A Glimpse at Bubushi Escape Techniques

scan from Mabuni Seipai No Kata (1934)

[Note a Presentation I originally prepared in 2003]

It seems a long time ago now I began to look at the Okinawan Bubishi, its translations and possibilities of meaning to its text. I always found its existence interesting, but I also came to the conclusion it is almost universally ignored when it comes to training practice.

Of course almost none of us can hope to read/translate the original text. That leaves us to deal with specific translations. It’s practices may or may not be reflected in our own studies. Sure the Big ‘8’ for Isshinryu came from there, but which version?

I’m going to take a little time to look at one section of the ‘Bubishi’, Methods of Escape. My source will be the recent translation of Funakoshi Ginchin’s ‘Karate Jutsu’, translated by John Teramoto.

My reason was Funakoshi was first to share the Bubishi’s existence to outsiders, and he included this material both in his original book and later in his Karate Do Koyan, but left it in the original Chinese. One wonders if the emergent JKA from Funakoshi Sensei’s teachings ever paid attention to what was shared?

Methods of Escape

1. If you want to attack east, first strike west.

This section is an obvious reference to the use of diversion. If your enemy is looking to the east they may not be checking out the west, leaving them vulnerable.

I attended a seminar by a senior Judo-ka, long ago. He presented a technique his Japanese instructors waited 20 years to show him, but he didn’t keep the same restriction. While grappling, he would use both hand to really pull the opponent downward to the right.

The opponent would automatically counter pull to the left, and then he fell backwards throwing them over his left shoulder. First East then West.

2. If you want to stamp forward, bring up the rear foot as much as possible.

I interpret this as inching forward on your opponent. Keep your front foot stable as your rear foot inches forward. That means you have to cover less distance when you stamp forward and can do so more quickly.

Kata leads us to standardize our technique, but when facing an opponent subtle shifts and deceptive openings to set up our response are useful, even if not formally seen in the kata.

Of course I may be assuming too much, such that the stamp is with the back foot, it may be the front foot. In that case sliding the rear foot forward actually places your center closer to the attacker allowing the front foot to reach in further.

What does stamp mean? Is it a cross stomp kick?. Stamp might be interpreted just as is says, a stamp to the instep of their foot. Trying to break it and paste them to the floor. That stamp may be accompanied with upper body technique done at the same time, and becomes a force multiplier among other uses.

Even more simply, the stamp might be nothing but a big owie, creating a distraction to escape (keeping with the section title.

3. If you want to rotate your body, intensify the soft power.

Keeping your body rigid inhibits your ability to rotate, slows you down and decreases the power that can be emitted from the technique. A great example are the turning techniques in Naifanchi Kata. Keeping the torso soft allows quicker rotation.

In fact the turning technique developed in Naifanchi is the same turning technique used with greater rotation in Chinto.

Rotation is much more subtle than the large turns. It also involves the smaller turns used in technique movement. An example are the rotations of the knee during knee release to move a technique into the optimal zone of entry to an attack Reinforcing that soft becomes hard.

Interesting choice of words, intensify the soft power? Sounds like a contradiction doesn’t it.

4. If your hair is being pulled, use kyogeki (literally a large halbred. Kyogeki here might mean “Spear Hand”. Another suggested reading is “Thumb Attacks”.)

Several time’s I’ve been shown how to press both hands on the hand grabbing your hair to neutralize their grab, but putting your hand into their throat works for me Thumb attacks seem too complex when your head is being jerked around, imo.

5. If you want to strike your opponent, destroy his tenchuu (Ch: tianzbu, this is central supporting pillar, ... here the meaning might be to attack the opponent’s center line.)

Again sound advice on how to strike. I was shown no matter where you face an opponent find the centerline of their body and strike towards it. At times trunk rotation can spin off attacks to the bodies outsides, but the center line as a target remains true. You also have a great many targets of opportunity on the centerline.

6. When the opponent falls to the ground, pin his head face down and you will win.

A common approach in many arts is that an attack isn’t countered until the opponent is immobilized on the ground. Face down, kneeling on their arm is a good way to conclude their attack. One of the Sutrisno Aikido concepts is as the individual is going down, utilizing a wrist lock to roll the opponent into that position no matter which way they originally fall.

7. When you fall to the ground, take advantage of your opponent’s sense of superiority.

There are so many variations of the lower body combinations. The one I began with included kicking from the ground with front thrust kicks and side thrust kicks. If you’ve been downed, they have to reach down to get you, and if they didn’t ride you down to remain in control, their inexperience can be used to counter them.

8. If grabbed from behind, attack to the rear with your elbow.

All chambering is a rear elbow strike. The double roundhouse strikes in the upper body combinations (from the Lewis lineage) are as much double rear elbow strikes as roundhouse strikes.

9. If grabbed from the front, attack his testicles.

Works for me.

10. If someone grabs your [head], attack his throat. (v.s. - perhaps related to concept 4.)

Note there is a principle here. The throat is extremely unprotected.

11. If your opponent forces mud into your mouth [as a final insult after your defeat], attack his throat.

An opponent who is using defeat to punish is making a amateur mistake. If they were professional they would just finish you off. If they haven’t their hubris might be used against them, and the action described might well leave their throat open for attack.

12. In close combat, use your elbows.

One wonders if the addition of elbow/forearm strikes in Wansu and SunNuSu were specifically added for this reason.

13. In distant combat, use a reverse stamping kick.

The reach of the leg being a deciding factor to use the kick. Note the use of stamping, as if the use of the kick is to immobolize the opponent. It really reminds me of the kick being used in the To’on Ryu Seisan Kata. A whole body leg stamp, very different from any other style.

14. If you want to damage the opponent to your right, lower your right arm.

I presume this is tactical thinking. If your opponent is on your right, lowering your right arm might be an invitation for them to attack a perceived weakness. In turn you create that weakness to counter that attack. More a tactical theory than a tactical lesson.

15. If you want to stamp forward, use the spear hand.

This is similar to the concept shown to me in our version of Wansu. In this case the spear hand would appear to be too short for a scoring stroke, but a following leg underneath the arm has a much longer reach if they go to attack against the spear hand.

16. If you want to kick high, first bring your rear leg up as much as possible.

I think this might be interpreted in the sense where the knee points the foot follows. So to kick higher the higher you first raise your knee, the higher the foot will go.

17. If your hand is twisted, bend your elbow.

This is advice how to counter a grab. Grab’s work when they are applied in a very specific angle of attack. Often bending the elbow will remove that line of attack, allowing further counters.

18. If someone grabs your sleeve, use gekisho (literally, tip of halbred).

I would suggest a counter fingertip strike to the throat against an arm grab.

19. If someone grabs your hem, use your knee to escape.
20. If he tries to stomp you, just use a strike.
21. If you want to kick him, by all means use your knee.
22. If he is short, do not use your legs.
23. If he is tall, then slip inside.
24. If grabbed from below, attack him from above.
25. If grabbed from above, lower your body immediately and attack from below.
26. If he pulls your hair, raise both arms as if removing armor (and seize him by his pressure points).
27. If he is choking you, attack with shuto (spear hand).

28. If someone approaches with shoulders swaying, be prepared to block his kick.

I see this as interpreting the swagger as a sign an attack is coming. Professionals work not to give out signs, so there is less chance of counter.

29. Your hands and feet (stance) must never fail to be aligned in the proper direction.

I find this most interesting. This is the crux of the alignment theory we follow, to increase the power of our techniques, to give no sign of weakness for the opponent to support. This doesn’t just apply to the hands and the stance, it covers the entire range of motion potential. Even the eyes looking in the wrong direction affect a correct technique.

I don’t find this a surprise. My own understanding arose from my tai chi studies and then was applied to my Isshinryu. But the secret is just doing Isshinryu 100% correctly every time.

Each imperfection decreases from your power. Kata then becomes the most important tool to help craft our shape in response. But it still is just a tool and other tools are required, that and never ending work.

So some sound tactical theories, IMO, from the Bubishi.

A Lesson with Tristan Sutrisno

I just learned an old friend and instructor, Tristan Sutrisno will be stopping by this evening.

I thought I'd share an early lesson I received from him in 1980, where one evening I was taught his first 12 basic Aikido drills. This exercise is found in his book "Becoming A Complete Martial Artist" and represents the beginning of Aikido Drill No. 5 (resembling the more commonly known Heaven and Earth Throw of Aikido). The ending is now shown because as the throw continues the defender drops to their right knee and locks the attacker to the floor completing the technique.


I've discovered my students do not like being on the receiving end of this.

The technique flow is from Aikido, but with a different dynamic is also the application of the first Siliat Tjimande drill I learned from him.

The movement flow is also found in Isshinryu Chinto and Kusanku Kata and forms useful application studies there too.

The Forge of Karate

The term "forge" can also refer to the workplace of a smith (borrowed from Wikipedia).

I be the Smith, and the workplace is I.

At age 63. I stand today as my own instructor or guide. For 38 years I’ve been fortunate to forge my karate studies by my efforts and developing understanding.

In January I was diagnosed with Type II Diabetes and discovered many of the physical experiences of the past few years I was chalking up to age were my own fault of bad eating habits and slipping exercise. By June I had dropped 40 pounds , was walking 2 miles 3 to 4 times a week, and had refocused my karate training with new focus, training myself in my own version of Tomari No Rohai, as a push study.

Unfortunately in May it was discovered I had colon cancer and in June I underwent a colon re-sectioning, which I’m now in recovery building my strength. I’ve returned to my training the past two weeks, Yang Tai Chi Chaun an important method for recovery of movement potential, my kata studies beginning to build strength, balance and power (abet very lightly to date) and I have begun my walking regime today, about 1/8 mile.

But as earlier this year I know I need more, some new iron to be placed in the forge, to build a new practice and of course meld with the other studies.

These additional practices are personal, not for my students, but a way to increase my understanding of others in karate and their practices.

What I am selecting as a challenging kata the Aragaki Sochin by Aragaki Isumu .

There are two YouTube performances of him doing this form.

The older http://www.youtube.com/watch?v=EBsrAnJGTAU

The newer http://www.youtube.com/watch?v=ZbhD-GiYJvs

They are not identical though the performer is the same. It appears to me that the older shows more technique, but there is a turn in the newer performance (also found in the Kyudokan Sochin at http://www.youtube.com/watch?v=EdoVoqeemXM though the Kyudokan performances does not use the same body dynamics.)

There is an issue of variable versions or perhaps explicit changes for public performance.

I’m not planning on teaching it and to begin I’m using the older performance as a guide. I just fully know I’m not going to be correct, but the exercise will be useful for my own development.

Add another bar of iron into the forge and I will continue to emerge.

There is no First Strike in Karate – the Training

Karate Ni Sente Nashi is a very famous Okinawan saying, “There is no first strike in Karate”. It has been discussed many times such as at the following .pdf: “Karate Ni Sente Nashi A discussion by Mark J. Tankos “ http://seinenkai.com/articles/tankosich/sentenashi.pdf

I think I’ve hit on something interesting in the 1933 “Karate Kenpo” by Mutsu Mizuho.

(please refer to footnote 1). The last half of this incredible book describes Kumite or the use of karate technique. Mutsu organized the technique studies by type not kata, and I’ve just realized he started with a practical method of using Karate Ni Sente Nashi.

My analysis is solely based on visual inspection of the drawings, with the help of Joe-san Swift’s brief explanations. It might not be what Mutsu intended but I think it has great value.

Mutsu had been a student of Funakoshi Ginchin and Karate Ni Sente Nashi must have been an important concept of Funakoshi Sensei. What I’m now realizing was the order Mutsu described how to use Karate technique is a practical method of training based on the concept.

Joe Swift’s article describes the first section of the Kumite as reactive defense, and the second section of the Kumite as preemptive striking (building on the reactive defense). In both cases the attacker moves first maintaining the principle of Karate No Sente Nashi. (Not that I suggest this is the only or best course of action in an attack, instead it is a method of training that can be used to hold to the principle if that is the choice.)

Here are the technique practices described by Mutsu.

Reactive Defense, or the art of not being there when attacked using 5 training principles.

1. Attacker leads with a left lunge punch to the head and then follows with a right front kick

a. Defender steps back with the right foot, away from the punch.

b. Defender steps back with the left foot, away from the kick.

2. Attacker leads with a left lunge punch to the head and then follows with a right front kick

a. Defender leans slightly back moving the head just beyond the punch.

b. Defender skips slightly back moving the body just beyond the kick.

3. Attacker leads with a left lunge punch to the head

a. Defender steps forward with the left, slipping inside the strike and striking upward into the attacker’s chest with a reverse punch.

4. Attacker leads with a left lunge punch to the head

a. Defender steps forward with the left, slipping inside the strike and striking to the solar plexus with a left lead punch

5. Attacker steps with the right and throws a left reverse punch to the head

a. Defender steps right foot forward slipping the attackers punch to the outside

b. (Alternate) Defender steps left foot forward slipping the attackers punch to the outside.

Preemptive Striking building upon the principles of Reactive Defense or the art of Counter Striking against the attack.

1. Attacker leads with a left lunge punch to the head

a. Step back with your right foot and lean your head away from the strike

b. (Alternate) Step in with your left foot and strike their head with your left hand

2. Attacker steps with their left and throws a right reverse punch to the head

a. Step in with your left, and slightly rotate your body counter-clockwise and slip inside of their punch

b. (Alternate) Step in with your left and slightly rotate your body clockwise and slip inside of their punch and strike their solar plexus with a short left lead punch

c. (Alternate) Step in with your left, and slightly rotate your body counter-clockwise and slip inside of their punch and strike their solar plexus with a right reverse punch

d. (Alternate) Step in with your left and strike their head with a right reverse punch

e. (Alternate- drawing not shown) Step in with your left, and slightly rotate your body clockwise and slip inside of their punch and strike their solar plexus with a right uppercut

3. Attacker steps with their left and throws a right reverse punch to the head

a. Lunge forward with the left foot and left lunge punch their solar plexus

b. Lunge forward with the left foot and right reverse punch their solar plexus

IMO the difference between techniques 2 and 3 is that the 3^rd section is done without slipping

Rotation of the body and though the attacker begins their strike the lunge gets the defender there first.

4. Attacker steps with their left and throws a left lead punch to the head

a. Step forward with the right foot slipping inside of the punch and beginning a right lead punch to the solar plexus

b. (Alternate) Step forward with the right foot slipping inside of the punch and throw a right roundhouse punch under and around the striking arm to hit their head

c. (Alternate) Step forward with the right foot slipping inside of the punch and throw a right uppercut to their solar plexus

5. Attacker steps with their left and throws a left lead punch to the head

a. Step back with your right, rotate your body clockwise and slip their punch on the outside

b. (Alternate) Step back with your right, rotate your body clockwise and slip their punch on the outside as you left uppercut into their armpit

c. (Alternate) Step back with your right, rotate your body clockwise and slip their punch on the outside as you left uppercut into their face on the inside of their strike

d. (Alternate) Step back with your right, rotate your body clockwise and slip their punch on the outside as you left lunge punch into their face on the inside of their strike

6. Attacker steps with their left and throws a left lead punch to the head

a. Lunge forward with your left as you drop your right knee to drop your center and left lead punch to their solar plexus

b. (Alternate) Lunge forward with your left and throw your right punch to their head sliding the punch on top of their striking arm

c. (Alternate- drawing not shown) Lunge forward with your left as you drop your right knee to drop your center and right reverse punch their solar plexus

7. Attacker steps with their left and throws a left lead punch to the head

a. Lunge forward with your left as you drop your right knee to drop your center slipping inside their strike

b. (Alternate) Step forward with your left foot and strike their head with your left hand

8. Attacker steps with their left and throws a right reverse punch to the head

a. Lunge forward with your left, rotate your upper body clockwise and slip their strike

b. (Alternate) Lunge forward with your left, rotate your upper body clockwise and strike their solar plexus with a left uppercut

9. Attacker steps with their left and throws a right reverse punch to the head

a. Step back with your right and lean your upper body away from their strike

b. (Alternate) Step back with your right and strike their head with a left lead punch

c. (Alternate) Step back with your right and strike their solar plexus with a left reverse punch

10. Attacker steps with their left and throws a left lead punch to the head

a. Step forward with the left foot slipping outside of their strike

b. (Alternate) Slide the right foot over and rotate counter-clockwise, outside of their strike, and throw a right hook punch to the rear of their head

c. (Alternate) Slide the right foot over and rotate counter-clockwise, outside of their strike, and throw a right reverse punch to their back (likely a kidney punch)

11. Attacker steps with their left and throws a right reverse punch to the head

a. Slide the right foot clockwise and rotate your body to slip outside their strike

b. (Alternate) slide your right foot back and strike to their head with a reverse punch

12. Attacker steps with their left and throws a right reverse punch to the head

a. Step forward with you left foot so your head slips outside their strike and execute a left reverse punch to their solar plexus (under their striking arm)

b. (Alternate) Step forward with you left foot so your head slips outside their strike and execute a right reverse punch to their head

c. (Alternate) Step forward with you left foot so your head slips outside their strike and execute a left uppercut to their jaw (under their striking arm)

The reason I feel these technique studies are an example of Karate Ni Sente Nashi is that the first example in each series represents evasion without further response, the option of just evading the attack. Karate was not developed and taught on Okinawa because of a day to day possibility of threatening adversaries, Okinawa was a rather quiet place. There are situations where one is attacked, say at a party where the opponent is worse for wear that do not require destroying the attacker. The moral use of karate is to always be able to respond appropriately.

It behooves us to incorporate those skills, evasion with no response, into our training to give each student the option of doing more than just breaking that attack. Logically I believe this is what Okinawa intended with Karate Ni Sente Nashi.

I hope this introduction study to Mutsu Mizuho’s “Karate Kempo” builds your own appetite for the day this is available in English. I’ve only described the beginning of a technique usage study of great depth and variety. Much more existed than just strike and kick in his 1933 analysis of karate usage.

If anything Mutsu’s efforts show how the logical analysis of karate technique potential may help develop the highest understanding of our arts.

This study is not just related to Mutsu’s Itosu-Funakoshi lineage. It describes the potential of all Okinawan Karate-ka, even with their technique differences. Goju Ryu, Isshin Ryu, Shorin Ryu, Tou’on Ryu, Uechi-Ryu and more all can draw study from his efforts.

I find a special affinity as an Isshinryu stylist because this study directly shows applications to the first four techniques studied by every Isshinryu karate-ka.

Acknowledgement: The friendship and sharing of Charles Joe-san Swift has been instrumental in my developing the appreciation of Mutsu’s “Karate Kempo”. Thanks Joe-san!

Footnotes:

The article “Mutsu Mizuho’s ‘Karate Kenpo’ by Charles Joseph Swift at http://museum.hikari.us/

Lessons on the road to Mastery

As I’m recuperating from surgery I think about the best lesson I learned, that being how unique every day is for us.

I hadn’t been training for much longer than a year when I had to move for work. My last class Lewis Sensei began my instruction of Chinto Kata. Then I was off to another state and city and only the availability of a different art to study. That next summer I returned to Salisbury for vacation and traveled to the main dojo and associated friends dojo and somehow learned the rest of Chinto. Then back to my new home.

A time of no videos or books and only my memory to guide me. I began to realize I really had to learn something very fast. Simple performance while in short term memory isn’t enough. You had to find a way to transfer that knowledge to long term memory.

Then I returned to Scranton and regular Tang Soo Do training and then further full time training in Isshinryu when Charles Murray moved to town. Especially in Isshinryu I was having kata shoved into me, but continual repeated practice made it work. Then my instruction ended and I was on my own.

In time I began training with friends I met at local karate tournaments and was being exposed to a wide range of additional studies. I further realized it was my burden to retain what I could as I wasn’t their student.

Several years later my formal Isshinryu instruction ended and as I began to train with many friends in many arts I realized as I wasn’t there student every class was unique. The burden was that I had to remember what I learned and that perhaps I’d never see that lesson again.

So I started to make notes the day following each training session. I figured if I remembered it over night I had at least some idea of what I was shown. I have all those notes to this day.

If a new kata was being shown I worked out a method to learn it immediately. [Note: of course this knowledge was superficial but it was better than forgetting the initial learning.]

I began this practice in 1980 and it continues to this day, class by class, exploring the continual new and expanding my understanding.