Variety of Kata Practice

 

Speed and power will come with form and exactness of movement.
-Tatsuo Shimabuku

 

 

 Anko Azato interview, Ryukyu Shimbun (1914)
Translated by George Alexander and Scot Mertz

 

"Once you have learned karate all around, you might want to break it apart and study its individual techniques. When you practice for the very first time, just relax and try to learn the movements. Once you know what to do, then do it with 70 to 80% of your power. Do not do it with a lot of power from the beginning because you will not be able to develop your body strength instantly. Give it some time. Go with 20 to 50% of your power sometimes and when you perform in front of people, I recommend you go with 70 to 80% of your power."

 

(Photo of Tatsuo Shimabuku performing Seiunchin kata, 1966)

Research on Judo's Separation System and Fighting Technique Judo

 

Translated with Bing Translate

https://note.com/motoburyu/n/na7a7718d67d2

 

Research on Judo's Separation System and Fighting Technique Judo

April 22, 2023 11:33 PM

 

The following description is given in Nango Jiro's "This Year's Summer Practice" in the Kodokan's magazine "Judo" (August issue of Showa 18).

 

Unlike this year's summer rehearsals, the main building has listed two special events of training that can be carried out, and I hope that it will contribute to the reference of local leaders.

The first is at 2:30 p.m., after the first roll call of the summer practice, followed by a short time of "tai training" and "to" offense and defense lessons. This is because they believe that those who can train in the Japan pavilion tomorrow will be called to the front line tomorrow, and that the training of one-hit kills in the separation posture of judo is to be keenly aware of the necessity directly on the battlefield.

 

pp.2, 3

Nango Jiro (1876-1951) was the second director of the Kodokan. He was a naval officer with the final rank of rear admiral, but since he was the nephew of Jigoro Kano, he became the director of the Kodokan.

 

According to the above, in the summer practice held at the Kodokan in August 1943 (Showa 18), two tasks were practiced, unlike in previous years. One is a "separation posture" rehearsal, and the other is a 30-minute continuous practice called "number practice".

 

Since it was during the war, all of them must have been rehearsals with the actual battle on the battlefield in mind.

 

"Separation posture" is a difficult word, but in short, it is a battle and defense posture at a distance like karate and aikido. Therefore, it is said that the attack and defense practice of the hit (hitting technique) and the "body preparation" to avoid the hit were carried out from a distance.

 

At that time, "judo that can be used on the battlefield" was an urgent issue at the Kodokan. According to one theory, there was criticism from the military that judo was useless as a fighting sport.

 

As is well known, in judo, each player grabs each other's sleeves and collars to get carried out. If this system is called a "union posture," then the offensive and defensive posture in the union system is based on the prohibition of the time being. If they admit it, they will have no choice but to adopt a "separation posture."

 

Martial arts that fight in a separating posture include karate, boxing, and aikido, and martial arts that fight in a union stance include judo, sumo, and wrestling.

 

Already around the time of Jigoro Kano, how to incorporate this into judo has been an important issue. The reason why he invited Yoshijin Funakoshi to the Kodokan to observe a karate demonstration, and during his visit to Okinawa, he attended a demonstration by Motobu Asaki was probably for the purpose of studying karate. Yokomoto Isekichi, "Ryukyu Kyushu Companion Record" (1927) has the following description (Note 1).

 

Mr. Motobu broke a board that was thought to be eight minutes thick with a fist bone. I also saw a demonstration in which the double joint was easily split with the palm (the muscle on the little finger side). Mr. Motobu has been researching the practical application of this karaoke for many years, and is called the first person in Okinawa to try it in the field. The master touched Mr. Motobu's fists and palms with his hands, and he was greatly praised for his practice.

 

According to the above, Motobu Asaki was called "Okinawa No. 1" in practical applications of karate, that is, kumite, and Kano touched Motobu Asamoto's fists and palms and greatly praised his practice.

 

The form of "energetic good use national physical education" established by Kano was probably the result of karate research, but the disorder of separation was still an issue.

 

https://www.youtube.com/watch?v=uvqxiXiA9eM

Since Nango had a military background, its use on the judo battlefield must have been an important theme. In 1941 (Showa 16), by order of the director of the Nango Museum, a committee was established on "Judo techniques in separation postures" with Kunio Murakami as chairman (Note 2). In addition, at the Butokukai and Budo College in Kyoto, research was conducted mainly by Tamio Kurihara.

 

The study of judo techniques in a separating position was not done simply from a sporting point of view. It was also done from the viewpoint of positioning judo as a "hand-to-hand combat technique" that can be used on the battlefield. In other words, it is the study of "fighting art judo".

 

As the war intensified, school judo in particular became a part of martial arts as a combat art. Along with the positioning of "military combat skills", it was incorporated into the means of refining the "spirit of loyalty and courage" (Note 3).

 

However, after the war, due to various difficulties such as the "martial arts ban", the separation system of judo and research on its immediate existence declined. In addition, many of the materials related to the war were also incinerated for fear of being pursued by GHQ.

 

If the separation posture and pursuit of one's immediate self in judo had continued after the war, what would judo have it look like?

 

Note 1 Yokomoto Isekichi, "Ryukyu Kyushu Companion Record," Sakuoki, 6(3), Kodokan Bunka Kai, 1927, p. 35.

Note 2 Kenji Tomiki, "Judo Principles and Kendo Principles," Judo, 43(9), Kodokan, 1972, p. 5.

Note 3 Keiichi Okao, "'Judoka' Tamio Kurihara," Judo, 64(8), Kodokan, 1993, p. 39.

 

 

Found saved from an old discussion - on the "proof' of a photo

 A photo is not always concrete proof of something but they are good for discussion purposes. Let's look at the rising elbow technique from Gojushiho kata. It could be done with palm facing forward, facing back, or turned to the inside(pinky side of the hand up). There are different reasons for each method

Marlon LawsGroup Admin Interesting....my Sensei explains the pros/cons of the different methods and we examine how they can all be the "better" technique for a certain situation.
In Kusanku we hit with the elbow in front of the body with the arm parallel to the ground. Palm in or palm down? Power or safety? But it doesn't change the kata. Maybe practice it both ways....

Ojama Shimasu:

 

"Two senior teachers were in the corner of the dojo discussing in which order a bunkai kumite set was supposed to be taught. The discussion was respectful and guarded...on the polite edge of an argument, and rife with remembrances of dates and events...teachers and dojos...all toward an effort of keeping the set "right." As they talked and tried to convince one the other of their respective points, they became so ensconced in preserving their tradition "correctly" that they didn't see the stranger enter the dojo...looking around as if he had a point to prove. After five minutes the "visitor" grew tired of not being "waited on" he walked up to a 25 year old shodan--A woman who started studying Karate in her late teens, to get in shape and deal with the stress of University life. He grabbed her by her shoulders and said in a growl, "What did they teach you to do for this?"

It was no sooner than he finished his sentence, that he felt his arm being wrapped quickly and tightly at the elbow and was shocked by the violent and heavy numbing feeling he felt on the side of his head. Before he could shout an obscenity, he felt his vocal chords constrict and his throat tighten with the power that could not possibly be coming from the long slender, manicured hands of the girl that he grabbed. Could it? He felt his legs rush out from under him and saw the determined look in her eyes, just before he hit the floor. The Senior teachers were taken abruptly from their past remembrances and catapulted into this present moment by the sound of the young lady's blood curtling "kiai." They scurried across the floor and arrived at her feet...looking back and forth from her and her attacker. Amidst the comments of the class. trying enthusiastically to shout what they had seen her do, and explain how she had handled herself, one of them asked "what happened?" and the other more elder senior asked, while shaking his head, "What did you do?"

 

She gathered herself with a deep breath, and said, "I don't know...he just came up and grabbed me.

 

 

An old Okinawan man who often stopped in after closing his business on Fridays had been sitting in a chair...his usual chair, provided with four others for occasional and patient visitors. He rose up with a slight but telling smile..."Somewhere between the basics of a beginner and the many detail of a thousand formal techniques...lies the true spirit of the martial arts. What you say in brochure paper...'The honto damashi of budo,', desune? He bowed with a chuckle at the young lady and said, "Yoshi!" She was still a little stuck in the moment and just smiled, waved her hand like a little girl leaving her grandparents after a visit and said, "Thanks Oji-san! See you again soon!"

 

 

--Matt Henderson

I believe bunkai and oyo are absolutely necessary after a sound form and structure has been built and kihon are strong and solid...reflexive. And for me pieces of bunkai are very good for helping learn or teach a kata.

 

 But I think the first and foremost necessity after a strong foundation has been laid, is the repetition of kata done properly and with precision and power. I know that it is useful to know the bunkai and oyo and levels of response, etc...I know. Yes.

 

But the quality of Karate is also expressed in the automatic responses that can spring forth through forging a mind-body connection...Neuro-pathways that are first awkward, then do-able with thought, followed by becoming "second nature" and then evolving after years of correct keiko as your "true nature," Mirakian sensei is just one among many who spoke to me about the kata teaching your physiology a reaction pattern or better as time goes on a properly intuited action by simply doing them with spirit and intent.

Sumimasen, mina-san. Ojama shimashite, M.

 

Quote by Mabuni Kenwa

 

Joe Swift One movement from his Supreimpe Kata

 

Note his use of the single knuckle fist strike.

 

 

 

 

 

The descending Butt strike from the Hidden Stick

 

  

https://www.youtube.com/watch?v=YINL1XMHdm8

 

So lets take it a step further and look

at the opening of the Hidden Stick form

as an exercise in reverse stepping.

 

It also fits my disabilities

To just concentrate on a piece of a form.

 

 

1. For on thing, using short sticks for the Hidden Stick

Means you don’t have to have a stick hidden in your sleve

Having the stick in your right hand is hidden enough.

 

 

2. The initial movement of the form

You step back with your right foot into a left foot forward cat stance,

while moving your  left hand vertical palm,

 forward and the hand with the stick moves upward

forming a parrying roof technique.

 Now you move your right foot alongside your left,

Then the left foot moves forward in into a left foot forward cat stance.

As you have moved towards your attacker,

Use that foreword movement to strike up.

Separate your hands.

The left vertical palm strikes into the chest of the attacker.

The right hand rises into a stick butt strike

Into the attackers jaw, to break it.

 

3. In the form the next movement is a right front kick

Followed by placing that foot down in a right front stance.

The left open hand slides down the arm during the kick

and then strikes as it slides out into the attacker during the kick.

 

Now you step your right foot alongside your left.

Then your left foot steps back into a right foot forward front stance.

There is no kick.

As your step concludes you strike downward with the butt of the stick.

Then your left hand slides down and strikes out with a horizontal palm strike.

 

4. The form continues with you in the right front stance.

You strike out to the head/neck on the left

And then strike downward into the knee on the right.

 

Remaining in your right front stance.

Your right hand delivers an outer strike to their neck with the butt of the stick.

And they you strike down into the knee on the right

Using a right descending butt strike.

 

I believe this a fair restatement

of the Hidden Stick opening

for the butt strike.