Tuesday, April 30, 2024

Learning Suparimpei Kata


Goju Ryu Suparinpei - Morio Higaonna
https://www.youtube.com/watch?v=foShuqYrbuw&t=28s



Once upon a time (do not all great stories begin that way, I had a great thirst to understand what I was not supposed to see.


This goes back a long way (probably into the mid 1990s) I had a real hankering to understand a Goju Kata 'Suparimpei'. 


Now in my time I had heard about that kata, however I never saw it an any tournament. I once bought a book about Goju kata (around 1982) but that kata was not in the book. The story went around that the kata was only for the most advanced dans, and that they did not perform it in public. In those years in Pa. at tournaments I saw many very good Goju black belts, but never performing Suparimpei kata.


Then I moved in NH in 1985.There was a good Goju program there, but I never saw them perform Suparimpei either.


When Panther productions offered a Hiagonna video of the form I bought it, but truthfully did not see what all the fuss was about.
Then around 1990 Panther offered a new series of video tapes of Morio Higonna with single videos of each of the Goju kata. Of course I purchased the Suparimpei tape. It went into more detail, but again I really did not see what the fuss was about.
For I had learned many advanced forms from many, many systems which were much more complex. So I set my interest aside.


A few years later when the local Goju program switched to becoming a Shorin Ryu program, two of those dans choose to switch to my program. One of them Doctor Harper (a 3d Dan in Goju) was also a member of my tai chi group.


Then one Sunday morning, awaake early as I always was, for some reason the kata Supreimpe, came into my head.
So about 5am (3 hours before my tai chi group class on my driveway, I decided to watch my Supreimpe video. Doing so I got the idea in my head I could learn the kata, likely as so many sections were repetitions. So for two hour I broke those sections down and went over and over them. Sometime after 7am I went outside and began to run what I remembered, over and over.

 


Doctor Harper came to class early that day and after he left his car began to watch me intensely. Then when I concluded my practice he began to question me.

Doc- "Where did you get that form from?"
Me- "I just taught it to myself this morning from my video tape.  It took me about 2 hours to be able to remember it."
Doc- "Why did you do that?"
Me- "Because if I ever would judge the form I wanted to do so honestly."
Doc- "When I practiced Goju, we were told the form was reserved to the 5th Dan's and above"

I continued to work on the form, for myself only. I never taught it or shared it with my students.

 

Then I recalled an article about Teruo Chinen Sensei in an old British Martial Arts magazine. In the article Chinen Sensei stated for his purposes I could see Suparimpei being taught 2nd after Sanchin.  I know he was being speculative at that time.

I have a lot of respect for the Goju system. I do understand the effort needed to get into that form correctly. On the other hand I still do not consider it the most complex form in Goju.

But what do I know?

Suparimpei bunkai goju-ryu karate Morio Higaonna
https://www.youtube.com/watch?v=z3xzFEDUDV8




Monday, April 29, 2024

More Naifanchi Kata Striking Options from a clinic with John Kerker in 2008

 Back in 2008 John Kerker gave a clinic at Chicopee, Mass. This video is showing various striking options found in Naifanchi kata.


https://www.youtube.com/watch?v=oYq7o5lNd2Q


https://www.youtube.com/watch?v=FneRYxWS6EY


 



The 68th All Japan Bayonet Championship Tournament begins

 

https://www.youtube.com/watch?v=oQWtiUc3rVw



 The 68th All Japan Bayonet Championship Ministry of Defense Division 1 Final Match
https://www.youtube.com/watch?v=P6lHEmp3RwA


 



Competition of Karate Kata | Shuri-te / Tomari-te | Okinawa Karate Junior World Tournament 2022

 Around the world Karate means many different things in different places. These youth competition videos are showing the performance standards used on Okinawa in kata competition.

Certainly the youth are well schooled in the manner of these competitions. They are skilled and very capable to say the least.

However for me. this pattern of movement in kata competition, which I believe first was developed in Japan, does not show what I personally believe kata should be. To me it is Start then Stop and Execute a technique, then start and stop again and execute another technique. And then over and over till the form is finished.

Individuals trained in such a manner, likely where all other students work to the same standard.

Unfortunately I see such training ignores the potential of use of the kata's movements to their fullest.

Now I do not say this is wrong, it just is such training does not hold my interest.

And there are other methods of tournament training, for different locations around the world. In most cases I see other potentials being set aside for those competition standards.

It does make for an interesting world.

 

 Competition of Karate Kata | Shuri-te / Tomari-te |
Okinawa Karate Junior World Tournament 2022

https://www.youtube.com/watch?v=NZy1ULCgSMk



The 1st Okinawa Karate Boys and Girls World Tournament Overseas, Outside the Prefecture, and Remote Islands in the Prefecture Court 2
https://www.youtube.com/watch?v=wxZy74iR75Y



The Angi Uzeu Life Saving Videos

 A very interesting series of Videos wee made by Panther Publications for Angi Uzeu on his life saving techniques

 

The first link shows the actual videos. The second link shows the notes I made on the techniques shown on those tapes.


https://isshin-concentration.blogspot.com/2021/03/uzeu-angi-panther-video-self-defense.html




https://isshin-concentration.blogspot.com/2016/02/uzeu-angi-self-defense-techniques.html

 The first page

The pages posted on that link can be viewed individually by placing your cursor on the page and hitting enter.

 


Sunday, April 28, 2024

An Analysis of Shito Ryu Kata Shinpa

 I am sure you are really not interested in these questions about Shito Roy Kata Shinpa. I am sharing it because of the level of analysis made by the participants.
IMO they are doing an incredible job.



Shinpa Shito Ryu Karate Do Kata & Bunkai
https://www.youtube.com/watch?v=HiR4ogtVP2M



The Shinpa puzzle (Mario) 

From: "Fernando Portela Câmara 24408-8" 

Date: Fri Jan 12, 2001  12:14 am

I am interrogating Shinpa (Tang Daiji?) because it is a typical Nafadi style kata without the Mabuni's footprints. Apparently it is not related to Higashionna, Aragaki, Kojo or Gokenki, so, I am interrogating the unknown Tang Daiji by exclusion (a McGuffin candidate). Before all, I would like to say that this is a very important kata and it work very well. Well, now let me to explain my strange reasons:

1. Nothing is known about Daiji, except that he was a tiger fist and a five-ancestor fist expert (Tokashiki Iken). However, he taught something to Okinawans. John Sells in Unante says that Wanduan was created based in the Daiji teachings. However, it is hard accept this while some evidence about the style, reliable sources of information and the teaching concepts of this are lacking. On the other hand, Wanduan was not included in the Shito-ryu syllabus.

2. Mabuni included Gokenki in Shito-ryu syllabus together all important masters in his time, but apparently he didn't include Daiji (If was Shito-ryu the encyclopedia of Okinawan karate why was not Daiji included?) Could be Shimpa the "lost chain" that connect Shito-ryu to Daiji?

3. The story passed on by Konishi cannot be confirmed by any Kanbun students (I will analyse this question forward) and the techniques presented in Shinpa cannot be derivated by morphological and functional transformations of classical
Uechi kata (and also by its modern kata), and I will try demonstrate this. I will put some evidence on this argument in a  next post.

4. Kenei Mabuni has not mentioned Kanbun when wrote about this kata, only that it is an amalgam of southern chinese techniques learned by his father.

5. Shimpa is an assymetric kata and has not a regular embusen, as the chinese derivated Nafadi kata. It is improbable that it had been created by Mabuni, because this master (like Itosu, Miyagi, and others creators of kata in this modern age) only created symmetric kata for training, with symmetrical embusen
(his trademark, as was of Miyagi, Funakoshi, etc). My opinion is that this is an original kata modified in its style by Mabuni (that loved revise kata to adapt them to Itosu theory). The question remains: from whom this kata came from?

Now my way of think:

I have not objective evidences until the moment to relate Daiji to Shimpa. Daiji is an element of the set "masters that arised the Shito-ryu kata syllabus", and Shimpa is an element of the set "kata syllabus of Shito-ryu". The problem here is: is there a paired connection between the elements Daiji and Shimpa from
these sets? This question is acceptable because it is based in a sequence of exclusions. But, how can I transform this "acceptable" question in a working hypothesis if I have any reliable information or proof?

The problem here is to challenge a null hypothesis, that is, the hypothesis that destroy my original statement. Consider the following sentences: If 1. Nothing is known about Daiji; 2. Shimpa is the only kata in Shito-ryu that has not a well
established lineage; 3. Daiji taught something to Okinawans karateka; 4. Shimpa can be  arised or composed from Daiji teachings; 5. In the two sets (masters and kata) of Shito-ryu, Daiji and Shimpa are the only elements without connectivity.
Now, the null hypothesis here is: < No! Daiji is not the source of Shimpa >. My task is: how can we accept or deny this hypothesis? I don´t need to proof that Daiji is the source of Shimpa, but I need only deny the null hypothesis. This is
one of the wonder of the statistics reasoning.

Well, to maintain the Daiji-Shimpa conection hypothesis I need invalidate the Konishi story to challenge the null hypothesis, because this story is the only element until the moment that invalidate that conection. I will do this in the next post (part II).
 

Take care,
Fernando

Now, I will invalidate the Konishi story to maintain my working hypothesis by challenge the null hypothesis.

(The Konishi repport on the origin of Shinpa is presented also in his book: Yasuhiro Konishi. Karate-jutsu Nyumon, 1969, p. 156. I will  use here your translation found in your website - URL below). We read four important structural elements in the Konishi´s narrative:

First element of the narrative:


-  "... the late Mabuni Kenwa and I traveled to Wakayama prefecture to visit the founder of Pangainoon-ryu, Uechi Kanbun to investigate the secrets of Toudi.  More than likely Uechi Kanbun too has passed away I think".

Analysis:

Mabuni is dead, Kambun is dead, Konishi tell us this story many years after, There is anyone to confirm or add something to this story. We need accept it by an "argument of authority", not by an "argument of facts", cross information, etc. So, there are no proofs to confirm or deny. This cannot be accepted by any
historian as a fact, it is only an anecdote.

Second element of the narrative:

- According Konishi, Kanbun was a recluse living in a miserable ghetto, he speak very bad japanese (and probably Okinawan hogen): "Unfortunately (...) Uechi Kanbun (...) he could not speak Japanese very well.  He appeared to have withdrawn from society completely and saw few visitors.  My impression of him
was that he was a very thoughtful and passionate man and I thought I would have more chances to meet and talk with him. Unfortunately I was only able to meet with him once".

Analysis:

Or Kanbun was a squizoid personality, recluse, distant, few words, or he didn´t want share anything with the visitors. Konishi and Mabuni saw him, but there are not explanations or demonstrations performed by Kambun. This story clearly point
us that there was any dialogue among these men, probably Kanbun saw them very briefly and could be said: "get out". There are a criticism of Konishi here: he didn't like of Kanbun personality: to much rough, ill bred man? On the other
hand, they meet Kambun only once time, that is, no friendship was formed among them. Kanbun would be discouraged any attempt of future meetings. Another clear evidence here is that Kanbun didn´t show anything to both men or explained
something to them. There was any type of communication.

Third element of the narrative:

"... I distinctly remember his young and powerful students demonstrating Pangainoon-ryu on the dirt floor of his home.  It was a very enlightening experience for both Mabuni Kenwa and myself".

Analysis:

Well, here is the solution to the question: Mabuni and Konishi saw some young students training for a brief time (both men probably delayed very few time here). But, what they saw? Very probably youngs training Sanchin, nothing more (in those times, Seisan was a secret kata, for advanced students only, and these
will not showed it to those two lords).

Fourth/Final element of the narrative:

"Later Mabuni Kenwa and myself created the kata Shimpa
from our meeting with Uechi Kanbun".

- This cannot be accepted by the light of the evidences above. There was not transmission of knowledges or explanations. Both men meet Kanbun only one time and for few time and the dialogue among them was a "deaf dialogue". That is, there was no communication or any semantics between Kanbun and Mabuni-Konishi.

Conclusions:

1. I think that the Konishi's story is invalidated by a simple structural analysis and it cannot be sustained by itself. It is a  myth, as many "history" in karate. Konishi probably has created this fable to explain the origin of Shimpa based in some supposition that this incident could be some may be "logical" to him. There are no testemonies from Uechi´s people. This is a common psychological phenomenum: when a story has some gaps, these are filled with creative imagination.

2. Probably Mabuni has created or obtained this kata from another source (I don´t believe that Konishi had contributed in this kata, but it is a polemic thing that I prefer not put here). He didn't reveal it to Konishi, but probably he talk in a generical sense: "a chinese master that I meet...", "chinese techniques from southern kempo...", etc, or some else.

3. See my first post about absence of Uechi people testemonies, the reference of Kanei Mabuni, the asymmetric pattern of the kata, etc.

4. So, who is the source of Shimpa? I remain supported by my challenge to the null hypothesis: Tang Daiji?

Now, I need invalidate or shed severe doubts about the relationship between Shimpa and Uechi kata patterns to reinforce my challenge to the null hypothesis.


I will do this in the 3rd  post (pat III).


Be well,
Fernando

---------- Original Message ----------------------------------
Date: Wed, 10 Jan 2001 02:57:18 -0000

>Fernando san:
>
>I was looking over your web page yesterday and noticed you classified Shinpa as possibly being from Tang Dai Ji's lineage (tiger boxing). What evidence (anecdotal or otherwise) do you have to support this classification.  I say this because of the late Konishi Yasuhiro's statement that Shinpa was made by Mabuni and himself after they >visited Uechi Kanbun in Wakayama.
Please refer to the following for a translation of Konishi's



Fernando-san:

Wonderful post!!  It certainly has got me thinking about shinpa in an entirely different light.  And thank you also for the stats review. Mine are quite rusty since graduate school.

First, I take that you have done a factor analysis or principal
component analysis with respect to shinpa and kumemura lineage kata to deduce that they are not related?  Hence your selection of the next most suitable person that it may have come from Tang Dai Ji.  You are very correct in stating that there is almost NO information on Tang which makes it very difficult to know what he taught.  As for him teaching Wanduan, I can't really say as I am unfamiliar with the kata and can't offer any opinion.

It is strange that Mabuni apparently included Gokenki's kata (e.g. Neipai, Nipaipo, Happoren, etc.) but did not inlcude anything from Tang.  But then again, neither did Miyagi, Kyoda, or any other members of the Toudi Kenkyukai.  How active was Tang in the Okinawan karate community?  We just don't know.  His contribution seems to have been lost to history.

As for Shimpa being related structurally to modern Uechi-ryu, it is VERY difficult to see.  I practiced modern Uechi-ryu for over three years and attained dan ranking in the style and there is very little to in Shimpa to make me think it is based on Uechi Kanbun's teachings.


  You could argue that Mabuni adapted the Uechi techniques to fit his kata curriculum, however even after doing this they still bear a basic resemblance to the original kata.  For example, Nipaipo is easily recognizable in terms of basic enbusen, and technique as the To'on-ryu Neipai.  Its undeniable.  Yet with Shinpa I can find NO resemblance to any of the three classical Uechi-ryu kata of San Chin, Seisan and Sanseru.  Zero.  Even the modern kata made after BOTH Uechi and Mabuni's death appear unrelated to shimpa.

On a slightly different take.  I was rereading Fujiwara's list of kata and he writes that two kata called ROCHIN and UNPIN were first taught by Uechi Kanbun!  I have never heard of these kata being taught in ANY modern Uechi-ryu dojo.  I have heard that Chitose taught a kata called Rochin and that it was a secret family kata.  However, if they indeed were taught by Uechi Kanbun why were they not taught?  This is a HUGE
guess on my part, but could shinpa be related to Rochin and Unpin if indeed they were first taught by Uechi?

Sorry for getting side tracked.  At any rate, I do not argue that
Mabuni and Konishi would have seen much from Uechi and his students. My guess is that it would have been san chin and there form of "sticky-hands" (heavily influenced by five ancestor fist IMHO). However, I do not think that Uechi was hostile to his visitors. Konishi may have looked down on Uechi as a backwards country boy, but I do think that Mabuni and Uechi would have gotten along fine since they could communicate in HOGEN.

Konishi's account was published in 1955 (Mabuni died in 1953(?) and Uechi in 1947/48), but I see know reason for him to fabricate such a story of meeting Uechi.  Admittedly there is always a problem with oral self-report as a valid and reliable source of data, but left with no other conflicting testimony I am forced to take it at face value.

In what book did Kenei mention that Shinpa is an amalgam of Southern Chinese techniques?  You've got me very curious about this statement.


  You are right in that Shinpa is assymetrical compared to other kata which Mabuni developed (Aoyagi, etc.).  It is one interesting clue into its origins.  Yet the kata itself is very, very simple in
appearance and most karateka dismiss its as a beginners form (much like Jion).  Perhaps Mabuni did revise the form to fit his own ideas about kata.  He certainly did enjoy doing this as you have stated.

Obviously the best approach would be to compare Shinpa with other kata that Tang was KNOWN to have taught.  With the obvious NULL HYPOTHESIS being that there is no relation between Shinpa and Tang's other kata. Unfortunately this is next to impossible to prove as there are no confirmed kata that Tang taught.

An alternative would be to compare Shinpa to existing five ancestor fist kata since Tang was reportedly a teacher of this style.  A cursory examination of the kanji for shinpa and the forty plus kata of five ancestor fist shows no real connection.  But I would strongly suspect that the name was created by mabuni himself.

Obviously an important first step would be to determine what kata Tang passed on and to what Okinawan teachers.  They may be almost impossible to do as I know NO modern karate style that acknowledges a connection to Tang Dai Ji or his kata.

Thanks again for such a thought provoking post Fernando.

Mario


Is Shinpa derivated from Uechi-ryu? Let´s go to the analysis:

1. Kuri-uke + chudan gyaku-zuki.

Analysis:

- Kuri-uke doesn't occur in Uechi classical kata. In Okinawan karate, besides Shinpa, it occur in Ryuei-ryu Paiku.

- We found in Okinawan karate the combination kake-uke + chudan gyaku-zuki in Unsu and uchi-uke or kake-uke + ren-zuki in Shuri Seisan and Goju Seisan.
Combination kake-uke + ipponken-zuki is found in classical Uechi Sanseru and in the modern Kanshiwa, (the ipponken of this kata was changed to seiken-zuki to "Okinawanize" it). Combination kake-uke + chudan-zuki in Kanshiwa is performed
in 3 directions.

- Combination of one uke (jodan, chudan or gedan) and gyaku-zuki occur frequently in Five- Ancestor Fist, Tiger Fist and others Fujien Gong Fu styles.

2. Kuri-uke + sanren-zuki.

Analysis:

- It occur only in once in Goju Seisan as mentioned above, but instead kuri-uke there is a kake or a  grab to the hair in this kata. Combination kake-uke and uchi-uke + sanren-zuki is a classical technique in Five-Ancestor Fist occuring being performed 6 times in 4 directions in the  kata Nijuken ("20 punches").

3. Mae-geri, Mae hiji-ate.

Analysis:

- These  are strikes occuring frequently in karate kata (Goju, Shorin, and Uechi). However, in Uechi-ryu, mae hiji-ate is performed with the body sloping forward and mae-geri is a left forward leg toe kick performed with both hands in morote kake-uke.

- Modern Uechi-ryu kata has right mae geri performed with reward leg, but this is modern kata created after death of Kanbun and Mabuni and follows an Okinawan influence. Reward front kick are frequent in Fujien styles too.

4. Kokutsu-dachi uchi-uke gedan-uke.

Analysis:

- Occur only in Shito and Shorin-ryu. Some Fujien styles adopt this basis and postures too.

5. Scissors block.


Analysis:

- Scissors block is described in the original Shinpa version found in the Konishi book. Modern version of Shinpa has modified this technique to morote-tettsui uchi, like Passai. This block or double strike is not found in Uechi classical kata, however, scissors block is trypical in Five-Ancestor Fist (ex.: Sanchin). Morote tettsui-uchi occur in Tiger style and others.

6. Jodan wa-uke with open hands.


Analysis:

- One of the prefered techniques of Mabuni. Not found in Uechi classical or modern kata. Some Fujien styles use this technique.

7. Morote hiraken-zuki
.
Analysis:

- Found in Saifa. Absent of Uechi-ryu. Morote kake-uke instead jodan wa-uke followed by morote hiraken-zuki is used in the Saifa version of Shito-ryu.

8. Jodan ko-uke + chudan teisho otoshi-uke.

- Found in Kakufa or Hakucho. A Shito-ryu kata absorbed from Gokenki. However, this combination occur also in Tiger, Monkey, Mantis, and others Chinese styles.

Conclusion:
a) There are any evidences that can point us an Uechi lineage for Shinpa;

b) The emsemble of Shinpa, that is, how its techniques are put together, and its linkage by 3-repetition patterns remind the classical Nafadi style.

c) Patrick McCarthy wrote in an article about Mabuni that this kata is a Tiger style kata. However, he is based in the Konishi's anedoct as a truth. In fact, Fujien Tiger elements can be seen in Shinpa, like Five-Ancestor elements, etc, but the analysis of this kata has not sufficient elements to a definitive conclusion. If this kata is a Tiger kata, so it cannot be came from Kanbun, but
from some other source, and the most probable source here is Daiji, a tiger and five-ancestor master active in Okinawa those times.

d) To Daiji is not mentioned in the lineage of Mabuni, but he knews him and probably has trained with him (like Miyagi and others). Daiji was a friend of Gokenki and both probably share some Gong Fu.

e) Shinpa is the only kata without lineage in Mabuni syllabus. Usually, this kata is mentioned as a Mabuni creation. Is there a possibility that this kata has elements of Daiji Gong Fu? I think so, but this is only a hypothesis.

Fernando


More to think about!  Gads I think my brain will explode.  At any rate, I am generally inclined to think that Shinpa is NOT related to Uechi-ryu karate for much of the same reasons Fernando has said. 


Before addressing Fernando's points, I think it would be best to
describe Kuri-uke.  I have only seen the modern Shito-ryu version of Shinpa and base my description of Kuri-uke on their performance.


Jodan Kuri-uke:  hand sweeps out to the side with the palm open and fingers held straight (palm facing towards you.  Much like the blocking technique used in Goju-ryu's Kururunfa before the elbow strike and arm break).  The palm then rotates forward and the arm is dropped down to the chudan level.

Fernando, you have some pretty keen observation skills.  Thank you for sharing them with everyone.  You are correct in that basically Kuri-uke does not occur in Uechi kata.  And thank you for pointing out that it occurs in Paiku, I was not aware of this.  As well as the combination of kake-uke and tsuki also occurs frequently in five ancestor fist.  For the most part I agreed with your analysis except for (5) Scissors block. 

Analysis.  I reread Konishi's description and I cannot see him describing a scissor block.  All I can find is him describing Morote Tettsui Uchi.

He says (sorry for the romanized Japanese here) on pg. 160, movement no, 25

"Ryokai-te wo ryoken ni nigirikominagara, yoriashi to nari, hidari ashi zenkutsu de, sa-u ryoken wo motte,fukubu no ryogawa wo tsuku."

There is no description that I can see, either before or after this
move, of a scissor block.  But I stand to be corrected.


That aside, you are right in that there is very little evidence to
suggest shinpa is related to Uechi-ryu or any of their training
techniques.  Perhaps it is related to Tang's tiger or five ancestor
fist boxing.  All we need is more information about what exactly he taught.  Its interesting that no one on Okinawa claims lineage to Tang Dai Jic.

One more thing.  Tang reportedly died in 1937, when was the Toudi Kenkyu kai opened?

Mario



Thanks by the observation about the Konishi description of movement 22 of Shimpa (p. 159-160). I had not understood a morote tettsui uchi here, I had understood that left fist would be next to right elbow!! Do you has noticed a renzuki immediatly after empi-ate, and three ko-uke in the end? This kata is based in
the "rule three", typical of Nafadi. Modern versions use only two ko-uke in the end and has removed the renzuki mentioned.

On the other hand, Konishi describe the first movements of Sochin as in Sanchin-dachi (p. 161) and the same for the three first movements of Unsu (p. 165). Thoughts?

Fernando

Shinpa Shito Ryu Kata
https://www.youtube.com/watch?v=GBqtZSEzugY


Shinpa Shito Ryu Kata & Bunkai
https://www.youtube.com/watch?v=HiR4ogtVP2M 


 

 

 

Saturday, April 27, 2024

Individual Karate Demonstrations

 

 World Tournament 2022

Okinawa | Ageshio Japan

 

Direct from Okinawa, the birthplace of Karate,  group and individual demonstrations were held at the Okinawa Prefectural Budokan on the first day of the Okinawa Karate World Tournament 2022. 

For the individual performances, 8 Karate Masters each did a kata of their choice which included 


Sepai,
Chinto,
Passai Dai,
Seisan,
Kusanku Dai,
Sanseiryu,
Wanshu, and
Kanchin


https://www.youtube.com/watch?v=BrlEXDgL180


 


Why I did not go commercial with my karate.


 


First let me state teaching for free does not mean my program is more superior to commercial programs. I know of many commercial programs which teach superior martial arts. Then again I know of many individuals who teach for free who teach superior martial arts. There are entire ranges of potential possibilities, and with the right effort, all of them can produce superior martial arts.
 
It is pretense to suggest there is only one way.

But in my case it was the result of a very personal decision.

I began in Tom Lewis’ Isshinryu program. There was a modest club fee, and I paid for most of my classes by cleaning the dojo every Sunday. Of course that also meant I could train there first before I cleaned, and I did.

And shortly after I started I began traveling to associated dojo of students of Lewis Sensei. There I was always welcomed and allowed to work out with those schools. I did that because I wanted more that the two classes a week Sensei taught.

When I relocated to Scranton for work, there was no Isshinryu nearby, Nor was I from Scranton, no family of friends. I joined a commercial Tang Soo Do Moo Duk Kwan program. It was commercial and it was a good program. I also observed that the instructor would wait all day long for the evening students to show up for class.

When Charles Murray moved to the Scranton area, almost immediately I began training privately with him. I still had a year on my TSDMDK contract so I trained in both styles.
When my contract was completed I did not renew, focusing on training with Charles.

And train we did, almost anytime. I remember going to train in blizzards, at midnight and other times.

Then I became a black belt, Charles very shortly was gone and I was on my own.

I started a youth program at the Scranton Boys Club, primarily to have anyone to do Isshinryu with.

Shortly thereafter, having the time, I began visiting many people I met at tournaments, to train at their programs. Just to be working with adults. Not to learn anything new. But I also kept working on anything I learned, out of respect for those friends.

I began a separate study of Yang Tai Chi Chaun, and eventually a study of varied systems of Chinese forms. Ernest Rothrock was the instructor, of a very successful kung fu school. And while I was paying for my instruction  (abet not a total student of the Chinese Arts) I also learned a great deal how he ran his program.

Some of the instructors I trained with ran clubs. Some had very commercial programs.

I also trained intensively with Tristan Sutrisno, and he was adamant about money being the wrong thing to be associated with karate. He did charge a modest club fee to cover expenses for his school, but not as a living. His own approach was what had been drilled into him by his father on Indonesia.

 Almost everyone I met at tournaments worked very hard to convince me to 1) not train youth and 2) teach for money. Neither were interesting to me to consider.

Life does take money. I worked for a living after all. At times I spent a great deal, for instruction. More than most of you would understand. But that was a personal choice as I wanted value for what I was spending. At the same time I was also receiving other very valuable information, for no money, no strings attached. Overall it balanced out.

I realized how much work was involved to make a commercial program successful. And none of that work involved karate. If  that work was not done, the dojo in the long run would become another dojo failure. There of course is not one answer how to run a commercially viable program, there are many ways.

That did not be where I wanted to focus my mind.

Nor did staying in the school waiting for students to arrive interest me as a way to spend my days.

I was satisfied to run a very small program through the Boys and Girls Club and an even smaller adult program. Then my focus could be on the individual student and my own studies into the arts I practiced. I was able through my work to take care of my family, afford my interests and that did not require income from my students.

I began to understand even more the goal was not to just teach karate. As for most youth activities, eventually they would make a personal choice as to where they would focus their time. Only a few would choose to remain in karate. And  even then, after graduation, 100% of them would move on as adults into other activities and life choices.

And that is how it should be. What I could do was teach authentic karate as a tool to give them something more important. The same thing adults who spent time with youth did when I was young. Through their karate studies they would learn that through their own effort they would learn. As their time passed, they received promotions to more challenging studies. They also realized that they had accomplished things the new students were facing, and that was done because they had learned how to learn.

I realized that I was a success every time. Not if they remained in karate, but they had learned how to learn and make personal choices. That would remain with them for life.

And the adult students were not so different, they just tended to stay decades longer, acquiring more skills and working on them as time passed. Then even they would make a choice to continue or to move on. Whatever they chose I contributed a bit to their ability to choose.

The ones who chose to remain, who found a personal reason to continue, that was the bonus to my efforts.

The way I accomplished that did not require income. Of course money is involved with everything in life some way or another. I just choose to accomplish this without financial requirements from my students.

2018

The Technique of No Technique



Jackson Pollock - Autumn


One of the more interesting things I have learned was in 1980. Tristan Sutrisno was describing what his father did when asked for a demonstration/clinic in Indonesia. (Of course this was also in days before their were phone cameras, internet, You Tube and all the rest of today's tricks.

As he had trained long ago in Japan, everyone always wanted something special. So what his father did was always share advanced techniques in his arts, and do so fully. But only for the clinic.

The truth is, outside of specific training for a very long time, individuals would not be able to retain what was shown for more than a day. In other words good enough for short term memory, but not transferable to long term memory.

His father referred to such sharing's as ‘Technique of No Technique’.
And if someone had the presence to  retain and learn what was shown, then they deserved that knowledge.

It was not how Tris shared with me.

I have experienced this concept in a variety of different ways.



Many years later Tris was in Derry to present a clinic on 3rd and 4th level bunkai in his art. Not knowing my students well, and there were outsiders present too. He shared each of the movements 2 times, and then proceeded to go from person to person and correct/adjust whatever they were doing, even if it was not what he had shown. Really he was sharing this for me, but for everyone else, it was a lesson in technique of no technique (I also happen to have it on videotape)

What he was doing for each of them was good stuff, but not what he was demonstrating.

He was not committed in seeing they got what he was showing. But he made it a worthwhile sharing.

 

Years later a friend, brought Danny Insanto in for 2 days of clinics at his school, covering a wide range of topics.

I attended the afternoon clinic on empty hand knife self defense. Mainly because I wanted to see Insanto in person. For the two hours he switched techniques about every 3 minutes. No one could retain what was shown. It was more a review,from those from Princeton where he had a school. I understood what was going on because I had read his book on Philippine Arts. I was not there to retain what I saw. He did extremely impressive movements taking away knives from his attackers. So this was also technique of no technique. I wonder if anyone there became an instant instructor of what they saw.

 
On meeting Sherman Harrill, the first time in New Hampshire, it also became technique of no technique. But from a different purpose. Sherman packed so much detail, because he lived Isshinryu that way. It was your business to get it. I was impressed. And as I had to go to a conference in Reno the next day, during the flight there, I documented 25 techniques that he had shown. I was content, as they were all good techniques. And I did work on them. A year later I was going to host a clinic with Sherman alongside Garry Gerossie, who was his student here in NH. Garry then shared a video of that clinic with me. There were over 160 applications covered and I had only gotten 25. It made me aware of what I didn’t recall.

It was a version of Technique of No Technique. It forced me to pay greater and greater detail at what was being shown. Sherman used to explain that was a normal response the first time someone trained with him. Then they would get up to speed and learn more in subsequent sessions. Now it was not intentional, and should drive you to learn more in the future.

These are a few views of the concept Technique of No Technique.


Friday, April 26, 2024

Ogawa Ryu

 The Ogawa Ryu and a very intesting martial tradition that has been fully documented on You Tube for years.

I have found their videos extrememly useful over the years and I can recommend their quality to you.'


Below are several examples for you to enjoy.

 

 

Ogawa Ryu - Time Travel 1!
https://www.youtube.com/watch?v=4-B8pWVJ1LU



Ogawa Ryu - Excellent explanations!
https://www.youtube.com/watch?v=mRb28xG8M-g


 BUGEI (pronounced 'Buguei')

 means "Art of War", or "Military Art"


According to Augusto Yamazato (Illustrated History Japan Square, 5 Cores Editora, 1967), military arts originated in the Heian Era (794 AD to 1192 AD), with the formation of the warrior class (Samurai). "As the leaders of the central government had a disorganized life, regional officials also wanted to emulate where the provincial administration was soon ended in utter chaos and anarchy. Taking advantage of the situation, groups of pirates and bandits attacked and looted villages and cities (931 AD)."

"To fend off the attackers, each territory had to form a guard compound selected from young families living there. Such youths, who were trained in the art of war, gave rise to the warrior class' of the 'Samurai' ".

"They were organized later in groups led by descendants of noble families and regional officials. The Heishi, who descended from Kammu and Emperor of Genji, a descendant of Emperor Seiwa: Among them, two lines stood out. The two families, from the beginning, became rivals, both seeking to expand its political and military power in the capital (old Heian-kyo) " Kyoto. The essence of the culture of the Heian period, however, almost completely disappears due to constant wars. The writings, artwork, records and almost everything was destroyed.

In 105, the groups began to emphasize the samurai. In 1185, the victorious Genji definitely and finally quoted a military government.

It was in the Tokugawa Era (also known as Edo Period - 1603 AD to 1868 AD) that the military culture reached its historical and technical peak. The population was divided into four classes: samurai, farmers, artisans and merchants. The samurai were the ruling class. They had absolute power over the people and land, taking the sword and the nickname as their symbol. They had the right to punish the people, but the responsibility for the acts came on them. Also, they had a code of honor called "Bushido".

Approximately nine centuries expression of military power in Japan show that the nation was imbued with ideals and ethics for these warriors, with an impressive sense of mission. These elements, which prompted the bushi to act in the stages of Japanese history, were tightly surrounded by a strong belief in the divine origin of Japan, with a determination that would confirm the belief in the force of arms, even if it meant death. The code of behavior demanded unquestioning obedience to the orders of his immediate superior, who was assigned to a thread of connection to the divine past. As such, the commander knew the walk that lead to victory.

The Bugei was taught in military schools (bujutsu ryu), distributed throughout Japan. It is impossible to specify the exact number of those schools, since the amount varies from one period to another. According to RP Dore, in 1983, some 159 large schools were listed in the "Bujutsu Ryuso-roku", but the list does not include minor and / or clandestine schools.

Each style or lineage of Bugei is called "Ryu". The Central American Bugei Society preserves the tradition of "Kaze no Ryu" - Wind Style.

DOCUMENTARY VIDEOS OF SOME OF THE DISCIPLINES WE TEACH:

1. Aikijujutsu 

2. Kenjutsu 

3. Jujutsu 

4. Iaijutsu 

5. Battojutsu 

6. Koppojutsu 

7. Kumiuchi 

8. Yarijutsu (Fuko and Mago ) 

9. Bojutsu 

10. Tantojutsu 

11. Jojutsu 


The Spirit of Isshin ryu Honoring Tatsuo Shimabuku

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

  Tatsuo Shimabuku, revered as a pioneering figure in martial arts, left an indelible mark through his creation and propagation of Isshin-ryu karate. Born in 1908 in Okinawa, Shimabukuro's journey began with humble roots but blossomed into a legacy of innovation and tradition. His style, characterized by a blend of Shorin-Ryu and Goju-Ryu, coupled with his expertise in Kobudo, reflects his lifelong dedication to refining his craft. Through his teachings and travels, Shimabukuro's influence spread globally, shaping the ethos of martial arts communities worldwide. Today, his legacy lives on, inspiring generations of practitioners to embody the principles of discipline, perseverance, and respect encapsulated in Isshin-ryu.


 

Shimabkuu Kumite - My Interpretation

 

I was never trained directly in the Shimabuku Kumite. At one of Sherman Harrill's clinics he shared a list of what those Kumite covered. Years after his death John Kerker shared a video of Sherman presenting those Kumite at a clinic. From that video I worked up these notes. Of course any errors are all mine.

 

 


Shimabuku’s Kumite – Notes


D:\Victor Files\Sherm-pedia\Sherm-pedia source\14 Miscellanous


01 How to counter basic grabs
02 How to counter punching attacks
03 Striking the back of an attacking fist
04 Special blocking techniques
05 How to grab and control the attacker
06 How to counter the Gi Grab
07 How to counter the Full Nelson
08 How to counter the Bear Hug
09 How to counter the Devil’s handshake
10 How to counter chokes (including from the mount position)
11 How to counter a straight stab
12 How to counter an ice pick stab
13 How to counter a straight stab with both hands up
14 How to counter a straight stab leaning forward
15 How to counter double knife stabs



1. This section is dealing with hand grabs

        a.   Left hand hold right wrist   (Straight hand grab)
              From Seisan, pull the hand back to the release position and strike to the solar plexus.

In Chart One, as taught by Tom Lewis, Number 5 was Right Foot steps back as you deliver a left side block, followed by a right punch [Which is a reversal of the opening of Seisan kata.]

Against a left grab of your right wrist, Shimabuku Tatsuo technique simply stepped back with the right foot and chambered the right hand, which pulls it right out of (or away from) that grab, and followed with a right front punch into the opponents chest.

The stronger your kata practice, the more precise your chambering movements in the kata, the stronger your release from their grab.

Two hands hold one wrist

Step in and grab your hand from the top, drive the elbow up to the chin for a strike followed, with a backfist. This can also be done by going underneath grabbing your fist stepping forward into Seiunchin doing a elbow strike reinforced with the other hand.

    For the first counter, after they’ve grabbed your wrist with both their hands, you reach across the top of their hand and grab your own wrist. As you step forward (with the foot of the hand grabbed) as you drive your elbow up, the arm crossing across their arm becomes a lever into their arm, and the combination of your driving force, and the pressure of the crossing arm bearing down, you strip your arm free, opening the backfist into their face.

    For the second counter, after they’ve grabbed your wrist with both their hands, you reach underneath their arms and grab your fist. Then the foot of the hand grabbed, steps in and the forward (with a crescent step) into Seiunchin and you do a cross elbow strike into their arm.

    Alternative choice, for the third counter, after they’ve grabbed your wrist with both their hands, you reach underneath their arms and grab your fist. Then the foot of the hand grabbed, steps in and the forward (with a crescent step) and out in Seisan, as you use the re-inforced block section of Seiunchin to pressure both their arms from the inside out. This will break the grab and put them in a twisted controlled position, ready for a counter-attack.

Left hand hold right hand, from side position   (hand grab from side)
From Chinto, hand grab is from over the top, trap his hand and go into a hand bar.

    When you’re right hand is grabbed from the side with their left hand, as in a mirror image of Chinto’s opening, your left foot will step back as you shift into right cat stance to the side. Your right hand will circle clockwise away your hand staying on your centerline, and then continue the circle shifting back towards the opponent. As you do this your left hand grabs their wrist.

    The wrist grab and turn towards them, presses their hand down between your wrist grab and your right hand pressure. You slide your right palm down their palm and lock it in, then press their hand back (into a hand lock) which I believe is the hand bar in question.

    Alternatively you can do this by bringing your left hand up underneath their arm, and just use it to pressure their wrist/hand. Of course this is more pressure sensitive skilled, and prone to escape if not perfect.


Right hand hold right wrist   (Cross Hand Grab)

Thumb on the top, bring the hand to the outside and over the top striking to the throat with a shuto strike. The left hand will go underneath the right arm in a open palm to protect the ribs.

    This is against a cross hand grab, grabbing the side of your wrist.  Using a motion such as in Kusanku kata’s ‘feeling in the dark section’ or the double knife hand kame of Wansu, your right hand (thumb on top) rolls over the top of their hand (at the thumb) releasing their grip, and then you strike into their throat with a shuto strike. As this occurs your left hand goes underneath the right arm with an open palm to protect the ribs.

    If they’ve used the grab to grab your sleeve, you use your left hand to grab their wrist, weakening the thumb and then you proceed as above.

    This can also be done with a larger motion, by bringing the right hand back to your left ear, as your left hand presses across their right arm.  Then follow with your right shuto strike.

Right hand hold right wrist from top  (Top of the hand cross grab)
Grab comes from over the top, from Seiunchin reinforced block traps the hand and goes into backfist strike to the nose.  

One choice would be to begin using the motion of Seiunchin kata’s re-inforced block. They’ve grabbed your hand from on top, your left hand grabs their wrist and presses down. That grab weakens their grip, and your right hand rolls down and clockwise out, to backfist into their nose.

Alternately, when grabbed your hand circles clockwise, your left hand presses into their hand as you do the re-inforced block to the right. This rolls their arm over and you continue with the kana and step through, your right hand grabbing their arm as your left hand strikes into their nose.
 



2.     Defenses against strikes

 a.    Outside block, punch inside
                 Attacker right foot forward, right hand punch.
                 Defender steps back, right foot back side block, reverse punch to the solar plexus.

This is a case as you step back with your right foot, you left arm uses a dragging Side block (interior line of defense) , where you block out, and pull the blocking hand back to the waist to draw the opponent forward with the ‘blocking’ effect, creating the opening for the standing fist knuckle reverse punch to the solar plexus.

Inside block, punch side
Attacker right foot forward, right hand punch.
Defender steps back right foot,  inside block, reverse punch to the ribs.

In this case as you step back with your right, you strike inside with your blocking arm (external line of defense), deflecting their strike away creating an opening for a standing reverse punch to their ribs.

Step forward, punch
Attacker right foot forward, right hand punch.
Defender ( from the end move of Naihanchi) steps back into Naihanchi and punch.

Your attacker is driving into you with their strike. Your left foot steps back and you rotate 90 degrees counter clockwise.  Your left hand comes up with a deflection, as your right punch strikes into their face (the double side strike from Nihanchi Kata).

Shoulder block
From Sunsu attacker steps forward lead punch, block then backfist.

Your attacker is driving forward with their strike. Your left foot steps back and you rotate 90 degrees counter clockwise. Your right hand chambered at your waist as you elbow block across during your turn, deflecting your attacker to the outside. You finish with a backfist to their face.

Grab arm, elbow
From Sunsu attacker steps forward lead punch, defender steps in grabs the wrist
steps around breaks elbow, then elbow strike to back.
Hook wrist from over top, arm bar then elbow strike.
Open palm deflect fast spin around with elbow strike.

As in SunNuSu Kata

Your attacker is driving in with their strike. Your left hand grabs over and pulls down, as your right hand strikes up immediately behind their elbow. This has the potential of an elbow break, or dislocation.

Then your right arm hooks under and over their arm as you spin around (further compounding the pressure on their arm) and conclude with the other elbow strike into their spine.
 
 
3.  Striking into the attacking arm/hand creating an opening for other counter-attacks.This series uses the principle you can always hit your own hand, and your shifting gets your other hand on the oher side of the arm/hand being struck.

      a.    Punch back of hand
  Attacker throws twist punch, defender down strikes to  the back of the hand, the same as knocking on a door. Use cat stance from Seiunchin backfist for punch or kick.

Against a twisting punch towards your center, your left foot steps back (as you are in right cat stance), your left hand flows under their punching hand as your right hand backfist strikes down onto the top if their punching hand.  The possibility of a following kick from your cat stance is always possible.

Punch back of hand side
Isshin~Ryu punch attacker right foot forward, right lunge punch. Defender left foot back, backfist with right hand.

Against a standing right punch from your attacker, step away with your left foot, rotate your body counter-clockwise 90 degrees, and with your left hand sliding behind their hand, strike into their wrist with a right backfist.  You’re working an interior line of defense.

Punch back of hand knuckle

If the attacker steps in with left punch strike with knuckles of fingers on the back of the fist.
This can also be use to strike on inside of the wrist.

Against a left lead strike, you step away with your left foot, rotate your body counter-clockwise 90 degrees, and with your left hand sliding behind their hand, strike into their arm/hand with the knuckles of your right fist..  This knuckle strike contains great deadening power.  You’re working the exterior line of defense.



 
Countering Kicks

         a.    Knuckle block for kick, counter kick
Attacker kicks from right leg, defender steps back down block with knuckle strike  to the Shin then counters with a kick with the right leg.

Against a right kick, you step back with your left foot (into right cat stance), your left hand slides down and behind their calf as you deliver a right knuckle strike into their Shin, and then counter with a right kick into their leg. This may be an interpretation of the stacked hands and front kicks at the end of Wansu kata.

Cross arm block
From Chinto kata X block, blocking with the back hand and knuckle strike with the lead hand.

Against a right kick, step in with a left low back hand block to their leg with a knuckle strike from the lead hand following, into their shin.

Left hand push right leg inside counter kick
Heel palm block leg across (close out) then counter kick to groin or inside of  leg.

I see this as from Chinto Kata. When the attacker leads a right kick at you, your right foot steps back into Left Kake dachi, as your left hand heel palm blocks across (inside to outside) deflecting their kick to the exterior, then you counter with a front kick to the groin or inside of the supporting leg.

Alternatively, as you step back with your right (to distance yourself from the kick) the left hand could sweep across with the palm heel, moving the person’s leg to your right side, and you then kick under their leg to the groin or the inside of the opponent’s supporting leg.

Knee block, kick
From Wansu kata, knee bump the leg across then counter with a kick.

As the opponent kicks with their right, you rotate your torso to the left (releasing the left knee and dropping your center), as you do so your right rising knee strike becomes an inside counter strike into their kicking leg, and then counter with the right front kick to target of choice.

Grab leg, grab Adam’s apple, trip punch
From SNT hook the kick, while grabbing Adam’s apple, drive knee into the groin while Keeping control of the trapped leg then punch.


      
From Sherman October 2001, Attacker throws a right front kick (one of Shimabuku Sensei’s Kumite)


You shift to the right (interior line of defense) hook your left arm under and up outside their kick, then your right hand strikes into their throat, and your right leg hooks behind their left. They are now set up for a big takedown. Drive your right knee into their groin, while keeping control of the punched leg, and with the hand grabbing their Adam’s apple, punch it into their throat.

 

Using the Attackers Arm to counter another technique

     a.   Hold arm, use against punch
             Trap lead punch with both hands as the attacker punches with other hand jerk
              the arm to the inside of the body.


Left kick
Same as (a) arm will be jerked towards the kicking leg.


Right kick
        Same as (b)

Twist
The attacker attempts to spin out and around, bring their arm up and over the shoulder into a arm bar.



6. Gi Grab Defenses   
      a.    One hand hold gi,  grab, twist,  kick
              From Sunsu the first toe rip. The attacker grabs your gi, grab thumb and wrist rotate, toe rip.

Two hand hold gi, push kick
                From Sunsu the second kick, toe rip or heel push. The attacker has a judo lapel cross grab, reach up underneath as in the kata and kick.

Trip two feet kick
The same as a and b except you sweep the leg out and follow up with a kick.
 

 7.    Defenses against the full nelson


      a.   Full nelson, karate cut groin
              From Sunsu hands go up and out to the sides (little fingers facing out)
              bump with the hips then strike to groin.

Attacker applies headlock from behind, under armpits and behind head.
You press both hand tops to your forehead. Then step out into Seiunchin and drop your elbows to break the lock……..       THIS IS AS IN SunNuSu.

Full nelson,grab leg, heel kick
Same as a except after the bump step to side grab their left leg, keep your Right leg in close to their left leg and do heel stomp into the groin.



Full nelson, grab both legs, karate cut groin
After the bump slip leg behind them, grab and bring  both leg into the air release one and strike to the groin.




Back neck breaker and choke hold, cut groin
Point hand into air while striking to the groin. You can also just grab a  hand full.



 
   8.  Defense against a Bear Hug and Head Lock

        a. Bear hug waist, hands free, grab one finger, break or hit back of hand
                 Grab one finger or thumb and hit  your hand with a open hand, if you kant Grab a finger just rap on the back of the hand until they let go.


Bear hug around arms and waist, grab groin
Sensei  said to dust hips off, each time striking to the groin while moving  leg to the inside.  You can also step to the side grab the leg and do as in  7 b.


Head lock, grab groin and one shoulder break
Attacker has you locked with his left arm, reach in and grab the groin with your right hand while the left hand grabs the front of the gi by the neck, step in with your right leg in front and dump followed with a
a counter.

Same grab, left hand hooks behind the leg at the knee while the right hand goes over the head and with the index finger under the nose pull back and raise the leg sticking the groin with right hand.


Head lock, knuckles in side
Take knuckles and grind into the sides until they release.



Head lock, jerk shoulder up kick legs out in front
Throw arms straight up in the air, drop straight to the ground, punch to the Groin and kick to the mid section.

Attacker applies headlock from behind (as no. 37). Master Shimabuku’s favorite answer.

You jump out to the sides and drop in Seiunchin, as your both hands reach straight up.
You then drop to the floor (on your butt) and fall back between their legs. Finish with a right punch straight up in to the groin.


The Devil’s handshake is often a MP or Police come-along lock.

    a.   Devils hand shake, grab your fist , pull, kick
              Pull your hand to your center and hold on as you kick (push) the leg
              out  SNT then counter.




Double devils hand shake, twist over, elbow kick
Have to be a young person to do this. Step forward to make the attackers hold on tight then flip over and counter with a kick and elbow strike.


Attacker Applies Devils Handshake

You reach across with your other hand and press across at your elbow, relieving the pressure, and then your closer leg delivers a heel slash  across their calf  ‘pain’.

 



10.  Choke Defense from a MOUNT position.

    a.    Two hand straight choke, break, grab Adam’s apple
                Attacker is setting on top and has a choke hold. The defender reaches inside with his left arm at the their elbow, at the same time bring the right arm up inside and grabbing the throat. Pressure is applied to their right arm and throat                while rolling over onto your side, holding their right arm down and controlling them with the choke.

Same attack as above except they are choking with their left and attempt to strike you with their right hand. Defender brings right hand to the inside and blocks their right hand strike as you go for the choke. Finish the same as 10 a.

Cross arm choke, one arm and shoulder up between his arms and grab Adam’s apply Judo cross arm choke.  Same as above.

Smother hold, knuckles in side
Judo cover from the top down with attacker holding onto your obi.
Knuckles into the side until they get off.

 



        Knife Defenses

        11.   a.    Straight stab, grab hand and wrist, twist, kick, trip, kick
                         Attack comes from below the waist up with right foot forward, right hand stab.
                         Step back with right foot, left hand  to inside of the wrist, right hand comes up
                Twist joint to the outside, kick, sweep leg and drop down, heel stomp and punch. This can be done with out the sweep, just take down with the joint lock.


          12.    a.    Ice pick stab, block across, kick
                          Knife is raised high above the head in a down strike with right hand and right foot forward. Step back right foot, left hand open ark sweep, right hand chop  to the neck. Right foot kick to the groin. The person can be taken down with a sweep, heel stomp and a kick.
       

        13.    a.    Straight stab, both hands up, karate cut block, kick Coming in with knifes in both hands, hands raised to high port, down strikes And apart as in Sanchin then kick.

            14.  a. Straight stab leaning forward, grab hand with both of yours, pull, trap at elbow then they Lunge in with right hand and right foot forward, step back deep deflecting with the left hand grabbing the wrist with the right then left hand grabs. Pulling them to the deck as you turn and place your left knee on the back of their arm (rub point) right hand has the wrist control or break at elbow.

             15.    a.    Two knife straight stab, squat kick
                Person attacks with both knifes, same deflect as 14a squat to the side and kick.



 



        Other Technique from Sherman Harrill October 2001

Attacker RFF Right Punch  (one of Shimabuku Sensei’s Kumite)

Your left foot steps forward (exterior line of defense). And deliver a left inner horizontal elbow(forearm) strike across their striking arm.  Your right foot then circles clockwise, your left hand flows down and up inside their arm, and you finish with a right rear elbow strike into their spine… [Almost identical to a similar Eagle Claw technique.]

 Attacker RFF Right Punch  (one of Shimabuku Sensei’s Kumite)

You raise your open right palm to the interior line of defense, forming a high block.  You then pivot counterclockwise and drop a descending vertical palm strike into their closest clavical (trying to break it). Follow with a knee strike into the groin  (Variation of Kusanku)


      Against an attackers RFF Punch  (Using Shimabuku Tatuso’s Chinto response (and an original TS Kumite technique)

Your rising X block stops with the attackers arm on top of the “X”…
Your right hand (behind the left) circles the attackers arm down clockwise, as the left arm (open hand) crosses your right biceps. You can then left backfist to the side of their head, or alternatively left shuto their neck.