Promotional Kata No 12

 I have written previously on the 1937, the Karate-do Promotion Society who commissioned the twelve kihon kata which were developed.

The result of this meeting was two fold:


1) That the classical kata of each tradition should be preserved
2) That new kata should be established.


The specifics of these newly established basic karate-do kata included six fundamental points:


1. Young and old, men and women should be able to train in karate-do and to develop at a suitable level. Therefore, specific teaching material should be developed for training.
2. Karate-do should be made easier to acquire.
3. Practice using the basic kata should be easy to remember
4. The movements of the classical kata should be taught correctly and accurately.
5. Karate-do as a form of physical education should train each part of the body in a balanced manner.
6. Physical exercise and development of martial spirit should be combined together.


Interestingly, these kata were never adopted by mainstream Okinawan karate schools. One can only speculate as to why, the most obvious reason being the interruption of life on Okinawa due to W.W.II.


Within a few short months after the conclusion of this meeting, the group formally established a series of twelve basic kata which were ultimately published in Nakasone Genwa's (Ed.), 1938 "Karate-do Taikan".


This book, with great effort, was translated into English by Mario McKenna. It was pulished under the name of "An Overview of Karate-Do".


Personally I feel the idea for these kata could have been imitating the Chinese development of Tai Chi Chaun as a group exercise for the Chinese people. A way to promote better health for the Okinawan people and a chance to educate them about what karate could become.


Perhaps to give a better feel of what was published let me present Promotional Kata No 12 from Mario's translation of" Karate-Do Taiken".

A serious discussion - Striking to the Heart

 Once upon a time I sparked the following discussion. Of course I am not a medical expert, in fact Doctor Harper repeatedly told me only a fool would turn to me for medical advice. However, this discussion was most interesting and thought provoking.

Sat, 3 Jun 2000 14:03:59 EDT
Subject: Striking to the Heart

I was able to have a conversation with  Dr. Paul Harper, FACS, a member of my class today.  We were discussing the issue of using the punch directly to the heart.


 The issue wasn't that that was taught by Shimabuku Tatsuo or Uezu Angi, which of course is simply an issue of historical record.


 Rather, the physical implications of a strike, with great focused power, into the heart.


 Dr. Harper relates, unfortunately, he and the medical profession have too much information regarding this.  They are constantly dealing with the chest  area impacting the steering wheel as a result of car collisions.  This is  with greater force and impact than anyone's punch will generate.


 He feels the most likely result of a strike with great impact would damage  the surrounding chest and ribs.  Certainly under the correct circumstances  this might prove fatal.  He also feels it highly unlikely that such a strike  would stop the heart.


 It is possible to stop the heart beating if the strike is done at the top of  the heart's T wave, but as that is only 1/50,000th of a second, its rather improbable that a punch can be counted on to do so.  He also questions  whether a punch would even have that effect, as you're talking about disrupting electrical activity, and to do so would imply that a punch was  generating an electrical charge.


 If anyone has practice or knowledge that contradicts this, Dr. Harper would  certainly be interested in seeing the statistical nature of this. Such as  exactly where the heart stopping punch was delivered, the angle and nature of  the force, as well as the number of times this has worked, and the number of  dead resulting from these strikes.


 He also pointed out that when a heart has stopped beating, Doctor's will  strike the heart to try to get it to begin beating, and this is a recognized  medical procedure.


 As I also covered the discussion that took place regarding the usage of the  punch to the Solar Plexus area, he agreed that strikes there would seem more  practical in most cases.   He discussed that there is not an internal organ  known as the solar plexus, but rather that it was simply a general area of  the body, and the strike is actually to nerve plexus under that area.


 The medical implications striking the nerve plexus behind this area is to  have a shock delivered into the internal organs of the body. The strongest  reaction being the diaphragm would contract and breathing would stop, except  as supported by the lungs supporting musculature.   Hence the strong  reputation of striking into the solar pexus area.


 I hope I have not misrepresented Dr. Harper's words with this recounting.  I  simply thought that his comments would be of interest regarding this topic.


 Yours in the arts,

 Victor Smith
 Bushi No Te Isshinryu
 
---------------------------------------------------------------------

 

 Date:    Mon, 5 Jun 2000 10:59:33 -0500
 From:    John Moore
 Subject: Re: Striking to the Heart


 >He feels the most likely result of a strike with great impact would damage the surrounding chest and ribs.  Certainly under the correct circumstances this might prove fatal.  He also feels it highly unlikely that such a strike would stop the heart.<


 Had one of my Patho students do a fairly extensive term paper on this many years ago.  Don't recall the stats right now, but the actual incidence of  commotio cordis in adults is amazingly low and, as mentioned previously,  possibly even d/t existing cardiac problems in the person.  A far more common  consequence of blunt trauma to the precordium is "cardiac tamponade" - where  fluid (usually blood d/t ruptured cardiac vessels) fills the sac surrounding  the heart, leading to diminished cardiac function.  This takes (a variable  amount of) time to happen, and would not "stop" the person immediately.



  >He also questions whether a punch would even have that effect, as you're  talking about disrupting electrical activity, and to do so would imply that a  punch was generating an electrical charge.<


 While punches don't generate electrical activity themselves, they do/can  cause transient changes in membrane activity/ion permeability, which can, in  turn, cause electrical effects.  While not confirmed, such changes are the  basis of one of the postulated mechanisms to explain a "charley horse" in  response to a good punch to muscle - an electrically active tissue.  On a  grander scale - all that a concussion is is an electrical "rebooting" of the  brain, secondary to excessive force being applied to the skull externally  (been there, done that:)


 >The medical implications striking the nerve plexus behind this area is to  have a shock delivered into the internal organs of the body. The strongest  reaction being the diaphragm would contract and breathing would stop, except  as supported by the lungs supporting musculature.   Hence the strong  reputation of striking into the solar plexus area.<


 I would respectfully offer the following alternative for consideration -


 Most of the dramatic effect of a SP punch would be  the result of:


 A) the "mechanical effect" of the punch.  This would increase the  intra-abdominal pressure, forcing the diaphragm up, and causing a sudden  "Heimlich - like" effect.  This would be especially effective if  delivered during an exhalation, as a significant portion of the pulmonary  "reserve volume" (that air that "shouldn't ever leave the lungs":) is  forced out of the lungs.  a.k.a., "having the wind knocked out of you".

 and/or

 B) Any neurological result from stimulation of the Celiac Plexus (a.k.a., the  solar plexus) would be the result of stimulation of the abdominal viscera  (mostly the stomach, liver, spleen, kidneys, and small intestines) by way of  sympathetic fibers from the CP to these organs.  In general, sympathetic  fibers are inhibitory to these organ.  Stimulation of the CP by a punch would  have no significant neurological effect on the diaphragm, as this organ is  not innervated by fibers from the CP.  (Diaphragm is innervated predominantly  by the 2 phrenic nerves from C3-C5, and a few intercostal remnants from the  adjacent region.)  Also, causing the diaphragm to "contract" would result in  the recipient of the punch INhaling.  Every time I've rec'd a good shot to  the SP region, it has caused me to EXhale - FORCEFULLY!!!!!:)


 So ends our anatomy lesson for the day:)


 While some enjoy this - it is somewhat off-topic, and I hope I didn't bore  too many of the list members:)


 When all is said and done, "hit em as hard as you can" :)


 Respectfully,



 John Moore
 Professor - Parkland College
 Sensei - Spirit Dragon Isshin Ryu Dojo
 Champaign, IL.

 ------------------------------

 Date:    Mon, 5 Jun 2000 13:34:20 -0400
 Subject: "Sanchin Court"


 Hello...


 I was thinking about Higaonna Sensei's most recent book re: the History of  Karate (and Gojuryu in particular). One of the passages which was spoken of in several places actually concerned the question of correct/proper  expressions of the Sanchin Kata.


 One of the vague reference made (I can look it up if need be....) was re: a  "Sanchin court". The impression given in said (unfortunately vague)  descriptions spoke of an "examination" of practitioners by local physicians,  doing Sanchin as they (the practitioners) understood it... in a friendly  contest.


 I'm curious.... what kinds of things would WE observe were we today to  convene such a "court" today??? How would you tell who's expression was  "more correct" if our approaches were radically different? (e.g. Miyagi &  Higaonna method as the quickest example (not necessarily the best) which  comes to mind...) Probably a bad example actually....


 What types of things would you observe for, if the expressions were indeed  tangibly different?


 Thoughts Anyone?


 Jeff B.

 ------------------------------
 

 Date:    Mon, 5 Jun 2000 14:37:36 EDT
 Subject: Re: Heart Punch and Solar Plexus



 I too have to say that I find the concept of "stopping the heart"  with a  punch to be a fallacy.  I have seen dozens if not hundreds of patients with  blunt trauma to the chest.  It is known that a blow to the sternum causes a  small electric impulse in the heart.  It is also known that the impluse  caused by this "precordial thump" is on the order of 5-10 Joules in energy.  We use this in attempts to convert a patient with a particular abnormal heart  rhythm called "Ventricular Tachycardia" back into a normal rhythm.  Ventricular tachycardia is a very sensitive rhythm however and often takes  little energy to convert back into normal rhythm.  Some people can do it just  by coughing.  For blow to cause a fatal abnormal heart rhythm it would have  to fall in a very short window of time in the EKG cycle called the vulnerable  period.  While this period is certainly longer than the 1/500,000 s mentioned  it is a short  period of time measured in milliseconds.  Also the energy  required would likely be much greater.


 We do see trauma to the heart from blunt force injury to the chest.  This is  called a myocardial contusion.  It usually is associated with accidents at  over 30 MPH (50KPH) and associated with sternal fracture or multiple rib  fractures.  In a myocardial contusion heart muscle cells are killed by the  force of the injury and the complications are the same as a heart attack.  Basically the heart doesn't care if some of it's cells died bacuse of crush  injury or because they didn't get enough blood flow.  Mostly that means  abnormal rhythms in the first 72h or congestive heart failure.  It would take  a tremendous amound of force to cause immediate effects on the heart.


 It is exceedingly rare to see ill effects from myocardial contusions unless  there is also a tremendous amount of injury.  Of patients who die at the  scene from blunt force injuries such as auto accidents the usual causes of  death are massive head trauma, massive chest trauma with pulmonary and  myocardial injury, disruption of the aorta (which occurs in deacceleration  injuries at over 30MPH), massive abdominal trauma.  I have seen one patient  with a ruptured heart who was brought in dead who was thrown out of the car  in a high speed accident.  I really doubt that anyone could cause immediate  death from a punch to the sternum.


 Robert S. Joseph, M.D., FCCP
 Director, Critical Care Units
 Community Hospitals of Indianapolis
 Clinical Asst. Prof. Medicine
 Indiana University

 ------------------------------

 End of ISSHINRYU-L Digest - 4 Jun 2000 to 5 Jun 2000 (#2000-139)
 *************************************************************

 

Seichiro Endo and Koichi Toriumi demo in Cuba

 

 https://www.youtube.com/watch?v=-zI3H6vQ4Ys

 

 

Reflection on the Passion of Victor

10-21-2001

Now 23 years in the past, my reflection on that Sunday afternoon is still interesting. I can see I really did not understand what was coming. Of course I do not know what the future holds either.


 

It’s been a normal Sunday, outside of my family responsibilities, there is a little time left over for me.



After yesterday’s karate class showing about 1/5 of Sherman’s clinic from the previous week, this mornings Tai Chi class began the same. As I had completed my own tai chi practice before they came to class, I was concentrating on my explosive movement in my Tai Chi this morning.



Some reflection time on my own studies.  Unfortunately I’ve studied probably several hundred kata and forms over the years.  Unfortunate as much as they have given me depth I cannot train on but a fraction of them and teaching youth and oldsters I have begun to realize probably 75% of my own studies will never be taught out.  Of course one of my friends has studied the Chinese systems in many times the depth of my own studies in karate (etc.) and he’s in the same boat. His primary system, Northern Eagle Claw, finds himself the only person of this generation to date who has remembered the entire system (the forms are so lengthy, complex and in such numbers) and I suspect it unlikely he can find anyone willing to work 20-30 years to learn it so the system (complete) may well stop with him. And he’s studied hundreds of other forms.



When I remark with him how much will be lost, he replies, you just have to consider the context it gives you for your own work. I suppose he’s right but I still wish it was possible to share all I’ve seen.. O’well.



In the lastest Battletech book “Call of Duty” there is a quote from Napoleon Bonepart, “Strategy is the use of time and space. I’m less concerned with the latter than the former.  Space we can recover, lost time never.”



And it really is lost time that possesses me.



As I watched the Patriots decimate the Colts today, I was translating a page from R. Habertzser’s French work ‘Bubishi’.  A personal effort to gain another view of the work, and at about 3 hours a page, a long time study I’m sure.



Then tonight while passionately listening to “Morimur” by JS Bach, with the Hilliard Ensemble, I totally lost track of time and space, It is such an intense work.  My music tastes are quite varied, Stones, Beatles and JS represent a few of them.  But the eerie part of the Bach recording (outside of its incredible beauty) was a quote from the accompanying book.



“Ancient art as a specific inner content.  At one time, art possessed the same purpose that books do in our day, namely to preserve and transmit knowledge.  In olden days, people did not write books, they incorporated their knowledge into works of art.  We would find many ideas to the works of ancient art passed down to us, if only we knew how to read them.”  G. Gurdjieff



Simply add the word martial and what does that sound like. Whereas modern composer can do as they wish, do you really think changing Bach adds to its performance? Then go back to our discussion on change…hmmm.



Sure I’m loading the point with intelligent quotes… so sue me. But whether music or karate, it does give one pause to consider.



Now you need to learn how to run a Gojushiho variation in its original to understand part of what Shimabuku Tatsuo borrowed. Likewise you would do well to consider Patsai. But I’ve personally grown fond of the Matsumura No Passai as opposed to Kyan’s version. Whereas Kyan had the direct influence on Shimabuku Sensei, still I find a cleanness of attack in Matsumura’s version which is refreshing IMVHO.



Or if you want to compliment Chinto (not that it needs it) consider Seipai another incredible study in turning.   Then you can play with Goju’s Supreimpe (and Chinen Sensei personally considers it a basic form, suitable for beginners. Chinen Sensei having very interesting technique is in my opinion worth listening to.



Or take Chinto and try and find the entire Aikido vocabulary hidden within its structure. Nor stop there and find a  great piece of Baguazhang’s vocabulary there, too.



I don’t know I guess I’m possessed of late. I see our seniors leaving this plane of existence. My own instructors have now both retired and perhaps I feel the burden of being alone in my line. There is so much we don’t have an answer too, and so many answers which have been found, but we don’t have the time to find those with them and give them the years to learn them correctly.



And, nobody is better than the other. The beginners questions are as important as my own, more important because the answer they receive or don’t may well determine if they remain behind us.



So closes one Sunday, and I didn’t even begin writing the next chapter of my ongoing novel. Guess I’m getting old and slowing down..



Victor
                                                                                                                                  

You can't get more classical than this

12-24-2001

This morning I was reading Funakoshi Ginchin's `Karate
Jutsu', originally written in 1925 (and based on his earlier work
from 1922). In Chapter 4 "Systematic Analysis of Karate" (page
36) we find:


"Whether performing kata or in actual combat, the front hand in karate is always for defense and the rear hand for attacking. The idea is to unfailingly follow a block with a counterattack. If
following a block the rear hand is kept idle, from beginning to end one would be in the troublesome position of continually having to receive the opponent's attacks. Sometimes one can suddenly use the forward hand to attack. This situation is referred to as `henshu' (Switching Hands). As unpredictable as the vicissitudes of Heaven and the sudden shaking of the Earth, henshu can at times prove  much more effective than using the `proper' hand. In circumstances like this the real abilities of both parties become apparent, and the  outcome of a match can be quite difficult than originally expected."


"In `karate jutsu' the hand that has already been used to
block is called `shi-nite' (dying hand); it is also called
`mete' (female hand), or `yo' ("yang" of yin-yang, pronounced in-yo in Japanese). The other hand that has not yet been employed but that is ready to attack is referred to as `ikite' (living hand); it is also called `ote' (male-hand), or `in' (yin). Moreover, some people refer to both hands as `kisei', written in the characters `ki' (abnormal, rare, strange, eccentric) and `sei' (normal, proper,right,correct)."


"An ancient expression says , "Battle exists in the interval
between he normal and the abnormal – without knowing that the
abnormal becomes normal, and the normal changes to abnormal, how can victory be achieved?" Another states, "Yin and yang have no beginning, action and stillness are not apparent; unless one knows the Way, who can hope to gain victory?" The `kisei' and the `inyo' of these two sayings can be considered the cardinal principles of our karate jutsu – indeed the mysteries of karate lie in the relative movement, the extension and retraction, of both hands. Coming through one's pains and efforts to this understanding of how greatly the outcome of  karate match is determined simply by the control of one's two hands is truly an awakening for the practitioner."


Now consider that against the Eight Important Phrases of Karate (from the Bubishi) found in Chapter 6 (There is No First Strike in Karate) of the same book.

The mind of Man is the same as Heaven and Earth.
The circulatory system resembles the sun and the moon.
The Law includes hardness and softness, ingesting and
expressing.
The body adapts to changes in time and situation.
Techniques occur when a void is encountered.
Ma involves advancing and retreating, meeting and departing.


You can see Funakoshi's thoughts on Karate in the 1920's were
obviously related to the thoughts expressed in the Bubishi.


As Isshinryu practitioners whose training begins with lead hand and reverse hand striking, the interplay of those terms in Funakoshi Sensei's thoughts is something to consider.


Likewise in his book on page 46 on Hand Techniques.


"a. Tsukite


There are two general typs of tsukite, or hand attacks, delivered at the same time that one blocks an opponent's incoming fist, a
snapping attack, or `tsukihanashi', and a thrusting attack, or
`tsukikomi'."


Interesting he both changes from his previous statement, the block proceeds the strike (unless you're mixing things up I guess) to discussing simultaneous block, strikes, and quite openly refers to the snapping attack.


Which is also of interest to my Isshinryu.


When you consider this (and its precedessor volume) was the first published work on Okinawan Karate, the author was virtually expressing his Okinawan experiences, and from the same crucible that the rest of Okinawan Karate was bubbling in. I believe you have some idea of the context of thought Shimabuku Sensei was exposed to in his own training.


Well a pleasant thought to consider.


Victor  

Spin off discussion from the Subject: Historical Prescedent for Miyagi's Gekki-sai

1-2-2002


Hello everyone:


Interesting thread on Miyagi's Gekki-sai series. I would just like to add a few points.

I am not sure if everyone is aware of this, but it is worth mentioning as I feel it is pertinent to Miyagi's development of the Gekki-sai series.

On March 28, 1937, the Karate-do Promotion Society (including Yabu Kentsu, Hanashiro Chomo, Kyan Chotoku, Chibana Choshin, Miyagi Chojun, Shiroma  Shimpan, Nakasone Genwa and Chitose Tsuyoshi (aka Chinen Gochoku) held a  formal discussion on the future development and direction of Karate-do.

 

The result of this meeting was two fold:


1) That the classical kata of each tradition should be preserved
2) That new kata should be established.


The specifics of these newly established basic karate-do kata included six fundamental points:


1. Young and old, men and women should be able to train in karate-do and to develop at a suitable level. Therefore, specific teaching material should be developed for training.
2. Karate-do should be made easier to acquire.
3. Practice using the basic kata should be easy to remember
4. The movements of the classical kata should be taught correctly and accurately.
5. Karate-do as a form of physical education should train each part of the body in a balanced manner.
6. Physical exercise and development of martial spirit should be combined together.



Within a few short months after the conclusion of this meeting, the group formally established a series of twelve basic kata which were ultimately published in Nakasone Genwa's (Ed.), 1938 "Karate-do Taikan".


Interestingly, these kata were never adopted by mainstream Okinawan karate schools. One can only speculate as to why, the most obvious reason being the interruption of life on Okinawa due to W.W.II. Be that as it may, they seem to have been abandoned to time.


Now, what this shows IMHO, is that Miyagi (and others) in the 1930's were leaning towards developing a new series of Physical Education based kata which could be used across stylistic barriers. Later, Miyagi seems to have revisited this project (albeit to a lesser extent) with Nagamine Shoshin in the 1940's.


I have included the first two sequences (in separate posts) from the first kata (going right to left) to give you an idea of how they went. They were based on an "I" enbusen and focused on very basic karate techniques.


Cheers,

Mario
   



Ron & Victor:
>

Glad you found the post helpful. I have pretty much finished up the translation of the book and have been editing it here and there. Still waiting to hear back from Tuttle Co. :-)



Thank you Mario,


> This is very helpful. Is it you or Joe who is working on a
translation into english of this work and when is the expected date it will be available? I can't wait to see what else this book contains.
:) It is obvious that it follows the shuri line due to the stances. I
wonder what Miyagi's imput in on this was. IT seems he was trying to cooperate with the idea of the six points, or at least returned to the theme.>


Good question. The kata seem to follow "shuri" style tendencies
compared to "naha" based forms. Who exactly contributed what is unknown as there are no details concerning the contribution of each member. But to take an educated guess, I would bet that the largest contributions and / or final say in the form these kata took (no pun intended :-), would have rested with senior members. Most likely Yabu and Hanashiro who had already been teaching karate in the school system for several decades by then. Junior members, including Miyagi, would have simply gone with the status quo IMHO. That wonderful asian  tradition of respecting your seniors.



-Do you think this all originated with Itosu and the Heian
kata and was just a refinement of those for a group means to cross style barriers? and was Miyagi trying to revive this?>

Miyagi's Gekki-sai

I think it was an honest attempt to step across "style" barriers and provide some unity and logical progression in karate pedagogy.


As for Miyagi possibly following in Higashionna's footsteps in trying to introduce Nahate into the school system. I do not think it is that far fetched. Joe Swift related an interesting story told to him by Kinjo Hiroshi sensei. (Correct me if I am wrong Joe-san :-) It appears that one senior offical of the Okinawa prefectural board of education decided that Nahate was "unsuitable" for developing young me after wittnessing Nahate's San Chin and training methods. So, instead of becoming part of the school PE curriculum like Itosu's "Karate", Higashionna's "te" was only able to maintain it's after school club status... Wonder if that was one reason Higashionna went back on the bottle?


<This gives me some dates at least and is very interesting.
You do not happen to know roughly the dates we know of the first introduction of each of the kata Miyagi taught, the 6 not taught by Higashionna. If not the dates then the first references of the students he taught each particular one of the six to do you?


Sorry, can't be of help there. I haven't come across any literature
(English or Japanese) giving specific dates. One thing that is
interesting though, in what little I have come across, Miyagi seems to have emphasized San Chin and Seiunchin when teaching at the High Schools and Police Academy.


<I am interested in the order of introduction and the time
period they seemed to follow.>


Well, if we go my Higaonna Morio, everyone learned a different form. And only An'ichi learned all of them directly from Miyagi :-O


But I honestly don't know in what chronological order that Miyagi introduced the forms.


Cheers,

Mario   


 
One evening right after I had moved to NH, I was down training with Tristan Sutrisno Shotokan school, and he was introducing a Dan balance exercise.


He took the first Taikyouku Kata of Shotokan and began adding
techniques, series after series, making it quite an interesting
balance drill. A great deal of what we did is extremely similar to
Nakasone's book, so much so it continues to give me pause.


[Aside, C.W. Nicole in "Moving Zen" describes somewhat similar training right after he obtained his Sho-Dan in the first class for the new ShoDan students.]


Now I can't independently verify Tris' background, but his skills
were such I don't have a hard time believing it was reasonable.


As I was told his father (who was Indonesian "Achmed Sutrisno" was 'drafted' into the Japanes Navy (I believe the early 30's) and as a Doctor was sent to college (Naval War?) in Japan. There he trained under Funakoshi Sensei, one of Usheiba's students and I don't know what else but he also has quite interesting kobudo kata and sword studies in addition to his Uncle's Indonesian Tjimande, too.


Seeing Nakasone's book, in addition to the kata, Tris's empty hand knife self defenses were eeriely reminiscent of the Jujutsu Knife self defense in that book, too.


All of which could imply 1) the book was part of his father's
training or knowledge (certainly possible) 2) his father's training in Japan paralleled the material in Nakasone 3) it is a great number of unrelated simultaneous experiences 4) some other answer together.


Regardless of historical truth of which I cannot prove, all of these kata resonate within me because of my walk.


It's even more interesting as Joe tells me he doesn't believe they
were incorporated into any 'formal' system, unless their possible
usage within Shotokan is their formal resting place.
 
 
Victor

From a discussion about Questions on Okinawa’s Kata Development 1900 – 1940

2001


It seems my thoughts have stirred the pot, and I truly appreciate the feedback you’ve all shared.


I belive I understand Fernando’s point about Funakoshi’s Taikyoku kata may have been influenced by the 12 kata created from the Karate-do Promotion Society from 1937.  For those kata the embusen is essentially the same as the Taikyhoku kata, and if you substitute the low block for the middle block, the relationship is obvious.
 

But looking at Harry Cook’s work this evening, I notice in the 1935 publication of the ‘Karate-Do Kyohan’  the Taikyoku were not present (but were in the 1956 2nd edition). Mr. Cook also relates there are those who maintain that the Taikyoku were the product of Funakoshi’s son, regardless of later attribution to Shotokan’s founder. I don’t propose the few works I possess will answer those questions, but it certainly is possible Funakoshi sensei would have paid attention to Nakasone’s ‘Karatedo Taikan’ from 1938.

 

I confess I don’t know the Shito Ryu kata Fernando references, yet Mabuni Kenwa, appearing in Nakasone’s work, would be very familiar with those earlier kata.


I appreciate the comments on the social context of trying to develop cross-group standards, and the parallels to Jing Mo Association in China. That is something I hadn’t thought of before and I can see the relevance.


Just an aside on the Jing Mo Association forms. Member systems in the Jing Wu, each system begins their students with the same 10 forms prior to studying the forms of their own style.   

 

Ernest Rothrock used to talk to me quite a bit about how the Eagle Claw system (Ying Jow Pai)  began with a set of 10 common Jing Mo forms. He considered them way to advanced for the normal beginner and requiring many years of preparation for them alone.  

 

I haven’t been following what he is using to develop his new students since the full time switch to Eagle Claw (as my focus has been on our joint Tai Chi work), but he felt another approach would be more sound, to prepare the student.


Where the Chinese took a high road and developed a common set of advanced forms to begin training, I have a different thought about the Okinawan example.


In a nutshell, here are some of my thoughts on the developing open kata practices.


I’m of the impression, preparing secondary school students (among the elite as most Okinawan’s didn’t send their children to school) for military service using the open karate training for physical development, following group orders, and basic karate via the Pinan kata (admittedly not the most basic forms) may have been the reason those forms were created.  


Moving karate from private instruction to large group drill, Itosu’s Pinan kata began to prove their worth.


Then the exercise of Funakoshi and Mabuni (and others) training larger groups in Japan had to raise awareness of further possibilities. That and the force driven from Japan to ‘nationalize’ instruction seem probable instigators to the 1937 Karatedo Promotion Society, and perhaps also for the 1940 Karate-do Special Committee.


I wonder that they were seeking a ‘public’ karate, for public good. Self defense, physical enhancement and group practice. And, that their intent was not to replace a groups curriculum but rather provide something common enough that those who develop the ‘right’ skill could move into one of the specialized Okinawan instructors. In that case the goal of this development may not have been to change any of the ‘systems’.


I believe this is where the choice of review of this potential comes in.


All of our programs, as currently constituted work, we’re living proof of that. I’ve been training young people in Isshinryu for the past 25 years.  I train young people with exactly the same curriculum as I do adults, and because I keep the group size small, permit them to train part time but not lower my standards, those young people who spend the 7 to 9 years average, develop into fairly adequate sho-dan material.


For teaching children I’ve never found reason to ‘simplify the course’, but then keeping the group small allows for some tradeoff advantages.


On the other hand, what I do in a small group setting, would not work well in a very large group as the personal focus we offer would be diluted.  My kata would work, but it would not develop IMO in the same manner.


In my mind, I see a clear case for a simplified ‘public karate’, good for youth, part time adults and older people, using simple kata, which include developmental kata, basic self defense techniques and appropriate drills.  I’m of the opinion, formal study of kata ‘bunkai’ would not be the best focus for this program.   A program which would give some of the basics of self defense, physical enhancement, etc. for those who don’t spend the time into deeper studies.


A good program like that could also become a feeder program for the more talented students into the traditional arts.


I don’t propose current ‘schools’ change their practice, as ‘freedom ‘ rules, for good or for bad.  But I wonder about the offering of more ‘public’ karate, unlike the watered down McDojo variety.


As far as the 12 promotion society kata, the concept is similar to the Sutrisno Weapons kata. In Bo ,Kama and others, the forms are enhancements on the earlier form, working with much the same embusen. Having learnt the first form, on the 2nd form you can simply concentrate on the differences, and gain synergy in technique development.  From that experience, I do understand what those 12 kata are doing. That and the fact the Sutrisno system, uses these kata as a black belt drill, but that’s another topic.


One thing I do believe, there is little need to develop more basic kata. There are enough there to simply consider using them. Such as


    Promotion Kata 1-12
    Fukyugata Kata
    Heian 1-5

Of course there are many other variations possible, but some such curriculum would be sufficient to keep ‘general’ students busy for quite some time.  And I can be charged with just re-inventing Shotokan.


The difference being, however, is ‘Public Karate’ isn’t intended to feed the students into the traditional programs, instead being a complete  program in itself.  It is only in those cases where the students excel and need greater challenges, would I consider them candidates for the traditional studies.


My thoughts on this grow ever more complex.


On this I’ll stop at this.


Victor

The evolution of Funakoshi Ginchin's karate descriptions

It is interesting to see how Funakoshi Ginchin described karate technique in 1925 in his first book. It was more to educate the Japanese Martial establishment that something for his students to follow.

A decade later he did the same in his Karate-Do Kyohan. His description of his karate techniques changed.

Unfortunately this is something very, very few look at, and I think it shows the evolution of his karate as time passed.


 

 Continuing to think on Funakoshi Ginchin’s first work, “Karate Jutsu” from 1925 (I’m reading the excellent new Kodansha translation) I’m quite struck how much changed between that book and his Master Text, the “Karate-Do Kyohan”.

Lets take one aspect, Leg Techniques. Here’s a side by side comparison of what’s described.

Karate Jutsu

Keage (rising kick)
Tobikeri (jump kick)
Mikazuki (crescent-moon kick)
Uchimata (inside thigh kick)
Sotomata (outside thigh kick)
Fumikiri (stamping through kick)
Yoriashi (following leg)
Tobikomi (leaping-in kick)
Nekoashi (cat leg)
Hizauchi (knee strike)
Kerikomi (thrusting kick)
Kehanashi (snapping kick)
Kinteki (kick to testicles)
Namikaeshi (returning wave kick)
Sankakutobi (triangular jump)

Karate Do Kyohan

Front Kick (Mae-geri)
Side Kick (Yoko-geri)
Back Kick (Ushiro-geri)
Roundhouse Kick (Mawashi-geri)
Crescent Moon Kick (Mikazuki-geri)
Stamp-in (Fumikomi)
Knee Strike (Hiza-tsuchi)
Jump Kick (Tobi-geri)
Double Kick (Nidan-geri)
Returning Wave (Nami-gaeshi)

Consider changed:

Keage, Kerikomi, Kehanashi and Kinteki became I believe flavors of Mae-geri.


Tobikeri became Tobi-geri and Nidan-geri.


Nekoashi became a ‘stance’ (with implied immobility) where originally it was defined as “Neokashi refers to the fact that one’s weight is placed primarily on the back leg, while the heel of the front foot is raised like that of a cat, and one advances and retreats noiselessly.”  Which is much more a method of movement.


Speaking of methods of movement. “Yoriashi is used to close the distance when after blocking an attack one is too far away to reach the opponent with a counter-attack. It is also commonly used to suddenly shift one’s position, thereby momentarily draining the opponent’s focused energy and concentration. Movement should be free in any direction, forward or backward, left or right, rather than in a consistent direction.” And “Tobaishi is some what akin to yoriashi, but differs slightly in flavor. In yoriashi both feet stay on the floor, using the legs to move into the opponent, but in tobaishi one’s feet leave the floor like those of a bird in flight, so that one can freely leap into an opponent.”


The knee which was used for Uchimata, Sotomata, and Hizazuchi turns only into Hiza-tsuchi, the tactical descriptions are left behind. “Uchimata – There are time when both arms are occupied in engaging an opponent and victory or defeat are determined through the use of one’s legs. In such situations the knee can be used to forcefully strike the opponent’s inner thigh, or uchimata, thereby causing him to collapse (Execution of this technique depends on the opponent’s position and posture.” Where “Sotomata, is the opposite of uchimata. Once again it is used to strike the opponent’s thigh from the outside to destroy his balance and posture.”  And to save space Hizazuchi describes a knee strike to the opponents head.


I start to see Funakoshi Sensei’s original use of the lower body in a tactical sense, where the later work uses it in a pure technique sense. Likely the direct result of where he took his developing Shotokan.


And look at what wasn’t present, Back Kick, Side Kick, Roundhouse Kick.


We can’t say his original book was the ‘perfect description’ of his knowledge, and may have just what he wanted to expose beginners to in their studies. But the differences show an entirely different shape to his art from 1925 to 1935.


Victor Smith
Bushi No Te Isshinryu
                                                                

A demonstration of Wansu Kata by Norbert Donnelly

 https://www.youtube.com/watch?v=JnF0kEqfbJM

 

Japan-China Martial Arts Exchange Association Teaching Materials

01:25 Bagua Lu Zijian　
03:27 Kua Sword Lu Ziken
04:51 Bagua Taiji He Fusheng
07:52 He Fusheng
09:00 Katayi Sansai Sword Ganguanzai
10:44 Masaru Tsunematsu
12:24 Masaru Tsunematsu
13:37 Meridian Club (Taiji) Masaru Tsunematsu
14:41 Masaru Tsunematsu
16:15 Masaru Tsunematsu
17:12 Masaru Tsunematsu
19:55 Tsudori Taiji Gong (Meido Gong) Masaru Tsunematsu
25:32 Tsudō Twelve Single-Handed Sword Methods Masaru Tsunematsu

https://www.youtube.com/watch?v=jTvSzBW6Bn8

 

Shugyo and Tai Chi 12-12-2-2001

Shugyo, using kata to arrive at a higher level of consciousness.  Perhaps an interesting concept, perhaps not.  As I also flow through the Yang 108 (and have for 25 years), and a good part of the Wu 108 too, I have some definite thoughts on the incredible misrepresentation done to Tai Chi
.

Tai Chi means a wide range of things. There are those who do it for social exercise (as much of China does each morning). Perhaps some do find it ‘spiritually raising’, but in my practice I see it as it was designed, as in a martial art.


I was a Sho Dan in Isshinryu when I began my studies.  I wasn’t looking for another martial art, just wanted to experience Tai Chi.  My instructor, who is very good, was also a practicing Kung Fu stylist and wasn’t doing Tai Chi as a primary martial art either.  The years have changed my understanding.

Moving very slow (as opposed to doing Tai  Chi when you move very, very fast) may look like meditation, and perhaps you can move slowly meditating, unfortunately I don’t believe you’re doing Tai Chi if you’re doing so.


In the performance of Tai Chi, your total concentration is focused on your flow, maintaining the moving alignment of your body using your breathing and eye movements to focus your practice.  Your mind is more and more aware and focused trying to do all of that.  As you’re movement and alignment are focused to bring your energy to play against an attacker, the visualization of the wind range of applications is also part of the practice.


The longer I train the more I realize anyone whose not following the same intent isn’t doing Tai Chi, but rather a tai chi inspired exercise. That may be useful as exercise, but it doesn’t capture Tai Chi’s essence, either.


My students train with me every Sunday, morning, outside in New Hampshire on my driveway, and have been there for over 15 years. Over 100 degrees in the summer and to –20 degrees in the winter, Wind, Sun, Drizzle and Blustery Snow, all.  We’ve shared the pain of Tai Chi’s explosion in application, we argue and work over ‘Step Back and Repulse Monkey’ (which is a really great way to make a space and as your opponent moves into it, fill his throat with your hand, which I think is really martial).


And BTW, the ‘Step Back and Repulse Monkey’ has changed in differing version of Tai Chi, too, with fully different martial application. If anything Tai Chi is a vaster study in change than all of Okinawa’s Karate combined.  I don’t doubt there are a million different version running out there at any given day.


FYI, my Tai Chi studies has over the years greatly changed how I approach the movement of my Karate. And the study of my Karate’s applications has changed my understanding of Tai Chi, in its own way too.


Change, perception and a good beer.  Isn’t that what its all about.

 

Victor Smith
Bushi No Te Isshinryu

David Evseeff and Isshinryu Books 5-24-2001

Back when the internet was relatively new, one of the individuals I met was David Evseeff. I then joined his Isshinryu discussion book and shortly bought his book "Isshinryu Karate-Do", there were far less books on Isshinryu in those days. I found it interesting. I know he was a student of Milledge Murphy and had written the book at Murphy Sensei's request.

In those days there who disagreed with almost everything, becoming quite vocal on the internet about their feelings.  Personally I always felt such behavior using public charges wrong. Very often I would jump into such discussions.  Often to disagree with publicly airing such discussion which ought to have been private, then responding in very reasoned long discussion to make my points.

This was one of those times.

Mr. Cook,



I appreciate your attempt to explain your difficulty with David Evseeff’s book.  Unfortunately the divisive manner in which you write does little to state a case.


I am only familiar with his text “Isshinryu Karate-Do” co-authored with Milledge Murphey.


It is an ambitious attempt to explain the entire Isshinryu experience from Okinawa to America.  A wide range of individuals, including Don Bohan are credited with interview material and photographs. And on the original web-site for the original edition of the Isshinryu List, he did publish corrections and updates for the book which he hoped someday would be incorporated in a later edition.


It is ambitious as there is simply too much to capture that is essentially undocumented to come up with a complete history of Isshinryu.  Probing oral history is almost the only source for much of that information and one persons history is another individuals fiction.


Consider in Okinawa, by tradition, the history and mapping of the systems does not exist, or where it does it is never given to public inspection.  I am aware of one Okinawan group whose senior instructors have done extensive research into the Okinawan Bubushi for the past 5 or 6 generations.  Those notes are only for the next senior instructors.


Kyan and Miyagi essentially left no public written documentation on their system. Motobou did create several books in Japan.  Taira likewise did begin to document his kobudo, but on the whole, most of the Okinawan experience has never been documented for the public. Shimabuku Tatsuo did nothing but follow that tradition. Those who he taught only had their own experience to tell.  When Isshinryu passed into the America’s the seniors essentially followed the same tradition.


Then when books and articles were generated, they told the story from their own point of view, and whatever history they were able to retain, or find.  Inaccuracies passed from author to author becoming fact.


Add to that the ever present intense dislike of so many of the seniors to the efforts of the others, we’re lucky any of them took the time to try and create a new paradigm, documentation regarding their passionate love, Isshinryu.


I honestly believe David’s efforts have merit. They’re not necessarily correct, but he did draw from a wider group of sources than most have attempted, and the photographs preserved in the book alone more than justify whatever the book costs.


But all of the books have authors, all of them are the products of the training and experiences they have seen, and the stories passed on to them. And at some essential level, they all represent only one point of view.


I’ve written a little on Isshinryu and other martial subjects myself. While I freely share my explorations, I have no personal desire to ‘explain’ the Isshinryu system. Frankly, I question whether anybody can gather source material the rest of the Isshinryu world will freely accept.


Consider you have some personal problem with David explaining Isshinryu Seisan having a ‘catch’ or a ‘stack’. Both terms I’ve experienced from different Isshinryu instructors myself.  The fact you don’t like a term or an example, is a rather poor excuse to frame criticism of a work. Frankly, depending on the level of maturity of the student involved, the terms can be used successfully to describe various events in Kata Seisan. The deeper fact that any movement has infinite potential uses, in no way inviolate the simpler answer for a beginner or intermediate student. The fact you may choose not to accept some answers simply is your own personal belief.


The next problem with Isshinryu books, is they can only capture one or some of the answers. Such as the ‘right’ way to do a kata [Which David’s book dodges by not showing any kata.] My instructor Tom Lewis trained with Shimabuku Tatsuo. He also taught many variations of the kata (a practice I do not do myself). The source of those variations were Shimabuku Tatsuo.  If I were to document a ‘kata book’ with my training, there would be variations on the kata performed. I know 100% this would offend those who have the correct way.  Now I’m comfortable with the reality of my training, and really have no desire to document it for the rest. But it highlights one of many difficulties in preparing anything ‘acceptable’.


Now David’s love of Isshinryu caused him to create his text.  It is neither perfect nor complete. It is a valid attempt.  All of the books are, whether they are espousing one’s organizational history, one’s view of kata application, or an overview of Isshinryu.  None of them are perfect, but against the real backdrop of so many who enjoy their Isshirnyu, each one is a very real attempt at describing something which cannot be described.


If I take the time, I can take any of the books written apart, from different points of view. For what purpose. These individuals aren’t publishing on Isshinryu for money. Whatever they make doesn’t fall into the category of real profit.


A while ago I did some private translation of Mabuni Kenwa’s first book (From a French edition into English) explaining Sanchin and Seiunchin Kata, as he wrote it in 1933. While not interested in publishing this, I took the time to discuss with several publishers what it takes to generate and print a book. Essentially both informed me unless a text can sell over 5,000 copies, there is no profit to be made publishing a book, and in the martial arts world, the only books which make a profit are ALL about Bruce Lee.


Now of one wants to employ a private publisher and pay for the costs oneself, it might be a little different, but this basically told me the state of things.  The first volume of Angi Uzeu’s “Encyclopedia of Isshirnyu” (which I suspect was written more by Mr. Jennings) was not followed up with others.  In part I’m sure the new video tape business was cheaper to produce with less headaches.  There you can see and hear Angi without the printing costs.


My feelings are from a financial point of view, the authors could probably make more money in the stock market when its crashing than they would by publishing another Isshinryu book.


Frankly the real state of Isshinryu history is deplorable, and the future, unless somebody attempts deeper scholarship, is likely to remain the same with repetitions of the same old inaccuracies and hopes. Yes, Hope, for much is not based on looking at the real Okinawan or American experience, but rather a wish to explain what the author wants it to be.


I’ve seen rumors that Mr. Advincula is planning such a work. One would hope it happens.  I believe he would be the strongest source explaining Okinawan Isshinryu.  But rest assured, if he does so he will also have his detractors.


In any case, Mr. Cook, you’ve had your say.  David is away studying Chinese on Taiwan.  Another notable goal that may assist all of us far more in the future.


May you have a pleasant day.


Victor Smith
Bushi No Te Isshinryu


Interesting postscript:

When I moved to Arizona back in 2016 I had to rid myself of many of my books.  The Isshinryu books I was not taking with me I know I left for my senior students. Having run accross this discussion brings that to mind. Having looked on Amazon I see there are no copies available, however the asking price for one is $199.99. Go figure. Perhaps they may get some value out of it too.

Chinto Kata and Tai Chi Chaun 6-1-2001

I’ve made another interesting discovery concerning Kata Chinto (my old friend) and Yang Tai Chi Chaun.


The segment shown in Nagamine Shoshin’s “The Essence of Okinawan Karate-Do” Pics. 23 to 26, represent the same techniques utilized in Tai Chi’s Da Lu practice.  

I no longer have the ability to make screenprints from that book. however I found a Matsubishi video of their chinto kata and this is the motion of that section I am describing.


 

   


This was written prior to You Tube. Here is a Montaigue video

Tai Chi: Da-Lu V. 2 (The Great Repulse) Montaigue
https://www.youtube.com/watch?v=r5piEh2WSKI

 
Da Lu (Ta Lu and other spellings) is not part of the formal Yang Practice I’ve gotten from Ernest Rothrock.  But as I’ve come across it many times in Tai Chi literature, it has always remained a background topic of interest for myself.  Last week I stumbled across an article on Erle Montaigue’s web site and printed it out to review. [Disclaimer, on 05/30/01 Mr. Montaigue discountined the hundreds of free articles he posted at his site as it was costing him $1,600 a month for people to download them. Now he will sell you a CD of the entire group for $35.00, a most reasonable cost, but alas, to be a long time till I spring for it myself.]


Now I’ve worked the Lu (Pullback) of Tai Chi with great success in the past, and always recognized it as a potential application for this section of Chinto. On the other hand, Mr. Montague’s article and accompanying pictures (which will NOT scan in from my print out) clearly explained how Da Lu differed from my previous practice. In practice where I was stepping back ( as in Chinto Kata) in Da Lu you are side stepping, which removes you from an interior line of defense to an exterior line of defense,  which also  helps remove yourself from the fast linear attack of your opponent, into a much more advantageous position.


Yes Da Lu is slightly different in the footwork for several movements, but still covers the essential Chinto movement.


Allow me to try and describe this as a two person set.


Attacker 1 – Right foot forward with a right punch to the face (towards 6 o’clock)


Defender 1 – Left foot steps out to 9 o’clock as both hands rise in front (palms up) on the exterior of the punch. (minor variation on movement 23). Pay particular attention to body alignment to deflect the punch upwards and to the right almost effortless as you step back.


Defender 2 – Right foot circles to 9 o’clock (clockwise) as both hands turn over, right hand slides down to grab wrist and left hand presses down across the triceps tendon (paralleling movement 24). This is the pull back of Da Lu.  [to maximize the effectiveness utilize the knee release here).


Attacker 2 – To counter the Da Lu in part, step out with the left foot towards 6 o’clock, and drop your grabbed arm down towards the floor.  Your body continues to rotate clockwise.


Attacker 3 – Step to 9 o’clock with your right foot and deliver a shoulder strike towards the attackers center, likewise utilizing the knee release.


Defender 3 – Keeping your weight on the balls of both feet, use the knee release to rotate your body counter-clockwise to counter the shoulder strike.


- Now the sides reverse - -


Defender A1 – Step with your right foot towards 3 o’clock (toes facing 1 o’clock) and your right arm rises circling counter-clockwise to begin the heaven and earth throw. (paralleling movement 25 – 26)


Attacker D1 – Step with your left foot to 5 o’clock as both hands rise in front (palms up) on the exterior of the punch. (minor variation on movement 23). Pay particular attention to body alignment to deflect the punch upwards and to the right almost effortless as you step back.


Defender A2 – Right foot circles to 5 o’clock (clockwise) as both hands turn over, right hand slides down to grab wrist and left hand presses down across the triceps tendon (paralleling movement 24). This is the pull back of Da Lu.  [to maximize the effectiveness utilize the knee release here).


Attacker D2 – To counter the Da Lu in part, step out with the left foot towards 12 o’clock, and drop your grabbed arm down towards the floor.  Your body continues to rotate clockwise.


Attacker D3 – Step to 5 o’clock with your right foot and deliver a shoulder strike towards the attackers center, likewise utilizing the knee release.


Defender A3 – Keeping your weight on the balls of both feet, use the knee release to rotate your body counter-clockwise to counter the shoulder strike.


- Sides reverse and continue - -


While not 100% Da Lu, this becomes a very interesting exercise.


You get to re-enforce correct alignment, use of the knee release offensively, defensively and for rotational counter,  you can replace the shoulder strike with an elbow strike/shoulder strike, and you can replace the heaven and earth throw, with an outer wrist lock to provide variety in the movement too.


Start slowly and have the partners work with each other, trying to feel and neutralize the attacks. As the skill increases work to increase the speed, always trying to keep alignment and balance centered.


Enjoy,

Victor

Several other Da Lu tai chi videos which demonstrate what I am describing.

Da Lu
https://www.youtube.com/watch?v=r9Eny2KJOOI

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

Another attempt to explain this convergence between Chinto and Tai Chi.


https://isshin-concentration.blogspot.com/search?q=Da+Lu