The Complete Isshinryu Armbar

Chinto - Aikido applied to Isshinryu Techniques

I was recently discussing how a similarity could be found between Aikido technique and Isshinryu Kata led me to review this on a wider basis than I've done previously. I now realize that I've been doing this with the entire Isshinryu kata curriculum, and when you extract those techniques as a whole, you find a very wide range of applications with this one Aikido Technique - Ikkyo.

What the Aikidoka means by the Ikkyo control most of us would think of as an armbar. A recent quote (still unknown where I found the source) explains: "I see the basis of ikkyo as the shoulder rotating and find that important. Angier sensei (Don Angier a senior Aiki Jutsu stylist) says that the shoulder is the weakest joint in the body so in that way I think a principle is being illustrated in one of the first techniques of Aikido - effecting the center using the arm by way of the shoulder."

Now, Isshinryu specifically, and Okinawan Karate in general, are mostly thought of as striking arts, using the percussive nature of the technique to impart force into the opponent. Many of those techniques can also be viewed as locking and controlling movements.

My original  instructors received no application template to the karate technique they studies on Okinawa, and as a result of that applications (or Applications) were not taught as part of their Isshinryu curriculum, choosing to keep to their instructors teachings. Over the years training in other systems and intuition have aided me in understanding the potential uses of the Isshinryu system techniques in kata.

For one period I spent over 10 years training with Tris Sutrisno in Shotokan, Aikido and Tjimande. The Aikido techniques I was exposed to, and his unique family exposition of Applications, led me to appreciate Aikido as an adjunct training to my Isshinryu, and I began to incorporate those drills into my Dan level program. But they were just that, separate exercises and techniques.

Then another December, I was doing Chinto and it struck me that the opening of Chinto would exactly overlay a long practiced Aikido projection. This caused me to do an analysis of potential aikido technique within Chinto kata. What I discovered was that a large portion of the Aikido curriculum could be found directly within Chinto itself. Of course you weren't doing Aikido, but rather Chinto technique which matches the technique developed by Aikido.

My post the other day on the comparison of Aikido and Issinryu and looking at the first technique in Seisan kata, as well an example from Seiuchin got me to thinking about Isshinryu kata and the arm bar. It wasn't long before I realized all of our kata contain this potential and served as the germination for this project.

On Isshinryu Applications
I personally am of the opinion that all approaches to Isshinryu (No Applications, formalized Applications only and Unlimited Applications possibilities) work quite well creating competent Isshinryu practitioners. Yep I believe ALL of you are stronger, faster and better looking than me and mine, and thus I will consider everything in order to train to stop all of you.

This analysis is not to imply this is the only way to look at our shared system.

But if considering Isshinryu and Aikido together helps me develop stronger students, I'm more than willing to take a strong look at it.

I also do not write about anything that I do not practice or make work, although I can always learn how to do it better. I'm sure from time to time my students would wish that were different.

On Aikido

Aikido is a martial art which evolved out of the considerable studies of Ueshiba Morihei in Japan. He trained in a number of arts, but it is commonly acknowledged his use of studies in Daito Ryu Aiki Jutsu formed the structural basis of Aikido.

As he taught for a long time and his art continued to evolve and change there are many varieties and flavors of Aikido in existence.

Structurally Aikido is the study of circular projections and controlling movements (locks). Ueshiba sensei's Aikido prior to WWII contained many Atemi (striking techniques) to set up the Aikido movements. The text 'BUDO" by Ueshiba, from that period, clearly shows him striking before applying the techniques. The circles used for those techniques were very small and fast, and the the attacker required a great deal of skill to perform without injury. Those students who studied in that period retained those practices.

After WWII his Aikido instruction was done more as a physical exercise and less for realistic self defense. Those students did not use Atemi and likewise retained those practices. Likewise the circles used with the techniques became larger and slower.

Thus looking at any contemporary Aikido instruction, you will find a wide variety of practices. Yet the general intent of those techniques remains similar.

Likewise there is a very wide range of good Aikido texts from the founder down through the next several generations of practitioners. Almost all of them contribute different experiences to opening the techniques as well as the application of the techniques. This can be valuable as you explore the nature of these techniques within Isshinryu.

The Attacks

In order to effectively train in the Applications we'll address, you have to consider what you are defending against.

I prefer to discuss this against several differing attacks.

1. The Thrust Punch

2. The Snap Punch

3. The Hook Punch

4. The Grab (single or double handed)

I find the thrust punch the most useful basic training attack. Especially from the point of view many attacks will begin with a grab, the thrust punch can approximate that same movement towards oneself. Grabbing techniques can be used of course, but as the thrust punch comes in faster, it assists developing quicker responses. Correct body shifting is a necessary component learning how to maximize the response.

You will also find how effective the arm bar is against the turning punches used by most karate systems. As they corkscrew the punch in they are beginning the turning movement used to control them. Against a vertical thrust punch, you have to extend the arm forward more before you can begin to rotate the punching arm.

The Snap (or Jab) Punch requires special training. Truthfully you can't catch the Snap Punch on its outside movement. In its use Shimabuku Tatsuo really gave us a favor because it requires a more realistic approach to make happen. I believe you first have to strike into the opponent (or even into their arm) , then grab and extend the arm before you begin to turn it (and the shoulder) over. All of which requires even a higher level of skill.

The Hook punch involves a different form of body shifting to evade the strike and then enter it and use the arm bar control.

Then there is a wide range of ways these techniques can work against a grab.

Each of these attacks need to be carefully considered in order to pick the appropriate Isshinryu response. In my kata analysis for the Arm Bar, I will only work on one of the attacks, in most cases. This does not imply that the same technique won't work against the other attacks.

Of course, being able to sell any response one chooses is a necessary component of advancing skill, too.

The Arm Bar

The arm bar is an exterior line of defense.

It is applied from outside the opponents arm (in the defensive superior position where there is less chance from a counter attack. On the other hand if one finds oneself inside of the attacking arm, how to maneuver to the outside to apply this is a part of the technique too.

The arm is extended and rotated into the centerline of the body. The one hand grasps the opponent’s wrist. The other hand presses, strikes across or strikes into the triceps insertion above the elbow.

The grab at the wrist can be a simple grab of the thumbs, palm and fingers. It may be a more complex grab with the same, but the index finger may be straight so the base of the index finger can be used to press into the pressure points at the inside if the wrist. Even more advanced it may be executed with the thumb tip and the tips of the fingers in a 'Eagle Claw' grab into specific nerve points of the wrist. The more complex grabbing techniques will not be part of this discussion.

During application the opponent’s wrist is extended forward while pressure is applied against their triceps tendon insertion above the elbow. This force can then be directed towards the opponent’s centerline causing them to turn over in fuller control. [Please excuse me if I am anatomically incorrect in this first draft.]

There are also a number of ranges of application involved. The arm bar can be applied from a medium distance, with grabs and strikes or presses. The arm bar can also be applied at very close range with both arms adhering to the opponents arm with an adhesive effect to control them.

The arm bar can be applied to lock and control an opponent, even to moving them as a shield between you and other attackers. You can use it to project your opponent, or place their face into the ground. You also can use it to break the arm at its weakest point behind the elbow, in some instances.

Often Jujutsu and Aikido Waza (techniques) require you to pin the opponent ot the ground. While that is always possible with Isshinryu technique, in many cases for self defense, it is not advisable to go to the ground with the opponent. Instead shifting them before other attackers, or bending them over making them more susceptible for other attacks, etc. make most sense.

The Complete Isshinryu Arm Bar

I am using only one attack per Applications being discussed. Actually these techniques must be studied against the full range of attacks such as:

1 Right foot forward - Right hand attack (either punch or grab)

2 Right foot forward - Left hand attack

3. Left foot forward - Left hand attack

4. Left foot forward - Right hand attack

Ideally they would be practice against the 3 striking approaches, Thrust, Snap and Hook, as well against grabs.

Where sections are repeated I am assuming you can draw the inference to doing the technique on the opposite side from the given description.



Contents

1 Seisan - First Section

2 Seisan - First Turn

3 Seisan - Left Parry, Right front Kick, Right Punch

4 Seiuchin - First Section

5 Seiuchin - Section with Augmented High Block

6 Seiuchin - Section with Hammerfist Strike

7 Seiuchin - Section with Retreating Low Block

8 Nihanchi - Section with Cross Body Block

9 Wansu - Section with Hidden Punch

10 Wansu - Section with Fireman's Throw

11 Wansu - Section with Forward Elbow/Forearm Strike

12 Chinto - Opening Section

13 Chinto - Double Block Hi and Low then turn

14 Chinto - Jamming Turn

15 Chinto - Side Block then Hammerfist

16 Chinto - Front Kick Side Elbow Strike

17 Chinto - Double Head Block, Knee Strike, Side Elbow Strike

18 Chinto - Step Back into Left Kake Dachi with Right Low Block

19 Chinto - Step Out with Left Open Side Strike, Right Hammerfist, Right Front Kick

20 Kusanku - Opening Section

21 Kusanku - Step Out Left Hand Parry, Step out Right Hand Parry

22 Kusanku - Left Front Punch Right Horse Riding Punch

23 Kusanku - Twist-Parry &Strike, Front Kick, Drop to Floor

24 Kusanku - Backfist, Crescent Kick Drop to the Floor

25 Kusanku - Turn, outer ridge hand block, step through, spearhand

26 SunNuSu- Opening

27 SunNuSu- Spear Hand Thrust, Turn, Open Low Block Left Spear Hand

28 SunNuSu- Shuffle right spear hand then Left spear hand Right Spear Hand

29 SunNuSu- Backfist, Twist, Left Open Hand Side Parry, Right Shuto, Right Low Strike

30 SunNuSu- Turn, Left outer Parry, Right Descending Press

31 SunNuSu- Stack Hands and Squat Kick

32 SunNuSu- Kame, Step forward and Side Elbow Strike

33 SunNuSu- Kame, step Forward and RightStrike to Elbow

34 SunNuSu- Strike arm and ribs, Turn and Throw

35 SunNuSu- Step back into kake dachi, pull up left and right low block

36 SunNuSu- Close

37 Sanchin - Opening

38 Sanchin - Double Gouge Turn hands over

39 Sanchin - Mawashi The attacker





1. Description for an Akido Ikkyo - Seisan kata First Section

Taking the first section of Seisan and moving into the ikkyo lock. Covers the shift from Interior line of defense to Exterior line of defense.

The attacker - Right foot forward Right Punch

Interior line of defense

1. Left Foot Forward, Left Side Block followed by a Right Reverse punch to the solar plexus.

Exterior line of defense

2. Right arm rolls under and then up raising and rotating The attacker’s arm clockwise

3. As the right arm rolls over, the right hand slides down the arm and grasps the wrist, pulling the opponent slightly forward.

4. Complete the ikkyo lock by pressing down into the elbow with your left palm as you rotate your body to the right (clockwise).

5. Then you can take advantage of a number of options to down and control the opponent by locking them straight down into the floor, to rotating them clockwise spiraling them down.

Now lets go through this again overlaying Seisan Kata with the above technique.

The attacker - Right foot forward Right Punch

Interior line of defense

Seisan LFF Right Punch

1. Left Foot Forward, Left Side Block followed by a Right Reverse punch to the solar plexus.

Exterior line of defense

Seisan RFF As you chamber the right fist first (You would most likely shift 20 degrees so your centerline crosses their arm)

2. Right arm rolls under and then up raising and rotating The attacker’s arm clockwise

3. As the right arm rolls over, the right hand slides down the arm and grasps the wrist, pulling the opponent slightly forward.

4. Complete the ikkyo lock by pressing down into the elbow with your left palm as you rotate your body to the right (clockwise).

5. Then you can take advantage of a number of options to down and control the opponent by locking them straight down into the floor, to rotating them clockwise spiraling them down.

For those of us who have trained with Sherman Harrill you can also use that 2nd left punch to punch across the turning arm's triceps, and use that motion to roll the The attacker into the ikkyo lock instead of pressing down into the arm.


2. Description for an Akido Ikkyo - Seisan kata First Turn



The attacker - Left foot Forward Left Punch

Exterior line of defense

1. Left foot forward, Double rising high block (deflecting the attacker’s arm to the left and up.

2. Turn 180 degrees to the left

3. The left hand rolls over the attackers wrist and pulls down while the right forearm presses down on the triceps insertion tendon.

The right foot can step between tori (defender's) left foot and the the attacker’s left foot, using the lower body to assist upsetting the opponent. Alternately you can also step on their foot to create a little different effect on the uke.

3. Description for an Aikido Ikkyo - Seisan kata Left Parry, Right Front Kick, Right Punch

The attacker Left Foot Forward Left Punch

1. Left Foot forward left outside open hand parry

2. Left Hand grabs the attacker’s wrist

3. Right front kick into the attacker’s leg, buckling it

4. Bottom of The attacker’s Right punch rolls across the attacker’s triceps. This rolls the arm over into The attacker’s centerline effecting the arm lock.

3. Description for an Aikido Ikkyo - Seiuchin kata First Section

The attacker - Right foot Forward Right Punch

Exterior Line of Defense

1. You step out with your right foot and adjust yourself into a seiuchin dachi with an open hand bent wrist block across the attacker’s arm. Your left open hand is drawn back to your waist.

2. You turn your right hand over and slide it down to your opponents wrist, grab and pull them forward hyper-extending their arm.

3. Next you strike across their triceps insertion above their elbow with your left spear hand

4. Step forward with your left foot into left seiuchin as you press down with both hands. This rotates the attackers arm over and down into the arm bar, assisted by your leg pressing against the inside of their leg for greater control.

4. Description for an Akido Ikkyo - Seiuchin kata Section with Augmented High Block

Scott Hankins's contribution on Kata Seiuchin

Another obvious location in the kata to find Aikido moves is Seiuchin.

I'm thinking of the 'second' sequence where you do a "reinforced block" followed by stepping into a seiuchin stance and performing a "down block".

This can be seen as first a ni-kyo (or s-lock)against your opponents right arm followed by the omote version of ik-kyo (or arm bar). The beauty of this sequence is that the easiest way for someone to counter ni-kyo is to lift/raise their elbow, thereby taking pressure off their wrist.

However, doing this sets yourself up for ik-kyo.

5. Description for an Aikido Ikkyo - Seiuchin Kata Section with Hammerfist Strike

The attacker left foot forward, left rising punch to tori's head

Exterior line of defense

1. Right foot forward (hooking around the attacker’s left foot)

2. Left open hand parries the attackers arm and then presses down at the wrist.

3. Right forearm hammerfist behind the attacker’s elbow into the triceps insertion.

This version is very powerful and can readily turn into an arm break

6. Description for an Aikido Ikkyo - Seiuchin Kata Retreating Low Block

The attacker’s left hand grabs your left hand after your left low block.

Exterior line of defense

1. Step back with your left foot into left seiuchin dachi.

2. Your left hand rolls over (counterclockwise) grabbing the attacker’s wrist and pulling them forward.

3. You use your right low block/strike into the attacker’s arm (behind the elbow)

This pulls the attacker forward into an arm bar (of course the break potential is there too.

7. Description for an Aikido Ikkyo - Nihanchi Kata Cross Body Hammerfist

The attacker’s stepping into Tori with a left foot forward left punch

1. Left foot steps back turning to the left and ending in a nihanchi stance paralleling the attackers arm.

2. The left hand rolls up and over the attacker’s punching wrist and pulls back

3. The right cross body hammerfist (forearm strike) rolls the attacker over into the arm bar

This can be done with the left foot beginning the movement with an inner cutting kick into the attacker’s stepping leg before the lock is applied, or it can be done with the right foot concluding the movement with an inner cutting kick into the attacker’s calf/knee once the lock is completed.

8. Description for an Aikido Ikkyo - Wansu Kata Hidden Punch Section

The attacker’s Left foot forward left hand grabs Tori's left hand

1. Turn to the left so your centerline crosses the the attacker’s arm about 45 degrees, and execute a left knife hand across the attacker’s arm, partially rolling it over.

2. Your left grabs the attacker’s wrist as your right arm strikes across the attacker’s arm above the elbow, completing rolling the attacker over.

3. Your right front kick can a) kick into the attacker’s leg, or b) can kick past the attacker’s leg on the inside and then strike behind their knee with the retraction of the kick. Either effect differing takedowns.

9. Description for an Aikido Ikkyo - Wansu Kata Fireman's Throw Section

The attacker Left foot forward left punch

1. You step into The attacker’s attack from Horse stance. The left open hand strikes up under the attacker’s arm as the right open hand strikes into the attacker’s side.

2. Your left hand grabs the attacker’s wrist as your right arm presses up into the attacker’s arm behind the elbow.

3. You continue to step through 180 degrees to the left raising the attacker’s arm up and down with a projection / controlling throw.

10. Description for an Aikido Ikkyo - Wansu Kata Forward Elbow/Forearm Strike

The attacker Left foot forward left punch

1. You're left backhand in kamae intercepts the the attacker’s punch

2. You turn the left hand over their attacking arm pressing down

3. You step forward with your right foot delivering the right forearm smash into their arm behind the elbow

4. Controlling them with the arm bar your right foot steps over and you turn 180 degrees to the rear. This will roll the attacker over.

11. Description for an Aikido Ikkyo - Chinto Kata Opening Section

The attacker Left Foot forward left punch

1. Left Backfist into the side of the attacker’s arm

2. Roll left hand over and grab the attacker’s wrist

3. Right reverse punch across the attacker’s triceps tendon as you pull your left hand back into chamber

13. Description for an Aikido Ikkyo - Double Hi and Low Block and Turn

The attacker Right foot forward grabbing your right wrist with their right hand

1. You step back into horse stance with your right foot

2. Roll your right hand clockwise to grab their wrist

3. As your right hand pulls their arm down and begins to rotate the arm into their center, your left elbow strikes into their arm behind their elbow on the triceps, locking them into the arm bar

4. You then turn clockwise, pulling them forward as your body turns into their arm

14. Description for an Aikido Ikkyo - Chinto Jamming Turn

The attacker Right foot forward Right Punch to your back

1. Turn clockwise into the The attacker and deflect their punch with a right snap punch.

2. Grab The attacker’s right wrist and roll their arm into their center

3. Left foot steps forward and left punch rolls across The attacker’s triceps, creating the arm bar.

4. The stepping left foot would step in front of The attacker’s right leg, trapping it.

15. Description for an Aikido Ikkyo - Chinto side block then Hammerfist

The attacker Right foot forward Right Punch to your right shoulder

1. Turn 90 degrees to the left and block their arm with your right shuto block

2. Slide the right hand down to grab their wrist.

3. Left Hammerfist behind their elbow

4. Right foot steps back 180 degrees, and use the turning motion and the right arm strike to pull the opponent back into an arm bar.

16. Description for an Aikido Ikkyo - Chinto Front Kick, Side Elbow Strike

The attacker Left front kick left punch

1. From a left kake dachi right low block the kick

2. Left hand grabs the attacker’s left arm

3. Right front kick to the attacker’s abdomnen

4. Turn 90 degrees to the left and strike across the attacker’s elbow/triceps area effecting the arm bar

5. Drop down in horse stance with the arm bar controlling uke.

17. Description for an Aikido Ikkyo - Chinto Double Head Block, Knee Strike, Side Elbow Strike

The attacker Left Foot Forward Left Punch

1. Right foot steps back into Left kake dachi deflecting the punch to the left

2. The left hand parries the the attacker’s punching arm to the left and down

3. The right knee strikes into the attacker’s lower ribs

4. As The attacker’s hand grabs Tori's wrist, the left forearm strikes across Tori's triceps making the arm bar

5. Place right leg down in front of the attacker’s left leg.locking their lower body as the lock takes hold.

18. Description for an Aikido Ikkyo - Chinto Step back into Left Kake Dachi with Right Low Block

The attacker reaches out with their left arm and grabs your left wrist

1. You step back with your right foot (turning your body clockwise into left kake dachi facing the opponent.

2. Your left arm rolls up to the center of your chest as they continue to grab your wrist

3. Your right arm strikes down into their triceps. This effects an armbar

4. You follow with a right kick to down our opponent

19. Description for an Aikido Ikkyo - Chinto - Step Out with Left Open Side Strike, Right Hammerfist, Right Front Kick

The attacker Left Foot Forward, Left Punch

1. You step out with your left foot and parry their punch to the left with your left open hand

2. Your left hand slides down and grabs their wrist.

3. Your right hammerfist strikes across, behind their elbow into the triceps, rolling the attacker over

4. Your right front kick kicks in front of their foot, and the leg's snap back strikes their knee from the other side and behind, buckling their knee, dropping the The attacker with the arm bar for control.

20. Description for an Aikido Ikkyo - Kusanku Kata Opening Section

The attacker Left foot forward left punch

1. Lean to the right and execute a left side block

2. Left hand opens, turns out and grabs the attacker’s wrist and pulls it forward

3. Twist to the right and execute the right punch across the attacker’s triceps effecting the arm bar as the attacker’s arm rolls over towards their center.

21. Description for an Aikido Ikkyo - Kusanku Kata Step out Left Hand Parry Step Out Right Hand Parry

The attacker Left Foot forward Left Punch

1. Left foot forward left open hand outside parry

2. Right foot forward, turning to the left so your centerline crosses The attacker’s arm at lest 20 degrees

3. Left hand grab's The attacker’s wrist

4. Right Hand Open Outside Parry as a press behind the attacker’s elbow rolling into the triceps.

The right foot also can step before the attacker’s leg for a trap to make the arm bar easier.

22. Description for an Aikido Ikkyo - Kusanku Kata Left Front Punch Right Horse Riding Punch

The attacker Left foot forward Left Punch

1. Left foot forward left punch across the attacker’s arm moving the attacker’s arm to the left

2. Left hand open and grab the attacker’s wrist

3. Step out with the right foot and turn to the left into Horse Stance. The right foot steps before the attacker’s left foot locking their lower body.

4. Right Punch to the side across the attacker’s triceps, rolling them over with the arm lock

23. Description for an Aikido Ikkyo - Kusanku Kata Twist-Parry &Strike, Front Kick, Drop to Floor

The attacker Left foot forward Left Punch

1. Twist into Left Kake Dachi left open hand parries punch across head and Right Shuto strikes across The attacker’s Triceps

2. Right front kick inside the attacker’s leg to groin

3. As Kick snaps back striking with the heel behind the attacker’s knee, your left hand grabs their wrist

4. Turn 180 degrees to the left and drop on your right knee. The left arm and right arm lock the attacker’s arm in an arm bar.

This movement can be a projection, rolling the attacker head over heels or it can be used to pin them to the ground.

24. Description for an Aikido Ikkyo - Kusanku Kata Backfist, Crescent Kick Turning Drop to the floor

The attacker Left Foot Forward Left Punch

1. Step out in left Horse Stance and throw a left backfist to move the attacker’s arm to the left

2. Turn to the right, grab the attacker’s wrist

3. Right Crescent kick (perhaps into The attacker’s side) and place the right foot down inside of their leg

4. Turn to the right, Right hand grabs The attacker’s arm behind the elbow

5. Drop to the floor, locking the attacker down with the arm bar

25. Description for an Aikido Ikkyo - Kusanku Kata turn, left outer ridge hand block, step through and Spear Hand

The attacker grabs your left arm from behind

1. Turn away from the attacker’s grab, and use the left outer ridgehand block to begin turning the attacker’s arm into his center.

2. Step through the attacker’s arm with your right foot as your Right Spear Hand slices across the top of the attacker’s triceps

This rolls the attacker’s arm over into the arm bar.

26. Description for an Aikido Ikkyo - SunNuSu Kata Opening

The attacker - Left Foot Forward Left Hand Grab of Tori's Left Hand

1. left foot forward, Double outer blocks, left rolls the attacker’s arm over

2.Turning to the left the left hand rolls over and grabs the attacker’s wrist as the right hand slices back across the Triceps and chambers

3.The right arm strikes out, the bottom of that arm slicing across the triecps turning the attacker over into the arm bar

27. Description for an Aikido Ikkyo - SunNuSu- Spearhand Thrust, Turn, Open Low Block Left Spear Hand

The attacker - Right Foot forward Right Punch to your head

1. Left foot forward, the left spear hand thrusts up to deflect the attacker’s punch to the left side

2. Right Hand slides up arm and grabs the attacker’s wrist (your palm out)

3. Turn 180 degrees to the right and pull the attacker’s arm down (this will roll them over and overextend them to their front.

4. Thrust a Left Spear Hand across their triceps to immobilize them .

28. Description for an Aikido Ikkyo - SunNuSu- Shuffle right spear hand then Left spear hand Right Spear Hand

The attacker - Left foot forward Left Punch

1.From Kame (LFF) Step forward with your right foot and use the right spear hand to thrust the attacker’s punch to the left

2.Shuffle forward, keeping the right foot in front, and thrust across the attacker’s arm with the left spear hand.

3.As The attacker’s left arm comes back open the hand and grab the left wrist, pulling it back.

4. Again shuffle forward as the bottom of the right spear hand slides across the the attacker’s triceps finishing the arm bar.

29. Description for an Aikido Ikkyo - SunNuSu- Backfist, Twist, Left Open Hand Side Parry, Right Shuto, Right Low Strike

The attacker left foot forward left punch to head

1. Throw left backfist into the attacker’s arm moving it to the left, then Twist to left with left open hand deflecting the attacker’s strike past the head

2.Continue to turn left hand over and grab the attacker’s wrist as the right hand shuto strikes into the triceps of the attacker.

3.Continue holding the attackers arm with the left hand as you drive the the attacker down with a right low strike sliding alongside the attacker’s arm bar

30. Description for an Aikido Ikkyo - SunNuSu- Turn, Left outer Parry, Right Descending Press

Uke. Left foot forward Left hand grab of your left arm from behind

1.Turn 180 degrees to the left

2.The left arm turn over counter-clockwise and the left hand slides down to grab the attackers wrist

3.Pivot to the left into left kake dachi and the right arm presses down on the the attacker’s triceps effecting the arm bar.

31. Description for an Aikido Ikkyo - SunNuSu- Stack Hands and Squat Kick

The attacker - Right Foot Forward Right Front Punch

1.Right hand strikes forward, outside of the attacker’s punch, deflecting it to the right.

2.Right hand rolls over and grabs the attacker’s wrist and pulls it back to the waist, pulling the attacker fowaard.

3.The last movement began to turn the attacker’s arm over. The left arm then slides out over the attacker’s triceps and helps roll them over into the arm bar

This takes place as you step to the right.

4.The left leg delivers a squat kick into the the attacker’s ribs

The motion of this arm bar is somewhat different from the previous ones, but it still falls in the same classification.

32. Description for an Aikido Ikkyo - SunNuSu- Kame, Step forward and Side Elbow Strike

The attacker Left foot forward left punch

1. You're left openhand in kamae intercepts the the attacker’s punch

2.You turn the left hand over their attacking arm pressing down

3.You step forward with your right foot delivering the right forearm smash into their arm behind the elbow

4.Controlling them with the arm bar your right foot steps over and you turn 180 degrees to the rear. This will roll the attacker over.

This is very similar to the Side Elbow strike in Wansu.

33. Description for an Aikido Ikkyo - SunNuSu- Kame, step Forward and RightStrike to Elbow

The attacker - Left Foot Forward Left Punch to Back

1.Turn 180 degrees to the left and left open hand middle parry deflects punch to left

2.Turn left hand over and press down across the attacker’s wrist

3.Right foot forward , turning slightly to the left

4.Right rising open hand strike behind the attacker’s elbow creating an armbar

This version is somewhat different from the rest, in that the attacker’s arm is being rotated away from their centerline from the motion of your left and right hands, but I still feel this qualifies as an arm bar.

34. Description for an Aikido Ikkyo - SunNuSu- Strike arm and ribs, Turn and Throw

The attacker - Right Foot Forward Right Punch

1.Left foot forward, right open hand deflection rises up underneath the attacker’s arm as left open hand palm strike takes place into the attacker’s ribs.

2.Right hand grab's the attacker’s wrist as left hand strikes up behind the attacker’s elbow

3.Turn 180 degrees to the right, step through with the left into horse stance. Your right hand drops pulling down the attacker’s and the left arm keeps the arm locked and keeps the arm bar. This is a projection and or a break.

This technique is the reverse of the same throw in Wansu kata.

35. Description for an Aikido Ikkyo - SunNuSu- Step back into kake dachi, pull up left and right low block

The attacker - Right foot forward Right hand grabbing your left wrist

1.Step back into left Kake dachi raising the left arm, rolling uke' arm over

2.Deliver the right low blow/block behind the attacker’s elbow into the triceps. This will form the arm bar and drop the attacker down.

3.The next technique from the kata is a finishing right front kick

36. Description for an Aikido Ikkyo - SunNuSu- Close

The attacker - Right foot forward Right Grab to your right hand

1.Right foot forward, right arm rolls up and out with a right open hand middle block

2. Right hand rolls over and grabs the attacker’s wrist, rotating it towards his centerline

3. Turn slightly to the right and left foot forward with a left open palm strike into the attacker’s triceps completing the arm bar.

As before the left step can be on top of the attacker’s foot, or across the attacker’s leg for the trap, or even hooking behind the attacker’s leg from the outside for the trap.

37. Description for an Aikido Ikkyo - Sanchin - Opening

The attacker - Left Foot Forward Left Hand Grab of Tori's Left Hand

1. left foot forward, Double outer blocks, left rolls the attacker’s arm over

2.Turning to the left the left hand rolls over and grabs the attacker’s wrist as the right hand slices back across the Triceps and chambers

3.The right arm strikes out, the bottom of that arm slicing across the triecps turning the attacker over into the arm bar

Yes, this is the same as the SunNuSu Opening Arm Bar

38. Description for an Aikido Ikkyo - Sanchin - Double Gouge Turn hands over

The attacker Right foot forward Right Punch

1.From left sanchin dachi you slide forward, keeping the same stance but angling to the right so you center line crosses the attacker’s arm about 20 degrees.

2.Both hands slide across the top of the attacker’s punching arm.

3.The right hand turns slightly faster grabbing the the attacker’s wrist

4.The left hand completes the lock by rolling over behind the attacker’s elbow on the triceps.

39. Description for an Aikido Ikkyo - Sanchin - Mawashi The attacker

The attacker Left Foot Forward Left Punch

1.Left foot back into right sanchin as Right open hand parries the punch slightly to the left

2.The left open hand slides up underneath the right arm and the left hand grabs the attacker’s wrist

3.The left hand draws the attacker’s arm back, hyper-extending their arm forward

4.The right hand circles away and then strikes back into the triceps, behind the elbow.

Depending on the speed of the maneuver this may be an arm bar, a break, or if you turn away on the moment of impact on the attacker’s arm this can be used for a projection..

In close range the right strike can be done with the forearm, or at further range with the palm.

In my opinion, this and the other Mawashi The attacker (Tora Guchi) applications are among the most valuable in karate.

A Beginning

This is not the conclusion, rather it is just another opening chapter in my ongoing studies on the Isshinryu system.

While I've explored potential iklyo/arm bar Applications to our Isshinryu kata technique, that alone will not give one the skill to apply it in conditions of extremis.

Every technique requires an appropriate opening. Locks in particular would need a solid shot (in most cases) to give adequate time to apply it .

Likewise there is the need to study a wide range of appropriate finishing techniques. Whether immobilizing your opponent, striking into them, downing them or projecting them there remains much more than just the use of the Isshinryu arm bar.

I am confident that the arm bar can be thought of as the basic lock of all Okinawan karate. As our Isshinryu study has shown us, it can be thought of as an basic, ever present "hidden" locking technique. I'm sure I can show the same with every Okinawan kata at this point.

Thus a case is made for the Arm Bar in my mind.

In Ueshiba's Aikido the techniques was named "Number One - Ikkyo". As I understand their analysis, it is the basis for many other locks which come out of its opening.

I also suspect (with a tip of the hat to Joe Swift for suggesting it in this light that it's number one because its simpler and easier to make work in stressed times. This seems consistent with its presence in our kata.

So have I found every possible presence in Isshinryu? I suspect not, but I think this is a fair opening to the subject.

Now I intend to work and give this same vision to my Dan's, and refocus them on techniques we have already reviewed.

I believe this will make their karate studies stronger.

Suggested Reading to Assist in Understanding Aikido

The Hidden Roots of Aikido-Aiki Jujutsu Daitoryu by Shiro Omiya - Kodansha Int.

Budo Teachings of the Fonder of Aikido by Morihei Usheiba - Kodansha Int.

Aikido by Kisshomaru Usheiaba - Hozansha Publications

Total Aikido the Master Course by Goso Shioda - Kodansha Int.

Aikido and the Dynamic Sphere by A. Westbrook and O. Ratti -Tuttle

The Principles of Aikido by Mitsugi Saotome - Shambhala Pub.

Samurai Aikijutsu by Toshishiro Obata - Dragon Books

Author's Note:

I continually draw inspiration from the infrequent training I've received from Sherman Harrill. Some of you will note some of his concepts present in my descriptions.

I wish to acknowledge Joe Swift's (Kanazawa, Japan) assistance in spell check. Without which I'm sure I'd be less accurate.

The Complete Isshinryu Arm Bar - Addendum

As wrote Robert Burns (the Scottish poet), "The best-laid plans o' mice an' men Gang aft a-gle.."

Reflection has made me think of some other Isshinryu arm bar's I missed on the first draft.

Description for an Aikido Ikkyo - Seisan Kata Side Block Reverse Punch

The attacker - Left foot forward Left Lead Punch

1. Left foot forward with a left side block, pressing the attacker’s punch to the left.

2. The left hand rolls over and slides down to grab the attacker’s wrist

3. Right Punch across the attacker’s arm, the bottom of the arm slides across the triceps rolling the attacker over

Optional - Depending on the section of the kata, the right front kick can kick into the leg, or kick in front of the leg and the heel can strike behind the knee (from the other side),

The attacker - Right foot forward Left Reverse Punch

1. Left foot forward with a left side block, pressing the attacker’s punch to the left.

2. The left hand rolls over and slides down to grab the attacker’s wrist

3. Right Punch across the attacker’s arm, the bottom of the arm slides across the triceps rolling the attacker over

Optional - Depending on the section of the kata the right front kick can kick into the leg (calf, knee, thigh, hip) of the opponent's right side.

Description for an Aikido Ikkyo - Seisan Kata Right foot forward left Low Block Right Open Side block and Grab

1. Right foot forward with a left inner circling downward grab, The left hand come up and over the arm opens up and slides down to the attacker’s wrist.

2. The left hand grabs the attacker’s wrist and rotates their arm into their centerline.

3. Raise the right elbow and bring it down over the attacker’s triceps and draw your right elbow back to your side. This motion will lock the attacker’s arm in the armbar.

The attacker Left foot forward Left Punch

1. 1. Right foot forward with a left inner circling downward parry

2. The left hand grabs the attacker’s wrist and rotates their arm into their centerline.

3. Raise the right elbow and bring it down over the attacker’s triceps and draw your right elbow back to your side. This motion will lock the attacker’s arm in the armbar.

Description for an Aikido Ikkyo - Seisan Kata Grab with right hand, Drop back to Horse Stance and Left Side Block/Strike

The attacker - Right foot forward Right Cross Hand Grab of your Right Hand

1. Your right hand reaches out and grabs the attacker’s forearm (inside of arm to inside of arm)

2. Your right foot slide back into horse stance and you pull their arm back

3. You execute a left side strike under The attacker’s arm.

This arm bar will cause the attacker to spin to the left away from their centerline

The attacker - Left foot forward Left Straight Hand Grab of your Right Arm

1. Rotate your right wrist clockwise and grab the attacker’s wrist

2. Your right foot slide back into horse stance and you pull their arm back

3. You execute a left side strike under The attacker’s arm.

The arm bar will cause the attacker to spin to the left, into their centerline.

Description for an Aikido Ikkyo - Seisan Closing

The attacker - Left foot forward straight grab to your right arm

1. Both arms circle out, the right arm on the inside of the attacker’s punch.

2. As the right arm circles out and then down, it continues to move the attacker’s until it meets your left hand.

3. Your left grabs The attacker’s wrist and pulls back to the waist as you rotate to the left and the right arm rolls across the attacker’s arm forming the arm bar.

While this is a little different from the normal close (with the side shift at the end) I feel it is perfectly acceptable within Applications guidelines.




Another tuidi technique from Soken shinshi which shows some similarity to the tuidi of Oyata shinshi

Mutsu's Evasions IV

This concludes the first section of techniques.

Mutsu's Evasions III

More of Mutsu's technique applications.

Mutsu's Evasions II

The fist section continues.  Part 2

Mutsu's Evasions I

With the Ghost Techniques I've described I would like to share Mutsu Mizuo's 1934 "Karate Kempo" where the first section of his extensive explaination on Karate technique shows what he was practicing for techniques of evasion.

I've done the best I could with scans and have prepared this in several sections.

I am not qualified to translate these so you can evaluate the drawings the same as me.

Some thoughts on Ghost Techniques

Yes it is the Halloween season. This time I'm listing some of our Ghost Technique practices.

What you’re using is the attacker’s awareness against themselves. They ‘know’ where you are and attack that point of space, so don’t be there. Often that awareness can be used against them.

When done with speed and fluidity you disappear from their awareness.

Basic Ghost Techniques

Attacker Right Foot Forward With A Right Strike

1. Shift back and not be there.

The same principle is found in Tai Chi applications where you retreat, leaving a void, and opponent then enters the area.

1. Step to the left, slipping the punch, and now be there.

1. Step to the left, slipping the punch, then step to the right and walk away.

1. Step to the left, slipping the punch, then step to the right, behind them, then walk away.

More advanced Ghost Techniques
Attacker Right Foot Forward With A Right Strike

1. Step to the left, slipping the punch, then step to the right, behind them, then turn to the left to face the attacker’s back. Push them.
1. Step to the right, slipping the punch, then walk away.

1. Step to the right, slipping the punch, then turn left to your opponent’s back and moonwalk away from them.

There are other more advanced versions using sweeps to attack their base.

I can explain a similar function from Isshinryu's kata Chinto. Where after the hammerfist you step out into a horse stance and then your right foot and steps back.

Consider the attacker is lunging at you with his right hand and right foot…

1.You turn so your front is parallel to his arm as you step out (remaining parallel) with your right foot into a high horse stance.
2.This caused the attacker to miss you, and as his body weight is flowing forward not having intercepted you to absorb his momentum, instead you
3.Turn your body to the right, so your chest is facing the same direction the attacker is punching
4.Finally you take your right foot and step back behind your left so your in a Left Foot Forward cross over stance.

Other examples are found in Hiroaki Sato's magnificent book "The Sword & the Mind", where he translates and comments on "The Heiho Kaiden Sho (Family Transmitted Book on Swordsmanship)" from the 1500's and the 1600's of Japan.

There in there is a section of scrolls titled "The Goblin's Selection: Eight in All". Page 43. Taking one "Tehiki (also know as Eiibo): Entrapment "When parrying appears to be leading nowhere, feign sudden withdrawal by lowering your fists. The moment the opponent takes the bait and strikes at your fists, quickly reverse the positions of your feet, forward and backward, jerk your fists to the right to dodge the coming blow, and strike to his fists."

Yep sounds like a Ghost technique to me.

Year’s ago in Rhode Island I saw a young (late 20's which is young to me) Shorin Ryu Dan challenge Mr. Sherman Harrill that he had to teach sparring if his students would learn to defend himself. Mr. Harrill responded he did no free sparring, but his students did learn to defend themselves from natural stance, arms hanging at their sides, with attackers who could come at them with anything.

He asked the Shorin Ryu Dan to throw a punch at him. The may drove a strong lunge punch towards Mr. Harrill, who simply turned to his left and drove is right forearm down on an arc through the attackers arm.

It hit with a crack and the immediate response was the attackers arm dropped…

Yep seemed like another Ghost to me.

Being able to evade an attacker is an important part of our art.

Black Belt Kicking Drills - Amended

I originally developed these Black Belt kicking drills to enhance Black Belt potential. I’m adding some other drills, and addition descriptions to make them more comprehensible. Most often the principle is to destroy the attacker’s base. I am not focusing on hands potentials in these drills but the use of the lower body.

For each line of attack the outside is the exterior line of defense and inside is the interior line of defense.


Exterior line of defense

Attacker Right Foot forward Right Punch

1. Right foot steps forward Hooking around attacker’s right heel.

2. Right front kick into their left supporting leg


Interior line of defense

Attacker Right Foot forward Right Punch

1. Right foot steps forward Hooking around attackers right heel.

2. Right swing kicking the direction attacker is stepping

(See how good their splits are as you boost their leg to he sky.)


Interior line of defense

Attacker Right Foot forward Right Punch

1. Right front kick to their left thigh

2. Right cross Slice kick to their right knee (from naifanchi)


Exterior line of defense

Attacker Right Foot forward Right Punch

1. Step left outside of their attack

2. Sweep the left foot forward as you turn to cutt their leg out



Interior line of defense

Attacker Left Foot forward Left Hooking Punch

1. Right crescent step behind their left foot sweeping it out

2. Right crescent step into their right foot (or right ankle)

3. (alternate) Right shin kicks into their right thigh (from tjimande)

4. (alternate) Right front kick into their groin


Interior line of defense

Attacker Right Foot forward Right Punch

1. Step out with the right foot forcefully to break their foot

2. Execute U strike (borrowed from Mutsu’s description of Patsai kata in 1934)


Exterior line of defense

Attacker Right Foot forward Right Punch

1. Step left with a left downward parry

2. Right crescent step past their right foot

3. Spin counter-clockwise with your left foot and take them down

4. Follow them to the floor and right front kick their face

(a leg entanglement technique borrowed from a demonstration by Ernest Rothrock)



Interior line of defense

Attacker Right Foot forward Right Punch

1. Right roundhouse kick to their left side

2. Left spinning back kick to their solar plexus

3. Right spinning outside crescent kick to their head

4. (Alternate) Right hook kick to their head

The turning back kick is to set up the following kick



Exterior line of defense

Attacker Right Foot forward Right Punch

1. Step left outside their attack with a left parry to keep their attack away

2. Right crescent step past the attacker

3. Right heel reverse strike into their groin

An unexpected groin strike from the rear

John Kerker again at Clarence Whitley's in Chicopee

It wouldn't be October if I didn't have a chance to visit Mr. Whitley's beautiful dojo and attend Jouh Kerkr's annual clinic. You know what makes a beautiful dojo. the people!

A sample of the action!

The whole group at thc clinic.

Here is John an me. I'm the thin one on the left. if you can't tell.

 If you don't attend one of John's clinics you are missing a lot of knowledge.

Block Left or Block Right

While I do not have a special favorite kata (this minute), I do favorite technique performed in a natural fashion, the circular block/strike. Following the lessons from the late Sherman Harrill and exploring every potential use, I offer the following analysis

Below are some basic drills to safely begin their study. More advanced understanding of their potential comes from the senior instructors. This is to promote safer practice and provide the material when the students control develops. This is dan level study.

The use of the lower body is not being addressed with these drills.

Block Left – the blocking action is to the left of one’s centerline.

Block Left

The attacker RFF with a Right Strike.

1. Step RFF (interior line of defense)(angling your center across their strike about 20 degrees), and parry to the left with your right palm (just before their elbow).

1.a. Your left open hand rises to the front of your right shoulder.

2. Then parry out with your left palm (also just before their elbow).

3. Execute a right rolling back hand strike into the side of their neck.

4. Then the left hand slips up to press into their shoulder from behind, and you trow a right rising elbow strike into their shoulder.

And by just changing the angle, this is the rolling backfist strike at Seiunchin Kata ending (all versions), just with a different angle of execution. The palm strikes are done with 'mumichi' or a sticky flowing movement to press out and redirect their strike.

This technique really flows through a strike.

If the attacker is LFF with a Left Strike.

1. Step RFF (exterior line of defense)(angling your center across their strike about 20 degrees), and parry to the left with your right palm (just behind their elbow).

1.a.Your left open hand rises to the front of your right shoulder.

2. Step further forward and the left palm strikes into their face with a flowing to movement, turning their head clockwise and becoming a forced takedown.

The key to both of these movements rests on setp 1.a. where the left hand rises to the shoulder, otherwise it will never get there in time.


Block Left Extended

If the attacker is LFF with a Left Strike.

1. Step RFF (exterior line of defense)(angling your center across their strike about 20 degrees), and parry to the left with your right palm (just behind their elbow).

1.a Your left open hand rises to the front of your right shoulder.

2. Step further forward and the left palm strikes into their face with a flowing sticky movement, turning their head and becoming a forced takedown.

3. Your left open palm presses into the jaw to rotate their head counter-clockwise, as your right elbow strikes to the rear of their neck.

4. The right open hand rolls out and presses the palm out and down clockwise) and across the attackers neck, for a forced takedown.


Block Right – the blocking action is to the right of one’s centerline.

Block Right

If the attacker is LFF with a Left Strike.

1. RFF (interior line of defense) with a left rising back palm deflection parry as it rolls back to your shoulder.

2. Then use a right rising back palm deflection parry as it rolls back towards the shoulder.

3. Slide forward, the left hand presses in on their chest (and/or right arm) as you throw a rising right elbow strike to the side of the opponent’s rib cage.



Block Right Extended

If the attacker is LFF with a Left Strike.

1. RFF (interior line of defense) with a left rising back palm deflection parry it rolls back to your shoulder.

2. Then use a right rising back palm deflection parry as it rolls back towards the shoulder.

If the attacker then launches a Right strike

3. Use your left to slice down into their right strike with a low block.

4. Slide forward, the left hand presses in on their chest (and/or right arm) as throw a rising right elbow strike to the side of the opponent’s rib cage.

If the attacker is RFF with a Right Strike

1. RFF (exterior line of defense) with a left palm deflection parry as it rolls back to your shoulder.

2. Then use a right rising back palm deflection parry as it rolls back towards the shoulder.

3. Right arm folds into a rising elbow strike into their ribs

Block Right Extended

If the attacker is RFF with a Right Strike

1. RFF (exterior line of defense) with a left rising and then descending palm deflection parry as it rolls back to your shoulder.

2. Continue RFF but angle to the right and then use a right rising back palm to roll across their arm and in turn reach down to their left hip, as if to touch

it. The left hand flows to their back.

3. Right arm folds into a rising elbow strike into their face. The right forearm moves the face to rotate clockwise, and the left hand is placed behind their neck.

Strike Left – Instead of blocking to the left side – Strike

Strike Left

Attacker RFF Right Punch

Rght cross hand parry at the wrist

1.a. Left hand is on the top to the right shoulder

RFF as left open hand reaches out to flow across the attackers eyes, moving their head clockwise.


Strike Right – Instead of blocking to the right side – Strike

Attacker LFF Left Punch

Left cross hand parry at their wrist
Right hand reaches out and flows across their eyes rotating their neck clockwise.

Alternate

Left cross parry parry at their wrist

Attacker right punch

2. Right hand reaches out and flows across their striking arm, redirecting their strike back to their face


Classical Indonesian Method

Attacker RFF Right Punch

LFF Right cross parry to wrist

1.a. Left hand is on the top to the right shoulder

2. Left open hand reaches out to flow across the attackers eyes, moving their head clockwise.

3. RFF as left hand flows down behind their shoulder and right elbow strike (tip) across their chest (striking the rear hand with the body in between.

4. Follow with a right rising elbow strike to the upper chest

5. Rt hacksaw across and behind their neck with the right hand

6. Spiraling takedown, the right goes around the neck and comes out to the front behind.

7. As they rotate the head in (clockwise) the left hand hooks their right elbow and uses a circular throw to take them down.

8. Complete as their twisted by dropping down into horse stance, and press into their neck and rotate their arm the opposite turning direction, cranking them into a locking technique.

Difference between two hand technique and double hand technique.

Two hand technique is a one-two technique.

Double hand technique reaches both hands out simultaneously.

Double hand technique

Attacker RFF Right Punch

RFF turn left and both hand reach over the arm and pull back.

As this happens the right tip of the elbow impales their chest simultaneously.

There is much more potential here.

A Saturday Morning in New Hampshire Outside

Saturday morning, a very special time to me. No students so I don’t have to teach, I moved the Sat. class to Thursdays, so all I have to do is think about myself.

Today a real lack or balance, so the most difficult practices first.

Open with Isshinaru Sunsu Kata. For Isshiryu the most important practice allowing us to share Shimabuku Tatsuo’s thoughts. Then to Bando staff, the Horseman’s Form, a challenge with its turns. I’ve been doing it with a 7 foot bamboo pole cut from a stand of bamboo in my father’s yard. I need the lighter weight and the increases length is a challenge from a bo. Next the Bando Stick form. The Hidden Stick. Again a challenge with its tuns. Then the middle Isshinryu Naifanchi kata and Isshinryu Wansu kata. Sent time working the different variations. Then Isshinryu Seiasn kata. Finally Tomari No Rohai kata and Arakaki No Sochin kata and close with Isshiryu Sanchin kata.

A varied workout this morning.

Finally in the cool crisp fall air donned my gloves and went for a 4 mile walk. The leaves are falling (and I’m starting to rake, abet poorly. I really went for a long one for me this time.

The walk is good for my diabetes weight control (I’m now at 215 lighter than most of you have ever seen me) and good for my heart. Gives one time to absorb nature’s changes and think.

I sent the time after a while thinking on my favorite kata. In Isshinryu I no longer have a favorite as I have begun to understand all of their potential. I have favorite techniques but that’s another day. In addition to my Isshinryu I have my favorites.

Top of my list is the unique Sutrisno No Gojushiho kata. With it is the SutrisnoNo Nijushiho kata. Then Goju’s Seipai kata (which I consider a study in turns with Chinto kata), Aragaki No Sochin kata, Tomari No Rohai kata, Ueichi No Seisan kata and Ueichi No Sanchin kata complete my favorites.

Tomorrow I’ll focus on my self study re-learning Chinese Tam Tui and Yang Tai Chi Chaun and Sword.

Have to keep pushing so I don’t let the ongoing disability get me down.

The Applications Unlimited Toolbox

An older post.

Some thoughts on Applicatiions possibilities. These are concepts I regularly refer to, and have been trained in their usage. All of which I consider for any Applicatiions analysis. Perhaps some of which you will find of merit. As always any additional suggestions are appreciated.

Tool 1, Range of Applications

Applications can be how a section of a kata is applied against a specific attack.
Applications can be how a section of a kata is applied against various attacks.
Applications can be how a piece of a kata technique can be applied against a specific attack.
Applications can be how a piece of a kata technique can be applied against various attacks.
Applications can be direct use of said technique to strike into the opponent, and study where and how to strike effectively.
Applications can be direct use of said technique to lock the opponent.
Applications can be direct use of said technique to down the opponent.



Applications can be any combination of the above, together and in any direction with correct body shifting (whether present in the kata or not.)

Tool 2, Lower body Usage

The use of the lower body in a technique need to be carefully explored. The leg movement can be used to trap or sweep the opponent. Most importantly, it needs to be properly combined with the upper body. Our eyes, often control most of our learning process, and the hands and arms being closer to the eyes, tend to get our interest most frequently. But a careful analysis of most systems will find that the use of the lower body is an important part of the application.

step can step on a foot, or in front of or behind a foot. These movements can trap the leg allowing more effective striking, locking or takedowns. A step can always be an opening for a kicking technique, following the motion of the step itself. Traditional technique sequences can always be concluded with the next stepping motion from the kata. In most instances, this will a takedown, too.



Tool 3, Multiple Striking

The addition of multiple striking can be considered. This is primarily an outgrowth of my time with Tris Sutrisno and his family In reality it is also present in out arts if you look for it. Shotokan/tjimande/aikido studies. The opening strike is turned into another strike. If practiced it allows layering strikes.

I believe the reason this was developed was to try to break through the body's defenses. If struck, an individual can harden their body's musculature and alignment to take the shot, in effect strike back with their body itself. On the other hand after struck, the body automatically returns to softness. Multiple, layered striking uses the first strike to confuse the body and the second strike is the one which penetrates. I believe this is a possible answer why Isshinryu has a series of techniques which involve 5 punches into the abdominal area of an attacker.

The following examples of multiple striking all require practice and perfection. There is no shortcut for anything to work.

Upper Body Multiple Striking Possibilities

1. Beginning with the outer palm blade strike I used in connection with the Applicatiions of the 3rd technique in Gojushiho Kata, once the palm blade strike scores with its slice, the hand can then snap rotate into a palm strike into the same spot.

2. A punch can be immediately followed by a vertical palm srtike. From the punching hand the wrist can rotate either clockwise, or counter-clockwise either of which leave the standing palm strike 3. Spear hand can be immediately followed by a punch with the same hand.

3. The lead finger spear hand can be followed with a vertical palm strike.

4. It was previously mentioned on this list that a vertical palm strike may be followed by an index finger strike.

5. A replacement for the outer knife hand blocks (strikes). Instead do an outer middle ridge hand block, and upon contact, roll the hand over for a second short shuto strike. This can be a prelude to a grab.

6 Six Count striking Principles, any of which layer into kata Applications too.

a. The punch is followed by a backfist strike

b. The Backfist strike is followed by a descending palm strike

c. The Descending palm strike if followed by an ascending forearm strike

d. The ascending forearm strike is followed by a throat or eye grabbing technique.

Lower body multiple Striking Possibilities

1. A right front kick (into the attackers left thigh, becomes a right cutting kick (with the first kick's snap back) into the attackers left knee (from behind).

2. A right roundhouse kick into the floating ribs flows into a right stomp kick into the attackers knees

3. A right front kick into the attackers knee is followed by a right side kick into the attackers left thigh.

Tool 4, Kakushite - Additional Techniques

There is also a tradition in Okinawa Kata Applicatiions, of Kakushite. I've seen this take two forms. First where an additional technique, directly not in the kata, is added to the bukai of that sequence. The second is where entire technique sequences are added. For example I know of one version of Chinto kata, which has been expanded to add at least one additional technique to every movement of the Kyan based Chito problem. With this being done, the entire form takes on additional Applicatiions potential.

Well, I've expounded a bit. As aways I hope this is helpful