The Guide to Bushi No Te Kicking

It occurs to me there is a great deat regarding kicking I have used in my program. So here are some accumulated ideas about use of the foot to consider.

 

Of course this is not complete, but I think it will be helpful.

 

 

“Keri” not “Geri”

 

Recently discovering those notes on the Advanced kicking drills I created quite some time ago has gotten me thinking about the training I’ve experienced in kicking in the arts.

 

A number of different incidents come to mind.

 

My introduction to Joe Swift on the inter-net almost began with him explaining to me the difference between use of Keri and Geri for kicking. The correct Japanese term for kick is “Keri” but when it is in a compound like roundhouse kick (mawashi-geri) it is “Geri”. As a standalone word “Geri” means ‘diarrhea’. An important distinction if you’re trying to make a point in Japanese I guess.  [Actually I’ve found many books going both ways, which make the point about  authors not knowing Japanese using Japanese terms.]

 

The superb kicking technique of Shimabuku Tatsuo on his films. They remain the most impressive detail I’ve seen of his technique.

 

Taking a seminar in the mid 1970’s with Bill Wallace, and watching very good regional black belts become helpless trying to stop his kicking combinations, even when he told them before hand what he was throwing. He didn’t gain the nickname “Superfoot” for nothing.

 

Seeing a preliminary fight to the Middle Weight championships between Butch Bell and Kasim Dubar, where one opponent tried a low block on a Bando stylists shin kick and broke his arm. That incident also almost cost Kasim Dubar his life, for the Doctor was treating the broken arm during his middleweight fight and wasn’t present ringside when Bell destroyed him and only the quick resuscitation of the referee kept him alive.

 

Watching Rick Roufus the other night fighting Mike Malone. From the fight it looked like the roundhouse kick to Rick’s leg took their toll and he was unable to keep standing to compete in a run-off round. The joys of full contact competition, who can break down the other’s leg first.

 

Mr. Lewis’ green belts winning fights with spinning back kicks in the opponents mouth, with perfect control, as soon as the judge shouting “Hajime” and the opponent never moved one inch.

 

The Korean Young Tigers TKD team demonstrating their jumping front kicks 9 feet in the air, using two partners hunched over each other on the floor as a springboard to launch themselves up as a trampoline.

 

A whole lot of kicking going on, and of course there are many, many more incidents I remember.  This resurrects why I created this set of kicking drills and the wide range of kicking practices I’ve studied over the years.

 

I’d like to discuss my history on the art of kicking and then the choices I began to make how to develop these skills in my own students.

 

Among the specific drills I have used are these. One is not more valuable than the others, each have specific strengths.

 

http://isshin-concentration.blogspot.com/2008/09/itosu-eight-point-kicking-drill.html

 

http://isshin-concentration.blogspot.com/2013/09/the-mabuni-7-count-kicking-drill.html

 

 

http://isshin-concentration.blogspot.com/2016/05/it-is-just-front-kick.html

 

 

Among the most advanced drill we use is Kihon Ni Dan which came from the art of Tristan Sutrisno

 

 

Other drills

 

Use of advanced kicking drills to develop self defense skills using the lower body is but one more step on a long sequence of training. These kicking drills require a much more advanced timing to execute properly, as well as being rather dangerous to the person you’re kicking.

 

All are against an attacker stepping with their right and throwing a right strike.

 

The defender is in natural (parallel) stance facing 12 o’clock.

 

Pivoting on the left foot (on the ball of the foot), the right foot steps in (interior line of defense) and you turn to 9 o’clock with a right inside open hand parry. The right foot sweeps in with your heel behind their front ankle, at that point you execute a right scoop kick to 6 o’clock. This has the effect of allowing your attacker to practice their split stretch.

 

Pivoting on the right foot (on the ball of the foot), the left foot steps in (exterior line of defense) and you turn to 3 o’clock with a left inside open hand parry. The left foot sweeps in with your heel behind their front ankle, at that point you execute a left scoop kick to 6 o’clock. Same effect as No. 1.

 

As they attack, step back with your right foot and execute a left open hand outer parry (as from Seisan kata), then throw a right front kick into the left inner thigh of the attacker and immediately follow with a right cutting kick (the inward striking kick from Nihanchi Kata) to the back of the attacker’s right knee. This is a 1-2 kicking motion with the right foot.

 

As they attack, step back with your right foot and execute a left open hand outer parry (as from Seisan kata), then throw a right squat kick to their left lower ribs, and immediately follow with right inside stomp to the back of the attacker’s right knee. This is a 1-2 kicking motion with the right foot.

 

As they attack, step back with your right foot and execute a left open hand outer parry (as from Seisan kata), then throw a right turning side kick to 12 o’clock into their stomach. Put the foot down (the right toes facing 6 o’clock) and then turn to the left and throw a left side kick to 12 o’clock into their stomach.  Put the foot down (left toes facing 12 o’clock) and finish with a right outside crescent kick to their head.

 

For the athletically inclined, as they attack, step back with your right foot and execute a left open hand outer parry (as from Seisan kata), then throw a right turning side kick to 12 o’clock into their stomach followed by a left turning and jumping side kick into their stomach.

 

From the parallel stance, your right foot circles forward clockwise, to hook your right heel behind their right heel (exterior line of defense). As the right leg hooks in you bump them forward off balance and then throw a right front kick into their supporting leg or groin.

 

From the parallel stance, your left foot circles forward counter-clockwise, to hook your left heel behind their right heel (interior line of defense). As the left leg hooks in you bump them forward off balance and then throw a left front kick into their supporting leg or groin.

 

The Left foot steps to the outside of the attack as the right hand parries the attacking arm from the outside. Follow this with a right hook kick to the attacker’s kidneys. This can be followed with a right roundhouse kick to their abdomen (or alternately a right side kick to their right knee from the outside). Admittedly, the follow up kick is more a drill than an necessity or practical response.

 

The Left foot steps to the outside of the attack as the right hand parries the attacking arm from the outside. Follow this with a right roundhouse kick to the abdomen and then a right hook kick to the kidneys.

 

From a parallel stance, throw a left ¾ front side kick to the inside of the attacker’s right knee.

 

For those who are very athletic (borrowed from my Tang Soo Do training),  The Left foot steps to the outside of the attack as the right hand parries the attacking arm from the outside. Follow this with a right hook kick to the attacker’s head over the top of their arm, followed by a right roundhouse kick to their head.

 

The Left foot steps deep to the outside of the attack as the right hand parries the attacking arm from the outside. Follow this with a right crescent kick to the attacker’s head from their rear, followed by a right stomping low side kick to the attackers left knee (from behind). For this sequence you’ve moved past them and are kicking them from the side and behind.

 

The Left foot steps deep to the outside of the attack as the right hand parries the attacking arm from the outside. Follow this with a right heel kick to their groin (from behind them). Essentially you’ve moved past them with your initial stepping and for the right groin kick your right leg circles up to be behind them, you raise the heel to rake into their groin, and the right foot moves counter-clockwise raking motion up into the groin from the front to the rear. This is not a response most expect.

 

Pivoting on the left foot (from parallel stance) the right foot spins to the rear 180 degrees clockwise (outside the attackers arm) (you are now facing 6 o’clock). Your left foot rakes back and up (in a clockwise motion) into their groin (from their front) raking the heel from back to front.

 

Pivoting on the left foot (from parallel stance) the right foot executes a right outer crescent kick (from the exterior of the attackers arm), then pivoting on the right foot which is placed down, you throw a left inside spinning crescent kick to their head or back (spine).

 

The Left foot steps to the outside of the attack, and then pivot on the left to spin clockwise with a right inside hook kick to the attackers rear knee from behind (or to their head from behind).

 

The Left foot steps to the outside of the attack to set up a right side kick to the attacker’s knee followed by a right roundhouse kick to the abdomen/groin.

 

 

Charlie Murray informs me that Mr. Lewis’ Lower Body Chart has always included front heel thrust kicks and side heel thrust kicks from the floor, and I still teach that way.

 

With Charles visit for the first time for him, Mike Cassidy had the kids working a drill he developed years ago. You might find this useful.

1.       You fall down and shift to your resting on your elbows Your feet curled up at your groin

2.       Front heel thrust kick from the floor

3.       Roll over to your right side and curl you feet at your groin

4.       Left Side heel thrust kick from the floor

5.       (optional) roll over to the left, scissoring your legs (which is also a tripping motion where one foot hooks behind the attacker’s foot and the other side kicks their leg at the same time making the trap.)

6.       (optional)  right side thrust kick from the floor

7.       Rise to one knee (On knee on the floor)

8.       Use the knee for a jump knee strike

9.       Finish using the other foot for a front kick (8 and 9 together are a jump front kick)

http://isshin-concentration.blogspot.com/2010/06/youre-grounded.html

 

INDEX

 

Bushi No Te Isshinryu Kicking techniques

 

Note; most of the following kicks work to a wide range of targets of opportunity. Nor are the set up techniques described, nor angles of entry, etc.

 

Isshinryu basics

 

Rear Front Snap Kick (front) ball of foot

Rear Front Snap Kick (side) ball of foot

Front Front Thrust Kick (front) heel thrust knee high

Rear Front Snap Kick (front) ripping toe kick

Rear Front Thrust Kick (on the floor on your back) - heel

Side Snap Kick knee height 45 degrees front – blade of foot

Side Snap Kick knee height to side – blade of foot

Side Snap Kick knee height 45 degrees rear – blade of foot

Side Thrust Kick (on the floor on your side) – heel

Bottom foot hooks behind leg and Top foot Side Thrust Kick to the knee (on the floor on your side)

Cross Kick (stomp) – heel

Cross Kick (stomp) - instep

Crescent Kick Inner (front) – shin

Crescent Kick Inner (front) - instep

Knee Strike to front

Knee Strike to front cat chambered first

Rear Kick with heel (foot vertical) to groin

Jump Knee Strike then Opposite Jump Front Kick – ball of the foot

Double Jump Front Kick – ball of the foot

Step to Side Squat Kick (roundhouse kick 45 degrees off the floor) – ball of the foot

Roundhouse Kick (old style) ball of the foot

Roundhouse Kick (new style) ball of the foot

Back corner side kick with one foot followed by a rear kick with the other foot

Back corner side kick with one foot followed by rear kick with the same foot

 

Isshinryu advanced

 

stepping – on top of opponents foot / stomping

stepping – hooking behind on the interior line of defense

stepping – hooking behind on the exterior line of defense

stepping – stepping on the opponents instep

stepping – hurried stomping on the opponents instep

stepping – sweep

stepping – inner knee check/thrust

Front Kick – striking behind the calf on a returning heel

Front Kick – shin kick to the inner thigh

Front Kick – instep kick with the ball of the foot

Front Kick – striking with the inside ball as the foot retracts

Naifanchi – inner foot slice to inside of leg

Naifanchi – cross foot slice to front of leg – inside to outside

Naifanchi – cross foot slice to front of leg – outside to inside

Naifanchi – outside ball of foot reverse round strike to outer calf

 

Other kicking

Front Kicks top of the foot

Round Kicks top of the foot

Ankle Kicking with Toes in shoes (Tam Tuie)

Inner Leg Toe Kicking with Shoes (Tam Tuie)

Outer Leg Toe Kicking with Shoes (Tam Tuie)

Lower Abdomen Toe Kicking with Shoes (Tam Tuie)

Uechi style Toe Kicks

On Floor, rolling scissors to leg – trap – takedown

from Seiza – front thrust kick and return to Seiza

Outer Crescent Kick

Reverse Roundhouse Kick

Jumping Front Front Kick

Jumping Outer Crescent Kick

Jumping Inner Crescent Kick

Jumping Outer Front Crescent Kick followed by Jumping Inner Rear Crescent Kick

Jumping Inner Rear Crescent kick followed by Jumping Inner Front Crescent Kick

Step and Crescent Kick

Rear Side Kick above waist to front with heel toes angled down

Front Side Kick above waist to front with heel toes angled down

Back Turning Rear Kick

Back Turning Side Kick

Back Turning Inside Round Kick

Back Turning Outside Crescent Kick

Back Turning Jumping Rear Outside Crescent Kick followed by turning Inside Crescent Kick

Back Turning Jumping Knee followed by turning Inside Crescent Kick

Axe Kick (heel striking outside crescent kick)

Back Turning Jumping Axe Kick

Turn away – drop to  knee and place both hands on the floor – rear foot back turning side kick from the kneeling position – return kicking foot to original position – rotate and stand to original position

Spinning Wheel Kick

Turn away – drop to knee, and place both hands on the floor – spin counter-clockwise with a wheel kick (calf high)

 

Sparring kicks

 

The normal range of sparring kicking and combinations

 

Specific Combinations

 

Cross over stomp kick followed by front kick with the other leg

Front Shin Kick followed by Rear Shin Kick

Rear front Thrust to inner thigh and retract with cut kick to inside of other knee

Squat Kick to outside ribs and follow with cross stomping kick on their inner knee

Step in and Swing Kick directly to rear hooking their ankle

Step outside and Swing Kick directly to the rear hooking their ankle

Back Side Kick to Front follow with back turning side kick to the front then place foot down and rear leg outer crescent kick

Step Past the attacker and rear leg chamber heel pawing strike to groin

 

Ghost Techniques

 

Private range of Chinese lower body maneuvers for evasion and turning using the stepping as an attack

 

Kicking Drills

 

A very wide range of kicking drills cumulating with an exceptional kicking exercise

 It is also appropriate to note these studies occurred over 3 decades of training. They are not a short term study, rather a study for accumulated experiences.

Staying Power

 When I was young, a long time ago.

 

When Mario McKenna suggested I start my blog as a reference for my students, I was not sure what it would become.

 

I had accumulated a great many training experiences with many instructors and had incorporated many of them into our training.

 

But as we are an Isshinryu program, first and foremost, there were many studies that never fit the time we had available.

 

Then there were many personal experiences I wanted available for their future reference.

 

And I had accumulated much knowledge  about a great many other things, that might have some future value for them. So I began accumulating all of them here. And over time it has grown a bit.

 

No specific order, just what strikes me at the moment.

 

As the blog automatically tracks the number of people who view it, I started to notice there were more and more following it, individuals from all over the world.

 

Much if it frankly makes no sense unless you have trained with me. I did not figure out I was giving any secrets away. If anyone takes the time to actually work out what we are doing, they deserve access to the material. For all the rest, frankly they probably will not take the effort to understand it.

 

So I did not restrict viewership, believing on sharing what I have seen

 

Apparetly others have been interested in viewing my thoughts. To date the viewership has reached 300,290.

 

That is something I never counted on. But almost never do any of them ever ask any questions, perhaps……….

 

So I move forward, every day. I am now much disabled, trying to preserve as much of what I have seen as possible.

 

And the beat goes on, and the beat goes on.

 

Mabuni's writings in the 1930s

 

Mabuni Seipai Study 1934

by Mabuni kenwa

 

Published 1934

Usage Public Domain Mark 1.0

Topics Karate, Mabuni Kenwa, Seipai, Bubishi

 https://archive.org/details/MabuniSeipaiStudy1934

 

Between themselves Funakoshi and Mabuni were engaging in a pretty neat bit of social engineering.

 

Look the average Japanese were not martial artists and their books were not written for them. The Japanese Martial establishments were not looking to replace their arts with Okinawan ones. But the University system would have been impressed that there were literate descriptions of these arts, even if they didn’t understand them. Making a more reasonable case to consider adding them to their programs. No doubt they did not research that these arts were not shared this way on Okinawa.

 

Then as Funakoshi shared a vision of Itosu’s arts, Mabuni decided to first focus on the Hiagonna Naha traditions.

A brief description of karate,

A book on Sanchin and Seiunchin then one on Seipai.

The briefest explanation of bunkai. Mario McKenna has explained to me in ‘Goshin Kempo Karate’ published in 1934 Mabuni Kenwa originally uses the term "bunkai setsumei" or "breakdown/apart and explanation".  Not a serious study of what a kata could be used for, but a simple teaser that it existed in the training.

Funakoshi incorporated some sections from the Bubishi, without translations, showing a link on older traditions. With his book Seipai Mabuni did the same with other Bubishi sections. And no explanation what they were, but some older tradition.

Not surprising, even Japan acknowledged some Chinese roots.

 

Basically a show and tell that there was a serious tradition here.

 

So they could point to those books for the Martial Establishment to acknowledge they existed. More importantly those works helped them gain University ties.

 

The books while accurate, were not really intended for students. They had been taught on Okinawa, and although changes were being made for University students, the core value of direct experience still held sway.

 

As time passed of course later generations trying to have links with their past, incorporated these exercises as drills. That is not necessarily bad, But you should not assume that they were more that that.

 

As we look on such books we should consider them in this light. Not assuming they have a greater place in history. We get to see what they revealed, but are left to question what else was not said.

Japanese pdf versions

 https://www.karatedo.asia/publications-kenwa-mabuni/?fbclid=IwAR0Y3Nj1Zb8fMzi9C8N-LFSPMg0kFoFSk0uVDe0-Gcpgr79NC4sdDd4s9Us

Free thinking

So other night I was thinking about a sudden attack, someone rushing in with a left strike followed by a right strike, considering what I could do in my current disabled state. My karate still works abet differently.

So I started thinking of things I might do. When Chinto’s opening came to mind. It occurred to me to shift my center to the left and form the rising ‘X’ block to the left interior of the strike. But I would use the ‘>’ of the ‘X’ for the block. The use of all the sides of the ‘X’ block something I had explored long ago.

 

Thus blocking with the ‘>’ of that block, to the inside of that strike. Then separating my hands, turning the left hand over to make a pressure block with the left palm and move the strike away from me. At the same time the right hand would begin the separation from the block of Chinto kata, and together with the movement of the left hand, the right would strike down to the top of the opponents head, or smash a palm into their eye socket or strike into the carotid sinus at the side of their neck with a shuto. Simply the easiest target of opportunity.

I liked this solution. The synergy of both hands separating resulting in another force enhancer making the stroke to the head/neck more powerful. Allowing follow-up as needed.

 

Another thought came to me. As the ‘X’ separates the two hands, the left hand could strike into the armpit with a fingertip strike as the right shears down to strike into their face/neck. Another potential force enhancer, the use of a strike into their chest to accompany the head/ncek strike.

 

Nor did I stop there. What next came to mind was a similar way to use Sanchin.

 

 

Against the same right strike, also use the interior line of defense and raise both hands as to make an ‘X’ block with the forearms formed as in Sanchin kata’s first movements. Time that to intercept their strike with the ‘>’ of the ‘X’ as you rotate to the left. Then continue to separate both arms, the left arm pressing outward against the strike, and the right forearm striking into the face of the attacker in a descending strike.

 All you have done is form the opening of Sanchin kata, deflected their strike and struck into their face with the shearing plane of your right arm. Again the synergy of both arms synchronized becomes the force enhancer to make everything more powerful.

The formation of the ‘X’ is a momentary movement in the opening of the kata.

One is not better that the other, they are just options of choice from your kata.

It then occurred to me they were similar ways to use the movement from Yang Tai Chaun known as Play the Lute.

Which took me to Wansu kata. The section after the right front kick where you assume a kamae with both hands.

 

In fact that is also where the opponent leads with a left strike and your right hand intercepts it as it parries the strike down and off center, while the left hand strikes out into the face/neck with a left shuto strike. Simply the reverse application from the Chinto one.

The same applies to the same movement in Sunsu kata.

 

 

Of course the opening on Sunsu kata used the same potential as the opening of Sanchin kata, previously discussed.

And regardless of attack, the technique works on the interior line of defense and the exterior line of defense with almost no alteration to the technique.

So I found an interesting relationship between Chinto kata, Sanchin kata, Tai Chi Chaun and even Wansu kata.

As I was originally not taught much for specific kata applications for any Isshinryu kata, and originally not even for tai chi as I just studied it as a form at that time, I do not have any specific rules that bind me.