Monday, October 14, 2024

Shima Gen

 

 


 

A variety of formerly unseen Tatsuo videos.


https://www.youtube.com/watch?v=VnrGI6TC_38

 


00:12        Kusanku drop to the floor and look to both sides
00:50        RFF Right punch to the solar plexus
00:53        LFF Left punch to the solar plexus
00:50        RFF Right uppercut to the face
00:59        LFF Left uppercut to the face
01:02        RFB Left low block right punch to the solar plexus
01:05        LFF Right low block left punch to the solar plexus
01:08        LFB  Left low block then 4 punches (r,l,r,l)
01:11        RFF Right low block then 4 punches (l,r,l,r)
01:15        LFF Left Hi Block then Right punch
01:18        RFF Right Hi Block then Left punch
01:25        Stand then shuffle feet
01:33        LFB Right low block Right Punch
01:35        RFB Right mid block Left Punch
01;36        LFB Right low block Left Punch
01:39        RFB Left Hi block Right punch
01:41        LFB Right Hi block Left Punch
01:43        RFB Left Nihanchi nose smash Right punch
01:54        Bend over and swing arms to losen them
                 Bend Back and wring arms out to losen them
                 Repeat 5 times
02:11        Roll head to the right several times to losen neck
02:32        Bend down, hands to knees and press them back to losen them then Squat                               down to loosen the knees
02:41       Step out to left toes and flex knees, following that step out to the right toes

                and loosen the knees
02:44        Left foot steps out the the left then squat down to stretch the left leg
03:04        Wipe nose
03:16        Squat down and strike quadraceps with both hands






Sunday, October 13, 2024

Some random thoughts on the knife.

07-18-2001


 

Agree about the Tang Soo Do double knife grab, I saw that myself when I studied that art a quarter century ago. I honestly believe the source of that was the kung fu flic, 'The Five Fingers of Death'.




As for Aikido and Japanese Knife Defenses, yes as we view the knife today, they appear unrealistic. But I believe you also have to consider the context in which they were grounded.



I believe the source was the way the knife (Tanto) developed in Japan.  Apparently in close quarters the straight thrust with the Tanto was an actual attack. I also understand Tanto was among the most advanced studies offered in kenjutsu. Apparently teaching somebody to dismember an enemy as a beginner was ok, but teaching the same person to use a knife was reserved only for those students you really trusted.



Trevor Leggett in his book 'Zen and the Ways' refers to deaths due to straight thrusts attacks with the knife.  Nakasone Genwa in his magnificent work "Karatedo Taikan" (1938) demonstrates those specific linear attack defenses against the knife.

https://isshin-concentration.blogspot.com/2009/05/knife-self-defense-kata-by-otsuka.html



Aikido training I've received (empty hand) becomes magnified against the same attack with a knife in the opponent’s hand. That being due to the leverage and pain of a grab applied to someone holding a knife and using that static event against their fingers and wrist.  My own opinion those defenses work quite well if the opponent agrees to only thrust.



On the other hand, we are well aware of the wider range of knife attacks out there, and frankly stepping out of the attack zone is definitely the better response.




As for myself, we use the study of Bando's form "The Hidden Stick" both as a tool to understand how to pick anything up for self-defense, and as a textbook of possible applications of the stick as a knife, to add to our awareness of the danger of these attacks.




Frankly I think the Chinese with their 19' spears had an adequate defense against knife attacks in mind with their development <Grin>



Victor Smith
Bushi No Te Isshinryu


                                                                                                                                                                                                            

You Show, I Show, We All Show, "Kyusho!"

I am sharing this to allow better understanding what Oyata Seryu's art comprises. I do not follow RyuTe or, Tuite Jutsu, or Kyusho. This is just to allow a better understanding for those interested.

Tuite Jutsu (Personal training/teaching methodologies in Te)
 

This “Blog” will discuss various techniques (from my own “point of view”), training methodologies, and applications used and taught by myself in the art of “Te”. It will often focus upon the instructed art of “Tuite”, as taught to me by Taika Seiyu Oyata.

https://nagarate.blogspot.com/2010/

Wednesday, December 29, 2010


You Show, I Show, We All Show, "Kyusho!"

 




  The (obvious, LOL) obsession with Kyusho -and it's relation to RyuTe-, generates a lot of inquiry's to this blog. As I have stated previously, we don't overly focus/concentrate on it, as it is simply another portion of study contained within it's curriculum. We don't utilize any confusing and unrelated (in our opinion) concepts (TCM, BFD, S.H.I.T.) to determine these factors, and student's are taught these principles in conjunction with their standard instruction of techniques (i.e. no “special” classes or “restricted” member/group mandates). Many of the points utilized, will (often, because of the “slow” practice being utilized) only create a minor reaction from their use, but student's are taught to use, and identify them when/where they occur and prove to be the most effective.
     
  The following are some of the basic principles that we teach to our student's in relation to Kyusho (point) utilization, these are also used to identify the factors/conditions that create those situations that allow for their use (and are also used to demonstrate/validate/discredit any principles/methods or techniques presently being taught or experimented with). We make every attempt possible to identify (for the student) the physical/neurological reasons for the demonstrated responses to the applied techniques. (Note* A Pain response/reaction is not considered “acceptable” to be the sole, or only factor for determining a technique's effectiveness). Very often, body motion/reaction (in response to the point's utilization) is the desired result from a point's use.


Accepted Application “Rules/principles” (presently utilized)
(The following are principles that we presently teach/explain to our student's during the instruction of technique application)


Muscle Activation, IS Nerve Activation


  Nerves permeate the entire body. They control every physical action made by an individual. Any strike which creates a perceived pain, could be argued as being, and is in fact a nerve response. RyuTe strikes are intended to be directed upon predetermined locations (points) which cause/create specific responses upon the receiver. This is more easily accomplished, when strikes are directed upon “active” (ie. “firing”) nerves/muscles.


Active vs Relaxed (Muscle)

  When a muscle is in use (i.e. “active”), from/because of it's contraction, the nerves that control/create that contraction, are considered Active. If the muscle is in a relaxed state, then they are dormant (Inactive). Though, when dormant (and responses are often much less), they can still be achieved, but higher levels of accuracy and/or power may be required to create a desired reaction.


Body weight activation of Muscle(s)


  When/if one's body weight is being carried/maintained by any particular limb (and the muscles contained therein) then that limb's nerves/muscles are considered to be active (or activated).
Note* (This is also referred to as being “Loaded”, the act of creating this state/condition, we refer to as “Loading”, and is directly related to “active/activated”)


Cross-Crawl, (for determining “viable” targeting)


  An Understanding of the “Cross-Crawl”(a.k.a. “C-C”) application of body motion, is imperative for understanding the recognition of active/relaxed muscle groups. This theory describes the body's (natural) balancing properties/actions, and how they are applied to any/all actions made when one's body is in motion (and/or standing upright). The model for this principle, is the inter-relationship of the body's actions made while walking.


Touch (for “activation”) of Muscles


  This type of activation, is an example of the “lack” of required pressure for creating the necessary activation of muscle groups. This is illustrated by having an individual extend one arm forward, then another individual will press against any singular (1) side of the extended hand/arm. The receiver (uke) should note the (resultant) “activated” muscle groups (throughout the whole body) that result from this (minor) pressure. The direction of applied pressure (against the out-stretched hand) should be varied (as to the direction of the pressure being applied) and the resultant changes in response to those variations (throughout the receiver’s body) should be noted. This example is also used to demonstrate that excessive contact/power, can be detrimental to a technique's application (“tuite”, being the best/easiest example of this principle).


Same-Side activation


 Although “C-C” creates specific cross-body actions/responses, there are also Same-side results/effects that are created from the activation of specific “points”.


Body weight activation / C-C Targeting


This is in reference to the C-C theory (of activation) of the diagonal quadrant(to the “activated/struck” limb/point) area of the body, and it's utilization for determining preferred targeting towards the corresponding/interrelated quadrant of the body .


Additional student study includes:


(Though related to the above principles, these often apply to individual target striking methods)


Muscle belly vs Muscle Tendon (and/or conditions that would affect either)
Directional Muscle Strikes (in-line vs cross)
Muscle “Fold” Strikes (between the muscles) when/where/direction of.


  These “rules/principles” are usually shown in relationship to the individual techniques being taught/shown to a student at the time. Again, this aspect is not (overly) dwelt upon (during instruction).
     
  Each of these are subjects which Taika has mentioned while demonstrating/teaching application of techniques. (Again) All that we have done, is to collect those concepts, and have provided a “list” (of them) for our student's use. Whether they choose to utilize them (or not), is their choice.
     
  The knowledge of it's (Kyusho's) use, and/or effects, though definitely(in our opinion) “useful”, are not mandatory knowledge for a technique's effective application, nor for a student's continuing study. Though versions of many of the provided concepts are utilized by numerous methodology's/systems, student's are not always (made aware of ?) familiar with their relationship to a technique's application. In addition, though many of these are demonstrated/explained singularly, they most often are utilized in conjunction with each other (i.e. “multiple” principles are being utilized during a technique's application).
       
  It's my opinion, that this is  sufficient (and more than enough) information to explain the majority of what "we" teach (in regards to basic kyusho implementation). Exact targeting and direction (of strikes) is often dependent upon the required result and/or situation (as opposed to simply knowing "where" to strike). That aspect, should be studied/discovered from individual research (meaning "figure it out for yourself", LOL). All of the above theories, can be found (in/on medical related sites) on the internet. They aren't (personally) created or made-up theories, they are established principles that are presently utilized by various medical practices. We are (only) applying them in relation to what we are doing.


  If a reader's system/school teaches anything similar (or different), I would be curious to know about it (including any alternative methodology's for determining those locations). What I don't want to be drawn into, is any discussion regarding “TCM” (I've already been down that road, I have all the guiding literature in regards to it, I have read it, and found it to be contradictory, inconclusive and (generally) misleading (in regards to what is being attempted with the application of Kyusho). I also feel it is being unjustifiably utilized to present it's advocates, as being unnecessarily (meaning “unjustifiably”) knowledgeable (in this subject).

  Should that be considered “harsh?” (I hope so). “I” consider those individual's as “Con-men”,”Snake-oil Salesmen” and (basically) a waste of (any) of my own, or my student's time.

  “If”, (or when-ever) the subject (of TCM) is brought up (much like bile, from a tainted meal) either “to”or “around” him, Taika becomes very frustrated (as he feels you are wasting his time). He considers (and I agree) that the both the subject, and those persons who choose to pursue that subject, are attempting to avoid (actually) researching, and practicing what is already being presented to them.
        
  They're seeking some form of complicated answers, to both explain, and to justify their own inability to understand (that which has already been shown to them). As opposed to researching the “whys”of what has been shown (and can be readily seen, that it works), they instead, choose to pursue some complicated (if not misleading) methodology, in order to avoid that understanding (and thereby validate their own justification for not understanding).

  I am familiar with (a couple of) methods (similar to our own), that aren't based around some "secretive" Mumbo-Jumbo. I've partaken in discussions with those individual's before, and we've had (civil) debate's (and actual discussions, in regards to/about them, LOL, so I know that it's possible to do so). I make no claims that the methods that we utilize are the only one's that will work (only that they are what we presently use, and teach to our student's).

Saturday, October 12, 2024

In Defense of the Straight Punch

10-15-2001

 



One often quoted issue against the value of karate is that the Bunkai (applications) are worthless as they are practiced against unrealistic punches.


Coming from no applications, when I began to train with those who taught Bunkai, the attacks most often were “Step in with a Straight Punch”.  As a proper student I did as those who shared with me and without thought on the issue as any number of styles were doing something similar. Not that I didn’t realize the issue, but when an instructor kept sharing so many interesting techniques I was happy to comply.


After leaving Tris Sutrisno and a good +10 years with his Bunkai I was well aware of his demonstrations where  his senior students would attack him randomly and he would cut through their technique with brutal efficency, at the same time I did not possess his cat like reflexes, or had my training moved to that dimension.


My own studies after that point brought me to the realization that the application could enter an attack in many different directions, as opposed to the basic defense, and I began to realize any movement could be used interior and or exterior lines of defense, straight in, retreating or more especially turning in the various dimensions.  The attacks I was working against were linear, but my entry had begun to come in many different flavors.


Then meeting Sherman Harrill I instantly recognized what he was doing, although he was decades ahead of where I was. He would take a technique and apply it against a right lung punch, from the inside, from the outside, as a locking technique, etc. Then he’d take the same technique and apply it against the left punch from the inside, from the outside, etc.


After my 2nd clinic or so with him one day I was trying to work my students against a punch with a Nihanchi application, when one of them blew up at me with “This is ridiculous, nobody would ever attack me that way.” Now he had been a Ueichi Ryu stylist and was and is efficient in his applications and I understood his point. But thinking on my feet, once challenged I realized there were several very solid answers.


First, being “Shut up and soldier, soldier!”  But flip answers aside the second was even more reasonable. One of my students is a woman and a Physical Therapist now living in the Seattle area.  I remember once remarking that I could find little reason to practice grab defenses as I’m 6’1” and really wasn’t worried about being grabbed.  Her answer was, if I was a woman I would realize how often you are grabbed and groped and such techniques were very important. Of course I then reflected how as an instructor meeting my students needs was more important than just my own perceptions.


Well the linear punch attack now made sense once I was challenged on it. My contention is most of the time if you’re attacked the attacker is likely to grab you with one hand and strike at you with the other. Having them begin in boxing stance, or trying to wrestle you to the ground, while real situations, weren’t necessarily the way most attacks would occur.


And if you’re training to seriously handle grabs, working your techniques against linear strikes was a great way to build up your timing for strikes and body shifts. That seemed reasonable to me then and it does so today.   So that’s ONE big reason for practicing against the linear strikes.


But my friends and students who’ve trained in Hawrang Do, Eagle Claw, Sutrisno Shotokan and of course Sherman Harrill eventually get to the point of working their techniques against random attacks.


Taking Tris Sutrisno, it isn’t even after the Bunkai studies, but rather after the 2 person sets he trains in. So when your attacker randomly comes at you you’ve reached the point in your training where you find an appropriate trained response and reply blowing through them.


In Eagle Claw, they’ve had many 2 person sets too, with blocks  being used as blocks to move and set up an opponent (often with multiples) so they’re drawn in and ready to be locked down (with strikes an often utilized technique to stop their attack too.


I believe the use of the linear attack is just an initial training tool, very effective training for grabbing attacks, and an opening movement in the upcoming symphony of defense.


While many styles don’t get there, there are also those who do.


Alas me and mine are oldsters and free sparring in any dimension is leaving us fast behind, but I solidly recognize its importance in developing the total artist, and if the youth I teach would stay with me and not go off to college and life, that is the direction I would lead their training.


I’m sure my analysis doesn’t match what each style may do, but I think it is something to consider.


Victor


Paradise Lost, Paradise Found

5-6-2001


Well for a fantastic day outside, perfect weather, this morning Tai Chi was almost lost in the revelry of new understanding. I began this morning watching Orlando’s Pentjak Syliat  tape (haven’t looked at it for a few years, but there’s so much there I got lost and almost missed getting out for class in time.

Then everyone was on entranced on our discoveries from yesterday on use of the knee release as a counter for a lock, we just jumped from topic to topic.

Now, you may not be a Tai Chi student, but I believe the process we undertook today can be considered in your own Bunkai analysis too.



 

Further Thoughts on Countering a bent arm Armbar.



I began with my continued thoughts on an interesting counter against a bent arm armbar. 


If  you were throwing a hook at somebody and they side shift and  grab your wrist, and pressed up on your elbow bending your arm and then turning with the bend to generate a bent arm armbar, if you release your knee, dropping your center, and drive your left palm across your right biceps, they won't move you. You have both their arms locked, your dropping weight controls their center and your left hand is then free to lock or strike as you wish.


1. What I’ve discovered as interesting was when the bent arm armbar was applied I apply my knee release and drop, but now I slide my left hand up their left arm (fingers on top of their arm) concluding with my fingers grabbing their wrist and my left thumb resting on the inside pad of their thumb.  By then releasing my knees further, I drop my right elbow (which they were trying to control) directly on top of their thumb (which I’ve locked their hand) and they drop to the floor from the thumb lock press.  Very fast and painful.



https://www.youtube.com/watch?v=7s2q4B2N9NI



Tai Chi Chaun’s Repulse Monkey



John Dinger then wanted to show us an application of the Yang TCC Step Back and Repulse Monkey which came to him during karate yesterday.  He was standing right foot forward and had Doc Harper grab his right hand with both his hands and begin a right outer wrist turn.  


2. John then countered the wrist turn by stepping back with his right foot (now in left front stance) pulling his attackers hands forward as his right hand pulled back (palm up) to his waist.  At the same time his left hand (palm down) pressed out against their hands, easily allowing him to pull his hand free.  [Most especially when I emphasized releasing the knees when the left palm strikes out.  This drops you out of the zone of the defenders focus, and increases the force of your strike too.]


This fully followed the movement of the YTCC form and was not an application we had been working.


So I then began to work some other options.


3. Why step back?  A quicker response was when your right wrist is grabbed you can simply release your knees, drop down releasing the focus of their grab on your wrist and immediately counter with the left palm strike into their wrist.


4. Why use the left hand?  Simply release your knees, drop down and pull your hand free returning to your waist.


5. Why not counter with your right grabbed hand too?  Simply release your knees, drop down and pull your hand free returning to your waist, then  turn the wrist over and strike out with your fingers into their throat (also a continuation of the Step Back and Repulse Monkey Movement.


At this point Doc Harper began to realize the Step Back and Repulse Monkey had parallels to his Goju Seipai Kata where the back foot steps out and both hands (open) cross each other parallel.  But, gracefully I refrain from trying to find words to describe this at this time.




Another Tai Chi Application



I then began to concentrate on application found at the end of Ernie Rothrock’s Yang Tai Chaun first section.


Where from a right foot forward right palm strike to the front, you circle the hand clockwise, down, back, up and over, at the same time raising the right leg (in a crane stance) and then putting it down as the right hand circles down. At that point the left hand presses out to the front, then the left foot steps out and the right hand continues to circle back and then vertical punch alongside the left hand.


Learning the form it is a very difficult section to keep one’s balance and technique together.  The closing movement including the punch is straight out of Hsing Yi.  


When I first studied Tai Chi, I wasn’t interested in the martial application.  Then I ran across the equivalent of a BaguaZhang Comic book and one day noticed this techniques was used to escape and counter a bent arm armbar.  However, I always found this difficult to utilize.


Today using the knee release when the bent arm armbar was being applied, made it easy to circle my arm back and turn it over  (rising and then returning to the knee release as the Arm circles over), use my right hand to flow into a wrist grab, to then pull them forward, and finish by sinking (again) with a sharp left palm strike into their ribs.


Sorry, that’s quite a mouthful, but again, the knee release appears to be the secret.


Unfortunately at this point we started working on so many variations I really cannot recall where we went at this point, but there is definitely a lot of information here to consider.


I’m thinking of looking at Chinto later this week, it’s similarity to Aikido and Baguazhang technique make me reflect further on the use of the knee release.


Then consider the impact on Kobudo (to be researched even further), I speculate coordinating the release of the knees will vastly increase the power of Bo Strikes, etc.  I also suspect this must first be practiced slowly to make sure your hand and finger speed are up to what I suspect will.


The strongest term from Hank, the use of the knee release as a force multiplier, becomes more evident to my way of thinking.


Wish you all had been here, it would have been fun.

Victor



Friday, October 11, 2024

Sumo in colossal crisis after wave of titanic fighters pull out due to weight related health issues

https://www.dailymail.co.uk/health/article-13949321/Sumo-crisis-fighters-weight-related-health-issues.html

By John Ely Deputy Health Editor For Mailonline
Published: 06:12 EDT, 11 October 2024

Sumo, Japan's ancient sport wrestling where huge athletes weighing over 40st (265kg) clash in the ring, is facing a health crisis.

Wrestlers pulling out from autumn events has reached double digits with top fighters succumbing to injuries and health issues.

Dozens of fighters have pulled out of this season's events for a host of conditions ranging excessive sweating, breathing issues, joint diseases, diabetes complications and more.

Titans of the sport, like Takakeisho, 28, former holder of the sumo' second highest rank, have been forced to retire, after injuries to his feet, knees and neck.
 



The crisis has prompted calls in some corners for the sport to rapidly modernise and take steps like imposing weight-limits and increased medical input in training.
Terunofuji (left) and Takakeisho (right) are two sumo titans who have recently stepped away from the sport due to health issues in Takakeisho's case permanently. The pair are pictured here in a bout in 2021

Unlike boxing sumo doesn't have weight divisions meaning that, providing a wrestler can still compete, they're incentivised to pile on the pounds to better dominate the opposition.

But this can come at the cost to their health.

Sumo's grand champion Terunofuji is also out of commission with diabetes hindering recovery to injuries he previously suffered in the ring.

The Times reported his stable master, Isegahama, said: 'He hasn't been able to exercise because of his bad knees. If he can work up a sweat, his blood sugar will go back down.'

Japanese media have also listed a raft of other sumo wrestlers, technically called rikishi, having to pull out due to a host of health issues.

Commentators for years have warned that sumo is facing a growing health crisis with athletes competing for longer and becoming heavier over time.

In the 50s the average rikishi was a comparatively trim 17st (110kg) but this has since expanded to 25st (160kg).

But this is an average, some wrestlers have weighed in at a colossal 42st (265kg) with some fighters consuming 10,000 calories per day, five times the amount recommended for the average man. 


Takayasu, seen here in the red loincloth, called a mawashi, is another wrestler who has been forced to withdraw from the autumn season citing back issues


Under the BMI system, a score of 18.5 to 25 is healthy. A score of 25 to 29 counts as overweight, and 30-plus means a person is obese, the stage at which chances of illness rocket

Under the BMI system, a score of 18.5 to 25 is healthy. A score of 25 to 29 counts as overweight, and 30-plus means a person is obese, the stage at which chances of illness rocket

This has prompted calls for reform. One of these is sumo coach Takehiko Daiguji who said: 'I think a sumo wrestler's BMI should be between 40 and 43, so it's a good idea to have a rule that says it can't exceed 45.'
 



HOW TO CALCULATE YOUR BODY MASS INDEX - AND WHAT IT MEANS
Body mass index (BMI) is a measure of body fat based on your weight in relation to your height.

Standard Formula:
    BMI = (weight in pounds / (height in inches x height in inches)) x 703
Metric Formula:
    BMI = (weight in kilograms / (height in meters x height in meters))
Measurements:
    Under 18.5: Underweight
    18.5 - 24.9: Healthy
    25 - 29.9: Overweight
    30 - 39.9: Obese
    40+: Morbidly obese

'Anything more than that puts them at a higher risk of injury.'

BMI, or body mass index, is a calculation using weight, height and some basic demographic information like sex and ethnicity to determine if a person is a healthy weight.

While some medics have said the system is flawed, its generally seen as good general indicator of obesity in public health.

A BMI score of 18.5 to 25 is healthy. A score of 25 to 29 counts as overweight, and 30-plus means a person is obese, the stage at which chances of illness rockets.

So even limiting rikishi to a BMI of 45 would still be far above what is generally recommended for good health, though wrestlers typically carry more muscle than a non-athlete of the same BMI.

It would disqualify a host of current athletes. For example, the recently retired Takakeisho measured in 5ft 8in (175cm) and 26st (165kg) a BMI just shy of 54.  

Others have said suggested sumo needs to step away from some of its traditional elements and engage with modern sports medicine and nutritional experts.

John Gunning, the sumo correspondent of The Japan Times recently wrote: 'In 2024, it's incongruous to see professional sumo wrestlers still wolfing down large meals that are high in sodium and processed sugar at all hours of the day and night.

He added: 'While the use of gyms and weight training has increased, often it's ad hoc with no scientific basis for what exercises are done.'

Obesity has been well established as increasing the risk of multiple serious health conditions that can damage the heart, such as high blood pressure, as well as cancers.

Being too fat has been estimated to cause as many as one in 20 cancer cases in Britain, according to the Cancer Research UK.


Wednesday, October 9, 2024

Throat attack with finger scissors (Yubi-basami ink' seme).

 Posted on November 17, 2019 by Andreas Quast

 

Often in karate you meet people who report on which techniques are the true techniques of karate, and that "the others" do not know them and would not understand any of them. Since I often know both sides, I say this: That's not true.

 

Anyway, in the Sesan des Goju-ryu you can find the "throat attack with the finger scissors." This technique with its corresponding name can be found as early as 1938 in published form by Mabuni Kenwa and Nakasone Genwa.

 

The entire terminological phrase is "Kehl attack with the finger scissors" (Yubi-basami inké seme). In this case, the terminology actually describes the technique, which is not always the case.

 

Incidentally, this technique is also mentioned in the ancient martial arts script "Bubishi", as a countermeasure in case one should be bitten by a human being. So don't forget, just in case.

 


Mabuni Kenwa (right) demonstrates the "throat attack with the finger scissors" with right  as a response to a left fist bump by Taira Shinken (left).

 

The arm posture of Mabuni's left arm suggests that this application derives from the Sesan des Goju-ryu.

 

© 2019, Andreas Quast. All rights reserved.