Kata Scoring

6-15-2001

Over my first 20 years or so of Isshinryu, I competed, participated in and threw ‘karate’ tournaments.


Almost all of my experience has been in Open competition with very little in “Isshinryu Only” competition.  There are a number of observations I can make which I believe are appropriate to this discussion.  I hasten to add, this is based on my minor experience at maybe 200 competitions over the years.


The larger the group of competitors, the more you will find scores rise toward the end of the competition. 


If you’re judging say 25 to 40 competitors, do you really think the judge can make a fine distinction between the 7  people receiving 6.3 and 4  people receiving 6.4’s they award?


The only real reason for the score is to find a way to distinguish First Place and several consolation prizes.  It would be nice to be objective and be able to read much more into the scores, but truthfully even the Olympics which often breaks scores into two categories, cannot really explain what was behind the judges decision.


In that I trained for various periods of time with many different instructors and systems, I found that I would try and be objective to a systems ‘basic’ criteria when I judged somebody from that system.  In many cases I knew the forms and knew whether the competitor ‘blew it’ or were in a somewhat acceptable variation from a system norm.  On the other hand most judges I’ve been with only knew their own system, and it is often difficult to conclude what standards they are applying.
A judges prejudices almost always play with their decision.  For example judges who come from systems which custom craft forms for a competitors abilities, will always accept that as a higher standard than doing traditional forms (IMVHO).  Now there may be exceptions, but I suspect they are few and far between.


Now where tight closed system tournaments (and perhaps WUKO with proscribed kata, but as I haven’t seen what happens there so I can’t truthfully say) perhaps the judges have objective criteria, such as a standard ‘perfect’ form to compare the student against?  But in Open Competition, there are NO criteria for a judge.  I’ve seen tournaments which declare, only traditional forms will receive scores, give wins to individuals with back flips in Seisan kata.


In that there realistically are NO RULES, just like in baseball, ALL JUDGES DECISIONS ARE CORRECT and UNCONTESTABLE.  Otherwise there is no sport. Nothing about that says it is Fair or Right, its just the reality of the situation.


Any competitor at any level competing in Open Tournaments who does not understand and fully accept statement No. 7 is going to receive vast disappointments.


There are judges (by no means all  or the majority) who will gives scores to humiliate the competitor.  Often they are outstanding martial artists too, and feel insulted if the competitor isn’t up to their standards.  It is not pleasant to be on the receiving end of a 2.3, on the other hand it can be an educational experience if you take the time to talk to them, understand their decision, and decide if they know what they are talking about.  Frankly, such an individual can be a life inspiring experience when you’re a new Dan competitor.  On the other hand they are often miserable human beings, especially if they do such against the Kyu competitors.


When I was judging, I refused to humiliate anybody.  I would create a standard low score and anybody who did not measure up competitvely (and would not win anyway) would receive it simply for standing up (or rolling up as the case may be). So an individual who blew a form, missed as section I knew should be there, or turned the wrong way… would simply receive a 5.0.  I saw  and see no reason to give something lower to make a statement.


On the other hand, my own brown belts, or black belts, if they made the slightest mistake only received a “0” from me.  Personally for me and them, I see any kata as a life and death experience. There is NO second place in combat. They’ve been trained to accept and understand this. On occasion I’ve had a student win first place in forms or weapons, and heard the audience hush when they saw the score I gave them.  They understand and never had a problem with my standard, and follow it themselves.


Not understanding the standard, with so many systems creating forms and extensively modifying forms, for many years I had problems where to place extreme gymnastics in competition.  If you have a good division with 3 people doing great traditional forms, and then a ‘modern’ competitor doing a superior gymnastic ability form, I always had a hard problem not taking their superior abilities into account.  Eventually I came to my own understanding about what any system of combat should use, and all of that came into place.


Simply, one example, there should never be a ‘dead’ movement in a form, and all techniques should be aligned to generate the maximum power.  Thus great gymnastics with a punch pushed out to fill a hole didn’t qualify as a martial form. Of course a great Chinto with a dead movement didn’t qualify either.


Politics and Power do exist in judging. Only a fool wouldn’t realize this.  How much and how blatant varies from place to place, and there  are no warning signs when this happens.


The largest problem, IMVVVVVHO, is many competitors should not be competing. They should be training instead. I’m not talking about being human and making a mistake. Instead I’m talking about people trying to compete with forms they haven’t mastered, or without body control to sell each technique. This also covers most kobudo competitors, especially Dan’s who have just learned a weapon and feel entitled to compete in the Black Belt Weapons division when they do not have a Black Belt level of ability with the weapon.


If those individuals want to compete solely to gain experience in public, there should be divisions for them to do so, where they stand out in front of everybody and do their forms. But don’t judge them and give awards to the better of them.  Competition should be reserved for those who’ve been trained and have worked to be competitive.


Judges who judge and have no idea of what they’re judging are a major problem.  Years ago there was a great general dislike of Chinese forms in competition by Karateka, on the other hand, as most of the karate judges didn’t know anything about kung fu, I’ve seen competitors with fake kung fu forms, lously skills, etc. win over good karateka, because the judges deep down inside felt kung fu must really be superior, and since the competitor said they’re doing kung fu, they had to win. It would have been better if the judges simply applied the same standards they used for their karate judging, and more fairer.


Many Weapons Judges don’t do Weapons.  Makes you wonder what standards they’re using.  Likewise many judges who don’t do a specific weapon may not know what they’re judging.  I had a friend who was a very traditional iaido stylist. Once we were judging a kids weapon division together and a young man came out in a spiffy outfit with a sword, and did a credible job jumping and cutting all over the place.  As he was physically more in control than the other youth, the other judges and I gave him the highest score, except for my friend who gave him a zero. After the competition I ran up to my friend and asked him what did he see I didn’t.  He took me outside and showed me how the young man sheathed his sword. The way he did it would have removed his fingers if the blade had been live and sharp.  A year later in New England I saw a similar situation with the judges giving the adult Dan first place. Unfortunately I was watching and also saw he would have lost his fingers…. Hmmm.


Is competition helpful?  Yes, provided you prepare correctly. Nothing will burn you in like standing before knowledgeable judges with thousands watching your every movement.


On the other hand I always remember my Debate coach in college and keep this lesson in mind. If all of the people who judge you are idiots and they give you first place, what does that make you?


On a personal closing note, the more deeply I have gotten into my own studies I began to find it too painful to keep judging, I no longer wish to distinguish who does a better job.  I see everybody who steps up in a blinding light of hope, and grace and only am interested in assisting those who wish to train to become better.  I find it a far more interesting way to spend my time.

Kata – Classical Jazz – a Magnum Opus

7-6-2001 

Hmmm, viewing kata as a musical theme.  Interesting suggestion Lee and Bill.  So if you like what follows, feel free to take the credit. If you don’t, feel free to simply call me possessed.

* * Overture * *

I believe most within the Isshinryu system would subscribe to kata being ‘classical’, meant to be unchanging.  Where you practice the classics for perfect form, etc. 

In my experience whenever somebody strays from their instructor’s or group’s classic it is often thought of as heresy.  Of course my current reading of Dava Sobel’s ‘Galileo’s Daughter’ and the charges of heresy faced by Galileo’s make me consider that misinterpretation of the classics may be the real heresy.

* * First Movement – Beating Drums Slowly * *

Isshinryu’s founder, Shimabuku Tatsuo, crafted his system from his own studies with various Okinawan instructors.  If you look at them and the systems they spawned you will find the classical theme did not hold true.  A great deal of the Isshinryu system kata came from his studies with Kyan Chotoku. Kyan Sensei was known for teaching variations on his system at different times.  If you can take the time to review the systems which sprang from the Kyan source you are struck with the fact that there are many differences on each of the kata themes.

Does this mean there was an original score (kata) and Kyan played with it for his own reasons or perhaps to meet the individual needs of those students?  Of course there is no answer just the resulting explosion of those students establishing systems.

Looking at the one Kyan student, Shimabuku  Tatsuo, he took those themes and actually kept playing jazz with them.  When he originally began scoring a system, he first named it for Kyan nickname although eventually he took on the name Isshinryu.  

Take one note, the punch.  At times he would play it with a twisting punch.  At other times he would play it with a vertical punch. Then return to the twisting punch and finally turn to a vertical punch.  Variations on the score. But interestingly, it was Kyan himself who felt the vertical punch was strongest for him, being Kyan.  Shimabuku Tatsuo choosing it as the major theme in his work remained honoring his instructor’s own belief’s.

Then he played with his audience, being one’s students.  In some sense when he began teaching the American Marines in the mid 1950’s he began to create a new theme with his kata.  Stances, punches, and perhaps even embusen were changed for them. He had crystallized his new work and named it. New students without any conception were a blank score to write against.  But the American’s were only part of his audience. As when a classical composer breaks new ground and the audience walks out, so did many of his students on Okinawa leave.  Whether it was the presence of the Americans or the new score replacing the older one is not an easy question to answer.  Shimabuku responded with more freedom permitting both scores to play in the same hall at the same time.  So the Okinawan students most often used twisting punches, and the American students used the vertical ones.

As he taught, jazz might be a worthy explanation as he often varied the kata for the individual student.  Most American students were there for 1 and ½ years.  Some will remark (as my own instructor) that they observed Shimabuku’s varying practices. Others most likely zoning in on their own training, didn’t observe the jazz themes. This being a common theme in the student at all times.

Then those works, the students, returned to the USA and began teaching…. The Classical Art of Isshinryu.

Frankly they were in excess of 90% on the same score, but the minor differences and the distances involved over the US did much to break them into camps of ‘correct’ practice.  In 1964 Shimabuku Tatsuo taught in Pittsburgh, Pa. For 6 months, and he had returned to the older score for the kata including the twisting punches.  Returning for a quick visit in 1966 he had changed his theme again.

Perhaps Shimabuku Tatsuo was a Classical Jazz musician.  

*  Interlude 1 * *

Shimabuku Tatsuo never did recover the Okinawan strength in his Isshinryu.  For many reasons on his death it appears most of his students choose not to remain with his son, leaving karate or migrating to other systems.  Yet the system did prosper, abet overseas in the United States and other environs.  But with the efforts of his son in law a new generation of Okinawan Isshirnyu continued and from what I understand is re-making the name on Okinawa itself.

*  Second Movement – Always Faithful

My instructor, Tom Lewis (or following Okinawan sensibilities Lewis, Tom)  followed the themes laid down by Shimabuku Tatsuo during his days on Okinawa.  Kihon, Kata and Kumite (Sport Style American).  In kata, he was fluid, making changes as he choose.  To us his students, that was simply the way of our classes. In fact, the 15 or so instructors were the vehicles of the change. They would teach a kata as they understood it, each direct from Sensei Lewis, and often different from each other. Then they demanded we execute the kata as they taught it when they were teaching.  Of course you didn’t have to just remember the kata variation, but also the instructor who taught it that way.

Now there would be those who would then charge heresy!  Fiddle faddle, that was simply the way we trained. Sensei was always watching, and was mostly concerned about correct execution of the version we were doing.

The outsider would say, what’s the big deal, they were mostly the same kata, and they were.  But the small changes in technique, angle or flow, kept the basic themes very alive for us.

Sensei taught as he was taught. He demonstrated and corrected, but did not explain.  Those of us who stayed and trained often sought out our own answers.  For example we thought the kata may have been varied to place better in open karate competition.  In fact Sensei may have used that as part of his motive on occasion. But many years later I discovered those variations weren’t from his own efforts, but rather from the observations of the differences being taught on Okinawa.

*  Interlude 2 - * *

You may notice I did not mention Bunkai (actually a Japanese term and not of Okinawan origin).  Bunkai were not part of the study.  Shimabuku Tatsuo did demonstrate many self defense techniques in public, and they were all based on kata technique, but formal study of kata technique application was NOT part of his curriculum.  You cannot conclude that it didn’t exist, but likely was reserved for the most advanced students. Given hundreds of athletic Marines over the years, all conditioned to follow orders, and only having a year or a year and a half, it would not be difficult to construct why this training did not follow.

Later American’s trying to take other studies (books, magazines, other instructors) trying to get Okinawa to explain Bunkai often were met with resistance.  One of my seniors who trained in Okinawa in 71, years later did return and tried to question the son in law on those points.  He met with stiff resistance, making me conclude that our external understanding of what a system might include does not necessarily compel the Okinawan’s to comply with our definitions.  Of course in this my and our experience is simply too shallow for a complete definition.

*  Third Movement – New Beginnings * *

When I began to teach, I found myself in much the same circumstances as the American originators of our systems. I was on my own, with nobody looking over my shoulder, teaching a system that at that time had no available formal templates or scores, and except for my instructors and friends best wishes, was free and authorized to follow my own instincts.

Of course at first, my themes were incomplete. I tried teaching as I practiced as a Brown Belt, far to intense for students.  I learned to begin with a simpler melody, and consciously picked a classical approach to instruction. Kata became fixed without jazz.  I became a specialist in teaching youth and felt a classical score would be more pleasing, instead of confusing them with jazz.

O I made them aware of its existence but only in a more theoretical manner.

As this continued I followed my own studies in the infinite, dissonance and harmony together.  Many systems, instructors and theories.  Magazines, books, videos, clinics and camps followed.  I became aware of the lack of understanding, the ‘bunkai’ and sought to find its place.

My studies led me to many places.  As has been mentioned many times, in those days almost nobody worked application of kata in any depth.  One of my instructors and close friend, with incredible depth of knowledge in his Chinese system applications, never once showed me what might be there.  Instead he lead me by asking leading questions and followed my working out the answers myself.

Another instructor followed a different path (yet akin to the Chinese) and to his close students (Dan level only) taught Bunkai, but Bunkai as a mnemonic device.  Each kata, had ‘hidden’ applications , not related to the technique in most cases, at different movement points.  Thus his system became a symphony of jutsu techniques, perhaps several thousand, taught in specific order.  A San Dan working the 4th movement point in Hangetsu would be learning a specific technique, as opposed to a Sho Dan working the same 4th movement point in the same kata.  The techniques are marvelous, and when executed complete the destruction of an opponent. The student never works to understand a movement. Instead they work to learn the movement and how to apply them, then the tactical choices between their various studies.

Actually in my friends Northern Chinese system a similar methodology is followed. Every form technique has one and only one application.  But their forms are so long and complex, and in such diverse numbers, they eventually learn thousands of techniques, and the tactics surrounding them. Thus the student does not attempt to figure out movement potential. They have no time to do it, instead they practice.

On counterpoint, we have so much available literature where Okinawan instructors will discuss or show a basic application, and re-iterate that now the student must study to learn new on their own.  Of course if you do take the time to work something out for yourself, it becomes more valuable to one, but so much time is left to re-create the studies of others that might be more profitably spent on practice for better execution.

In my own case, I would work hard to understand how a movement in a kata would work..  On several occasions I didn’t like the answer I found, and discovered how small changes in the kata would create a more workable technique. Then when I could make it work, it became so meaningful I would then follow through and make change to the kata and teach it anew. So my classical work became slowly fluid. Not in great detail, but in several small key movements.

Eventually my studies in application began to understand underlying themes, and greater depth of potential uses followed.

*  Fourth Movement – the Superman * *

One day the phone rang, I could make a symphony of phones ringing influencing my studies.  But from that ring cam the Superman, one who spent the past 40 years taking those inspired demonstrations of Shimabuku Tatsuo and working on the themes of kata application. He is Sherman Harrill (ok, Harrill, Sherman), who would kill me for calling him a Superman,but no other term really applies. He began in Okinawa alongside my instructor, and fell in love with and really mastered the application of kata.  Any movement becomes hours of potential applications.

The themes I worked out myself, shown forth in his work, but with literally decades of work in advance of my own studies.  His basic theme, was ignore the differences between our different Isshirnyu kata, and look at how much they have in common.  Next he works very hard to never change the kata as he studied it (although he is one of my sources on Shimabuku Tatsuo’s own changes), but allows the jazz to shine in his approach to applications. Where the kata become unchanging, the kata application become the most fluid possible.

Movement would be applied in any angle, any attack, sub movement would be utilized, so any strike might be used for many sub-component strikes, all with great effect.  Locks, grabs, strikes ,throws, chokes and more come flowing forth.

As time passes, his movement becomes akin to your own, and you follow similar paths applying more and more of the classical studies..

He also becomes a counter-point to the changes, giving reason to re-consider the classical anew.

Kata no longer has only one or several themes. Any one has hundreds and more, and newer works beckon, crossing technique from the various kata for greater effect.

*  Ending  *  *

Well from classical jazz I’m surrounded with many themes and choices.  I wonder each day what is the best answer, what choice should I make today following an older theme, or beginning a new melody.

How do I, as the instructor, create a stronger approach for the student?  Must they follow my path, or should I fix the path to give them greater skill and freedom?

I do not possess the wisdom or knowledge to know which will follow, but boy do I love the sound of the music I can participate in creating.

*  Exit Music * *

What is the sound of one hand slapping?  Lean closer and I will show it to you!

https://www.youtube.com/watch?v=-bBzIgIaPS4

 

1930’s Isshinryu Parallels (from the 1990s)

 

1930’s Isshinryu Parallels (from the 1990s)

 

 

 

Last year I found a new translation of Funakoshi Ginchin's "Karate Jutsu" by Kodansha Press, translated by John Teramoto.

 

One of the things that strikes me about Isshinryu is in several senses much of its basic technique structure was published in Japan by the mid 1930's: 

 

1. Funakoshi's (kata Sehshan<seisan>, nihanchi sho-dan, wansu, chinto, koshokun<kusanku>),

2. Mabuni (kata Sanchin and Seiunchin) and

3. Motobu's (kata Nihanchi) works.

 

Maybe not exactly the same lineage as Shimabuku Sensei's instructors, but still were published in Japan. (in addition to a number of other very good books at the same time too). I've never heard whether those texts were ever available on Okinawa,

 

But as Funakoshi's (and then Mabuni's) works included passages and sections from the Bubishi, its certainly not impossible that those were sources that influenced others on Okinawa (besides Itosu's and Miyagi's copies).

 

The most recent translation of Funakoshi's work includes the Eight Phrases of Karate. See if you don't find them interesting.

 

1. The mind of Man is the same as Heaven and Earth.

2. The circulatory system resembles the sun and the moon.

3. The Law includes hardness and softness, ingesting and expressing.

4. The body adapts to changes in time and situation.

5. Techniques ocur whtn a void is encountered.

6. 'Ma' involves advancing and retreating, meeting and departing.

7. The eyes miss nothing.

8. The ears listen well in all directions.

Inverted Punch – Ernie Rothrock

 

Okay, here's what I know.  I first learned this one also as a fighting technique from Master Pai. It was done with a cross step and aimed for the ribs.  The

punch came from the shoulder, rather than the hip with the full twist, but was still inverted.  The follow up technique was a rolling backfist to the head using the same hand.  I still teach this technique to my advanced students because it is a very fast hand technique and almost impossible to stop.

In the Mantis system and the Eagle Claw system the technique is usually executed from the shoulder or ear and strikes downward.  Even though the punch is inverted, there's no twisting involved.  You just turn the fist and strike with the thumb side down.

I only have one form that uses this technique from the hip with the full twist and that is a dragon from the White Dragon system.  Maybe I'll show it to you
when I get out there.  Maybe it's a dragon punching technique.

This is an interesting question to see where this punch came from and maybe find the style that developed it.

On Kano and the JuDoGi

 

 

---

Originally posted by Steven Malanosk

Funny........JuDo's Kano, started the KeikoGi and Kyu Dan.

But he got the idea, for the JuDoGi, from watching Chinese martial artists, practicing in their common clothes, and realized that the dress of the day, for the Japanese martial artist, was too constricting.

Kind of a round about way, for the KeikoGi, to make its way to Okinawa.

---

It's interesting how stories get started or from where they come. Much of the time, it does come from "sensei" and in many cases is just wrong. I was told, as a twelve year old that jujutsu was over two-thousand years old. At thirteen, I found better sources of information.

I really do like the stories which spread such as the one above. Besides the above quote concerning the judogi and Chinese martial arts comes the dirty belt theory, amongst others. Interesting especially since the Chinese invented soap. It was brought to Europe by Marco Polo, presumably.

However Kano came up with the keikogi, one thing does persist about Kano. He was the first modern academic to truly study budo in an attempt to find the manner to express technique in the most efficient and least abusive manner. If this is true, then why would Kano have looked to China for the best in training clothes? Although for his time, he was probably a very liberal thinking man, taking note of most anything which would help him, he was, at that time, very much the patriot.

The other story of the black belt was that when a student didn't have, or broke the sash which closed his dogi, Kano tore off a piece of his hakama bottom to make an "obi" for the student. There are many variations on this story, but this comes as close to Kano's "invention," the work-out clothes, including the black belt.

Kano did not invent kyu grades in any manner. He did, though, call his very first beginning students shodan for the more literal reason and put that on a scroll/certificate. The judogi wasn't done over- night, neither did the dan system of grading one's training level. Most likely, the kyu grade came along with the first dojo in the US, the Seattle Judo dojo, or just as likely, from Europe where almost certainly, the French Judo Federation under the direction of M. Kawaishi, along with other countries of Europe, came up with the multitude of colored belts we have now. Some say it was Mikonosuke Kawaishi's doing, but it did make its way from Europe in the 1950s. Whether a brown belt or even a kyu grade existed is much discussed in some books and articles, but they are guesses, at best. I asked a student of Kenneth Kuniyuki, one of the original students at the Seattle Judo dojo, about this, and he didn't know, and with Mr. Kuniyuki to be about 93 this year, an answer isn't likely to be forthcoming. When Kuniyuki moved to Southern California and found the Nanka Yudanshakai, the brown belt was probably being used, but only at ikyu.

Back to the judogi or keikogi. This first began with a jacket (uwagi) with short sleeves and any manner of shorts which was little more than underwear in many cases. The body was protected to a point, but the legs received mat burns as did the elbows, so longer pants came in which reached the knee, at first. Again an improvement but not nearly what is seen today. The pant was lengthened to protect the knee from mat burns and later padding was added which improved the protection to the knee. Meanwhile, the uwagi was being lengthened in the sleeve to just beyond the elbow where it stayed until a short time ago. I have the jackets I wore in the sixties and the sleeve did not extend much beyond the elbow even then, and as someone reminded me of recently "your arms are too short" which does give you an idea that perhaps I had a longer sleeve than did most.

To sum up, the work-out gear took a relatively long while to arrive at what we have today. Pick up a double knit judogi and you can feel the weight. That is some weight, and for quality dogi today, one can easily spend over three-hundred dollars US. My first dogi was eleven dollars US. Add a colored belt, eg, black obi, the wider three inch variety, and you can add another twenty easy, but Mizuno does ship its complete dogi with a white one and one-half inch obi, but at any particular size the 1 1/2 inch belt is about six to eight inches longer than the same size obi in the three inch variety. That's one I don't understand, but in my early days, we dyed our belts.

Kano may indeed have invented the dogi, but he almost always was to be found wearing hakama and kimono when teaching which were always black or dark colored, the opposite of the off-white, natural cotton colored judogi. By the 1920s, they were being sold seemingly factory made. While Kano would often pose in a dogi and black belt, that was the only color belt he ever "invented" or had anything to do with. The only other color was off-white, which became known to be worn by mudansha, and there were only two grades of training, yudan and mudan, and whichever number of dan grades one believes existed at any given time. Room was eventually made for 12-dan, but no one in judo, and by the Kodokan has ever been graded this high. Some have been graded to 10-dan posthumously, and a very few while still living. Someone else must be given the credit, or the blame for such kyu grades. As Kano never would stand in anyone's way if they were to add more colors, it makes the waters even murkier. As he said of Judo in the Olympic Games, "Judo is NOT a game, and I would not promote it as such, but neither will I 'stand' in anyone's way who chooses to do so. He was no longer an official with the IOC when he was quoted (Quotes are lacking in budo history. Mostly, they come hammered out as being "accurate" but the actual quotes are those of historians. History is opinionated if it is anything. One needs to do the research one self and attach the nearest meaning of what one finds.

Nothing is ever as it seems.

__________________
Mark F. Feigenbaum

 

Hachidan Promotions

With great pride I announce that Mr. Michael Casssidy and Mr. Young Lee have been promoted to Hachi Dan in Isshinryu Karate.

They have sweated with me, trained with me, taught with me, studied alongside me, inspired me: for forty years.  Then when I retired from my program, they have worked to continue it ever since.

I recently approached Mr  Charles Murray about their promotion to Hachi Dan. He conducted his own inquiry into their potential. He had trained with them many times, choosing to insure their promotion was appropriate. Concluding this was appropriate and in his own time awarded them their promotion.

Charles then awarded them their Hachi Dan rank, sending their certificates to them.

As this will likely be my last official action in Isshinryu, I  salute each of the for this achievement.

 

A Collection of advice from Karate Seniors. Tenth in a series of posts.

 

Dojo Kun (School Principles) of Shorinjiryu Kenkokan Karatedo
Mayayoshi Kori Hisataka

 

 

1.     Maintain propriety, etiquette, dignity and virtue.

2.     Gain self-understanding by tasting the true meaning of combat.

3.     Search for the pure principles of being truthful, just and normal.

4.     Exercise a positive personality: confident, courageous and determined.

5.     Always seek to further develop the character, by aiming towards perfection and complete harmony with creation.

Student's Creed

6.     I will develop myself in a positive manner and avoid anything that could reduce my mental growth and physical health.

7.     I will develop self-discipline in order to bring out the best of myself and others.

8.     I will use what I learned in class constructively and defensively to help myself and others and never be abusive or offensive.

Shorinjiryu Shindo Black Belt Oath

9.     I accept with honor and privilege this Black Belt in Shorinjiryu. I swear to uphold the standards of honesty, modesty, courtesy, integrity, high moral code, perseverance, courage and indomitable spirit.

10. I sincerely pledge to honor my instructor and school with loyalty and support, also to value and carry on the martial arts tradition with respect and dignity.

11. I further pledge, with humility and gratitude, to continue my mental, physical and spiritual growth to the highest level, to lead by example and to share what I have learned with others.^xiii

 

 

Okinawan Shorin-ryu Matsumura Seito Karate-do
Soken Hohan's Orthodox Karate-Do Association

 

Hohan Soken's Dojo Kun

12. Karate practitioners always conduct themselves with proper etiquette.

13. Without fail, bow to begin and bow to end when performing kata and kumite.

14. When practicing, rouse your energy and pour in all of your strength. Practice devoid of energy is all the more an obstacle to progress.

15. Watch and listen well to the teachings of yours instructor, your seniors and your seniors in the various other schools. Work hard and refine yourself, never forget Karate Shugyojo no Kokoroe (their Teachings).

16. Looking and listening are both large keys to progress. As one improves, their importance becomes more apparent.

17. Continue practice, even if a little at a time. Interruptions become an interruption or a step backward in progress.

18. Learn the essence of your technique, watch over the state of your heart and plan out their development. "Technique" and "heart" are as "omote" and "ura" (two faces of the same entity).

19. Beware of overdrinking and overeating. It is a rule that overdrinking and overeating lessen the effects of practice.

20. Never lose the thought of improvement, never slacken (your effort). Self-conceit is a serious illness easily contracted during karate practice.

21. Limitless is karate training. Work ceaselessly, and you will be surely become a Master.^xiv

^{Notes on  the series:}

 

ⁱ Graham Noble with Ian McLaren and Prof. N. Karasawa, Masters of The Shorin-ryu Part One: http://seinenkai.com/articles/noble/noble-shorin1.html. For alternative translations, see "Sokon 'Bushi' Matsumura" at http://www.shotokankarateuk.com/matsumura.html and "Sokon 'Bushi" Matsumura" at http://www.msisshinryu.com/masters/bushi/. See also Christopher M. Clarke, Nyumonsha: A Handbook for Beginning Students. Huntingtown, MD, 2007, page 120.

ⁱⁱ Iain Abernathy, http://blog.iainabernathy.com/?p=81. See also Noble, Masters of The Shorin-ryu, Part One; and "Master Itosu's 10 Precepts<' at http://www.shuriway.co.uk/precepts.html. See also, Christopher M. Clarke, Nyumonsha: A Handbook for Beginning Students. Huntingtown, MD, 2007, page 96-97

ⁱⁱⁱ Tokitsu Kenji, History of Karate-do (French to English translation by Victor Smith) in Budo Karate Journal, 2005.l

^iv Kiyan lecture to the Okinawa Prefecture School of Agriculture and Forestry, translated by Patrick and Yuriko McCarthy, Koryu Journal, 2001-2002.

^v Motobu Choki, "The Rules of Quanfa," Koryu Journal, 1999.

^vi Shinjinbukan Shorin-ryu at http://www.okinawakaratedo.com/Shinjinbukan%20net/Chibana.htm.

^vii Graham Noble with Ian McLaren and Prof. N. Karasawa, Masters of The Shorin-ryu Part Two at http://www.seinenkai.com/articles/noble/noble-shorin2.html.

^viii Mike Clarke, "A conversation with Takayoshi Nagamine Sensei," Sunday, March 1, 2009.

^ix Christopher M. Clarke, Nyumonsha: A Handbook for Beginning Students. Huntingtown, MD, 2007, page 53.

^x See Stamford Dojo, http://www.stamfordisshinryu.com/id80.htm.

^xi Stamford Dojo, http://www.stamfordisshinryu.com/id80.htm.

^xii Stamford Dojo, http://www.stamfordisshinryu.com/id80.htm.

^xiii Stamford Dojo, http://www.stamfordisshinryu.com/id80.htm.

^xiv Stamford Dojo, http://www.stamfordisshinryu.com/id80.htm.

A Collection of advice from Karate Seniors. Nineth in a series of posts.

 

A Collection of advice from Karate Seniors. Nineth in a series of posts.

  

Seibukan Shorin-ryu of Hanshi Zenpo Shimabukuro
(Student of Shimabuku Zenryu who was a student of Kiyan Chotoku)

To Strive for the Perfection of Character

To Defend the Paths of Truth

To Foster the Spirit of Effort

To Honor the Principles of Etiquette

To Guard Against Impetuous Courage^x

 

Shinjinbukan Shorin-ryu of Onaga Yoshimitsu
(Student of Higa Yuchoku)

The heavenly, spiritual way, "the way of god".

The human, civil way.

The martial way.

The way is attained through practice not contemplation.^xi

 

Directions on Practicing Karate

Okinawa Shorin Ryu Matsumura Kenpo Karate and Kobudo Association

 Under Kuda Yuichi/Kuda Tomosada

of Okinawa Shorin Ryu Kobukan Karatedo

  

 

1.     Those who study karate must always be polite so that they may not be selfish.

2.     They must be polite not only to master and seniors, but also to fellows and juniors.

3.     They must always begin and end with greetings [i.e. a bow] when practicing karate kata and playing practice matches.

4.     Karate kata are the base of karate. They must practice and study the kata and matches eagerly without making haste for the successful result.

5.     The variety of karate skill is limitless. They must always make efforts to train the mind and improve the skill.

6.     When they play practice matches, they must do their best at concentrating their attention so that the motions may be faster, stronger, and more accurate. They must not get excited in the matches.

7.     They must always remember to improve the skill and study the essence of it. There is no end in practicing karate.

8.     In daily life, they must always behave well. They must not be hot-blooded or quarrel with anyone.

9.     They must not be self-centered because they have made progress. They will not improve the skill and their natural virtue, but will do harm to others if they are self-centered.

10. More than strength is needed in karate. The purpose of karate is not only to train the body and the mind, but also to make efforts to achieve a good personality by practicing faithfully and to be a good member of society.^xi

A Collection of advice from Karate Seniors. Eighth in a series of posts.

  

Nagamine Shoshin's Precepts for Mastering Karate-do
1963

 

1.     He [my partner or opponent] is human and so am I.

2.     It is an imitation of self-limitation on my part, if, I cannot accomplish whereas others can.

3.     Discard this imitation: if he practices three times I must practice five times.

4.     If he practices five times then I will practice seven or ten times.

5.     Do not turn to others for help, Musashi Miyamoto once said: "Pay your respects to the gods and Buddha's, but never rely on them."

6.     Earnestly cultivate your mind as well as your body and believe in yourself.

7.     Karate may be referred to as the "conflict within your self ", or a life long marathon that can be won only though your creative efforts.^viii

 

 

Nakazato Shugoro's Karate Principles
(Posted in Nakazato Hanshi's dojo)

 

 1.

Keep the rules of this dojo and be not self-righteous.

8.     Maintain rapport with trainers, superiors, and equals. Always be courteous and strive to cultivate the virtue of modesty.

9.     Endeavor to develop perseverance, a sound body, and the spirit, not merely the tricks, of karate.

10. Strive to (1) elevate your soul, (2) form character, and (3) peaceful self-defense.

11. Always be prudent in conduct, never provoke a quarrel nor be conceited from karate.

12. Practice kata and techniques in the proper sequence, increasing training time and strength gradually.

13. Practice each and every form of karate orderly and evenly, developing neither weak nor strong points.

14. Ask your seniors and trainers whatever questions you may have.

15. Use makiwara (striking posts) and other training aids habitually to harden the fists and other parts of the body. Practice each kata repeatedly.

16. It has been said, from old times, that at least three years is needed to completely master a single kata. Therefore, unlimited time is needed to master all the forms and techniques of karate. Never be self-conceited. Self-conceit will impede your progress and make you a detriment to society.^ix