The Upper Body Chart and the Hook Punch

 

 

My first night as a student in Salisbury the green belts I was assigned too covered Charts 1 and 2. This began my Isshinryu education.

 

I remember myself and other white belts would show up for class an hour before class and practice them together.

 

For decades I had no idea there were other versions of the charts of the techniques on them. I was content to practice and teach as I had been shown.

 

Then when I became aware of different versions,

I was already content to continue what I had been shown.

(After all after a quarter century of work,  why not?)

 

Right now I am thinking of Number 13 as I studied it.

 

13.  LFF Right Roundhouse Punch, Left (Same)

 

This is where you step forward and strike to the opponent temple with a roundhouse punch (with the two lead knuckles) and then with a left roundhouse punch to the other temple.

 

I saw what I was doing was striking towards someone’s temple with the strike.

 

Many years later as I was studying the application potential for this strike

I realized it could be a strike to the temple, or a strike to the side of the neck.

 

Further analysis made me realize the strike could be done with the two knuckles, or could be done with the thumb of the Isshinryu fist.

Of course this would have a different impact for the target.

 

With further analysis I also came to realize that the same strike could be with the edge of the first knuckle and the thumb of the fist, making a simultaneous double strike with the fist.

 

I had learned similar ways of striking from other instructors.

The first time I really realized these existed was from Sherman Harrill.

 

Another use I found was where someone strikes towards you,

 and you step outside their strike (to the left)

At the same time you strike into the side of their neck with a right ridgehand strike, alternatively with a ridge hand two finger strike to the side of the neck.

 

Two different strikes with different impact potentials to the opponents neck.

 

This newer understanding of what the movement could be used for

Offered new possibilities of choice when striking.

 

It is even somewhat similar to this drawing from the Bubishi.

Not the same thing, but a similar principle. IMO.

 

 

 

Anither detail to remember in Uchina (Okinawan) Guchi the area being struck could be the the face or Chira or the neck Kubi.

Appendix:

i. Credits- First I need to acknowledge the Isshinryu of Tom Lewis,

ii. The fist used in striking is the inverted vertical standing fist of Isshinryu karate. The striking is done with the two lead knuckles, you are striking with the ridge of knuckles. Other options involve the use of the thumb from the inverted vertical standing fist, and the combination of the lead knuckle and the thumb in a simultaneous strike.

Do not add any tension into the striking arm until the moment of impact. This will allow the arm to move more quickly. The moment of impact, the impacting strike becomes the method to tighten the strike. Immediately upon finishing the strike the hand relaxes on the way out. This provides a secondary strike as the body snaps out to replace where it was struck. In effect this helps the strike become a shaped charge into the attacker’s body. Makiwara training increases this effect.

iii. The target of opportunity is the entire arc available for the strike, beginning straight down and ending straight up. Any point on that arc may be stuck. The actual choice depends on the desired result.

iv. The manner of stepping is either straight or curved. In my Isshinryu the manner of stepping always uses the crescent step. That is how I was taugjht, but straight stepping is also used by others in Isshinryu. Both methods work. In my tradition the step starts by stepping in alongside the opposite leg, then it steps out from there. A technique may be performed straight forward, straight back, or shifting into a line of defense crossing the attacking limb.

One advantage to the crescent step are found where the step into alongside the other leg, allow you to compress the energy of your movement. Then stepping out is accomplished more explosively conclude the stepping. This adds another force multiplier.

The manner of stepping also uses the knee release to drop the body weight into the movement. This increases speed and power and of course is another force multiplier.

v. Replacement Stepping is used to step away from a line of attack. The stepping leg moves first alongside the other leg, then perhaps because of the attacker moving forward too fast, the other leg steps back to conclude the crescent step. An alternate version has the 2^nd leg kick out to form the stance on a different angle, across the line of attack. This can be accomplished by a slide shift if straight stepping is used.

The replacement stepping also moves your centerline from where the opponent desires to strike. This creates a new line to counter-attack. This also works as a force multiplier.

vi. The starting position for the defender in this study is with both hands down at their side. There are strategic studies with different starting positions, but at this time a blind attack is being used.

vii. The reciprocal hand is raised while the lead hand strikes. Not a part of the original upper body drills, it raises for practical reasons. One of which is a possible blocking/jamming function, another is practical placing that hand for secondary usage if the initial strike fails due to serendipity. Raising the other hand also results in better body alignment, another force multiplier.

viii. Force multiplier original definition :”A capability that, when added to and employed by a combat force, significantly increases the combat potential of that force and thus enhances the probability of successful mission accomplishment.’ In my context a number of technique enhancements which increase the power of the response. The more force multipliers which can be added to a technique the increase of it’s destructive potential. They are a product of the training methodology utilized.

ix. The method of attack used by the attacker is starting from a neutral stance they drive a punch towards the defender with great vigor. A stronger attack might be a boxing lead punch immediately followed by a cross. The stronger attack creates a better training set.

x. Perfect form may not be practical in defense, but in practice work to perform any technique as perfectly as possible. Incorrect technique instead of being a force multiplier might turn into a force detractor. Also the more perfect your practice, the more you have to draw upon.

xi. What you don’t practice, you will not be able to rely upon!

Continuing discussions about Isshinryu II

 Chuden

 

Tommy Jones wrote: "Notice the fingers on their open hand techniques. Looks very familiar."

 

Good observation. The open fingers with raised and crimped thumb is a feather that we know Shimabuku Tatsuo Sensei taught in Sunsu kata.

 

When Charles Murray trained in Agena back in 1972 with Shinso he observed how hard Shinso hit with his nukite strikes. His nukite struck with the fingers as a single unit and of course he trained those strikes on the makiwara. Shinso noted that Charles fingers were not all the same length, so he showed Charles to open his nukite and then flex some of his fingers so they can all strike at the same time, as a single unit.

Charles also noted that they had a special makiwara for nukite strikes. It was a open box hanging on the walls. The open box was covered with a tire inner tube so the nukite strike could hit into the unit for nukite development.

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Is ISSHIN-RYU KUSANKU A "NIGHT FIGHTING KATA"?

I am often told by some that Isshin-ryu Kusanku kata is not a night fighting kata. That those of us who believe that it is a night fighting we must be mistaken.

The sad part, is that some of those grits are suppose to be teaching Isshin-ryu karate.

So how many do not teach Isshin-ryu Kusanku as a night fighting kata and why.

Photos Shimabuku Tatsuo Sensei with Bob Ozman when Tatsuo Sensei was in the USA in 1966.

Nelson Jones Jr.

Is it true that some okinawan karate practitioners practiced in the quietness of night. Did the ruling japanese ban okinawan karate practice generations ago?

 

Arcenio Advincula

 That a true story.

 

Nelson Jones Jr.

 There is a day and nigh time version of kusanku?

 

Arcenio Advincula

Parts of Kusanku are specific night fighting. Now which parts!

 

David Knight Arcenio Advincula

feeling in the dark, shielding your eyes, stomping for mis direction,dropping to lower stances to profile your opponent against the night sky....

 

Tommy Jones David Knight

Exactly Skipper. That is what I teach my students.

 

Tommy Jones

Feeling with your hands and feet, when drop looking for silowet (sp) of person against moon, stomping to misdirect, etc.

 

Sandra Cail

I think it's just a sneaky kata?

 

Bob Schlosser

Years ago I used to practice kusanku blindfolded. Got the idea after attending a demo by Tadashi Yamashita where he demonstrated a kata blindfolded.

 

Claudia Whiteley

 In Chinto Kata you do the double jump kick and take up distance. In Kusanku Kata we do not. In the dark you might want to land where you know you have been.... ie. solid ground.

 

Nick Reimers

My Senseis have always taught me its a night fighting Kata, 

 

Jason Wahoski Sr.

I was taught bunkai for the kata. That means it is a fighting kata. There is deception taught in the kata as well. If it were not a fighting kata there would be no bunkai.

 

John Kerker

Mr Harrill taught is as a night fighting kata. He also said, " Night time or daytime they won't know the difference once I get my hands on them."

 

Mark Radunz

It's a kata. Not the only one I'd apply in the dark or light. Ditto on what Mr. Kerker said. However, I also remember him ridiculing the night fight kata claim where people tap their foot on the floor as a misdirection by saying "Hark, hark, what's that in the dark."

 

 

 

 

Continuing discussions about Isshinryu

What should the initial order of Isshinryu kata be?

 

 

???

It is my intention with my new students to teach Kata Sanchin 1st, then Seisan. Any Isshin-Ryu instructors in this group teach Sanchin 1st?

 

Andy Sloane

But that's counter to what Master Shimabuku taught.

 

Jeff Born

 But not counter to what Miyagi taught I'm Goju not isshin ryu but Goju founder Chojen Miyagi often taught sanchin first and students would often work only sanchin for years before learning another kata... wasn't till after the war did Miyagi decide to teach other Katas more often to keep his style alive... just a thought...

 

Andy Sloane

 And Tatsuo Sensei felt that new students are too tight and inflexible as it is so he didn't think it was a good idea to teach them to tighten up and compound the problem. That's why he taught it much later in our curriculum.

 

Victor Donald Smith

 Shimabuku Tatsuo was following the tradition of Kyan in teaching Seisan first. That is all, then teaching Sanchin later was just what he did. If you realize your Isshinryu is for decades of work, it really doesn't matter then which was taught first, just that how t0 continue to practice. There are many Sanchin traditions, the Motobu Ryu teaches an open handed version and a closed fist version. When Miyagi was a student his teacher K. Hiagonna taught Sanchin both ways,, and I understand he preferred the open hand version. So Miyagi thought to make a change, then he created a short Sanchin version (which is the one the Isshinryu version is based on, not the original one), And Uechi had a strong, and different Sanchin tradition too. Just practice for decades, and it all becomes clear.

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Recently ,during a discussion with Andy Sloan, an Isshin ryu stylist, regarding the Shimabukuro brothers influences and their varying interpretations of Ryukyu karate techniques. Of couse the subject of Isshin ryu's inverted fist came up. I shared with him this picture of my hand and the way myself and others were taught to make a fist by Shimabukuro Eizo.

 

His style interpretation Sukeniahyashi ,as it is usually referred to in Okinawa ( but called Shobayashi elsewhere by many, but not all) has taught this for decades by Eizo Sensei's first generation students. I am interested hearing who teaches this old school fist and from where they learned it. I know for sure that several of Eizo Sensei's students , such as Bill Hayes sensei, Richard Bonsteel sensei, Bob Weinberg sensei, still use this but I am sure there must be others both in my style as well as others.Please comment your thoughts no matter what your style or position.

 

 

Joe Weaver

Right or wrong, this is the Isshin-Ryu fist I was taught over 20 years ago. Roll all the air out of the 4 straight fingers, then tuck thumb in the "pocket" on top. Tilt fist forward/downward just before impact, to strike with first 2 knuckles.

I believe this was filmed in the Pittsburgh or Ohio area, in the early 1966. Master Shimabuku is seen doing several sections Isshin-Ryu kata. None of the kata are complete.

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Tatsuo Shimabuku Isshin-Ryu Karate Rare 1960's

https://www.youtube.com/watch?v=6oVDB9zxhqk&t=121s

 

I believe this was filmed in the Pittsburgh or Ohio area. Master Shimabuku is seen doing several sections of different Isshin-Ryu kata. None of the kata are ...

 

Gene Powell

 in Pittsburgh he had three sai's and on band new gym floor he threw one sai into new wood floor as part of kata, most never knew of this but it was on his first visit to Harry G. Smiths Pittsburgh Dojo the event was held in local high school gym

 

Andy Sloane

The Master's visit to Pittsburgh (and briefly to Canada) was September through November 1964. The Master's visit to Tacoma, Knoxville, Cleveland, Jersey City, and New York was October through December 1966, Dan Jason Price.

 

Dan Jason Price

Sensei Sloane, I was there in Pittsburgh (1964) watching as a 8 year old (2-3 x a week); and their dojo was near my uncle's home. I was hooked ever since.

Requirements of a Master

 07-30-2010

I was recently thinking further on what requirements make a Master of Karate. Then it occurred to me who better to state them than Mas Oyama?

Mas Oyama once stated “Well, an old Budo-Ka once said that 1000 days of Karate training makes a beginner, 10,000 days makes a master.”

I’ve just entered my 37^th year training and how would I stack up compared to Oyama Sensei’s comments.

I’m a permanent full time part time martial artist. Family, work and other considerations have always come first in my own practice, especially teaching for free, the best I can make out I’ve only trained 7,600 or so days in those years. If I had been able to train 5 days a week I still would be shy only having completed 9360 days or so.

As near as I can make out I made my 1,000 days in 1980 (during my sho-dan years). That was when I became a beginner. At my current pace I’m sure I won’t make 10,000 days. Just a reality not an indictment.

Of course I’ve been thinking about my art 365 days a year in that time. That gives me 13,140 days in my own mind, but what the heck I’m aging, losing it and am proud to have made it to beginner.

The descending Butt strike from the Hidden Stick

  

https://www.youtube.com/watch?v=YINL1XMHdm8

 

So lets take it a step further and look

at the opening of the Hidden Stick form

as an exercise in reverse stepping.

 

It also fits my disabilities

To just concentrate on a piece of a form.

 

 

1. For on thing, using short sticks for the Hidden Stick

Means you don’t have to have a stick hidden in your sleeve

Having the stick in your right hand is hidden enough.

 

 

2. The initial movement of the form

You step back with your right foot into a left foot forward cat stance,

while moving your  left hand vertical palm,

 forward and the hand with the stick moves upward

forming a parrying roof technique.

 Now you move your right foot alongside your left,

Then the left foot moves forward in into a left foot forward cat stance.

As you have moved towards your attacker,

Use that foreword movement to strike up.

Separate your hands.

The left vertical palm strikes into the chest of the attacker.

The right hand rises into a stick butt strike

Into the attackers jaw, to break it.

 

3. In the form the next movement is a right front kick

Followed by placing that foot down in a right front stance.

The left open hand slides down the arm during the kick

and then strikes as it slides out into the attacker during the kick.

 

Now you step your right foot alongside your left.

Then your left foot steps back into a right foot forward front stance.

There is no kick.

As your step concludes you strike downward with the butt of the stick.

Then your left hand slides down and strikes out with a horizontal palm strike.

 

4. The form continues with you in the right front stance.

You strike out to the head/neck on the left

And then strike downward into the knee on the right.

 

Remaining in your right front stance.

Your right hand delivers an outer strike to their neck with the butt of the stick.

And they you strike down into the knee on the right

Using a right descending butt strike.

 

I believe this a fair restatement

of the Hidden Stick opening

for the butt strike.