Saturday, November 05, 2005

This was after the deaths of Johh Dinger (one of my black belt students) and Sherman Harrill. Most of my adult students re-examined their own lives made the determination that it was time to move on. Many of them had over 20 years with me at that time.

 So for a year as Young Lee was out of the area, the adult program was Mike Cassidy and I, it turned out to be most provocative to both of us.Then in time Young moved back in the area and several others returned and we acquired new members.

 

Up early and spent some time watching a video of Sherman Harrill. 

 

What struck me this morning was Sensei showing somebody on the side lines of the clinic how to apply a squat kick to the one leg with an immediate follow up side thrust to the other leg. The first kick buckling a knee and the second kick taking other leg dropping the opponent.

 

It made me think of the 1st level bunkai of Tris Sutrisno’s ‘Bassai Sho’, where a side thrust kick morphs into a low crescent kick followed by an immediate thrust kick, with almost identical application potential.

 

Some how watching this set a theme in me today, linking different training together.

 

Class Notes  with Mike Cassidy. 

 

[Note several of you may have met Mike while visiting my club. Mike is a Program Director at the Boys and Girls Club, has coached any number of successful basketball teams, even going to the New England Championship any number of times with his Senior High level team, and winning. His son 2 years ago won the National free throw championships for his age group. Mike also has become the youth program instructor for my program here, taking over last year. He does a pretty fair job in karate too.]

 

We began with SunNuSu kata. After several runs, Mike started leaving the gym, telling me he was getting hungry and had to go get some breakfast. Hmmmmmmmmmmm. After this weeks discussion I should have been expecting that. Guess Mike’s been following the list discussion. LOL

 

Anyhow we focused then on Chantan Yara No Sai, Chosen No Kama Sho and Dai, and tanto studies.

 

The application studies today were far ranging.

 

I was showing Mike how stacking chambering could be used the same way one of our Indonesian takedowns works.

 

-- Double Stacking Hands  --

 

Attacker grabbing with their right.

 

Defender stepping out to ‘block’ with their left, and then opening the blocking hand and sliding it down into a grab to pull back, as the right hand chambers directly on top of the forearm.  Normally this would be a very painful strike that would buckle their lead knee.

 

But instead of the hard strike, you use it as a light touch, or press that follows the left hand back into the chamber.

 

As you do that step forward with the right foot (slightly toe into the center line) as you’re pulling them forward.

 

Then your left foot steps counter clockwise to the rear of your right foot, turning you in at least 180 degrees in that direction as you maintain the double stack on the arm.

 

The attacker is drawn forward and they spin down.

 

Taking care to not smash the right into the arm, what happens the soft touch leads their balance forward as your left hand pulls back into chamber. This leading balance accompanied with the spin, literally spirals them down.

 

The Indonesian version of this uses a right knife hand instead of a right fist.

 

There’s a little more involved to make the finish of the takedown more effective, but words don’t do that justice.

 

We followed that with some basic Indonesian movement exercises, with very light stances and circular blocking. The second set of which uses the retreat with the grab as an arm breaking technique.

 

Unfortunately I didn’t know where to stop and we continued on in my Seisan Opening drills.

 

First we reviewed how the block/punch can be followed by the stepping motion for a take down (which I’ve detailed a few weeks ago), and how to work to accomplish this with flow and speed.

 

Then we began exploring how the block/punch can be followed by a chamber and punch into the armbar application potential.  We worked both my under and over method, as well as an Indonesian over and under method.

 

When Mike was working my version of this Seisan technique he hit it perfectly. A block-punch then flowing under and then over that arm to chamber and punch across the arm.  Mike did almost nothing and in return almost took my arm off (it’s still aching 14 hours later).  Yep there are no armbars in Isshinryu.  I shouldn’t be such a good instructor.

 

We finished with the simplicity of grab/lock attack defenses. Simply put when your hand/wrist/arm are touched, just chamber and blast out with the other hand. 100% release as they can’t establish the lock before you’re changing the shape of the bubble, and as they are lead to try and continue they’re moving right into the following punch.

 

This is both basic karate applied, the manner in which the Northern Eagle Claw principles show how to break the locks, and another example of leading the opponents mind. Because they’re trying to establish/maintain the lock, they move forward to try and keep the control, but they can’t shift that effectively (one hopes) and are then lead into the punch. 

 

Hopefully they don’t realize that they have an instant answer too. If that split second they realize they’re not in control, and they just release the lock, they’re also free to enter plan ‘B’. But by trying to establish a lock, they’re more often ready to be led.

 

Side note 1 – Almost technique at a time, I’ve been getting back into a tanto kata I stopped practicing about 6 or 7 years before, because I couldn’t control the knife during the continual knife shifts. I always thought it was an aging-arthritis thing. But now, just by going back to my original notes, I’m finding the continual knife shifts are working very easily. The difference seems to be the work I’ve done over the past 10 years on working for better body alignment is paying off. BTW, except for the gifted, like the instructor who taught me, I don’t consider the technique practical, but it’s real skill training for hand and limb development. And if you drop the knife you get to practice dancing real well too.

 

So I’m finding links to one version of Shotokan technique to Isshinryu technique. Links between Aikido and Isshinryu, links between Indonesian technique and Isshinryu technique, as well as links between Eagle Claw releases and basic Isshinryu too.

 

So if you really work your Isshinryu you’re already doing a whole lot more.

 

Just another Saturday in New Hampshire.  Unfortunately next week’s class will be missed due to the club hosting a basketball event all day.

  

Saturday Saturday…5/30/2008

  Morning Class

 

          Don continues Seisan

          Mike, Michael and Mark –

                   Sai Sho

                   SunNuSu then Supple Dragon

                   Beginning Kusanku Sai

 

          Applications

          Seisan opening section into RFF Rt Chamber left strike across biceps tendon

 

Wansu  Very interesting. Section on RFF Horse stance L High Rt Low palm strikes then turn and step 180, using the arm motion as a takedown lock.

 

I varied the palm strike so RFF lft rising counter-clockwise parry with right Palm strike (counter-clockwise) into the kidneys. This really moves them over from pain.

 

1.     If their arm stays up the Wansu takedown lock.

2.     If their arm drops, the right hand then snakes across their jaw (clockwise) and you circle them back and down.

 

Of course this section is a variation of Kusanku’s twist block/strike and Tjimande drill No. 1.

 

 

          Later working on several kata technique applications we began to work on Wansu's 'big throw', leaning on one of Harrill Sensei's versions, using the movement to rotate the attackers left arm into an arm bar (biceps insertion) takedown/lock.

 

What happened was I chose to initially strike lightly into the kidneys.

 

Attacker standing just throws a left haymaker to your jaw.

 

1. Right foot forward with a circular rising outer parry as you step forward into horse stance and your right palm strikes lightly right to left into the attacker's left kidney.

 

2. A light slap results in a quick shit of the attackers body away, rotating their core clockwise.

 

3. Keeping the left hand up, the right forearm starts crossing the biceps tendon as the left hand hooks over their left wrist (Don't use a grab which immobolizes your arm).

 

4. Continue with the Wansu big throw motion as you turn clockwise 180 pivoting on the left foot, resulting in a takedown/lock of the attacker.

 

Note: if your left hand slips down, moving the attackers arm parallel or lower than their shoulder, the throw isn't worth the effort. Simply hang on to their wrist, reach across their jaw with your right, rotating their head clockwise on the axis of their spine, and pull back dropping them.

 

I hadn't made much work on the kidney slap, previously. It really generates pain and is useful for very quick control.

Black Belt Class 10.15.2002 - Use of the Armbar

 

 

Only one focus this class, the use of the armbar against random attacks.

 

Definition : armbar – the armbar is not what one would consider the classical use of an arm bar, but the essence of the hyper-extension of the arm, elbow and shoulder.  The arm bar is applied from the external line of defense, where you’re moving from outside of an attack into the opponents centerline.

 

Defenders opening position, standing aware, both hands down at one’s side.

 

Attackers opening position, any sort of grab, strike or combination. From the front or the side.

 

Defenders opening consideration, no matter what they stick out, you’re going to use it.

 

Defenders source for the ‘armbar’ movement (several potential sources out of multitudes):

 

  1.Isshinryu Seisan : from the opening left side block, and retract the left hand as you strike with the right.

  2. Shorinryu Annaku: from the opening side block, twist both feet to the front corner as you chamber that hand and reverse punch with the other.  [the twist of the balls of the feet is extremely important]

  3.Ueichi Seisan : where you turn the right open hand over and pull back as your left [palm up] nukite  (spear hand) strikes out.

  4. Isshinryu Seiunchin: where you turn the right bent wrist open hand block over and pull back as you deliver a left [palm up] nukite (spear hand) strike.

  5. Goju Sanchin concluding ½ to their mawashi uke/uchi/tora guchi, the circular double bock/strike

  6. Yang Tai Chi Chaun Wave Hands Like Clouds section where the hands switch positions at the sides of the motion.

  7. Indonesian snake technique, where the use of the pulling hand and the striking forearm are to break the attackers arm

  8. Aikido, our opening #1 technique, where the pivot on the balls of the feet to move out of the way and then the 180 degree pivot in the other direction moves the person. This use of pivot is extremely important to sell the full armbar motion.

  9. Wu Tai Chi Chaun, its use of the full sole of both feet to pivot (an older Yang method) coincides with the motion needed to sell the arm bar.

 10. Tjimande # 2, essentially is using the same motion.

 

 But, we’re not doing this in the fashion we normally practice the arm bar as in Aikido #2, which uses a different entry and takedown.

 

 

Application analysis principle used:

 

  Where a full technique sequence can form one application, and any of the motions mentioned above can each be used in various armbar fashion, using fractal analysis it is the essence of these kata movements, where the one arm pulls back as the other slices across that forms the technique for this analysis. Using the full kata motion, is simply one of multitudes of finishes after the armbar is formed.

 

Physical action created by the technique use;

1.     the defender’s inner arm rises and deflects the attackers strike into their centerline, as that arm does so that hand turns over and hooks or grabs.

2.     the defender’s outer arm rises and as the deflection/control of the attackers arm takes place with the inner arm, it slices across the defenders triceps insertion (where the triceps is attached to the arm immediately behind the elbow) with a forearm rub/slicing or sawing motion.

3.     the defender is using a rolling center, shifting the center away from the attacking limb as the arms are raised and then shifting their center into the opponents centerline as the armbar is sold. At this point the double ball of the foot pivot can be added for greater effect.

4.     The attacker can:

a.     Have their arm hyper extended to be locked straight down.

b.     Be projected in any direction the defender pivots and releases them towards

c.      Can have their joints painfully locked to the point of joint damage

d.     Can have their arm broken

 

Movement considerations with the armbar usage:

 

1.     For full self defense it can be accomplished with just roll of the defenders center away from the attack (slightly) and then back into the attack.

2.     The use of the lower body to step into or step away from the attack forms tactical considerations, as to how one wishes to control and/or project the attacker from the armbar’s result.

3.     In particular, correct use of stepping away, hyper-extends their arm in such a fashion as to facilitate the arm breaking potential for the technique.

 

Consideration for the controlling arm/hand

 

  As this hand parries and hooks over to pull the attackers limb in to your side, you can either use an open hand hook, or you can grab the attackers arm (at the wrist). In any case you don’t go for the wrist, but rather go for the forearm as the defender’s back hand goes for the middle of the upper arm (both from the outside).

 

  After meeting the attackers limb, alignment of your body helps the arms deflect the attack. Then your arms slide down, the controlling arm/hand hooks over their arm. The hook itself provides a friction lock, and their elbow hyper-extension, their arm against your body as your other arm slices across their arm, alone is enough to control, lock or project.

 

  I advise against turning the hook into a grab (unless you specifically are sure there are no other attackers about). A grab immobilizes your arm. An open hand hook allows you to instantly release and move into an other attacker, but you’ve not sacrificed anything as the open hand hook alone is fully sufficient.

 

  If you do choose to grab for greater control, being able to complete the grab with an eagle claw grab, does create a stronger movement (FYI).

 

 

Consideration for the extending forearm

 

  When you consider the Okinawan kata technique, this arm is in the practice of striking, fist or open hand. One thing necessary to make the armbar function, is use the full power of your strike, but instead of hitting with your hand, use that strike as a forearm rub/slice/saw across their triceps insertion.

 

  The harder and faster the greater the effect on the opponent.

 

  And with Isshinryu’s strike/retraction sequence, if correctly timed with the other hand the opponent sticks their hand out, you enter the armbar sequence, your pulling striking motion slams their face on the ground and the strike pullback, locks them down with a reveres armbar motion, fully using the Isshinryu striking potential, coming and going.

 

  Of course if you choose to use less power and not project the opponent, the striking hand retraction still performs a secondary controlling lock for the armbar too.

 

Examples:

 

1.      The opponent goes to strike your face with their right jab. [the strike has to be focused through your head, not a jab that stops before your face, otherwise they don’t have the body commitment to use correctly without going out after them.]

a.       You slightly shift your centerline off their attacking limb, as you rapidly raise both your hands (this raising motion ought to be enough to deflect their strike.

b.      Now you slightly shift your centerline to the right of their centerline, as your right hand hooks over their arm, and pulls back, pressing their arm against your body.

c.       Your right arm slices across their triceps insertion.

d.      BE CAREFUL, this generates great torque and if the partner isn’t prepared you can put them in a whiplash situation. The faster they attack the faster they go down.

                                                      i.      Depending on how fast you turn into them and deliver the armbar, ALL of the possibilities exist. Sticking their face in the ground, locking them with the armbar, etc.

2.       Practice the same against the attackers left jab.

3.       Practice in ERROR, where you make a mistake and go to the inside.

a.       There you hook the arm and are slicing across their biceps. This moves them from center, but you don’t have an armbar.

b.      Tactical consideration. At this point take your right arm and slice the forearm across their neck at the side. Believe me this will move them back away from your arm.

c.       Then pull the right arm back and place it under their right arm, and roll from right to left as you pull down your left and raise it on the outside.

d.      This allows you to go into your original armbar, having shifted from internal line of defense with the press across the side of their neck as an opening to move into the external line of defense you choose.

e.       Based on tactical consideration that after moving them backwards, you strategically choose to move outside. Otherwise use an interior line of defense/attack as you’ve a perfect opening.

4.      Practice in ERROR against the attackers left jab, where you end up on the inside.

5.      Practice in ERROR where you raise your arms and your left is outside their attack, and your right is inside their attack.

a.       Errors do happen, which is why you need to work on how to handle them.

b.      Perhaps you will press inside with your left as your right hand strikes into their elbow joint, bending their arm (with pain)

c.       At that time, a knee release will allow you to simply reach out with your right hand and then chamber your right, using the tremendous slicing potential of the chamber to strike into their body as appropriate.   

6.       Variation of the first example, but instead of projecting them, when they bend over, allow your left hand to strike into their face, or alternatively palm into the side of their face, around the eye.

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https://isshin-concentration.blogspot.com/2012/10/the-complete-isshinryu-armbar.html 

Victor on Kama studies and creation of a kama drill

 

 

I had studied two kama forms from Tristan Sutrisno. In each of them I was shown those forms over one training session. Then spent the rest of my years working on them. They are fine forms which I have enjoyed studying.

 

This is the basic execution of Chosen No Kama Dai. 

 

This is Tristan Sutrisno showing me some new details about the form, most of which I had not seen previously. His kata often have several different versions of technique for when you advance with the form. 

 

Here is one of his senior students performing the form.

 

I wanted something I felt used the kama in a manner in which I felt more comfortable, more of a beginning kama form. But I never had occasion to study one.

 

I worked up my own kama drill after seeing this kama kata.

Okinawan kama 

 

Of course what I came up with is not the same, for I was not trained in this form.

My Kama Drill

This was not an attempt to preserve my best performance. It was created to be a record of what I created for my senior students.

https://isshin-concentration.blogspot.com/2018/05/a-deep-dip-into-kama-kata-i-have-seen.html