Cleaned up version of Controlling the Neck

 

twenty oral transmissions (Kuden) for the understanding of kata

Following are twenty oral transmissions (Kuden) for the understanding of kata as taught by Kubota Shozan (a student of Gichin Funakoshi), from his student, Higaki Gennosuke:

 

1. Countering: Motobu Choki commented that the blocking hand must immediately become the attacking hand. It is not a true martial technique to block with one hand and counter with another. When the block and counter-attack are simultaneous that is true martial technique. “There cannot be multiple attacks against true Okinawan karate, because if an attack is countered properly, there can be no further attack.”

 

2. Immobilize the Opponent before Striking: The opponent must be rendered into such a state s/he cannot attack again, or even move, before executing a strike or kick.

 

3. The Names of Movements have been Disguised: Originally there were no names for the movements. It wasn’t until about 1935 that Shotokan established the terminology to teach large groups. However the terminology hid the meaning of the techniques. Many “blocks” were actually attacks.

 

4. There are no Techniques that End with a Block: There is no combative movement that ends with a block; there is always a counteroffensive movement. Moves that are called blocks are really attacks.

 

5. Block with Both Hands: In reality it is difficult to block an attack with one hand. When the hands cross across the chest, it hides a double block, which holds the true meaning. This is based on the fact that it is a natural movement to raise both hands when something comes suddenly at you.

 

6. Grabbing Hand and Pulling Hand: You pull your hand to your hip because that pulls the opponent into position for attack. The opponent will be pulled off-balance, you double the speed and power and the grabbing and pulling can be used for the beginning of throws and joint techniques.

 

7. The Front Hand is the Attacking Hand: By attacking with the front hand you attack from the closest possible distance. (The back hand is the blocking hand).

 

8. Perform a Movement that Consists of Two Counts in One Count: Many movements in kata that are shown as two count are really one-count techniques, which can be explained by a switch step.

 

9. Switch Step (Fumi kae): Most of the movements in kata use a walking gait. To correctly use the movements, it is necessary to change to a switch step. When this is understood, the meaning of kata will deepen. More power can be applied to the punch when the feet slide and the distance can be adjusted between you and the opponent as well.

 

10. Kicks are Performed Low While Grabbing the Opponent: “Kicks are meant to be delivered below the belt.” In most of kata bunkai, kicks are executed when grabbing the opponent. This helps stabilize a person when “standing on one leg.” Also, in close fighting where one can grab an opponent, the field of vision is limited, so it is difficult to defend against a low kick.

 

11. There is One Opponent to the Front: Do not be fooled by the embusen (performance line). As a rule, there is only one opponent to the front. S/he is actually being dragged to the front and rear and to the left and right in a Copernican (the method of tori maintaining the center) change.

 

12. Hang the Opponent to Sky: This is the same as a forearm twist (yuki chigai) in Aikido. It is represented in between techniques in kata.

 

13. Re-block and Re-grip: This refers to controlling the opponent by shutting down the attack by using both hands. The first three blocks of Heian Sandan cross the opponent’s arms (fushu in Chinese; juji garami in Aikido).

 

14. Take the Opponent’s Back: This is the most difficult position for an opponent to counter attack from.

 

15. Crossed Leg Stance: Signifies Body Rotation or a Joint Kick

 

16. Jumps and Body Shifts: Represent Throws

 

17. Break the Balance: in a triangle whose Base is the Base of the Opponent’s Feet, and the third point being the Head, the center of balance can be manipulated accordingly.

 

18. Me-oto-te (The Use of Both Hands Together): An example would be morote uke. The supporting hand (against the elbow) is the grabbing and pulling hand. The “blocking” hand makes the attack.

 

19. Cut the Forearm: Try to use a technique similar to kendo in which the forearm is “Chopped” leaving damage to the tendons.

 

20. The Kamae is an Invitation: When you know where the attack will occur, it is easier to defend against it.

A simpler statement of the 20

 

The Kuden

1. Countering
   1. The blocking hand becomes the attacking hand.
2. Immobilize the opponent before striking.
3. The names of movements have been disguised.
   1. Originally there were no names for movements. These were added later after karate had been introduced to Japan.
4. There are no techniques that end with a block.
   1. There is always a counter attack.
5. Block with both hands.
6. Grabbing hand and pulling hand
   1. Grabbing and pulling are integral components of karate.
7. The front hand is the attacking hand.
8. Perform movements that consist of two counts in one count.
9. Switch step (fumi kae)
   1. The steps in kata are walking gait, the use of the techniques may use a switch step.
10. Kicks are performed low while grabbing the opponent.
11. There is only one opponent, to the front of you.
12. Hang the opponent to the sky
    1. Forearm twist in Aikido.
13. Reblock and Regrip.
    1. shut down the opponent's attack.
14. Take the opponent's back
    1. Move outside to the back of the opponent.
15. Crossed leg stance signifies body rotation or a joint kick.
16. Jumps and body shifts represent throws.
17. Break the balance in a triangle whose base is the base of the opponent's feet.
18. Meoto te
    1. Use both hands together
19. Cut the forearm
20. The kamae is an invitation
    1. When one knows where an attack will happen it is easier to counter.

 

 

Self defense against a grab

 

When I was shown anything, by anybody, I just learned then practiced it.

 

But as time went on I began to realize grab defense was not much of a personal interest to me. The way I say it at 6’1” and solid very few people were going to grab me, and thus there were a lot of things I was teaching and practicing I probably was never going to use.

 

And that might have been true as far as that goes.

 

Then one day I shared that with one of my black belts, who was living in Seattle and visiting. She set me straight.

 

\

“You realize that grabs are the reality that I face every day as a woman. Many attacks I am likely to face are from someone pawing or grabbing me.”

 

 

And she has crossed Russia on train, climbed Kilimanjaro, rafted down the Amazon, climbed mountains and biked across the United States multiple times and Alaska too. Her words had the feel of stark reality to them.

That shook me to the core. Especially as I was also teaching youth.

 

It made think that the reality of my studies is not what I needed, but what my students would face. Not everyone was large and solid. Some men are more slight, and the needs of women and children were there too.

 

So grab defenses were far more than skill building exercises. They are a very vital part of the arts I studied.

 

Then looking further into the issue. I began to realize attacks started in different ways. For some places they first began with a grab.

 

The reality of how your art may be used, needs be foremost in your teachings.

My most important instructor

I have been fortunate to have had 6 knowledgeable and very skilled instructors who each contributed greatly to the shape my art became. But as the years past and I learned more about what each of them share with me, I found my most important instructor.

 

Now I ran a very small program, my attempt to recreate the atmosphere described by older karate. The adult group was much larger than the youth program. But the youth program,the one I began with through the Boys Club and then the Boys and Girls Club was quite stable. Members did come and go but on the average they gave us 2 or 3 years to work with them a bit. With such stability we only added new members maybe one time a year, and they started in a small group, perhaps of 4 or 6 new members.

 

What I discovered is that after decades of teaching each group of beginners, they were my most important instructor. When I had developed other instructors to assist me I continued the beginning indoctrination of all beginners my self, letting them take the rest of the class. This continued for the first 6 or 8 classes for each group. And later when my disabilities manifested themselves, I developed a script for someone (who of course was skilled) to read for me as speech became more and more difficult.

 

My classes did not use play or pretend karate for youth. They were shown real karate from the beginning. And the more I worked with the beginners, the more I worked to explain what I wanted in a higher degree.

 

The program was to give them enough understanding that they could join with the rest of the group for group instruction. At times of course their participation was limited as their knowledge grew.

 

The structure I used was to use most of the first class to explain what Isshinryu karate was and was not. The rules I expected them to follow were explained, such as the first time they spent time in class talking and not working on karate they would receive pushups.

 

Then I would shout ‘push-ups’ and they would see the entire class drop down and do 10. And they saw that no one complained and everyone did them immediately. (Of course each of them had seen the same thing themselves when they were beginners..) 

I explained they were not punishment but to help them refocus on why they were there. I also explained that it was probably not a smart thing for me to do, as they would eventually get stronger to punch me too. I then explained they were here at their choice to learn karate. And if the push-ups the first time didn’t work I would not give them more push-ups, instead they would be sent downstairs to play so they would not affect other members who wanted to train. In reality I gave very few push-ups after that and rarely sent anyone out of the class.

 

 

I covered when they would become eligible to get a uniform (when their parents and I were sure they actually wanted to study karate. After that a whole lot of things got explained.

 

That took most of the first class, but toward the end I always covered how to form the Isshinryu fist, how to punch in horse stance, explained stances, taught them the front stance and then how to walk forward with a crescent step, and how to walk backward with the crescent step. Finally how to step and punch at the same time.

 

There also would always be time to let them observe the same class perform kata sho.

 

Then it would be time to end class and I would review how to rei out, using the same rei they were shown at the classes beginning.

 

I did not expect them to remember what I told them, but in the future when they heard it again, they would recall I told them about that.

 

Then the second class some more basic strikes and blocks, some of the basic kicks. I would review why we chambered and how important that was. By demonstrating a chamber being used as a rear strike to someone behind you. I would also explain how every movement when they knew much more would have very important uses.

 

Then I would show them a mini kata of 4 movements, to aid in the development of basic technique with turning.

 

I would end with them being shown a basic grab release, with a caution they should not attempt this on their parents or a teacher. Cautioning that would probably earn them a paddling, for that was not what karate was for.

 

By the third class they would be deeper into the study of upper body and lower body combinations. They would review the mini kata they were shown the earlier class, then they would be shown a more complex mini kata to challenge them. Those mini kata were good drills on their own merit.

 

Then they would be shown the first movements of our Kata Sho.

 

Finally they would begin learning another grab self defense technique.

 

So class by class gradually I would introduce them to the structure of the program we wan.

 

In turn working with each group of beginners always made me work harder and harder at making them understand what we were doing.

 

In turn they became my instructors, each of them.

 

As they knew nothing they could do no wrong, for they were perfect at what they did not know. Becoming more capable at making them understand what we did became ever more important to me.

 

I bow down to all of them, thousands over the years, for the patience they showed as I worked ever harder at doing a better job.

 

 

 

Where to start?

 

When you approach how to find the application potential of any movement from any kata, the first thing is to cast aside the first things you were told as a beginner. Not that they are incorrect but there is often so much more that can occur.

 

Let’s take the opening rising X block from  Chinto kata. It contains ever so many more possibilities than just rising to deflect a strike upwards, which of course it also does.

 

When the arms form the X there are 5 possibilities to consider.

 

1. Where the arms form the V on top.

2. Where the arms form the < on the right side.

3. Where the arms form the > on the left side.

4. Where the arms form the ^ on the bottom.

5. Where the arms cross in the center.

 

Each of them are different potentials that can be used alone or in combination with the following movements of the kata. To control the opponents strike, to open a response or even to eliminate the potential threat itself.

 

A fuller understanding of any technique must consider many potentials, then you have to make sure you actually train your new understanding until you can make it work. Only at that point can you feel you understand what any gesture offers.

 

Then you move closer to be able to conclude any threat with any technique that presents itself for your use.

 

IMO it is what is meant by No Fixed Attitude, No Fixed Response. Being able to use Total Spontaneity.

 

 

Old Kata Applications

I recently discovered I saved these scans quite a long time ago.

In fact I saved them in 2005, but I no longer know the source.

I am sure they are photos of Motobu Choiki.

I though them worth preserving.

 

 

The Isshinryu System - Action Karate 1968

 

 

I found this rattling around in my files.

Doubt many have seen it,

but this was how The Story of Tatsuo Shimabuku was explained back then.

 

 

We have more accurate description of all of this today.

But there is a case of preserving

the historical record in any case.

 

Whether you accept it on not,

Once upon a time it was what was available.

My first Trophy

 

 

I had competed in Karate tournaments almost from the time I began. But I had never won a trophy doing so either. I did have success at an IKC inner school tournament, winning for my Wansu kata as a blue belt, but those shiai didn’t award trophies either.

 

In fact as a blue belt I competed at a tournament in York Pa, along with my wife who was a yellow belt. She won a 3^rd place trophy for her Seisan kata and I did not place. Of course she had been an athlete a long time, in many sports. Having a chance to succeed for her was just another experience. And she was also a Coach and a Phys Ed instructor.

 But my 2^nd tournament as a Black Belt in Harrisburg Pa. it was another story. Now it was really just a small statewide tournament hosted by an Isshinryu instructor. I had attended several Pennsylvania tournaments but was pretty unknown. I made the hour and a half drive to compete there. I competed in the Black Belt kata division and the Black Belt Weapons kata division as well as in Black Belk kumite.

On this day I won 3^rd place for my Tokumeni No Kun kata.

However the 3^rd place trophy was nice in and of itself.

Now I was by myself. No one I really knew was there either, no one congratulated me. Winning anything was pretty much a new experience for me.

I remember driving home with the trophy on the seat beside me.

And when I got home my wife was congratulated me.  And that was that.

Now no one in the Scranton area really knew me. I was not from there, and really had no acquaintances in the area. The people I knew from when I was studying Tang Soo Do were not happy that I had returned to Isshinryu, and at the Bank I worked at, well the simplest answer was there was no one there interested in karate. And the nature of my work there was not something I could describe to any of them either. I was pretty much an individual contributor in the Bank.

 

In fact the next day I took my trophy to work and placed the trophy on my desk. Of course it drew no compliments either during the day.

 

I had started my program at the Boys Club of Scranton. And I knew Mr. Lewis placed articles in the paper about the Club’s success at tournaments for publicity reasons.

 

I then figured out I should do the same, that was probably the right thing to do.

 

I contacted a local photographer and had him take some photos of me in various karate poses and with the trophy. Then I wrote a short article about my victory and my program through the Boys Club.

 

As it turned out the paper placed it in the Sunday edition, and on the first page of a section of the paper, the article looked very nice. I remember seeing that paper on Sunday morning. And that was about it. I never heard from anyone about that article.

 

Never a word about it, didn’t get more students. I have no idea what anyone who read it felt.

 

But I did learn many things, It really placed what winning at a tournament meant in perspective. Of course winning anything is always nice. But it may mean something to your friends and family, outside that it really means nothing at all.

 

Many more tournaments followed. Many of them against some of the better kata and kobudo competitors in the country. Eventually I did win more times. That competition really forced me to work and that was the most important thing. There were more victories and many more times I was just plugging away.

 

I came to realize that:

 

1. Winning meant who you were competing against.

2. Winning meant who was judging you.

3. Winning meant you won at that second, Another second later someone else might have won.

4, Winning meant that it was a contest and someone was going to win, regardless of how actually good you were.

5. And of course winning meant that you were being tested, to show who you really are. Win or not did not change that.

 

On the whole winning was the least important thing.

 

Being who you are was much more important.

 

So one day I did win that first trophy. Then life took hold and was far more interesting.