of us in on it. Not that I find this surprising, for I believe most of the important areas of martial study are undocumented for public consumption. Frankly this is what I live for, to try and gain a new layer of understanding gaining a little more depth into my art. I've been discussing this on my own discussion group, Bunkai Unlimited, and also with the Koshi-People Discussion Group. I think it might be helpful to summarize the content of this research to date. First off I wish to state I'm keeping this focused on the one aspect of the knee release. Frankly in all of these studies, there are many other valuable items to consider and I expect we'll continue to discuss them as this study progresses, but I suggest them as spin off discussions at this time. I also believe we may work up a better set of terminology than knee release as we progress, be it Japanese or something more descriptive in English, too. Initilization of the Process March 2001, Sherman Harrill at a clinic in Rhode Island, made some general comments regarding use of the knees to generate power. He also presented an interesting application for a section of kata Wansu. In April when I was working on that Bunkai, I discovered by applying a knee release, I was rotating myself naturally into the technique without body shifting. I then shared my findings with the Bunkai group. Contributions Rich Boyden discussed how an aikijutsu instructor demonstrated knee relaxing punching for a relaxed effortless punch. He discussed how the knee release ("yurumu") action was also used to reverse a shiho nage, as well as how Oyata Sensei used this motion to crank up a joint lock. Rich also suggested similar technique may be viewed in Bob Orlando's "Indonesian Fighting Fundamentials" (Panther Video). Hank Prohm, also suggested the knee release was being used as a `Force Multiplier'. Another friend who practices Daito Ryu and a related system of kenjutsu, suggests that they spend 90% of their time working on this. That Wado Ryu's founder Ostsuka Hironori in his book `Wado-Ryu Karate' show shift as part of Pinan #1 when he says "Sink Your Weight". He also suggested in Daito Ryu they also use a unique body alignment with the sinking knees to generate more shocking power in their strikes. Joe Swift then threw out a translation of a book by Aragaki Kiyoshi "Okinawa Budo Karate No Gokui" where he based the book on the "Kuden" (oral transmission) that he received on Okinwan Karate as a young man. He discussed "Hiza wo Kuku" (releasing the knees) to generate power while moving instead of pushing off of the back foot. Will Bill Johnson (from Koshi People) made worthy suggestions about practicing slowly and safely, as the counter and counter of counter potential can quickly drop your uke. He also suggested the term ofr the spiraling descending power is `uzimaki', and the application of the knee release to locks was `jugoku otoshi (drop to hell) where the lock is applied in conjunction with a weight displacement and the power is applied right at point of broken balance. George Donahue (Kyoshi People) discussed the need for correct alignment to avoid self injury, and increasing the force generated. He also suggests watching Oshiro Toshihiro in his "Uchanidi" video tapes. My current research suggests the following, too. 1. I've been long aware long term practice allows the body to naturally relax in a technique, causing the center to drop and the power generated will increase. Frankly I'm stunned it never occurred to me that you can assist this development with the knee release, too. 2. Ernie Rothrock, teaching my students a very small piece of the Eagle Claw Principles last year stressed dropping the knees when applying the eagle claw locks. Unfortunately that went no further in my/our thinking at that time. 3. The use of knee release in our kata will be a further source of study as time progresses. 4. The only documentation I seem to have found comes from Gozo Shioda's "Total Aikido", where he describes something like the knee bending when generating a move forward. Not necessarily the same as we've been discussing, but worthy of further study. 5. The fact I haven't found such documentation regarding Judo and Baguazhang, arts I suspect as well as Aikido which must use this principal too, does not mean it is not present. This is an area for further study. 6. I know this is present in my Tai Chi studies, too. I've been unable to locate similar references in my tai chi library, but I'm still searching here too. In fact, from open to close, the knee release is present 100% of the time, and it is how tai chi movement generates. Pushing Hands drills stress this in correct power generation and neutralization practice. Summation of Knee Release Options for Study My group then took these suggestions and ran with it. A simple synopsis would be we are further investigating: 1. How the knee release is used to generate more offensive power. 2. How the use of the knee release generates torso rotation to generate offensive power. 3. How the use of the knee release generates torso rotation to generate defensive placement. 4. How the use of the knee release becomes a force multiplier to crank up a lock or takedown. 5. How the use of the knee release can counter strikes, locks and takedowns. 6. How the use of the knee release can counter counters. One thing I have noticed, finding my way through this body of material, its easy to become a kid loose in a candy store. Especially in the defensive counter and counter-counter knee release we're most likely dropping too far (perhaps 2 or 3 inches), having fun with this knowledge. I surmise as we advance this study, we will find a lesser drop will suffice, and allow us to move into our follow-up faster. We are beginning at looking at an Aikido Linking Drill we use to practice various Aikido locks, also as an Aikido countering exercise. We are working at softly applying and countering these techniques, learning how to feel the correct drop for countering application. I expect as we progress we will study kata Bunkai along with the potential of using the knee release as a potential counter of same. I find it interesting how little has been written describing countering locks. Dr. Yang did some of this in his Chin Na Instructors Manual, and there is an Aikido book describing Tomari Aikido (purple cover) which goes into explicit countering of the techniques taught (perhaps consistent with Tomari's aikido free sparring). But as shown, the release of the knee does not appear to be the principle they are using. It seems to me we're working with a fundamental underlying principle of the arts. A target (offensive or defensive) presents a sphere of opportunity to move against. Any technique is most effective perhaps on one plane that touches/intersects that sphere. Defensively if you release the knees you drop yourself out of the attackers plane of opportunity, making their efforts less effective. Offensively to make the available plane work for you, you need to 1) be quicker on the attack to effectuate your movement before they can respond or 2) you need to be able to adjust yourself (through your own counter knee release) to maintain that plane of opportunity as their sphere changes location. Now isn't that a mouthful. But, it might explain why some Okinawan's I've seen perform kata do so incredibly quickly. The issue is the same with striking, and speed is of fundamental importance. Sure I'm borrowing on the concept of the Dynamic Sphere of Westbrook and Ratti, but I believe this is a different manner than which they use it. The further I look the larger this topic becomes. I look forward in you joining the research and helping define this more fully in the future.

 

"Hiza wo Nuku" (Releasing the Knees)  Joe Swift translation

Aragaki Sensei says that modern karate movement, especially the
mainland Japanese styles, use the knees and legs incorrectly when
moving. He states that most use the back leg to "kick" or push off the
ground in an effort to move forward. This is akin to the human action
of running or jumping.

Old Okinawa karate, however, does not do this, he says. Instead, they
"release the knee" (i.e. relax the knee) of the front leg. When one
does this, one will naturally fall forward. In order to compensate
this falling momentum, the back leg naturally steps forward, and
viola, you have the forward stepping motion. The idea is to use the
natural gravitational effects to "pull" you forward. This is akin to
our natural everyday walking style. He goes on to say that one can
also use this idea to move backwards, on angles, and even side to side
(as in Naifuanchi). One of the advantages of this movement principle
is quicker movement with less telegraphing.

 

Sepai kata by Sensei Aragaki

https://www.youtube.com/watch?v=sfOn3ZR825E

 

From Wikipedia

 

Arakaki Seishō (新垣 世璋, 1840–1918) was a prominent Okinawan martial arts master who influenced the development of several major karate styles.^[1][2][3] He was known by many other names, including Aragaki Tsuji Pechin Seisho.^[4]

 

Arakaki was famous for teaching the kata (patterns) Unshu, Seisan, Shihohai, Sōchin, Niseishi, and Sanchin (which were later incorporated into different styles of karate), and weapons kata Arakaki-no-kun, Arakaki-no-sai, and Sesoku-no-kun.^[3]

 

While Arakaki did not develop any specific styles himself, his techniques and kata are obvious throughout a number of modern karate and kobudo styles.^[1][3] His students included Higaonna Kanryō, founder of Naha-te; Chōjun Miyagi (宮城 長順), founder of Gōjū-ryū; Funakoshi Gichin, founder of Shotokan; Uechi Kanbun, founder of Uechi-ryū; Kanken Tōyama, founder of Shūdōkan; Mabuni Kenwa, founder of Shitō-ryū; and Chitose Tsuyoshi, founder of Chitō-ryū.^[1][2]

Some consider Chitō-ryū the closest existing style to Arakaki's martial arts,^[3] while others have noted that Arakaki's descendants are mostly involved with Gōjū-ryū.^[1]