Hey R**,
the Matayoshi tradition passed on an "Unfugushiku Sakugawa" that is
nearly identical to the main one. These are also very similar to the versions
Taira sensei passed on, IMO. Russ was kind enough to point me to a video link
of Kanei sensei doing it: http://www.youtube.com/watch?v=--vfGPcqte4&feature=channel_page
cheers,
F***
Yammani Ryu
I am not suspect of whether or not Yamanni Ryu is
legitimate or not, but I am very curious as to why it is so different from
Matayoshi and Taira Kobudo. My "personal" experience and opinion is
as follows:
Yamanni Ryu, the most fluid of the kobudo styles.
More whipping the bo than thrusting the bo. Quicker footwork than the other
styles, less rooting or grounding, even when striking. Smallest curriculum of
kata, many kata recently created.
Taira - Includes catching the bo under the armpit,
which Matayoshi never catches under the arm. Looks more linear and to me
stiffer than Yamanni or Matayoshi. Most practitioner's performing Taira kobudo
look like Shotokan or Shito Ryu practitioners with a weapon; which is probably
a result of Taira's system being the predominate kobudo system practiced by
those karate styles. By far the system with the largest curriculum. I would
like to study this system more with
a senior practitioner from Okinawa, perhaps one who does not practice karate at
all.
Matayoshi - kind of in-between; not as fluid as
Yamanni, but more fluid and a lighter feel than Taira performances, versions,
or emphasis. Good hip utilize, but not over emphasized as in some systems.
Ufuchiku - Hard to describe. It has some
whipping motions like Yamanni, but the majority of the system kind of resembles
Matayoshi more, yet it utilizes more wide stances (Kiba or Shiko) than
Matayoshi utilizes.
My teacher told me that every system has Sakugawa no kon even though the versions
differ. The above systems are very unique and the performance of the same kata
is always recognizable between the systems but still they look very different
from one another.
S****
Hey S****,
nice summary. There are some interesting historical differences- Taira sensei's
preservation ideal lead to keeping a huge number of kata, often in multiple
versions, and left a very Okinawan emphasis on weapon choice, while Matayoshi's
Chinese influence is very obvious in weapon choice. At the same time, there are
strong similarities between the styles. (My experience with Ufuchiku leads me
to believe that the mechanics are not that different to Matayoshi, but the kata
are- I see what you mean about the stances, though my Ufuchiku teacher also had
a Matayoshi background, and I believe he didn't do much work re-adjusting my
mechanics, just concentrated on kata and mostly application.) Much like
Okinawan karate, the kobudo systems resemble each other a great deal,
especially when compared to mainland Japanese arts, or, say, Indonesian weapon
arts.
Regarding Yamane, it raises questions for me for a few reasons:
1) the descendents- Matayoshi and Taira- seem more
like each other than like modern Yamane, and in particular seem not to include
the signature whipping motions
2) most of the kata are fairly modern
3) the bo are so light, a real departure from most Okinawan arts, which seem to
get even heavier as they get older- I've seen 2" diameter bo in
Matayoshi's dojo, and we train occasionally with a metal bo. The current Yamane
techniques can't really be done with a heavy bo.
4) the mechanics and emphasis on a light weapon are in almost direct
contradiction to the Jigen Ryu mechanics, despite the supposed connection.
Its not that I don't think the system is legitimate. These things suggest to me
that the current Yamane Ryu is a derivative of one practitioner's idiosyncratic
expression of the tradition more than a straight-line decedent.
cheers, F***
Yamani-ryu Bo is very beautiful and impresing. The
problem is that it does't works. F*******
Sai and seiyunchin
You know,
Its funny... all the teaching I've
done with M*** F***** (my number one student) in kata and i've explained some
of the kobudo and a little work with Choun no kon.... but he finally ask about
the sai now that 5 variations mounted on my wall in the dojo.
I handed him a pair and didn't say a
thing... just said "do this action" and he followed through various
actions.... then he started commenting on various ways he felt it
modifying his technique. He actually made some keen self-observations.
Tossed him a pair of Shureido's when he got ready to leave later so
he can play with them.
Seems its time to take him into
them more in depth. Odd that I hadn't had them out in some time but I
spent about two hrs today just working them and having a ball. I really can't
wait till I completely finish this dojo and have nothing left to do with it but
to train again.
I had him go through seiunchin
with the sai in various actions.... some tanbo that are
actaually cast iron pipes (for hte heavyness)... and with a pair of
machetee (seems like we do a lot of machetee work now). At any rate... the
sai bought out some applications as we were breaking down the kata and focusing
in particular in using the point on the tongs to show points for hitting. We
ditched them later and went to the direct application as hinted at by the sai.
I found a move I had not use in
the section right before the elbow strike.... absolutely sick!!! Imagine
someone not just reaching out to grab your throat or choke you... but more of a
strike like the four directions in Shisochin.... just place your fist against
the radial nerve (opponents is using his right hand and you are doing kata)...
like your protecting your center (which can be a strike to them too)... but the
other fist crosses to strike slightly above their elbow... and it pulls
like going to your right fist (just like in kata)... their right fist opens
from nerve reflex and if you open and close your right hand as you are rotating
it (just liek in kata) your grasp their fingers in a most awful position...
talk about a lock from hell.
The other hand rotates at the elbow
and can (or can not) move to your right hand jsut like in kata. These
and ebow in this position to theri head that they can do nothing about as you
progress in following the kata... or if you wish not to do the elbow and
just move to the 45 angle and you have this effortless throw that kills the
opponent.
What I mean by kill ... is it
hurts like hell and theres not a freking thing you can do about it and
it destroyes the opponent. It takes no effort and is soooo simple. It just
nauseates if you try to fight it in the least (which by the way is totally
impossible). When Mike was doing it to me I tried several ways to combat
it and found none to be effective.
It would literally dislocate
the fingers, the wrist, the elbow, and the shoulder in one fluent motion...
plus throw the person in a manner that could slam their face or roll
them exposing the back of the skull for follow up.
Going very slow it took a
lot of caution and self control not to hurt your partner.
I've never seen this application
anywhere that I can think of... (which I can promise I would remember).. THe
motion is very much like the manipulation of the sai in feel... but the move is
very much seiyunchin. You know, Ive' heard that
where one hand reinforces your other hand is symbolic of where and how it is
touching the opponent and is not really intended just to be on yourself.
I've even seen examples where its a creative possibility, but this is one of
the few times I can honestly say it "IS" a part of the kata.
Kimo use to call this one of those
golden nggets. :) IT is.
By the way, it works if your moving
into the opponent, if your being knocked back by the opponent, if the opponent
trie to counter with and elbow.
It also reaffirms the importance of
the timing of the hands in shisochin in the opponents mvoe. The hand that goes
out and drops prior to the stirke must intercept the bracing /striking hand
(that touches your radial nerve area) or your screwed. You've also got to
follow the principle of being ahead of your opponent in time, to pull of
the shisochin move (reguardless of whether it is the striking hand or other
hand).
R**
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