Evolution over time

 
The past few days I have been thinking about changes to my art that slowly occurred over the decades. They each took effort to learn and then utilize. Each one changing what I knew.

Let me give a few examples.

I was into my own Isshinryu practice 20 years when I first met Sherman Harrill.  I was practicing, teaching and conducting my own studies on how Isshinryu technique might be used in self defense.  Meeting Sherman was like a 20 year leap forward in my own understanding of how Isshinryu could be used.

I used everything I had learned to attempt to retain what I saw. I took extensive notes. When permitted I filmed some of those clinics. But as Sherman privately explained to me, even with everything he shared at his clinics there was a great deal he could not share. For one thing there was not enough time. Then he was restricted because those attending were not his students and he really did not know what they could take.

At his clinics he would select various partners and as they attacked, his technique would drop them, over and over. Yet he never stuck with anything like full force, They did work!

The day after his clinics my own senior students would meet with me, and go over what we remembered, to fix them in our minds.

One of those  Sundays as we reviewed what we retained one of my senior students, Tom Chan, showed us the marks that were still on his body from Sherman's strikes. They were red indentations on his chest from when Sherman struck him. We found they were not full fist indentations, instead they were indentations made by Sherman's knuckles, struck in a vertical line.

Now Sherman did not teach this in his clinics, but we worked out how that strike worked. Simply by shifting the hand, perhaps an 1/8 of an inch to strike not with the flat fist rather with the knuckles of the vertical fist, would cause more intense pain with that strike.

So we immediately began to try it on each other. Even when using extremely light vertical knuckle strikes, every time our opponent FELT the strike.

Of course the training with the makiwara would increased the power of those strikes. But as makiwawa training was not an option for our group, we had worked out an invaluable tool that would still increase our striking power.

Many times I used such a light strike when working with someone from another system and I always heard "Owieeee, that really hurt". Of course I never explained to them what I had done, after all they were not my students.

But taking the time to work together always was useful..


Now let me give another example. I am going to switch to my Tai Chi Chaun studies.  (This is the simplified version of this,)

When Ernest Rothrock taught me his  version of the Yang Tai Chi Chaun form there were many vertical palm strikes, I spent 2 years studying the form with him (with one half hour lesson a week.) Then I worked and worked and worked on that form, Eventually when approached by several of my senior students I formed a small tai chi class for them, which helped me in my own practice too.

Along the way I collected many books and magazines about Tai Chi too, Eventually I began to realize there were likely hundreds of thousands of versions of the Yang form being taught around the world. Each somewaht similar yet each different from each other.

About 25 years into my own study, I believe it was in an Inside Tai Chi magazine with an interview with a senior Chinese instructor, where he described a slightly different version of how to form the vertical palm strike hand. It intreagued me so I tried it out. Wow, I felt a very different energy in my palm when using that formation.

I never taught that to my students, keeping then to the Rothrock version, however for my own practice I varied my palm between how I was originally shown.

As the years passed  I know Ernie became an expert in his Ying Jow Pai instructors  Wu Tai Chi (theTeaching form and the Fast Form <much more advanced>).
 

One weekend when he visited me, he began teaching me the Wu Tai Chi Chaun Teaching Form. (He taught me quite a bit for the Wu form is also a version of the Yang form) Of course there were many differences (some of which were painful at first). Then he gave me a video of his instructor performing the form and told me to practice. That was it, so practice I did.

Later that year I visited him in Pittsburgh and he taught me more of the form, After which he told me to teach myself the rest of the form. It was a great deal of work but I did.

Now at that time I was no longer teaching, My practice was both the Yang and the Wu Teaching Form. I worked both forms religiously. As time passed I discovered the Wu form was causing the feeling of energy in my palms increasing. I called Ernie to ask about that and he told me that occurs with correct practice of the Wu form. I wasn't imagining it.

The interesting thing was what I was discovering with my Wu palm was identical to what I experienced with the palm hand positioning from the Inside Kung Fu article.

Much later I reviewed my notes from my first meeting with Jim Keenan and his description of the 5 bows explained the same thing. At that time I did not fully understand all he was saying. But these accumulated experiences told me the same thing, just with a different description wording.

Now to take a step back this is what I have been thinking about. When you really study your art over decades you eventually learn more about your arts potential. Which makes more sense with decades of experience.

Learning does not stop.

1,506,778 and counting !

 

The system tallies currently shows that 1,506,778 individuals have visited my site, Isshin - Concetration the Art.

When I began it I was sharing information with my senior students I never had time to mention in class, as well as document many of the ways I had trained them. It was always for future reference if their personal studies ever needed it.

I always knew what I shared with them was enough, but one never knows what one might need in the future.

Then as time passed and I 'retired' and then moved to Arizona, I still wanted to share more of what I had experienced. So I did.

Last year my PC died and my hard storage device. I lost so much I had saved, with my new PC I began to work at sharing as much as I had saved on my PC from my pre-2016 files.

I do not make money doing this, just sharing so many experiences I found in my lifelong martial journey.

It seems many have found some interest in what I have shared. Of course I learned long, long ago no one responds to what I have shared.  I do not share it looking for  congratulations, or even others feedback.

All of this is just my way to continue to be a martial artist.

Treasure Box of Nafadi:The Essence of Sanchin (Part 1) By Hiragami Nobuyuki

 11-23-2001

 

Treasure Box of Nafadi:The Essence of Sanchin (Part 1)
By Hiragami Nobuyuki
Translation by Joe Swift

 

First Published in "Hiden" Magazine, March 2001 Edition,
pp. 110-114.



- The Truth About the Legend of the Treasure Casket



I think that the readers have all heard this story, a long
time ago.



A certain fisherman was welcomed at a palace, and was
given a rather suspicious looking treasure casket
(tamatebako) upon leaving. He was told never to open it.
However, when he got back home, he broke this taboo and
opened it. He turned into an old man with white hair and a
white beard...



It goes without saying that this is the Japanese fairytale
"The Legend of Urashima Taro." However, it can also be
said to be an abstract story that is useful in the pursuit
of the true essence of Ryukyu Kenpo. That is, say a
fisherman learned the old methods of Ryukyu Kenpo at the
Royal Palace in the old Ryukyu Kingdom, and when he
returned to his village, he opened this box and taught
Kenpo to the other commoners, becoming a Laoshi (lit. old
master) of Kenpo...


If we extrapolate this far, we can perhaps see what was in
that tamatebako, however vague it might be.



The "tamatebako of the palace," this is indeed the "hako
<kata> of ti <kenpo> of the Ryukyuan Royal Palace." (tr.
note: Mr. Hiragami makes a play on words here. Tamatebako
is written "ball (or jewel) - hand - box" in kanji. He
likens the kata to a box, and uses the old Okinawan term
TI, lit. "hand"). However, the meanings of the movements
of the mysterious kata of the Kenpo of the Kingdom were
not explained in words or written form. In other words,
the old oral transmission "teach the kata, do not unleash
the ti" is the true meaning of "do not open the treasure
casket."



However, if one re-trains the kata that they have learned
and researches deeply the meanings of the movements, then
one will become a master even at a young age, in other
words, have the wisdom of an old master with white hair.
The box in the legend is said to have been empty, but we
can turn this around and say that it was filled with
emptiness. We can see that the box was an "empty" "hand"
"box" and the fisherman had mastered the "hand of
emptiness" in the box.



- Initiation Leads to Unlimited Techniques

 

The old kata of Ryukyu Kenpo are indeed boxes filled with
hidden treasures, and initiation (untying or unleashing
the ti) into the meanings of the movements leads to an
infinite number of secret Kenpo techniques, and can also
lead to mastery of Kenpo's inner teachings as well. Let us
look at "untying the ti" of Nafadi's secret kata Sanchin
this time.



Sanchin is indeed Nafadi's foundation as well as its
secret teachings. There are several versions of Sanchin,
all from the same lineage, being practiced today. Most are
versions of the Sanchin of Miyagi, but even there, there
are minor differences in each. There are varying patterns,
such as taking three steps forward, then three back;
taking three steps forward, turn, one step back, turn and
one step forward, then three steps back; or take three
steps forward, turn and take three steps on the opposite
direction, turn again and step forward and back, etc. The
Uechiryu version is basically the same, with three steps
in either direction. However, it is interesting to note
that the direction of the turns are opposite to those of
the Miyagi versions.



- "One Tatami Mat" Movement Patterns

While there are various differences in the styles, it is
of note that the hand gestures are basically the same. One
other interesting point that is the same is that all
versions of Sanchin kata can be performed in the space of
about one tatami mat, which is also interesting from a
Japanese viewpoint as well. The "secret" kata of Suidi,
Naifuanchi, can also be compared here. While Nafadi's
Sanchin goes back and forth in the space of one tatami,
Naifuanchi goes side to side in the space of one tatami.
Some people say "awake, half a tatami; sleeping, one
tatami." However, in Ryukyu Kenpo, it can be said that
"training the ti, one tatami." (tr. note, here Mr.
Hiragami makes another play on words. The verb for "sleep"
is "neru" and the conjugation in this maxim is "nete." The
verb for "train" is also "neru" and he uses the
conjugation "neri" plus "te (ti)" = hand.) The last part
of this maxim is "2 and a half bowls of rice for one day"
which of course can be extrapolated to (three step)
kumite.



Of course, Ryukyu Kenpo is a local native martial art, and
as such there were no special practice areas, and it is
said that in most cases, practice was performed out of
doors or in the gardens of homes. However, it is also said
that the practice was often done in secret, to hide from
the Bushi of the Satsuma, so I think that practice was
probably held indoors in many cases. It is impossible to
determine that all houses in Ryukyu in those days had
tatami, but it can be said with certainty that they were
all measured in terms of tatami sizes.



- Robotic Movement in the Early Edo Era

 

I mentioned that movement along the space of one tatami
was a Japanese characteristic. There may be those of you
who say that there are such measures in China, so Chinese
boxing might also use the same methods. However, in
Chinese boxing, much of the time practice was held out of
doors, and the forms often make generous use of space. In
southern Chinese boxing, there are some forms that use
relatively small areas, but even so it seems that there is
not much of a concept of "one tatami space."



There is also a unique Japanese cultural heritage that
fulfills the same requirements as the pattern of Sanchin,
that existed in the early Edo Era. That is, the robotic
movement of the so-called "cha-kumi ningyo" or tea-bearing
dolls, that was the product of early Edo period science.
This was a toy-like robot whose purpose was to carry tea
to the guest and then return back to the tea server. Its
path was to go back and forth over the space of one tatami
mat. Isn't this suspiciously like the pattern of the
Ryukyu Sanchin? I have no intention of trying to force the
theory that a Ryukyuan saw these tea robots and formed
Sanchin, or that a mainland Japanese tea ceremony master
saw the Ryukyu Sanchin and created the robots. In short, I
would just like the readers to consider that both may be
based upon the same Japanese cultural ideas.



- Jujutsu and Kenpo

 

I have just mentioned that due to the similarities with
Japanese robots, Sanchin movement also seems to also be a
Japanese style idea, but there are also Japanese-like
parts in the Sanchin Kata itself. In other words, although
Sanchin is said to be a Kenpo kata, half of its techniques
are Jujutsu techniques. However, it is difficult to
actually qualify what exactly is meant by a Jujutsu
technique, but if we consider throws and joint locks to be
Jujutsu, then the "tora-guchi" at the end of Sanchin is
indeed Jujutsu. On that note, "tora-guchi" (tiger mouth)
can be interpreted as meaning "torae-guchi" (grasping
mouth).



The first part of Sanchin consists of reverse punches,
fingertip thrusts comprise the middle of the kata, and
then come the Jujutsu techniques of tora-guchi. The
fingertip thrusts in the middle provide a valuable bridge
between the Kenpo and the Jujutsu techniques. The turns
are also an important method for tying the Kenpo
techniques to the Jujutsu techniques.

Another look at Isshinryu Alignment Theory

 
One of the most profound things I was taught was Tai Chi Chaun Alignment Theory.  The thing is it is nothing but what you were originally taught, however it really is the why behind everything.

I learnt it as a part of my Tai Chi studies. It also explained how to literally increases your power for Karate, Aikido and every practice involving movement.

We all mostly unknowingly make small mistakes, that lower our effectiveness. This provides a methodology to correct them and increase our power.

This is one of the explanations I wrote about this.




https://isshin-concentration.blogspot.com/2022/10/isshinryu-alignment.html
Thursday, October 6, 2022

Isshinryu Alignment

The issue of what's contained in different styles isn't a simple one, IMO. Sometimes they are similar and sometimes there may  only be a surface similarity.

Take Yang Tai Chi Chaun use of the vertical punch, I find it has an entirely different shape to the energy of release than Isshinryu's use of the vertical punch. Fitting a different reason to  my studies. But it is vertical all the same.

As for ways of looking at arts, I can only respond for myself and my own studies. I don't have enough real knowledge what others do with their Isshinryu. But you raise an important question, do I consider alignment different in my Tai Chi studies from my Isshinryu studies and instruction?

First I have to answer that it was my Tai Chi instructor, Ernest Rothrock,  after 15 ears of practice began to explain tai chi in terms of alignment.

In part I didn't train with him for 15 years, after the first several I was pretty much on my own practice and effort, with maybe annual or longer spaces between instruction. He took the time when he felt I had progressed to the point that alignment theory would fit where I was in training, to expound on it (and of course pull my technique apart in infinite detail). I'm quite sure if I had been able to train with him more closely over the years, the points, etc. would have come much faster.

Now, when I came to see what he was showing, I saw the obvious implications to my Isshinryu instruction, and at some level the arts became intertwined on alignment.

What I immediately realized was the theories behind correct alignment were nothing more than the way I was originally taught each art, but the principles re-enforced how to use it more effectively for a student or ones' self. But once understanding how power was lost or gained in a concrete way by better or worse body alignment, so many of the practices I had developed and was using made even more sense.

I didn't begin Tai Chi to affect my Karate. In fact I was interested in Tai Chi long before I began karate instruction. But when I began the practice (as a new Isshinryu sho-dan), I had the chance look at something I was long interested in, and a vague suspicion that it would be useful when I was much older. It was only after quite a few years of study I found that Tai Chi was helping me understand my Isshinryu technique much better.

I've never maintained Tai Chi practice is necessary for great Isshinryu in the least. Yet, I do feel long term study of Tai Chi can be a helpful tool, if one is really ready to pay the price and practice for decades. Believe it or not, your prerogative.

Now beginning to understand the use of alignment in power and execution, It was just another tool in the students developing Isshinryu as we teach it.

When we train students we don't bother them with terms and theories they can't put into practice. Instead we show them how to do it correctly, reinforce their right actions and help them understand their incorrect actions.

In time we can show them more, as they gain more control of their actions. But it is our understanding of alignment (theirs) that guides our teaching approach to them.

The difference is after Dan we more openly discuss how to develop alignment more fully.

Some consider Isshinryu a steady state universe, as is their right. Once you get it you've got it. Others consider Isshinryu an open, expanding universe, and I freely confess I see things this way. For example this is how my Tai Chi instructor taught me.

Teach them correctly, reinforce them correctly, and as their skills advance, eventually open the student to more knowledge about the process.

As in the case with my daughter last Sunday, trying to move her arms and legs in the right direction is enough, explaining the underlying theory of correct alignment would be useless. And as a student develops, it is the instructors experience how and when to explain more. You can give anybody anything, such as beginners starting with SunNuSu kata, but the knowledge to be successful with that information you can't give them, they have to earn it with long study.

Now the underlying principle of alignment exists in all motion. It's not particular to Isshinryu or Tai Chi Chaun.

By way of example, when I get really gifted students at advancing levels of training they begin to watch Gene Kelly dancing in the movies. Take "Singing in the Rain" where Gene dances with Donald O'Conner. Both were extremely gifted and skilled dancers. But watch Gene's use of his alignment and centering, his bearing of his hips and abdomen and you find a much more advanced skill set than O'Conner, even though he is hitting the same steps as Gene.

This is a long way of saying, as a student becomes more and more advanced,  their work on those small details that has greater and greater value. But in our instruction approach, each step from day one is on that same path. The student by their efforts controls when and where their progress comes.

And to really open things up, there is more than one potential alignment for any technique, depending on how you can choose to sell it. More of the expanding universe approach.

I could try and wrap words around how we approach this, but as in many things they would be meaningless. I can't give you a 1,2,3 and you've got it. I can't run a clinic and the point springs forth. It's many, many layers working towards a goal.

For example Sherman Harrill Sensei could and did show tons of information at his clinics. What and how one retains that information is an individual effort. One person will remember 10 applications, another will write an encyclopedia of them.

Postscript:  Along my studies I found parallel affirmation in a Tai Chi masters text, in a unique hand formation discussed by a Chinese senior instructor written in Inside Tai Chi, In an initial discussion by Jim Keenan of the "5 bows theory", in my study with Ernest Rothrock on the Wu Tai Chi Chaun Teaching Form and many other places, Of course now I knew what to look for, I knew what I was looking at.

This is something useful for advancing Dan students, instructors and those seeking the underlying nature of our arts.

Isshin - Concentration the Art: Ice Chi in Frosty Derry-Air

 

https://isshin-concentration.blogspot.com/2024/04/basic-energy-point-allignment-as-used.html

 

 

Gojukensha Karate-Do Kyohan - Ohtsuka Tadahiko

 12-17-2005

Over a year ago I had mentioned that I was going to scan in all 13 of the series of "Gojukensha Karate-Do Kyohan" magazines from Ohtsuka Tadahiko.


Gojukensha Karate Do Kyohan Vol 1                                      
Ohtsuka Tadahiko

 

Basics, Junbi Undo, Eight Section Brocade

 

Gojukensha Karate Do Kyohan - Vol 2

 

Gojukensha Karate Do Kyohan - Vol 3

I took a couple hours this weekend and got the 3rd issue
of Ohtsuka Tadahiko's Gojukensha Karate-do Kyohan scanned in for the group. I hope you guys enjoy. It contains the fairly unique

Gojukensha versions of Gekisai Dai and Gekisai Sho, similar to the more common Gekisai Dai Ichi and Gekisai Dai Ni, respectively.

Gojukensha Karate Do Kyohan - Vol 4
 
Well, it's April, and it's been about a month since I last scanned in a volume of Ohtsuka Tadahiko's Gojukensha Karate Do Kyohan. Geesh, a month can go by in a flash...

Anyhow, I put Vol 4 up for you perusal...it contains Sanchin, Saifa, and Gojukensha's unique version of Sanseiru.

The full set is as follows:


Gojukensha Karate Do Koyan 01    Basics – Junbi Undo?

Gojukensha Karate Do Koyan 02    Applied strikes – kicks - blocks

Gojukensha Karate Do Koyan 03    Geseki Sho – Dai  and apps – plus 3 other basic kata

Gojukensha Karate Do Koyan 04    Sanchin, Saifa, Sanseiryu

Gojukensha Karate Do Koyan 05    Tensho, Seiunchin, Shishoshin

Gojukensha Karate Do Koyan 06    Application Drills, Judging techniques

Gojukensha Karate Do Koyan 07    Drills, falls and throws, Seisan

Gojukensha Karate Do Koyan 08    Seipai

Gojukensha Karate Do Koyan 09    Kurunfa, Pressure Point studies

Gojukensha Karate Do Koyan 10    Suparinpe

Gojukensha Karate Do Koyan 11    Pinan – Naifanchi

Gojukensha Karate Do Koyan 12    Chinto, Wansu, Gojushiho, Jion,

Gojukensha Karate Do Koyan 13    Crane and other kata



Regards,

mario

                                                                    

Ever wonder why we are having a hard time finding “original” Chinese versions of our Kata?

 Dojo TokyoMushinkan 

Hello all:

Disclaimer: Massive speculation here, so do not take this as any kind of historical fact yet, until we find actual evidence of same.

Ever wonder why we are having a hard time finding “original” Chinese versions of our Kata? Even the ones that were “supposedly” introduced from China a little over half a century ago? (Yes, I'm looking at you, Uechi Kanbun)!

Perhaps, and there is a lot of speculation on my part, but just maybe we are looking in the wrong place.
We often assume, based on the verbal history, that the various Okinawan stalwarts who traveled to Fujian became students of famous masters of "private" systems such as Tiger or Crane boxing.

However, there may be a more plausible background. We know that the majority of people who traveled to China from Ryukyu were merchants, students and government officials and that they stayed in the Ryukyukan.

The Ryukyukan was administered and protected by the Chinese government. Military officers were stationed there as security, and as military officers they would have had official martial arts training.

Would it be too far of a fetch to say that maybe some of these Okinawans befriended the guards, and were taught some basic training forms that were created specifically for military training? And that, with the advent of military modernization in China, that these forms fell by the wayside as they were no longer necessary? It is entirely possible that the famed Kojo Dojo at the Ryukyukan employed some of these officers as instructors.

Now if only we could find some old military manuals of empty hand training routines used by the Green Standard Army, it might help answer a lot of questions. Wouldn’t that be interesting?

Thanksgiving 2024

One member of a flock of turkeys who would visit our

yard when we lived in Derry, Nh.

 

Once again it is Thanksgiving for another year.

The sun rises (whether we can see it or not).

As the day begins we take another step into that day, never knowing if other steps and days will follow. That is the mystery of life.

Our art continues, our thoughts go to our family and friends,

We work to move forward.

Give thanks for everything and everyone!

Victor


Past Thanksgiving memories

https://isshin-concentration.blogspot.com/2021/11/do-you-remember-when-we-had-adult-class.html

https://isshin-concentration.blogspot.com/2017/11/seeing-what-is-not-there.html

https://isshin-concentration.blogspot.com/2008/11/giving-thanks.html

https://isshin-concentration.blogspot.com/2009/11/thanksgiving-giving-thanks.html

Advancing dan training

 

One of the largest challenges I found as an instructor was how to pass so much information to my adult students (average time training with me). Most of them stayed training with me over 25+ years, with the seniors training with me +35 years.

Realistically they were schooled in the possible usage of a single technique as Seisan kata's opening havine +100 uses. Only then did they progress into random application potentials for our other kata. They also were taught a few other kata to keep their minds fresh. They all had many seminars with my other instructors, Finally they had reached the 15 years point of training all of their Isshinryu kata (and their other kyu kata requirements. That meant they had sufficiently relaxed in their kata performance, their centers had automatically dropped and they were able to generate more power in technique execution.

(Note: These years stated were only an average for the sake of discussion. Some took less time, some required more time.)

They were at that point where they had to begin how to make their own choices on how to respond to an attack.

I knew by that time it was impossible for them to retain everything they had been taught. There was literally too much information for anyone to remember everything. (Of coure I am also in that position, If you have been following my blog you can see a partial glimpse of what I have been shown or worked out for myself.)

I would discuss with them the idea they should become unreadable, even by me.  They should train up a response or responses against every probable attack. And even if their attacker knew they were Isshinryu, no matter what the could anticipate a probable response, their actual response would be beyond the attacker's expectations.

At the same time they should also be entering intense training into another possible answer or answer(s).

Then after 2 years they should switch their responses to possible attacks.

Of course that means the cycle begins again, and again, and again for life. Working to become unreadable forever.

At the same time never neglecting study of everything you have gained (ie all the kata, etc.)

Of course this is the simple answer, the totality does not really lend itself to words. It is living the Isshin life. Embodying that no one can know your responses to attacks.

At the same time your response might simply be clean Isshinryu standard response. After all it is your choice.

And what do I know,  I just trained and trained you. It always was your decision how to use that training.

BTW: this is separate from those selected to become instructors. That is a different mission, yet instructors are yet 3rd dan's.  They also have this personal responsibility.

My Martial Autobiography By Yoshimura Jinzai

 10-23-2001


English Translation by Joe Swift

 

Even though I am writing my memoirs, this all happened 60 years ago, so I feel as if I am speaking of a far-off dreamland. Because of this, there are some things I recall very clearly, but other things are rather fuzzy. The details of that time are rather complicated, and it is unavoidable that I may have a hard time distinguishing some of them. Also when writing like this, feelings of nostalgia often come up, and one becomes lost as to where to begin and end. Therefore, I would like to ask the reader’s patience in this. I would now like to write a bit about myself and the martial arts.


I was born in the year 1866, on the 27th day of the 9th month on the old calendar, at Akahira in Shuri. My father’s name was Chomei. My mother was from the Sho family, born the eldest daughter of Prince Ie Choken. I was the second son. My elder brother, Choshin, was 3 years older than me.


At any rate, I was the second son of an influential family. I was raised in a large palace, surrounded by many servants. I lived a rather carefree life. On the other hand, my household had strict rules. I was grounded in the etiquette and academic studies as befitted by family’s status. My late father especially liked the martial arts. “The martial arts are first and foremost in a warrior’s education.” So when I became 11 or 12, I began to learn karate. My teacher was an old man of about 60 named Ishimine, who was in charge of our household accounting and many other affairs. Everyday I was dragged out into the garden and had the Naifuanchi and Passai kata drummed into me.


Of course, this was during the free time I had from my learning and studies, but sometimes I made excuses to get out of it. This went on for two full years. I recall that this was about the time that the feudal system was abolished and the modern prefectures were established.

Around age 17 or 18, I was accepted as a full-fledged man. Around that time, I began earnest training under Bushi Matsumura. I recall that at that time, Matsumura was already past the age of 70. He was the guard at Nan’en. I went there 5 or 6 times a month. I always trained with my brother Choshin, and another man named Tamagusuku, who was 1 or 2 years older than my brother. The main focus of the training was the kata Gojushiho, and I also learned Kusanku. It was about this time that my eyes were finally opened to Budo, and I practiced with fervor. I saw myself as a kind of fledgling warrior in training, and this became reflected in my body language and gait. This is an experience that I think everyone has when they are young and brash.


On the other hand, I also learned swordsmanship kata with a wooden sword from Matsumura. He learned Jigenryu swordsmanship from the famous sword master from Kagoshima, Ijuin.


At that time, in Naha, there was the karate expert Nagahama, and Higashionna was also becoming famous. In Shuri, besides Matsumura, there was also Master Itosu. Asato and Tawada were also known for their skills as students of Matsumura. The talk of the day was that Tawada was a bit stronger than Asato, but I do not know if it was true or not. In Goeku Palace, there was a strong man named Naga-kotaru. Just as his name suggests, he was quite tall. I do not know who his teacher was.


I entered the tutelage of Higashionna at age 22 or 23. I traveled 3 times a month. He had a firewood business on the beach (it has since been filled in and now is the site of a housing complex), across from Honganji Temple. Later, he began visiting our estate in Shuri to teach me. This lasted for a year. We practiced even on rainy and windy days. Practice started at 6:00 PM and lasted until 10:00 PM. Back then, unlike today, the only means of transportation was a palanquin. I recall being told that Higashionna always went home when there was nobody out and about on the streets.


From Higashionna, I learned the basics of Sanchin, and then learned Pechurin. Through this,                                                                             I learned that to master the secrets of the martial arts, one must make the 4 limbs and train the spirit.  There was probably some basis for this,  but in those days, people called the arts of  Matsumura   Uchinadi, whereas the arts of Higaonna were called “Toudi.” Everyone also said that Matsumura was a “born warrior” and that Ishimine was good at kata. Matsumura was physically strong and fast, and had the temperament of a warrior of old. It was often said that “the Bushi respected the speed of the gods.” Higaonna Sensei admonished against “jissen,” saying that “if you’re going to (fight) then do it with me.” That, I believe, was his noble martial arts spirit. Of course, it goes without saying that jissen means actually participating in a confrontation with someone, or in plainer terms, fighting. In other words, actually applying the martial arts one has learned in against an actual opponent."


The red-light districts were the most popular places for young men to engage in jissen. Therefore, the three entertainment areas of Tsuji, Tochi and Nakashio were the three most popular places for the so-called kake-dameshi, or challenge fights, every night. There were countless pair of young men fighting each night. These were fights in which they would test their skills with their fists, which they had trained on the makiwara, and can be compared to the sword duels on mainland Japan. I have just recalled a story about Matsumura, so I will recount it now. When Matsumura was about 20, and working as the assistant to King Sho Ko, it is said that he faced a wild bull on the orders of the King, and dropped the animal with a single punch. However, I am unable to confirm nor deny the truth of this story. Not only was Matsumura a great martial artist, but also an accomplished calligrapher as well.


My brother also studied karate from a master named Oyadomari when he was about 13 or 14 years old. I am not sure of his lineage, but it is said that he was the same age as Itosu, which would make him younger than Ishimine.


I also learned horsemanship. I actually began riding at the age of 10, so this was the first martial art I experienced. From the age of 19 until I was 23, I studied under the famous horseman Makiya. We had a wooden horse on our property, and after I had learned the basic forms, I went to the riding grounds at Shikina to ride real horses, about six times a month. I sometimes rode all the way to Yomitan.

I never had the chance to learn archery. However, I do recall being told stories of the mounted archery contests held at the Shikina riding grounds, as a child. If I had learned archery I could have tried that. I regret never learning how to fire a bow and arrow. All this happened around the year 1887.


As a youngster, I was very obstinate, and had to do everything that anyone else did. As a result, I ended up trying many different things. In addition to the martial arts, I also tried my hand at calligraphy, painting, singing, the shamisen, Chinese medicine, etc. However,  never really achieved very much even in these endeavors. In other words, I had too many desires. However, I do not regret trying these things at all, because I believe that these experiences all helped me to prepare my mind to meet challenges.


 Yoshimura Jinzai (real name Yoshimura Chogi) was the son of Yoshimura Udun Chomei, who is said to have been responsible for gaining young Higashionna Kanryo passage on a ship to Fujian Province. Chogi is believed to have been Higashionna’s first student upon his return to Ryukyu.

Once upon a time at Derryfest

 December 2004

When I was teaching in Derry, New Hampshire, I did not go for public demonstrations.  As the Boys and Girls Club always had a list of individuals who wanted to join our program I did not see the need to advertise.

But one year I decided to do something different, and asked the Club to arrange for us to do a demonstration at Derryfest. 

 

Derry fest was an annual town fail each fall, Various groups had booths to promote their services. A variety of different martial arts programs (mostly commercial ones) added to the fail providing demonstrations.   Personally for the most part what the demonstrated were not my cup of tea, but for friends, family and the general public they were entertaining.

 

In fact after seeing the variety of martial arts demonstrations the prior year it gave the incentive to put on myself.

Other organizations, bands and the like, also gave a variety of demonstrations.

I spent about a month preparing my students for the show.

Then just about the time we were to start, President George Bush in his helicopters (there were 3 of them )flew overhead. He was called back from his summer home in Maine to the White House (for some international problem). After they flew over and the noise abated, we began our demonstration.

I announced for our presentation. Everyone lined up and rei'd.  They went through various warmup exercises. Next a variety of advanced drills. They the demonstrated a variety of kata. Next they demonstrated a 2 person opposing kata drill. Finally they demonstrated how kata applications were used. When the demonstration concluded the group rei'd out.

All had a good time.

Commitment

When I was a beginner I began my study with Tom Lewis Sensei at his Salisbury Md Karate Barn. The dojo was custom built by one of his students on his property. It looked like a barn from the outside, but inside it was a custom built dojo.

The program was a club, and the dues fees for kyu students was just $15.00 a month. It was not run like a commercial school. And as modest as the fee was, I was able to clean the dojo once a week for my fee.

Then I moved to Scranton. Pa, The only local martial arts school that I could attend was Frank Trojanowicz was a commercial Tang Soo Do program that used contracts.

A year as a half later Charles Murray moved into the Scranton area to pastor a Church. With him I was able to return to my Isshinryu studies, we trained in the basement of his Church, he pushed me incredibly and there was no fee, just plenty of sweat equity.

While I paid very little for my Isshinryu instruction, what I received was incredible. And I learned how to be an instructor by watching how they taught me.

After Charles returned to the USAF, I was alone, Walking around Scranton at lunch time I observed the town was full of dance studios. Eventually I got an idea,
 

I approached the Scranton Boys Club and eventually they approved a karate program there.  Of course I was using it to keep myself in Isshinryu, but I quickly realized it was the thing to do sharing Isshinryu with the youth of the area. I charged no fee for the instruction, but the Club charged $5.00 a month to raise money to support the Club.
 

6 years later I moved to Derry, NH for work, Almost immediately I was approved to begin a program at the Derry Area Boys and Girls Club. Again I taught for free,and we did charge the kids a fee of $5.00 a month for the Boys and Girls Club, That fee remained constant for the next 35 years. It was the Clubs decision weather to waive the fee in individual cases,
 

Soon after I began the Derry youth program, I also began adult program. Again I taught for fee, There was a $5.00 a month fee for the adults.

I always worked to deliver the best karate I could for my students.  As my students aged between 7 to 55, while they all studied the same kyu program, their instruction need were geared for their individual needs.

I was not doing anything unusual, for that is how my original instuctors taught, before me.

For most of my first 10 years teaching in Scranton and later in Derry, I taught my classes myself. On occasion because of illness or work at times I had to cancel class. I had no choice but I was always uneasy doing so.

During kata time for class, I would move from student to student instructing them as necessary. I recall times in Derry when I was moving between 15 groups teaching various kata as required for those students. I had developed a unique focus on the Isshinryu kata to do so. I had not been taught to do so but I was also able to address each students actual needs.

Then when I began my adult program, even though the content between youth program and adult program was identical. I, however, approached the students as individuals with very different needs.. They were working to the same goals but at very different paces for instruction. Always addressing what was appropriate for each student.

Then there were how I addressed weather issues.

For example one evening there were very strong rain and wind storms beginning when I left the house. On the back road were I was traveling to the club, which had high banks where the farm field was beside the road on the left. Suddenly the rain became very intense to be blown across the road in sheets of rain. I did not turn back for class was scheduled, finally making in to the Club. Of course when I got there and went inside I heard it announced that the Club was closing because of the weather. I helped the kids there wait until their parents pick them up, then went back inside to go upstairs to train by myself. None of the adults, showing intelligent choice, showed up to train so I was on my own, I was there of course.

 

Another example would be the New Hampshire winters. Frequently snow storms would hit on Saturday's where I would have my adult classes at the Boys Club at 8am. I lived about 2 miles from the club and remember each time I would slowly drive the 2 miles to the club to be in time for class.
 

Of course no one showed up as they were too intelligent to go out in the snow (appropriately so) but I always went because someone might show up. The first 10 of so times when no one showed up I would then go inside and just work out myself.

But time after time over the years, I eventually would begin to wait for 20 minutes and then make my way home.   I even remember waiting there and moving my car when the snow plows would show up to clear the club parking lot.  At times even moving my car to allow the plows better access.

My commitment was always my students, should any of them show up.

Even when my disabilities arose I continued to make my way to the club, to then stand during class and directing it. Then in time I started to need a walker I would still teach, My walker was light weight and I could carry it up to the class, then even with the other instructors doing much of the teaching, I watched everything directing the class structure.

For the adult class I always ran everything, Though disabled when demonstrating various applications, I was still effective for the 1 foot range, My students never were happy when the felt what I was showing.

Then moving to Arizona, no students, my commitment to Isshinryu remains constant.  I still perform some kata as I can and work on my blog. I continue to work on new ways to utilize Isshinryu.

Fly like a butterfly and sting like a bee,

 I just saw this Chinese kicking video on YouTube demonstrating a very unique kick, realizing I have seen it before in other arts and my own students abilities.

나비처럼 날아서 벌처럼 쏘랬더니 진짜 날아버리는 무술... | 고수를 찾아서 2024 신년특집
Fly like a butterfly and sting like a bee, and you'll actually fly... | Finding the Master 2024 New Year Special  Chinese version
https://www.youtube.com/watch?v=5YB9nyFY-1o

 

I first saw it when I purchased the Draeger and Smith "Asian Fighting Arts"  (later titled "Comprehensive Fight Arts") early in 1973, years prior to beginning my own Isshinryu studies. I found it very interesting, especially the Burmese technique of running up an opponents body prior to kicking them.
Of course when I later studied Isshinryu this technique was not part of my studies.

Tris Sutrisno

Later I experienced this when Tristan Sutrisno used his own Indonesian version to jump me to then stand atop my shoulders to then jump off them and flip a kick to my head then land lightly before me with a grin on his face.
A number of years later when he was giving a clinic to my students he performed a version of this kick (abet somewhat differently), I immediately saw what he had done to me, abet I was a larger more stabler opponent.

https://www.youtube.com/watch?v=BwVtKKd9L6c

When I read the translation of Itoman's book, his description of Triangle Flying made me think this could be an older Okinawan version.

Itoman's Triangle Flying ? Revisited

https://isshin-concentration.blogspot.com/2024/10/itomans-triangle-flying-revisited.html

One of my students, Young Lee, after viewing too many Kung Fu movies worked out his own version, later to teach it to one of my other students. At the time seeing his demonstration of the kick for the first time, I named it the Grin,  from the expression on his face.
https://isshin-concentration.blogspot.com/2017/01/the-grin.html

Of course using such techniques was always way beyond my capabilities. That did not mean I was defenseless, I always had myriad of possible responses. Still, if the situation allows it permits maximum unpredictability.