A punch is still a punch

 

You must remember this,

A punch is still a punch,

A kick is just a kick,

And fundamental things apply,

As time goes by

 

THE OTHER NAIHANCHI FROM MOTOBU SENSEI

 

 

THE OTHER NAIHANCHI FROM MOTOBU SENSEI

Article by Emanuel Giordano

 

In this period, speaking with Matteo Muratori (https://my2centskarate.com/), I learned of a particular version of Motobu Choki sensei's Naihanchi, described with great precision in a story written by one of his students. So I decided to start a search to find any evidence of this particular version in other sources.

 

KONISHI YASUHIRO

 

Browsing through the texts in my collection, I found the Naihanchi in question in the book Nyumon Shinsho Zukai Karate Nyumon Shindo Jinen-ryu (1956), written by Konishi Yasuhiro. In this book we find, preceded by a short introduction, the photographic sequence, complete with descriptions, of the first half of the Naihanchi shodan kata, performed by Motobu sensei. In the introduction, among other things, Konishi sensei explains that this was the kata in which the aforementioned master excelled, who fortunately was able to pass it on to posterity. This version differs from that presented on other occasions by Motobu sensei due to the absence of two techniques: the second namigaeshi and the second yoko-uke. This detail makes it one of a kind, as we will see shortly.

 

The absence of the second yoko-uke is a typical feature of some versions of the Naihanchi kata (Tachimura, Ishimine, Hanashiro, etc.). Although this technique is not present, the hands are not simply brought to the side, but perform a particular movement, which in practical application turns out to be a grip on the opponent's arm with a consequent joint manipulation technique (Tuidi / Tuite). In the most popular versions, including the other version handed down by Motobu sensei, a yoko-uke is performed first, and then the hands are brought to the side. I would like to emphasize that, despite this difference, the application is unchanged, at least in the Shorin-ryu Shidokan, a school I belong to. In fact, the sequence "yoko-uke - hands on the side", although in the kata it is performed with two distinct techniques, in one of its applications it turns out to be a single fluid movement, suitable for the execution of a joint manipulation. There is a theory according to which originally, this particular part of the kata, was performed as in the version presented in this article, and that the introduction of the second yoko-uke was a simplification designed to allow easier learning of this form from part of the new practitioners. However, as mentioned above, this modification has not taken anything away from the kata, as the application has remained unchanged. Indeed, it is necessary to clarify that, in reality, it is a technical enrichment, since in this way further applications of the sequence in question have been introduced, which have flanked and not replaced the "original" application.

 

What makes this version unique, however, is the complete absence of the second namigaeshi, which is also reflected in the text quoted at the beginning of the article. As can be seen from the attached images, this is not a mere "editorial" choice, the aim of which is not to occupy too much space in the book, since photos and descriptions relating to "minor" details have even been included, such as the mere rotation of the head (photos 8, 13, 19, 22 and 24).

 

CONCLUSION

 

This version of the kata is therefore different from the one presented in other photographic sequences by Motobu sensei, making it in fact a second version attributable to him. The lack of the second yoko-uke unites this form to other versions of this kata, but the lack of the second namigaeshi makes it, at the moment, unique, distinguishing it from the other versions.

 

FOR MORE INFORMATION YOU CAN READ:

Shorin-ryu Karate - Kata 2 https://www.amazon.com/dp-B08PJKJJ93/dp/B08PJKJJ93/

Shorin-ryu Karate: Kata https://www.amazon.com/dp/1797548328

Shorin-ryu Karate: the legacy of the bodyguards of the king of Okinawa https://www.amazon.com/dp/1981728090

The legend of the masters of Okinawan Karate: biographies, curiosities and mysteries https://www.amazon.com/dp/1533496498

Bujin TV channel: https://bujin.tv/profile/32

 

ORIGINAL ARTICLE HERE: https://karate-shorin-ryu-piemonte.webnode.it/.../the.../

Naoki Motobu

The Motobu family has the originals of these photos, but Konishi Sensei's book is missing only a few.

 

Further reflection on kata changes.

 

When I was a student and my first kata was Seisan as taught by my Senior Dennis Lockwood.  However in time, Dennis changed the kata progressed after each 180 degree turn the line of the kata shifted slightly over and the centerline of the kata shifted as a result.

 

Here is Sensei Lewis performing a version very similar to what I was originally shown. I never saw this until many years later

 

Then one day when I knew the kata as I had been shown my senior Dennis Lockwood showed me how to adjust my stance when I did Seisan to keep the kata on the same N-W line when I performed it. That became my kata from that point.

 

Then I learned Seiunchin kata  from Dennis Lockwood. However almost immediately after I learned it, I was on a Yellow Belt team to perform the kata working with Sensei Lewis. He made changes to our execution and drilled us very rigorously. This became the standard I followed for the rest of my life.

 

Many years later I saw this video of Sensei Lewis performing Seiunchin back in the 60s. It was not the version I was drilled on.  Seiunchin

 

This is me and my son Victor Michael performing Seiunchin as I was taught the form by Lewis Sensei. 

Nihanchi and Wansu kata were taught to me by Seneri Lockwood.

 

At that time I also began traveling to the Princess Anne Dojo, the Laurel Dojo and the Dover Dojo. I found they were doing slightly different variation of the kata I knew.

 

When visiting Dover, Riggy sensei always had me perform the kata I know. Explaining that over the years many of the instructors had learned different versions of the same kata. He wanted to stay aware of what Lewis Sensei was teaching at that time. He also explained Lewis Sensei never criticized that their version was not the same as he was teaching at that time, he only wanted excellent execution of what they were doing.

 

My last night in the dojo before I had to leave for work, I was promoted to Green Belt by Lewis Sensei. He also taught me the opening section for Chinto kata.

 

Then living far away, having to study Tang Soo Do Mood  Dun Kwan as that was all that was availabie. I continued to work on the section of Chinto I was shows. A year later  I returned to Salisbury for my vacation and learnt a little more Chinto from Lewis Sensei. As a bank employee in Pa. had to take a mandatory 2 week vacation. I also visited the Princess Anne Dojo and the Dover Dojo, run by other instructors under Lewis Sensei. Each of those instructors gave me more and more of the kata, till I finally had the whole thing. That Thursday I returned to Salisbury and Lewis Sensei worked with me further.  The form I had used various versions of Chinto, each of those instructors had been taught their version by Lewis Sensei.

 

Years later I saw this version of Lewis Sensei, closest to what I was shown.  Chinto

 

This is Young Lee performing Chinto as I taught it in 1988. 

 

One of his very close friends was Karl Hover of Virginia. Here is his version.  Karl Hovey Chinto

When I was a yellow belt I remember Karl’s performance version at the 1975 Sunnyside Gardens tournament. Then his jumping kicks were extremely high and explosive.

Then to just throw this in the mix here is the version Charles was doing in 1982 when in West Germany. It was slightly different from what he taught me in 1977. 

Then when I began training in Isshinryu again, with Charles Murray. The first thing he did was have me perform the kata I knew. Once I finished Charles did the same kata that I had performed.

 

They were much the same, but each of them was different too.

Charles told me that I would continue to perform Seisan, Seiunchin, Naifanchi, Wansu and Chinto as I had learned them in Salisbury. But from that point on I would learn the other kata as he did them, and that is what happened.

 

Sometime later I asked Charles why there were different versions.He said that is how sensei taught his students.  He worked out part of the answer  1.) Shimabuku Tatsuo was known for teaching different individuals the same kata in different ways/ (This is of course oral history but  one time Sherman Harrill remarked the same to me.)

 

And I was trained by Charles one on one. He would rapidly teach me a kata, Then ½ of our classes were each of us doing kata after kata,, over and over. (aside- the other ½ of our classes involved constant kumite, meaning he would work me over and over)

 

The other this was Charles observed when he was a student every time his friend Don Bohan met returning Marines who had trained on Okinawa he arranged to have them demonstrate what they were learning form Shimabuku on Okinawa. Tom was present for many of those performances. So Charles observed Lewis Sensei would teach those versions to those students at that time. He felt Sensei was attempting to follow Shimabuku Tausuo current teachings.

 

Thus at different times different versions of the kata were taught. Again what Lewis Sensei cared about was not the ‘correct’ version rather how much you could put into the performance you did.

 

Now in those days there was no internet, few videos, etc. So what Isshinryu was or could be depended on what your instructor taught you. There was no other clear cut reference. Some Isshinryu did meet at some tournaments and others at other tournaments,still others did not go to tournaments.

 

 

Training with Charles I was rapidly put through Kusanku,Sunsu, Sanchin the Tokumine no Kon.

 

Many years later I saw this video of Lewis Sensei. Tokumine No Kon

It was very, very close to how I learned the form.

On reflection this was way before my time, probably about 15 years into his own study. I would see this as consistent for 15 years of study. When I saw Sensei compete with this form in the 80's his performance was magical, the bo seemed to float in his hands. I will never forger how magical his Tokumini was, way beyond me. IMO he was the best bo technician I have ever seen.

 

Before long Charles taught me Urashie No Bo.

 

Then one day he returned from a visit to his parents in Deleware.. He also had trained in Salisbury with Lewis Sensei. There he was shown Shi Shi No Kon No Dai. Mr. Lewis also permitted Charles to borrow his copy of the 1966 Shimabku Super 8 movies. At that time those movies were kept close, (Long before the advent of YouTube)

 

Charles worked on Shi Shi… then one day he gave me the films and a movie editor where I could view the movie frame by frame, by turning the editor crank, He challenged me to learn the form Chia Fa on the movie.  And then when I had it I was going to teach it to him.

 

At that time on one else in Lewis Sensei’s group knew that form, as it was not part of Lewis Sensei’s studies in Agena.

 

In those days few of my seniors in Mr Lewis’s group studies all of the weapons. Charles was very interested as when he trained with Shimabuku Sensei in Agena for a year in 1972 he had learned Urashie No Bo there.

 

So I began my appointed task of learning the form on the movie called Chia Fa on the movie. Over and over I advanced the movie editor. At times cell by cell, at times faster viewing. I went crazy watching the movie cell by cell and attempting to learn that form.  .

 

Eventually I got something and was at the point that for decades I could not watch that form.

 

Several weeks later after much effort I did teach the form to Charles, And before long he was doing it better than I. Part of the key is that it is the grip of the palm that controls the spins of the tonfa.

 

When I underwent my black belt examination at a clinic that was also being held with Mitchum Sensei, Charles had me demonstrate the form for all present. Mitchum Sejnsei also stated that he did not know the form for it was not studied in his time on Okinawa.

 

To shortly after I received my black belt Charles was returning to the USMC for his career. Before that he had just begun teaching me Shi Sho No Kon No Dai, but I only had the opening section.     The day he was finishing packing up his home, I began teaching me the rest of the form.

 

It was outside in his back yard, and the day had waves of dark clouds moving over us.

 

Suddenly it began to thunderstorm with all that fury. Charles went inside and continued to pack. I remained standing in his back yark, working on what I had been shown. It poured, the winds howled and lighting was in the sky, but I remained working on the form. Wet gi and wet be in that storm.

 

When the storm passed Charles looked up and saw be working on what I had. He came back out and showed me some more until the rain began again. He went back inside to pack, I remained outside in the storm working on my form.

 

This repeated for several more cycles. Somehow I got the form,

 

At that point Charles and I said goodbye and I left to go home. (where of course I continued to work on the form.

 

Of course that was a sad day, for it would be a year before I saw Charles again. There was no documentation that I had. The burden of working on the complete Isshinryu system that I had been shown was solely on me. Technically that was all the Isshinryu form instruction that I would receive.

 

About a year after I received my black belt I was at an IKC shiai down in Deleware and at the black belt meeting before things began, Lewis Sensei announced a change we should make to our Wansu kata.

 

Apparently after seeing an article of Angi Uzen showing Wansu Kata, one section of the kata (before the side kick section) was different from what we were doing. In that section was followed by stepping out with the left foot and delivering a right hooking strike followed by a left hooking strike. (then to step back with the before the left side kick)

 

What Angi showed in that article was stepping out with the left first and then stepping out with the right.  And after both sections were completed just throwing the left side kick.

 

That section just flipped the movements to that. The change technically did not change the potential of Wansu kata in any way.

 

But I made the change, and taught it that way thereafter.

 

 

[Aside back in 1997 one Isshinryu senior watched one of  my black belts warming up for a demonstration using Wansu as I taught it. He came rushing to me to tell me that my student did the kata incorrectly. Now the purpose of that day was a clinic on Wansu kata applications from Sherman Harrill. Mr. Lewis had come to Derry to be with his friend Sherman too. After listening to that senior’s concerns, I responded “That was how my instructor Lewis Sensei taught me to do the form. I understand your concerns, and as Sensei is sitting over there with Sherman, please correct him and instruct him to change what I do. For I would always do what my Sensei instructs me…..” Silence followed.”

 

Time passed and about a decade after I had received my black belt I was working very hard at how kata technique could be applied. So much so I found that when I found a potential application I believe in and  that application was slightly different from the manner in which I was taught the kata, I started altering what I taught to match that application.

 

Then one day I realized what I was doing. I then realized I did not need to change the kata to work that application to then slowly change what I was teaching back to the original version. All of which took much thought. I believe it also explains why kata changes occurred with different instructors over time.

 

This is a complex issue after all.

 

For me there is no problem. I have only wanted to do my kata as Tom and Charles taught me. Theirs were to be the only standard I needed. Except of course when I did not, I am only human after all.

At times I have been the Poet

 

I wrote this about 30 years ago,

And at times I have been a poet.

 

I’ve been the beginner learning my right foot from my left.

I’ve been the student learning the tools of my craft.

I’ve been the practitioner increasing the scope of my skills.

I’ve been the adept taking responsibility for the breadth of my art.

I’ve been the instructor.

 

I guide the beginner.

I focus the student.

I encourage the practitioner.

I explore with the adept.

I draw out the instructor.

My vision is without bounds.

My abilities are less.

History but one tool in my arsenal.

My studies have been vast, but my grasp of the circle is small.

I’ve found friendship and betrayal, joy and sorrow and loneliness.

And the utter certainty that I cannot pass my entire vision along.

None can walk my way, and their efforts are driven by their own needs.

Especially as I cannot take their freedom but can point the way.

 

I remain the beginner as my body must be faced anew each day.

I remain the student learning the tools of my craft.

I remain the practitioner seeking to increase the scope of my skills .

I remain the adept trying to hold the sea in my arms.

 

I am the instructor.

I am senior.

 

Perhaps I’ll be like Prufrock.

 

“I grow Old, I grow Old, Shall I wear the bottoms of my trousers rolled?”

 

Kobo Kenpo Karatedo Nyumon by Kenwa Mabuni

 

Kobo Kenpo Karatedo Nyumon by Kenwa Mabuni

as translated by Joe Swift:

The meaning of the directions in kata is not well understood, and frequently mistakes are made in the interpretation of kata movements. In extreme cases, it is sometimes heard that "this kata  moves in 8 directions so it is designed for fighting 8 opponents" or some such nonsense. I would like to specifically address this issue now.

 

Looking at the embusen for Pinan Nidan , one can see that karate kata move in all directions, forward and back, left and right. When interpreting kata one must not get too caught up in these directions. For example, do not fall into the trap of thinking that just because a kata begins to the left that the opponent is always attacking from the left. There are two ways of looking at this:

1 - The kata is defending against an attack from the left.

2 - Angle to the left against a frontal attack.

 

At first glance, both of these look alright. However, looking at only number (1), the meaning of the kata becomes narrow, and the kata, which in reality must be applied freely in any situation, becomes awfully meager in its application.

 

Looking at an actual example, the 5 Pinan kata all start to the left, and then repeat the same series of techniques to the right. Looking at interpretation (1), the opponent must always attack from the left, and while fighting that opponent, another opponent comes from behind so the defender turns to fight that opponent.

 

This type of interpretation is highly unreasonable.

 

Looking at interpretation number (2) however, the 5 Pinan kata show us that against an attack from the front we can evade either left or right to put ourselves in the most advantageous position to defend ourselves."

 

A one touch knock out story

About 1984 the magazines started sharing stories about Oyata Sensei and his one touch knock our ability.

 

Never saw it myself.

 

At the end of that year I moved to New Hampshire from Pennsylvania.

 

Then in 1985 my friend Ernest Rothrock described a karate show put on my George Dillman where his school was putting on,

 

Later Ernie told me about seeing George Dillman’s one touch knockout that he observed.

 

Now Ernie is very experienced in a number of different Chinese systems, and he was quite proficient, but he had never seen that done before.

 

He told me over the next few weeks he attempted to KO his senior students with a similar strike, always unexpectedly, but never KO’d them.

 

Of course he has so many different ways to stop an attacker, he eventually abandoned the effort. I imagine his senior students shying away from him had something to do with it too.

 

George Dillman performing a one touch knock out at his demonstration in 1985. The knock out was at 3:58 of the YouTube video of that demonstration. Many friends and acquaintences also gave demos of their styles that day.

 

https://www.youtube.com/watch?v=wqpD6lAhg0c&t=147s

 

It was never really something that interested me.

 

Then in1987 just before I was flying out for a  business conference I heard George Dillman was giving a clinic at a friends school in Manchester, NH and I chose to attend.

 

As I was warming up George Dillman noticed me and said “Smith, I know you from Pennsylvania;”  Now in Penna I was too low ranked to be noticed by him. (when I left I was but a 3^rd dan0. He realistically associated with the Big Boys (all of whom also ran tournaments).

 

As the day progressed he talked, and talked and talked, never  showing anything. But boy could he spin a good tail. Personally many times I did not feel his narative was accurate. But I was just there to attend.

 

Then a bit after the lunch break he suddenly said. “Smith, you are Isshinryu, how would you explain the augmented side block section from Seiunchin kata.”

 

I believe I felt I could not do so. For in those days almost no one worked on kata applications anywhere I had trained.”

 

But from the 5 years I had trained with Tris Sutrisno, I learned quite a bit about how his father system used kata technique for decades of unique application studies.

 

Now living in NH I began to apply the concept kata technique had many application potentials and I started doing so with my favorite kata being Seiunchin Kata.

 

So when George set me up with an uke to step in and throw a right punch(strike) toward me, I responded.

 

I parried the strike with a soft augmented block then continued by separating my arms, placing the tight hand on the attacking wrist as I delivered a left strike into his groin. Then as he bent over I took my left hand and grabbed his wrist to step away using both hands to pull him down to side. The following step away and low block.

 

Which left George having nothing to say further. But he did not acknowledge what I had done and just went on with his monologue.

 

I left the clinic and had not seen George do anything.

 

I had no idea what he had after being there.

 

 

Still inquisitive I went and ordered George Dillman video tape on Seiunchin kata. 

 

https://www.youtube.com/watch?v=AJBjxP7z5FY&t=1083s

  

View the video and make your own assumptions.

 

I found his claim that it mattered not how well you did the form, rather all that was important was you knew how to connect the dots. My restatement of his point.  I thought it made it easy for schools to let bad kata exist and continue to show the deadly things the student could learn.

 

IMO, when I saw the initial performance of Seiunchin Kata, I saw enough. The rest was irrelevant to me, you could say I was less than overwhelmed.

 

A bit later I was talking on the phone to my senior Reese Rigby of Dover, Del. He described a George Dillman clinic he attended. At that time George lined everyone up and went down the line to knock everyone to the floor with a single arm strike to each. When he got to Reese, and struck Reese’s arm, Reese did not go down. G

 

Geroge explained it by saying, “For some of you I am just showing where to strike not trying to put you down.” 

 

Reese told me he went away not knowing if George had anything/

 

As we discussed that clinic I told Reese I had bought that video tape, and I would send it to him to see what George was actually teaching.

 

A few days later I called Reese and inquired if he had watched the tape.

 

His response was laughter. He also told me he was going to sent it on to friends. I agreed to that.

 

Those days were long before YouTube, and video taper were a relatively knew thing.  I only discovered it was placed on YouTube a short while ago.

 

Personally I see striking a non-moving on slowly moving target has nothing similar to a rapidly moving target attempting to strike you.

 

 

The years passed and I did have several ocurrances of light touch knock downs.

 

One day I was demonstrating a Wansu application potential with a brown belt. When I slowly demonstrated the movements on her, she suddenly collapsed. I immediately grabbed her and she did not hit the floor.

I did not understand what occurred. Eventually I worked out what occurred, but with a relatively slow moving target. When I attempted this with other students. The application worked but never like that first collapse.

 

Then in my T’ai  Chi group one Sunday I came up with an application for the T’ai Chi press. I wanted to show it to the group and had a student slowly throw a punch toward me. And I moving in slow motion demonstrated what I was seeing.

 

When my slow press struck his solar plexus the attacker dropped like a rock.

 

Apologizing and explaining I had been going slowly to just demonstrate what could occur, I let him attack me again, and ever more slowly I showed what I was doing.

 

Again, when my slow press struck his solar plexus the attacker dropped like a rock.

 

I stopped showing that technique that day. I spent the rest of the day trying to work out what happened. Finally I gave in and called Ernest Rothrock that night to ask him what happened. For the most part he never really covered explanations of T’ai Chi wih me because my only purpose of the study was to learn the form,

 

He responded laughing, “Victor, I thought I told you to never use that move on a student !”

 

We discussed things further.

 

Yet another time at the end of my T’ai Chi class lesson, a way to use the opening of Chinto kata came to me. I should add my T’ai Chi students were also my black belt Isshinryu students who had an interest in T’ai Chi. So I had a student attack me in slow motion, and in slow motion I showed the application as I saw it.

 

Before I finished the student had been dropped to the ground.

 

Once again I apologized and asked to try again. I went extremely slow and once again I dropped him.

 

It gave me a lot to think about that day.

 

Eventually I worked out what happened,  that application deflected the strike, then continuing with the other moves I closed in the attackers centerline concluding with a strike to their groin of a strike to their center.

 

Then continuing to use that section, my center took over their center and the slightest concluding strike takes the opponent down.

 

So I have had some experience with light strikes dropping an opponent. Never filmed this occurring, just teaching my senior students what occurs.