The kick of the old style karate

There is the following passage in the article of "The Martial Art of Okinawa" of Yasutsune Asato.

It is very regrettable that there is no one in the world who criticizes how to use the hand and discusses the secret art of the foot. Sometimes the foot is better than the hand. Don't forget that it is a foot when combining hands and hands in a so-called fight (Note).

Modern translation

It is a pity that there is no one who discusses and tries to clarify the secret art of the foot though the use of the hand is often taken up in the world. The foot is sometimes more effective than the hand. In the so-called struggle, when we join hands and hands, we must remember that we are the ones who can attack.

Isn't this what Asato wants to say in the above quote? In other words, the interest of karate artists in the world is exclusively directed at hand. It is the one that it is how to push it or how to receive it. However, the use of the foot is also important, and there is a technique like the secret technique in the inside, too. For example, let's think about the time when we grabbed each other by hand and put together. In that case, it is the foot that freedom is able to be under. At that time, how to attack the enemy with the foot. It is also important to explore these things.

In the words of Motobu No. Sakon, there is a thing that "the kick is released when the other party is gripped, and it shoots even if it is gripped". Motobu Asaki tried to use the kick mainly when he grabbed the enemy or when he was grabbed.

 

It is a way of kicking like the top when I introduce it in the photograph. When introduced in the video, it is as follows.

Alas I do not have the video link being described.

In a word, such a way of kicking was "secret art" in the old style karate. In modern competitive karate, it may be difficult to use this kind of kick because the grip is taken foul, but I think that the above words of Yasutsune and the photograph of the head office Asaki give a valuable clue in searching what the kicking technique which can be called the original karate kick and the secret art of the original karate.

Note: Anri Atsunedan, Shoto's "Okinawa no Martial Arts (Bottom)", "Ryukyu Shimpo", January 19, 19th, 19th.

Aritomo Ito It is obvious that there is a lot of overwhelming zú zú when you see it compared to the ratio of the zú zú and the manipulative that comes out in the mold.

I think there are some parts that can be caught, unstable, and exposed to the dangers of immediate self, but the zú jì has grabbed it / if you think it's a trick for the time you hold it, you should rarely use it alone. I bet it's not. I don't know if I can guess it, but I'm not kicking the target of moving around, but I think I'm going to use the target that is fixed and reliably, and I'm going to use it with energy and energy.

Motobu-ryu In the past, I think that there was a danger of getting a kimono hem, so i may have been conscious that I can't kick it carelessly. I think the modern kick skills are also the same as the rules.

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Jonathan Kenney

Let's start it off: why did Chojun Miyagi decide not to include Naihanchi in the goju system?

Rashaud Olson I think the "great debate" as it were with Sanchin and Naihanchi rages on mostly because Naihanchi has a very WIDE range of variation in terms of how it is trained, whereas the scope of variation with Sanchin, comparatively, is small.

You could be looking at the Naihanchi of, say, Kishimoto-di and see little to no relationship between the two kata. But then look at a Higa-style variation (kyudokan, and then other branches like shinjinbukan... and then those splinters :) ) and then the relationship seems a bit closer.

Either way, since I'm a mutt, I practice both personally, even though my style only has Naihanchi. I don't feel the two kata are in conflict, personally. 

Victor Donald Smith Honestly I have no idea, then again as I do Isshinryu we already have both Miyagi Sanchin and Naifanchi. As I see Naifanchi as a warmup for Chinto study, I might just throw in as Miyagi did not have Chinto perhaps he did not fell the need, and again personal speculation he had Seipai so probably felt he didn't need Chinto. I feel there is a strong relationship between Chinto and Seipai, a complementary one. enough speculztion to stir the pot.

Rashaud Olson Hm... I've never heard this opinion before. I practice Chinto. I "dabble" with Seipai. I think I can see what you mean, but can you go into more detail.

I imagine a strong relationship in terms of the "foot sweeps" and rotations? 

Robert Chu Victor Donald Smith, actually, Naihanchin and Passai are more closely related. Naihanchin is the structure, Passai is the application. Once you play Matsumura No Passai, it'll be very clear, oreso than the common Itosu No Passai. 

Chinto is a unique teaching from Chinese to Okinawan transmission, it is very crane like, but also has a lot of Tuite and Tai Sabaki and Ashi Sabaki. 

Victor Donald Smith That is it exactly, I feel they are complementary as both focus on the possibility of using the turning motion as a weapon system itself. The offensive use of the turn.

Robert Chu Victor Donald Smith, actually, Naihanchin and Passai are more closely related. Naihanchin is the structure, Passai is the application. Once you play Matsumura No Passai, it'll be very clear, moreso than the common Itosu No Passai.

Victor Donald Smith Robert Chu I do understand what you are saying, I just approached it from a different angle. Back when I saw the possibility of the turn as a weapons system in itself, I saw the convergence of the use of the turning of Chinto complementary to the use of turning in Seipai. My own study, a bit different from your suggestion. Always more study to undertake. LOL