Akamine Hiroshi Sensei Chatan Yara no Sai

Chatan Yara no Sai is used for Nidan testing along with Hamahiga no Tonfa and Shushi no Kon Dai in our association.  Here Akamine Hiroshi Sensei demonstrates it at the Karate Kaikan.

https://www.youtube.com/watch?v=9zRzOEMnSrs

 

 

Training for life Against a Typhoon - Revisited

 
https://isshin-concentration.blogspot.com/2017/04/training-for-life-against-typhoon.html

Friday, April 14, 2017
Training for life Against a Typhoon  -   Revisited

KARATE DÕ
MY WAY OF LIFE
GICHIN FUNAKOSHI

 

Many of us have heard of standing on the roof on Okinawa in a typhoon and standing in horse stance working at maintaining the stance in the winds.

Here in Funakoshi Sensei’s own words is likely a source of many of those stories.
 

TRAINING FOR LIFE

Against a Typhoon

Perhaps it would be more modest to let another person describe one’s youthful feats than to do so oneself. But resolutely swallowing my sense of shame, I shall here quote the words of Yukio Togawa, the author,taking no responsibility for them beyond assuring my readers that the incident described is a true one. The reader may see a touch of madness, but I have no regrets.

 

 

“The sky above,” writes Mt Togawa, “was black, and out of it there came a howling wind that laid waste to whatever stood in its paths. Huge branches were torn like twigs from great trees, and dust and pebbles flew through the air, stinging a man’s face.

“Okinawa is known as the island of typhoons, and the ferocity of its tropical storms defies description. To withstand the onslaught of the winds that devastated the island regularly every year during the storm season. The houses of Okinawa stand low and are built as sturdily as possible; they are surrounded by hgh stonewalls, and the slate tiles on the roofs are secured by mortar. But the winds are so tremendous (sometimes attaining a velocity of one hundred miles per hour) that despite all precautions the house shiver and tremble.
 

 “During one particular typhoon that I remember, all the people of Shuri huddled together within their homes, praying for the typhoon to pass without wreaking any great damage. No, I was wrong when I said all the people of Shuri huddled at home; there was one young man, up on the roof of his house in Yamakawa-chõ, who was determinedly battling the typhoon.

“Anyone observing this solitary figure would surely have concluded that he had lost his wits. Wearing only a loincloth, he stood on the slippery tiles of the roof and held in both hands, as though to protect him, from the howling wind, a tatami mat. He must have fallen if the roof to the ground time an again, for his nearly naked body was smeared all over with mud.

“The young man seemed to be about twenty years old, or perhaps even younger. He was of small stature, hardly more than five feet tall, but his shoulders were huge and his biceps bulged. His hair was dressed like that of a small sumõ wrestler, with a topknot and small silver pin, indicating that he belonged to the shizoku.

“But all this is of little importance. What mattes is the expression on his face: wide eyes glittering with a strange light, a wide brow, copper red skin. Clenching his teeth as the wind tore at him, he gave of an aura of tremendous power. One might have said he was one of the guardian Deva kings.

“Now the young man on the roof assumed a low posture holding the straw man aloft against wind. The stance he took was most impressive, for he stood as if astride a horse. Indeed, anyone who knew karate could readily have seen that the youth was taking the horse riding stance, the most stable of all karate stances, and that he was making use of the howling typhoon to refine his technique and to further strengthen both body and mind. The wind struck the mat and the youth with full force, but he stood his ground and did not flinch.”

 

Now I have looked for a while but I can find no photos of anyone on a roof in Okinawa in a typhoon. In fact no one seems to stand outside in typhoons taking photos of their houses.

I believe I know why.
 

Itoman's Triangle Flying ? Revisited

Sunday, October 12, 2014
 

Time does seem to fly, it has been several decades when one day the brown belt, Young Lee, after class took a run up a wall and delivered a kick.

Something he saw in a movie and wanted to learn. Of course he practiced it, and other students did too. 

Several months later attending a summer camp, during a break in the training he took off on the wet grass, ran up a nearby tree and kicked. Then another of my brown belts, Andrew Ware, did the same. After several successful kicks others at the camp, so inclined, started trying to do the same. Trying and falling, sliding on the wet grass, discovering it wasn’t  so easy.

 

No, this has not been a part of class, though I often have drills to slake the energy of teenage students (such as a version of Naifanchi incorporating jumping crescent kicks. But this was individual initiative. 

https://www.youtube.com/watch?v=fgMcJjfXBgw&t=1s

Then reading Itoman Seijin (Morinobu’s) book Toudi-jutsu no Kenkyu I found that there was a similar kicking technique in Toudi.  “Triangle Flying - This technique involves jumping or leaping to three points. That is, you use the footing from a wall, tree stump or the ground to deliver a kick, move to an advantageous position, or move to safe distance using three points. “

 

So we didn’t come up with something new, just re-invented the wheel so to speak. The texture that Itoman describes as Toudi is very rich in perhaps lost techniques such as this. Much more environmental focused than today’s dojo Karate, or so I conjecture.

 

10-29-2024

 

I believe this shows some of the changes made to form Karate-do.

 

The training became standardized for everyone to be practiced in a dojo. 

 

In the past training often took place in the forest in secret places. The training would address environmental issues not found in a standardized dojo. Such as rocks, trees standing or fallen and other such environmental conditions. Paralleling the use of Toudi (Te) in as required on the job where one must remain aware of one's surroundings, as well as to use them if required for one's advantage.

I would suspect there were vast differences from what Toudi (Te) training was like to what Karat-do became.

I remember John Kerker and Halloween

Halloween each year reminds me of the 10 years of clinics that John Kerker held in Chicopee, Mass.

 

The first one was held in late October in 2006. Then I was fortunate to attend the continuing clinics until 2005.

What I remember was how special those days were. I would wake early, drive from Derry, NH accross Mass. to get to Chicopee. The drive there was over 3 hours each way. I would arrive around 9am, train with John till about noon, to drive another 3 hours home,

 

For most times those Saturdays were the day the kids in Derry went Halloween-ing each year. My wife and I went out with the kids, especially when I made it home in time. Or Maureen and the kids would go out with the neighbors and I would greet the treat and trickers that came to our home.

Then later those evenings I would view the movies of the clinic I took, and write up my detailed notes from those clinics while they were fresh in my mind. I always found that break after the clinics I attended would be most useful to retain what I observed as the drive home allowed me to move my memories from short term memory into long term memory.

Those were very special days in any case.

Allow me to show a sampling of what John taught over the years.

PA250013 John Kerker 2008
https://www.youtube.com/watch?v=s79U9HSs7IQ

 

A few seconds with John Kerker at his 2009 Seisan seminar in Chicopee.
https://www.youtube.com/watch?v=6bgLQpaUqyo

John on striking.MP4
https://www.youtube.com/watch?v=i7A-mNQkcCE

John Kerker variety from 2012
https://www.youtube.com/watch?v=oN-9My9Yz-Q

John hitting stack points 2 Wansu
https://www.youtube.com/watch?v=qKo3aMW3X1o

 Just a few Haloween memories for you.

Training with Sherman Harrill – a Personal Observation

Training with Sherman Harrill – June 10, 1995  (at Garry Gerossie’s)

Harrill Sensei is a contemporary of Tom Lewis. He trained with Shimabuku Tatuso for 14 months.


In ‘1960’ Isshinryu wasn’t a completed system (ie kobudo kata were undergoing changes). Different people were being taught differently. Shimabuku didn’t do most of the training, the seniors did.


In the case of Kobudo, Shimabuku was still working on the shape of of Isshinryu system.  For example there used to be a basic Sai kata (Kyan No Sai) which was later discontinued because the techniques were found in Kusanku Sai and Chantan Yara No Sai.  The instructor who was teaching the Okinawan Karate-ka Kobudo only taught the upper body skills, the weapons work. This approach let each stylist use the lower body techniques of their own system.


Mr. Harrill doesn’t do Chia-Fa. With Mr. Advincula he does Hiragonna No Tonfa.


Shimabuku taught empty hand  Kata, kobudo Kata nad Kumite. Kumite meant prearranged drills for self defense (Advincula, the secret scrolls of kumite). These drills were practiced by the Marines for demonstrations. Many of the Marines never stayed long enough to learn them. Mr. Harrill explained that they formed the basis of the Bunkai principles he does.  Advincula Sensei is the ‘best’.


The patch is the Mei Gami (Not Mizu Gami), the Isshinryu Water Goddess.


Shimabuku Tatsuo originally gave Mr. Harrill a Rok-kyu Dan certificate. Mr. Harrill pressed him and received signed copies for Sho Dan through Go Dan, in addition to his Rok Kyu Dan. He then waited the appropriate time before accepting each rank.


He met Mr. Harold Mitchum, in 1990.


Mr. Mitchum promoted him to Seichi Dan in 1992.


Mr. Harrill joined Mr. Long’s organization for 6 months , but left disliking the politics. (In 2001 he related to me that it was because of promotion standards, which he was not in agreement with.)  He was present at the IKKA meeting where Don Nagle (now deceased) was promoted to 10th dan and voted President of Isshinryu in America..  Mr. Harrill chose to vote for his only opponent (which Mr. Nagle requested there be another person to consider, and the group picked one at random), a green belt. Which raised a few eyebrows.


He tries to keep his kata to the technique taught by Shimabuku, for future generations. His Bunkai, however, explores as wide a range of technique as possible.


-- -- --

Later notes:


Mr. Harrill began teaching, which had been a dream, after his two daughters were killed by a driver. They had wanted him to open a dojo, so he did.  When others dropped in his school, he began to get a reputation for the applications he was teaching and researching. Eventually he taught Goju and Ueichi groups in the Mid-West (such as Phil Koeppel), and Isshinryu around the world. One year he spent a month in South Africa, teaching Goju practitioners.


It was through Garry Gerossie taking the time to locate me (Victor Smith) that I came to hear of Sherman and trained with him at Garry’s school, first in 1995.


Sherman knew I was a student of his old friend, Tom Lewis.
When we first met, Sherman stated, “I want you to understand I’m not looking for students.”


Understanding, I replied “I want you to understand I’m not looking for a new Sensei.”  We hit it off fine after that.  A number of years later I was able to bring Mr. Lewis and Mr. Harrill together for a weekend. Sherm taught a clinic focusing on Wansu and some Bo.


Mr. Harrill remarked how he trained his brother in Isshinryu, and in 1962, is brother went to Okinawa (I believe as a Marine), and first demonstrated his kata. Shimabuku Sensei, having abandoned the vertical punch at that time, told him, “No, that’s the older style fist we don’t use anymore!” but then added, “Now its ok, its just we’re doing this now.”  [Aside in 1962 in Pittsburgh, Shimabuku Sensei taught for 6months and he taught the turning punch during that time.]


He supported my writing on Shimabuku Tatsuo’s instructors, sharing video record of Taira Shinken’s kobudo teachings to assist my analysis.


I hosted him about 5 times,  or I provided our school, my adult students, and Garry Gerossie (his student in Concord, NH) picked up the costs the clinic fee’s didn’t cover.


I was also able to train with him at Chester Houlbecki’s in Granby, Ma. And at Joe Aeillo’s dojo in Cranston, RI. Over the years.


And we would frequently chat on the Inter-net, discussing topics of interest.


Meeting Sherman for the first time he made sure we all knew not to hit him in the chest. He had had a serious heart attack about 5 years earlier and felt it necessary to protect same.


As the years passed, he had more frequent heart incidents. One year at my school he began a clinic very grey and we were worried about his health, though he got stronger during the day. Dr. Harper tried to offer medical assistance over the next few months, and later that summer he did have another heart attack.


His heart problems continued to come, and about a year before his death, he even damaged his biceps during a clinic in Seattle. But the next weekend, he taught in Granby and Houlbecki Sensei’s dojo, and concentrated in part on one arm techniques, too.


When Mr. Lewis came out, Mr. Harill proudly explained to me that he had recently done an entire clinic on Sanchin, relating all of it to the rest of the system. I really was interested, but as the years passed, he didn’t cover it, focusing on the needs of the students at the clinics, first.  The last time Garry was able to bring him in for a clinic, I was invited to come up the night before to train, and I was really hoping to work on Sanchin. But Mr. Harrill was so weak and ill I didn’t have the heart to even bring up training. Of course he recovered and the next day ran a great bo clinic (teaching a 2 person Okinawan bo set).



I'm trying to put my thoughts together about Mr. Harrill, the experience I shared and what I will do with this to continue what I received for my students.


As I remember Sherman clinics, he left us a very complex message, full of depth and texture. Attending a clinic with him was always an exciting experience. When I first had occasion to train with him he was showing material at a frenzied pace and would run through what seemed like hundreds of techniques in an 8 hour period. The next clinic was in my school and his pace didn't slacken. You could not injest so much material, you just experienced it.


But over the years, perhaps in part due to his health, or perhaps in part due to his listening to seminar participants, he showed down the pace of technique instruction. This was easier for those working the techniques, but at the same time that new information channel began to show secondary messages, on the deeper structure behind his teachings. Often quiet expression of the underlying principles that allow one to continue this study on their own, with work.


The full impact of the layers of instruction he offered is difficult to access, it is so deep.


Heck, at this point it may be appropriate to discuss communications theory. All efforts of communications can be analyzed as a channel of communications, and information flows both ways. In all human
activity, there are most frequently multiple channels of information being presented, all at the same time. The more you can recognize those layers, the more you can understand what is actually being said.


In such sense, I would offer the clinics I attended with Sherman most often contained the following.


1.An example of trust and friendship
2.An exposition of the results of a lifetime of study
3.An exposition of the potential depth of the Isshinryu system and an ongoing discussion of his personal Isshinryu history.
4.The direct teachings presented
5.Deeper principles behind those techniques, or why they were there.


The sum of these events and more was definitely greater than any one part. They all were Sherman.


Sherman chose to reveal a portion of his work at these Isshinryu clinics. In part reflecting the abilities of the group he was teaching. There is no question he could not give everything he would teach in his school. But the portions he choose to reveal were incredible.


On first exposure his clinics would resemble a Japanese term I heard defined long ago, the technique of no technique. So many techniques were offered you could not retain even a fraction of them. But that quickly would change as he was concentrating on our Isshinryu system.


Several times, discussing the issue that he could generate greater cash flow for his efforts, I questioned why he didn't try to write a book(s) or create a video tape series. But he never expressed that was his goal. Its seems to me he felt this training had to be experienced first hand.


He did permit me to keep copies of the video tapes of those clinics held in my school, and I know he did the same with other instructors. But I believe Sherman felt his efforts weren't a closed issue, but a live experience for him. Thus he was always trying to work out new applications.


Those video tapes represent a record that is useful because we've shared that training with Sensei. They do not constitute a replacement for him, though.


From this I would believe he wanted us to follow the same example, to continue to grow in our own studies, with his efforts pointing the way for us, and the more general principles to become tools for our
own development. Of course that puts a great deal of responsibility on us to try and follow his lead.


I never had the opportunity, time or resources to travel to train further with him. I know this represented lost opportunities. In 1999 he described how he had finally conducted an entire clinic on Sanchin, with a great deal of satisfaction. But in subsequent years the clinics I was able to attend or host covered different material. Finally last year when we hosted a clinic with him for the last time, I was invited by Garry Gerossie up to his house the night before to work out. I was hoping to focus on Sanchin with Sensei.


But Sherman was so ill from traveling I didn't have the heart to ask the question, and instead we chatted about Isshinryu news and history. True to form he blasted through the next day as if nothing
was wrong. But I regret that lost chance a great deal.


So how best to follow the example Sherman shared?


I've always used his teachings as a starting point for my and my adult group's research and training. But I feel strongly as an instructor I need to take a further step to bind what we received for my students shared future.


I've begun to gather my notes together and am compiling a Sherm-pedia, detailing each technique we studied with him the past 7 or so years. I also intend to further review the video record we possess to
verify I've documented as much of the training, underlying principles and history as possible.


Then I will make it available for the Bushi No Te Isshinryu instructors and senior students as a resource to guide training and further research.


In no way can it replace Sherman, but I hope it can be used to help us focus on his teachings more distinctly.

This is the season of the Ghost technique.

 Season of the Ghost  First you see him (or her) then you don't as the Ghost disappears before your eyes.  The days grow shorter, daylight too disappears before our eyes.

10-26-2001

This is the season of the Ghost technique.

I find our true worth rests with our friends.  My closest friend is Ernest Rothrock a martial artists who resides outside of Pittsburgh, Penna.  We all walk many paths, his represent an incredible number of studies. I've been fortunate that he is my instructor as well as my friend.  As students go I'm certainly one of the least he's trained. But as a friend he has shown me depths I would have never found without his guidance.


One of the most fascinating concepts which I've been exposed to from our friendship is that of the Ghost technique. The ability to disappear in plain sight of your enemies.  This can become true magic.


Now it didn't happen because he took me aside and drilled me in the secrets. In fact, I did it the old fashioned way (a la 'Five Fingers of Death').  Several decades ago he trusted me with a copy of an advanced manual for his senior students.   The 'Fire Dragon Martial Arts Advanced Training Manuel', and therein was a page describing Ghost Techniques.


I was training in a variety of Chinese Forms from many differing systems in order to obtain an overview of the Chinese Martial Arts. This was in addition to my Yang Tai Chi Chaun studies with him.  We did discuss some of the concepts of that manual, but as with many texts, it went on my self and sat for quite a few years.


I came to understand the basic concept of the Ghost Technique.  In my words, you are using the focused awareness of your attacker to his or her disadvantage.  The attacker attacks you where they know you are.  Unless highly trained themselves, that focused knowledge can work against them if you shift away from where they 'know' you are so you aren't there.


No, its not magic, in fact I'm sure most of you have studies which parallel that training. In Japanese terminology it's the use of Tai Sabaki (body shifting) to evade the attacker.


Well one evening after I had moved to New Hampshire I was moved to review Ernie's manual.  I started working through the techniques descriptions in my head, and decided that I should give this a try the next class.  I decided on what I would try ( and it wasn't exactly as his manual described), and the next class I had a student attack me with a punch. He attacked, I moved and shifted and before he stopped moving I was standing 15 feet behind him.  The rest of the group was falling down laughing from the expression on his face asking 'where did he go?', for as far as he was concerned I had disappeared, right in front of him.


Focused awareness is an interesting thing.  Trevor Legett in his fascinating study "Zen and the Ways", describes the concept of Isshin (focused awareness) and Zanshin (wider awareness). [Forgive my very short description.]  The perfect martial artists (IMVHO) would have both at the same time. Isshin focusing on the immediate task, and Zanshin to focus on the wider picture, too.


The funny thing, most attackers aren't that well trained, and their focus on you as the object of the attack, can be used with Ghost Techniques against them.


Once I understood Ernest's concept, I began to find examples everywhere. When I had a course in wrestling in college, I had learned to pull a whizzer, and spin out and away from someone riding me. A ghost technique.


Tris Sutrisno, in one of our early training sessions, used a technique against a punch (or a grab) of just moving slightly back, to be a hair away from the focus of the opponents attack (a somewhat similar concept is contained within Ernest Rothrock's form "Lung Lek Kuen - Supple Dragon"). They attack where you are, but as you are no longer there, then shift slightly forward into the space you created, and that creates an opening to be utilized.  Heck I forgot, the same concept is found within the opening section of the Yang 2 person set demonstrated by Dr. Yang Jwing-Ming in his 2nd volume of Advanced Tai Chi. There, against an attack, you simply step back creating a void that pulls the attacker into the opening, creating the opening for your counter attack.


An attacker rushes you.  Your response is to step aside and counter with an Isshinryu squat kick into their abdomen.  They rush where you are, you sidestep out of their awareness, the ghost technique, and you respond by kicking into their entry into that void.


Of course, these are but several basic choices available to the Ghost.


Take the turning potential in kata, such as Chinto, Kusanku or Seipai to name a few, and use that turning to evade, control or set up the opponent.  That is the beginning of advanced ghost techniques.  I can give some other hints.


You might consider how the application of the evasions of Aikido techniques represent the Ghost.  Correct entry into the Heaven and Earth Thlow against an attack is among the highest levels of Ghost Technique.


If you have M. Nakayama's Best Karate Series Volume 3, Kumite I, check out page 114 for penetrating tai sabaki.


Of course the highest level I personally experienced, was when Tris Sutrisno disappeared before my eyes when I was trying to strike him. His response was to stand on my shoulders, before I finished moving forward, jump off with a flip side technique to my face and land with a grin.  Personally that was one of the true scary moments I've faced in my life, for I had no idea how he got up there, and None of his Black Belts in attendance watching the whole thing, understood how he did it either. Full disappearance before everybody.   [I'm sure I'll live to regret mentioning this again, most likely giving Ernie some idea of trying something else new on me. Would that I could disappear myself
when needed.]


In many senses this might be among the highest level of our arts. It makes more sense not to be there when attacked, than to be the toughest monkey on the block.


I don't think I've ever asked Ernie where the term Ghost Technique came from. I've often wondered whether it was related to the Ninjutsu techniques of Tengu Ashi (Demon Steps) where at least the concepts of the names sound similar to me.


I don't think I'll be any more open about these techniques at this time. Certainly I wouldn't give out Ernie's own as that is his right.  And my own studies, well I'm getting older, slower and creaking. I've got to keep something up my sleeve, at least for now.


What I will do is close with a similar concept from "The Sword & the Mind, translated with an introduction and notes by Hirotaki Sati.  This comes from the Heiho Kaiden Sho (Family  Transmitted ook on Swordsmanship) from the 1500's and the 1600's of Japan. There in there is a section of scrolls titled "The Goblin's Selection: Eight in All".  Page 43.

"Tehiki (also know as Eiibo): Entrapment

When parrying appears to be leading nowhere, feign sudden withdrawal by lowering your fists. The moment the opponent takes the bait and strikes at your fists, quickly reverse the positions   of  your  f eet ,  forward  and  backward,  jerk  your  fists  to the  right  to  dodge  the coming  blow,  and strike  to his fists."
 
 Yet  another vision of  the Goblin or Ghost .
 
 To   close from the play of  Tom  Stoppard,   " Rosencrantz  and  Guilderstern  are  Dead " .
 
 " Rosenâ ¬ ¦ . . Guilderâ ¬ ¦ . .    Well,  now you  see  me  and  now  you   ..... "
 
 Victor  Smith
 Bushi No Te  Isshinryu
     
 
 

 
Date:  Tue Oct 31, 2000  10:20 am
Subject:  RE: [bunkai_unlimited] Season of the Ghost - errrr dragon ?
 
 Greetings - all, Victor San,

   Last night while training I was given a double complement   by one of the Goju black belts I train with, this related to your  disappearing post (It will take a minute to set this up).  We were practicing the bunkai of Kakuha-sho (created by Seikichi Toguchi   sensei), this is done in one continuous drill between two people,   alternating  Uke and Tori. At the end of the form  is the same movement that is at the end of Seiunchin kata, (cat stance,  circle the arms up and drop the elbows down and then  outward)  rather than use this as a defense for a lapel grab we use it  as a defense for  a double leopard paw strike (like Ippon ken but  done with all four knuckles, (someone have a better term for this ?))  to the ribs,(or better yet just below the breast nipples),

  This is the same movement that we use in Saifa kata (instead of the   double punch, just before the low circular hammer fist strike into   open palm),   

 Anyway, this is the end of the form so we generally improvise
  the finishing movement,   As the double leopard paw strike came in I retreated in a cat stance   dropped both elbows downward and separated his strikes, then circled   my hands to the outside, pushed his right arm up and across his body,   ducked under is arm (and struck his ribs on the way through) and   passed him turning 180 degrees and ended up behind him, stomp kicked   his leg and grabbed his face from behind (gentle like).

  He said "You have the spirit of the dragon in you", Being a Isshinryu practitioner this was more of a complement then he knew,   (I view IR as Tatsuos style)  what he  was actually referring to is the   ability (or characteristic ) of the dragon which allows  it to  appear   and disappear at will, he said that I just disappeared and it surprised him, when I attacked from behind him.  This fit right in with previous posts.

  Question is do dragon style techniques really exhibit this type   of characteristics ?  Is it a part of the nature of the movement   is what I'm asking.  anyone have a comment ?

I think this movement worked for me because he is larger then   me, 5-6 inches taller, a weight lifter with a lot of muscle mass.   when I lowered my stance , moved closer and pushed his arm near his   shoulder upward, I completely disappeared from his normal range   of vision,by the time he figured out where I went it would have been to late . (another great use for a quick turn and kick in kata , passing the opponent and attacking from the rear, which  I seldom think of while solo practicing).

  nice r.t. ^..^
 

 

Ghost Techniques Annual Training        4-25-2024
https://isshin-concentration.blogspot.com/2024/04/ghost-techniques-annual-training.html

 

Just a step back – the simplest of Ghost Techniques  10-30-2-15

 https://isshin-concentration.blogspot.com/2015/10/just-step-back-simplest-of-ghost.html

 

Some Thoughts on Ghost Techniques    10-27-2012
https://isshin-concentration.blogspot.com/2012/10/some-thoughts-on-ghost-techniques.html

Conversation with a Ghost    11-7-2009
https://isshin-concentration.blogspot.com/2009/11/conversation-with-ghost.html

The Friendly Ghost        11-19-2009
https://isshin-concentration.blogspot.com/2009/11/friendly-ghost.html

Ghost Techniques for the Season        10-3-2009
https://isshin-concentration.blogspot.com/2008/10/ghost-techniques-for-season.html

Become the Ghost    10-26-2001
https://isshin-concentration.blogspot.com/2021/10/become-ghost.html

Black Belt Tape - Vintage VHS Find - Karate Dojo Training with Grand Master Fusei Kise

This is an old VHS tape found while going through old materials recovered from a family estate.

It features one of the most highly ranked American black belts at the time, Greg Lazurus from New Hampshire, around 1996, in the Karate traditions taught by Grand Master Fusei Kise in Okinawan Kempo. This follows the traditions taught by Grand Master Hohan Soken from the previous generation in the art.

https://www.youtube.com/watch?v=zpPk7tR_06g

 

Some Praying Mantis forms

 Praying Mantis Crash Step Fist (Wei Zijian Coach) 2024

This is the performance of Nian Dust Martial Arts current instructor Wei Ziqi at the [Martial Arts Altar Held: Praying Mantis Boxing and Chinese Weapons Show] in Taipei on October 20, 2024.

https://www.youtube.com/watch?v=8b7iV_aHA5A

 Gay Aston - student of Ernest Rothrock

performing the set Slip in and Hit

a Northern Preying Mantis form I studied.

He also performs a Monkey form.

 http://www.youtube.com/watch?v=_CnJR_JcFz4 

 

It is only when you open it up and can look inside you really see what is inside.

Now in my dotage have I taken up the hobby of Lapidary. Lapidary means the cutting open rocks, then slicing them further and grinding them, polishing them till you can really see what the rock looks like inside.

Then the finished rock might be used for jewelry or other projects. I just enjoy seeing what is inside the rock.

Here are a few pieces from the past few weeks.

 

Having done this these past 5 years, I have many, many pieces. All of them are most surprising.

From the outside you rarely see what is inside a rock. Incredible variety in Incredible diversity.

In many ways the potential use of kata movement is much the same. For only when you take the movements apart do you begin to see the full wealth of kata study.

I do not mean to imply that you have to do this to find incredible worth in kata study. But when you take the time to take the movements apart, you will find incredible uses for those parts, too.

Two pieces of petrified wood
 

The Low Block: Re-visited

https://isshin-concentration.blogspot.com/2011/08/low-block-re-examined.html


In 2001 I was working with Christopher Caille of Fighting Arts.com to prepare an article on uses of the Low Block. At the same time publication was announced for a book examining 50 uses for the low block.

Because of FightingArts.com technical considerations the article was never published. Finding this in my archives I wish to present it on my blog and I’ve included photographs that were taken in 2001 for the article. Those photographed are the late John Dinger, Claudette Macomber, Dennis Driscoll, Tom Chan and myself. Our loss of John Dinger is still felt and I wish to dedicate this article to him.

At this date some of the background commentary I used I would no longer make as I' ve learnt much more since then and understand less. As a record of my past studies I’m letting this stand on it’s own at this time. I also must thank Christopher Caille for the editing suggestions he made for this article back then.




Do you know your basics? Is that low block you have been practicing for years just that, a block, or can it be something much more?

One of the exciting developments in karate (and to a lesser extent taikwondo and kung fu) today is the re-examination of basic techniques. Students of karate, for example, have studied in or traveled back to Okinawa or Japan for research, analyzed their kata, examined old texts and conducted their own research. What they have found is intriguing, although interpretations often differ. What is generally agreed upon, however, is that obvious applications are just a first step. Unseen to most is a whole universe of other applications that are both versatile and effective.

What twenty years ago was a basic block, many now practice as a strike or other application. What changed, the technique? No, not exactly. Instead another sort of explanation arose, and the thinking of many followed a different template.

Is this thinking new, or the original intent of karate? And is there a link to older traditions, or to the defensive or offensive needs of those who first developed karate? Sadly there are few answers.

Even the exact derivation and history of karate is unclear. Practiced in secret, karate's history was unwritten, and only comparably recently (1800's plus) is there much of any record. Of course, most students know that karate was originally an Okinawan creation -- the term itself (karate) referring to a mix of similar fighting traditions that are part Chinese kung fu mixed in different proportions with native techniques (te). The resulting different styles were exported to Japan in the early 1900's and were further transformed with the additions of philosophy, uniforms, grades, class structure and competition.

Thus karate has undergone many changes from its first inception in old Okinawa -- a path from Okinawa to Japan (and back) and from generations of instructor to students, from the students to their students, and so forth. How much was hidden or lost can't be fully known. But today, many students are looking for new answers and interpretations to the basic template underlying movement. Included are vast changes on execution, and on the tenor of one's karate.

Anatomy of a Low Block

Let us take one of the more basic techniques, the Low Block, a very frequent place where beginners commence their training, and see what we can find.

Of course with so many different systems and instructors of karate, the low block can be found in differing guises.

Low block "number one," begins with the blocking hand alongside the opposite side of the defender's head (blocking palm towards the head), the blocking arm descends, and rotates at the end of the blocking technique to strike with the side of the fist, wrist and forearm (one bone block). In my opinion, the most important aspect of this form of block is that the hand and arm rotate immediately before striking the target, so the rotation diminishes the force against the ulna rotating into the strike (while the radius rotates away). This rotation would diminish the pain of the ulna being struck without such rotation.

the Turning Low Block

Low block two, begins with the blocking hand alongside of the opposite side of the defenders head (blocking palm towards the head), the blocking arm descends and does not rotate at the end of the blocking technique to strike with the back of the two lead knuckles, back of the fist, back of the wrist and back of the forearm (two bone block). [It is felt that low block two allows the arm to take greater punishment with both the radius and the ulna working directly together in the block, but I am of the opinion both forms of blocking are more than adequate.]

the Isshinryu Low Block

 

The difference between using the technique (the low block) as a block instead of a strike is often one of how much time allowed for a response.

My research leads me to believe on Okinawa blocks were practiced just as that, blocks.

If karate is thought of as a fully defensive art, one would shape the training, to respond in the act of surprise. Antidotal evidence leads me to believe that is the aspect in which Okinawan karate was taught. Repetition after repetition of the low block as a block, to prepare an automatic response when if one was attacked, the blocking arm would sweep the attack away.

Now there is much more going on during the blocking process than just swinging the arm down, another aspect is the correct body shifting involved to remove one from the plane of the attack and to create an opening, a path to the attackers vital areas. In such cases the block itself then prepares the way for the counter-attack, to stop the attacker. Other aspects of the blocking motion can view it as a block and a strike in one movement or even a strike itself.

Claudette Macomber and John Dinger

I’m sure there are a wide variety of contemporary practices in a blocks utilization. But there is some tantalizing information about the potential of older practice in karate. In 1933 Mutsu Misuho published ‘Toudi Kempo’ (also known as Karate Kempo). The book was a very comprehensive presentation of the Okinawan art for its time. Most germane to this discussion was 1/3 of the text was devoted to Kumite, or pictures and text showing how karate could be applied against a wide series of attacks.

As there is no English translation of this text, I’m presenting my analysis solely from the diagrams. I find it interesting that unlike today’s presentations, Misuho began with description of simply dodging techniques and then an extensive use of dodging (punch slipping) and counter attacks. When the middle block is presented, it is always accompanied with the hand turning and grabbing the opponent during the counter-attack. Finally deep into this section the first recognizable low strike is presented, and it is a strike into a kicking leg.

A similar drawing to the Mutsu drawings
 

Eventually there are other examples, first against a strike but apparently involving considerable body shifting to set that up, and the right low block against a punch is followed with the right hand striking into the head area, or even the solar plexus (a case where the momentum of the block is reversed into a strike..

Another example against a strike begins with both parties delivering side strikes to each others arms, then following with low strikes into the same arm, and a counter reverse punch into the attackers body.

John Dinger and Tom Chan

When the blocks are delivered into the leg, with attendant body shifting the arm then either continues to press and spin the attacker away, or the arm slides under the leg to trap it for a counter-attack.

I do not believe this text is more than one series of examples how karate technique can be utilized, but it does seem to indicate the simple blocks practiced were not in that manner chosen for demonstration.

If I follow the line of reasoning much of contemporary practice grew out of the development of ‘School’ karate, the simpler blocking drills could be a result of those practices, de-emphasizing the combat potential of these techniques.

Now I don’t construe this logic that we should discontinue basic blocking drills, effectively throwing the dishes out with the dishwater. Its obvious MASTERY of basic blocking technique is a precursor for all application. Of course mastery of the appropriate entry into an attack is just as vital.

Application Potential of the Low Block

 

I truly don’t know what came first, somebody surviving an attack and systematizing the response to train others, or somebody logically deriving techniques of self defense, developing the training system and then keeping what worked in reality.

When I began training, as incredible as it may seem to some today, nobody discussed application of karate technique, or what is referred to today as Bunkai. Bunkai (from the Japanese or perhaps more correctly in Okinawan Hogan ‘ti chi ki’) is the application potential of a karate movement.

These may be direct (as is most often practiced), or indirect involving a great deal of body shifting to make the correct entry, or may even be obscure, by breaking a technique down into smaller and smaller components and learning how to apply each of them. Application potential might emphasize the striking potential of the technique, or the locking potential of the technique or the downing potential of the technique. It might involve striking very specific targets, or instead delivery of shocking power to impart into the attacker.

Except when there is direct line of translation from instructor to student, or some texts as the aforementioned “Toudi Kempo”, the rest involves the analysis and work of the artist martial.

What I will now discuss involves a range of study that I’m sure no one tradition (unless you consider my own perhaps) necessarily encompasses. But they are indicative of what the potential of the low block could be.

    The Low Block as a Deflection Against a Punch or Leg

Now some come from traditions where the low block is only practiced against a kick, but it is a very effective counter to strikes into the body too. Where Mutsu Mishuo seems to show this with a great deal of body shifting, it can also be practiced directly into the opponent. When I trained with Tris Sutrisno, his family Shotkan tradition incorporated a complex two person drilling series, and although I only learned a small fraction of this, among the beginning techniques, the use of the low block against the punch was utilized.

I do not believe the basic practice of the low block will develop this, and two person sets are required to develop the timing.

Without a great deal of description the low block affected against the leg to deflect a kick is a standard reply. As this can be practiced head on, or shifting off the line of attack, to accomplish the same result with less power, both need to be considered.

In all cases shifting off the line of attack before delivering the low block seems to be a desired study.

    The Low Block as Strike

Defensively instead of blocking the leg, but using the same technique to strike into the leg (with a hammerfist) and destroy the inner stability of that leg to continue attack has merit. Likewise, still being defensive with correct shifting as the attacker begins to move, you can deliver the low strike into their groin, or other exposed target. Finally, it is possible to use the same technique to block and strike (a 2 in 1 combination) such as a low block to the opponents arm completing a low strike into their body.

Offensively (a term which seems to be an anthemia to traditional karateka), especially when using a technique to strike from surprise, there are many targets of opportunity for the low block/strike.

Frankly, while contrary to the Okinawan concept of ‘there is NO first strike in karate’ it does seem if there is any merit to the striking times (Sichen) shown in the Okinawan Bubishi, a case can be made that these targets and time make most sense offensively. In that vein, the low block as strike has a great deal of potential.

    The Low Block for its Double Striking Potential

This becomes an example outside of the normal ‘old’ standard of what a technique can be used for. Instead of blocks alone, the technique is broken into pieces and the striking potential of those pieces is pursued.

Your opponent drives towards you with a lunging right punch. You respond with an interior line of defense using your right foot to step forward, the act of your right hand chambering alongside your head now becomes a strike into the opponents arm, creating the opening for the same right hand striking into their side. For even greater effect you might use the downward low block as a slicing technique across the side of your opponents ribs.

You might even shift off the line of attack, step across with your right leg so it locks behind the opponents right leg as you strike into their arm and then continue to strike into their kidneys. This can be a clear opening into a takedown.

The same concept works for the exterior line of defense. The opponent grabs to you with their left hand as they step forward. You respond by stepping outside of their attack with your right foot, the act of your right hand chambers alongside your head is used to strike into the triceps of the attackers arm. You then continue with your low strike which becomes a slicing attack of your hammerfist across the attackers ribs.

Dennis Driscoll and John Dinger

    Blocks as Strikes with Follow-up techniques.

Using kata examples, consider how the block as strike opens a path to the opponent.

The opponent attacks with a kick to the groin. You respond with a low strike, to shock the leg and take advantage of that shock to counter punch against the initial strike. The opponent attacks with a punch, you use a low strike to move it off of your centerline, and with appropriate body shifting use this opening to strike into their kidneys.

Other examples are:

Chambering Hand strikes into opponents arm, grabs their wrist and then pulls them down

Chambering Hand strikes into opponents arm breaking their arm

Chambering Hand strikes into opponents arm and then strikes down into their body.

Chambering Hand strikes into opponents arm while other hand strikes down into opponents body. This is followed the completion of the low strike hammerfist as a slice across the opponents ribs.

    Kakushite Hidden Hand

On Okinawa, there was a long tradition of ‘secret additional techniques’ being added by an instructor into the kata. This was practiced in Okinawan (and elsewhere) to hide the application from un-friendly eyes watching the practice. These techniques were only taught and practiced in secret, never to be done openly.

Never is the operant word. In all senses there are no secrets, except what you don’t expect. But if the practioner can add practiced ‘secrets’ to their technique, others might not expect them.

There’s a long tradition of people being surprised. Trevor Leggett in his book “Zen and the Ways” gives a great example how seniors in a certain Jujutsu school were destroyed because they made bad assumptions about what was happening during an attack. Their training had devolved to looking at which way the thumb grabbed the handle of the knife in its scabard, and beginning their defense before the knife was drawn. Their opponents recognizing this reversed the scabbard and handle, the defenders worked off of the thumb deflection and instead were finished with the knife in the wrong hand.

There are many more tales, and this can work for or against a martial artist, of course depending on the actual circumstance.

Interestingly, this tradition does not appear in many Chinese Systems, especially the Northern ones. In those cases, they have so many forms, two person sets, etc. the student is only taught one application per technique. But they have so many techniques, eventually they arrive at a point to have a vast vocabulary of technique to utilize.

Kakushite would appear to be a method to take a system of fewer obvious techniques and vastly increase the number of responses.

Although this seems to be a secret transmission from Senior to Junior when the circumstances warrant, and only if they warrant, I believe I can show some possible examples how this could be done.

Hidden Hand 1

From one tradition I’ve studied they have an interesting ‘hidden’ technique. That of doubling up the blocks.

Concentrating only on the low block, Take a simple form such as Takiokyu Shodan, and instead of turning left into left front stance and execute a left low block, they turn left into left front stance and execute a left low block immediately followed by a right low block.

The initial low block deflects the strike, where the second low block is a strike into the arm itself.

If you take a beginning kata, such as Takyokiu Shodan, you can simply double up the blocks in the kata as a training device.

Hidden Hand 2

Another concept involves adding different additional technique to a kata. Rather than a secret, if we go to Nakasone Genwa’s text “Karatedo Taiken published in 1938, we will find this in the Kihon Kata developed by the Okinawan Prefecture of Karate Do Preservation Society Instrutors Division. This group developed 10 basic forms, which build upon themselves. I personally consider this might be the source for training described by C.W. Nicole in his text “Moving Zen”, where he described his first class after attaining ShoDan. He was made to perform Takiokyu Shodan multiple times with additional kicks thrown between each technique.

One of the forms begins turn left, left low block, followed by left middle block. This parallels other instruction I’ve had doing the same. Consider Takyokyu Shodan as follows.

1. Turn to the left and deliver a left low strike

2. Then execute a left middle strike

3. Follow with a right lead punch as you step forward with the right foot.

1) low block followed by 2) middle block/strike into the body

John Dinger and Tom Chan

Among the possibilities you could strike into the opponents leg, and then strike into their body with the left hand.

    Chinese Jing Do

Similar to the last technique, is the equivalent technique taught by Ernest Rothrock, or Jing Do “Chinese Short Range Striking”.

While looking like a low block followed by a middle block, in Jing Do the low strike circles out and down striking into a leg at its bottom, but then continuing the circle to return up and strike into the abdomen with the returning strike.

When done like this, it becomes a continuously flowing circle and the circle is used for the two strikes.

John Dinger and Victor Smith

 

Conclusion

I have tried to show the low block has a greater range of possibilities than is often discussed. This is not an exclusive listing, but rather another opening movement in a vaster group of possibilities.

For a closing thought on the concept of blocking I’d like to quote Hank Prohm from Lebanon Oregon. Hank is a Shito Ryu stylist under John Sells Sihan. He offers us the following Principles of Blocking/Parrying.

1. Blocks should be extensions and refinements of natural, reflexive movements

2. NEVER meet force with force

3. Any defensive action should finish with you in a superior position

4. Good blocking works even when your technique doesn't

5. Try to move the target out of the line of fire

6. Heaven is being 90 degrees on the outside of your attacker

7. Hell is being on the killing ground, face to face, toe to toe both fighters open to attack, at the mercy of luck and reflexes.

Ed Summer

When I got to this part... "This rotation would diminish the pain of the ulna being struck without such rotation"... I almost lost my coffee all over the keyboard... FWIW, those old school Okinawans were crazy for kote kitai... you couldn't hurt their arms with a baseball bat... I know this, as mine were once just as well conditioned. But what you present is none the less good stuff...

I'd add that you can put one other thing on the list... the down block can also be turned into a trapping technique.

Sehshan, Shorei-ryu

By Funakoshi Ginchin “Karate Jutsu" – Translated by John Teramoto

 

This version was written in the 1920’s. (Victor)

Kata Sehshan, Shorei ryu

There are 41 steps in all, Count out the steps in sets from one to ten, repeating as needed until completion of the kata.  Required time about two minutes.





 1. After bowing in heisoku-dachi stand in yoi posture with the hands in fists and the feet opened in hachiji-dachi.


 2 . With the left hand and foot moving together, step into Line 2 with a motion describing a semicircular path to the right, and block with the left hand (the back of the fist is up) while pulling the right fist to the hip.


 3 .  Simultaneously retract the left fist and extend the right fist in a punch.


 4 . Moving the right hand and foot in a semi-circular path together, step forward along Line 2 (this is the exact opposite of 1).


 5 . Simultaneously retract the right fist and extend the left fist in a punch.

 6 . Repeat the exact same motion as 1 along the same line.


 7 . Simultaneously retract the left fist and extend the right fist in a punch.


 8 . Pull both fists in front of the chest and spread the elbows (the fists are ippon-ken, and the backs of the fists face upwards: refer to Fig. 185).
Extend both fists straight ahead, shoulders width apart.


 9 . Spread both hands with the thumbs and fingers together by raising the elbows to shoulder level on either side of the head, with the elbows bent and the forearms parallel.


10.  From that position, lower the arms and extend them while extending the upper body (the palms of the hands face the thighs).


11. Step forward with the right foot ad at the same time pivot on the left leg to turn and face in the opposite direction taking the posture shown in the figure.

12. Maintain the exact posture  but turn the right hand over to the left and have a feeling of pulling down slightly in front of the body.


13. Take a step forward along the same line (Line 2) with the right foot and at the same time with the right hand in front of the left shoulder and the left hand just outside the right elbow, pull both hands apart (taking a posture that is the mirror image of Fig. 186).


14. Maintain the same posture and turn the hand over.


15. Step forward along the same line with the left foot and at the same time take the posture shown in Fig 186.


16. Turn the right hand over.


17. Using the left leg as a pivot, step to the right with the right foot and take a right hand blocking posture (refer to Koshokun Fig. 143).  (Right Side Block – Victor)


18. Retract the right hand and at the same time punch with the left.


19. Retract the left hand while simultaneously punching with the right.

(After the kata has been sufficiently memorized, these two movements should be made as one continuous movement.)


20. Turn to the left (actually turning 180 degrees to face in the opposite direction) and with a slight feeling of yoriashi take a left hand blocking posture (refer to Koshokun Fig. 141). (Left Side Block – Victor)


21. Retract the left hand while punching with the right.


22. Retract the right hand while punching with the left (here again, these punches should later be done continuously).


23/ Transfer the right foot onto Line 2 and performing slight yoriashi take a right hand blocking posture (refer to Pin’an Shodan Fig. 50).


24. Retract the right hand while simultaneously punching with the left.
Retract the left hand while simultaneously punching with the right (later to be performed continuously).


25. Along the same line pull both hands to the right hip before taking the left hand and swinging it high and to the rear, while at the same time turning and raising the left knee as high as possible, then bring the left fist down in urate (the eyes are fixed looking just beyond the fist).


26. Maintaining the posture of the upper body, unobtrusively slip the right foot over the left, placing it right beside the other.


27. Kick with the left foot toward the tip of the left hand.


28. Bend the left arm halfway, bringing the fist in front of the left shoulder before turning it so that the back of the fist faces upward and immediately thrusting it forward with yoriashi.


29. Immediately retract the left fist and attack with the right.


30. Pull the right fist back to the hip and at the same time make an upper level block with the left arm (this is the same posture that in Pin’an Shodan Fig. 54 except that here the leg is bent).


31.  Turn to look to the rear while at the same time bringing the right leg and arm around as high as possible and then striking with urate (the fist should be at mid level; this is opposite of 26).


32. Slip the left foot over and place it down next to the right.


33. As soon as the foot is placed kick with the right foot towards the tip of the right hand.


34. Bending the right arm in half in front of the body immediately twist the fist so that the back is facing up and thrust together with yoriashi.


35. Retract the right hand and punch simultaneously with the left.


36. Retract the left hand and simultaneously make an upper level block with the right.


37. Look to the rear and move the left leg and arm together in a strike.


38. Kick the left hand with the right foot in a crescent kick (mikazuki-keri).
Retract the left hand and punch with the right.


39. Immediately pull the left foot back, bending both knees and supporting the body on the right leg, and place both hands above theleft kneecap in a block against a kick. At yame, return to the original posture to conclude the kata.