Sun Nu Su toe-rip-kick

 

Right photo: Shimabuku Tatsuo Sensei using the toe-rip-kick found in Sunsu kata with Steve Armstrong, in Armstrong's Tacoma, WA., dojo (1966).

While some claim there is no standard kata bunkai, this is the bunkai Tatsuo Sensei taught so sets the standard.

 

This toe-rip-kick is also found in Shimabuku Tatsuo no Kumite (島袋龍夫の組手)

 

6. b. Two hand cross arm choke hold karate gi, push kick (From Sunsu kata)

The photo on the left is dated March 1965, with me teaching Paul Heffernan the bunkai in Oceanside, CA.

 

On the right, one year later, is Shimabuku Tatsuo Sensei teaching Steve Armstrong ,1966 in Tacoma, WA, the same bunkai from Sunsu kata.

A great example of Okinawa's Tsumasaki Geri (toe kick) during a real altercation regarding an intrusion into someone's feeding area.

On Okinawa there are Typhoons then there are Typhoons

 

 

Watching the news this morning and hurricane Matthew is starting to slam Florida. I don’t wish to be insensitive, but note everything today becomes a media event for coverage. While appropriate for the affected areas, is it really as an event for the rest of us.

Perhaps some gentle humor would be appropriate.

Think when we tell the youngsters how we had to walk through blizzards and miles of snow when we went to school.

Was the Okinawan equivalent, “Why when I was young we would stand on the rooftops during Typhoons and perform Seiunchin kata, in the wind and the rain.”

One has to wonder.

 Andy Sloane Before I left Okinawa towards the end of my first tour, I trained at Uechi Sensei's dojo in a typhoon!

 

Victor Donald Smith I have lost count of the times I showed up for class in hurricanes, blizzards and storms just in case anyone showed up for class, They never did because they were too smart to do that! One night at midnight Charles called me over to his Church to train. So I went. Afterwards when I went out, there was 3foot of snow on my car. I did travel through ice storms in the Poconos to go to training, I guess we were karate-ka in those days, or just crazy.

Been a while since I have talked about this but it is worth doing.

Between Reality and Delusion

 There are a series of posts from the Motobu Ryu people. Ones I have used the Bing translator to translate, They are somewhat difficult to understand, but at least you get some idea about what they are about.

Between NEW Yamane flow  reality and delusion! 

2017-02-18 said the school story, became a person that at 17: 56: 17 subject: headquarters Palace hand recently, Tokyo.



Person years ago type of "getting" unauthorized modification--say whether remake in almost "creative", and had appeared in the local tournament.

https://www.youtube.com/watch?v=y2v8IBzwhTU

Told were eventually issued a school was causing various problems cannot be published to the other, so that was altered Uehara Sensei's creations-battle of reach, we were surprised. Uehara Sensei is ufkun from 0/1955 (public phase you University) and taught karate, such as sorting type is interested in disciples--principle of a Palace hands necessarily fits--hate flowing type of karate, and has been 教enaku these types.

As the type instead of along the principle of a central Palace hand made in battle hand.

I win in sport karate competition Uehara teacher of creative type person above, apparently didn't like.

So he heard and teacher living in modified in this way, with permission of Uehara Sensei he was saying so, but at the same time training Uehara Sensei's dojo along with this person and then of course such a story is improbable did not know is.

Thank you so much to my students how convinces the mind grows brother disciple that fiction to as now seems to be.

Told the better, person, saying "at that time (Uehara Sensei alive,) modified in this way." afterwards many times making changed "many doubts about this person..." and so thought. You may meet people and putting yourself in the world of martial arts, sometimes indistinguishable from this reality and delusion.

To leave posterity any traces of the existence of a desire to go beyond their own ambitions--to influence them distorted, there kinds delusion develops in. It's not that creation itself is absolutely useless. However, the line may not be crossed if you put yourself in the ancient martial arts schools.

In formally to unsubscribe if you want to create your favorite new martial arts, good schools for their use only. Don't do it, or type into Division residence handed down hundreds of years though it embarrasses it even have a catch phrase. --Because I carry no fabrication of headquarters House.


\

 

Crescent Kicks Plus

 KishimotoDi's post 

 

In a whipping manner he demonstrates doing an inside crescent kick followed by a snappy front kick. Or an Outside crescent kick also followed by a variation of a snappy front kick. 

 

 

This is a scene from my self training. I am demonstrating a whip leg technique. You use the whip leg (in this video my left leg) to block a jodan or chudan zuki, then the same leg will give counter kick. We call this block sokuto or sokutei kaiten uke. Of course you can use this whip leg to attack the opponent jodan. The whipping of the leg can be done inside and outside circles. The key point here is the height and speed which require total relaxation of your leg and the flexibility. Video · Yokota Kousaku

 

 

Victor Smith

 

When I was a beginner we used to do an inside crescent kicks and the return with an outside crescent kick, over a partner’s head, where they had first bent over. We would try to come as close to the partner’s head as possible.

 

 

What is being shown is just that drill, slightly modified for the actual kick being used.

 

Another group with similar unique kicking practices was David Brojack’s Kempo Goju. Their West Wing kick and their West Wind kick were both variations on the crescent kick.

 

Beginning from a left cat stance  the West Wing Kick was where you would jump up and deliver a front inside crescent  kick and while descending you would follow with  a right outside crescent kick.

 

Then from a left cat stance for the West Wind kick you would jump up and deliver a front outside crescent kick and then while descending follow with a left inside crescent kick.

 

I learnt that while training with David and have never seen them elsewhere.

Generating Power in the Isshinryu System

 September 14, 1988

When a new Sho Dan, I immediately found myself on my own and forced to make
my own way training myself. I searched everywhere took the good and the bad
and worked hard to understand what Okinawan Te was about.

Ron Martin

 

While competing at a tournament, in the Black Belt kata division, a senior
Goju Ryu dan gave me a very low score. Later I questioned him as what I could
do to improve. This instructor turned out students who where exactingly crisp
in their own technique. He basically told me "Your Stances ******!", then
proceeded to elaborate on his thoughts as to what Isshinryu was doing wrong,
in general.

Tom Lewis

I started observing the best Isshinryu whenever I found it. Universally, all
great Isshinryu practitioners had great stances. I don't know how they were
trained, or how they trained their students, and was too humble to ask my
Sensei about why his own stances were so good, so I just began to concentrate
on developing stronger stance.

Likewise to my students I concentrated on any stance imperfections. Harped on
it, in a friendly manner of course, but never permitted bad stance to
continue. As time passed my stances got better and my students consistently
were doing a better job.

Of course there are offensive and defensive reasons for SUPER Seisan Stances,
et. al. Just commenting on Seisan, Offensively if the front leg is too
straight (a very common Isshinryu Black Belt situation in my years of
observation) you can't use the power of you legs and hips for power
generation. Instead you use only your arms, and that weakens the power
tremendously. Defensively, a straight front leg in Seisan is a target of
opportunity waiting to happen. I love to train my Dan's to look for that and
attack that point as a structural way to drop someone.
From this beginning in structural observation I've developed further
principles which affect the generation of Isshinryu Power.

In the use of the crescent step, I observe, most people use a constant
acceleration throughout the entire stepping process. I eventually began to
see another opportunity. The Crescent Step if done correctly by my way of
training, draws the back foot up alongside the front foot. It moves the foot
into the centerline, and then pushes off the centerline to move forward to
complete the step.

I saw an opportunity here. If you take 2/3's of the stepping movement time to
draw into the center line, and then explode from there with 1/3 of your
movement time, you are gathering your energy into your center and then
exploding out of there. Your kata movement become more powerful.

Then I began using the center line for everything. When making a turn, such as
90 degrees to the left. The left foot draws into the center line (2/3's of
the movement) and explodes 1/3 from the centerline, again.

So far I've commented on stance and movement. Next comes the role of
breathing and timing.

Originally the only instruction on breathing was the use of Ibuki breathing
in Sanchin and the way we practiced Seiuchin. But I have been working on a
different use of breathing to control the timing of the kata.

I now define breathing as INTRA TECHNIQUE SERIES BREATHING and as INTER TECHNIQUE SERIES BREATHING. Sounds like a mouthful doesn't it.

A Kata TECHNIQUE SERIES, is an instructor designation. It may be one move
(such as step forward and Block) or it may be a series of moves (such as
Block, Punch Front Kick, Double Punch). There are various ways to break any
kata down as a series. That isn't good or bad, just one of a number of
options to consider.

INTRA Technique Series, means what happens during the series in question.
Inter Technique Series, means what happens between the different Technique
Series.

INTRA TECHNIQUE SERIES BREATHING, I've found for speed enhancement, this
should be done as one continuous exhale. This is regardless of whether a
single technique, or a series of techniques. Inhalation during the technique
series (T.S.) will slow the series down. Never a good idea for power
development.

INTER TECHNIQUE SERIES BREATHING, Is where I inhale between Technique Series. This is for air replenishment as well as the means to control the timing of
the kata.

By exhaling INTRA TECHNIQUE, you can concentrate on increasing speed in the
series of technique(s). By controlling inhalation for INTER TECHNIQUE, you
can control the timing of the kata, and not let the speed get away from you.
Did you ever loose it in CHINTO and finish faster and faster. I've found
concentration on INTER TECHNIQUE breathing will help control the speed of the
entire form, yet still permit blasting on the techniques themselves.

There's nothing to say my principles are correct or the only answer. However
I and my students have been following them for the past 20 years and I'm more
than satisfied that I can make them work.

So you have Stance, the method of stepping, the method of breathing and
control of timing affecting power generation. How to make them an effective
training device.

Just jumping into a kata such as Seisan, can be a very daunting task with so
much to consider. What I suggest is to take a basic H type pattern kata (I
use Fugyata Sho myself, but which one doesn't matter).

A basic kata allows for good training in these principles. You can change
where the sequences start and stop (Is it A - Low block then B 0 Stepping
Punch or is it A-Low Block Stepping Punch). You can concentrate on this
stepping movements themselves. Stress driving off of the center line. Look at
the regulation of breathing and timing. Then when you start seeing progress,
they can begin to take the same principles and concentrate on One Isshinryu
Kata. Then work through the kata one at a time. Only when a kata is perfect,
go to the next and so forth. This is not a fast process and will take years.
But I am certain it will increase power.

Is this everything? No, of course not. Can you get the rest? That's an
interesting question.

I don't know if this is the answer. Truthfully it just works for me and mine.
Unfortunately no one gave me this, I had to work it out on my own piece by
piece.

Why should you address this issue. Well I see the study of kihon and kata, as
the practice of karate. Then I see the practice of Bunkai as the DOING of
Karate. If you can develop more and more energy in the practice, and
correctly perform the DOING of Karate, you will learn how to tap that larger
amount of power and utilize that when you DO Karate.

 

Keep looking to improve.

Knockout Pressure Point Chart

 

Diagram of the most vital striking points around the head and neck

Distinguishing The Differences Between “Bunkai”

  I was recently viewing various publicized versions of what is being taught as/for bunkai. Technically, I suppose anyone's “guess” is as good as any other (really). We don't know what the original creator's envisioned the motions to of represented. What's being taught today is only what recent practitioner's are speculating those motions to of represented.

  Having stated that, I do feel that a lot of what's being taught (as being bunkai) is cobbled together nonsense (that has neither practical application, nor any beneficial study/practice value). To qualify that opinion, I have to convey my own interpretation of what/how bunkai is ascertained and interpreted.

  First off, I view kata motion(s) as having been assembled for convenience (for the originator of the kata). Not being aware of what was going through that individual's mind at the time (of the creation of the kata), it's difficult to ascertain what their intent was (or if there even was any particular intent) beyond creating a (easily repeatable) sequence of motion for future practitioner/student reference.

  We can speculate that the creator would of combined similar “idea's”, “circumstances”, or “types” of techniques into a particular kata, but that is (still) only a guess. They could (easily) of just been the favored techniques of “that” creator (thereby justifying the need for additional kata to be taught).

  It's (already) known that the master's (of old) only taught a few kata to their own students. Only since the capitalization of “Te” (via Japan, the U.S. As well as numerous “other” western countries) has the preference for for a larger number of kata (to be taught to students) been propagated.

  Instructor's of old, (each) had their own beliefs as to what was necessary to be learned for Life-Protection. This was not that much different from today (there's just a LOT more instructor's that are pushing their own beliefs instead of effective ones). Today's instructor's just seem to believe that “theirs” is the only way.

  I'm sure that many of those (various) “ways”, are perfectly acceptable (for their stated purpose), I just believe that what someone is “proposing” as being what a system should be instructing to students to do, should hold-up to outside scrutiny.

  I also do not believe that every system, can (or even should) be successfully performed by every student (of that system). I believe that is one of the major problems with “advertized” instruction of the martial arts today.

  Prospective students are not being guided towards the defensive systems that would best serve them. All methodology's are not created equally (and for good reasons). They weren't designed to be used by the same (types of?) people, nor for the same results.

  Yet every instructor that I've heard selling (preaching) their particular style/system, will claim that it was designed to be utilized by anyone. And I have to say, Bullshit.

  I tend to believe that every system was designed (specifically) for a particular individual (type?), and to deal with particular circumstances. That system may well of been (able to be) utilized by a number of other (similar) individual's, but initially, it was designed for just that one individual, or type of individual.

  Any systems value, lay in it's ability to be utilized by a wider selection of (other) individual's. But that doesn't mean (automatically) that it can be used efficiently, by every individual.

  I understand the debate about (individual) “techniques” and/or how they're being taught/utilized (in regards to their effectiveness). But that debate has to include the physical attributes of the prospective student as well.

   This will have a direct influence on how “Bunkai” will (or should) be determined from the kata motions. By “attributes”, I'm not (necessarily) referring to physical strength. Any system that depends on physical strength (IMO), is flawed to begin with, and shouldn't be considered a viable Life-Protection system.

  When determining Bunkai, there should be established “standards” as well. It would appear that those standards vary, depending on what one determines to be “valid” bunkai.

  For myself, motions that do not illustrate a purpose (meaning a valid application), should not be considered to be bunkai. The question then becomes what is “valid”.

  For training purposes, every motion should be considered to be applicable. It is our purpose (thru our training), to establish the purpose of each performed motion.

  The majority of the motions that I saw being illustrated on the videos that I watched, were simplistic, and rarely “realistic” (at all). Their main “purpose” was to promote their interpretations (thus promoting themselves). Their standard “CYA” is to claim that some motion is “basic” (or intermediate and/or even “advanced”). This allows one “wiggle-room” to backtrack or change one's story at a later date (ie. When it's demonstrated to be ineffective).

  Within the posted videos, the motions (techniques?) I observed were riddled with extra and unnecessary motions. Those motions only apparent purpose, was to illustrate the instructor's supposed ability/knowledge.

  When deciphering the motions, they should accomplish the desired effect in the most productive and effective manner possible. This should be done without any extraneous (non-productive) motions that do not produce effective/productive results.

  Kata motions (bunkai) should not be interpreted as “set-up” motions or be for producing responses that don't accomplish any effects that don't directly result in an aggressor's (probable) neutralization.

  If a debilitating result doesn't occur within 3 motions, the technique should be considered invalid (being considered too long to accomplish the task).

  That premiss is repeatedly illustrated within the Naihanchi kata, and within all of the instructed kata. If an interpretation is shown to be a “sparring” technique, then it is some instructor's wet-dream interpretation (having no value for Life-Protection).

  Techniques that provide effective application are rarely (if ever) “Pretty” or stylish. They only perform a required function (commonly the neutralization/immobilization of an aggressor and/or their attempted action).

  Correctly combining those kata motions should not entail extra (unnecessary) actions (that don't directly produce an effective result).

 Though the movements often contain all of the necessary actions to do so, motions from other kata are often incorporated as well.

 My own evaluation of the Pinan kata, is that (because) they are composed of motions from the traditional kata (and are thereby redundant). The motions shown within them are already present in the traditional kata, so I don't (always) feel they need to be taught as well.

  My own interpretations are that they were developed to be utilized as stepping stones (to performing the traditional kata), but in fact, are creating hindrances to proper technique application (through the inaccurate interpretation of the involved motions).

  And why do I say that? Look around at the emphasis made on sparring techniques (as being the “interpretations” that are most often presented as “bunkai”). These are wishful thinking (only). When the original (traditional) kata were developed (which the Pinan were derived from), there was no sparring (why would motions pertaining to it of been included?).

Posted by Openhand

 

The Study of Kuzushi

 

By Neil Ohlenkamp I was teaching my Judo class the other day, and I tried to explain the principal of kuzushi, or breaking balance. The reason I was explaining kuzushi is because during practice that evening most of the students were focusing on how to get their bodies into the proper position to apply the technique we were studying. Very little attention was being focused on placing the partner's body into the proper position. As I explained the importance of breaking the opponent's balance I could see that everyone understood that it is easier to knock down another person when he or she is off-balance. In fact I've noticed that is quite common for the principles of Judo to be understood long before they can be applied effectively. It is obvious, even to someone who has never studied Judo, that a throw will be more effective and require less strength when applied to an opponent who is in a weakened state of balance. © 1992 Oscar Ratti In this classical example of kuzushi being applied for the throw taiotoshi, tori's hands bring uke into a state of unbalance while tori remains in a strong, stable position ready to apply the throwing action. © 1992 Oscar Ratti From this position very little strength or energy is required for tori to complete the throw. Taiotoshi is classified by the Kodokan as a hand throw and it is easy to see how the hands pull uke off balance. Additional power is brought to the kuzushi during the pivoting action (taisabaki) as tori gets into position for the throw. One of the things that distinguishes a beginner from a more advanced student is the ability to focus attention on your opponent's balance. It is one of the differences between learning a throw, and being able to effectively apply a throw. Many martial artists tell me that they know how to do basic Judo throws like seoinage (one arm shoulder throw) or osotogari (leg outer reaping throw) for example. However, learning to get your body into the proper position to effectively apply your strength is only part of learning a Judo throw. The real trick to making Judo techniques work easily is to find a way to catch your opponent off-balance or to force your opponent off-balance. Most people do a fine job of getting off-balance by themselves. One way to apply Judo throws is simply to catch the opponent at every opportunity that he or she gives you. It is just not possible to move without some degree of imbalance. It is certainly not easy for your opponent to attack you without a force and movement that makes him or her vulnerable to your counter attack. However learning to take advantage of your opponent's imbalance requires a finely tuned sense of timing. In order to be at the right place at the right time, you generally have to anticipate the opponent's movements, a skill that requires a great deal of experience. Another way to apply kuzushi is to set up or force your opponent into a weak position. There are many ways of moving that will result in your opponent responding in a predictable way so that you can anticipate it and take advantage of it. It can be as simple as stepping forward and pushing on your opponent, which usually results in the opponent stepping back, bracing, and pushing back. This in turn gives you the opportunity to throw them forward in the direction of their push. The most common way to force your opponent off-balance is to use combination throws, where the first throw attempted puts the opponent into an unstable position so that a subsequent attack can be successful. Kuzushi is very often thought of as simply pushing or pulling. At more advanced levels however it is much more than that. For example, kuzushi can also be achieved by breaking the opponent's rhythm, fake attacks, strikes, changes of body position or grip, kiai (a shout), or a sudden change in speed or tempo. A critical element in kuzushi is that it should disrupt more than the body. Kuzushi is very much a mental thing. Kuzushi should always disrupt the opponent's concentration, resulting in a momentary opportunity for an attack. This is one of the reasons confidence is such an important factor in Judo. A strong and positive mental attitude can often dominate a weaker state of mind, resulting in effective kuzushi. Regardless of the physical size and strength of the opponent, kuzushi will always make a throw work more efficiently. Of course the same principle applies to any technique, including grappling techniques such as chokes and joint locks. Jigoro Kano, the founder of Judo, made the principle of kuzushi one of the fundamental elements of Judo, distinguishing it from old schools of jujitsu. The principle of kuzushi is still considered to be one of his major contributions to the study of martial arts. Don't neglect it in your study of Judo. "The Study of Kuzushi" is copyright © 2000 by Neil Ohlenkamp, JudoInfo.com, California, USA. All rights reserved. Published August 1, 2000. Reproduced with permission. Drawings by Oscar Ratti - Reproduced with permission of the artist. About The Author: Ohlenkamp is a martial arts writer and founder of www.judoinfo.com. He is a certified United States Judo Association instructor, referee, master rank examiner, and master coach (the highest level of certification), and he was awarded United States Judo Coach of the Year for 1999. He holds a fifth degree black belt in Judo and a sixth degree black belt in jujitsu and has over 31 years of training and experience in various martial arts as a competitor, instructor, team coach, and tournament official.

The time to speak

 

 

Andreas Quast

In 1999 I took part in a Goju-ryu Kata seminar in Sanyo Sports Center, Nara prefecture. Besides practice, everyday evening lectures were given. The organization was very good.

 

One day a lecture was scheduled by a Dr. Tamesue, doctor of medicine and a surgeon, who was flewn in from Tokyo. He was 80+ or 90+ years old. The lecture was labelled "First Aid in Martial Arts". He turned out to be one of the earliest members of Ritsumeikan University Karate Club (did you know Miyagi Chojun's original student Yogi Jitsu'ei was active at Ritsumeikan?).

 

His lecture covered the parts of the body, the respiratory system, the organs, ripped tendons, broken bones and so on. He also gave mathematical descriptions of what is actually happening. For this he used the math of mechanics, of course.

 

He had an interesting story about the tools used by surgeons during his younger years. During Meiji era, he said, and as everybody knows, Japan adopted medicine, surgeon tools and techniques from Germany. He said these had been good tools. Later, he explained, the Japanese began to produce their own tools. He remembered that the Japanese clamps for shutting off the kidney artery occasionally would jump off. As the pressure of the kidneys‘ blood-vessels are under high-pressure, the blood would shoot up right up to the ceiling. He found this was very amusing.

 

After 2 hours or so he finished his explanations on First Aid in MA, obligatory closing by asking, "Any questions?"

 

So I asked something about the history and origins of Goju-ryu and while asking I saw a gleam in his eye. He began to explain, writing the board full several times, drawing connection lines all over it, wiping everything away, only to start again. Everybody was amazed by this man. He nearly choked the translator while showing a brutal application of Tensho, changing from Dr. Jekill to Mr. Hide to become a terrifying martial artist.

 

The lecture continued and continued. Some listeners were already snoring but he finally came to an end. He finished by asking, "Any questions?"

 

As I inhaled for my next question everybody in the room in perfect unison swung their heads around, glaring at me with the promise of immediate fatal attack in their eyes. I was still quite flexible in mind at the time and remained silent.

Discussions about Isshinryu - Throwing the Sai

 

 

 Old photo of Shimpo Matoyshi throwing sai into a tree.

When Charles Murray was training at Agena back in 1972 he once visited a Goju Dojo. Prior to that class he obseerved the students taking turns throwing a sai onto a standing tree, attempting to stick the sai every time.

 

Victor Donald Smith

This goes back to something Sherman Harrill once told me, where originally the sai throw was toward the opponents torso in Kusanku Sai, but it was changed into the ground for group safety.

 

Richard Collins

 If you did throw the sai it would eventually ruin the point of the sai.

 

Victor Donald Smith

There might have been sai for training, and other sai for use. Just a thought.

 

 

Kitsune Shin

I think the idea is to throw into someone's foot. I have interpreted that as a safe target as it is difficult for an opponent to catch and if it hits the foot, you have a better chance of getting away (karate ni sente nashi). Throwing to the head or body is viable, but might incur more risk if your opponent catches or deflects the sai. The thought of having a third sai is nice, but since they typically come in pairs, I question whether this is a likely scenario. If you only have two, throwing one at an opponent who could catch it would take your advantage to a disadvantage, right? I guess this is all speculation, but if I was going to throw one of my Sai, it would be to escape a superiorly armed opponent. The foot seems like a better target to me. Just me thinking out loud.

 

Victor Donald Smith

What was told to me the throw was originally into the body to stop them, In reality it would be risky throwing at the foot, a very small target, where the torso is much larger. But just repeating what I was told, the days are long gone when anyone will throw a sai for defense, IMO> Also sai catching is a risky business right up there with catching arrows with your teeth, it seems to me.

 

Eric Holsinger

The foot is a very difficult target to hit. You'd have to be nearly precognitive to know where an opponent's foot would be by the time the sai got there. And if you miss you just put the sai right at their feet for an easy pickup and go. Throwing it at the torso if missed at least the sai would land a few feet away. Sai aren't very easy to catch mid air. Deflecting is far more probable, and that is a pretty dangerous thing to try to do. It makes sense that the feet was used in kata practice for safety. Wrapping the index finger around the prong was done to protect the wood floors of the dojo so Okinawan's clearly had a willingness to make unpractical modifications to technique to make practice easier. Also the throwing technique wouldn't need to be changed much to hit the torso which in my opinion is a far more practical target.