Wednesday, January 31, 2024

The recent discussion on the charts makes me realize how much is left unsaid about our differing practices in Isshinryu.


From a now very past discussion.

 

Upper/Lower Body Chart - Agena Dojo 1972

My own practice goes back 30 years and the manner in which the charts are used in my program remains consistent in how Isshinryu was shared with me.  In fact, until I asked the question the other day, outside of realizing there were differing charts of techniques for the upper body and the lower body, I was unaware how others in Isshinryu approach them in training. In fact over my years, I keep discovering new items always before my nose, so close you don’t see they’re there.


From what people have posted on the Original Isshinryu list and on Pleasant Isshinryu its clear there are layers of answers that all fall under Isshinryu practice.  It seems to me the indisputable fact that Shimabuku Tatsuo used standard upper body and lower body charts his training, but the placement of their training in the various Isshinryu programs has varied. 


That does not mean the different answers are right or wrong. I believe for the most part all of us are working towards the same goal, excellence in technique and application in their Isshinryu. But I would suspect each is following the path of our seniors, and less than critical analysis has been applied to determine the optimal answer. Nor do I believe there should be one optimal answer.


I think Jim made a good point, just intense practice of any one aspect of our system won’t guarantee that progress will occur. 


For one thing I find it interesting that two individuals from the same crucible, Tom Lewis and Sherman Harrill, both training in Agena in the late 50’s early 60’s developed their transmission of Isshinryu in so very different ways, even to the usage of the Charts.


The charts of Tom Lewis

https://isshin-concentration.blogspot.com/2018/05/the-charts-upper-body-lower-body.html 


Charles Murray on the Chart changes under Tom Lewis

https://isshin-concentration.blogspot.com/2019/02/charles-on-charts-02-11-2004_22.html


Possible chart 1 changes for the black belt

https://isshin-concentration.blogspot.com/2019/04/for-dan-other-possibilities-for-chart-i.html


Charts of other instructors

https://isshin-concentration.blogspot.com/2023/03/upper-and-lower-body-chart.html


How the times have changed! - a cautionary tale

 


Something to think about. Most of these defensive strategies today would not be allowed in NYC as I follow the news.



https://isshin-concentration.blogspot.com/2023/09/coping-in-violent-world.html



The times certainly are a changing.


Tuesday, January 30, 2024

Problems with the reading of the surnames of Okinawan karate masters

 https://note.com/motoburyu/n/n5d139e9bb05e

Motobu Ryu  January 30, 2024 3:35 AM



 

Okinawa has a unique surname that is not found on the mainland. For example, surnames like Nakijin or Nakamura. In addition, there are examples of very different "readings" in dialects even on the mainland. Examples like Tamagusuku and Tomigusuku Castle.


How do we write the "reading" of these Okinawan surnames? Basically, after the abolition of the domain, I think it is common to write it in the common language (Japanese). In the case of Haji Asahihide, it is common to write it as "Hanejichoshu", and not in the dialect as "Hanijichoshu".


However, there are some examples where the common language notation is not standardized. For example, Tamaki Asakaru is generally read as "Tamagusukucho-kun" and not "Tamaki" or "Tamashiro".


I don't know if there are any standards for this kind of discrepancy in Okinawan studies or Okinawa Prefecture. My impression is that it has been done in a customary manner.


What about karate practitioners? In the case of karateka, it is also common to write in the common language. Matsumura, Matsumora, Itosu, etc.


However, if the dialect reading is important, we may also write the dialect reading. For example, Matsumura and Matsu Shigera are both pronounced "machimura" in dialects. There is a case where Motobu Asaki misheard "I learned from Matsumura in Shuri" as "I learned from Matsumura in Tomari", and in such a case, I will write it in the sense of calling for caution. Motobu Asaki used the "Shuri'sSuinuorNightsTomainuHowever, some of the disciples on the mainland may not have understood the distinction well.


In addition, both Soeishi and Sueyoshi are pronounced as "shishi" in dialects, but there are cases where the two seem to be confused in the kata of Kobudo, so I have taken up such cases as a matter of dialect reading.


However, it is too cumbersome to write all surnames in both the common language and the dialect, so they are usually written in the common language.


However, even in modern karate books, there are a few examples of characters who are not unified in the notation of common language and dialect. For example, Shiroma Mashiro is written as "Shiroma Shinpan" or "Gusuku Mashinpan".


Kinjo Sanyoshi is also "Kinjo Sanra" or "Kanagusuku Sanra". Personally, I think that there are many examples where castles are written as "gusuku". In addition to "Gusuku", it may also be written as "Gusuku" or "Gusuku", which is confusing.


Tatsuo Shimabukuro of Isshin-ryu is also commonly written as "Shimabukuro Tatsuo" in Japan, but "Shimabukuro Tatsuo" is also used overseas. In fact, I recently read that there is a debate among overseas karate practitioners over whether "shimabukuro" or "shimabuku" is correct.


From my point of view, it doesn't matter. As mentioned above, it is common to read the common language when writing in books, but there is no problem with reading dialects.


In fact, there have been cases where the same person used two different things. One of my relatives was named Nitta, but on the mainland, he introduced himself as "Nita", and in Okinawa, he said "Arata". Until the Showa era, when people came out on the mainland, even if it was not discriminatory, they didn't like to be looked at strangely, saying, "It's a rare surname," and some people dared to introduce themselves in the mainland-style reading. I don't know if Dr. Shimabukuro used them differently, but there are such cases, so I think that either one is fine.


There is also a concern that too much emphasis on dialect reading will lead to inconsistencies in notation. If you start reading the dialect, Mabunin will be "Mabui", Miyagi will be "Myagushiku", and Higashi-Onna will be "Fujaunna".


People on the mainland can't read it, and even in Okinawa, the younger generation can't read it. Of course, some people may stick to dialects, and there is a possibility that the trend will change with the changing times.


In a few hundred years, the headquarters may be written as "Mutobu" and the Tomina-waist may be written as "Fukashi", but that is a story that should be chosen by the people of that era. Therefore, although the writing of a common language is common in modern times, my position is that if there are people who insist on dialect notation, I will not stop it.


In the case of Japanese, how to write in kanji is important, and "shimabukuro" and "shimabuku" are the same as shimabukuro, but in foreign countries, Shimabukuro or Shimabuku are written differently, so there may be a gap with the sense of Japan.




Monday, January 29, 2024

A Thorough Look at the Secret Scrolls of Daito-Ryu Part 1: Technical Contents

 


https://www.guillaumeerard.com/daito-ryu-aiki-jujutsu/articles-daito-ryu-aiki-jujutsu/a-thorough-look-at-the-secret-scrolls-of-daito-ryu-part-1/








 


Releasing The Knee - The Daito Ryu perspective

Date: 5/7/01 4:57:08 PM 




Victor This is what we spend 90% of our time with in Daito-ryu and in the related kenjutsu we do -- that is dropping your weight instead of doing other things. For example from a standing position if you want to move in any direction instead of stepping (pushing your body out) you relax one knee and slide outward on the other foot. This proves to be faster than stepping and it allows you to get your total body weight behind it. It is very powerful.


If you are next to another person and you begin to push on each other, just drop first and then begin to push. You will be lower and more centered, and usually under the other person's weight and thus more powerful.


If someone grabs you -- you don't use power against the grab. Often you initially resist a little (this makes the opponent fully commit), but then release and move from the center -- something difficult to describe.


Part of this concept was used in some karate. George Donahue often shows this in his demonstrations.  Wado Ryu's founder Hironori Ostsuka also shows this in his book "Wado-Ryu Karate" as part of the first move of some kata, as Pinan #1 when he says "Sink Your weight."


In aikido we use this but not so much in stepping as when we have controlled another person's body and drop our weight as part of a take down or projection.


As to shiho nage, most people do it so poorly all you have to do is turn with them and you will both circle into each other. This is also a misnomer. It is just not relaxing the knee. We have sets of exercises to release the whole body starting from various hand positions. For example, you stand relaxed with your arms stretched out in front of your, palms up. Starting with your arms you let your whole body go limp. Hands turn in, elbows out, the sinking of the arms moving your whole body forward, head back as you knees buckle. For a long time I wondered why we did all these exercises, but then one day the teacher said, "Put me in an elbow lock," and as I put one arm over and around his and tried to get it, he went limp just as in the exercise. It was like trying to put a lock on an eel, he just slipped away.


You also quoted this: I saw a kyoju dairi of aikijujutsu (a Japanese student of Takeda Tokimune) in his 60s do the knee-relaxing punching demonstration you described.  His uke was a former US Army Ranger and an experienced martial artist, and the guy had the most stunned look after he had been planted on his butt.  The punch was relaxed and looked effortless. 


This is also a different type of punch. As my daito ryu teachers say, "karate punches are penetrating, diato-ryu punches move your whole body." In aikido and karate we often tend to move our shoulders and hips separately creating a torque. But, at least in the daito-ryu I study they are very careful to keep the shoulders and hip in line. it's called keeping in line the body's lines of force. Thus, in any movement the hip and shoulders move together. We spend a lot of time just learning how to walk again, falling not stepping and moving both shoulder and hip ahead together (rather than how we walk, such as, left arm swings forward with the right step), and changing direction -- never turning per se, but always moving with the whole body, rather than pivoting on one foot, and twisting. 




Hope this helps.


Christopher

 

 



Chinkuchi Questions




In response to Len's questions.

The questions Len asked open up several other doors for discussion. I will attempt to answer without getting too far off the subject. My responses are mixed in with the questions.


In a message dated 2/16/2004 10:29:48 AM Eastern Standard Time,

Subject: Chinkuchi Article


Hi, Dan,


>1. Shitabara means the lower stomach. The emphasis is on the area that connects the pelvic girdle. The Okinawan word that could be used is gamaku.


I'm familiar with "gamaku," but just a curiosity----Since "chinkuchi" is a strictly Okinawan term, why did you choose "shitabara" instead of gamaku todescribe this area?

>>>>


The reason I use shitabara is for emphasis to the lower stomach which there is no Okinawan word. Gamaku is for the muscles that are not only in the lower stomach but also in the lower back. The Japanese word that would be used to describe this area would be koshi. The use of Koshi IMO is overused and misunderstood in that it also describes the entire pelvic girdle vs. the specific muscles. While the pelvic girdle is important IMO it is more important to understand the supporting function of the pelvic girdle as the connection between the lower and upper body and the bi-ped functions than using "koshi" to describe the contraction of the gamaku "muscles in the lower stomach and back" and leading the body with the lower stomach (shitabara). The lower stomach leads and causes the rest to follow.


Also, in Okinawa during the late 60's and 70's there was a mixture of the Okinawan dialect and Japanese to describe techniques whereas today it is almost all Japanese unless you have a teacher who was raised to speak the Okinawan dialect of which there are few left. Unless you asked you could be using a mixture and not ever know it which was which. I have been working for several years with a few senior Okinawan teachers to develop the Uchinan gushi but due to the lack of words it is difficult to only use the Okinawan dialect.


 

>2. Jushin is referring to the center of gravity. Movement of the center of gravity to cause the whipping action from the waist area.


Does this have something to do with Arakaki's "Inner Physical Dynamic System?" He speaks about this in his book in some detail; I was wondering if you're talking about a similar thing.


>>>>> I have read sensei Arakaki's book and had some communication with him and I believe that it is similar but again due to the language barrier I cannot be certain. I am quite certain the "Inner Physical Dynamic System" and "Imaginary Center of Gravity" is not the way a senior Okinawan would describe this effort. Perhaps the same situation occurs with sensei Arakai that occurs with my teacher and I in that the concepts I understand are put into English that I can explain but if asked on Okinawa about such phrases they would not be understood. Word pictures are important in transmitting a physical art but at the same time you have to see the picture through the eyes or the writer.


I do not think the imaginary center of gravity is an Okinawan concept but more from Akido. The Okinawan method is not to become one with the opponent but to separate from the attacker and limit the attacker to single attacks versus a continuous movement. IMO Okinawan karate's strategy is to move the target and weapon as far away as possible.



One other point for discussion. I asked this on one of the Isshin lists I subscribe to, but don't remember the responses exactly; I thought I'd throw it out here. I've always understood "chinkuchi" to be the Naha-te, or Goju, method of power generation, as opposed to the "Whipping" system of power generation espoused by the Shuri-te folks. Since "Shimabuku (ru)'s" all (Tatsuo, Zenryo, etc) taught Shorin based systems for the most part, what purpose would you think there would be for incorporating the Goju method into the Shorin system?


 


>>>> Chinkuchi is not a term designated to only one system of karate.

Chinkuchi is used in any physcial activity to describe the "perfect" motion combining the mind, body and spirit. The use of whipping actions versus pushing actions does not limit the achievement of "chinkuchi".


Your question also brings up the subject of what is Naha Te and Shuri Te? The use of Naha Te to describe a certain type of karate can be misleading. For example, Uechi Ryu, Ruei Ryu and Goju Ryu are described as Naha Te. The basis for the use of Naha to describe anything during the late 1800s and early 1900s had nothing to do with the particular methods but more that it indicated it was new to Okinawa. Anything that was old was thought to be from Shuri and new things were thought to be of Okinawa therefore since the methods of Uechi, Nakaima and Higaonna were considered to be new they were described to be of Naha or a new thing. Shuri represents the old and Naha represented the new in not only karate but music, dress, etc. It is quite obvious that Shorin and Shorei Ryu was practiced in both the Shuri and Naha areas long before the newer Chinese methods arrived.


A further discussion of the importance of "Chinkuchi" is that through the proper application of the technique and intention of the mind you will prepare yourself for the next movement. Without the "chin, chin", springiness derived from "chinkuchi" the readiness for continuation will be lacking.


Gambatte


Dan Smith


Toudi (Karate) from Mutsu

 


An Explanation of Karate Kenpo 

as Practiced at Tokyo Imperial University


If we break down the components of Karate Kenpo, we get the following.


Tokyo Imperial University Karate Kenpo


Kata


   Offense

Punching/Thrusting

Striking

Kicking

Methods of Impacting

Elbow Strikes


   Defense

Passive Defense

Preemptive Defense

Inside Block

Outside Block

Lower Block

Upper Block


   Practical Applications (Kumite) of Above

Tokyo Imperial University Competitive Matches


Offense

Punching/Thrusting

Straight Punch

Long Range Straight Punch

Short Range Straight Punch

Hooking Punch

Long Range Hooking Punch

Short Range Hooking Punch

Scooping Punch

Body Punch

Double Punch

Horizontal Double Punch

Vertical Double Punch

Swinging Punch

Circular Punch

The above are all punches or thrusts made with the closed fist.


Chicken Beak Punch

Bird’s Bill Thrust

The above are punches or thrusts made with single knuckles.


Fingertip Thrusts (Nukite Tsuki)

One Finger Thrust

Two Finger Thrust

Three Finger Thrust

Four Finger Thrust

Palm Thrust

Woodpecker Thrust

Demon Fist Thrust


Striking

Hammerfist Strike

Backfist Strike

Chicken Beak Strike

Knife Palm Strike

Palm Strike

Scooping Strike

Arching Strike

Sideways Strike

Flat Strike

Knee Strike


Kicking

Kick to Groin

Kick to Abdomen

Kick to Face

Punch and Kick Together

Joint Kick

Kick to Elbow Joint

Kick to Knee Joint

Stomping Kick


Methods of Impacting

Impacting with Fist

Impacting with Hammerfist

Impacting with One Knuckle Fist

Impacting with Back Fist

Impacting with Flat Hand


Elbow Strikes

Deflect with Vertical Elbow

Strike with Horizontal Elbow

Strike with Rear Elbow

Strike with Forward Elbow

Block with Elbow

Drop Elbow Down

Thrust with Elbow


Defense


Passive Defense

Evade by Opening to the Side

Leaning the upper body out of the way

Slipping the attack

Ducking under the attack

Jumping back

Jumping to the side


The six above-mentioned methods are known as passive defense techniques.


Active (Preemptive) Defense

Inside Block

Outside Block

Lower Block

Upper Block


The above-mentioned blocking techniques can be applied with the following techniques.


Block with Palm (Sho-uke)

Block with Fist (Ken-uke)

Sweeping Block (Harai-uke)

Side Block (Yoko-uke)

Scooping Block (Sukui-uke)

Knife Palm Block (Shoto-uke)

Empty Block (Kara-uke)

Thrusting or Punching Block (Tsuki-uke)

Hooking Hand Block (Kakete-uke)

Dropping Down Block (Uchi-otoshi)

Wrist Block (Kote-uke)

Elbow Block (Hiji-uke)

Block Reinforced with Fist

Block Reinforced with Elbow

Combination Palm Blocks (Kosaku Sho-uke)

Combination Fist Blocks (Kosaku Ken-uke)

Praying Hands Block (Gassho-uke)

Pulling Hand Block (Hikite-uke)

Grasping Hand Block (Tsukamite-uke)

Block Inward with both Palms

Returning Wave (Nami-gaeshi)


Karate and the question of Superheroes.

 


When you begin it is if you are taken to a gigantic ladder, given a white belt and begin to climb.


The belt shows you where you are on that ladder.


Then when you climb higher, you reach rungs where you get different belts. Purple, Orange, Yellow, Blue, Green, Brown and finally you are ready to test for a youth black belt. And there are three levels to that. 


All of those belts are not rewards, but indicators that you are ready for new challenges. And on the average that journey takes 7 to 9 years. You can see some of those members who have already spent years in this class. Along that journey your body changes, and you have developed many skills.


The journey is the same as for the adult members, but because they have more control of their time, and are not in school, which is more important, and because many of you are in other sports too, the journey takes longer. The ranking system used for the adults cover the same steps, but the at a different pace.


Reaching Black Belt (of any category – youth or adult) does not mean you are a fighter or supposed to fight with people. Rather it indicates that you are now a beginner. The ladder stretches far into the sky, how long a black belt will climb depends on what the black belt themselves need from the training. They have earned the right to make that decision on their own, but if asked I would assist them.


Adult black belts are new black belts, learning how to begin to use the skills they have developed. Black belts then may be training for their own purposes, or they may be training to contribute to the art, of they might begin training to eventually become instructors after say 20 years of training, as well as for many other reasons. As an example, I have been training over 40 years, and still have more to learn, I told you that ladder stretches a long way up and still higher.


 



Karate is not a comic book training. The goal to be able to defend yourself is complex, and takes a long time.


On the other hand, those who are black belts are Superheroes. Each one here is my Superhero for sharing in the training. Assisting me, even becoming the instructors.

Sunday, January 28, 2024

Looking at the Application Potential for just One Movememt




My recent posts have brought up many things that I have commented on before. One of them was how I began to see the application potential for a single movement of any kata.

Of course, how you defined that movement was up to you. It could be a single section of the kata, or you could parse the movement of the kata into smaller sections where each of them might be considered a single movement. Likewise, several sections of the kata might be a single movement for that application potential, too.

Check out this older post from my blog which explored this idea.


Isshin - Concentration the Art: After all, how might a technique from a kata be used to conclude an attack?


When life gives you Lemons, you make Lemonade II




The Lemons

One of the things you learn, and most often the hard way, is that there are occurrences in your life that are unexpected. Often they hit you very hard and you must learn how to move on in unexpected ways.

On November 4, 2002 Sherman Harrill, someone I greatly respected, passed away. Then shortly after that on July 8, 2003 John Dinger, one of my senior karate students and a tai student of mine too, passed away. Each of them had a profound impact ot me. Their deaths also had other events springing off from those times.

One of the things that occurred was most of my adult students were also affected from the death of John. a few months after Johns passing they choose to discontinue their training. Each of then had been training for over 15 years. As they were aging too, most of them reflecting on their own lives made the personal decision to end their training with me and spend more time on their own lives and their families. Those were reasonable decisions for them.

The youth program continued and remained healthy.

Young Lee had moved away from our area, leaving only Mike Cassidy to train with me for my adult program. 

After

The next year, 2004, it was only Mike Cassidy and me training on any regular basis, which of course meant we could work at the highest levels. Mike had been with me now almost those 15 years and he began to assist with the youth program.

During our training I was able to integrate some of my friend Joe Swift’s translations into our study. Mike and I were having a very good time.

I was really able to work on my own Isshinryu kata. I also had much time to work on many of the 150+ other forms I had studied over the years.

Additionally, my studies into the force enhancers of our technique improved. 

One day I realized something new. I was working my kobudo kata, Shi Shi No Kon No Dai, and realized I was performing it harder and faster. When I was a competitor it was the kubodo form I mostly performed. But now I was putting much more into it than back then.

I then observed Mike doing his Bo kata, Urashie no Bo, it had been his completion form 10 years before and this time he was definitely faster and striking harder with it too.

That got me to thinking, what was the difference. Time for sure was one variable. But with proper knee release and utilizing our center drop and rise, all of it made us performing better and better.

https://www.youtube.com/watch?v=4k3Y-S4bktM

 


Then something new

Now when you teach someone you can't tell them in 15 of 20 years you will finally begin to get it right. But that is true at the same time.

I began to realize that more was happening, work with the Bo, Sai, Tonfa (all of them) also added more to our empty hand karate. The use of the block with the sai, added more to our empty hand blocks too.

The same with long term study with the other kobudo weapons. Block were stronger, hits became harder and so forth, I began to see that kobudo really came to its own for the long-term student. In effect a new force enhancer to assist in the fight of aging.

This was new, and I never heard this from anyone else.

I was able to link the exceptional grip strength Rothrock Laoshi developed with his great depth in Chinese weapons studies. This allowed me to look how the study of Kobudo was another force enhancer in the development of application potential. The need wasn’t for kobudo usage, the need was dan kobudo study for core development.

Face it really needing a Bo, Sai, Tonfa, Kama or Nunchaku for serious self-defense really meant very little today. As the times keep changing it is even money using them in self-defense could end you in Jail (The times are crazy after all).

My other studies with Stick, Knife certainly were viable self-defense tools, but their use would also likely put you in jail today, too.

It was the same with my other studies of using my Yang Tai Chi Sword, the Chinese 3 section staff and the Chinese Staff or Short Staffs offered the same potential consequences/

Not to suggest you should not defend yourself, however the times are crazy in many locations.

However, what I really realized was that each weapon required different handling skills. Bo, Sai, Tonfa, Kama, Stick, Tanto and Tai Chi Sword. 

Each weapon requiring different handling and building very different strengths.


You get Lemonade.


I saw that a small core curriculum was all that was required for long term dan development. The entire course build towards many subtle energies for advancing development.

I continued to teach the entire system but began to work with long term students to select which kata IMO they should concentrate on. Possibly that did not make a difference, for each of them could yield the same results.

The program as it developed required all of its aspects for best personal development.


https://www.youtube.com/watch?v=DMT8vm7s2EI



 




Friday, January 26, 2024

What came next


A small example of what I was working towards.



https://www.youtube.com/watch?v=w4RMJxLav1Y





Smith Te II - The Return of the Son of Magnetic Monster


 


As I mentioned in my last post on this blog, a long time ago when I began to really look at what the many kata techniques that I had studied could do, a fun idea came to me. For an upcoming summer camp I would be attending and teaching at, I decided to take my new idea of a minimalist system and have some fun with that idea and share it, creating my own 4 movement system. 


Isshin - Concentration the Art: How my quest to find the application potential for any kata movement began.


The summer camp was a mixed martial group endeavor, the people there were to enjoy training with instructors from various martial systems. They were not there to learn Isshinryu, and I was never comfortable sharing my Isshinryu in those situations where the individuals were not committed to the study of my system.

But having trained in many systems over the past decade, and never placed boundaries on my own studies, wanted to give everyone something useful and thought provoking, at the same time.

I decided that I would present the 4 movements form applications I had been working on and present them as a new system called Smith-Te. It was an attempt to have some fun with friends as well as being an idea of new training possibilities. 

As it was my own system, I choose to give that system a name, that of Smith-Te.

That presentation went over very well.

Then as the year progressed and I went on into my own research, and I worked on other "useless" movements from other kata, I was becoming more comfortable that I had hit on something useful to me.

Then it became time for the next year's camp. I decided to teach my own system at that summer camp. And as I was sharing the idea of a minimalist system, I chose to call what I would be sharing as Smith Te II - The Return of the Son of Magnetic Monster - with apologies to Frank Zappa.  


I always tried to have some fun along with a presentation.  I had added two more moves to the system from what I shared the previous year, now being a system of 6 and a 1/2 moves.

I then went a step further and created a small booklet for that system, Smith-Te II.  I was not only presenting those moves, and their 'kata', but deciding to document that effort too.

Keeping a spirit of fun, I choose to name the system too, choosing a name from a favorite Frank Zappa tune from his album 'Freak Out'. That song being The Return of the Son of Magnetic Monster.



The link following goes to a blog post sharing that booklet, opening that link you will see the original scans of that booklet. Then double tap any of those shared pages which will open them up in a larger format making them easier to read.

Isshin - Concentration the Art: Smith Te II - The Return of the Son of Magnetic Monster - appologies to Frank Zappa

https://www.youtube.com/watch?v=TCbIw5D_hCQ

 

Always train hard, but also keep a bit of fun in your life.


Thursday, January 25, 2024

How my quest to find the application potential for any kata movement began.




I think where I really started to understand what kata application potential could be was when I started thinking about what a minimalist system could be.


Of course if you’re good enough one technique can be enough to stop any attack. While I believed even a single punch was enough it would be another 10 or 15 years before I understood how correct that truly was.


I wasn’t content to just use the hundreds of techniques from my friends systems, but I had to prove my theoretical approach had merit. So I thought I’d try to find a system, that had the fewest possible techniques to counter any attack. It seemed an interesting exercise.


I had several basic principles to work with, a solid understanding of what a technique application could be, and an understanding that it needed to be explored against any attack. I called the later my unlocking principle, simply you needed to understand the technique as basic application:


1. An exterior line of defense against an attacker’s right attack.  

        a. Moving forward.

b. Moving rearward.

c. Turning clockwise into the attack.

2. An interior line of defense against an attacker’s right attack

a. Moving forward.

b. Moving rearward.

c. Turning counterclockwise into the attack.

3. An interior line of defense against an attacker’s left attack

a. Moving forward.

b. Moving rearward.

c. Turning clockwise into the attack.

4. An exterior line of defense against an attackers left attack

a. Moving forward.

b. Moving rearward.

c. Turning counterclockwise into the attack.

5. As a defensive move by attacking into your opponent’s rear


It was simplistic, lacking the other underlying principal dimensions that would come later, but an interesting way to know if you could make a technique really work.


Then to make it interesting I decided to choose those movements in kata and forms that seemed the least likely to have value. Just picking a punch lacked dimension to my way of thinking, might as well make it challenging.


Part of my inspiration came from an idea I was kicking around. It was what was the fewest number of techniques to make a system that could end any attack.    A minimalist system. Then this followed.


Well, it turned out it worked.

     


I started one Saturday morning on my driveway (during the summer’s my adults often meet at my house to train outdoors). I took the hammer fist to the hand technique from Goju Saifa kata and found my principal analysis really worked. If they stuck it out, I could really take someone apart with those movements.

     



Next, I decided to take a tai chi movement, Lu (or rollback) and really found it was a great way to put someone’s face on the ground in any circumstances, either interior line of defense or exterior line of defense. Especially with this study I began what I would eventually call the study of fractals of the movement. On the surface it seemed if you didn’t move fast enough with the tai chi pull back you’d really get nailed, well that’s only on the surface for if they’re really, really fast, they discover there is something else there that really disrupts their attack, and it works just as well with the head/neck as with the arm……


Now on a role, two movements, just to keep them guessing I figured I should have several more. I thought I’d really have some fun and use movement. Ernest Rothrock trains his advanced students in an obscure body of movement studies he at times refers to as Ghost techniques. I decided to take one and use it’s turning as a weapon, cutting out an attacker's lower body from the rear. That’s where the concept name came from, they strike towards you because they know you’re standing before them, but when they get there, you’re standing behind them.


I decided to finish with a more direct counter and because I wasn’t practicing tai chi for its martial aspects, I decided that a palm strike would be my concluding technique. I was stuck between the brush knee and the Fair lady works the shuttles, finally deciding to include both of them.


An annual summer camp was coming up that was inter-discipline and I thought I might have some fun presenting this material. I was sure how I’d apply them but to take another group and share it with them and get results seemed a good test.


To have fun I thought I’d give the minimalist system a name – Smith Te, the system of 4 and ½ movements (counting the last two as 1 and ½ because both shared a palm strike.


To have more fun I gave the movements new names.


The hammer fist strike study from Saifa became ‘The Eagle Swoops Down’.

The pullback became ‘The Snake Retreats’.

The ghost technique became ‘The Ghost Departs’.

The brush knee became ‘The Bear wipes its Claws’.

The fair lady works shuttles became ‘The Bear wipes its Nose’.


And finally, I created a form with the techniques.


I had a lot of fun showing the application potential for those movements working to make my case they could stop everything. Afterwards a ex-Marine, at least 6’6” came up to make a point he really didn’t believe it could stop his attack. I said OK, attack me. He came driving in with a hard right but didn’t complete his attack for some reason he felt it wasn’t a good idea to drive his eyes into my fingertips, for I was using the Lu (or my Snake Retreats) as my counter. He stopped getting the point as I reminded him, remember I said Snakes can also bite.


What I was learning if you really trusted your technique and really worked to apply it, it would stand up for you every time.


The next summer I added another worthless technique I was playing with, Sanchin Kata’s closing Mawashi Uke (or Tora Guchi if you will), finding a true minimalist system of one perfect movement study. I also renamed the system Smith Te II and slightly modified the form and renamed it ‘The Return of the Son of Magnetic Monster”, a tribute to Frank Zappa.


I never really did Smith Te after that (except as further tools in my toolkit), but continued the studies looking at 

‘The Ascending/Descending Palm’, 

the variety of ‘X’ strikes (X Man, X Woman and X Child), 

studies in elbow (Etude in Empi), 

the study of hammer fist strikes (The Hammers of Doom),

 the Breaking Arm a study of many pieces, 

Flower Arranging and so forth.


Sure, I had some fun when I shared them with a few friends' schools, but more so I was starting to really understand what a technique could be used for.


I began to enter the study of Isshinryu kata technique applications using these underlying principles, was discovering that almost everything I studied with Tristan in aikido and Siliat was also already present in a deeper study of Isshinryu’s potential, and starting to get a grasp where this might go.


Then I discovered how much I was still in kindergarten and what a glimpse of the big leagues would look like. Garry Gerossie dug my small program out of the woodwork and totally helped refocus my efforts from that meeting. That was when he introduced me to Sherman Harrill in 1995.


O I also worked out the true Minimalist System. It consented of one move, any one move for that was all you ever needed.


Angi Uezu "Kicking Techniques Late 1960's"

 

https://www.youtube.com/watch?v=m0u04pqZXT4







Wednesday, January 24, 2024

The Unlocking Principle

 


I received my Black Belt in Isshinryu back in January of 1979.

Then my April of that year I was on my own. Charlie Murray returned to the USAF, and I was without an instructor or anyone really caring about what I did. No one to direct what I would do; I was on my own to continue my Isshinryu studies and make a way to use them.

Although before he left Charlie did force feed the remainder of the Isshinryu system, as he knew it, into me.

Then I continued working on my own.

Realizing I needed more I began competing in the Pennsylvania and nearby stages tournaments. I woke up early and began running at 5 am. I was finding time to train for hours a day, often at the YMCA where my wore worked.

My job at Northeastern Bank came with a full lunch hour. Then I would go outside and walk around Scranton. I noticed how many girls dance studios there were around town. That inspired me to begin a youth karate program at the Scranton Boys Club, Competitors and Instructors I met around the state all thought I was crazy to teach kids. I tried to tell them that was the future for their programs and none of them really believed me. But I was not looking for advice and made my own way.

I read every karate magazine I could find, noticing how all the Okinawan instructors in those magazines would show applications from kata movement.

I had not learned such from my Isshinryu instructors, from my studies in Tang Soo Do, or at any of the other karate schools I ever visited. I never heard anyone back then discuss Bunkai at those schools or at tournaments.

But I kept thinking about those magazines and what they showed.I find this an interesting could not stop thinking about it. Then one morning while running it came to me.  I had worked up my own analysis of what a complete karate technique was back in 1980.

I referred to it as my unlocking principle:

I called it the Unlocking Principle for me. Basically, it stated that for any movement a block/strike could have a strike following and whichever combination was used resulted in a downing of the opponent (explosive striking, locking or takedown).

Then having a principle, I could understand I slowly began to find ways to explore it.

Over the next few years, I learned a definition of Bunkai from my studies with Tris Sutrisno. I learned his definition was unique to his family's system, but in actuality his definition did not violate my Unlocking Principle.

Once Bunkai began to be mentioned in the karate magazines about 1984 or so, it seems everyone started using the term. But after having watched thousands of YouTube videos showing Bunkai, none of them (effective or not) were similar to what I learned from Tristan. And as time passed what he shared became the only definition of Bunkai that I used.

Over more time I began my own studies and much more. Always my Unlocking Principle underlay my efforts.

Yet I while informed I was not an expert in the Sutrisno Shotokan system.

I did not feel comfortable using the term Bunkai so I worked up terminology that made sense to me. This occurred step by steep over time.

First, I worked out understanding how any application might be used, the study of kata application works to define the difference between:

1. Application potential – the study of a movement’s full range of potential

Through much work what followed was a larger study.

2. Application effectiveness the study of the movement against all possible attacks

Then the 3rd section was a much larger study. Much more intense effort.

3 Application realization the combination of the physical, mental and spiritual skills required to make the technique work.

I see no short-term answers, just continual work and effort to move forward.


It would be a decade after I had worked out my Unlocking Principle after training with so many different people in different styles and observing what they were doing. I read uncountable karate magazines, books and when they became available viewed so many videos.


Only at that time in the late 1980s did I begin work out how my Isshinryu kata techniques could be applied. Though that is another story.