Fumio Demura reveals Karate's Hidden Techniques

 

When I first read this article, I did not realize that Shito Ryu 

was a Japanese system and did not necessarily present this concept in the way Okinawan karate systems might express the use of kata technique.

One random adult/black belt class

 

When I remember teaching my adult students, I also recall how much I worked to make each class unique. No two classes ever repeated the same material. In many ways it was because I based my ideal class on using the Heisenberg Uncertainty Principle.

The Heisenberg Uncertainty Principle is a fundamental theory in quantum mechanics that states that we cannot know both the position and speed of a particle, such as a photon or electron, with perfect accuracy1234. The principle is named after German physicist Werner Heisenberg, who proposed it in 1927123. The more we nail down the particle's position, the less we know about its speed and vice versa.

I learned how to structure a class from so many individuals. How Tom Lewis held our classes in Salisbury, How Charles Murray taught me in his church outside of Scranton. How Tris Sutrisno held classes in Hazleton.

My students were occasionally kyu members, most were long term black belt students. All with different needs. Important to note that long term adult students will have to miss class at times, for many reasons. However, they never quit always returning when possible and always advancing in their practice.

My approach also kept me working to keep the classes useful for everyone, including myself. For I was always engaged in my own research and my own study. 

While each class was unique, never repeating another class, there was a focus too. Never explained to the members, rather a goal of focus that extended for months (6 to 12 of them) before the next goal would take over. Always to move them and myself into newer directions in our art.

Let me give an example of one class. (at times I kept notes of those classes),

Bushi No Te Isshinryu adult training

 Saturday 03/11/2006

 

Class Group for the day - Working with 1 beginner, 1 brown belt with 11 years training in multiple arts, 1 black belt candidate with 9 years training, 2 black belts with 17+ years training

Demonstration of 'Lung Le Kuen' (Pai Lum) [addition form study which begins at brown belt] with an explanation of the difference in power generation between Pai Lum and Isshinryu.

Reviewing and/or understanding the use of crescent stepping.

1. Comparison of crescent stepping into seisan stance versus straight stepping into seisan stance 

 a. Explaining how advanced body mechanics can obtain the same results with either choice.

 b. Experiencing the difference against live attacks.

2. Analysis of the value stepping off the centerline, before exploding into the stance

 a. Addition of cross hand parry before striking

 b. Use of reverse stepping to counter a faster attack.

   i. Requires correct balance on the balls of the feet.

  ii. A more powerful way to angle into an attack. 

Practice of Kata Sho (Fukyugata) and Kata Seisan

Applications of Kata Sho for the beginner

1. Use of the opening to counter a straight hand grab

2. Use of the low block stepping lunge punch to counter a grab from the front.

Applications from Seisan Kata (Harrill Sensei Technique)

1. Use of the opening of Sesian’s 2nd row of techniques

a. Parry the strike with the left, step forward with the right and use a rising palm strike into their lower abdomen followed with the rising open ridge hand into their neck, then crossing the arms over their triceps, and turning away with the controlling lock

2. Use of the cross body open hand parry followed by the front kick at the end

 a. Use earlier crescent step to shift 20 degrees across their attacking arm as you parry, follow by a front kick into the inner upper leg above the knee.

 b. Use of earlier crescent step to shift 10 degrees across their attacking arm as you parry, follow with a front kick past their leg and use the returning heel to smash into their calf from behind for a takedown.

3. Use of Seisan’s opening against a left grab

 a. Left crescent step forward, with left outside block, then right foot forward with a right punch into their leg (for the cramp tkd).

Lower Body Techinques 

 1. Front Kick

 2. Front Kick 45 degrees

 3. Front Kick to Side

 4. Side Kick

 5. Cross Kick

 6. Front Thrust Kick to Knee

Advanced Kata practice

 Sho

 Saifa

 SunNuSu

Instructors study – Tomari Rohai (Isshinryu style variation) and Sutrisno knife study.

 

Stepping Back

 http://karatejutsu.blogspot.com/2008/08/guest-post-stepping-back.html

Otsuka Hironori Sensei, the founder of Wado-ryu Karate stated, "The natural instinct is to step or jump back when attacked. One of the primary purposes of training is to break that tendency." Mas Oyama Sensei, the founder of Kyokushin Karate, in his writings always urged one to keep moving forward in a fight. Chibana Chosin Sensei coached me to always press (osae) into the opponent and never reach in with your punch, strikes, or kicks.

It is like life. If we have definiteness of purpose, we keep moving forward without stepping back. Never reach for anything beyond your grasp. Just keep moving forward until you reach your target.

This is the way of Karate, training. We keep moving forward with our training, many times taking small steps, but moving forward, nonetheless. We may never reach the destination, but we would have traveled a great distance.

Repeated Rambling on Kata

 http://karatejutsu.blogspot.com/2009/02/guest-post-repeated-rambling-on-kata.html

After I completed performing some of our Karate Katas, Murakami Katsumi Sensei said, "Yappari, Chibana Sensei no Karate wa kirei ne" (After all Chibana Sensei's Karate is very clean). Chibana Chosin Sensei often emphasized that a clean Kata was a strong Kata. In a clean Kata, blocks will be viewed as a block and not confused as a strike, strikes viewed as a strike and not a thrust, and thrusts viewed as a thrust and not a strike. Chibana Sensei explained that if one had to alter a waza or movement in the Kata to match the meaning (application), the meaning is incorrect.

Chibana Sensei never talked about combinations within his Katas, because most of the techniques should be decisive (ippon kowashi no waza [one technique to destroy]). When I asked Chibana Sensei on how I could improve my combat ability, he said to practice Kata. He went on to explain that there are no secrets in Karate, but through the practice of Kata, one would discover the true meaning of Kata. Each Kata must be practiced 10,000 times before one can start to learn the true meaning. He often said, "Karate wa karada de narau koto" (one learns Karate with one's body). Knowledge (shirimasu [I know]) can come from intellectualizing but understanding (wakarimasu [I understand]) comes from experiencing/training. True Karate knowledge and understanding is empirical.

When one studies the strong (fighters) Karateka of yesteryears, one discovers that these strong Karate masters did not practice too many Katas. Most of the old masters talked of refining one's Kata, which was the doing away with unnecessary movements and excessive strength. Chibana Sensei said, "Honto no Karate no chikara wa waza kara deru" (true Karate power comes from technique). So refining of one's Kata is the refining of the techniques within the Kata. 

Chibana Sensei said, although much of the Shuri-te techniques within the Katas are from Ti or Tuite, which encompasses many grappling applications, one should first concentrate on developing strong punches, strong strikes, strong kicks, and strong blocks. All the thrust, strikes, kicks, and blocks should be done with ippon Kowashi no waza. In many cases, a strong thrust, strike, kick, or block will set-up the opponent for an effective grappling technique, but then if the thrust, strike, kick, or block was strong enough, there would be no need to grapple. Chibana Sensei never turned to theatrics in demonstrating Karate, it was always thrust, strike, kick, or block. Most of the time it seemed too simple; close the distance (osae [press in]) and destroy the opponent with a single technique. Kata should be done with a natural fighting timing, which is one's breathing rhythm (iki no hyoshi). Chibana Sensei felt that learning too many Katas distracts from refining the Kata, because one would just be practicing movement with no time to work on refinements. On the other hand, a limited number of Katas is also detrimental, in that one would lack versatility.

When Chibana Sensei approached Itosu Anko Sensei about limiting the Katas for his teaching curriculum, Itosu Sensei told him to use the 12 core Katas, which were: Naihanchi Shodan, Naihanchi Nidan, Naihanchi Sandan, Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan, Pinan Godan, Kusanku Sho, Kusanku Dai, Chinto, and Patsai. 

After watching Chibana Sensei perform the Matsumura no Patsai that he had learned from Tawada Sensei, Itosu Sensei told Chibana Sensei to retain both Patsai. Itosu Sensei said, his Patsai should be called Patsai no Kata Sho and the Matsumura no Patsai be called the Patsai no Kata Dai. 

Chibana Sensei and many of his contemporaries called this curriculum the orthodox Shuri-te. Chibana Sensei maintained that Shuri-te techniques are from the indiginous Okinawan art of Ti, which in a distant past had its start from the Chinese martial arts. Later, Chibana Sensei developed a very basic series of Katas, which he called: Kihon no Kata Shodan, Kihon no Kata Nidan, and Kihon no Kata Sandan. This brought his complete Kata curriculum to 16 Katas.

I was told a story about Miyagi Chojun Sensei (founder of Goju-ryu) going to see Itosu Sensei to learn some Shuri-te Katas, namely the Pinan Katas. Itosu Sensei supposedly told Miyagi Sensei that he should modify and perfect his Naha-te Katas, rather than add Shuri-te Katas to his curriculum. Itosu Sensei continued, saying that if Miyagi Sensei tried to mix his Naha-te with Shuri-te, doing both may weaken his Naha-te and the Shuri-te will never be strong. 

Chibana Sensei never confirmed this story but spoke of his interchange with Miyagi Sensei about limiting the number of Katas in their respected curriculums. Miyagi Sensei agreed and said he would do the same for his curriculum.

The Kata contains the recorded history of fighting maneuvers and strategies of the past masters, mainly the original creator. 

Also, Kata is a prearranged set or drills against multiple opponents. When there are multiple opponents, each blow must be decisive. In other words, each blow, be it a thrust, strike, kick, or block, must have kime/kikomi for maximum effectiveness.  This type of unrestrained blows can only be practiced in a Kata or with a makiwara. 

The Karate Kata is not static, making it ideal for practicing moving into an opponent, from one technique to another, or from one opponent to another. This movement or transition is vitally important in the effectiveness of the application. About the most important aspect of this transition as taught by Chibana Sensei, is the osae (press).

In the early days of Karate (60s and 70s), Karateka were labeled as fighters or Kata persons. A Kata person was a non-fighter who could perform Kata well. After studying this dilemma, it became noticeable that the truly good fighters, also did good, strong Katas. A Kata person that was not a good fighter, had a 'dead' Kata. 

A strong Kata, which was alive was performed with kimochi (feeling) and fighting spirit. This kimochi and/or fighting spirit is difficult to explain but is recognizable when one sees it. This kimochi and fighting spirit gives the Kata a certain seriousness and connotes something deadly and primal. 

Fighting is fighting. Kata is Kata. One starts to understand Karate when one sees that fighting is fighting, Kata is Kata, and Kata is fighting. 

As it was said earlier, understanding is empirical. One reaches this understanding of Kata through diligent training.

Shimabukuro or Shimabuku? Controversy over the pronunciation of Okinawan surnames

By Motobu Naoki

I recently read an article by a foreigner who claimed that Shimabukuro Tatsuo (founder of Isshin-ryū) is incorrect and must be Shimabuku Tatsuo, which struck me as odd.

Shimabukuro is the standard Japanese pronunciation of the kanji 島袋, while Shimabuku is the Okinawan dialect pronunciation.

Currently, surnames in Okinawa are commonly pronounced in standard Japanese. This is due to the influence of Japanese language education since the Meiji era (1868–1912). This standard Japanese language education has been applied not only in Okinawa but also in all prefectures in Japan. This is because the Japanese government of the time adopted the national language education in Western countries as a model.

Most Japanese probably cannot understand the Okinawan dialect. At the time, the continued use of the Okinawan dialect was considered detrimental to the economic development and improvement of life in Okinawa. Therefore, local newspapers such as the Ryukyu Shimpo at the time supported and encouraged this policy.

Okinawa was not the only prefecture where the pronunciation of standard Japanese and dialects differed markedly. As a native of Osaka, I traveled to Akita Prefecture in northern Japan in the 1990s and could barely understand the Akita dialect of the older generation.

Of course, since the disappearance of dialects is related to the disappearance of local indigenous cultures, this issue must be considered in depth. However, we will do this subject again in due course.

Now, most people in mainland Japan would not know that the kanji for 島袋 is pronounced Shimabuku. Therefore, even in karate writing, it is usually written as Shimabukuro. For example, Shimabukuro Tatsuo’s entry in the “Okinawa Karate Kobudo Encyclopedia” (2008) also introduces “Shimabukuro” in standard Japanese.

The surnames of other famous Okinawan karate masters are also usually written with the standard Japanese pronunciation. What would their surnames look like if they were written with the Okinawan dialect pronunciation?

Motobu becomes Mutubu, Kyan becomes Chan, and Funakoshi becomes Funakushi. Did you know these? These are…

Chibana Chosin Sensei on Kamae

Chibana Chosin Sensei said, "There is no kamae in a Karate kata, except for the beginning and end of the kata. Everything else is transition and application." This concept of no kamae is not unique to the Chosin Chibana Shorin-ryu Karate, other schools advocate a similar concept.

Kamae most often is a guard or a ready position (dead, no movement). Chibana Sensei, also, meant that no kamae was no cocking. Example: anytime one drew the hand back for blocking, striking, or punching this was a kamae (cocking).

Some schools consider the finish position of each technique in a kata a kamae (pose). Example: in Shotokan, many times an instructor will call a "gedan barai no kamae" (low sweeping block postion) or in Wado-Ryu, the instructor will call a "jyunzuki no kamae" (a same side [with the front foot] or corresponding punch position).

To repeat, there is no kamae in a Karate Kata. Every minute movement has a meaning and application. There is no posing (set position/posture), because after completing a technique there is an immediate transition into the next technique (the transition may also be the technique in itself). Cocking will stop the flow of the technique, and thus, stop the transition.

The flow and the tempo should be smooth, with no holding of your breath, exhaling or inhaling. This is done with a natural breathing rhythm (iki no hyoshi), leaving no room (space) for kamae.

This is the reason why Chibana Sensei said, "we do not take stances, but rather the 'foot work' ends up in a position that is moving the body weight (or hara) for the transmission of the technique." With this reasoning, Chibana Sensei used the term "ashi" (stepping) more than "dachi" (stance).

Besides breaking the flow, kamae will telegraph your intentions. In the ultimate level of kata practice, there is no kamae, because we are always flowing while timing an opponent.

http://karatejutsu.blogspot.com/2009/02/guest-post-repeated-rambling-on-kata.html

Is our karate evolving for the current times?

 

I am going to get a bit serious here. As you know "the times they are a' changing."

From the origins of Okinawan Ti(Te) or Toudi [Pick the term that means most to you.] then changing into karate, Karate and Karate times infinity the arts kept evolving to meet the new challenges of the day.

I am going to be a bit simplistic describing these changes. From what I have been able to understand, there were about 5 different groups who developed Ti or Toudi for specific family functions to serve Okinawan needs.  Then Japan took over control of Okinawa and those functions performed by Okinawan's were no longer needed.

I believe for a time the arts remained as a way for those families keep their traditions alive.

Then Itosu came up with the idea of karate gymnastics taught in the schools, to shape the young for future military service. As that developed with success other instructors did the same. Likewise, they opened their programs for others and karate became a more public skill.

Karate also began its Export into Japan, South America, Hawaii and other places.

WWII intervened and Karate built from the past, slowly began changing for a different time and a very different need.

American service men gained instruction and that became another export of the arts that continues to this day, now worldwide.

Okinawa gradually reacted to that export and in turn even on Okinawa more change came about.

One example might be Tatsuo Shimabuku, who having trained with a variety of instructors, over his decades in the arts, began to see a need to change from how he taught. At the same time, he was likely the first to teach American service men his art (abet at times abbreviated due to the Viet Nam war meaning shorter stays for those Service people on Okinawa.

So, the art that hit America still taught self-defense, but some pushed their art for the benefit of the physical training, or for the newly developing idea of sport karate.  There was some incursion of the art into military training, but the necessity for hand-to-hand combat for the average soldier, became less as issue as warfare changed.

It is now 50 years since I began my Isshinryu studies and the world is a very different place, here in the states and across the world.

Concern about self-defense was never the reason I began my Isshinryu study. What I acquired from my training was most personal, perhaps I could sum it up most as being able to down any opponent.

But I never taught that to anybody by verbalizing it.

For youth, when I realized most of them would only train for 2 or 3 years (far below the 7-year standard to reach full shodan for my program) I realized the real-life value for their training was to show them they that which they could accomplish if they believed in themself and made a personal effort to learn.

Even those who made the 7+ year journey to Shodan, most of them would eventually more on as they lived their life. It was not to be they would remain training with me. Of course there were a few exceptions to that realization, exceptional exceptions, but it remained true. Even my son who began at 7 and received his Shodan at 17, fully advancing to full Nidan, eventually made his adult choice at 22 and moved on to other things.

Neither did I ever discuss when to choose to use karate with any of the adults I trained, even those who trained with me for decades. The training was always more important. Of course they experienced, felt, and learned well what I kept working on. How to drop an attacker.

Now for the crux of all of this.

This is not old Okinawa, which does not seem to have been a very dangerous place, this is not the States when I learnt my karate, which for the most part was a place where there was law and order.  Of course, bad, even horrible, things occurred, but not for the most part as an everyday occurrence.

Today, groups like ATIFA, BLM and pre-HAMAS appear to run rampant without any type if control being placed on them. Too many places the police presence has been forcefully reduced.  Those committing crimes are often released. Rational rule of law seems to have been ignored. Certainly, the use of firearms must be considered, I am not suggesting their ban would be a solution. However random shootings on the street, in malls, schools and in the workplace have become too common everywhere. Then there are the masses of the homeless sleeping on the streets, as well as millions of unknown illegal aliens doing who knows what in our country. All of which makes almost anything happen.

Those who attempt to defend themselves often then become charged criminals.

A far different environment as opposed to simpler assault for which karate seemed to be a reasonable answer.

Is karate still a reasonable tool for self-defense?  Is karate what people really want for these times?

Karate training certainly has a place in a possible answer, but really can today's karate instruction actually make one safer for situations of self-defense, considering the wide range of possible situations one might encounter.

I have no simple answer, just asking in these circumstances are being considered.

Learn the corresponding blocks with grabbing and immobilizing techniques.

Bruno Ballardini     'Karate di Okinawa'  A very insightful comment from Kyan Chotoku Sensei….

Kyan said, “Learn the corresponding blocks with grabbing and immobilizing techniques”, and “When you grasp an opponent's arm you must do it strongly and loosely at the same time, so you can react to your opponent’s reaction”. (Kempo Gaietsu by Nisaburo Miki, January 10, 1930)

Paolo Taig Hojo undo training is oriented to develop such a strong but flexible grip. A grip that can grasp the meat and in the same time that can transform and change shape following the reactions of the opponent. Infact the most involved fingers in a grip, especially at the first moment, are the fourth and little finger, this permit to change the grip as you need.

Chris Hoshiyama Also what I believe Kyan Sensei meant as it is the same in Karate, Jujitsu etc. Is a strong grip and like written above to change shape to reaction. However, this must include the arm and ultimately the entire body. They all must do the same thing to control the reaction. Paolo Sensei nice job about the grip.

http://isshin-concentration.blogspot.com/2011/06/step-out-of-past.html

http://isshin-concentration.blogspot.com/2014/04/kyan-chotoku.html

http://isshin-concentration.blogspot.com/2014/04/historie-du-karate-lecole-shorinryu.html

http://isshin-concentration.blogspot.com/2010/09/thoughts-on-old-style-karate.html 

Masters of Shorinryu  Graham Noble

http://ejmas.com/jcs/jcsart_noble_0800.htm

Interview with Joen Nakazato  Caorl Wolmack

http://hgweb.nl/isshinryu/articles/nakazato.htm

Bushi No Te Isshinryu in 1988 where my most advanced students were then brown belts.

 

The Past - 1999 part One

 https://www.youtube.com/watch?v=OcIqj6db7LY 

The Past - 1988 part Two

https://www.youtube.com/watch?v=SBUCq4Ch8EI

The brown belts in those days had several advanced forms from other systems to study. The later kata studies were geared to the student and often were geared to the student's capabilities. After further study how I approached black belt studies other changes were made.

The last student of our group, Paul Harper, is showing one of his prior Goju studies.

What I later developed for my group developed from these roots.

Seize and Control

Chibana Chosin Sensei often told me that the real fighting practice in Karate is in the Kata. This teaching is not unique to Chibana Sensei. In fact, it is universal for most Karate. In all of the traditional Karate Katas that I have seen, most of the techniques integrated 'seize and control'. This 'seize and control' within the techniques seem to have been lost, because of two main reasons:

⦁ Most Karate teachers (including Chibana Sensei) taught that the a strong punch, kick, strike, and block were of utmost importance. Smashing techniques were in many cases reduced to striking techniques, thus losing the 'seize and control' that made them more brutal and combat effective.

⦁ In tournament competition, grabbing and pulling (especially while executing a punch, strike, or kick) is prohibited, because of safety concerns. When Charles Goodin Sensei was looking at a tournament brochure on the illegal or 'outlawed' techniques, he commented that these were the effective techniques that one would use in a real self-defense situation.

Chibana Sensei constantly appeared to redo his grip before executing his Kata movements, but this gripping was in actuality the seizing of the opponent. Many of the old teachers did not show the seizing of the opponent, but in the explanation of the technique (bunkai) they revealed seizing as part of the technique and transition. In most cases the seizing is executed with the [striking] hand, after which [it is used to pull] into the following attack (kick, punch, strike, smash). This hand that seizes, pulls, or opens the opponent is called the 'shigoto no te' or the working hand, which is the essential part in delivering a decisive technique. Some techniques are executed to stun the opponent followed with a seizing technique. Other times a seizing technique is executed as part of a block ('uke').

 

Seizing an opponent is normally establishing control. To be victorious in an encounter, one must be in control, especially if there is multiple opponents. As the great swordsman, Miyamoto Musashi, points out in his 'Book of Five Rings', "one should move directly into the opponent. One does not make adjustments to the opponent, but lets the opponent make the adjustment to you. When the opponent does adjust, destroy him (cut him down)". Establishing control is one of the main fighting strategies in Martial Arts. This control is in the Kata (Classical Kata). Again, as Miyamoto Musashi said quite often in his book, "you must study this well".

http://karatejutsu.blogspot.com/2008/09/guest-post-kamae.html

Kyan on Fighting by Dan Smith

 

Tips on fighting 

Before you move you must be aware of the capabilities of your opponent. If he is powerful, it is inevitable that he will rely on force and will tend to attack. In that case I will concentrate on blocking until he uses more and more force and I will launch my attack at the moment when he reveals an opening. It is a technique, which borrows the opponent’s force. 

If the opponent is not powerful, he will be on the defensive and he will multiply his movements be retreating often. In this case you must only throw definite attacks. Then you must use punches and kicks both to make him retreat and to make your attack. When I take the initiative of the attack I must watch out for unexpected counterattacks. 

I must not overestimate my force and my speed when I attack. An agile person will be able to counter-attack fast before I move by guessing the movements of my hands and feet. 

You must hide the technique that you are going to use from your opponent by concealing your own intent. Whatever the capability of your opponent you must neither go forward nor back more than three steps. 

At the moment of combat, you must take care to defend your centerline from the eyes to the groin. You must take care to avoid punches between the eyes, kicks in the testicles and do not let yourself be grabbed. As a general rule it is better not to use too much force for defense. If you use to much force for blocks, every gesture will be slowed down, which runs the risk of losing an opportunity. 

When you grasp an opponent’s arm you must do it strongly and loosely at the same time, but the spirit must be strong, so that you can react adequately to your opponent’s reaction. 

Any punch must be above all fast. When it is blocked and deflected from its target it must continue on its path and strike anywhere (included in Kyan’s Karate). And, even if the attack did not have a strong impact, it will trouble your opponent. Then you must continue to do all possible punches and kicks without stopping at all, spontaneously and gradually. 

It is not necessary to block your opponent’s kicks with your hand. You can block them with your leg and throw a punch the same time. Even if your opponent falls, do not attack him too carelessly, as you may receive an unexpected attack. 

When your opponent seizes your leg there is no danger if you put your foot on the ground very strongly. But you must take care not to fall when the ground is uneven. 

When facing your opponent, take care not to play into his strategy. Some use their feet while punching or pretend to grab a hand. Others use fists while pretending to throw a foot attack. React according to voice and noise. Never relax. 

When you are facing several opponents, you must never fight close in; above all, keep your distance. If one attacks my right, I move to the left. As soon as I have attacked the one facing me, I attack the opponent behind me. It is the only good way. 

Shared by Dan Smith in 2005

I was shown the Masters Level Heian Shodan one time

 

 

This is what Tristan Sutrisno called this version of Heian Shodan when he showed it to me one time in the early 80s in his home.  He really did not appreciate that I would remember it, or practice it as he did not teach it to me. 

Then years later, again in his home, he described the form to me, when I then jumped up and performed it. He did not remember that he had shown it to me before. He was astonished I knew the form.

Of course, as a function of learning several hundred forms over my years, if I seriously watched I often got the form easier than most instructors would know.

Truthfully, I do not believe the form was a Master Level form, rather a name attached to an exercise showing another unique use of blocking. The form used the embusen of Heian Shodan. That meant the student did not have to worry about learning a new form and would concentrate on a new version's techniques.

Essentially the form utilizes multiple blocking strikes, and I’ve only run into this style of practice with his family system.  The Embusen is the same as Heian Shodan (although in his basic version on the back row he doesn’t step and punch, instead he steps in with a back stance and an inside block each time).

Each section can be done as another drill in its own right. I have only seen this type of multiple blocking done in the Sutrisno system of Shotokan.  

I am providing two separate descriptions for the form, to allow you to better understand it. I never filmed the form. It was never a requirement for any of my students, but at times I had my adult students perform it with me leading as a singular exercise because I always wanted them to realize how multiple blocking could be useful.

There are two slightly different versions of this drill. The first uses triple punches in one section, the second uses triple blocks to counter the style of triple punches in the first version. Likewise, there is a second change in each kata, replacing a back hammer fist strike with a back of the wrist strike. This form was just a tool to accomplish many things.

Masters Level Heian Shodan version one

Open

1. Turn Left Zen. Dachi, Left Low Block immediately followed by Right Low Block

2. Step forward into Right Zen. Dachi, Right Low Block immediately followed by Left Low Block

3. Turn 180 to the right into Right Zen Dachi, Right Low Block

4. Pull Right foot back alongside left and Deliver Right Hammer fist to head on your right side.

5. Step to your right with your left into Left Zen. Dachi, Left Low Block immediately followed by Right Low Block

6. Turn 90 to the left into Left Zen. Dachi, Left Low Block followed by Left Open hand High Block

7. Right Foot Forward into Right Zen. Dachi, Right High Block Then Grab followed by Left High Block, follow this with 3 punches, right high then left middle then right low punch. (this blocking would block a triple punching attack - high, middle then low)

8. Left Foot Forward into Left Zen. Dachi. Left High Block, then Grab followed by Right High Block, follow this with 3 punches, left high, then right middle then left low punch.

9 Right Foot Forward into Right Zen. Dachi, Right High Block Then Grab followed by Left High Block, follow this with 3 punches, right high then left middle then right low punch.

10. Turn 270 to the left into Left Zen Dachi, Left Low Block followed by Right Low Block

11. Step forward into Right Zen Dachi, Right High Block followed by left middle punch.

12. Turn 180 to the right into Right Zen. Dachi, Right Low Block followed by Left Low Block

13. Step forward into Left Zen Dachi, Left High Block followed by right middle punch

14. Turn 90 to the left into Left Back Stance, Left Low block followed by Left Middle Block

15. Step forward into Right Back Stance, Right Inside Block followed with Right Outer Wrist Strike

16. Step forward into Left Back Stance, Left Inside Block followed by Left Outer Wrist Strike

17. Step forward into Right Back Stance, Right Inside Block followed with Right Outer Wrist Strike

18. Turn 270 to the left into Left Back Stance, Left Outer Knifeman Block/Strike followed by Right Outer Knife Hand Block/Strike

19. Step out 45 into Right Back Stance, Right Outer Knife Hand Block/Strike followed by Left Outer Knife Hand Block/Strike

20. Turn 135 to the right into Right Back Stance, Right Outer Knife Hand Block/Strike followed by Left Outer Knife Hand Block/Strike

21. Step out 45 into Left Back Stance, Left Outer Knife Hand Block/Strike followed by Right Outer Knife Hand Block/Strike

22, Step back into the closing Rei

Masters Level Heian Shodan version two

Rei facing 12 o’clock

Turn to 9 o’clock, stepping LFF into Left Front Stance with a left low block followed by a right low block.

Step RFF into Right Front Stance with a right low block followed by a left low block.

Turn 180 clockwise to 3 o’clock, pivoting on the left foot, into Right Front Stance with a Right low block.

Pull the right foot back alongside the left, turn 90 counterclockwise to 12 o’clock and deliver a right-side descending hammer fist strike towards 3 o’clock.

Pivoting 90 degrees clockwise to 3 o’clock on the right foot, LFF into Left Front Stance with a left low block followed by a right low block.

Turn 90 degrees counterclockwise to 12 o’clock, pivoting on the right foot, stepping forward with the left foot then a left low block turning into left high block, turning into a left high knife hand block.

RFF into Right Front Stance with a right high block, then right middle inside block, then a right low block, then a left high punch, then a right middle punch finishing with a left low punch.

LFF into Left Front Stance with a left high block, then left middle inside block, then a left low block, then a right high punch, then a left middle punch finishing with a right low punch.

RFF into Right Front Stance with a right high block, then right middle inside block, then a right low block, then a left high punch, then a right middle punch finishing with a left low punch.

Turn 270 counterclockwise, pivoting on the right foot, stepping into Left front stance to 3 o’clock with a left low block followed by a right low block..

RFF into Right Front Stance with a right high punch then a left middle punch.

Turn 180 clockwise to 9 o’clock, pivoting on the left foot, into Right Front Stance with a right low block followed by a left low block.

LFF into Left Front Stance with a left high block then a right middle punch.

Turn to 6 o’clock, stepping LFF into Left Front Stance with a left low block.

Step RFF into Right back stance with a right inside middle strike then a right outside middle hammer fist strike...

Step LFF into Left back stance with a left inside middle strike then a left outside middle hammer fist strike.

Step RFF into Right back stance with a right inside middle strike then a right outside middle hammer fist strike.

Turn 270 counterclockwise to 9 o’clock, pivoting on the right foot, stepping into Left back stance with a left open hand outer middle strike and an accompanying right open hand middle cover, then a right open middle hand outer middle strike and an accompanying left open hand middle cover.

Pivoting on the left foot, RFF to 10:30, stepping into Right back stance, with a right open hand outer middle strike and an accompanying left open hand middle cover, then a left open hand outer middle strike and an accompanying right open hand middle cover.

Pivot on the left foot, and turn to 3 o’clock, stepping into a Right back stance, with a right open hand outer middle strike and an accompanying left open hand middle cover, then a left open hand outer middle strike and an accompanying right open hand middle cover.

 Pivoting on the right foot, LFF to 1:30, stepping into Left back stance with a left open hand outer middle strike and an accompanying right open hand middle cover. Then a right open middle hand outer middle strike and an accompanying left open hand middle cover.

Step back into a closing Rei.

Each version of this drill uses the same embusen of Heian Shodan. 

Private research on the Chinto - Seipai kata connection

  

It was in the later 1980s, after I had trained with many people, and had seen how they each approached the question of how to utilize kata techniques for defense. At that time I finally began my own study of what Isshinryu technique might accomplish.

Having no tradition of kata application to call on I went in many directions and discovered there were multitudes of answers that would drop an opponent. In every case if someone attacked, they fall down and go boom.

I was told by a very accomplished friend that Sanchin was not for defense, only for body development. So, I spent a lot of effort discovering many ways to use Sanchin kata.

I observed how use of Naifanchi techniques became a 'cult' as all that was needed. However, I saw the best use of Naifanchi in a different way, rather its development of the turning waist could be used as a development tool for use in Chinto kata technique.

I began to see Chinto as my personal choice. And I worked to tear it apart and better understand how its techniques might be utilized.

One very interesting potential I did not see others utilizing was the idea that the use of the turns in Chinto kata might also be a weapons system.

 

Part of my inspiration came from an interest in the martial uses of Pa Qua (Ba Qua). Unfortunately, I never had the chance to study it, but I had read as many articles and books on Pa Qua as I could. Those sources sparked my imagination.

I had also seen the Goju Kata Seipai and paid attention to the many turning techniques the form utilized. So one morning in the spring of 1993 I pulled out a video of Hiagonna Sensei on Seipai and for several hours that Sunday morning i taught myself the form. I make no claim that I truly got the form, but it was sufficient for my purposes.

 

A short while later that Sunday morning I was on my driveway working on Seipai. This was before my Tai Chi group came for class.  The first member who showed up for Tai Chi had come over to my group from a Goju program. He walked up my driveway looking at what I was doing.

He spoke, "How can you know that form, Seipai, at my former school that was only taught to 3rd degree black belts?"

I responded that 'I taught it to myself from a video tape this morning.'

He went "Wow" and then proceeded to perform the form with me. There were a few differences from what I taught myself, but overall, it was the same form.

I was not interested in being pure to an instructor. I just wanted to understand the form better, to then investigate how the movement of turning might also be used as a weapon.

Eventually I arrived at a theorem that Kata Chinto and Kata Seipai could work together to be an awesome way to defend yourself. And Naifanchi kata might be the beginning training that would supplement the development of the waist for use in both forms.

I continued my private research on this. I did believe in what I saw Isshinryu could accomplish and of course that is what I taught my dans.

Several years later I met and had occasion to train with Sherman Harrill. Then that meeting became the direction I took most of my own studies on Isshinryu.

But I stand by what I worked out, that the combination of Chinto and Seipai had much to offer too.

When I translated the French editions of Mabuni Sensei's first 2 books.

It was around 1990 when Joe Swift, knowing I had studied French, asked me to translate 2 French editions of Mabuni Kenwa's books from the early 1930s. They were "Goshin Karate Kobudo " on kata Sanchin and Seiunchin as well as "Karate Kempo" on kata "Seipai". They were not the complete original editions, rather focusing on the kata presented. Later Mario McKenna would translate the original editions. It took me a bit of work, but I accomplished what Joe asked of me.

The original Japanese edition of "Karate Kempo" in Japanese can be found in pdf form on this site.

https://www.karatedo.asia/publications-kenwa-mabuni/?fbclid=IwAR0Y3Nj1Zb8fMzi9C8N-LFSPMg0kFoFSk0uVDe0-Gcpgr79NC4sdDd4s9Us

I shared the original Japanese work on Mabunis Seipai on my blog previously.

https://isshin-concentration.blogspot.com/2017/04/mabunis-writings-in-1930s.html

https://isshin-concentration.blogspot.com/2014/08/study-in-seipai-kata-by-mabuni-kenwa.html

 

My quest on the Hakutsuru No kata

 https://www.youtube.com/watch?v=1heI6NDt4eI

Taught by Sali Azem NH

Back in the 1980's there was far less information available on many martial issues. Martial video tapes slowly began to be sold from many sources. The martial magazines were not always reliable, but they were also the best of sources available. In fact, the magazine letters sections were the internet of the day.

Toward the end of that decade access to the internet grew. Still prior to YouTube it was the best that was available.

I met Joe Swift on such a discussion group, and we eventually became fast friends, sharing almost every day with each other.

One of the developing topics was information on the kata Hakutsuru slowly became available.

It soon became evident that many of the sources were not terribly reliable. 

Being interested in what Hakutsura kata was I began tracking the discussions on the net.

Now in my area was Rich Bernards House of the Samurai. He and I were in a neutral friendly position.  His school was quite large (over75 black bslts in training there). My program was miniscule in comparison, but after a few years teaching I had students who could hold their own with his.

He never visited my program but one years I would drop over to train and frequently I would be asked to teach the class, not Isshinryu, but always showing them something my other systems of study.

This time I found that Bernard Sensei has switched his +20-year program over to Azem Sensei's Shorin program. That night Azen Sensei was to be there and he was teaching them their first Shorin kata, and it was to be Hakutsuru. I was asked by Bernard Sensei to join on in the class.

Azem Sensei taught that class to 75 of their Black Belts, I was permitted to learn it too. Of course, nobody believed I would remember it from that one class. He told us that he had learned the form from Hohen Soken. I should add Bernard Sensei viewed the class from his office window.

So I worked to learn it, doing my best.

After the class was over while driving home I thought it unusual to teach what I thought was the most advanced form from Soken as the first form taught to a new group of black belts just joining his group.

Reaching home, I did what I had learned to do.  I transcribed my mental notes on the complete form.  Next, I sent a copy to Rich for him to help teach the form. (Which I assume astounded him that I could remember so much material. He never discussed that with me.)

I did work on the form wanting to retain it for my own study. Never did I teach the form.

Shortly after that time 2 of his 3rd degree black belts who were not happy with the switch from Goju to Shorin, choose to leave that program and instead join my program, both in my Isshinryu group and one of them in my Tai Chi group.

Not one to stop my search of the form, about 8 years later I took my search to a new level.

I never let things drop, thinking about that Hakutsuru frequently wondering if it was original? I learned somebody filmed one of Azem's senior students working with the House of Samurai group demonstrating the form. Sometime later it was added to the new YouTube.

I sent copies of that URL to friends around the world such as Joe Swift, John Sells and others. None of them recognized the form. John Sells was most excited when he saw the form, but after research responded that while it was an interesting form, it was not from Hohen Solen, in his opinion.

Finally a friend in Brasil, with very credible roots responded: "That Hakutsuru kata is a creative experiment by a guy from Goju/Shobukan from New York city. It is not a kata, that is, it has not functional structure, just a mambo jambo."

It was enough of an answer for me, having an answer I discontinued practicing the form, I never intended to place it in our studies, but it was an interesting exercise in any case.

Of course, I never really knew the truth about the form, however my curiosity was satisfied.