Gorky Park

 

Movie Gorky Park taught me a lesson about my karate.

 

One Saturday evening in 1983 I decided to go to a local theater in Scranton to watch a new movie Gorky Park.   It was a cold and rainy night. In those days I only slept 2 or 3 hours a night, a result of my training, my wife had gone to bed so I went by myself.

 

Gorky Park was about a Russian detective and his search for someone who murdered three Russians leaving their bodies in the snow in Gorky Park. Least I forget their faces were removed. And in the end it was an American who was the murderer. I enjoyed the movie immensely.

 

However as I watched the movie one scene made me realize something about my karate studies that totally stunned me. I was stunned about what I realized.

 

I could not put the revelation out of my mind.

 

So at 2 am I decided to call Ernest Rothrock to discuss it with him.

I had trained so heavily in his various Chinese Arts and we had become friends. In fact he regularly would ask me leading questions that made me think about my Isshinryu more deeply.

 

So I ignored propriety and called him waking him up. He was most groggy when he answered the phone. But I launched into my relaxation and went on and on about it.

 

Eventually he woke up and entered the discussion with me.

 

I expect he received more from my friendship than what he wanted.

 

What made the impression was when William Hunt, the detective, caught up with a criminal he was chasing in a railroad yard, began fighting with the criminal…and it was a pitched fight.

 

Eventually he took the guy to the ground and then proceeded to strike him again and again.

 

That made me realize when you immobilize an opponent the strikes to more damage when they cannot move away from them.

 

That was something on one had suggested in my 10 years of study with various people.

 

That opened up whole ranges of application studies for me.

 

Looking back on it I realize how silly it was to wake Ernest up over that. After all almost every application of his eagle claw involves grabbing some one with a clawing technique and then striking them.

 

But my studies with him were just form studies, not form technique application studies.

 

Gorky Park did make me learn. I have always been thankful for that. And it is a damn good movie too.

Barnacles and Stars

 

Lately I have been thinking on the paradigm of karate when I first began.

 

Most would not understand those days.

 

Plain and simple, Most didn’t understand them then either.

 

People came and went like waves upon the shore. It time it both changed and didn’t change. Like waves people came and went.

 

Those of us which lasted were like barnacles. Clinging ever tighter.

 

Now akin to the stars burning in the night.

 

Stretch out our hand, reach toward their warmth.

A Dynamic Takedown

 Back in the late 1980's we were taught the Indonesian version of this technique.

Kani Basami, the crab claw scissor takedown.

The key is in the entry.

 https://www.youtube.com/watch?v=gCeOzlkdW2c

 

 

Thoughts on Funakoshi Ginchin writings on his art

There is so much we really do not know  about Funakoshi Ginchin, but that does not stop many making assumption what is  wrong about his art, named by his students as Shotokan.

When in his 50s he moved to Japan proper, first to give some demonstrations. Kano Jigero strongly suggested he teach his karate there. He did teaching there for a year.

He prepared a book to leave behind for his students, and likely to be able for those in the Japanese martial arts traditions to help understand his art.

·         Funakoshi, Gichin (1922). Tō-te Ryūkyū Kenpō (唐手 : 琉球拳法)

Instead he remained in Japan and a few years later republished his book this time with photos.

·         Funakoshi, Gichin (1925). Karate Jutsu (唐手術) (PDF).  

A decade later he published his Master Text on his art.

·         Funakoshi, Gichin (1935). Karate-Do Kyohan (空手道教範 ) 

The interesting thing is each edition contained several chapters from the Okinawan Bubishi, always in the original Chinese.

Unfortunately I do not read either Japanese or Chinese, I did copy these pages from a .pdf of the 1935 karate Koyhan. Using the 1972 edition published by Ohshima,  He felt he could not translate those pages and just left them in their original Chinese.

However this section has been translated into English.

·         Funakoshi, Gichin (1973). Karate-Do Kyohan: The Master Text. Translated by Tsutomu Ohshima. Tokyo: Kodansha International. ISBN 978-0-87011-190-7.

 

Of course this leaves us with a number of questions about why Funakoshi did this.

1.   As he was leaving this for his students of one year’s it was likely he never covered the material in this text.

2.   Knowing the Japanese dislike of China he might have left it in the original Chinese both as an acknowledgement that part of the Okinawa art was inspired by China. And realizing most would never explore what this says.

3.   There is some very sound material here, and it would be a challenge for the student to obtain it, adding a new dimension to what they had already learned.

4.   Apparently many of his students never got this, One wonders why?

 

The way Funakoshi shared most of his teachings in Japan was to take his karate into the University System of Japan, starting clubs in many schools. This included the Japanese Naval academy.

 

Most of the students (and they were definitely not kids, but young men at University, many with background in Judo and Kendo). They were in those programs for what 4 years, then leaving school for life, doing what student’s do.

 

While some continued their karate, most would not have done so as they had moved away to positions in government, industry or the Navy. What they did do was spread the idea of karate study.

 

Sure some did keep training with Funakoshi at his main school. But I expect many were also trained to take over those programs.

 

It would mean much of the shape of Funakoshi’s art was focused on what students could accomplish in those 4 years.

That also meant many things could not be covered, there simply was not enough time.

 

Then WWII interfered…

 

After the war the surviving students put most of their efforts into maintaining what was referred to as Shotokan, based more on their own studies. Funakoshi became more of a figurehead, often visiting the clubs focusing on basic karate for those members.

 

There was so much that was in his books that  I have rarely seen reference to actual study.  Those sections from the Bubishi being an example.

 

Always so much more to ponder.

 

Some of my blog posts which you might find relevant:

This  is one of those Bubishi sections that I find very interesting

https://isshin-concentration.blogspot.com/2011/07/glimpse-at-bubushi-escape-techniques.html

 

 

https://isshin-concentration.blogspot.com/2015/02/funakoshi-and-bubishi.html

 

 

https://isshin-concentration.blogspot.com/2021/08/the-bubishi-with-comments-by-sensei.html

 

https://isshin-concentration.blogspot.com/2021/07/funakoshi-s-self-defense-analysis-from.html

 

http://www.fightingarts.com/content02/roots_shotokan_1.shtml

http://www.fightingarts.com/content02/roots_shotokan_2.shtml

http://www.fightingarts.com/content02/roots_shotokan_3.shtml

 

 

The Bubishi with comments by Sensei Victor Smith

The Bubishi with comments by Sensei Victor Smith

MONDAY, MAY 07, 2007

 

With Sensei Smith's permission, I offer the following contemplations of the Okinawan's Bubishi.

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

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

The section is pertinent from the perspective escape from an attack is still as much as an issue today as it was in the past. Most obviously these comments are escape against unarmed attack.

Note: All kata referenced in my analysis are the Isshinryu versions

The section I'm looking at is the Methods of Escape

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Works for me.

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

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

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

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

12. In close combat, use your elbows.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Does this suggest additions, corrections, new directions of thinking.

I believe one summary you might make of these escape techniques is that they are ways to deal with a less trained attacker. They work with using the attackers focus against them. Lead their mind in one direction and then counter in another.

Victor Smith on FightingArts.com

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Karate Hell

 

Imagine after spending 45 years doing Karate,

then having no one to work out with,

or no one to talk with about Karate.

Rgarding Kiai

 

Before I share my thoughts I believe you should read this article that was on the MotobuRyu site.

 https://ameblo.jp/motoburyu/entry-12693019417.html

 

Kiai

2021-08-18

Translated by Motobu Naoki

 

*The original article was written in August 2018.

 

When we hold Motobu-ryū seminars overseas, we are sometimes asked about kiai (short shout). The term "kiai" here refers to the kiai that is emitted in the kata.

 

Historically, it is thought that kiai was not used in the kata. In the old days, people in Okinawa practiced martial arts in hiding so as not to be seen. Of course, making noise was strictly forbidden. 

 
For example, Motobu Chōki said the following in an article about a roundtable discussion in the Ryukyu Shimpo before World War II.

 

What was the goal of the ancient martial artists? In the old days, we used to go to Sensei's house secretly and quietly in order to learn techniques. We went to visit Sensei before dawn while it was very dark, so that we would not be seen by anyone else. When we practiced bō, we used to wrap straw around the bō so that it would not make a clacking noise. (Ryukyu Shimpo, November 10, 1936)

 

According to the above, in the old days, when training in makiwara or bō, one was careful not to make any noise, and the mention of bō probably refers to pair training, such as kumi-bō, or training to hit a target with bō, such as standing wood strikes. In such cases, the clinking of the bō would make the training known to others, so the bō was wrapped with straw to prevent it from making noise.
 

Although karate kata are not mentioned here, it is easy to imagine that karate practitioners did not emit kiai even in kata, given the way they practiced in those days without making any inadvertent sounds.

 

How was it in the case of demonstrations? To begin with, it was rare to perform a karate kata in front of many people in the Ryukyu Kingdom. There were occasions when karate kata were performed in front of the king after the enthronement ceremony, but this was an event that occurred only once every few decades. Therefore, it is difficult to know from historical documents whether or not kiai was used. Even from the standpoint of etiquette, it is unlikely that it would have been desirable to shout loudly at the king.

 

The kiai in kata probably started after the war. In particular, it seems to have become widespread after karate competitions began officially in the 1960s in order to appeal strongly to judges and spectators. Even if it was used before that time, it was on a personal level and not a tradition that had existed for a long time.

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

I believe the author make several valid points about the use of KIAI in prior pre-karate and older karate training. That KIAi was not practiced when training.

 

Of course when I was taught my Isshinryu there were KIAI points in the kata I studied, 2 or 3 of them depending on the kata.

But KIAI ia a funny word in that silent KIAI is as real as the verbal KIAI.

 

The act of KIAI might be described as an instantaneous tightening of the diaphragm the expulsion of the breath when a technique is so focused. The technique is locked in to deliver as much power into the technique as possible.

 

Thus you can think of the use of KIAI as a way to maximize power in a technique more destructive toward the opponent.

 

The silent KIAI can do this as much as possible as can the verbal KIAI.

 

There is a separate use of the verbal KIAI, to deliver a very loud, explosive sound that tan startle an opponent. This can be tied to a technique or can be done separate from a technique to immobilize an opponent at that instant creating an opening in the opponent to exploit.

 

There is much to thing about.

For those times when advancing students have too much energy.

Back at the end of the 1980s I had a group of very talented green and brown belt teenagers. Of course they had too much energy available for them and often that led to friendly trouble,

 

I thought about that and worked up a way for them too get rid of their excess energy.

 

What I did was work up a way to use the Isshinryu Naifanchi Kata to be a bit more challenging.

 

As that time there was far less access to recording equipment and I have no video of this drill.

 

My solution was to add several 360 degree jumping crescent kicks to the kata. Then multiple performances would slake their excess energy.

 

1.     From closed stance natural stance, Rei and close the two open hands down.

2.     Step to the left in Naifanchi Stance with the right hand in right chamber position and the left hand striking out to the side with a palm up haito strike.

3.     Remaining in stance deliver a right empi strike into the left open hand palm.

4.     Remaining in stance place both hands down atop the left hip chamber position, Right fist atop the left fist.

5.     The right foot steps out in Naifanchi Stance as the right hand strikes down with a right low strike. The left hand remains in chamber.

6.     Then remain in stance and chamber the right hand to the right hip as the left hand strikes across the body with an open hand spear hand strike (palm up)

7.     ** At this point raise the left knee up and begin a right jumping spinning crescent kick. As you jump and spin you are rotate 360 degrees turning counter-clockwise (as spinning toward your back). The entire time the right hand remains in chamber while the left hand maintains its cross body strike.

8.     As you finish in Naifanchi facing toward the front. Your left hand performs a left open hand outside strike/block while your right open hand spear strike downward toward the opponents groin.

9.     Again remaining in Naifanchi Stance, your left open hand parried down toward your mid section and the right hand rises and then snaps out in a right hand backfist strike to the bridge of your opponents nose.

10.                     Turning your head to the left, remaining in stance, deliver a right backfist strike to the right side, while your left hand simultaneously strikes across your body.

11.                     Remaining in stance deliver a right hammer fist strike across your body, As your left fist chambers on your left hip.

12.                     Conclude. still remaining in stance your head turns to your right and right hand delivers a straight punch to the right side, while the left hand also punches to the right across your body stopping at the side of your body.

13.                     /////////////////////////////////////////////////

14.                     Step to the left in Naifanchi Stance with the right hand in right chamber position and the left hand striking out to the side with a palm up haito strike.

15.                     Remaining in stance deliver a left empi strike into the right open hand palm.

16.                     Remaining in stance place both hands down atop the right hip chamber position, Left fist atop the right fist.

17.                     The left foot steps out in Naifanchi Stance as the lert hand strikes down with a right low strike. The right hand remains in chamber.

18.                     Then remain in stance and chamber the left hand to the right hip as the right hand strikes across the body with an open hand spear hand strike (palm up)

19.                     ** At this point raise the right knee up and begin a left jumping spinning crescent kick. As you jump and spin you are rotate 360 degrees turning clockwise (as spinning toward your back). The entire time the left hand remains in chamber while the right hand maintains its cross body strike.

20.                     As you finish in Naifanchi facing toward the front. Your right hand performs a right open hand outside strike/block while your left open hand spear strike downward toward the opponents groin.

21.                     Again remaining in Naifanchi Stance, your right open hand parried down toward your mid section and the left hand rises and then snaps out in a left hand backfist strike to the bridge of your opponents nose.

22.                     Turning your head to the right, remaining in stance, deliver a left backfist strike to the left side, while your right hand simultaneously strikes across your body.

23.                     Remaining in stance deliver a left hammer fist strike across your body, As your right fist chambers on your right hip.

24.                     Conclude. still remaining in stance your head turns to your left and left hand delivers a straight punch to the left side, while the right hand also punches to the leftt across your body stopping at the side of your body..

25.                     Close your feet to natural stance, Rei and close the two open hands down

 

Thus it makes this version a most interesting exercise, one to make the individual work harder and harder.

 

 

It was Charles Murray who taught me the principle underlying how this change was made.

 

One day when I was a brown belt and studying with him, I had suffered a slight pull on my left leg and as a result I could not perform the jumping front kick from kata Chinto.

 

Charles explained that was not a reason to practice the kata. What he told me to do was replace the jumping front kick by moving the technique down one notch, Instead replace the jumping kick with a stepping forward front kick. Making possible the kata practice.

 

Thereby giving me a tool to use when a student had problems with a technique, then just dialing it back a level to a lower level execution of the technique., for the time being until execution improves.

 

I used the same principle but in the other direction with the addition of the jump spinning crescent kick.

 

There was an adult version where I replaced the jump spinning crescent kick with a stepping 360 degree crescent kick, Where I dialed the kick down a notch.

 

It was used in those years where I had a strong group of teens. But in time the membership of the class changed in different directions, both the youth group and of course the adult program. As a result this drill was put aside.