I share some thoughts on Sanchin application potential?" Part 4

 

 

Sanchin the Bunkai - 4th continues, 5th movement

After a brief hiatus on Sanchin Bunkai I'm back in the saddle. Some days there are more things to address than I have hands to get to them.

SANCHIN the Bunkai - 4th Movement Continues

Rei and Opening

Sanchin Movement Review

1. Right foot forward and cross arms before your chest

2. Double outward middle blocks

3. Chamber left hand and then left reverse punch

4. Left outer middle block (both hand in double outward middle blocks)

Continues………

4.a. Now you repeat after stepping out with the left foot and using the right hand to punch followed with a right outer block.

4.b. Now you repeat 3-4 after stepping out with the right foot and using the left hand to punch followed by a left outer block.

4.c. Then right punch followed by a right outer block

4.d. Then left punch followed by a left outer block

While you can work out a bunkai analysis for the repetition of the punch and block, I do not feel there is a clear advantage to doing this.

I expect the reason the techniques are being repeated is from the goal of using the kata to increase the energy of the Sanchin adept.

I intend to discuss my thoughts on the Sanchin-Energy connection when I've completed my Sanchin Bunkai Analysis.

SANCHIN the Bunkai - 5th Movement

After completing the last double outer block from section 4, both hands open and parry/block down circling in and out as they move down like this diagram  ")(" .

Personal note - I find myself raising my center (hara) and chest as the hands descend.

1st potential - Double descending parry/shove against an attack (interior or exterior)

2nd potential [interior defense] - Attacker Right Foot Forward Right Punch/Grab.

a. pivot somewhat to the left on the lead right foot.

b. The left hand parries the attackers punch down and out

c. The right forearm slices across the attacker's lower ribs with the same movement

I do not see this as much a knockout as an opening to damage your attacker and leave room for another attack to follow.

I also do not believe you are constrained to do both techniques at the same time. Joe Swift and I have been having some conversations regarding the concept that double techniques may actually be done 1-2 with varying effects.

Erle Montague does much the same thing with his analysis for Tai Chi Chaun double hand technique. By changing both hands timing, on some occasions they generate an entirely different sort of power. This can be found in Passai, Seipai, Saifa and SunNuSu kata to name but a few.

3rd Potential - [Exterior Defense] Attacker Left Foot Forward Left Punch

a. Right foot forward with both hands still in the outer middle block position, deflecting the punch to the left. The right foot is past the attacker's side.

b. Pivot 180 degrees counterclockwise on the right foot, both hands parry/strike down with the palms. The right palm is striking into the attackers left kidney

Likewise, I see this as creating an opening for a following attack.

4th Potential - Against double grabs, straight grabs and cross arm grabs

By shifting and executing this movement, with the one hand on top moving first, the movement can be used to free yourself from the grabs.

5th Potential - I believe this can be shown as the opening of a throwing technique too.

As this comes from Joe Swift, I'll just describe the basic mechanics. of the movement, and perhaps Joe can fill in the details.

Attacker - Right Foot Forward right punch/grab

a. With your left foot forward, your double outer middle blocks use the right hand to deflect the punch to the right.

b. You then pivot 90 degrees to the right on the lead right for, keeping Sanchin dachi (stance). As both hands turn over your right-hand flows down to the attacker's wrist and grabs it. Your left palm continues to circle down and strikes into the groin.

c. As the groin is struck the right hand continues to pull down. 

The struck groin and the descending punching arm cause the opponents center to shift over your arm and effect a throw.

I share some thoughts on Sanchin application potential?" Part 3

The Sanchin - 4th Movement and 2nd Transition

Back to Sanchin.

Completing the reverse punch, you now do a left outer block with the left arm.

Obviously, this can be done as a Thumb knuckle strike from the fist (block), or by using the forearm as a shearing plane of force.

This technique, while it can be used alone, to my mind seems strongest as a follow up of 1,2,3. In that light I will continue with these sequences adding the fourth technique.

Now to put some of these together. With Sanchin techniques 1, 2 and 3.

Uke Left Foot Forward Left Punch (Interior line of defense)

1. You step in with your right foot and use the cross hands strike into their upper left chest. (an interior line of defense) [This step is the first Transition.]

2. You then execute your double outer strikes, the right deflecting

their left punch out and the left striking into their chest (or the

side of their head).

Uke then throws a right reverse punch.

3. You slice your left backfist on the inside of their punching right hand as you chamber.

4. You then punch into the lower side of their abdomen with your left hand.

5. a. If you strike there with a vertical punch turned to 1 o'clock, the strike will cause them to bend down.

6. a. If you strike there with a vertical punch turned to 11 o'clock the force of the strike will travel back to their kidneys.

7. Your left outer block is used as a strike into the left side of their neck (or alternately into their left arm pit) (or into the left side of their body in the floating ribs).

Uke Left Foot Forward Left Punch (Interior Line of Defense)

1. You step in with your right foot and slide your left foot over so your center line will cross their attacking arm 20 degrees.

2. Your double outer strike has the right deflecting the left punch and the left-hand back knuckles striking into their chest.

3. You then Slice a left backfist into the side of their ribs as you chamber.

4. Your right hand turns over and grabs their left wrist and pulls down as your left arm slices across their left ribs with the side of the arm. This will cause them to sag forward allowing a spin down with your right hand.

5. As you are pulling down you can use the left outside block to strike up underneath their arm and behind their elbow, causing hyperextension.

Uke Right Foot Forward Right Punch (Exterior Line of Defense)

1. You step forward with your right foot using a crescent step, to the outside of their punching arm. (an exterior line of defense). Then slide your left foot over so your centerline will cross their attacking arm 20 degrees.

2. Your double outer strike has the right deflecting the right punch and the left hand backfist striking into their chest (under the attacker's arm).

3. You then slice a left backfist across the side of their ribs as you chamber.

4. You right hand turns over and grabs their left wrist and pulls down as your left arm slices across their right ribs with the side of your arm. This will cause them to sag forward allowing a spin down with your right hand.

5. As you are pulling down you can use the left outside block to strike up underneath their arm and behind their elbow, causing hyperextension.

Alternate ending

4. Your right-hand strikes into their kidneys (or arm pit)

5. Your left outside strike strikes into their right armpit.

Uke Right Foot Forward Right Punch

1. You step forward with your right foot using a crescent step, to the outside of their punching arm (an exterior line of defense). You crossing hands strike into their armpit or the side of their right ribs.

2. You slide your right foot forward and execute a double outer strike, the right arm strikes into their back because you begin swinging your leg clockwise and end up in right sanchin dachi behind your attacker. 

3. You now shift to a posterior line of attack. Your left arm slices down across their spine as you chamber your hand.

4. You now punch a) their spine or b) into or across their kidneys.

5. You finish using the left outer block/strike into their back.

Without doubt this also is used in combination with the other techniques as a 'grab' defense, too.

A Sherman Harrill 'SunNuSu Kata' Variations.

Uke Left Foot Forward Left Punch

1. As you step out with the first transition, your right arm blocks across the attackers left punch.

2. At the same time your left-hand thumb strikes into the inner elbow area (just behind the elbow). These two motions will bend their arm.

3. Your right arm circles counterclockwise down and then up into the outer right middle block. The left arm circles clockwise down and up into a left thumb strike into the left side of uke's neck.

4. As the right arm continues to circle down and up (behind uke's scapula), the left hand descending backfists across uke's chest.

5. The right arm continues to circle counterclockwise rolling the attacker down. The left punch is used as a forearm strike into the left side of the attacker's neck.

6. In that the attacker has been rolled down and stunned with the neck strike. As their going down the left outer block is used as a descending elbow strike into the back of the attacker's neck.

Caution is urged in training.

Sanchin - 2d Transition (stepping movement.)

Now step with the left foot forward into left Sanchin Dachi.

In my analysis, I don't always define a kata's technique sequences as ending on the striking. Another technique is to use the movement following a strike as a lower body technique. Most often this is seen as a sweep to assist in completing the motion to down the opponent.

BTW, there is an interesting variation of using the sequence to take the opponent down. They punch, you do your strike thing, take the next step to sweep their leg taking them down. Then take the following step as a knee strike into the arm you've pulled down to demolish the arm.

Without saying, as this series of techniques is first done out of Right Sanchin Dachi, then repeated in Left Sanchin Dachi and finally Right Sanchin Dachi. The bunkai appears to be the same regardless of size.

--

Separate issue, why are things being done in threes?

The most interesting answer I've ever come across comes from Ernie Rothrock's instructor Sheum Leung. He explains in Tai Chi Chaun the reason a technique is repeated a third time has to do with the need to have the moving energy within one's body in the right location to enter the following movement.

Unfortunately, my own studies (in karate or tai chi chaun) have not progressed to the point that I can recognize the movement of my Chi in technique execution <grin> so I cannot attest to the validity of this concept. But if that was the original reason behind doing techniques in 'three's', it may explain why the concept is so prevalent.

Victor

I share some thoughts on Sanchin application potential?" Part 2

  

Sanchin 3rd movement

Before I begin my analysis of this movement, today (02/15/00) on the CyberDojo Paris Janos made a great point about the circular nature of all movement. I quote from Paris with his permission.

"I agree with what Rusty and others are discussing about circular motion. 

"Elliptical might be a good description too, but we all get the idea. The good thing about circles is that they contain the possibility of power issuance along the whole curve, not at only one point. Circles also allow for more smooth transitions between techniques as they eliminate stop-and-go actions that are counter- productive in a martial sense. "

"There is no pause in power and technique as they merge into one continuous flow and circles are present in all techniques even when not visibly apparent. Knowing how to best exploit and utilize these curves and arcs is learned through correct kata practice and application. They are natural movements but require training and thought in order to maximize their effectiveness."

"Often times, kata techniques are studies in describing different circular directions at the same time while developing the ability to issue power in different or opposing directions. Compounded circular motion is difficult but paramount in our study of real fighting ability and attributes. "

"As we improve (hopefully) we learn how to decrease the size of our circles so as to retain the inherent concept and utilize it most realistically. "

This seems to tie into my suggested use of technique for the 'shearing forces' present, which are derived from the circular nature behind the techniques. 

-----

On the other hand, the flow of the circle now begins to strike me as a way of explaining the basic shifting I prefer to execute most techniques. If you've ever attempted to walk a circle you find the old adage about it being composed of an infinite number of straight lines each touching the circle at one point, It's making me rethink my entry against attacks as a very tight circling to the 20-degree crossing of their line of attack.

More food for thought.

--

Back to Sanchin.

You've completed the Step forward into Right Sanchin Dachi and executed the double outside blocks Next you chamber the Left Hand and follow this with a left reverse punch.

In the Goju (and Isshinryu) version I've see two methods of chambering. 

1) return the left hand directly to chamber 

2) Circle the left hand in alongside the right arm as it goes to chamber

The Ueichi version of this circles the left hand in alongside the right arm as it goes to chamber.

The first part of this motion can be. 

1) simply chambering preparing for the punch

2) grabbing and pulling the attacker into the chamber

3) A slashing descending backfist striking into an uke's punching arm or kicking leg

4) A slashing strike into an opponent's body

The second part of the motion is simply a punch with various targets.

From the front

1) The solar plexus

2) The lower side of the abdomen from the side

3) The side of the ribs

4) The armpit from the back

5) The Spine

6) The Kidneys

Now to put some of these together. With Sanchin techniques 1 and/or 2.

Uke Left Foot Forward Left Punch

1. You step in with your right foot and use the cross hands strike into their upper left chest. (an interior line of defense)

2. You then execute your double outer strikes, the right deflecting their left punch out and the left striking into their chest (or the side of their head).

Uke then throws a right reverse punch.

3. You slice your left backfist on the inside of their punching right hand as you chamber.

4. You then punch into the lower side of their abdomen with your left hand

5. a. If you strike there with a vertical punch turned to 1 o'clock, the strike will cause them to bend down

6. a. If you strike, there with a vertical punch turned to 11 o'clock the force of the strike will travel back to their kidneys.

Uke Left Foot Forward Left Punch

1. You step in with your right foot and slide your left foot over so your center line will cross their attacking arm 20 degrees.

2. Your double outer strike has the right deflecting the left punch and the left-hand back knuckles striking into their chest.

3. You then Slice a left backfist into the side of their ribs as you chamber.

4. Your right hand turns over and grabs their left wrist and pulls down as your left arm slices across their left ribs with the side of the arm. This will cause them to sag forward allowing a spin down with your right hand.

Uke Right Foot Forward Right Punch

1. You step forward with your right foot using a crescent step, to the outside of their punching arm. (an exterior line of defense). Then slide your left foot over so your centerline will cross their attacking arm 20 degrees.

2. Your double outer strike has the right deflecting the right punch and the left hand backfist striking into their chest (under the attacker's arm).

3. You then slice a left backfist across the side of their ribs as you chamber.

4. You right hand turns over and grabs their left wrist and pulls down as your left arm slices across their right ribs with the side of your arm. This will cause them to sag forward allowing a spin down with your right hand.

Alternate ending

4. Your right hand strikes into their kidneys (or arm pit)

Uke Right Foot Forward Right Punch

1. You step forward with your right foot using a crescent step, to the outside of their punching arm (an exterior line of defense). You crossing hands strike into their armpit or the side of their right ribs.

2. You slide your right foot forward and execute a double outer strike, the right arm strikes into their back because you begin swinging your leg clockwise and end up in right sanchin dachi behind your attacker. 

3. You now shift to a posterior line of attack. Your left arm slices down across their spine as you chamber your hand.

4. You now punch a) their spine or b) their kidneys.

This covers some of the basic striking options I see with Sanchin through the first three movements.

I share some thoughts on Sanchin application potential?" Part 1

Sure, the following is about 5 or 6 years old, and I've shared it several places before. While an Isshinryu stylist I've tried to genialize this across several Sanchin practices, as I wasn't addressing just an Isshinryu audience.

It doesn't necessarily represent my current studies, but I think its a fair beginning.

I've offered this any number of times and enjoy doing so because only the most possessed of you will take the time to actually read and try to use it, and if you do so you're welcome to my poor thoughts.

Victor Smith

bushi no te isshinryu

derry nh usa

 

Beginning Sanchin Application Analysis

First do we all have a common reference, such as Morio Higaonna's Traditional Karatedo 2 with Sanchin in it. It would make for easier reference if we can do this.

Regarding Ueichi Sanchin, it is performed open handed, and does not use dynamic tension. I assume it is closer to the original Higaonna used to derive his closed fist Sanchin from.

I think a fun place to start would be Myiagi Sanchin (the aforementioned Higaonna text) PAGE 39 picture 8 as the text says " from musubi dachi, bending the knees slightly, use suri ashi to slowly slide the right foot forward in an inward arc into right sanchin dachi; at the same time bring both arms up in front of the chest, left arm over right…"

This is just before performing the morote chudan yoko uke (the double side blocks).

To offer my beginning, lets start on the beginning movement. 

[By personal preference, I'm not into Rei breakdown.]

------------------------------ Sanchin Kata

"Slide the Right Foot Forward in an inward arch into right Sanchin Dachi, at the same time bring both arms up in front of the chest" - precursor to the following morote chudan yoku uke.

I would add left arm out, right crossed on top.

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

The first thing this reminds me of is the use of the movement as a stop hit. Sherman Harrill has a variation of this he's used on me.

As I see it, uke's coming out to punch me with his right hand (or to grab me with his right hand).

I step forward with my right and used the crossed hands to strike straight into his solar plexus as he's moving with my left. The crossing right can also strike into the chest at the same time (a double hit).

The throat can also be a target of opportunity. Especially used in some Aikido as an Atemi strike into the throat. I cite Mitsugi Saotome's "The Principles of Aikido" page 56 - 57. Shomenuchi irimi with atemi to the throat, and with atemi to the solar plexus. Great example. BTW works great, too.

Second opportunity, (from Harrill Sherman sensei), the left-hand strikes into the lower right abdomen, the same time the right strikes across the body into the side of the attacker's right forearm. (A different double strike) This is an opening movement for the following technique from the kata (Sanchin or Seisan).

Interesting strike. The lower abdomen of the punching arm is often very unprepared for a counter strike, as the body is preparing to deliver its own strike.

This ties into a thought of Rothrock Ernest (Faan Tzi Ying Jow Pai) that the reason the Chinese chamber their punches on the side of the body is to protect the lower abdomen area. So it's interesting to find a reason to strike there.

Which ties into another story from Trevor Leggett's "Zen and the Ways", where a kenjutsu school had 3 of their seniors massacred one night, with single knife thrusts into the same area. But that's not germane to this topic. Just a plug for a fantastic book, if you can ever find a copy.

Sanchin 2nd Movement

After we have stepped out with the right foot and have brought both arms up in front of the chest, we execute Morote Chudan Yoku Uke (Double Outer Middle Blocks).

Among the application opportunities are:

Percussive Defense

Grappling counters from the front 

1. Uke LFF Lft Grab 

You turn 20 degrees left. The Left outer middle block turns the attackers grabbing arm over while The right middle block is used as a strike to the attackers left arm triceps.

2. Uke RFF Rt Grab

You turn 20 degrees left. The Left outer middle block turns the attackers grabbing arm over while the right middle block is used to strike into the side of the attackers neck or chest.

3. Uke RFF Cross hand grab of your right hand

Defense as in 2.

4. Uke RFF Double hand grab of both hands.

Defense as in 1.

Percussive Offense

5. Attacking to the opponents back/spine from behind with the back knuckle strikes.

6. Attacking to the opponents back/spine from behind or the side with the elbow strikes in the double outer blocke

Takedown counters from the front

7. Uke LFF Left Punch

You turn in 20 degrees to the left as your left outer block deflects the strike, your right foot hooks behind their left foot and at the same time your right arm strikes up under their punching left arm into their chest (upper pectorial area). The left deflection and the right upper body strike combine with the trapping of their foot to spin them down.

8. Uke RFF Right Punch

Your turn in 20 degrees to the left as your left outer block deflects the strike, your right foot hooks behind their right foot and at the same time your right arm strikes up under their punching right arm into their upper back just behind the armpit area. The left deflection and the right upper back strike combine with the trapping of their foot to spin them down.

Important to note, the double outer blocks create a plane of force between them to increase the power of both strikes. The simultaneous timing becomes very important to generate full power into these strikes. When the trapping of the opponent's foot is used with the blocks, the opponents center of gravity is overtaken with your own to spin them down off balance.

My Sanchin Kata Application Analysis

 

I would like to note this series that follows. with 7 parts, likely contains more material than you really want to know. If you have read my blog much you know how intensive I can be.  Do not attempt to grasp everything, I guarantee you will not be able to do so. I developed this over many decades of effort on just this.  Instead select one technique and work on it till you can really make it work. Then if you find that technique useful select another technique. DO NOT CONCERN YOURSELF IF YOU DON'T GET EVERYTING.  Each movement you gain is an improvement of 100% that you did not have before.

I began this back in 1987, I had moved to Derry, NH several years before and Tristan Sutrisno (he who first introduced me to the term 'Bunkai' years before, back when no one in any school who I knew used the term.) had brought his black belts to visit. We took a day to visit Boston martially. That evening we had many martial discussions.

He firmly stated that Sanchin kata was just to develop the body. I disagreed strongly for I felt and stated that to me Sanchin kata was filled with technique to end an attack. He disagreed with me, and the discussion went back and forth. It was not settled between us. 

Then on Sunday morning he gave us a clinic outside on my driveway on the first level bunkai of Nijushiho Sho. That was a 1st degree study for his Sho-dans. for each kata there were 5 levels of Bunkai, each one would devastate an attacker. Each was taught at the appropriate dan level (of which his family system only had 5, enough for a lifetime of study. (I filmed that clinic)

Well that got me thinking, over the decades I worked this out, slowly of course.

I came to prove, that for me, Sanchin kata was a way to kick butt!

How I initially met John Kerker

When I was finishing my Sherm-pedia I was contacted by John Kerker.

 

After a decade attending and hosting clinics with Sherman Harrill, suddenly he passed away. I was in such shock that for 3 months I spent every free minute viewing the video tapes he permitted me to film of those clinic at my school and the many notes I kept from the other clinics.

As I was finishing my Sherm-pedia (my opus for myself) John Kerker (Shermans senior student wrote to me, offering me comments on my efforts. Eventually I finished my Sherm-pedia and then sent a copy to John. It was filled with so much that was a value to me.

The years passed and eventually John was giving a clinic in Chicopee Ma. - about a 3-hour drive for me. I went and we met.  Though family commitments only allowed me to be there a few hours, I learned a great deal. I took many notes and later that evening wrote them up and sent a copy to John.

What I learned from John was being able to experience so much that Sheman had privately told me. He always maintained he was not teaching his students at those clinics. Rather showing some of the potential ways kata technique could be used. He maintained that how he taught in his dojo was quite different. The reason was that the attendees were not his 'Students', they had not chosen to receive the full power of his strikes, and many other details. For one thing he never had enough time to cover all of that. For a clinic he could only do so much.

Then observing John in action, I saw what he meant. His partner was being struck over and over with the most intense strikes I have ever seen anywhere, regardless of the system of the striker. And more amazingly after being dropped with each strike the attacker continued to rise and allow himself to be struck again then again.

Over the next several clinics I learned so much from John about how Sherman taught, filling those many details Sherman never had enough time for

This was the first time I corresponded with John.

 

From: kerk930@aol.com  

To: isshim@attbi.com

Subject: Fwd: [Pleasant_Isshinryu] Another small step in my Isshinryu studies

Date: Wed, 29 Jan 2003 20:41:52 EST

Mr. Smith,

I've read your articles About Sensei Harrill with great interest and with a smile on my face. Having spent quite a few years with him in I've had the opportunity to see the entire spectrum of Isshinryu practitioners in the Dojo.

I've been helping everyone from White belts to 6th Dans since I was a green belt in trying to get in synch with the way that Sensei approached and executed his technique. It was interesting for me especially to watch how he operated at a seminar as opposed to his own Dojo.

I've seen you remark that you were pretty sure the experience was a lot different. You are very correct in saying that. It was especially interesting before 1992 which was his pre heart attack era. This is when he was really into contact. Sensei always use to say that what he considered light contact was full contact to most others.

I can say with great confidence that I felt each of those 800 techniques you mention plus probably 3 to 4 hundred more, each several times. I've also read the posts about your Tai chi with some interest. When I first met Sensei Harrill, I had spent 12 years studying a system that comprised the three classical internal Chinese Arts. 

Meeting him to say the least was a bit of a shock. He used to come over to our school on Friday nights and train. Since I was the senior student in that school, he spent most of the time with me off to the side of everyone else. At the time I met him he had few students and wasn't into the seminars yet, so I was one of the first people he could whack and try these things he'd been working on so long.

After are first meeting It took me about another 1 1/2 years to realize what an opportunity it would be to go full time into his Dojo. When I asked him if he would accept me as a student, he had two requirements. One, that I inform man to man my current instructor and tell him what I was doing. Two, that he start me from scratch as a white belt, and that I refrain from practicing my other style and do only Isshinryu. I accepted and what followed turned into a great 16-year relationship between the two of us.

I was amazed by his technique and power. In class I bet I wrote 10 pages of notes each class. I have 6 full notebooks from those beginning days. Often the two of us were the only two in class. One day after I had been there about 1 1/2 years, he looked at me and said," John, you know you waste an awful lot of class time scribbling in those notebooks." I told him that how else in the world will he expect me to remember all the things he showed me. His answer was to practice your basics and Kata and the Tatsuo Kumite techniques. Just as he had done.

For the last 14 1/2 years that's what I've done. The training at the Carson Dojo has not stopped with the passing of Sensei Harrill. In about two weeks I will take operational control of the Dojo which is what Sensei his wife and Family have wanted. Believe me it's tough sometimes. I miss him terribly. 

I have five Seminars planned this year right now, when I get all the dates firm they will be posted. Everyone as always is welcome to come to the Dojo in Carson and train as always. I have people coming in from out of town the next three weekends to train.

The only thing that is important to me is that Sensei Sherman Harrill's unique way of doing Isshinryu Karate continues. That is what we his Dojo students are doing.

If there is anything I can ever help you with, please feel free to contact me at any time. In about a month, I will have a new phone at the Dojo and forward that to everyone.

Also, Victor, although I belong to three of the IR lists, I post very seldom. That is not meant to mean anything other than I translate thing a lot better on the Dojo floor than I do a keyboard, That's the way Sherman trained me.

In Isshinryu

John Kerker 

From: "victorsmithus <isshim@attbi.com>" <isshim@attbi.com>  [ Save Address ]

To: Pleasant_Isshinryu@yahoogroups.com

Subject: [Pleasant_Isshinryu] Another small step in my Isshinryu studies

Date: Wed, 29 Jan 2003 16:43:21 -0000

I realize we all have vastly different dreams and instruction behind what the Isshinryu system means. And of course we're passionate about our beliefs.

One vision, as presented by Sherman Harrill, is that there are uncounted application studies behind the Isshinryu system. For those who don't follow that path, that's fine for them. For those who've experienced some of his instruction, we march to a different drummer.

Since Sherman Harrill died last October, I had a dream to compile my notes (and finish reviewing several clinic video's I hadn't documented) on his presentation of applications (and principles) behind the Isshinryu system of Karate.

Well, focusing on almost nothing else I've finished. Watching over a dozen hours of previously undocumented video tape and re-writing everything to make the material as consistent as possible.

So, in the few years and chances I had to study with him, I experienced over 800 applications of the Eight Isshinryu Kata. And got an entire mess of underlying principles and themes behind his training. And now I've documented all of it.

Of course, I fully realize I don't have but a small snapshot of his teachings, but there's enough to keep us busy for life.

I came to realize, much of my own research the past 5 or so years, was looking at those things he didn't cover, or principles not in his Interpretation of Isshinryu, or applying his principles to other areas than what he presented.

It strikes me as an incredible legacy for my students, who have gone through all of those clinics with me for the most part.

I've catalogued most of them by Kata, and until I ran out of page protectors, I printed out 72 pages so far, (the first 1/2 of the  Isshinryu kata. But there was much more detailed application study from the remaining kata, so I have no idea how long it will be whenever I complete printing it out later this week.

I also realize most of it is useless to those who didn't go through the training. Even the video behind them becomes quickly un-watchable, except for the densest (such as me). But having experienced it, you can readily re-construct the analysis.

Decades ago, when incredible instructor and friends, pushed so much material at me I had to work to retain it, keeping detailed notes became a necessity. 

Now today, they've paid off incredibly.

I really wanted Sherman to write this (or film this) himself. But he wasn't keen on the idea. I fed him much of my clinic notes, as he liked to see what people retained, but he wasn't interested in pushing his material beyond what he presented personally.

It's been like a continuous dip into Sherman-ness, preparing this material. I recognize I won't maintain the same intimacy with his material in the future, but having done so, I've ensured his footsteps won't wash away with the tides of time, at least for my students.

So, I guess the idea is Study Hard, document harder, and keep learning.

Victor

The First Uniform and Black Belt in Karate

Posted on June 25, 2016 by Andreas Quast

In the board-game of Go, Hon’inbō Dōsaku 本因坊道策 (1645-1702) created the first rank system. It had three ranks only: Meijin (9th dan), Jun-meijin (8th dan), and Jōzu (7th dan). Later this classification was enhanced to include nine dan 段 ranks. At that time there was no distinction between professional players and amateurs, and there were no kyū ranks – the kyū ranks were only added during the Meiji era. Today beginners in Go who have just learned the game are usually placed at 30th kyū.

BTW, in 1682, the Ryūkyūan Go-player Hama Higa Pēchin played against above mentioned Hon’inbō Dōsaku, and if I am not mistaken, he was awarded rank for his good skill. Since this Hama Higa Pēchin is also considered the creator of Hama Higa no Sai, he would have been the first Okinawan martial artist with a dan rank… albeit in Go.

In August 1883 Kanō, in reference to the game of Go, conferred shodan (1st dan) on two of his disciples, Tomita Tsunejirō and Saigō Shirō, and it was decided that a dan-grade was to be represented by the color of the belt.

The kyū-grades in martial arts, on the other hand, originated in the Metropolitan Police Department of Tōkyō, which introduced a kyū-system for Gekken (the predecessor-name of Kendō), ranging from 8th to 1st kyū.

From the above two, the Dai Nippon Butokukai adopted a combined dan-kyū-system, which it used for jūdō, kendō, and kyūdō.

Kanō Jigorō supported Funakoshi and invited him to present Karate at the Kōdōkan in 1922. Since it was a formal occasion, Funakoshi wore a suit tailored by himself in the fashion of a jūdō suit. Since Funakoshi had no rank at all, on personal instruction by Kanō he was bestowed a black belt from the stock of the Kōdōkan. And this can be considered the beginning of both karate-gi and the dan-kyū-system in Karate.

So, the first person in Karate who was given — or awarded — a black belt was in fact Funakoshi Gichin. In the picture below, from Funakoshi’s 1925 book, you see the long self-sewn suit with short sleeves. Even the knot of the belt might point to jūdō, since it might have been a fashion at the Kōdōkan at the time – knots in the middle can simply be painful during ukemi and randori, as everybody knows. Anyway, after the demo at the Kōdōkan, Funakoshi used a black waistband instead of the black jūdō belt. Such a waistband can also be seen in the photo below.

It was in this way that Funkoshi established the practice uniform of karate based on the fashion of a jūdō suit, and he also established the ranking system by adopting the black belt from jūdō. Two years later he awarded the first black belts to his students.

 

The first black belt and dogi in Karate.

BTW, one characteristic of pre-1945 traditional Karate appears to be the lack of patches.

© 2016 – 2017, Andreas Quast. All rights reserved.

The Kumite Paradigm

My response to Rich Ruberto about sparring. 

Rich I believe remarked how nobody uses kata technique in sport karate. I’d like to expand that to read how almost nobody uses traditional training (or classical training) in sport karate. With perhaps the operating word being almost.

If I use Joe Swift’s quick definitions of Classical, Traditional and Modern for Karate.. 

Classical being pre-1900, pre any large group classes. 

Traditional being post-1900, with the development of group classes.

Modern being post 1950 or so, including the tailored day glow green gi’s too.

Sport Karate is really an outgrowth of the Traditional Period (mostly from Japan).  Mutsu Mizuho’s (a student of Funakoshi Ginchin originally) 1933 book ‘Toudi Kempo’ extensively details (to quote Joe again) ‘Tokyo Imperial University-Style Competitive Matches, including rules of the game, and rules and strategies of engagement.  (Again, drawing on Joe’s description of the book’s chapters.) My studies seem to indicate lack of application practice (Bunkai), and perhaps a desire to imitate Judo’s competitive matches underlay such development in Japan.

Not being terribly familiar with Japanese sparring practices, essentially what developed in the USA for Sport Karate, involved focusing on several hand strikes (back fist, reverse punch, ridge hand) and several kicking techniques (front, side, spinning back, roundhouse and hook kicks). And as the individuals were sparring for points, with the action stopping when the judges called a technique, specialization in a very few techniques actually became a plus for many players. This development of ‘tag’ karate bore almost no relation to kata technique and most traditional kihon.

On the other hand, having spent 10 years training with Tris Sutrisno of Hazleton Pa, his family Shotokan practice were extremely effective against tournament free sparring.  His technique was to utilize the actual Shotokan training practices handed down by his father, and most often simply overwhelmed whoever he faced, throwing and countering with techniques and combinations their tournament skills couldn’t handle.

At Dan training his family uses a very complex series of two person sparring drills, that with time enable any attack to be met with traditional responses. Likewise at about 3rd Dan they change their technique execution (but not for kata practice), so in their drills they stop chambering and explode into strikes, blocks, etc., by hitting the correct body alignment on the end of the technique.

Very simply put, somebody trying to dance in with a backfist might be countered with an explosive high block, then reverse strike, and following with whichever chain of techniques he chooses, until he cuts through the opponent's defense.  As his family system is a blend of older style Shotokan, Older style Usheiba Aikido and Indonesian Tjimande (in their advanced training), I can’t fully say where these practices originated.

But they most certainly do develop one capability. They never use kumite in class, either.

So, there is a small percent of people who can use their ‘traditional’ training in kumite.

A discussion on Sherman Harrill by Richard Ruberto

 

 Well Yvonne, he tagged me real good and lots of times too. Tom's on this list and can back that up. When I left, I was overwhelmed and remembered nothing. I had bruises all over my body and loved every bit of it.  FINALLY, someone who hits harder than I do. LOL

 

Yvonne wrote:

What impressed you walking in and what impressed you about the man?

God this could take a while to answer but let me try to shorten it up a bit. 

Harrill had this way about him. He loved to joke, yet he was really serious about what he did. He could walk the talk, sort of speak. 

I could talk to him one on one and tell him exactly what was on my mind. He never judged me, he always supported me. He encouraged me and assured me I was on the right path. If not for him and Advincula, I would have left training years ago. I would say I miss hearing his voice, but I still hear it in my head. I still talk to his picture in my dojo. He was patient and tried to helped others. He was modest and humble. He could hit like a freight train, and I always liked that.

 

   I will continue my reply later.

 

Rich

            About what I learned from Harrill sensei. He would say, I will only give them what they can handle at the time. Whenever I learn something new, I slow down the pace until I get it. If I react to an attack, as I do in my everyday training, I will react and be much more proficient. So, it's normal for me, not to be as effective in execution during the initial learning phase.

 

       This was the case with what Harrill taught me. I had never seen what he was teaching up to that time I first met him. I was schooled in a different manner of understanding. Now this doesn't mean I couldn't defend myself or that my technique wasn't effective.

 

       I only became effective with what Harrill taught me, when I stopped trying to mimic or remember things in just a physical sense. Advincula says, don't mimic, understand. 

I don't write much on paper, I train, that's how I learn. 

When I finally understood the principles Harrill taught, it started to work. This causes a small problem for me, when someone asks me to show them what Harrill teaches. I am a product my all my teachers and whatever else I've learned. So today I am me, not them, as I explained in my previous post.

 

    I say, it's an honor when a student follows his teacher. I say, it's a higher honor when that student understands what his teacher was teaching to begin with. When the student doesn't look like a photocopy yet follows the principles. I hope this makes sense.

 

    My teachers have molded me. I think differently they them for obvious reasons, yet we agree far more then disagree.

 

Rich

 

 

Here are some guidelines that I use for myself and suggest that people that train with me to follow. I look at the Isshin~Ryu system of Tatsuo Shimabuku as a book.

When I open it up basics, katas and weapons are chapters. I go to Seisan kata, and each section is listed into paragraphs and sentences.  When reading the book, it never changes, as this would change the book and the system. I would like everyone to be able to see how I remember Sensei Shimabuku. 

What I have them do is they can take any movement from the kata (side block straight punch) at which time it is no longer Seisan kata. They can explore with this move using their own ideas or information they have received from any source. 

What I suggest for guidelines is that what they come up with will work from either side, be fast and effective. 

Then ask this question, would I use this to protect my life or would I teach this to a family member to protect their life. If the answer is yes then use it, if no then hit the delete button. 

When they are done with the movement it then returns to the book as it came out, a side block and straight punch. 

This way the kata always remains the same except for more understanding of the movement. 

SJH (Sherman Harrill)

 

While I was driving home tonight, I saw two guys, in a house, by an opened window. In the background I saw what looked like a sword stand but could be wrong. Anyway, it reminded me of this story.

If you recall, I said, I first met Harrill sensei in 1990, in Florida. Sensei asked me if I liked swords. To which I replied yes.

He said good, tag along when I visit my buddy tonight. Rich, he said, he has a collection of swords that is something else. So I drove sensei to this guy's house.

He introduced me and in we went. I think he lived by himself and for the life of me I can't recall his name. He said, I will teach you what to look for in a good sword and left the room. All of a sudden, the lights went out. My first thought was, oh s_ _t, what's this guy up to? I didn't know what to expect and was waiting to fight my way out or die that night. He gave us both the creeps for a second and we shared our feelings on the way back to the hotel.

Well, I didn't have to do either one of the above. The guy walked

over to where Harrill and I were standing and turned on the light. He handed sensei the sword first, then sensei handed it to me. We were told to hold it up to the light at a certain angle. Then he pointed out the layers of steel and it's good and bad qualities. This sword he told us, had an imperfection. To me a very small one. Had it not been for that, it would have been worth a small fortune.

I can't remember this gentleman's name, but the tour was great. Sensei could have taken anyone with him that night. He asked me and this after just meeting him. Him and I got to talk about his thoughts on karate and things in general. The more I remember these stories, the more I feel privileged to have gained his friendship.

Rich

Reflections on What is the Past?

This study is a result of a long chain of events, a look at some of Okinawa’s special karate traditions and a whole lot of speculation that what we know may not really be what we know.

After all we’ve all heard Shimabuku Sensei was tired and/or ill when he landed in Seattle, and this caused the “MISTAKES” in those 1966 movies on his kata. Many have detailed that history and those mistakes in far greater detail than I would attempt, and the video record does exist. So, we know the story of Isshinryu’s founder at that time, don’t we?

I would politely suggest, perhaps not.

This chain of events started earlier this year when I scanned a number of my old karate magazines forms from back in the early 70’s when the magazines were documenting some of the arts in detail no longer seen. 

Here on Pleasant Isshinryu I placed the weapons kata in the files section, thinking this group might find them interesting. The kata ones (non-Isshinryu kata) I scanned and placed in the files section of the Bunkai Unlimited group I also host.

Among them were two Shito-ryu kata, Jiin by Demura and Rohai by Kotaka.  Nice renditions, both showing the technique skill of the performer. The Rohai looked different from what I would consider the normal Shorin standard versions (as in Matsubayshi Ryu), but there was no Shito-ryu documentation to compare it to.

One of the BU members, knowing and liking both performers, detailed how Deumra consciously changed one of the sections in Jiin, and how Kotaka had bragged at the time that he had changed the kata.  They weren’t being evil, there were living up to one of the older Okinawan standards.

Back in 1978 Estrada interviewed Soken Hohen of Matsumura Seito and in the interview, he stated:

Interviewer: Was Taira a friend or student? He is very famous for his weaponry in Japan.

Sensei: Yes, Taira... he knew a lot of kata,... Yes, he is dead, you know that. He would watch my kata all the time and try to learn my tsuken style stick. But I would trick him and change the kata, wah!! ... just like that. He would still come back and look some more in the hopes of being able to take it back. When we both were young -- our karate was very good. When we both got old, our weaponry was good.

The full interview is at this link. It is interesting to read.

http://www.e-budo.com/vbulletin/showthread.php?s=7fdb969202e8a68cd104e33a8d843b57   No Longer Found

There is plenty of evidence that public performance of the Okinawan arts often required the instructors to consciously change their kata, both for public approval, and to retain the ‘right’ way to do them for the inner circle. 

This was not a unique experience.

Funakoshi sent his son to study other kata on Okinawa and one elderly instructor who showed Funakoshi’s son a kata (reportedly Gojushiho) cautioned the son that one of that instructors' students, who really wanted that form, was shown the form wrong, and the version he just showed Funakoshi’s son, was the true version.

Kashiba (later founder of Kashiba Juku a subgroup within the Matsubayshi Ryu) studied with Soken at his instructor’s (Nagamines’s) blessings. His brother was the head of the Yamanni Ryu bo tradition. They reportedly never demonstrated their kata in public the ‘right’ way.  In fact, the popular Oshiro Yammani Ryu video are not the real Yammani system, but a group of forms he created using some of the Yammani formula solutions to bo.

Another of the Okinawan Instructors who teach Crane, also was well known for creating audience versions of the kata.

In a different tradition the Sutrisno family tradition I studied, have multiple bunkai versions of their forms, never demonstrated to the outside public, their core Shotokan and basic kobudo traditions, the only ones shown.

Training was for the close group, not for public consumption.  I’m sure this goes back to the oldest traditions. Karate was a secret, and you had the responsibility to keep it so.  It wasn’t written down and had to be passed from hand to hand as a life experience. Documentating any of it in any detail, came about in Japan, to impress the Japanese MA establishment, giving the Okinawan arts authority.

So, we have an older tradition.  Public demonstration of karate has been around for a long time, but that demonstration did not make one drop keeping the true art secret.  Why I know not, just that it was a tradition with legs.

When Shimabuku landed and was later filmed, he didn’t do his kata one time. There were multiple versions of each. There exist an outtake record of kata not chosen for the public movies, and I see those ‘outakes’ as better versions (again being held close to the chest).  So perhaps his performance and ‘mistakes’ were the result of jet lag, and other infirmity for an older person traveling ½ the way around the world.

But perhaps, yes perhaps, they were conscious changes, only leaving the shell or a part of the shell of the art.

Perhaps Shimabuku Sensei was concerned with demonstrating his art, and made changes that would not affect his ability to leave a shell of the forms, appropriate for his students abilities in those days?

Sure, this is speculation, but what if it was not?

Go back to those magazine kata. If they were wrong 35 years ago, they’re still wrong. But if somebody worked hard and practiced and the taught those versions for life, with skill they become real. Whether 100% correct or not, those techniques are as effective as any techniques are. Sure, the subject doing the kata (and/or their initiated students) can laugh at those who are copycats. 

But if that person, self-taught, actually does the kata with power and flow, and can apply every addition and change, most correctly,

It is a kata, as good as the ‘pure’ original version, which was not transmitted.

These questions are large, and their likely is no proof what to believe.

Just an art passed from person to person, and if your instructor says it’s true, you have no choice but to believe them.

So, think on this.

Victor

Appendix – 

Post on Bunkai Unlimited 

Date:  Mon May 24, 2004  11:37 am   

Subject:  Re: Demura and Kotaka

1. Both of them are showing their respective kata incorrectly.  I know and love Jiin and Demura starts with the double block reversed the way it is done in Jion. Plus, he leaves out the double blocks that finish the kakewake/kick/double punch/double block sequence.

 

Kotaka bragged at the time that he wasn't showing the kata correctly so that nobody could copy his kata.  This seems to be a common practice.

 

Of course, most people have difficulty learning kata from video let alone pictures. The thing is, leaving out the double block I mentioned means that the application possibilities are much different.

 

More interesting than the kata are the practitioners.  Here are the 1961 and 1962 all Japan champions in their hey day.  Look at the stances, the clarity of the moves.  Even though Demura was Itosu-kai and Kotaka was Seishin-kai (Motobu-ha) at the time, there is a strong similarity in their basics.

 

At the time the Rohai article was done, David Krieger had recently beaten Joe Lewis, Chuck Norris and Ron Marchini all on the same day.  Yet, David could barely defend himself against Kotaka while sparring.

Jiin Kata – Demura Shito Ryu 

Rohai –  Chuzo Kotaka – Shito ryu (KI 08/70)

Jion – Yamashita –