Kyan Chōtoku and Protective Gear Kumite Match

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These pages are a really superior resource.

This article describes how Kyan Sensei wrote about the use of protective Kendo gear to be used in kumite matches.  At almost the same time a Japanese University group started doing the same thing.

 

Shimabuku Tatsuo did the same thing and used that gear in his dojo back as early as the 1960’s. Surely his practice was influenced by Kyan Sensei.

 

When Lewis Sensei trained in Agena there was sparring there with the kendo gear.

Here is a photo of Sensei with a set of the gear he possessed in the Salisbury dojo.

I remember Sensei telling us it was a hot as hell to spar in, nor could you get your breath. You had very limited tunnel vision to see, and as you could not be injured most fignts in the dojo were till the partner was on the ground. He also said the Okinawans often used a front heel thrust kick to knock their opponents to the ground.

 

Some Illustrations from the Hayanawa Kappo Kenpo Kyojan Zukai, Zen

 From the

Hayanawa Kappo Kenpo Kyojan Zukai, Zen

 

Complete Illustrated Book of the Teaching Method of Tying (Hayanawa), 

The Striking Methods of Jujutsu (Kenpo)

And the Method of Resuscitation (Kappo)

The reality of communication difficulties - an observation

 

Plagiarism, Plagelism, Pugilism

Phantastic play pon pwords pafter pall

 

When a communication channel is created it takes both sender and receiver, original communication and feedback to try and bride the gap and make communication meaningful.

 

Tools like dictionaries try and bridge that gap in part by showing common usage as accumulated.

 

But language is living and flows and changes, as the user lives, flows and changes.

 

It’s easy to look at something and take it to the extreme one way, but as words really have no meaning but in context, and the receiver can interpret them alone as they wish, and the sender has no idea if they have communicated, there in lies some of the true openings for misunderstanding.

 

I’m reminded of a very old science fiction story. Earth discovered there was intelligent life on Venus and sent a ship to represent the earth. It broadcast the message “We come in Peace”, over and over. Before the ship landed on Venus a ray struck out and destroyed the planet Earth for all time. The Venusians acted correctly hearing a direct challenge that we were ready to destroy them, as all Venusian dictionaries define ‘Peace’ as the declaration of a war of total extinction.

 

Alfred Korzbyski realized how much misunderstanding how language functioned was an underlying cause for many of our problems. Long ago he explained how language functions with his levels of abstraction.

 

A Victor Smith simplification.

 

There is the event level of reality. The atoms, molecules, physical reality of matter, energy, heat and light.

 

Then there is the perceived level of reality. The sun shines through a window and the dinner table glows from it’s polished wood.

 

We abstract that perceived level of reality and end up with words, Table, Wood, Sunshine.

Those words are not the thing. Table as a term describes many, many, many tables. And if you want it to be understood as close to 100% of the time, in a room with 5 objects which can handle the label table, you need to add many descriptive modifiers. To make this simpler is when you wife tells you to get something out of the kitchen drawer, and you look in a few and can’t find it, because as a husband you’re supposed to know in which drawer she was referring.

 

But words can describe words too, at a higher level of abstraction.  An example of this would be the pride in the word table by a cabinet maker, where table is a much more abstract knowledge of each piece of wood, each shaved plane, each joint constructed.

 

This is but a simple view of Korzbyski’s General Semantics, but it is at the heart of the discussion these past days.

 

Someone reads something and jumps to an assumption about what was written, then layers of abstraction and miscommunication occur ad infinitium.

 

My response of course is a classical rhetorical device, "reductio ad absurdum".

 

Hence we go from Plagelism (original usage) to Plagiarism to Plagelism (my definition) to the implied Pugilism I suspect of Len.

 

It’s best to keep in mind what difficulty we face when we try to communicate.

In fact its the base of all of the problems that exist within Isshinryu if you delve deeply enough.

 

For myself rather than talk I’d rather grab a handful of Plagels and start heaving them at everyone!

 

Back in 2005 I prepared this as a think piece about a parallel of kata creation to music creation.

 

Chopin and Karate – a parallel?

 

I find I have many passionate interests in life I try to follow a bit.

 

One of them is to try and understand classical music better. I enjoy an extremely wide range of music but my musical education has always been extremely limited.

 

Over the years I discovered BBC Music, a British magazine dedicated to classical music that also includes CD’s with complete works (unlike other classical music magazines that have CD’s with pieces to try and get you to buy those CD’s).  I find it very interesting to gain some more knowledge about things I enjoy.

 

The May 2004 issue has an article “the Final Score – can a score ever tell us exactly what the composer intended us to hear” by John Rink that I feel incredibly parallels many issues in the transmission of Karate, especially on the question about a kata’s original composer. 

 

Consider how exacting music has been transcribed for hundreds of years.  Exact notation in infinite detail, much more than the shape of kata. Yet the article suggests other issues worth considering.  From page 30.

 

“Performers often say their goal is to realize ‘the composer’s intentions’.  On the face it seems noble enough, but can such an  ambition ever be achieved, and if so to what avail?  And which composer’s intentions’ do they mean: those at the time of the music’s conception, or when the first manuscript was finished, or when proof sheets of the first edition were corrected, or at the first performance, or after years of performances and if so corrected by whom?  What if those intentions conflict – and what if the composer’s view of the music was less fixed than our own might be, whether as listeners or performers.”

 

“These questions are difficult to answer, and they challenge any simple truths we might choose to hold about how music “should” sound.  The fact of the matter is that when it comes to composer’s intentions, we believe what we want to believe – and our beliefs are inevitably based on knowledge that is less than complete. Taking hold of someone else’s music, whether in words or in performance, requires educated guesswork on the one hand and our own creativity on the other.  That partly explains why no account of the music could ever conform to what the composer intended: we as interpreters and co-creators get in the way. And for all the convictions we might have about how composers X and Y wanted their music performed, no one has the requisite insight or authority that some have proclaimed over the years…..”

 

“Chopin offers a particularly interesting case study of how ‘composer’s intentions’ can change over time. His artistic convictions were more or less immutable and passionately, if quietly, held, and with few exceptions, he dismissed those performances of his works violated the aesthetic principles that he professed.  But he was far from rigid when performing his own music. ……we know from Alfred Hipkins… that Chopin never played his own compositions twice alike, but varied each according to the mood of the moment.’…..”

 

“…his creative genius was irrepressible and forever engaged.  To that extent he continually modified his compositions on paper as well as in performance….. Chopin reveled in the music’s creative potential by indulging in all manner of variants, whether in a given piece or at successive stages of the compositional process.”

 

“… So which reflects of the two extant manuscripts best reflects Chopin’s intentions: the earlier of the two, prepared when he was most alert and his ideas freshest, or the later one, copied out more of less mechanically but with the opportunity to refine initial thoughts and introduce new ones?”

 

Think how this parallels so many questions we hold about the origins of the Okinawan arts?  What was the right version of Seisan kata? The original created one?  Or later versions on the theme?

 

I think that a link  such as karate to Chopin’s music may suggest the study of the kata may never have been a fixed shape as much as a themeto work with.

 

If the originator of a kata could return today? Would they be distressed that kata drift occurs, or would they be thrilled their original theme continues with new life generation after generation?

Toodii

 

From  Uchinaanchu nu Tuudi tu Tegua

Uchinaaguchi・Yamatuguchi・Urandaguchi

Dan Training – Opening Movement Opeus 1

 

I found this in my files from over a decade ago, but it is a fair statement of what I believed.

 

To know where Dan training will go you first have to understand where the kyu program has taken the student. So first a quick overview of kyu training at 50,000 feet.

 

From the Kyu -

 

With time limitations in my students lives, at the point the student enters sho-dan training, they have completed initial study of the following kata, most at our basic level of practice.

 

Isshinryu – Seisan, Seiunchin, Nihanchi, Wansu, Chinto, Kusanku, SunNuSu, Sanchin

 

Others – Fyugata Sho, Annaku, Saifa, Lung Le Kuen, Nijushiho, Bando Hidden Stick ½ .

 

They have additionally completed study of a small number of self defense techniques that can layer into their abilities as they have acquired some skill in their usage.  They are a series of hand and kicking applications, grab counters and a range of Aikido Wazza.

 

 

As well as many technique studies, two person drills, etc.

 

They have also been exposed to some of their technique study application potential, but the structural reason why their technique execution has been developed and a much larger study of  technique application potential hasn’t started.

 

Into the Dan –

 

What I think is most important isn’t a set of exact standards, study a, then b, then c till you get to d. My accumulation of study would suggest that the underlying principles behind their basic (kyu) training are the first study, so the Dan can understand why our underlying structure was chosen, and to learn the options this presents their future study.

 

Underlying Principle Study

 

More specifically we have focused on a specific movement set behind our technique and kata studies.  The total focus on the complete crescent step motion 100% of the time. The study of the underlying principles, the use of breathing inter and intra technique, the compression  and expansion of energy in motion, and more specifically the opening study as to how alignment affects power, energy release are developed through a thorough program of study I’ve crafted in my studies.

 

I don’t see kata practice as steady state. Timing, breathing patterns, etc. can be varied, and regularly reset both to explore the options they offer and to reset one’s potential to keep from become stale. Even the definition of a kata sequence can and should be changed to explore new options it presents, and to push oneself.

 

These studies are first done with extensive work on our simplest kata, and once the lessons take hold, then a 2^nd kata, such as Seisan is explored. This is not a short term study, rather a long term goal to understand why we’re directing the student to higher levels of execution. Simply doing a kata harder and harder with more and more repetitions does not give itself to what I’m trying to develop.

 

Thus at more advanced levels of training, 2 different individuals really working Kusanku for 15 years might have entirely different explosive versions in detail, because of individual advanced study.

 

Outside of exploration of the basic tools, the long range direction must be individual.

 

Technique Application Potential Study

 

In kyu study I demonstrate but do not extensively focus on the study of kata and technique application potential. I believe more focused study on a smaller body of knowledge builds better basic skills to use in Dan study.

 

Where I choose to begin is to take one technique, any one technique, such as the first section of Seisan kata, and begin to explore fully how it can be used. Link this technique study to the underlying principles behind each study, so you’re building the foundation for the rest of their lives.

 

Now by study I’m layering this as follows.  For that one technique section (as defined by the instructor) they must really sell it first against hard focused static attacks. Then they must go to the next step, taking that sequence and learn how to sell it against any random attack.

 

This can only be done when they first can execute the static skills accurately, otherwise slop begets slop.  In fact this goes hand in hand with the earlier principle studies. For here you must be applying those principles when stressed, the goal higher levels of development.

 

At one sense does anyone really need more than this?  The primary goal is to really develop a tool. And depending on the needs of the student, it might be an individual choice, or a group choice.

 

When adequate progress is made (clever how I leave this ambiguous) then a more complete study of the application potential of one kata can be made.  The underlying principles becoming more important than the actual applications. Part of the learning how to fish theory.

 

So you find the application potentials, underlying theories, study where to strike, grab, pull ,prod, poke, etc. coming from those same studies, and how to move and fit them into random attack, which also means learning how to set up a random attack to fit your response.

 

This is not a short term study either. And in the long term we have the studies I shared with Sherman Harrill, the studies I’ve made in Shotokan and Chinese arts, and my own analysis of Isshinryu and all to draw upon.

Kobudo Study

 

At Dan the student also begins the program kobudo study.  Most likely they would begin with either the Bando Staff set or Tokomeni No Kon, and then onto the complete Bando Short Stick form and the unstudied staff set.

 

Attendant with them would be bo to bo kumite drills, including the standard two person bo drill.

 

There are stick to stick drills, stick locking technique studies, stick disarms, etc. And stick as another empty hand art of application is studied too.

 

The intent isn’t weapon as weapon, but hand, arm and upper body conditioning, as well as full body usage. All of our technique are done with the same empty hand principles they are studying too. Most especially the manner in which we practice our empty hand kata is the basis for the way we use the bo.

 

I’m quite contrary to the opinion, empty hand makes bad weapons. I believe sound movement principles work equally well with empty hand and with weapons and we practice that way.  Of course I and the group are 100% certain we will never use our Isshinryu kobudo in reality. At the same time the stick principles might have a shot if necessary.

 

Kata Studies

 

Once upon a time I though boy I’ll teach Dan’s another 30 or 40 kata. Not real however.

 

In addition to the lifetime they will spend with their kyu kata studies (I’m convinced most will not get to the levels of execution I would like them to get Chinto and the advanced kata too until they’ve completed 15 years of study on them individually) there are a small core of other kata studies they will be exposed to, use for common Dan drill, often using techniques not found readily in the others.

 

Depending on the season, year, etc. I alternate between Patsai, Tomari Rohai, Tensho, Uechi Sanchin or several others. They are studies not to keep the mind fresh. Most are not extremely long, but they create fresh diversion to keep one’s art fresh (though I doubt anyone needs that in the program, much).

 

As the schedule of these trainings varies, where long term kata study goes becomes very individualistic. Some will not learn more kata. Others may gravitate to a single advanced study from different disciplines.

 

Drill Studies

 

Just a quick note, we have a series of advanced drills, two person sets, studies in other lower body techniques, the use of turning as a weapon, etc. that are also layered into Dan training.

 

Into Intermediate Study

 

As much of this, beyond the basic principles, is very individualized, where a student may direct their training depends on the work they put into their art, as well as their own interest.

 

Where they advance the study of other systems is possible, as the better you understand what others do  the better you may counter it.

 

We might offer studies in Goju, Uechi, Shotokan and even a touch of various Chinese arts to consider.

 

Specific study in various disciplines is available. Aikido, Tjimande, Northern Eagle Claw.  These to build more obscure layers of ability and to in turn understand how those studies are already present in Isshinryu, to add more advanced study of technique application.

 

Kobudo offers layers. The entire Isshinryu curricula is available, and for the very advanced, much more.

 

The Nature of Advanced Training

 

In the long run it all becomes self directed. One will train to the level they wish to invest in their lives. It might be for high level skill. It might be for permanent part time activity. Dan training is accepting the long quest, and accepting your own responsibility.

 

Because all my current Dans’ have also had occasion to train with my instructors and those who’ve shared with us, each individually understand where they are and where they could go. In practice they define how far they will go. They know how much time they can spend, how much they will or won’t accept to follow the path.

 

Dan training is conducted separate from kyu training on the whole.  But advanced dans might participate in new dan training, because the need for continual skill re-evaluation and study does not end with age, but increases. The training will most often have people working on different layers of study at the same time.

 

Well this is the more  structured approach to Dan training I’m exploring, to help guide the instructors when their own programs reach this level. All of which are based on the last 20 years of study I’ve undertaken.

 

The Dan Instructor

 

So take this course of instruction, it still falls on the instructor to guide, to use uncertainty to keep each class honest and fresh, yet still retain hold on the program framework.

 

The instructor must track and adjust the training for the student.  It has to be on a one to one level. Use of group drill must be focused to enhance the skills. Just allowing group drill to fill time and space is not the goal.

 

The time will come when the students participate as fully as the instructor in the course direction. You can’t share with them what they won’t believe and practice, no matter whether it works for you or not. You can only guide, share, try and chip away the rock leaving the statue hidden inside.

 

Closing thoughts

 

My program was developed to meet the needs for youth and adult development where I live and practice.  In a different location, with students that have different needs, or in different times the program would adapt to those locations. A different level of skills would be studied and trained.

 

I believe it is too simple to say there is one size that fits all. Shimabuku Sensei adapted his training program to the time constraints of the USMC, and the further you go back in karate history, the more you find reference that training was individualistic in nature, designed to the student and the place.

 

Because I’ve always kept my programs small the mixture of skills we study, the time frames involved, and where the students can go with it, depends on their attention as much as my instruction.

 

My program is not designed for your circumstances, though perhaps elements of it may be addressing common concerns or potentials.

 

Victor

 

I apologize if I’ve left you unclear how I see Dan training.  I’m still working on crafting its structure more concretely.

 

I just see all versions of kyu study only the title page for a vast encyclopedia spanning more than any lifetime of study. To keep a mind fresh, a body explosive and controlled, takes great commitment.

 

I am continually humbled by the memory of those who’ve shared with me. I try and take their lessons to heart.

Current Status 4/1/2021

 

It has been almost 5 years since anyone visited me to discuss or do any karate.

 

Of course part of that is due to my moving to Arizona as a result of my disabilities.

 

Still after so many decades of non-stop practice and teaching it is different.

 

My abilities are far less today, one does what one can.

 

And many parts of my past practice have become impossible to continue.

 

But I still am attempting to document everything I have experienced,

 

By maintaining my blog (currently 1,927 posts)

 

As well as extensive emails to my former students on almost anything martial (current tab 202 emails)

 

And of course with my book, ISSHIN.

 

The more I delve in my experiences and studies the more I find I have not shared.

 

Not that I expect my students to use this to direct their own study.

 

It is just that I want them to have access to my journey,

 in case they ever find these experiences useful.

 

The interesting thing I find as I move forward

Is how I find almost no one else has done this,

at least publically.

 

I understand the desire to keep some things private,

That is why I communicate some things to my students via email.

 

But there are obviously so many experiences that could be shared.

 

I do not expect what I write in my blog,

 to be a way for anyone to be considered my student.

Truly without the requisite face time with me that is impossible.

But if what I share provides some inspiration,

To make someone work to own the thought,

Then they will deserve it.

 

And now I think on what I have study,

As well as review my files for more material.

 

The beat goes on, the beat goes on

Drums keep pounding a rhythm to the brain

 

 

And I am but one individual,

I wonder how much others are not sharing.