Saturday, November 05, 2005

This was after the deaths of Johh Dinger (one of my black belt students) and Sherman Harrill. Most of my adult students re-examined their own lives made the determination that it was time to move on. Many of them had over 20 years with me at that time.

 So for a year as Young Lee was out of the area, the adult program was Mike Cassidy and I, it turned out to be most provocative to both of us.Then in time Young moved back in the area and several others returned and we acquired new members.

 

Up early and spent some time watching a video of Sherman Harrill. 

 

What struck me this morning was Sensei showing somebody on the side lines of the clinic how to apply a squat kick to the one leg with an immediate follow up side thrust to the other leg. The first kick buckling a knee and the second kick taking other leg dropping the opponent.

 

It made me think of the 1st level bunkai of Tris Sutrisno’s ‘Bassai Sho’, where a side thrust kick morphs into a low crescent kick followed by an immediate thrust kick, with almost identical application potential.

 

Some how watching this set a theme in me today, linking different training together.

 

Class Notes  with Mike Cassidy. 

 

[Note several of you may have met Mike while visiting my club. Mike is a Program Director at the Boys and Girls Club, has coached any number of successful basketball teams, even going to the New England Championship any number of times with his Senior High level team, and winning. His son 2 years ago won the National free throw championships for his age group. Mike also has become the youth program instructor for my program here, taking over last year. He does a pretty fair job in karate too.]

 

We began with SunNuSu kata. After several runs, Mike started leaving the gym, telling me he was getting hungry and had to go get some breakfast. Hmmmmmmmmmmm. After this weeks discussion I should have been expecting that. Guess Mike’s been following the list discussion. LOL

 

Anyhow we focused then on Chantan Yara No Sai, Chosen No Kama Sho and Dai, and tanto studies.

 

The application studies today were far ranging.

 

I was showing Mike how stacking chambering could be used the same way one of our Indonesian takedowns works.

 

-- Double Stacking Hands  --

 

Attacker grabbing with their right.

 

Defender stepping out to ‘block’ with their left, and then opening the blocking hand and sliding it down into a grab to pull back, as the right hand chambers directly on top of the forearm.  Normally this would be a very painful strike that would buckle their lead knee.

 

But instead of the hard strike, you use it as a light touch, or press that follows the left hand back into the chamber.

 

As you do that step forward with the right foot (slightly toe into the center line) as you’re pulling them forward.

 

Then your left foot steps counter clockwise to the rear of your right foot, turning you in at least 180 degrees in that direction as you maintain the double stack on the arm.

 

The attacker is drawn forward and they spin down.

 

Taking care to not smash the right into the arm, what happens the soft touch leads their balance forward as your left hand pulls back into chamber. This leading balance accompanied with the spin, literally spirals them down.

 

The Indonesian version of this uses a right knife hand instead of a right fist.

 

There’s a little more involved to make the finish of the takedown more effective, but words don’t do that justice.

 

We followed that with some basic Indonesian movement exercises, with very light stances and circular blocking. The second set of which uses the retreat with the grab as an arm breaking technique.

 

Unfortunately I didn’t know where to stop and we continued on in my Seisan Opening drills.

 

First we reviewed how the block/punch can be followed by the stepping motion for a take down (which I’ve detailed a few weeks ago), and how to work to accomplish this with flow and speed.

 

Then we began exploring how the block/punch can be followed by a chamber and punch into the armbar application potential.  We worked both my under and over method, as well as an Indonesian over and under method.

 

When Mike was working my version of this Seisan technique he hit it perfectly. A block-punch then flowing under and then over that arm to chamber and punch across the arm.  Mike did almost nothing and in return almost took my arm off (it’s still aching 14 hours later).  Yep there are no armbars in Isshinryu.  I shouldn’t be such a good instructor.

 

We finished with the simplicity of grab/lock attack defenses. Simply put when your hand/wrist/arm are touched, just chamber and blast out with the other hand. 100% release as they can’t establish the lock before you’re changing the shape of the bubble, and as they are lead to try and continue they’re moving right into the following punch.

 

This is both basic karate applied, the manner in which the Northern Eagle Claw principles show how to break the locks, and another example of leading the opponents mind. Because they’re trying to establish/maintain the lock, they move forward to try and keep the control, but they can’t shift that effectively (one hopes) and are then lead into the punch. 

 

Hopefully they don’t realize that they have an instant answer too. If that split second they realize they’re not in control, and they just release the lock, they’re also free to enter plan ‘B’. But by trying to establish a lock, they’re more often ready to be led.

 

Side note 1 – Almost technique at a time, I’ve been getting back into a tanto kata I stopped practicing about 6 or 7 years before, because I couldn’t control the knife during the continual knife shifts. I always thought it was an aging-arthritis thing. But now, just by going back to my original notes, I’m finding the continual knife shifts are working very easily. The difference seems to be the work I’ve done over the past 10 years on working for better body alignment is paying off. BTW, except for the gifted, like the instructor who taught me, I don’t consider the technique practical, but it’s real skill training for hand and limb development. And if you drop the knife you get to practice dancing real well too.

 

So I’m finding links to one version of Shotokan technique to Isshinryu technique. Links between Aikido and Isshinryu, links between Indonesian technique and Isshinryu technique, as well as links between Eagle Claw releases and basic Isshinryu too.

 

So if you really work your Isshinryu you’re already doing a whole lot more.

 

Just another Saturday in New Hampshire.  Unfortunately next week’s class will be missed due to the club hosting a basketball event all day.

  

Saturday Saturday…5/30/2008

  Morning Class

 

          Don continues Seisan

          Mike, Michael and Mark –

                   Sai Sho

                   SunNuSu then Supple Dragon

                   Beginning Kusanku Sai

 

          Applications

          Seisan opening section into RFF Rt Chamber left strike across biceps tendon

 

Wansu  Very interesting. Section on RFF Horse stance L High Rt Low palm strikes then turn and step 180, using the arm motion as a takedown lock.

 

I varied the palm strike so RFF lft rising counter-clockwise parry with right Palm strike (counter-clockwise) into the kidneys. This really moves them over from pain.

 

1.     If their arm stays up the Wansu takedown lock.

2.     If their arm drops, the right hand then snakes across their jaw (clockwise) and you circle them back and down.

 

Of course this section is a variation of Kusanku’s twist block/strike and Tjimande drill No. 1.

 

 

          Later working on several kata technique applications we began to work on Wansu's 'big throw', leaning on one of Harrill Sensei's versions, using the movement to rotate the attackers left arm into an arm bar (biceps insertion) takedown/lock.

 

What happened was I chose to initially strike lightly into the kidneys.

 

Attacker standing just throws a left haymaker to your jaw.

 

1. Right foot forward with a circular rising outer parry as you step forward into horse stance and your right palm strikes lightly right to left into the attacker's left kidney.

 

2. A light slap results in a quick shit of the attackers body away, rotating their core clockwise.

 

3. Keeping the left hand up, the right forearm starts crossing the biceps tendon as the left hand hooks over their left wrist (Don't use a grab which immobolizes your arm).

 

4. Continue with the Wansu big throw motion as you turn clockwise 180 pivoting on the left foot, resulting in a takedown/lock of the attacker.

 

Note: if your left hand slips down, moving the attackers arm parallel or lower than their shoulder, the throw isn't worth the effort. Simply hang on to their wrist, reach across their jaw with your right, rotating their head clockwise on the axis of their spine, and pull back dropping them.

 

I hadn't made much work on the kidney slap, previously. It really generates pain and is useful for very quick control.

Black Belt Class 10.15.2002 - Use of the Armbar

 

 

Only one focus this class, the use of the armbar against random attacks.

 

Definition : armbar – the armbar is not what one would consider the classical use of an arm bar, but the essence of the hyper-extension of the arm, elbow and shoulder.  The arm bar is applied from the external line of defense, where you’re moving from outside of an attack into the opponents centerline.

 

Defenders opening position, standing aware, both hands down at one’s side.

 

Attackers opening position, any sort of grab, strike or combination. From the front or the side.

 

Defenders opening consideration, no matter what they stick out, you’re going to use it.

 

Defenders source for the ‘armbar’ movement (several potential sources out of multitudes):

 

  1.Isshinryu Seisan : from the opening left side block, and retract the left hand as you strike with the right.

  2. Shorinryu Annaku: from the opening side block, twist both feet to the front corner as you chamber that hand and reverse punch with the other.  [the twist of the balls of the feet is extremely important]

  3.Ueichi Seisan : where you turn the right open hand over and pull back as your left [palm up] nukite  (spear hand) strikes out.

  4. Isshinryu Seiunchin: where you turn the right bent wrist open hand block over and pull back as you deliver a left [palm up] nukite (spear hand) strike.

  5. Goju Sanchin concluding ½ to their mawashi uke/uchi/tora guchi, the circular double bock/strike

  6. Yang Tai Chi Chaun Wave Hands Like Clouds section where the hands switch positions at the sides of the motion.

  7. Indonesian snake technique, where the use of the pulling hand and the striking forearm are to break the attackers arm

  8. Aikido, our opening #1 technique, where the pivot on the balls of the feet to move out of the way and then the 180 degree pivot in the other direction moves the person. This use of pivot is extremely important to sell the full armbar motion.

  9. Wu Tai Chi Chaun, its use of the full sole of both feet to pivot (an older Yang method) coincides with the motion needed to sell the arm bar.

 10. Tjimande # 2, essentially is using the same motion.

 

 But, we’re not doing this in the fashion we normally practice the arm bar as in Aikido #2, which uses a different entry and takedown.

 

 

Application analysis principle used:

 

  Where a full technique sequence can form one application, and any of the motions mentioned above can each be used in various armbar fashion, using fractal analysis it is the essence of these kata movements, where the one arm pulls back as the other slices across that forms the technique for this analysis. Using the full kata motion, is simply one of multitudes of finishes after the armbar is formed.

 

Physical action created by the technique use;

1.     the defender’s inner arm rises and deflects the attackers strike into their centerline, as that arm does so that hand turns over and hooks or grabs.

2.     the defender’s outer arm rises and as the deflection/control of the attackers arm takes place with the inner arm, it slices across the defenders triceps insertion (where the triceps is attached to the arm immediately behind the elbow) with a forearm rub/slicing or sawing motion.

3.     the defender is using a rolling center, shifting the center away from the attacking limb as the arms are raised and then shifting their center into the opponents centerline as the armbar is sold. At this point the double ball of the foot pivot can be added for greater effect.

4.     The attacker can:

a.     Have their arm hyper extended to be locked straight down.

b.     Be projected in any direction the defender pivots and releases them towards

c.      Can have their joints painfully locked to the point of joint damage

d.     Can have their arm broken

 

Movement considerations with the armbar usage:

 

1.     For full self defense it can be accomplished with just roll of the defenders center away from the attack (slightly) and then back into the attack.

2.     The use of the lower body to step into or step away from the attack forms tactical considerations, as to how one wishes to control and/or project the attacker from the armbar’s result.

3.     In particular, correct use of stepping away, hyper-extends their arm in such a fashion as to facilitate the arm breaking potential for the technique.

 

Consideration for the controlling arm/hand

 

  As this hand parries and hooks over to pull the attackers limb in to your side, you can either use an open hand hook, or you can grab the attackers arm (at the wrist). In any case you don’t go for the wrist, but rather go for the forearm as the defender’s back hand goes for the middle of the upper arm (both from the outside).

 

  After meeting the attackers limb, alignment of your body helps the arms deflect the attack. Then your arms slide down, the controlling arm/hand hooks over their arm. The hook itself provides a friction lock, and their elbow hyper-extension, their arm against your body as your other arm slices across their arm, alone is enough to control, lock or project.

 

  I advise against turning the hook into a grab (unless you specifically are sure there are no other attackers about). A grab immobilizes your arm. An open hand hook allows you to instantly release and move into an other attacker, but you’ve not sacrificed anything as the open hand hook alone is fully sufficient.

 

  If you do choose to grab for greater control, being able to complete the grab with an eagle claw grab, does create a stronger movement (FYI).

 

 

Consideration for the extending forearm

 

  When you consider the Okinawan kata technique, this arm is in the practice of striking, fist or open hand. One thing necessary to make the armbar function, is use the full power of your strike, but instead of hitting with your hand, use that strike as a forearm rub/slice/saw across their triceps insertion.

 

  The harder and faster the greater the effect on the opponent.

 

  And with Isshinryu’s strike/retraction sequence, if correctly timed with the other hand the opponent sticks their hand out, you enter the armbar sequence, your pulling striking motion slams their face on the ground and the strike pullback, locks them down with a reveres armbar motion, fully using the Isshinryu striking potential, coming and going.

 

  Of course if you choose to use less power and not project the opponent, the striking hand retraction still performs a secondary controlling lock for the armbar too.

 

Examples:

 

1.      The opponent goes to strike your face with their right jab. [the strike has to be focused through your head, not a jab that stops before your face, otherwise they don’t have the body commitment to use correctly without going out after them.]

a.       You slightly shift your centerline off their attacking limb, as you rapidly raise both your hands (this raising motion ought to be enough to deflect their strike.

b.      Now you slightly shift your centerline to the right of their centerline, as your right hand hooks over their arm, and pulls back, pressing their arm against your body.

c.       Your right arm slices across their triceps insertion.

d.      BE CAREFUL, this generates great torque and if the partner isn’t prepared you can put them in a whiplash situation. The faster they attack the faster they go down.

                                                      i.      Depending on how fast you turn into them and deliver the armbar, ALL of the possibilities exist. Sticking their face in the ground, locking them with the armbar, etc.

2.       Practice the same against the attackers left jab.

3.       Practice in ERROR, where you make a mistake and go to the inside.

a.       There you hook the arm and are slicing across their biceps. This moves them from center, but you don’t have an armbar.

b.      Tactical consideration. At this point take your right arm and slice the forearm across their neck at the side. Believe me this will move them back away from your arm.

c.       Then pull the right arm back and place it under their right arm, and roll from right to left as you pull down your left and raise it on the outside.

d.      This allows you to go into your original armbar, having shifted from internal line of defense with the press across the side of their neck as an opening to move into the external line of defense you choose.

e.       Based on tactical consideration that after moving them backwards, you strategically choose to move outside. Otherwise use an interior line of defense/attack as you’ve a perfect opening.

4.      Practice in ERROR against the attackers left jab, where you end up on the inside.

5.      Practice in ERROR where you raise your arms and your left is outside their attack, and your right is inside their attack.

a.       Errors do happen, which is why you need to work on how to handle them.

b.      Perhaps you will press inside with your left as your right hand strikes into their elbow joint, bending their arm (with pain)

c.       At that time, a knee release will allow you to simply reach out with your right hand and then chamber your right, using the tremendous slicing potential of the chamber to strike into their body as appropriate.   

6.       Variation of the first example, but instead of projecting them, when they bend over, allow your left hand to strike into their face, or alternatively palm into the side of their face, around the eye.

--------------------------------------------------------

https://isshin-concentration.blogspot.com/2012/10/the-complete-isshinryu-armbar.html 

Victor on Kama studies and creation of a kama drill

 

 

I had studied two kama forms from Tristan Sutrisno. In each of them I was shown those forms over one training session. Then spent the rest of my years working on them. They are fine forms which I have enjoyed studying.

 

This is the basic execution of Chosen No Kama Dai. 

 

This is Tristan Sutrisno showing me some new details about the form, most of which I had not seen previously. His kata often have several different versions of technique for when you advance with the form. 

 

Here is one of his senior students performing the form.

 

I wanted something I felt used the kama in a manner in which I felt more comfortable, more of a beginning kama form. But I never had occasion to study one.

 

I worked up my own kama drill after seeing this kama kata.

Okinawan kama 

 

Of course what I came up with is not the same, for I was not trained in this form.

My Kama Drill

This was not an attempt to preserve my best performance. It was created to be a record of what I created for my senior students.

https://isshin-concentration.blogspot.com/2018/05/a-deep-dip-into-kama-kata-i-have-seen.html 

On Seeing Something the First Time

 

So many people, so many great moves. I have been going over so many memories and have selected a few of them where I was totally amazed.

 

Some of them worked for me the first time I used them. Some were always beyond my ability. But I always learned how surprising finding someone who used them, and continue to be astonished.

 

1.     I was a brown belt in Isshinryu training with Charlie Murray after he had moved near Scranton, Pa. where I was living. At that time I was also a student of Tang Soo Do Moo Duk Kwan, where I was a 3^rd red belt and as there was not Isshinryu in the area when I moved there I signed a contract for two years of instruction. I was still under that contract, so I trained there twice a week and continued my Isshinryu studies with Charles approximately 3 days a week too.

 

Charles was extremely gifted as a fighter. Truthfully when I trained with him I always felt he was light years beyond me.

 

One day when we were sparring I went after him with a thrusting side kick. Only to find out that he was on the floor and sticking his own side kick into my groin.   He then proceeded to show me what he did and how to do it myself.

 

The next week in Tang Soo Do class we had some sparring. My opponent came at me with his own thrusting side kick. Unfortunately I was not where he wanted me to me. I had moved in toward him, dropping to the ground and threw my own side kick into his groin.  Lesson learned.

 

 

1.     A bit later after I had been awarded my own Isshinryu Black Belt, I found myself on my own after Charles returned to the USAF for his career. About 6 months later I began to study T’ai Chi Chaun  with Ernest Rothrock. I had one class a week. After a bit I took advantage to travel to his Wilkes Berry, Pa. school to attend the Saturday afternoon free workout  sessions.

 

Those  who attended each took turns on the floor and practiced what they wanted to. I was just working on as much of my T’ai Chi form that I knew.

Ernest also took advantage of that time and joined in with his own forms practices.

 

One Saturday I observed he was working with one of his students, preparing for an upcoming demonstration. I was not studying any of his other Chinese Arts at that time, everything I saw was new for me.

 

Then he responded to an attack with what appeared to be a walk through the attacker’s legs, causing the attacker to drop to the floor and Ernie also going to the floor to deliver a kick to the attacker’s jaw.

 

I had seen nothing like that before and noted that because it was new.

 

I never studied that with him, but slowly over the next few years began to workout what he had done.

 

Then as a mixed martial arts group we both belonged to had a meeting up where I was living in Derry, NH. I got to see Ernest do it again.

 

Discovering that my effort to work it out was correct. I understood it, I could to it, but it never made in into my student’s studies, Just another worthy technique I now understood.

 

 

3.     About a year after I had moved to Derry I had traveled down to Tamaqua, Pa. to spend a weekend training with Tristan Sutrisno. At the conclusion of that weekend I was going to participate in a clinic he was throwing for his students in a new school of one of those students.

 

As everyone was warming up Tristan was trying to explain something to one of his senior students. Suddenly he turned to me and said, “Victor, just step in and throw a punch.”   I knew what that meant I was going to experience something new, unexpected and likely painful.

 

But I stepped in and threw that punch.

 

Before I completed moving forward, I felt Tristan standing atop my shoulders. Then he jumped off, kicking a light kick towards my face to then land lightly on the ground in front of me. With a s*** eating grin on his face.

 

I remember how totally astonished I felt, and I had no idea how he did it.

 

There is an unwritten rule that I followed,  I would never ask him how he did it. Probably out of foolish pride.

 

But I turned to the rest of the group, all of them his black belts, and asked them how did he do that. To an individual all of them explained they had no idea, and all of them were watching.

 

What occurred that they did not see it was simple to understand. All of them expected me to get zapped meaning they were really not watching what he did. So they did not really see how he did it.

 

I remember that night on my long drive back to Derry trying to piece out what he had done.  Over time I worked up two possible way he might have used.

 

Several years passed and Tristan was back in Derry giving another clinic for my students.  He had one of his students with him and was demonstrating aikido takedown from his families system.

 

I saw how he entered the space the attack offered, then used his students forward momentum to leap up wrapping his legs around their neck and rolling them down to the floor.

 

Immediately I worked out that is how he did it, but instead of placing his legs around my neck, instead used the borrowed forward momentum to place his feet atop my shoulders to stand up.

 

My effort worked out 2 possible ways it might have been done. And it turned out it was a third answer.

 

I immediately went up to Tristan and questioned was this how he did it.

Grinning he confessed that was what he did.

 

Some things cannot be intuited out, not having the correct training.

 

I realized that I had seen this my first night training with hi, but never attempted it, as it was beyond my range of potential.  While I learned many, many things after seeing them one time, that was not possible for everything I saw. There are limits after all.

 

 

4.  I had trained with Sherman Harrill a bit, learning many amazing things. I found his work on Isshinryu was similar to my own analysis, but he was almost 40 years ahead of me.

 

At one of the clinics Garry Gerrosie and I hosted for him, I saw a technique whose simplicity astounded me.

 

When an attacker step in with his left foot and left punch, Sherman just stepped outside the strike.  Parried the strike with his left side block, then to lightly strike his punch from his right chamber into the opponents thigh lightly. The opponent dropped like a rock. And I do mean his strike was very, very light.

 

Sherman explained that this was just a use for the opening of Seisan kata, but this time the right strike was a tap into the thigh bone of the opponent. That light strike immediately created a Charly Horse in the opponents thigh. That was what caused him to drop.

 

As it turned out one of my senior students was not able to attend the clinic.

 

So before the youth class, where he was assisting me, I went up to him and requested he step in with his left foot and throw a left punch. Whereby I responded to that attack exactly how Sherman had shown us.

 

Even with a light right strike into his thigh bone, I caused him to immediately drop to the floor.

 

Worked first time, worked every time.

 

These are but a few of many, many, many examples.

 

There was a time when I tip toe'd with the Eagles

 

Back in 1980 I was learning the Yang Long Fist T’ai Chi form from Ernest Rothrock.  That was a 2 year process. But after 9 months I worked out that perhaps I might learn some Chinese forms to be a more knowledgeable  judge. Because at times at tournaments I was required to judge Chinese forms, and I realized what I did not know.

 

So I approached Ernest and asked if it made sense for me to study some Chinese forms. He agreed that it would not hurt and asked me what form I would like to study.

 

 

Knowing nothing about Chinese styles I could not answer. I told him I had no idea what I should study. So he turned to a list on the wall behind his desk and asked me what form I wished to study. The list contained about 500 forms which he had studied. Again I had no idea so he just pointed to a name of a form and selected one for me. It turned out it was a relatively advanced Northern Shaolin form called Dune De Kuen.

 

That began my study with him, I was having ½ hour a week for my t’ai chi study and a second ½ for my Chinese form study.

It took me quite a few months to get through that form. For I was not schooled in the basics of that system, just the form study.

 

Eventually I studied another and another. Several years later he and I were journeying to Baltimore for we were going to compete in a tournament. He in a masters Chinese division, me in a Chinese black belt forms division and several other karate black belt divisions.

 

As we traveled I inquired about would it be possible to study an Eagle Claw form. I knew he was studying with Shum Leung but his school was teaching the Pai Lum system at that time. I agreed with the provision he had to get his instructors permission.

 

That began my study of Hon Kuen, a 10 row Eagle Claw form which contained all of the techniques of the Eagle Claw system.

 

That began was a very long study.  I did complete the form but at most I was somewhat adequate. At my best I could do the form but much slower than he did it.

 

Other forms followed. I was not a kung fu expert, but I gained some appreciation of the depth of the Chinese systems. I studied forms from Pai Lum, Northern Shaolin, Northern Preying Mantis (Tong Long) and Northern Eagle Claw (Faan Tzi Ying Jow Pai).

 

Years later I found several versions of that Eagle Claw form, abet named differently.

 

One of those versions (from Hong Kong)

Xing Quan Shi Lu ( Hon Kuen ) Eagle Claw 

 

Another version is found on my blog with 10 videos of the individual rows.

 

https://isshin-concentration.blogspot.com/2017/02/once-i-attempted-to-soar-with-eagles.html

 

 

Funakoshi's self defense analysis (from 2005)

  I discovered this in my older files. I believe I originally wrote this for FightingArts.com, but now trying to check I see all of that content has been deleted.   FA.com was a superior on line magazine. So I am sharing this on my blog. My thinking has advanced that time, but I still believe those thoughts worth considering.

 

One of my minor passions is to try and gain a better understanding of Okinawan Karate’s past, and one tool for that are the publications made in Japan in the 1920’s and 1930’s. I must clearly state what follows is a personal interpretation from my studies, it is not a complete early publication history guide, rather one directed from my perspective.

 

No work can describe an art, but they do represent a portion of the art in question. And for all they do not show, what they do show is still revealing.

 

All the early works were written to introduce the Okinawan arts to a Japanese martial public, to help gain acceptance in the overall Japanese martial structure, and perhaps as an aid for one’s students.  But one also sees the works as a dialogue of sorts between the people writing them.

Funakoshi Ginchin began this with his 1922 work “Ryukyu Kempo Karate” (republished with pictures in 1925 as “Rentan Goshin Karatejutsu”) explaining his art.  For one thing his publication set the standard of what a karate text should contain.  This publication reflected his art at the time he went to Japan, before later generations of changes would occur..

 

Probably for economic reasons in the 1920’s and 1930’s, as much as a desire to spread karate into Japan, other instructors followed suite.  They taught, courted recognition from Japan’s controlling martial structure, and occasionally recognized the need to explain their arts publicly.  Of course it could have been also an exercise in one-upmanship.

 

This behavior was very un-Okinawan, where the standard was always direct transmission.

 

Certainly none of those early books were to provide instant instruction. But faced with larger groups of students they may well have perceived such books could help their students. 

 

One might wonder how the Okinawan martial arts community felt about these publications. The closest I’ve seen comes from Charles Goodin relates how instructors Migi and Mutsu visiting Hawaii in the early 1930’s were ignored by the Okinawan instructors in the islands. …..  because they were known to be writing a book (which was already complotted), and the still prevalent Okinawan belief, “In Okinawa we learn Karate from teachers. In Japan, they learn from books." [from a cyberdojo discussion],

 

This seems to suggest that compared to the Okinawn culture not documenting their arts, retaining older secrecy concerns, these martial publications may have been a real question on Okinawa too.

 

Funakoshsi expressed his art and the basic kata (Pinan’s 1-5, Naihanchi 1-3, Koshukan, Sheshan, Passai, Wanshu, Chinto, Jutte, Kion) he was teaching. His book did contain some specific throwing techniques but no kata technique applications where shown.

 

About 7 years later a friend, Mabuni Kenwa (founder of Shito Ryu), did the same. Funakoshi and he both had Itosu as one of their instructors, and Itosu’s teachings formed a basis of both their arts. But in that Funakoshi had concentrated on Itosu’s teachings, Mabuni chose to concentrate on the art of his other instructors, Hiagonna Kanryo and friend Miyagi Chojun. His first two works [“Kobou Jizai Goshin-Jutsu Karate Kempo” and “Seipai no Kenkyu”] showed Sanchin, Seiunchin and Seipai kata from the Naha/Goju tradition.  His two books also showed some Seiunchi and Seipai kata applications.

 

You’ll note Mabuni didn’t choose to cross the lines of his senior and friend, Funakoshi. It might lead one that they were working together to present the range of Okinawa’s arts, and between their two publications, significant information from the Okinawan Bubishi was also revealed.

 

In fact at that time Miyagi was working Japan (and really everywhere including Hawaii) hard to promote his own teachings in Japan, and that Motobu’s books may have been part of the reason Miyagi didn’t feel a need to write himself. Those two publications really shared as much of his art as he would normally present to a student, Sanchin and one or perhaps two more kata.

 

I find it fascinating that almost everyone in 1932 in Japan had the same idea at the same time.

 

Okinawan instructor, Motobu Choki, wrote “Watashi no Karate-jutsu”, the major focus being his study of Naifanchi karate, and his specific sparring practices.  He was also teaching in Japan, and while his work was much more than just Naifanchi kata, it still is thought of the central practice of Motobu.

 

I find that Motobu was engaging a more than a direct dialogue with his reading public. What is interesting is that he felt the need to deride the stance technique in his view of the Itosu lineage Naifanchi studies.   He had strong feelings about Funakoshi’s karate abilities, and perhaps this was indirectly directed towards Funakoshi, but the criticism he makes is not present in the photographs of Funakoshi performing Naihanchi in his 2^nd book.  In fact, and solely based on my observations of a number of different Shito-ryu practitioners video clips of the kata, perhaps his criticism is directed towards Mabuni.

 

So then as now, works can support one another, or they can be used to level charges about stronger technique.

 

But 1932 is not complete for at almost the same time, yet another author, the Japanese karate-ka Mutsu Mizuho previously mentioned, wrote his 2nd book called “Ryukyu Kempo”. He had been a student of Funakoshi (though he doesn’t mention that in his book), studied in Okinawa in 1930, and this book crafted a very large selection of Okianwan kata, and spent ½ the book showing applications for kata technique. (the applications were broken down into responses against types of attack or principles involved). 

 

Mutso’s “Ryukyu Kempo” (aka ‘Toudi Kempo’, ‘Karate Kempo’) remains a very unique book, and I believe we can see that its publication threw down the gauntlet by revealing so much and forcing greater depth in subsequent works.

In 1935 Funakoshi Ginchin responded by publishing his “Karate Do Koyan” in 1935, an updating of his art, the changes to kata names, the changes to technique, the retention of  his throwing techniques, and the inclusion of some 20 specific karate technique applications.

 

Unfortunately I have never seen a copy of this 1935 publication.

 

Funakoshi or perhaps more accurately his students republished “Karate Do Koyan” in 1955. It was published either just before or just after his death.  That publication updated the kata and technique photographs. The throws were retained, but self  defense applications were not included.

 

Not having access to a copy of the 1935 text I’ve often wondered what those applications may have been. But almost no place else that I have found were they discussed.  Leaving questions, why were they dropped?, at least in my mind.

 

Then several weeks ago Patrick McCarthy sent me a gift, out of the blue, a copy of his book “Tanpenshu” on the short writings of Funakohsi Ginchin.  It included those self defense applications from the 1935 text. While hardly extensive (20 or so of them) they are still startling, for they reflect more of what Mutsu’s applications show than most other karate texts hint.

 

My characterization is that most Blocks being followed by grabs and drags before striking. This is very different from the normal block then strike one thinks of in Funakoshi’s Shotokan Karate.  Kicking into the legs was shown as the primary target.  Karate being shown as a locking, controlling art, instead of just a percussive one. Most are well aware this is not what Japanese karate became know for, yet here was one of Japanese karate’s prime movers, showing something very different.

 

In fact what is being shown really resembles another contribution Patrick McCarthy has made, the translation of Mutsu’s interview with Kyan Chotoku (found in his book Motobu Choko Karate My Art’). [Note how Mutsu keeps cropping up in this!]

 

Here are a  several quotes by Kyan from the interview that also apply to Funakoshi’s karate application demonstration.

 

“If you seize an opponent's wrist, garment or arm be certain to maintain a pliable strength all the time being prepared to exploit his reaction. This way you can maintain control of the opponent's movement.”

 

“It is not necessary to use your hands in defense of an opponent's kicks. They can be trapped, thwarted, or even swept away by your own leg while simultaneously countering with your hands. In case of the opponent falling or being knocked down, be careful not to rush in carelessly and be caught off  guard.”

 

Somehow I never expected to see a link from Funakoshi’s art to that of Kyan or that demonstrated by Mutsu, but it does seem they did spring from similar beginnings and then diverged in approach as time passed.

 

When we consider a work, it may be most important to try and understand the audience that work was written for.

 

In some sense these books opened what seemed like a floodgate of others sharing.  Mabuni appeared in several others, including Nakasone’s 1938 “Encyclopedia of Karate”, making him perhaps the widest published, but a wider range of the Okinawan arts was disclosed (and of course preserved for others) because of these publications.

 

In the sense they all shared a desire to open up a piece of their art for a ‘public’, they had similar goals.  That opening their art for wider view would help their arts grow in different ways.

 

Hi Victor Sensei,

Thanks for your contributions...very interesting perspective and much appreciated, too. Also, appreciate the compliment, too.

I read your response, I couldn't help but think about the various personal
perspectives which exist about this issue. Given what we already know about this art and tradition, I do believe that filling in the blanks is not as difficult as we may think. I agree that no work, or at least no work that I know of, can be a definitive explanation of the art, and certainly not the early publications by Funakoshi, Mabuni, Nakasone, Mutsu etc. I also agree that, in spite of this, they are very informative, especially knowing what we now known about its history and evolution, local knowledge of the era, and the ever expanding body of information surrounding that cultural landscape and social mindset. I have an extensive library, but the following publications, including the combine works of Kinjo Hiroshi, Konishi Yasuhiro, Nagamine Shoshin, Miyagi Tokumasa, Fujiwara Ryozo, and Kinjo Akio, have been the most informative about karate of that era.

Principal works of/about that era:
1914-1934 A Series of Newspaper Articles by Funakoshi Gichin & Sasaki Gogai
1922 Ryukyu Kenpo Karate-jutsu by Funakoshi Gichin
1925 Rentan Goshi-jutsu by Funakoshi Gichin
1926 Okinawa Kenpo Karate-jutsu Kumite Hen by Motobu Choki
1930 Kenpo Gaisetsu by Miki Nisaburo & Mutsu Mizuho
1932 Watashi no Karate-jutsu by Motobu Choki
1933 Karate Kenpo by the Tokyo University Karate Research Society
1934 Karate Kenkyu by Nakasone Genwa
1934 Karate-jutsu no Kenkyu by Itoman Seishin
1934 Karate Kenpo/Seipai no Kenkyu by Mabuni Kenwa
1934 Kobo Jizai Goshinjutsu karate-kenpo by Mabuni Kenwa
1934 Karatedo Gaisetsu by Miyagi Chojun
1935 Karatedo Kyohan by Funakoshi Gichin
1935 Karatedo Numon by Mabuni Kenwa
1938 Kobo Kenpo Karatedo Numon, by Mabuni Kenwa & Nakasone Genwa
1938 Karatedo Taikan by Nakasone Genwa
1939 Karatedo Hanashi by Nakasone Genwa
1943 Karatedo Nyumon by Funakoshi Gichin
1947 Sports Karate Magazine
1957 Kempo Karate-do by Chitose Tsuyoshi
1964 Shorinji Ryu Kenkokan Karate by Kudaka Kori
1971 Shiryo Meiji Budoshi by Shinjin Butsu Oraisha

By contrasting what those author's did write about with what they did not write about makes for interesting analysis, especially in lieu of no other testimony being available. Of course, nothing beats hands-on master-to-student instruction across the course of one's life. However, for the Japanese of that era, books had to be the very next best thing.


I am not denying that what Charles Goodin wrote about the locals in Hawaii
ignoring visiting Japanese instructors of that era, however, there could
certainly be other reasons explaining such behavior. It could have been there age, their disposition, perhaps even the source of their sponsorship. Perhaps they didn't properly acknowledge the local instructors. They might not have brought omiyagi [gifts]. Maybe the instructors didn't like them, or perhaps didn't like Funakoshi [like Mabuni, Funakoshi was also invited to Hawaii but declined] which is where they came from. Who's to even say that the incident was even such a big deal or blown out of proportion? We all know that much can be learned out of a book, at least that what I think. I know after my first visit to Hosei University's Anthropology Dept, headed up by the venerable Prof. Hokama Shuzan, gazing over twenty-thousand volumes of original pre-war Okinawan work, I don't believe for a moment that those folks were shy about writing and publishing books.

Admin

 

 

 

 I am a big fan of the Chotoku Kyan interview. I believe it to be his only written interview or writing of any kind.

 

Just a point. When Miki and Mutsu visited Okinawa, I understand that the Okinawan teachers did not give them the time of day. Even here in Hawaii, when Mutsu and Higashionna came in 1933, the oldtime Okinawans here said, "In Okinawa we learn Karate from teachers. In Japan, they learn from books."

 

Since Miki and Mutsu were writing a book, I believe that the Okinawans were even more suspicious of them.

 

But, I have also heard that Mutsu was a fine gentleman and that the people who met him here in Hawaii respected him. So, Kyan Sensei might have opened up to Miki and Mutsu to help them get a better grasp of Karate in Okinawa.

 

This generalization about Japanese Karate and book learning seems to be an Okinawan stereotype.

 

Respectfully,

 Charles C. Goodin, yudansha

Kishaba Juku Shorin-Ryu, Honolulu, Hawaii

 

My wife and I did our own translation of the Kyan Chotoku - Mutsu

Mizuho 1929 interview, from the original Japanese publication ["Kenpo Gaisetsu"] which we published in a book [with the assistance of my friend and colleague, Joe Swift] several years ago entitled, "Karate, My Art," [A compilation of articles, interviews, photos and commentary on and by Motobu Choki, including his 1926 and 1932 publications]. I am enclosing a part of our translation for your records.

What to Know about Training

by Kyan Chotoku

Trans. Patrick & Yuriko McCarthy c. 2001

 

 

Teaching should take place in the following order: It is important to explain what karate is and what it is not. Then, what one should know about physical practice should follow this. Posturing, forward and backward foot movement should then come next. Gradually evasiveness can be also introduced.

Teaching how to use the clenched fists, striking with the elbows and kicking with the  feet along with deflection, trapping and blocking, follow this. When these points are learned satisfactorily, kata can then be taught. When one is proficient at kata sparring can be introduced.

 

In the past, sparring was often dangerous because there was no protective equipment used. Because of this, it has, therefore, become necessary to wear protection on key parts of the body, like they do in bayonet training (Juken-jutsu). Using this kind of protection and rubber hand pads on the clenched fists will help reduce potential injury associated with the practice.

 

Except for what I already mentioned above, and the use of a makiwara, there's really no other special training equipment required to learn/teach karate.

Moreover, training partners and spacious facilities are not required, either. These are some of the advantages of learning/teaching karate.

 

In short, these principles should be kept in mind during regular training as conditioning the body improves strength & flexibility for punching, kicking and mobility. Observing these principles during the course of practice over a long period of time one will naturally discover the essence of training and finally understand how it can be adequately applied to fit the circumstances.

 

Mental & spiritual discipline is vital to developing one's fundamental disposition, if it is neglected and training only focuses on physical technique (the body, hands & feet) the effort is worthless. This fundamental truth must be understood in order that the practice of technique develops the mind and body (hands/feet). Simultaneously, one can behave, be calm, alert and brave etc.

 

1. The aim of martial arts is to prevent violence, foster humility and learn self-defense. This is why a martial artist should behave, be modest and loyal.

2. The martial arts cultivate the ability to react at just the right moment using the body and mind in unison. Those who misuse their skill, or are arrogant, poorly influence their community. Such behaviour is not appreciated by anyone and only harms one's own character. There is a wise old saying worth remembering; "A clenched fist should be like a hidden treasure up one's sleeve; it remains a secret until someone comes looking for it."

3. The purpose of karate is to condition the body, cultivate the mind and nurture the spirit.

4. Effective posturing is made possible by sinking one's "qi/ki" into the dantien/tanden being careful that it does not rise up your body. However, it is important never to be overly rooted in one's stance.

5. Kata should be practiced with the same resolve as if facing an opponent.

6. Footwork, body movement and impacting are all actions, which should always be deployed quickly. However, remember that functionally effective footwork and body movement requires one to stay on their toes (balls of the foot).

7. Understanding the application of kata establishes clarity between the upper, middle and lower target zones; otherwise one's effort is in vain.

8. Makiwara practice is essential in order to develop powerful tools of impact. Yet, powerful techniques are useless unless they're supported by rapid hand and footwork. Therefore, power and speed are like the wheels of a wagon; one cannot function efficiently without the other.

9. One's body, perception and spirit must be constantly trained.

 

What to Know about Fighting

 

I cannot emphasize the importance of first trying to evaluate the opponent's strengths and weaknesses in order to establish your strategy. If attacked by a

more powerful opponent one should shift their attention to defensive strategy.

This way the attacker is compelled to use more strength. This is the opportunity to seek out the "suki" (unguarded moment) and exploit it. This is how to best use the opponent's force.

Less powerful opponents can also make worthy defensive fighters as they're evasive and use many techniques. One must be careful not to attack   thoughtlessly against such fighters and make good use of your hand and footwork. Letting an opponent inside is one way of setting up an immediate counter attack. However, remember that taking or giving the initiative means you that must always be prepared for the unexpected.

 

Never quickly or forcefully attack an opponent thoughtlessly. Agile fighters can often perceive the intentions of hand and foot movement and counter-attack quickly.

 

You should be careful to never telegraph your intentions or let your opponent read your body language. Irrespective of the opponent's strength or power, try never to move backwards more than three steps.

 

During a fight you must pay close attention to defending the centre-line and not be caught off balance by starring at an opponent's feet or eyes. You must be especially careful not to get hit in the vital organs, grabbed or have the testicles seized when attacked. Also, it's not always wise to use too much force in defensive technique, as movement tends to become slower, which also reduces the possibility for quick reaction or taking advantage of an opportunity.

 

If you seize an opponent's wrist, garment or arm be certain to maintain a pliable strength all the time being prepared to exploit his reaction. This way you can maintain control of the opponent's movement.

 

Naturally, quick hands are a necessary requisite for effectively attacking one's opponent. However, if you miss the intended target in the midst of an attack there's no need to fall back and try again. After achieving such close proximity to your opponent just continue freely attacking different target zones with your hands and feet. Even without using full power you can still gradually wear down an opponent this way.

 

It is not necessary to use your hands in defense of an opponent's kicks. Theycan be trapped, thwarted, or even swept away by your own leg while simultaneously countering with your hands. In case of the opponent falling or being knocked down, be careful not to rush in carelessly and be caught off guard.

 

Even if the opponent seizes your foot or leg, you can take advantage of it by quickly stepping down and into him, reducing the risk of injury. However, be very careful of this situation if the ground conditions are bad as you could fall down yourself.

 

Be careful not to be caught off guard by an opponent's clever deception. For example, don't be fooled by someone pretending to grab with their hand only with the intention of actually kicking with their foot. Conversely, the opposite can also be used; the kick can be used to cause a response for the purpose of being exploited by the fist. Listen and react to voice and sound, and never be caught off guard.

 

If confronted by several opponents at once be careful not to grapple with them. You must keep your distance in order to maintain the advantage. If someone attacks from the right, shift to the left. If you have to defend yourself from the front be careful not to overlook the opponent behind you. This is the only good way to deal with multiple opponents.

 

These are essential issues at the forefront of fighting, however, please remember they're just one example. In other words, the differences in martial arts are truly endless and mysterious. Therefore, don't solely rely on written materials. The best way to master the art is to train diligently and enthusiastically. Perhaps after lengthy study, you may achieve enlightenment.

 

Translator's Notes

[1] Pp 236-241 of the second edition of Mutsu Mizuho & Miki Nisaburo's 1930 publication entitled "Kenpo Gaisetsu."

[2] It should be noted that the ideogram being used for karate throughout this work is written as China & hand: A term once commonly used in old Okinawa to describe Chinese quanfa/kenpo.

[3] In Japanese history the Oei Period was 1394-1428 & the Eikyo Period was 1429-1441

 [4] "Sei" means right, correct, fair and or pure; Ki" means unusual, strange, unexpected and or not true. Confusing at it may seem, Kinjo Hiroshi helps us better understand them by comparing the terms to budo-related Omote (outside) & Ura (inside): The surface of things and the unseen or unexpected

 

 

Tanpenshu

 

The book is 143 pages, wire-ring binding, with good quality paper. The font looks to be about 10 point. Lots of B&W photos and calligraphy, some by  Funakoshi.

 

Available from International Ryukyu Karate Research Society, PO Box 420,  Virginia, Brisbane, 4014 Australia. IRKRS member price: US $19.95. Non-members,  $21.95. Prices include shipping by airmail, which if memory serves runs about US  $6-8, so the price isn't as steep as it sounds.

 

To order, send name, address, credit card (VISA/MC) details (name as on card,  card type, number & expiration date) to PO Box 420, Virginia 4014, AUSTRALIA or  by e-mail, bujin@bigpond.com . No checks accepted.

And, as you're ordering direct from the author, probably inscriptions and such  are easily requested.

Structure:    The book consists of articles by and about Gichin Funakoshi.  

-- Funakoshi, Okinawa no bugi, recollecting the words of Azato Ankoh (published  in Japan in 1914)

-- Sasaki G., Secret Fighting Techniques (1921 newspaper article introducing  karate to the mainland of Japan)

-- Funakoshi, Introducing Karate to the Mainland (Feb 1934)

-- Funakoshi, Azato Ankoh, A Short Story about My Teacher (1934)

-- Funakoshi, Stillness & Action (1934)

-- Karatedo (unknown publication date)

-- McCarthy, P. Extract from Bubishi that Funakoshi used in three of his  publications: 1922, 1925 & 1935.

-- Itosu, Ten Articles (1908)

-- Matsumura, Seven Virtues of 'Bu' (1882)

-- Noble, G. "Master Funakoshi's karate" (mid-1980s, Fighting Arts

International; reprinted Dragon Times 1990s)

-- Funakoshi, "Shoto's Twenty Precepts"

-- Chronology of Funakoshi's career

-- Postscript, Pat Zalewski

-- Index

 

Impressions

 

Proofreading and such is good, and there are only a couple typos.

From a content standpoint, if you have been collecting material for years, then  probably you have seen most of what is here. But if you haven't, well, then this  gives you easy access to lots of previously hard-to-get articles.

 

For myself, I hadn't seen the 1921 newspaper article before, and the way it was  written has made me wonder if the idea of introducing karate to Japan in the  early 1920s wasn't the furor over Jack Dempsey and his million-dollar gates.  (You could still buy a heavy cruiser or a submarine for a million bucks back  then.) Karate as a uniquely Japanese form of boxing, as it were. Kind of a full  circle, if this is true.

 

Victor:

For what its worth, my Tou'on-ryu teacher, Kanzaki sensei, was adamant
that karate could not be studied from a video or book. In fact he and
Kyoda Juko (Kyoda Juhatsu's son) were outraged when Murakami Katsumi
published his kata text book with the Tou'on-ryu Pechurin kata in it -
complete with errors :-)

Given the complexity and subtle nuances of karate, I can understand
the Okinwan teachers initial contempt for Higashionna and Mutsu's
texts and Mutsu's visit to Okinawa for research. Karate is best
taught in small groups with a lot of one on one attention to personal
detail - this is where we see the term "kuden" come into play.

Cheers,

Mario McKenna