Monday, July 31, 2023

Mabuni Kenwa’s 5 principles of blocking:

 

 


 

1. Rakka (dropping flower) intercepting an attack by dropping down onto it with such force, that if it was a tree being struck all the leaves or flowers would fall from it's branches.

 

2. Ryu shui (running water) the ability to respond to changing conditions with circular movement. In the same way that flowing water naturally confirms to its path.

 

3. Kusshin (up and down) using vertical movement in order to subjugate an adersary).

 

4. Teni (changing position) thre principles:
i. initiative
ii. combative engagement distance (ma-ai) and
iii. the space between oneself and an opponent necessary for subjugation by shifting and pivoting (tai-sabaki).

 

5. Hangei (countering) the principles of brief but intelligent responses also encompasses the capability to overcome an adversary with or without physical confrontation.

 

From Patrick McCarthy's Ancient Okinawan Martial Arts 2 Pages 23 and 24- abuni Kenwa’s - 5 principles of blocking

 

One Hell of an IssshinryuJudging Panel

 


 

 

Bob Maxwell , Karl Hovey, Tom Lewis, Harold Mitchum,

John Bartsuvics, Reese Rigby and Harvey Hastings in Knoxville Tennessee




 

Isshin-ryū Karate Sanchin kata (Old Video) Arcenio Advincul

  



Shimabuku Tatsuo Sensei learned Sanchin kata from Miyagi Chojun (1888~1953).


Unlike Goju-ryu karate which teaches this as the first kata, Shimabuku Tatsuo Sensei taught this as the last Isshin-ryū Karate.


In an interview with Maekawa (Major Mike in 1996, Major Mike was asked, "What kata did you learn" by Joan Calvert.


"First was Seisan. Kaisukata (1st open kata). Sanchin was last. Chan Mi Gwa taught (Kyan Chotoku's nickname) taught Tatsuo Seisan. Goju-ryu Sanchin. If Sanchin was the first kata, your muscles would be tight and you couldn't do the other kata properly. You do kata in a certain order. Tatsuo said that when lifting weights to bring them up only chest high."


At this interview, 9-18-1996 were George and Joan Calvert, Sal Musco, Susan Riddle and myself.


Maekawa: “Kikō (気功 Chi Kung breathing exercise), Inyō (陰陽 Ying and Yang). In the morning you get good energy. Around 8:00 AM, face the sun and and the sun will give you energy and power. This cultivates the mind and gives good energy.”


While most American never learned Kikō (気功 breathing, it was taught as we can see by the interview with Major Mike. The first part of Seisan and Seiunchin kata and throughout Sanchin kata that breathing is emphasized to bring out chinkuchi. As we can see, Sanchin kata is prolong chinkuchi. Notice the burst or short distance power at the end. While there are several different ways to breath and develop power, Isshin-ryū Karate power is based in chinkuchi.


Kikō 気功 breathing exercise; breath control; spirit cultivation; chi kung; qigong


Ki 気 also 氣 spirit; mind; air; atmosphere; mood; air, gas, steam, vapor; Breath, steam; Vital energy manifested as breath; pneuma; comparable to the Indian prana.


ki (chi) 氣 Invisible life-force, somewhat equivalent to the Indian prāṇa; the material force of the universe. [Charles Muller]


kō 功 Work, effort, function; Accomplishment, result, effect; Effectiveness, efficacy; Skill, ability 


In other words, we are "working our ki, breath". And that is what I am doing.


"You do kata in a certain order." ~ Major Maekawa


What is the traditional order that Shimabuku Tatsuo Sensei taught karate kata:


Seisan

Seiunchin

Naihanchi

Wansu

Chinto

Kusanku

Sunsu

Sanchin


Kyushojutsu: Basic Theory

 

By Joe Swift (Mushinkan Dojo, Kanazawa, Japan)




In recent years, karataka all over the world have begun to reexamine and study their classical Okinawan kata. Practical applications have been a major focus of much of this research, and one of the key components of practical applications is the science of well-placed blows to vital areas, pressure points or acupuncture points. This study is called kyushojutsu in Japanese.



The first article in this series examined the historical development of this art in Okinawa and Japan. This article continues the examination by focusing on the basic theories behind the art.

Kyushojutsu can be, and often is, explained in terms of two different medical paradigms: Traditional Chinese Medicine (TCM) and Modern Western Medicine (MWM). More often than not, the two camps seem to be at odds with each other as to which approach is more valid. However, in this author's opinion, either is fine, and people can probably "pick their poison" so to speak.

 

What To Call The Vital Points


As much of the original theory behind kyushojutsu lies in the Traditional Chinese Medicine (TCM) paradigm, many proponents in the West use the international acu-point code as nomenclature. Others utilize terminology that is more in line with Modern Western Medicine (MWM), citing nerves and muscles, etc.Still others prefer to use different Asian medical or martial arts terms (Japanese, Chinese, Korean, etc.) to describe the locations of the points. Adding to the confusion is the fact that while Traditional Chinese Medicine acu-points and Western Medicine's neurological points are often the located on the same body point, other times they are not.


Kyushojutsu Understood
In Terms Of Traditional Chinese Medicine


The TCM paradigm makes use of the principles of acupuncture (qi flow, balance and interrelationships) to describe its methods and effects. Perhaps a short description of the meridians may be in order here.

Centuries ago in China, doctors discovered "passageways" of energy flow, which are called meridians (a geographical term) in English (McCarthy, 1995). There are 12 major bilateral meridians, for various internal organs. They are: Lung, Large Intestine, Stomach, Spleen, Heart, Small Intestine, Bladder, Kidneys, Pericardium, Liver, Gall Bladder, and the Triple Warmer.



In addition, there are other important meridians not associated with organs (often called Extra Meridians, or Extraordinary Vessels), two of which run vertically along the frontal and posterior center-line, the Conception Vessel (or meridian) and the Governing Vessel (or meridian), respectively.Along these meridians are numerous points or "holes" (Sato, 1996) through which energy can be transferred, or the flow of energy can be modified, through needles, fingertips, or heat in medical application, or though trauma in defensive application. These meridians can be broken down into either yin (negative) or yang (positive).

In TCM for health to be maintained, yin energy and yang energy must be balanced within the body (Sato, 1996). The medical arts such as acupuncture, shiatsu, and kikoo (qi gong in Chinese) seek to restore this balance. In contrast, kyushojutsu, in simple terms, can be viewed as attacking this balance, or the flow of energy, within the body to cause bodily damage to the opponent.



 

One method of using vital point or acu-point strikes employs The Five Element Theory. Some schools of TCM categorize the body's organ meridians into five separate but interrelated elements, namely Fire, Water, Earth, Metal and Wood (Sato, 1996). This is known as the Five Element Theory (FET) which is used to understand how energies related to these elements, which are associated with organs, interrelate, balance, nurture or regulate each other.



The simplistic method of utilizing the FET in kyushojutsu is to follow what is known as the Destructive Cycle. This,is done by attacking the meridians in a specific order to inflict damage upon the opponent by disrupting the flow of energy that regulates (destroys or absorbs) the succeeding or related meridian in the cycle. The Destructive Cycle can be easily remembered by the following formula: Metal cuts Wood; Wood drains nutrition from Earth; Earth absorbs Water; Water puts out Fire; and Fire melts Metal (Sato, 1996; Nakayama, 1998).

Yet another way to apply the kyushojutsu is to attack the meridians during specific time frames, known as shichen in Chinese (McCarthy,1995). This theory states that the energy and blood flow through the meridians is strongest during a specific time of day, corresponding the 12 meridians with 12 two hour periods of the old Chinese clock (McCarthy, 1995; Sato, 1996; Nakayama, 1998). The shichen are broken down into the hours of the Rat, Bull, Tiger, Rabbit, Dragon, Snake, Horse, Ram, Monkey, Bird, Dog, and Boar, respectively (McCarthy, 1995; Sato, 1996; Nakayama, 1998).

 

Tradtional Chinese Medicine Versus Modern Western Medicine

 



Theories of applying kyushojitsu through understanding Traditional Chinese Medicine are not without their detractors, most notably groups of practitioners who research kyushojutsu through Modern Western Medicine (MWM). The MWM approach is useful in providing specific, concrete, scientific examples as to why kyushojutsu works, referring to nerve plexi, tendons, muscles, etc.

Proponents of the MWM approach state that the body's neurological and other systems are well understood and verified scientifically. They point out that meridians have never been scientifically verified (to their satisfaction) and that the whole concept of qi (or chi in Chinese) flies in the face of MWM biochemical concept of the body and its systems. Furthermore, since most acu-points are the same or closely located to neurological points, MWM adherents suggest that a MWM approach makes more sense.



On the other hand, Traditional Chinese medicine appears to be more "descriptive" (for lack of a better word) in its application, preferring to cite "natural" phenomenon such as the Yin-Yang and Five Element Theory. Supporters also point out that recent scientific investigation of acupuncture has confirmed that stimulation of certain acu-points has produced certain organ and brain reactions that can not be explained in terms of Modern Western Medicine.

Even in Asian circles, however, some disagreement exists about some of the TCM theories and principles. In Japan, for example, the Yin-Yang theory has been accepted in the Eastern medical circles, but there seems to be some apprehension about the Five Element Theory. As far back as the Edo period (1603-1867), the scholar Kaihara said that the Five Element Theoryjust makes things "too complicated" (Sato, 1996).

In China, the quanfa master He Yushan stated that the striking of vital areas in terms of the shichen (12 two hour time periods) is preposterous, and later research showed that the blood flow cannot be broken down into 12 equal time periods through the 12 meridians (Jin, 1928).

Rather than bickering about which medical paradigm is more correct, however, some suggest that a better approach might be to combine the two and come up with a concise yet comprehensive explanation (Rench, 1999).

Numerology and Kyushojutsu

If things weren't confusing enough, another aspect of the study of kata and its relation to kyushojutsu is the seeming fascination with numerology. Many tradtional kata (as Gojushiho meaning 54 steps,Nijushiho or 24 steps,Seipai or 18 hands and Senseryu or 36 hands) are named after numbers.

While many seem to think this might be a Chinese phenomenon, it may have actually been imported from India (Zarrilli, 1992). While they are not the only numbers associated with the fighting traditions, some of the more prominent ones are 18, 36, 54, 72, and 108. These numbers can be seen in Indian, Chinese, and Japanese martial arts literature (Jin, 1928; Zarrilli, 1992; McCarthy, 1995; Sato, 1996) and within the names of kata.

One of the most common explanation of the use of these numbers is that there are 108 effective vital points on the human body (used in the martial arts), 36 of which are fatal (Jin, 1928). Another school of thought is that there are 36 vital points, and 72 variations in attacking methodology, making a total of 108 (McCarthy, 1995). Yet another theory lists 36 fatal vital points and 18 non-fatal points (Sato, 1996).

While the exact mechanism of the numerological aspects of the fighting traditions may be lost to antiquity, we are left with several reminders of this ancient heritage in the form of kata names and the number of effective vital points.


About The Author:

Joe Swift, native of New York State (USA) has lived in Japan since 1994. He holds a dan-rank in Isshinryu Karatedo, and also currently acts as assistant instructor at the Mushinkan Shoreiryu Karate Kobudo Dojo in Kanazawa, Japan. He is also a member of the International Ryukyu Karate Research Society and the Okinawa Isshinryu Karate Kobudo Association. He currently works as a translator/interpreter for the Ishikawa International Cooperation Research Centre in Kanazawa. He is also on the Board of Advisors for FightingArts.com.

References:

1.Jin Yiming (1928). Secrets of Wudang Boxing. Translation of section on Vital Points, tr. P. and Y. McCarthy, 1994).

2. McCarthy, P. (1995) Bubishi: The Bible of Karate. Tokyo: C.E.
Tuttle.

3. Nakayama T. (1998). Kassatsu Jizai ni Naru (To Heal or Harm at Will). Tokyo: BAB Japan Inc.

4. Rench, A. (1999). Classical Okinawan/Japanese Pressure Points. Unpublished Document.

5. Sato K. (1996). Seiden Jissen Tenketsu-jutsu. (Orthodox Dim Xue for Real Fighting) Tokyo: Baseball Magazine.

6. Zarrilli, P. (1992) "To heal and/or harm: The vital spots
(marmmam/varmam) in two south Indian martial traditions."
Journal of Asian Martial Arts. Vol. 1:1 and 1:2.

 

Sunday, July 30, 2023

A discussion on Isshinryu Kata

 


 

Isshin-ryū Karate Sanchin kata (Old Video) Arcenio Advincula


Shimabuku Tatsuo Sensei learned Sanchin kata from Miyagi Chojun (1888~1953).

Unlike Goju-ryu karate which teaches this as the first kata, Shimabuku Tatsuo Sensei taught this as the last Isshin-ryū Karate.

In an interview with Maekawa (Major Mike in 1996, Major Mike was asked, "What kata did you learn" by Joan Calvert.

"First was Seisan. Kaisukata (1st open kata). Sanchin was last. Chan Mi Gwa taught (Kyan Chotoku's nickname) taught Tatsuo Seisan. Goju-ryu Sanchin. If Sanchin was the first kata, your muscles would be tight and you couldn't do the other kata properly. You do kata in a certain order. Tatsuo said that when lifting weights to bring them up only chest high."

At this interview, 9-18-1996 were George and Joan Calvert, Sal Musco, Susan Riddle and myself.

Maekawa: “Kikō (
気功 Chi Kung breathing exercise), Inyō (陰陽 Ying and Yang). In the morning you get good energy. Around 8:00 AM, face the sun and and the sun will give you energy and power. This cultivates the mind and gives good energy.”

While most American never learned Kikō (
気功 breathing, it was taught as we can see by the interview with Major Mike. The first part of Seisan and Seiunchin kata and throughout Sanchin kata that breathing is emphasized to bring out chinkuchi. As we can see, Sanchin kata is prolong chinkuchi. Notice the burst or short distance power at the end. While there are several different ways to breath and develop power, Isshin-ryū Karate power is based in chinkuchi.

Kikō
気功 breathing exercise; breath control; spirit cultivation; chi kung; qigong

Ki
also spirit; mind; air; atmosphere; mood; air, gas, steam, vapor; Breath, steam; Vital energy manifested as breath; pneuma; comparable to the Indian prana.

ki (chi)
Invisible life-force, somewhat equivalent to the Indian prāṇa; the material force of the universe. [Charles Muller]

Work, effort, function; Accomplishment, result, effect; Effectiveness, efficacy; Skill, ability

In other words, we are "working our ki, breath". And that is what I am doing.

"You do kata in a certain order." ~ Major Maekawa

What is the traditional order that Shimabuku Tatsuo Sensei taught karate kata:

Seisan
Seiunchin
Naihanchi
Wansu
Chinto
Kusanku
Sunsu
Sanchin

It was somthing to be on the receiving end of this.

 

This reminds me of the time when Tris ended up standing on my shoulders after I stepped in with a strike, I believe this was how his Aikido drill 13 ended up from seeing it one time in 1980. Instead of taking me down when standing atop my shoulders, he just jumped off, flipped a side kick towards my face and landed on the ground lightly.

 

When it occurred I was so shocked I could not figure out how he did it. Nor did his students watching see what he did, for they had never seen that either. About 5 years later watching him perform aikido drill 13 in a demonstration, did I work it out. He used the aikido technique entry to transfer my forward motion into his use for the vertical leap, and then instead of wrapping his legs around my neck chose to instead stand on my shoulders. There is always someone who is beyond your understanding.

 



 

The aikido drills were not strictly aikido, rather incorporated principles from his aikido to teach a variety of entry into attack, and then used a number of other answers with them.

 

 


Saturday, July 29, 2023

Discussion on a variety of Okinawan Kicks

 

 


 

It is serendipity but when I talked about Genwa Nakasone’s book “Karate-Do Taiken” I forgot that a year ago I wrote a bit about Shimpan Shiroma and his contribution on the use of karate technique. This is what I posted, and I have added a photo from the book. In the body of the piece these discussions were accompanied with diagrams.

 

Thought these words by Shiroma Shimpan from the 1938 Nakasone text Karate Do Taiken might be more interesting than talking about something carved on a monument on Okinawa. He wrote:


 

 

9. Use of the right knee parry of a right kick (interior line of defense) and a left knee parry against a right kich, then place the left foot down (spinning off the attacker) and double palm strike to their spine (exterior line of defense).

 

 

 

Hank Prohm What this ISN'T showing is the "foot like a wave" kick as frequently seen in Naihanchi. Once the kick is blocked, that kick to the "taint" is extremely effective.  (The video Hank posted is no longer  available. So I posted a  John Kerker video showing his use of the same kick._

 

https://www.youtube.com/watch?v=5sFXQzEqNvI





Hank Prohm

Your foot comes to the opposite knee and then you kick forward striking with the instep or the toes.

 

Victor Donald Smith Hank you do make a point, there are several kata where the same potential comes into play. In Isshinryu the last front front kicks for wansu kata could be used this way too,

 



Hank Prohm Chris Walton had half a log placed on an outward corner in his dojo where he and his students could practice their toe kicks. Chris, and I supposed the other Kishaba Juku folks could CROSS their toes with the "pointer" toe over the big toe. Since my toes are splayed like someone who wore "flip flops" in Hawaii for 30 years, that wasn't an option for me. However a Kishaba style kick to the "kinteki" as Kotaka sensei used to call it, the "golden point" would be devastating.

 

Victor Donald Smith There are an entire range of Okinawan toe kicks, none of which i have mastered. But I get the point, for once a Shotokan instructor dropped to the floor below me unexpectedly and struck up with the middle finger, and I learned how to fly.


 

Thoughts on Kobudo Secrecy

 

 


 

 What an incredible day on NK.

 

Yes, there is more than a little secrecy regarding kobudo, and perhaps its bred into its roots.

 

I participate on a number of different discussion groups. Why I'm not sure, but some people think I'm not too offensive I guess. Some of them operate with the same 'vow of secrecy' and as a result I cannot share direct information of theirs as I wouldn't share that of yours, either.

 

So take this for what its worth.

 

Regarding Yamani Ryu, on gentleman I have great personal trust in, who operates in the lineage that the Yamani Ryu does, tells me that nobody outside of the direct lineage has received Yamani Ryu tradition. Yes Oshiro Sensei is in that tradition, but apparently his public sharing is a modified version of the family system as he is remaining true to their original values and keeping it in house.

 

Similarily I've heard that Chinen Sensei is also trained in the Yamani tradition but will not teach it, either.

 

Now I'm really not very interested in the Yamani tradition, having more than enough to work on myself as it is, so I'm just repeating (without details) the general outline of what Yamani represents.

 

Except for this individuals word, I have no proof behind it either. But it does seem consistent with the Matayoshi concept of what you show the public, too. And also with the Sutrisno tradition I did study.

 

Truthfully, I belive much kobudo really doesn't care that the public has the correct tradition. In no small part that may be to the belief that you can only get their tradition from hands on training. Something I fully subscribe too anyway.

 

And frankly, I'm of the belief, my goal training is to learn how to use what I have to demolish any other tradition anyways. Of course I'm old and belive in being devious in combat anyways <GRIN>.

 

Regarding Mario's incredible piece on Taira Shinken, I can understand he likely had more studies than he ever taught. Been there and wrote the book, and have friends in the same place. After all who in today's world will spend 30 years studying my friends Northern Eagle Claw to get all of it either (much less the 200+ other forms he's studied).

 

But isn't the case, have your students gotten enough to make a case on their own studies. If so I believe they got all of it, or at least the important part.

 

Reading Pat McCarthy's work on Motobu this morning, one line struck me, where one of Motobu's students mentioned that a formal Ryuhya was never formed because he was always changing what he taught. He was always trying to improve what he was doing.

 

Some how I believe all of this ties together.

 

Thinking furiously,

 

Victor

2006

Two Different Approaches toTeaching the Young

 

 

This was from Rich Bernards school in Londerry, NH,

The House of Samurai,

And this was how I remember his youth classes were structured,

extremley focused on discipline.

 



My own approach was a bit different.



 


 

A Sai Memory

  

I remember the day when Charles Murray first taught me sai. I was a brown belt and he earlier had be purchase a bo and pair of sai when I was in Philadelphia on a business trip.

 

I stopped at Asian World of Martial Arts, which then was located in an old homefront store in North Philadelphia.  The bo was made from an extremely dense wood, and was a bit bent, but it served my purpose.

The sai were a 21 ½ inch version that fit alongside my arm, made of chromed steel with golf club wrap on the handle.

 

I would have them for my martial career, bequeathing them to my students when my time came to step down.

 

But this memory in about sai.

 

He chose to begin me with the Isshinryu version of Chantan Yara No Sai. That was one of his studies when he had been stationed on Okinawa back in 1972. He had been a shodan before he went there, and that form was one of his studies there.

 

He taught kata and kobudo rather quickly. But then it was one to one instruction all the time. And as soon as he taught it to me we would begin regular drilling together on those forms, over and over.

 

After my shodan, then on my own, I competed most often in kobudo kata divisions with Bo. I had observed that is what most of the other competitors did too. Not that other solid kobudo kata were not used, but bo most often won.

 

Several years later I traveled to Delaware for just another regional tournament one Saturday, I remember it was a cold and cloudy day. I also was sick as a dog, but I was going to compete anyway.

 

So the time came when I was on the floor warming up. I was sweating big time from my illness and decided I would use Sai that day.

 

Waiting with the other competitors my name was finally called.

 

I went out and competed with my Chantan Yara No Sai.

 

My kata went fine, I finished.

 

And I was not one of the winners.

 

Later, still sweating hard, I was changing in the locker room before beginning my long drive home.

 

Manny Agreella, one of the regular senior judges who had never talked to me, came up to me and spoke.

Victor, I had to tell you, that was one of the most powerful sai kata I have ever seen.

 

There I was, sick as a dog and that was the last thing I ever expected to hear.

 

Still, I had a long drive home.

 



On a personal note today there are many who have made the ‘right’ sai a passion.

Either getting sai from Okinawa or from the ‘right’ maker.

To me it is the work of decades with any sai you have that makes it fit your hand,

So no other can feel that sai the way you do.

 

 

 

 

Chantan Yara No Sai by Joe Swift

As a former Taira-based Kobudo dude myself, it seems to me that the IR
version of Chatan Yara no Sai is an amalgum of "Tsuken Shitahaku no
Sai" and "Chatan Yara no Sai."

The IR version is longer than the Taira version, and has characteristics of both.

I don't know if this is how Taira Sensei taught it to Shimabuku Sensei
either, or is Shimabuku Sensei took Tsuken Shitahaku and Chatan Yara
and welded them together.

Tsuken Shitakahu no Sai (Tesshinkan version)
http://www.youtube.com/watch?v=3KWRvsUHDR8

Joe Swift