Thursday, November 30, 2023

About Kumite and Tuite By Mitani Kazuya

(Translated by Joe Swift, edited by Bob McMahon)


 


I have written previously on Kihon for Kumite. If Kumite and Toride are the actual techniques, then kata is the Kihon. This is the theory of Karate practice as written in Itosu's 10 lessons, i.e. to learn Kumite through Kata and to practice on the Makiwara. I also learned this way, but I was interested in how styles other than Karate did things as well. 

 

Especially the competitive format as developed by the JKA.  As I watched this format, I believed that Karate could also be used in this arena, so I participated in the modern arena. I believed that 70-80% of Karate techniques could be used there. And, just as I thought, the athletes from my organization showed the power of Karate. I also have interest in other styles fighting techniques.


Leaving this alone for a while, I also hear that Karate is based on kata, or that it is a Budo passed on through kata. I have believed this way of thinking was a bit odd over the years. The different kinds of Te probably had this tendency, but the Te of Matsumura had to have been Kumite and Tuite. The concept of "being in time" that Matsumura passed on shows this. Karate uses Kumite and Tuite as its central practice as well, according to Itosu's 10 precepts. 

 

Hanashiro Chomo Sensei (Kinjo Sensei's teacher) wrote his "Karate Kumite" in 1905, the year Karate was established, so Kumite existed right from the very beginning. Leaving Toride alone for a while, this means that Kumite was a central theme in Karate. Hanashiro Sensei was one of the originators of Karate, and he learned Matsumura's Te, meaning that the same was true of Matsumura's Te. Also, as we can see from the 10 Precepts, Tuite was also used in Karate.


Karate was practiced mainly solo, but it was not Kata practice. Even if you practice kata every day you will not improve at Karate. This is also generally misunderstood. 

 

Itosu Sensei distinguished between Kumite and Toride, but I believe this distinction is comparatively recent. I believe that they were considered the same in the past. On the "Oshima Hikki," Te is referred to as Kumiai-jutsu. The person who was responsible for bringing it to Ryukyu was Koshankin. Thinking on the existence of Kushanku Kata, then it must have been Koshankin who disseminated the Kumiai-jutsu on which this kata is based. This Kumiai-jutsu may have been dying out or lost by the time Matsumura came around (this is why Matsumura's Te was created), but it was the first art transmitted. 

 

This Kumiai-jutsu, as we can see from the kata, must have considered Kumite and Toride as the same thing. Looking at Motobu Sensei's "Watashi no Karate-jutsu" and "Okinawa Kenpo Karate-jutsu" (he says Karate but it is really Shuri-te), he shows many photos within grappling range, showing that Kumite and Tuite were not clearly distinguished. (Comparing these photos with the Kumite photos in later books, we can see that Motobu Sensei was actually good at what he was showing). Kinjo Sensei is the same in this regard: when facing him and exchanging blows, you are invariably grappled and tied up. Thus, Kumite and Toride are actually one in the same, but they were broken up for the purposes of analysis.



The Ten Annotations (of Itosu)  

 - interpreted by Bob McMahon

 

1. Karate was created as a Physical Education program to provide healthy exercise, personal self-defense, and to contribute towards turning out good citizens for the future. Karate is to be used in self-defense only as a last resort and not to be misused to harm others. 

 

2. Karate primarily strengthens muscles and bones and forges a body like iron. One’s arms and legs serve as weapons and one will automatically develop a courageous spirit. If schoolchildren learn karate then it is an excellent way to balance out their overall education. 

 

3. It takes time to become skillful in karate so by practicing industriously for an hour or two each day, after three or four years, one’s bones will change from that of an ordinary person. The essence of karate is revealed to those that put in the greater effort. 

 

4. In karate, you should constantly train your weapons, i.e. your fists and your feet, on the makiwara. Expand your chest, lower your shoulders and harness your power. Adopt a firm stance and train to place your power in your waist. Thrust with each hand a hundred times. Kata was not intended to be solo practice as a makiwara is a convenient partner that caters for the weak and the strong. Unlike a human partner, there is no inconvenience in power or experience as the makiwara accepts the power of each individual. Karate is built on a foundation of repetitive practice. There is generally insufficient time to do so in the dojo. The dojo is for studying the method or way to practice. The place to practice is home.  

 

5. In your karate training maintain a straight back and abdomen, lower the shoulders and brace the torso. Place your ki in the sekiatanden (about 10cm below the umbilicus). It is important to position the head as if the top part is drawn towards the sky. The lower half of the body is taut and the legs, held firm, are positioned as if pulled down by an underground force. 

 

6. Please practice your Kata many times. To do so, learn the steps thoroughly, one at a time. You need to clearly understand the purpose of each step and then practice the practical application carefully with a partner. Please take into account the method of Iri (attack or entering), Uke (to block or receive), Hazushi (to escape or release), and Toride (grappling such as joint-locks and throws). There are taught by kuden (word of mouth) and there are many kuden to explain the movements of kata.  

 

It is not useful to repeat our practice without understanding what it is we are truly practicing. We must be able to train with true purpose If we study and practice kata with the associated kuden, we will come to understand that the very essence of kata (shinzui) is to know when to apply the techniques! 

7. You need to clearly discern which techniques in Kata are for physical education and which are effective techniques that should be practiced. There are 3 categories of techniques in Kata:

1. Effective (waza)

2. Physical exercise

3. Connective (with no meaning)  

 

Not all steps in the kata have practical application. 

1. All kata contain kumite (striking) and toride (grappling). 

2. There are Kata that contain routines that are just for ‘show’. 

3. There are steps to connect one set of moves with the next and also to assist to maintain the geometric configuration of a particular Kata. 

 

8. The attitude you demonstrate in karate training should be the same as if on the battlefield. Please lower your shoulders and brace your body. If you train as if engaging the enemy in situations of both offense and defense, then you will respond effectively in a real encounter. Please be very careful in your training though. 

 

9. You may ruin your health by training harder than your body will allow. Although it is vital to train with realism in mind, it is not wise to exceed your physical limitations. The right balance is important 

 

10. It was thought that karate training increased physical strength and health. In Okinawa at that time, when there was almost no sport, if karate could be seen to be a great way to exercise then it would be adopted far and wide. Itosu regarded karate as a most suitable physical exercise program, particularly appropriate for inclusion in the school education system.


The kata/forms I hsve studied (Victor Smith)


Fyugata Sho

Okinawan school kata Kyozai

Long Annaku

Seisan

Savage Saifa

Seiunchin

Naifanchi

Wansu

Chinto

Sutrinso Nijushiho

Rothrock Lung le kuen supple dragon

Kusanku

Sunsu

Sanchin

The hidden Stick.1


Matzan Tildur

Sutrisno Bassai Dai

Sutrisno Bassai Sho

Sutrisno Gojushiho

Tomari Rohai

Sip Sau Jing

Matsumara no Hakutsuru

Ueichi Sanchin

Ueichi Seisan

Goju Seipai

Goju Suparinpei


The hidden stick.2

The horseman’s foot soldiers form

Tokumine no kon

Urashie no bo

Shi shi no kon no bo

Kusanku sai

Chantan yara no sai

Wansu NO tonfa

Chia fa – hama higa no tonfa

Tanto

Chosen no kama sho

Chosen no kama dai

Short stick


Yang Tai Chi Chaun 108

Yang Tai Chi Chaun Sword


A clinic with John Kerker 10-12-2012

 Each year when I attended, I was only able to attend for 2 hours because of the distance from my home in Derry NH. John permitted me to film him, and I have those videos.



John began with an analysis of the t-stance and the cat stance. In his practice the t-stance has his body ½ turned making it easier to deliver a rear elbow strike.  Mr. Harrill after much research replaced many of the cat stances for this reason.  Research the cat stance in my own tradition.


Then, he worked with everyone on what I refer to as the flaws in alignment or basic uke stances.


Next he developed the use of two different striking techniques in Seisan kata.  By striking downward or upward (into the body) there is a greater effect. The other striking technique is the straight punch.


Following that he worked on a basic drill. As I cannot take notes, I videotaped many of the drills and exercises. Here is what I have.


1 Angling the attacker's body.

2 Description of why seisan punching works

3  

4 Theory of the Seisan Punch

5 the theory of seisan punching 2.

6 more on striking theory

7

8 two handed Blocking drill- and why

9 one handed blocking drill.

10 two handed blocking drill and he knot on the obi.

11 the measurement of the knot on the obi

12 single handed drill and he elbow.

13 explanations of little movement close become larger at distance.

14 mechanics of small movement becoming larger

15 the use of the t stance in striking.

16

17 the block and rolling lock.

18 form exterior block and strike rolling lock and strike.

19 the block from the drill and rolling lock and strike

20 the block from the drill and rolling lock and aikido 3 takedown

21 kick - block and strike - rolling lo headlock and strike.

22 Another explanation kick- block from drill to headlock

23 different stances and the block

24 long - I don't know wrestling or boxing use of the makiwara.

25 bang then bang.

26 hit and strike

27 Hit and strike 2

28 slap and strike for your partner

29 if he strikes with the right, it is more serious for the punch and strike.

30 exterior block n'strike then pull back lock.

31 exterior block n'strike then pull back lock with stance shift.

32 exterior block n'strike then pull back lock with stance shift 2.

33 exterior block n'strike then pull back lock with stance shift 3.

34 exterior block n'strike then pull back lock with stance shift 4.

35 exterior block n'strike then pull back lock with stance shift 5.

36 John and I

37

38 exterior block n'strike then pull back lock with stance shift 6

39 why the drawback

40 exterior block n'strike then pull back lock with stance shift as a 5 count drill 

41 exterior block n'strike then pull back lock with stance shift as a 5 count drill2  

42 the difference of stances

43 exterior block n'strike then pull back lock with stance shift - be careful


John on the T-stance


The key to this victor is the position of the hips, how the cat allows a pull and draw back type of thing, distancing away at angles....the T is versatile in straight line back and forth (IE seisan bridge of nose series) and because the forward foot hip is pointing the same direction as the front foot it gives the front hand a great range for forward striking

 

john


T stance  

 

while facing forward, take you right for and point your toes 90 deg from the knot on your obi. Take you left heal toes pointing forward (same direction as knot on obi) and place the left heal against your right arch. Move your left foot out 1 length of your foot and place you heal were toes were when placed against the arch. Left hip should face same direction as left toes. knot on obi same direction as right foot. cat stance is same height as seisan.

 

cat stance

 

stand feet together toes straight. Turn right foot on it's heel at a 45 degree angle. Move left foot straight forward two of your feet lengths and up slightly on ball of foot, knot on obi should turn direction of back foot, 90 percent of weight on back foot, 10% on front. knot on obi should be over instep of back foot, same height as hook stance.

 

Hope that helps...there is really a big difference between the two John


John.


Where we turn it goes into cat stance, and then steps up to a stance with no name, the right foot directly behind the left for the backfist ,and then steps back into cat stance before the crossover step. Close but not the same.


I then looked at Harrill Sensei’s kata to see your stance. Next, I looked at Lewis Sensei’s Seisan kata on the web. And it wasn’t the kata I was taught.


Over the year’s I just normally don’t look closely at the many different variations of Kata; Instead, I focus on commonalities and just work on my own versions. That and trying to control the different variations my students come up with.


This is the result of Mr. Lewis didn’t often teach the beginners and I was taught mostly by Mr. Lockwood. Each senior when they would help teach from my beginning had their own version, and Mr. Lewis permitted each of them. So we would practice whatever version was being shown.


It turns out Mr. Lewis used to teach as Shimabuku Sensei did, reserving most of his instruction for the advanced students.  He did teach Seiunchin as a group kata in exacting detail, and I’ve always followed that instruction. Then last year I saw Charles version of Mr. Lewis practicing Seiuchin and it was nothing like what I was taught and have practiced neigh these 50 years.


Class in Salisbury when I trained there was ½ kata and ½ tournament kumite. There was a smattering of other stuff, Body Hardening drills, self-defense techniques. Etc., makiwara wasn’t discussed but there was a poor one, no give, in the corner. Very different from your training I’ sure.


Years later when I trained with Charles, he used different kata versions, but didn’t change my early kata (Through Chinto).   He explained that he and Don Bohan would get together with each returning Marine and learn the newest variations that Shimabuku Sensei was teaching, they remarked how Shimabuku would often train different people in different versions and then Mr. Lewis would teach that version, thus his own studies would be the source of variation in the dojo. He didn’t place one version over another version. As a black belt I would attend discussions where he would suggest changes of various reasons. In time I did not make the changes.


I did not follow this pattern of teaching believing a stable kata base more important.  I have made a few changes over the years. Most of the time the earlier version of a kata is focused on beginner development then as a student advances, they are moved to more original versions to me.


As I began to study application possibilities, I had less reason for other changes.


On the other hand, where you have the t-stance, I have a side cat stance in our Annaku Kata, that has many of the same potentials I believe.


John Kerker variety from 2012 - YouTube



 



Knee Release Progress Report – Memorial Day 2001




I'm sharing this with Bunkai Unlimited and Koshi People.


Spending the weekend with a bad knee strain, I've been thinking on my research into the knee release this past week. Apparently, I've stumbled on something which has been relatively undocumented. Such that those who address this haven't been going out of their way to let the rest of us in on it.


Not that I find this surprising, for I believe most of the important areas of martial study are undocumented for public consumption. Frankly this is what I live for, to try and gain a new layer of understanding gaining a little more depth into my art.


I've been discussing this on my own discussion group, Bunkai Unlimited, and also with the Koshi-People Discussion Group. I think it might be helpful to summarize the content of this research to date.


First off, I wish to state I'm keeping this focused on the oneaspect of the knee release. Frankly in all of these studies, there are many other valuable items to consider and I expect we'll continue to discuss them as this study progresses, but I suggest them as spin off discussions at this time. I also believe we may work up a better set of terminology than knee release as we progress, be it Japanese or something more descriptive in English, too.


Initilization of the Process


March 2001, Sherman Harrill at a clinic in Rhode Island, made some general comments regarding use of the knees to generate power. He also presented an interesting application for a section of kata Wansu.


In April when I was working on that Bunkai, I discovered by applying a knee release, I was rotating myself naturally into the technique without body shifting. I then shared my findings with the Bunkai group.


Contributions


Rich Boyden discussed how an aikijutsu instructor demonstrated knee relaxing punching for a relaxed effortless punch. He discussed how the knee release ("yurumu") action was also used to reverse a shiho nage, as well as how Oyata Sensei used this motion to crank up a joint lock. Rich also suggested similar technique may be viewed in Bob Orlando's "Indonesian Fighting Fundamentials" (Panther Video).


Hank Prohm, also suggested the knee release was being used as a `Force Multiplier'.


Another friend who practices Daito Ryu and a related system of kenjutsu, suggests that they spend 90% of their time working on this. 

That Wado Ryu's founder Ostsuka Hironori in his book`Wado-Ryu Karate' show shit as part of Pinan #1 when he says "Sink Your Weight". He also suggested in Daito Ryu they also use a uniquebody alignment with the sinking knees to generate more shocking power  in their strikes.


Joe Swift then threw out a translation of a book by Aragaki Kiyoshi "Okinawa Budo Karate No Gokui" where he based thebook on the "Kuden" (oral transmission) that he received on Okinwan Karate as a young man. He discusse "Hiza wo Kuku" (releasing the knees) to generate power while moving instead of pushing off of the back foot.

https://www.youtube.com/watch?v=_U0_NYaYwRk&list=PLn4pEdlRNc-7L2j12Rk81EjBZ60V56KA-&index=22&t=126s



Will Bill Johnson (from Koshi People) made worthy suggestions about practicing slowly and safely, as the counter and counter of counter potential can quickly drop your uke. He also suggested the term ofr the spiraling descending power is `uzimaki', and the application of the knee release to locks was `jugoku otoshi (drop to hell) where the lock is applied in conjunction with a weight displacement and the power is applied right at point of broken balance.


George Donahue (Kyoshi People) discussed the need for correct alignment to avoid self injury, and increasing the force generated. He also suggests watching Oshiro Toshihiro in his "Uchanidi"video tapes.


My current research suggests the following, too.


1. I've been long aware long term practice allows the body to naturally relax in a technique, causing the center to drop and the power generated will increase. Frankly I'm stunned it neveroccurred to me that you can assist this development with the knee release, too.

2. Ernie Rothrock, teaching my students a very small piece of the Eagle Claw Principles last year stressed dropping the knees then applying the eagle claw locks. Unfortunately, that went no further in my/our thinking at that time.

3. The use of knee release in our kata will be a further source of study as time progresses.

4. The only documentation I seem to have found comes from Gozo Shioda's "Total Aikido", where he describes something like the knee bending when generating a move forward. Not necessarily the same as we've been discussing, but worthy of further study.

5. The fact I haven't found such documentation regarding Judo and Baguazhang, arts I suspect as well as Aikido which must use this principal too, does not mean it is not present. This is an area for further study.

6. I know this is present in my Tai Chi studies, too. I've been unable to locate similar references in my tai chi library, but I'm still searching here too. In fact, from open to close, the knee  release is present 100% of the time, and it is how tai chi movement generates. Pushing Hands drills stress this in correct power generation and neutralization practice.


Summation of Knee Release Options for Study


My group then took these suggestions and ran with it. A simple synopsis would be we are further investigating:


1. How the knee release is used to generate more offensive power. 

2. How the use of the knee release generates torso rotation to generate offensive power.

3. How the use of the knee release generates torso rotation to generate defensive placement.

4. How the use of the knee release becomes a force multiplier to crank up a lock or takedown.

5. How the use of the knee release can counter strikes, locks and takedowns.

6. How the use of the knee release can counter counters.


One thing I have noticed, finding my way through this body of material, its easy to become a kid loose in a candy store. 

Especially in the defensive counter and counter-counter knee release we're most likely dropping too far (perhaps 2 or 3 inches),having fun with this knowledge.


I surmise as we advance this study, we will find a lesser drop will. suffice, and allow us to move into our follow-up faster. 


We are beginning at looking at an Aikido Linking Drill we use to practice various Aikido locks, also as an Aikido countering exercise. We are working at softly applying and countering these techniques, learning how to feel the correct drop for countering application.


I expect as we progress, we will study kata Bunkai along with the potential of using the knee release as a potential counter of same.


I find it interesting how little has been written describing countering locks. Dr. Yang did some of this in his Chin Na Instructors Manual, and there is an Aikido book describing Tomari Aikido (purple cover) which goes into explicit countering of the techniques taught (perhaps consistent with Tomari's aikido free sparring). But as shown, the release of the knee does not appear to be the principle they are using.


It seems to me we're working with a fundamental underlying principle of the arts. 


A target (offensive or defensive) presents a sphere of opportunity to move against. Any technique is most effective perhaps on one plane that touches/intersects that sphere. Defensively if you release the knees, you drop yourself out of the attacker's plane of opportunity, making their efforts less effective. Offensively to make the 

available plane work for you, you need to 1) be quicker on the attack to effectuate your movement before they can respond or 2) you need to be able to adjust yourself (through your own counter knee release) to maintain that plane of opportunity as their sphere changes location.


Now isn't that a mouthful.


But, it might explain why some Okinawan's I've seen perform kata do so incredibly quickly. The issue is the same with striking, and speed is of fundamental importance.


Sure I'm borrowing on the concept of the Dynamic Sphere of Westbrook and Ratti, but I believe this is a different manner than which they use it.


The further I look the larger this topic becomes. I look forward in you joining the research and helping define this more fully in the future.



Wednesday, November 29, 2023

Okinawan Bujin Iron Fist and The Cat

Two Great Bujin of Kume Village:  

Kogusuku Taitei and Aragaki Seisho

By Joe Swift, c 2002



Although Higashionna Kanryo is often mentioned as the father of Naha-te, little if any mention is made of the two Okinawan masters who are believed to have been his first teachers. This article shall attempt to shed a little light on two of Naha-te's unsung heroes, Kogusuku Taitei and Aragaki Seisho.


Iron Fist Kogusuku


One of the most famous names in the history if Naha's Kenpo traditions is probably Kogusuku (Kojo) Taite (1838-1917). His Chinese name was Cai Ru Yi, and he worked as an official interpreter for the Ryukyuan Royal government. His fist is said to have been so strong that he could drop a Ryukyuan bull with two blows, this earning him the nickname Tekken Kogusuku or Iron Fist Kogusuku (Iwai, 1992, 2000).


With regards to his teacher, there are two theories, although neither of them have been proven to any satisfaction. The first stems from the writings of Funakoshi Gichin, who wrote that a certain Kogusuku studied under the Chinese master Iwah (Funakoshi, 1922, 1925, 1935). The second possibility is given by the Kojo family themselves, which say that Taitei learned not only empty hand fighting, but also archery and cudgel fighting from Wzi Xinxian (Bishop, 1999; Hayashi, 2001; Uechi,

1977).


Although there is very little known of the exact curriculum Kogusuku Taitei taught, noted Japanese Budo historian Professor Fujiwara Ryozo states that Funakoshi Gichin learned Suparinpei/Pechurin from Kogusuku before going on to study Kushanku under Asato Anko and Naifuanchi under Itosu Anko (Fujiwara, 1990). Unfortunately, Dr.

Fujiwara fails to quote his source of said information.


Karate historian Iwai Tsukuo also said that Funakoshi learned under Kogukusu Taite, but later left to study with Asato Anko (Iwai, 1992, 2000). He was apparently rather

cheerful, rare for a native of Kuninda, and hated "training secretly in the back yard" preferring instead to teach on a wide-open beach-front. Kogusuku is said to have been the first to actually openly teach the Southern Boxing that was transmitted in Kume, and Higaonna Kanryo was said to have been a very devout student of him (Iwai, 1992, 2000).


One famous story about Kogusuku is how he often had debates with Higashionna Kanryo regarding Sanchin (Bishop, 1999; Hayashi, 2001; Higaonna, 1996; Uechi, 1977). Although the Bishop and Uechi texts do not go into any detail, Higaonna Morio presents a version that obviously favors the Gojuryu side of things, by stating that Higashionna and Kogusuku each performed Sanchin before a  doctor, who checked several physical and physiological factors before declaring Higashionna's Sanchin to be superior (Higaonna, 1996). 


Hayashi Shingo, arguably one of the last teachers of the nearly-extinct Kojoryu karatedo style, tells a different version. Kogusuku Taitei is apparently considered outside of the main stream of Kojoryu Karatedo, but is nonetheless an important figure in Okinawan karatedo history. The version that Hayashi tells is that Kogukusu Taitei and Higashionna Kanryo were arguing about the benifits of Sanchin and Naihanchi. Kogusuku was of the opinion that Naihanchi was superior for developing fighting technique as it encourages the practitioner  to develop the muscles in a pliable manner whereas Sanchin encouraged th tensing and contraction of the muscles

(Hayashi, 2001).



Aragaki the Cat

 


If anyone was more famous than Kogusuku in pre-Higashionna Naha-te, it must have been Aragaki Seisho (1840-1920). Perhaps best known for his participation in the demonstration of martial arts in front of the last Sappushi, Aragaki is also said to have been the first teacher of Higashionna Kanryo (Iwai, 1992, 2000; Hokama, 2001, 2002; McCarthy, 1995, 1999; McKenna, 2001; Nagamine, 1986; Tokashiki, 1988, 1989, 1991). Funakoshi has stated that Aragaki's teacher was the Chinese master Wai Xinxian,  but this remains uncorroborated (Funakoshi, 1922, 1925, 1935).


The curriculum of Aragaki included at least Seisan, Chishaukin, Sochin, Unshu and Niseishi, according to various historical records and the writings by his student Mabuni Kenwa (Nakasone, 1938; Mabuni et al, 1938; McCarthy, 1999). More recent research has pointed to the idea that he also taught Sanchin, Sanseiru and Suparinpei/Pechurin as well (Iwai, 1992, 2000). According to Mabuni, he was also proficient in Ryukyu Kobudo, which is corroborated by the historical record of his

demonstration in 1867 (see below). Also, according to Okinawan Kobudo researcher Nakamoto Masahiro, Aragaki was responsible for passing on the following Kobudo Kata:

Urasoe Bo, Sesoko no Kon, Shokyu no Kon, Aragaki no Sai and Tsuken Hantagwa no Sai (Nakamoto, 1983).


Professionally, Aragaki worked as an official interpreter for the Ryukyu Royal government. Indeed, it is said that when he left for China on official business in 1870, that he left his young protege Higaonna Kanryo in the capable hands of his friend and senior Kogusuku Taitei (Iwai, 1992, 2000; McCarthy, 1995). However, no record of an Aragaki Tsuji Peichin (the title for official interpreters) on any ship from Ryukyu to China in 1870 has been found by this author to date, even after an exhaustive search in Akamine Seiki's 1988 book Daikokai Jidai no Ryukyu, which details the records of the ships in and out of Ryukyu over several centuries. However, this does not preclude the possibility that Aragaki's position was not high enough to be recorded in this abbreviated version of the records.


The very last Sappushi to visit Ryukyu, Zhao Xin, stayed for a total of five months, between 1866 and 1867 (Sakagami, 1978). In April 1867, a celebration was held that marked the formal severance of political ties between the two ancient nations. This celebration was called San-Ru-Chu Narabini Shogei Bangumi or the "Show of 3-6-9

and the Arts," and featured not only various performing arts, but also demonstrations of the local Chinese-based fighting traditions which would later become known the world over as karatedo and Ryukyu kobudo.


The ten items of martial arts demonstrated at this event are as follows. This program was first introduced in English by noted karate historian Patrick McCarthy. See, for example (McCarthy, 1999) for his translation. For this article I have chosen to re-translate the material from alternative Japanese sources.


Although many modern Japanese writers have offered interpretations of what these mean, they usually end up saying the same thing. Hence, this article will mainly use the explanations given by noted martial arts historian Iwai Tsukuo in his 2000 publication entitled Motobu Choki & Ryukyu Karate and by Kinjo Akio, noted Okinawan karate

researcher, in his 1999 publication Karate Den Shinroku.


1. Tinbei by Maesato Chikudun Pechin

The tinbei is the art of using a shield and short spear or a machete-like sword. This art is preserved in several Okinawan kobudo systems. Iwai believes that this Maesato Chikudun Peichin is none other than Maesato Ranpo (1838-1904).


2. Tesshaku & Bojutsu by Maesato Chikudun Pechin and Aragaki Tsuji 

Pechin Tesshaku (iron ruler) is more commonly known as the sai in Okinawan martial arts. This demonstration seems to be of a sai vs. bo prearranged fighting exercise. Aragaki Tsuji Peichin is the same Aragaki Seisho described in the previous section.


3. Seisan by Aragaki Tsuji Pechin

Here, Aragaki Seisho performed Seisan kata.


4. Bojutsu & Toudi by Maesato Chikudun Pechin and Aragaki Tsuji Pechin

Maesato and Aragaki Seisho performing what is probably unarmed defenses against a staff-wielding opponent.


5. Chishaukiun by Aragaki Tsuji Pechin

This demonstration by Aragaki is the subject of some curiosity among researchers. Some believe that this may be Shisochin kata.


6. Tinbei & Bojutsu by Tomimura Chikudundon Pechin and Aragaki Tsuji Pechin

This demonstration was of the shield and short spear vs.the staff. Aragaki Tsuji Peichin has already beenidentified as Aragaki Seisho, but Tomimura Chikudundon

Peichin remains unknown.


7. Tesshaku by Maesato Chikudun Pechin

Maesato performing what appears to be a solo saijutsu kata.


8. Koushu by Maesato Chikudun Pechin and Aragaki Tsuji Pechin

Maesato and Aragaki demonstrating what appears to be two-person empty-handed fighting exercises. Interestingly enough, the term koushu (Chn. jiaoshou) literally means crossing hands, a term identified in modern karatedo as kumite.


9. Shabo by Ikemiyagusuku Shusai

It is unknown at this time what exactly a shabo (lit. wheel staff) is, but Iwai has speculated that it could be either the shape of the staff used, or a certain type of technical feature of whirling the staff in circular patterns. Shusai were "Kume village keimochi (aristocratic) boys who would ultimately receive a government stipend to study in China and later hold an official position in the service of the King" (McCarthy, 1999).


10. Suparinei by Tomimura Chikudundon Pechin 

The previously mentioned Tomimura Chikudundon Peichin performing the Suparinpei kata. Although the actual identity of Tomimura is not known, it has been speculated that he was a student of Aragaki. 


Although not related to the martial arts, it is also nonetheless interesting to note that a certain Kogusuku Peichin performed on the Biwa (a kind of Japanese lute) as well as read poetry at the same celebration.

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


Bibliography


Akamine S. (1988) "Daikokai Jidai no Ryukyu." Naha: Okinawa Times.


Bishop, M. (1999) "Okinawan Karate: Teachers, Styles and Secret 

Techniques, 2nd Edition." Boston: Charles E. Tuttle Co., Ltd.


Fujiwara R. (1990) "Kakutogi no Rekishi." Tokyo: Baseball Magazine.


Funakoshi G. (1922) "Ryukyu Kenpo Karate." Tokyo: Bukyosha.


Funakoshi G. (1925) "Rentan Goshin Karatejutsu." Tokyo: Okura Kobundo.


Funakoshi G. (1935) "Karatedo Kyohan." Tokyo: Kobundo. Gima S. and Fujiwara R. (1986) "Taidan Kindai Karatedo no Rekishi wo  Kataru." Tokyo: Baseball Magazine.


Hayashi S. (2001) "Personal Interview on Kojoryu Karatedo." Tokyo.


Higaonna M. (1996) "The History of Karate: Gojuryu." California:  Dragon Books.


Hokama T. (2001a) "Karatedo Rekishi Nenpyo." Naha: Okinawa Tosho  Center.


Hokama T. (2001b) "Okinawa Karate Retsuden Hyakunin."Nishihara: Privately Published.


Iwai T. (1992) "Koden Ryukyu Karatejutsu." Tokyo: Airyudo.


Iwai K. (2000) "Motobu Choki to Ryukyu Karate." Tokyo:Airyudo.


Kinjo A. (1999) "Karate Den Shinroku: Denrai-shi to Genryu Kata." Naha: Okinawa Tosho Center.


Mabuni K. and Nakasone G. (1938) "Kobo Kenpo Karatedo Nyumon." Tokyo: Kobukan.


McCarthy, P. (1995) "Bubishi: The Bible of Karate." Tokyo:Charles E. Tuttle Co., Inc.


McCarthy, P. (1999) "Ancient Okinawan Martial Arts: Koryu Uchinadi (Volume 2)." Boston: Charles E. Tuttle Co., Inc.


McKenna, M. (2001) "Exploring Goju Ryu's Past: Myths and Facts  Surounding Higashionna Kanryo, pt. 1-2." Dragon Times. Vol. 18-19.


Nagamine S. (1986) "Shijitsu to Kuden ni Yoru Okinawa no Karate Sumo Meijin Den." Tokyo: Shin Jinbutsu Oraisha.


Nakamoto M. (1983) "Okinawa Dento Kobudo: Sono Rekishi to Tamashii."  Shuri: Bunbukan.


Nakasone G. ed. (1938) "Karatedo Taikan." Tokyo: Tokyo Tosho.


Sakagami R. (1978) "Karatedo Kata Taikan." Tokyo: Nichibosha.


Tokashiki I. (1988) "Gohaku Nenkanshi Vol. 2." Naha: Gohakukai.


Tokashiki I. (1989) "Gohaku Nenkanshi Vol. 3." Naha: Gohakukai.


Tokashiki I. (1991) "Gohaku Nenkanshi Vol. 4." Naha: Gohakukai.


Uechi K., ed. (1978) "Seisetsu Okinawa Karatedo: Sono Rekishi to Giho." Naha: Uechiryu Karatedo Kyokai.


A discussion with Philip Koppel on the older Okinawan Fist

 A discussion with Phillip Koppel on research for an article I was writing for wwwFightingArts.com on the Secrets of the Old Okinawan Fist. Sherman Harrill recommended I contact I contact Koppel Sensei for his take on this fist.


 


Subject:  A Request Koeppel Sensei

Smith Sensei,

I am sorry it has taken me so long to respond to your request. I have been halfway around the world since you sent it to me. I also had to do some traveling when I returned to the States.

It is interesting, Fighting Arts.com/ Chris Caille was a young student in my dojo in 61/62 when he was a student at Bradley University. I still get to see him from time to time. He has done a fine job with his internet site.

Speaking of Harrell Sensei, he is an excellent karate do! You got to love his attitude and application.

I hope to get together with him here in Illinois when he is at Champaign in the near future.

 

Mr. Smith, here is what I can give you on my knowledge of the Seiken fist from my knowledge of it.

I started in Yokohama, Japan in 1956. I was stationed there in the Navy. The two dojo's I trained at both used the standard closed fist. I was transferred to Hawaii in 58 and started training in Sensei Adriano Emperado's dojo in Wahiawa. 


This is where I ran into the straight index finger closed under the thumb. When I asked about it there, Sensei, Tony Ramos, Vern Tokumoto, Jerry Martin, all stated that it gave a better spread to first two knuckles that you struck with. This was the standard fist for all application in his dojo at that time. I do not know what they do now. 


When I came out of the service in 60 and joined the USKA under R.A. Trias Sensei, I asked him about the history and usefulness of this type of fist. Trias sensei stated that it was called a " Shorei" fist. 


I never really questioned him about it but over a period of time the term "Shorei" has always been linked to Naha te, ti , de... And I know the Goju people do not use this type of fist. 


Patrick McCarthy spent about a week in my dojo in 97. I noticed he used this type of fist from time to time. We talked about it. He stated that it was not a "Shorei" fist but an application to help form a cupping palm. 


Also, when striking with Onken, the finger on some karate do will be straight. I reinforce this theory with the cupping of the hand with using the coin. 


When Kimo Wall started training at my dojo from time to time he introduced the "Tama Ball" training and exercises. This also gives you a cupping hand, and you will notice when you keep the index finger straight and really squeeze with the thumb the palm of the had cups. 


The theory on Happoren, Tensho is the palm of the hand when pushing in shotei, is cupped for energy release.


A lot of this is conjecture on my part along with what other people, McCarthy, Trias,  and Wall have told me and 46 years of training. 


I appreciate your research and if you come across any additional information on this subject I would appreciate you letting me know what you find.

 

I hope this is of some help to you.

Sincerely,

Yours in Budo,

P.W. Koeppel

 



Subject: A Request Koeppel Sensei

 

Koeppel Sensei,

My friend (and whenever possible instructor), Sherman Harrill suggested I might contact you regarding some information.


 I've been a practicing martial artist for about 28 years (primarily Isshinryu, and Yang Tai Chi Chaun) and as a hobby I contribute articles to www.FightingArts.com .


 I've been asked to do a short piece on the older style fist, with the straight index finger.  I studied it during training with Tris Sutrisino (an Indonesian Shotokan/Aikido/Tjimande stylist) for a period of 10 years.  His system changes to that style of fist after reaching 3rd dan.


 My article is mostly a technical description of how the fist is formed, but I've also been trying to document its inclusion into the arts.


 I can find almost everything I can find (Funakoshi Sensei's 1925 'Karate Jutsu', Mutsu Mizuo's 1933 work 'Toudi Kempo' show its formation, but there is little other documentation where it was used in Okinawa.  A friend of mine in Japan translated that section of Mutsu's book (he was a student of Funakoshi who also trained in Japan), and he credits that fist formation to being from the Shuri area (but that is hardly full documentation).


 The other works were found in Nakayama's 'Dynamic Karate', Hidy Ochai's 'The Essence of Self Defense', and the most detailed description being by John Hamilton, Sensei Shorin No Tora in the Winter 1982-1983 issue of 'The Bujin'.


 I knew John (a little) from my Pennsylvania days, and am aware he is a Shorin Ryu Stylist, but was not intimate and aware of his lineage.


Sherman this morning described how Shimabuku Tatsuo, his Sensei, described several other Okinawan systems to him, and demonstrated that style of punch.


He also suggested you may be able to point me towards which other Okinawan groups used it, to help place the context of the punch in Okinawan Karate History.


Most of the rest I've discovered falls into the category of Oral History. Where some feel it was the older Okinawn punch, that was changed to make things simpler for 'School Boy' karate, etc.  Unfortunately, Oral History rarely is fully accepted as evidence, and I'd like to do a little better than repeat gossip if possible.

 

I fully appreciate your taking the time to read this, and apologize for the intrusion it represents. But if possible, I prefer to try and even make a small piece of martial literature accurate and useful.

 

As for myself, I contribute to a small youth karate program for free at the local Derry, NH Boys and Girls Club and have a small group of adult Dans who train with me too. Should you be interested more details about my karate can be found at www.funkydragon.com/bushi .

 

Thank you for any assistance you may offer.

Yours in Karate,

Victor Smith  Bushi No Te Isshinryu

 


Re: Fw to C. Caille: A Request Koeppel Sensei 


Victor

Thanks for sending this along. Actual Phil got the dates wrong on my studying with him. I first started in 1958 or 1959. then I left Peoria and when to Japan where I studied with Mas Oyama, When I returned in 1962 to continue college I started teaching Kyokushin karate. Many years later, however, when I used to go to Canton, Illinois to tend our family business there, I used to stop in and train with him and his students -- this was about 1985-1988, I think.

 

Where do you want me to put this info in the article and how should it be treated?

Christopher Caille



Then the article on FightingArts.com

Secrets Of The Old Okinawan Fist

http://www.fightingarts.com/reading/article.php?id=215







Tuesday, November 28, 2023

Hokama Sensei use of the digging toe on the top of the foot as a Force Enhancer

 

Another demonstration of use of the digging toe on the top of the foot as a Force Enhancer. First, we see Hokama Sensei, of Goju Ryu, showing an application for a technique.


Here we see how Hokama Sensei uses the toe digging into the top of a foot as an efficient force enhancer. 


 He also shown kicking into the floor (lightly) as a way to prepare the big toe for that grinding motion strength.







My experiences in Kung Fu – Into the Depths of my Soft Arts


Kung Fu, the words themselves draw spirits of memory forth. Set aside that Kung Fu isn’t what the arts really are called.



The early mention of the Chinese arts in Black Belt while I was in college in the late 60’s. Bruce Lee as Kato in the Green Hornet. Bruce Tenger’s book on Kung Fu, the mysterious master of kung fu on the back of comic books promising to train you to fell your opponent without any physical contact. My college roommate ordering that tome, with its instructions to strike the arm of a bottle wielding opponent, making the bottle fall and break and then throw them down on the shards of glass. Or a grad student in college from Seattle who had trained with Bruce. Somewhere in my collection is an early magazine on Kung Fu where a master in a three piece business suit uses his kung fu technique to drop attackers.




Or 1973 when ‘The Five Fingers of Death” first opened. Or later that year Bruce Lee’s movies hit the scene and then his death. And the flood of kung fu flics, buckets of blood, axe movies, knife movies.



When I began training in Isshinryu there was a nearby group teaching a Kung Fu system being taught in the Washington DC area, legitimate instruction at its source. It turned out they were students, and in turn opened their own satellite school. A while later they got a copy of Bruce Lees’ book and dropped their association to become Jeet Kune Do.



Against all those events, I saw some kung fu competitors at tournaments I attended as a new student. In fact the first tournament I attended was in Baltimore, and it was announced that groin kicks would be allowed for the kung fu competitors in attendance. In fact I lost my first fight as a white belt by being kicked in the groin, quite a painful experience. But it was Mr. Lewis’ green belts who were the ones diving to the floor with ground kicking to win their fights. Partially because our lower body exercises did teach front and side kicks from the floor.



It was as a brown belt in Penna., first competing in the advanced weapons division, that I had to compete against Cynthia Rothrock, and quite a few other very advanced dans.  Some may feel it folly to allow brown belts to compete against the Black Belts. But, if that’s where you’re moving towards, it does give one challenge.



 



On that day I began training in Tai Chi, and first got to observe the Kung Fu students, I just saw things as a different form of martial art. And when I approached Ernest Rothrock to study some forms to be a better judge, I was just trying to be honest about a set of arts that I knew were different from karate, but didn’t know how much.



Over the years I’ve developed a rather fair memory for forms, but Ernest was outstanding. I doubt he knows how many forms he’s learnt or forgotten as he focused on Eagle Claw and his other later studies.



But he chose to start me out with a Northern Shaolin form called “Dune De Kuen”. 



[BTW, all spellings are my phonetic attempt to render the forms names. I didn’t study from books and the curricula Ernest used for me doesn’t match anything his students studied.]



Dune de Kuen was normally an advanced form and I was jumping into it with no foundation or basics. But slowly between 9 to 12 months later I finished it, one ½ hour lesson a week. The Northern Shaolin style systems use very deep stances (both the high and low ones) and the term long-arm describes the manner in which the arm techniques, strikes, parries and punches, are performed.



The Northern Shaoin forms most often are done in rows of techniques, where you face one direction, and do series of movements in that direction, then you stylistically turn and go back with different techniques in the 2nd row, and so forth. The form contained long arm flowers, or spinning style arm movements to smash their way through an attacker (Shaolin arts also contains leg flowers where one spins on the floor to smash through an attackers with the flower movements of the leg).



Of course, words don’t do this study justice, but not just learning the form, I worked it and several years later chose to compete in a kung fu division at a tournament in Baltimore when I felt I had it. That’s when I saw the true knowledge of Ernest. He tore my form apart in infinite detail (something I’ve experienced many times later) and sharpened my execution and focus. In competition, I with little kung fu experience, placed in the middle of the pack, proving I could compete with kung fu. Then having done it, I set that part of my experience aside.



A year later I saw another stylist compete using a variation of Dune de Kuen in the Washington area. And as it was from that area Ernest studied the Northern Shaolin system in an instructor sharing group, its possible we had the same roots.



One detail I picked up over the years, with the incredible number of forms in the Shaolin style systems, the advancing student doesn’t spend time working on beginning forms (unless they become an instructor). As their advanced forms use the basics, their form practice contains all of the basics in their advanced workouts. This is in contrast to karate with shorter and fewer forms where basics are repeated in perpetuity.


 



When I finished Dune de Kuen, Ernest asked what I wanted to study next. I thought it would be interesting to study something with Chinese Sweeping technique and told him. He chose to teach me Pai Lum form “Leaping Leopard”. The form was interesting, and as it was more Southern Chinese it didn’t follow the rows pattern of the northern forms, It also ended with a 4 ¼ turn spinning sweep, and this was beyond my physical capabilities. I imagine everyone got a charge from me trying to push myself around with that sweep.



When my studies moved forward Leaping Leopard was left behind.



As I was spending time on Thursday’s with my Yang Tai Chi class as well as my Kung Fu  forms class I was invited to drop down to the Wilkes-Barre school on Saturdays. When I did so I found the advanced students spent the afternoon on the floor running forms, and I got into the habit of doing the same. I spent my Saturday mornings having Breakfast with Ernest and several students, then I’d go visit several karate schools to train the morning in Shorin arts, finally spending the afternoon doing kung fu. It was the best of training times.



Several times a year Ernest would run a forms clinic for his students, and now I was studying his arts I was invited to join those clinics, too. (In fairness I must mention all of my training was commercial and I paid for all of this, and it has been worth every penny.)



 


I attended a clinic where he was teaching a basic Northern Mantis (Tai Mantis) form Sip Sau Jing (or Slip in and Hit). One afternoon - one form. It was great, one of my all time favorites. Being a Northern form it utilized much of the technique I had already studied, it had very deep dropping stances, high jumping kicks, utilized basic mantis grab and control techniques (but didn’t incorporate the more well know mantis finger striking techniques) as well as leg trapping movements too.  It isn’t a terribly long form but correctly done with focus is executed very quickly with great power.



Quite a few years later, after fighting off years of arthritis, I entered a local NH competition in several divisions. In Black Belt forms, as everyone knew I was an Isshinryu instructor, I chose to befuddle them and competed with Sip Sau Jing. I know the judges had no idea what I was doing and I enjoyed myself immensly.  Life doesn’t get any better than that.


 



In separate venue, when I completed my yang tai chi chaun straight sword form, Ernest showed me how to modify it for stick and gukra knife, showing me how different weapons would change the flow of the technique and the focus, as well as indoctrinate me into the Chinese short stick principles.



Returning from the tournament in Baltimore where I had competed with Dune De  Kuen, I asked Ernest if I could study some basic Eagle Claw (which I knew he was studying with Shum Leung, but not teaching). As we had become friends, he told me he’d discuss it with his instructor, and getting permission, he began my studies in Eagle Claw.



And keeping to his perverse nature, taught me Hon Kuen (or the 10 row walking form). This form is one of the 3 major sets of Northern Eagle Claw (Faan Tzi Ying Jow Pai).  It is a very, very long form and contains all of the techniques of the Eagle Claw system, the grabs the strikes, the kicks and all the rest (just not every possible variation of same).



I did learn the form, but the fastest I was ever able to perform it was 6 minutes (which was about ½ the speed Ernest did it). 




Eagle Claw is an incredible system of study. It took him almost 30 years to learn all of it. It is also one of the best documented Chinese systems (which may not say much either), as his instructor has written several books and offered a series of basic video’s on it too.



But I was just learning forms, and not applications, except for the kindergarten level to learn the form movement. Today I realize if I had focused on what Eagle Claw really is I would have learned tons more. But then I didn’t really know what the system was about, he wasn’t teaching it, and I was studying forms to be a better judge. 


 



I didn’t realize, yet, what the intense additional training was doing to my karate either.



After Hon Kuen, Ernest choose to teach me another 10 row form, Tam Tuie (Tom Toy) This actually was a traditional basic form (which I was learning backwards, having done very advanced forms first – probably my penance for being a karate-ka).  This is one of the 10 beginning sets of the Jing Mo (also alt. Spellings) Association, where various instructors got together, created a basic training program (all of which are really complex forms) for all the students, who would then ‘major’ in the instructors specialty. As Eagle Claw was part of the association, these forms are where the Eagle Claw styslist, traditionally would begin.

 




Tam Tuie actually originated with the Chinese Muslims. The form can be 10, 12 or 14or more rows of kicking techniques, with spinning long arm techniques. The rows consist of sets of 3 series of techniques. And the kicks are straight legged and very low, to break legs, etc. (remember they do this with boots on).  The kicks are very powerful, and I’ve learnt there is are several different ways they are done. About 20 years later Ernest showed me a way where the toes are drug across the floor to slingshot up on the end to strike from a different angle, than the original straight kick out way I was originally taught.



Tam Tuie is actually a complete martial arts system in itself. Northern systems like Eagle Claw incorporate these kicks as well as the long range, jumping Northern Chinese jumping and spinning kicks too.



Then Ernest had another forms clinic and taught another of the Jing Mo basics, Kung Le Kuen or “Power Fist”.  Not a long form, it was full of interesting techniques, and retroactively I was learning some of the basics of the systems I was studying.



 


That summer RoyBlackwell, my first Dan student, returned from Texas to visit. I paid for Ernest to teach him a green belt form from the Pai Lum system (I had seen his students do hundreds of times), the form Lung Lek Kuen or “Supple Dragon”. Watching those classes I focused myself and learnt the form as if I was studying it. Then those Saturday afternoons it was in the mixture of forms I was running with the guy’s, and unlike most of my training, a form I could run along with his advanced students.



Now don’t get the idea I was a kung fu student. I was teaching Isshinryu two days a week, training with various karate-ka 4 days a week and going to 15-20 tournaments a year. Kung fu was my hobby from karate.  Of course as the years progressed Ernest was the instructor who spent the most time with me over the years too, and I wasn’t a ‘kung fu’ student.



Actually he began to draw me out, asking questions like “Why does karate do this?”. Things he could have explained to me but never did and instead made me work to try and figure things out. I remember when I tried to explain to him the kata in Isshinryu had to have more than just punches and block. Heck he could have shown me the world, but he didn’t for he wasn’t taught that way either. Instead he helped me focus my thoughts.



Ernest and I began traveling to major tournaments together (only if they offered Kung fu only divisions, and with the one exception I was competing with my Isshinryu). He was divorced from his wife and enjoyed competing (without the students along). I saw him in his private practices. 



He’d do dozens of forms a day with a different set every day of the week. I couldn’t begin to know how many forms he knew. I saw him do straight sword forms for several hours without repeating a form. I guess he may have done 25 different types of Chinese weapons.  If anybody gets the idea I studied a lot from him, forget it. I never scratched the surface, as valuable as my studies were.



Of course most of the sets he taught me he wasn’t teaching his advanced students. They were studying Pai Lum then, and only the occasional other sets he’d show. I’d often see them watching him teach me or me practicing. 



I also saw how he’d tune his practice for competition. I’m sure this was one of the factors behind Cynthia Rothrock, his technique focusing plus her own natural abilities, helped her become a tournament champion. As well as many other advanced students.  In fact his strongest suit, IMVHO, is his ability to work extremely advanced level training for his most advanced students.



I actually woke him up years later at 3am when I figured out how karate could be applied. Something I then didn’t see until years later when I met Sherman Harrill (except in my own efforts).  Aside, the training I was receiving at the same time from Tris Sutrisno covered the same ground, but it wasn’t from the use of the kata the way I follow today. Tris’ technique was something else.



Now if Ernest had shown me how Eagle Claw really worked, the rest would have been much easier. But I wasn’t a kung fu student, just a friend, and I was focusing on a more general knowledge, how the forms worked, to become an honest judge.



In fact I think I was in the middle of a war between Tris and Ernie in those years. Each would have been happy if I had formally become their student (which didn’t happen) but I was simply a friend training. In turn they each tried to throw as much at me as possible, perhaps trying to influence my friendship, but I fooled them, I studied and learnt all of it, as much as was humanly possible. The other thing was how similar in content Tris’ deep study was to what Ernie’s deep study. The difference between high level karate and high level kung fu became narrower and narrower, except in their vastly different execution.


 



Not to leave me hanging, Ernest then began to teach me Peng Tsu Dune De Kuen (or as he called it the Greater Duen De Kuen).  A very nice, very long, very complex Northern Shaolin set, that also incorporated another sort of flower, with jumping spinning inside crescent kicks one after another in multiple directions.  Also beyond my abilities, but the form had some great technique.



Then to give me some weapons work he began to teach me a Chinese 3 section staff form. My ambition or eyes had no limits. Even though I was a poor one, you could begin to make a case I was some sort of kung fu student ,as well as a karate-ka and a tai chi player too.



Right after finishing that form he had to move to Pittsburgh, which is another long story and not germane). I still trained in the local schools (and began teaching a tai chi class in Scranton) and continued studying with him, but the complexity of Hon Kuen caused me to break it into 3 forms of 3, 3 and 4 rows.



On trips across Penna., I saw him teach his advanced students a complex Pai Lum form, Lift Hands to the Sky. Later I would play with the opening as a fun way to drive some students mad on Kusanku. One has to keep one’s brown belts in line after all.



I also remember working on the 3 sectional staff with him and nailing the back of my head quite soundly with one spin that I missed. It gave me a very loud klunk. He told me once he KO’s himself in the groin with that weapon. All weapons training tends to bite one if you’re not careful. I once saw him working a steel whip, where he’d be spinning and wrap the whip around his neck, continue spinning and spin it off on the end. He got his timing wrong and ripped the skin off his neck with the spin. Just for those who consider Chinese weapons wimpy.



With his moving to Pittsburgh, I didn’t go much further with him in new forms. But at Wilkes-Barre on those Saturday afternoon forms workouts, his senior students shared a bit of their students studies with me. I learnt the Advanced Pai Lum form – Pai Lum. I later learnt this was the form George Dillman used back when he got the reputation of being a forms competitor in the late 60’s early 70’s. He studied it from Daniel Pai.  



Pai Lum is a very interesting southern style Chinese form. Its not very long and is done somewhat in a star pattern.  It became a favorite practice of mine.



I also Studied their under black sash forms for Chinese Short Staff and Chinese Staff.



But time passed and I had to move to New England, away from their schools.



Not having kung fu people to work with, forms far too advanced for my students, and the onset of very painful arthritis a year or so later, eventually much of this was put to rest, and instead of intense regular training, became episodic training.



Those deep stances which did so much for my Kusanku and Bo studies, began to stop because of joint damage I suffered.  There was no room to swing a three sectional staff, and as work took more time I had to make choices which I’d keep and which would slowly slip away.



I regret everything and I regret nothing.


 




Ernest and I became faster friends. At Pocono martial arts summer camps he’d teach the Northern Cotton Palm form, Kwando, the first few rows of Hon Kuen and eventually a Northern Shaolin White Crane form (which I totally understood from my previous training).  And when the time came my ongoing tai chi studies advanced, he taught me much, much more unto this day with my studying Wu Tai Chi Chaun too.



We’d begin to vacation together on occasion with our families. He taught me a 2 man set, the first real practical application of the Northern Shaolin technique. But not having anyone to practice with (beyond the nature of my karate students training) I only retained my notes. The stuff was interesting and a contrast to the Sutrisno 2 person sets I studied.


 



Later he’d do clinics with my students in Derry, and teach a Jing Mo Association 2 person set (another of the original 10 forms). It’s really neat, but again just not enough time.



Once he reset his program to teach Eagle Claw, he began to teach me the Eagle Claw 2 person principles (basic sets) and a piece of the 108 locking form (for 2 people).



Alas we learn much, but there’s just not enough time to take advantage of what he’s shared.



In time I did come to understand much from the 2 person Eagle Claw training these past few years, and can see the Eagle Claw within the Isshinryu system. One of the important fascets of the Eagle Claw principles, you see how much the lower body checks are employed in the locks.  Then training with Sherman you’d seem him do the same (just not describe what he was doing), and much of the arts began to flow together.



Ernest tells me it isn’t how much I forget which is important, but the context these studies offer my training, which is important.  Of course if I’ve set aside a few forms, he’s set aside hundreds just to focus on Eagle Claw.  Several time I’ve even had to share with him forms he taught me (as he no longer runs them) so he could film me for his records.




I really didn’t cross-reference this with my Tai Chi studies with Ernest. That is a separate topic.  These Northern Chinese arts are very, very complex. IMO, most people would be better served in Karate training. But for those who want to push themselves to the maximum, these systems can go the distance

.


Disclaimer – The Chinese arts are so vast I don’t pretend my studies are fair characterizations of their depth. This is just what I’ve seen and done.