Back around 1980
I was looking for a better way to present Isshinryu to new youth students.This was long before the internet and
magazines were the primary way to learn about other martial systems.
I was on my own,
there were not others in Isshinryu nearby around my area
Somewhere I saw
somebody doing Fyugata Sho, a form
created by Nagamie Shoshon in the 1930s. I liked the choices of turns used in
the kata. It struck me an interesting way to introduce new students to
Isshinryu.
It was not difficult
to learn and I did so. I then started altering the form to use Isshinyu
technique. Slowly I introduced it to my students at the Scranton Boys Club as
an alternate study, learning how it fit Isshinryu students.It lived up to my expectations.
I changed the
low blocks and the method of striking to Isshinryu technique.
At that time I
was beginning students with Seisan kata, as I had been taught. It occurred to
me using a form like Fyugata Sho might be an easier way to help the new student
understand what kata was, making it easier to teach Seisan kata later.
I was not
changing Isshinryu but was willing to look at new ways to prepare students to
understand the system. I was also in no rush to have them learn the system.
Preferring to have them spend more time doing so, for I had noticed that the
more time they spent studying the stronger their Isshinryu was.
Beginning in
1985, starting my program in Derry, NH at the Boys and Girls Club I changed my
program and began with Fyugata Sho renamed Kata Sho because youth are known to
play with names.
Among many
attributes of this form it is useful for developing students stances strength.
It also, when
done as a class exercise, a great way to get the beginners training with
advanced students.
Then it is tool
for developing other attributes of training.
Among the
potentials:
1. It can be
done with minimal technique, the smallest motions possible to use, Helping the
student to think about what they are doing and not just performing it
automatically.
2. It can be
done with different timings allowing the student experience what timing does to
their technique.
3. It is
possible to replace the strikes in the form with multiple striking movements to
develop those skills.
Sho with 3 count
multiple striking
4. Another use is that of partner
drills. I am showing the most basic level of execution. The purpose is of
course what they can do with this in say 10 years.
There are
variations with multiple striking, varied speeds, advanced timing version,
version for close order drill and increasing power version, This continues to
be a useful tool at dan level.
Today my blog hit 225,000 views, that is a quarter
of a million.
That fact does humble me. And I have made 980 posts
here.
On the advice of Mario McKenna, I started it back on
August 9th, 2008. Just as a way to share my passion with my students
and perhaps their students in the future. I had spent 40 years in study on the
arts in many ways, and I didn’t want them to have to re-invent the wheel so to
speak.
40 years reading and watching so many things. I used
to have thousands of martial arts magazines. Kept some material and heaved the
rest. Likewise over a thousand books, So perhaps some of it could be saved for
their future reference.
Much of the blog is a way to explain the history of
my studies for them, or to explain many details of our training.
It was not meant for outsiders, but I believe
knowledge is more useful if shared. I have allowed others to see this, I have
refrained from using it to generate money.
If any enjoy and can use what I have saved and
write, then they deserve access to it.
I use the blog to look and think, I do not criticize
others. If I am not interested in their art(s) then I do not write about them.
The world is a big place. Oft times there are many
answers that work and are at the same time diametrically opposed to each other.
Knowledge is not always what you think it is.
I selected the name for the blog as follows from my
first post.
Isshin/Zanshin
Isshin as focused concentration
goes hand in hand with Zanshin as
global concentration.
The more we focus in great detail on the small, the more we focus in great
detail on the large, together define our limits, moment by moment.
I practice/research/study/teach my private Isshinryu practice of Bushi No Te Isshinryu these past 35 years.
I practice/research/study and at times teach yang long fist tai chi chaun these
past 30 years. (note it is now longer alas)
My practice was formed by Tom Lewis' Isshinryu; by Charles Murray's Isshinryu; by Ernest
Rothrock's arts of Yang and Wu Tai
Chi Chaun, Pai Lum, Sil Lum, Tai Tong Long and of course his Faan Tzi Ying Jow
Pai; by Tristan Sutrisno's Shotokan, Aikido, Tjimande and Kobudo,
by a close encounter with Sherman Harrill's study of Isshinryu; and of course many
times many friends sharings.
My life is defined by my family, supported by Marueen my wife and my children Victor
Michael and Caryn Alyssa.
And of course the drive that makes me practice tai chi on my driveway at -20
degrees f., drive through ice storms and blizzards to train, practice at
midnight, in pouring rain, in dense fog, to scream at my french dictionary as
I've translated books from the French for my friends and otherwise find
incredible texture and depth from my efforts.
I hope I can share my thoughts on the very small and the very large, my isshin as well as my zanshin, my concentration on my art, my life.
Of
course finger tip thrusts to the throat, and technique making the neck revolve
are dangerous. That does not mean they can be used with care.
Originally
kata were never used for application studies. Things have changed greatly since
those days.
I
first heard of ‘bunkai’ from a Shotokan instructor. Who schooled me in his
training. Of course his use of the term, form his fathers studies in Japan in
the 1930s was a very different paradigm from what is used today, He also shared
his fathers aikido studies and family tjimande training in part. Not that I was
an expert but he did a serious job showing what was possible from his
teachings.
In
the aikido studies there were flowing thrusts into the throat as stop hits, to
make the opponent cease forward momentum, an opening for the aikido to follow.
I once used it on a skilled beginner. I invited him to attack me with his
spinning jumping crescent kick which he had been playing on his friends who
were novice beginners. I explained that I had been showing the principle that
night that could readily defeat him. He took the challenge and came at me with
that combination. I just moved intohis
attack, and used the fingertip flowinsertion into his throat.
I
did not hurt him but he went flying backwards 20 feet to end up slamming into
the wall.
Had
I chosen to use a karate thrusting nukite, the result could have been quite
difficult, but I and my students learn the difference.
Now
working the neck is dangerous. For one thing I have a whole study of neck
choking/restraint techniques. Those from karate and those from the aikido
studies. Many of the aikido technique studies I use end with the neck being
immobilized. It is just a question of degree, if it was to be more.
Even
more efficient are the indonisian answers I have from tjimande. Care must be
used for training. But that does not mean we have to go soft. Rather we need to
recognize how we are applying the technique.
I
do not teach such things to beginners. Such studies only begin after Sho Dan,
as beginners have more important things to learn.
That
some movements are dangerous is part of the arts we study.
Knowing
when and how to teach them is part of the art involved.
Among my
greatest interest is finding new application potential for movement inspired by
Karate Kata.
Of course
theoretically only one movement is all anyone needs, and the skill to sell it.
But the potential of kata movement is almost limitless, where your choices make
the potential actuality or not.
Unfortunately
there are times I feel people don’t get it. There is much more involved than
just knowing a kata, for that matter. Among which there are:
1. Conditioning to make your technique
more effective.
Subsidiary drills like:
a. forearm and body
strike conditioning
b, extensive
makiwara conditioning
c. utilization of
subsidiary strength conditioning
2. Learning how to enter an attack and
control the use of its surrounding spaces. Moving through those spaces to enter
the opponents attack and to conclude it.
3. The time to gain control over those
Kata movements.
4. Basic kata movement applications.
5.More complex Kata movement
applications, often ‘unrealistic’
6.
Kata application movement applications, often felt too numerous to be
effective. Among them are applications which down the opponent, use of kata movement to
grapple with the opponent and those which specifically strike vital points in
the application.
7. Movement applications inspired by the
kata movement, but not restricted to the movement in the form
8. Use of the Kobudo Kata training for
strength enhancement as a Force Enhancer.
9 Movement towards the goal that any movement you choose to use
striking anywhere on the opponents body will down them every time.
And of course there are other factors to consider.
All of which are
required for maximum effectiveness. It is still possible to not use some of
them and reach effectiveness, depending on the mix of other training choices
employed.
The most
important thing is long term regular training is involved. Training
effectiveness in a shorter time frame is less optimal.
Let me suggest
some favorite application studies. While I never met an application I didn’t
like, there are right up there, until my next favorite movement.
Move for the
day:
Monday –
Variation of the
movement for Mawashi Uke (inspired by studies with Tristan Sutrisno)
1. The opponent punches/strikes/grabs
with their forward hand as the step forward with their right foot.
2. Step forward with your right foot (interior line of defense) as your right
hand parries their right arm to your outside.
3. As that occurs your left hand slides up your right arm in a haito strike to
their arm. Then it rolls over and slides down to their wrist to grab it.
4. while that occurs your right nukite circles back and out into their throat.
5. They fall down, go boom.
Something to that effect. The same
motion has many uses interior or exterior ling of defense. Moving forward with
either foot. stationary, or retreating.
Tuesday–
Variation of the
movement in the Wansu Dump (inspired by Sherman Harrill). This position is a
kamae where you draw back from an opponent as if inviting them to attack. The
left open hand is held high above the head, the right open hand is at the hip.
1. Against a right grab or strike
a. Step back with the right foot into a cat
stance, the left
hand
is used to parry the grab/strike, the right hand is used to
strike
up into the opponents abdomen. The
rising force of the
strike
making to rise away from the force of the palm strike.
b. Begin to rotate your torso 180 degrees to the
left. Your left hand presses downward against their grabbing/striking arm, at the same time your right hand rises
and lightly strikes
into the side of
their neck and presses inand down as
you
rotate
counter-clockwise. The motion between both your
hands begins to
force the opponent down toward the ground
The opponents center of gravity has
shifted between your two hands unbalancing them
c.As the opponent starts to go down, complete your torso rotation, then complete
the resulting throw by stepping back with the left foot.Drop to your right knee and ride down the
opponent to finish them on the floor.
2. Alternatively against a left grab or
strike
a. Step back with the right foot into a cat
stance , the left hand is used to parry the grab/strike,
the right hand is used to
strike up into
the side opponents abdomen. The rising
force
of the strike
making to rise away from the force of the palm
strike.
b.Begin to rotate your torso 180 degrees to the left. Your left hand
presses downward against their grabbing/striking arm, at the same time your right hand rises and lightly strikes
into the lest
arms triceps muscle, presses inand down
as you
rotate
counter-clockwise. The motion between both your
hands begins to
force the opponent down toward the ground
The opponents center of gravity has
shifted between your two hands unbalancing them
c.As the opponent starts to go down, complete your torso rotation, then
complete the resulting throw by stepping back with the left foot.Drop to your right knee and ride down the
opponent to finish them on the floor.
Right of left strike makes no difference.
Wednesday-
Utilization of
part of a movement from Chinto kata, then use the example provided from Tris
Sutrisno for the movement. When you grab the attacking arm the opponents center
of gravity moves to that grabbing location, allowing easier takedowns. (related
to some of the tjimande takedows we study)
Here I am
performing the takedown
This is Tris
Sutrisno performing a Tjimande version of the movement
Thursday-
Then there is
our 9thAikido drill. It can also be derived from kata Chinto.
Young Lee
demonstrating the movement in slower motion
Friday-
Then I might
select a movement I first saw the first time I met Garry Gerossie. He was a
student of Sherman Harrill. I later saw this being done by Sherman and John
Kerker. It comes from the forward stepping movement of the 2nd row
of Seisan Kata.
The opponent is
stepping in with a right strike,
1. You step forward with your right
foot.
a.The left hand sweeps the grab/strike down
b.As you step forward your right hand as a palm
strike
sweeps up and slides into
their abdomen creating a rising
force lifting them upward
c.Then your right hand continues to rise and
the open hand
finish by striking into their
neck as a reverse ridge hand
strike. This takes their
rising motion and continues the
movement.
d.The
right hand after that strike turns over and as a shuto
strikes into their neck a 2nd
time, this time with a downward
force. This causes them to
begin to sink.
e.After the strike the left arm rises up under their striking arm as the
right arm pulls back over their striking arm
f. Pull both arm back into an
“X”, creating pressure against
their arm causing their
center of gravity to shift to that
pressure.
g. Step back with your left
foot and you turn to your right.
The pressure of the “X”
causes then to bend down in a lock.
Saturday -
This one solely
is my creation. I was giving a clinic at a local Goju school when this came to
me. It is inspired from Seiunchin kata when you grab your right wrist with your
left hand and then strike. This application shows close interior use of this
strike motion.
The
attacker is close and striking with the right then left hand,a 1 – 2 punch.
1.Against their initial right punch you raise both your hands to
Forming the grabbed fist, That fist
formation is used as a wedging
Motion to deflect their initial strike
to the side.
2.Against their 2nd strike with the left, after the initial
deflection
Your wedged hands slide to the right
and deflect that strike to the
side.
3.Then your right foot slides forward and utilizes that Force Enhancer to make the augmented punch a
finishing strike into their
Solar plexus.
The entire motion of the hands is a circular one. First circling
over for the first block, then circling over and somewhat back into the 2nd
block. Finishing with a forward circular motion with the step as you strike.
Sunday-
To conclude the
weak I pick another of my favorites. One using the Force Enhancement of the
opening to Sanchin Kata where you first step forward. This is the same motion
used for the opening of SunNuSu kata. Right of Left a situational choice for
interior lines of defense.
Slide
the Right Foot Forward in an inward arch into right Sanchin Dachi, at the same
time bring both arms up in front of the chest" - precursor to the following
morote chudan yoku uke. -- I would add left arm out, right crossed on top.
The first thing this reminds me of is the use of the movement as a stop hit. Sherman Harrill has a variation of this he's
used on me.
1.As I see it, uke's coming out to
punch me with his right hand (or to grab me with his right hand).
a. I step forward with my right and
used the crossed hands to strike
straight into his solar plexus as he's
moving with my left. The
crossing right can also strike
into the chest at the same time (a Double hit).
The two hands rotate
outward as in the kata.
i. the left hand counter-clockwise rotation is timed to rotate
and help deflect the strike.
ii. the right hand clockwise rotation is timed to roll the
strike
into their solar plexus, and the upward drive of the strike
mover its force into the body to rise upward.
The throat can also be a target of opportunity. Especially used in some Aikido as an Atemi strike into the throat. I
cite Mitsugi Saotome's "The Principles
of Aikido" page 56 - 57. Shomenuchi irimi with atemi to the throat, and with atemi to the solar plexus.
Great example. BTW works great, too.
2. As I see it, uke's coming out to punch me with his lef hand
(or to grab me with his left hand).
a. The Sanchin opening
works the same way.
a. You step out with your
right foot into sanchin dachi.
b. You raise your left arm
as a deflection to the side, the hand
rotating counter-clockwise
to aid in the strike deflection.
c. At the same time your
rising right hand strikes into their
kidney with a rising
twisting force so that strike moves into
the opponents body.
Again left punch right punch makes no difference.
Sunday-
For
this one I choose to use another technique from Sanchin kata.I refer you to my blog for this one.
It really makes
no difference which movements you use. I have hundreds of them, literally. Of
course this is just the beginning.
There are other
factors to consider (there are always more of them).
Foremost being
time. You have to learn the movement application slow and then against faster
and faster attacks. You have to perform the movements at a constant speed. In
fact at the same pace you execute the kata. It takes time to create skill with
the movement against an attack.
Then the
movement must be studied with a variety of attacks to learn which ones are
possible to enter with the defensive movement. Of course that is just a name,
for defensive movements are also offensive in their own right.
In time the Spirit
enters the equation. When your trust to execute the movement becomes certainty.
Without use of the Spirit, you will doubt and not succeed.
You have a
responsibility for the future. Where one technique is theoretically all you
need, it is also not enough.
You have to
continue to work on endless possibilities from the kata. The idea is not to be
able to choose the correct response for an attack, Rather to build your Spirit about your system of study so no
technique takes preference. Rather you can use any of them to enter any attack
and succeed.
Too many try to simplify
what is required.
There can be different
quests as to what training is to do.
