Tuesday, August 18, 2009

Instructor II



I was a spanking new black belt in 1979 when Charles Murray left his church and returned to the USAF. I was left with the small youth karate group he had started and a church that wasn’t interested in my continuing the program. Over the summer I continued to hold classes at nearby McDade Park and worked with the Scranton Boys Club to begin a karate program.

While I had stood before a class and taught, I quickly discovered being a karate instructor was far different. Except for the few students who joined the program from the Church, the new students who started mostly left over the next three months. I was teaching at the pace I had been trained, that of preparing for Sho-dan examination, beyond most of the students initial abilities, and the class size quickly dropped.

I wasn’t just teaching, but getting uniforms, patches and learning how to teach young people. I also had no one to turn to for advice. My original instructors were many hours away from me, there was no one else in my area doing Isshinryu, and the other programs there were not a source for me to draw upon.

Thankfully I had a resource to draw upon, my wife. She trained with me, initially down in Salisbury, Md. And her background was a physical education instructor, though she was coaching swimming and diving through the Scranton YMCA at that time.

She explained to me a great deal about teaching young people, mostly to understand how to ‘hear’ what their abilities were and to begin teaching to those needs, and many other details about being a teacher. The largest shock was to come when she shared some of her college texts on coaching junior high school girls swim teams. I found material about coaching and teaching a specific sport more advanced than all of the karate books I had found, and to this day nothing has really changed that either.

Now I was teaching for only one reason, to keep practicing Isshinryu myself, in turn I only taught the Isshinryu I studied, just at a more appropriate pace for my students. It was then, and would always be the study of Isshinryu karate, not a game program or a babysitting program. Games such as various sorts of races would be incorporated, but my original instructor also did the same with his adult classes one or two times a year, just to keep one’s mind fresh and open.

I think the biggest lesson I learned was my pre-conception if you offer a Karate program all the teenagers were going to flock to it. That was not the case and never has been. The Boy’s Club isn’t a cool place to go when you mature, and most often you get the younger students. I learned a great deal how to listen to the students needs.

Among the lessons I started learning (all of which are only the most general rules):
  • Students train for their own reasons, and when those reasons change they leave. Frequently they are your better students. The instructor must keep their distance when that happens and focus on those who are training.
  • Students who have the most difficult time as beginners frequently are the ones that learn most, having learned how to overcome they can progress further. Conversely, those who are most natural beginners don’t have to learn how to work, and later when the studies become more difficult, not having learned how to learn just move on to something else.
  • Young women frequently are much better beginning karate-ka than young men. In kumite they are also often better fighters.
  • Friends that start together, often progress together, but then leave together.
  • As students progress into advanced kyu training, you need to work to keep their intermediate studies from backsliding.
  • As students progress into advanced training, mistakes in earlier kata crop up with astonishingly frequency, perhaps 30% of them make the same mistake in the same kata, all of which they studied the same way. It leads me to question if there is a physical tendency in some nervous system to interpret their training into something new.
  • Tournaments only appeal to a small percentage of your students. Among the reasons, cost, time involved for the families and the fact that young people get lost in the overall tournament scene. I held 3 youth only tournaments drawing good crowds from NE Penna, charging only $5.00 to compete, and made sure every young person left with a certificate of attendance. Many years later returning to Penna. I had many karate-ka coming up to me thanking them for that gesture helping them remain involved in their own programs.
Among the biggest lessons was my original purpose. The Sho-dan primary focus must be on their own training to progress. I had unlimited time as my wife was coaching swim teams every evening, so in addition to two Boys Club karate classes a week, I sought out other places to train, from people I would compete against in tournaments. I made many friends had many hard workouts, learned a lot, but still continued to focus on my Isshinryu too. Tournament competition in kumite, kata and kobudo was the best way to focus on my Isshinryu having to train myself. Training the kids started me focusing on small details they needed and in turn helped me in my own practice.

The other side of training hard with several other instructors was you learned what they were teaching. I never intended to learn their systems, but my studies in Tai Chi, Chinese arts, Shotokan, Shorin Ryu, Goju Ryu, Tjimande, Aikido and more (I had lots of friends) gave me some scope of what existed outside of Isshinryu (frankly a whole lot of good stuff in their own right). I was competing against the instructors or their students, and many others, and learned the value of pushing yourself to exceed the best.

In turn I was able to apply that, age appropriately to my students. I can only say this in 30+ years of teaching I’ve never had a student in the program let me down and when called to always rose to the occasion. I’ve also found in some small way this had an impact on many of their lives. I was only teaching Isshinryu, but they were learning that they could learn, which should be the only reason adults share with youth as teacher, as coach or as supportive parent.

During that time from 1979 to 1984 I was learning hard how to improve my own ability, and it came down to attention to small details such as Stance and focus, as much as anything. I began to consider all I was learning and challenged myself how I could prepare my Isshinryu students to do better Isshinryu.

Of course in all these issues I had no one to turn to, no one with my same experiences. I had learned that as an instructor the one person I must listen to is myself. That lesson was hardest.

Friday, August 7, 2009

Video suggestions from my friends

I recently solicited suggestions for favorite videos from a network of friends who I periodically share my ongoing video research. The internet is offering an incredible wealth of martial references to view.

There is no right answer as to what is best, except your personal choice, but my friends suggestions, serious, playful and even beyond, are worth watching.

Kushanku – Nishime Sensei http://www.youtube.com/watch?v=jzRmm0r_fAE
Kushanku – Shimabukuro Zenpo http://www.youtube.com/watch?v=RV_eO7IsiaY

Taiwan 1964
01 http://www.youtube.com/watch?v=Uyh8V3oFNhg
02 http://www.youtube.com/watch?v=Ongkf4x8TIs
03 http://www.youtube.com/watch?v=3VSvQSP_smg

Yaraguwa no Tonfa Nakamori http://www.youtube.com/watch?v=CN-KbmtJTWY
Karate de Okinawa http://www.youtube.com/watch?v=jJdIDtB04vk
Nihanchi Katsuhiko Shinzato http://www.youtube.com/watch?v=_DEVYxsihlE
Sanseiru – Tohyama Seiko http://www.youtube.com/watch?v=EdVd4sYcXOE

Nao Morooka – Shitoryu http://www.youtube.com/watch?v=8muL3fsDnF0
Okinawan strengthening – Takemi Takayasu http://www.youtube.com/watch?v=7yA-WuPkR8w

Megadeth – Holy Wars the Punishment Due http://www.youtube.com/watch?v=9d4ui9q7eDM
Aikido Shoji NIshio http://www.youtube.com/watch?v=qH0-IyJPsyc
Wansu Kata – Uechi Sensei http://www.youtube.com/watch?v=zyJBYI4CM2w
Taiwan theater martial arts http://www.youtube.com/watch?v=WnFA6G_Pf7k

Five Deadly Venoms Part 5 of 11 http://www.youtube.com/watch?v=3txIR6gpHjU
Unsu Michael Milon http://www.youtube.com/watch?v=5mT21GhQyio
Yanqing Tui http://www.youtube.com/watch?v=85tdZYkMQWI
Misuquan http://www.youtube.com/watch?v=gZ3i0ss2wQI

Drive: Battle Scene http://www.youtube.com/watch?v=wiTh-6pkytE
Ginchin Funakoshi Kihon Kumite http://www.youtube.com/watch?v=1FxRfd_0mYs
Gijushihio by Dave Piehota http://www.youtube.com/watch?v=eBGANY4NbpA

Seisan – Shimabuku Tatsuo http://www.youtube.com/watch?v=ZyUMPjddzZc
Seisan – Kanei Uechi http://www.youtube.com/watch?v=vh2GL0T6pm8&NR=1
Seisan Bunkai – Isshinryu http://www.youtube.com/watch?v=Dmjfp4Sspss
Chinto Bunkai – Isshinryu Mark Radunz http://www.youtube.com/watch?v=BInQrXugKGU

Sueyoshi no Kon Dai – Murakami Katsumi http://www.youtube.com/watch?v=wgK0KbZS714

Wu xing ba fa http://www.youtube.com/watch?v=SvAPmVSW44Q
Silat golok Seliwa http://www.youtube.com/watch?v=JAoPEJUBL2w
Heroes of the East – Crab Vs Crane http://www.youtube.com/watch?v=aUNg4ZjEW-I

Meitetsu Yagi – Seienchin http://www.youtube.com/watch?v=9x9TDyr3eEw
Suparinpei – Miyagi Anichi http://www.youtube.com/watch?v=eDgpNzVerkQ
Kyudokan Jion http://www.youtube.com/watch?v=UMwlmc9L9nI

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Among the more serious contributors to the internet sharing you can always view Patrick McCarthy’s video sharing at http://www.youtube.com/user/mccarthysensei and Mario McKenna’s video sharing at http://www.youtube.com/user/bechurin .

May these offerings bring you a great evening.

Thursday, July 30, 2009

Instructor I



Another day and more unsolicited email messages show up in my inbox. Several Martial Arts organizations marketing groups are always trying to sell me information about becoming a better instructor. Of course from what I teach and how I teach it they information is useless to me, except to keep me current with the latest martial school trends. I do pay attention to try and understand the landscape, always watching and thinking.

I started my own program almost immediately after reaching my sho-dan in Isshinryu. Unequipped for the role of course, I had never studied karate to become an instructor, I only wanted to learn karate and get better. As events shaped my karate experience I began teaching to remain an Isshinryu practitioner, and had to work to define what my program would be.

For one thing I started out teaching a youth program through the Scranton Boys Club, for free. My program was the first one to bring girls into the Boys Club for membership. As I learned how to be an instructor, the hardest way, I tried to focus what I wanted my program to represent and settled upon trying to move into a pre-1900 approach to individual training. Always the most important focus was that between student and instructor.

In my past 30 years of teaching, perhaps in some ways I’ve succeeded. In other ways I was way ahead of the bell curve, such as seriously teaching a youth program, years before it even became a reality on Okinawa. Back in the days when everyone thought I was out in space training youth, almost all telling me I should be spending my time with adults to do real karate. I tried to tell them what the future would hold if they wanted to keep their programs going, but few thought I was serious. Of course today there are very few commercial schools in any art that would be open without the income that their youth programs generate. Then again my focus wasn’t money, for I’ve never charged for my instruction. My payment was being allowed to continue training and I’ve been very well paid at that.

I plan to do a series of articles on my personal insight into instructor development. Not to guide other programs, but to share with my students in what we practice.

Still to begin I think it very important to realize that ALL of us, trying to link our programs to the karate of the past must realize, what we’ve turned into is very different from Okinawa’s origins. Very different!

Karate pre-1900, as far as I’ve been able to piece together, was before the dojo, perhaps just a back yard or an empty field or clearing in the forest. I’ve been unable to piece together much information about how many students an instructor had, how frequently they trained, what their drop off rate may have been, and without information to discuss those items is mostly speculation.

Karate pre-1900 was a walking student population. The student(s) lived a walking distance from the instructor. Of course in that world time, the populace walked, there weren’t cars, or much other available transportation. Walking distance might be 10 miles for the most possessed student, but still I suspect a neighborhood type of distance in many cases.

The stories seem to indicate that unless it was from a family or friend obligation, a prospective student had to work to be accepted. That might represent being turned down repeatedly, or having to present oneself for many months showing one’s true interest before being accepted. It suggests a small student population that worked very hard to be accepted, and in turn willing to stay training.

Just supposition, but for a successful instructor today (defined as one who keeps their school open for years), with thousands of new students, who didn’t stay even to sho-dan, for the handful who move into fuller training, I’m sure those older instructors would look askance as to what a good instructor meant.

I’m not suggesting right or wrong, just the world keeps turning and change happens (entropy is the universal champion after all). But it is difficult to truly consider the modern instructor an inheritor of the older traditions.

The body may move the same, and the same steps must pass in a students studies, but the wrap around of today, hardly allows an instructor to focus on their program in the same way as when there were a handful of students.

The change of course is world wide, and includes Okinawa too. Can you consider any pre-1900 instructor would have considered running a world spanning organization with students they never taught, as a part of their art?

Trying to understand the trends of the past are useful to help us shape our art and our responses to guide our students into their own futures.

In my case I had to work out how to develop a youth program for a small group of students that would require between 7 to 9 years of training to qualify for sho-dan, and then of course they would leave us forever, and separately develop an adult program that is I believe very close to what a pre-1900 model of training may have been.

I will continue exploring what developing an instructor should represent in subsequent posts.

Monday, July 13, 2009

On Translation and Kata


 

I was reading the translator (Louis Swaim) introduction to Yang Chengfu’sThe Essence and Applications of Taijuquan”, only to be surprised by the following comment. “…Traditional Chinese books were not punctuated, and it was the reader’s job to parse the sentences, determine which clauses were subordinate, and to match up subjects and predicates.”

Though in modern times punctuation has been added to Chinese, Japanese and Korean, in the older form it was the readers analysis how to group the concepts expressed, using the context of the subject in discussion. In the older works, ..”Chinese writers did typically did not attribute…quotations. They were simply run into the writer’s text with the expectation that the reader would recognize them and know their significance.’

I’m sure many reading this are wondering what type of person reads translator’s notes. Language and its study has been a long interest of mine, and having translated a few martial works from French into English, having experienced many of the difficult choices even an amateur translator must face, this comment by Swaim helps understand the difficulties we all have accepting modern translation accuracy.

Any of us who had Freshman English in college likely spent time interpreting what poetry was saying. I felt it was an open door to understand when the work leaves the author’s hands it no longer is under their sway. It makes me remember the bit in Rodney Dangerfield’s movie “Back to School”. Having an assignment to do a paper on a book by Kurt Vonnegut, he hired Vonnegut to write the paper, which ultimately drew an ‘F’ because the professor felt the paper missed entirely what Vonnegut was writing.

Of course if one was a direct student of Yang Chengfu, the book would have been a memory aid because its context would have directly come from Yang. But for everyone else we might always wonder if the parsing that was made conveyed what Yang Changfu meant.

The key is we never know for sure. As a result of this I often take years and years to understand the place of a book in my martial studies. I need to place it in context.

The funny thing is it strikes me that kata is a work of literature from a point of view. Kata movement sequences are a vocabulary of the kata concepts. Unless you trained directly with the founder, you’re always trying to understand it’s potential (from the founder’s point of view), and ultimately you must place that potential in context of an attack opening.

Of course it matters not what the originator meant if you form an operating context for the book and/or the kata. In that way you’ve made their work yours.

This is not a simple quest. I recognize many underlying principles that work with kata movement, in turn dozens and dozens of technique answers that can be used against various attacks.


A more compelling story might be to read Douglas Hofstader’sLe Ton beau de Marot: In Praise of the Music of Language”. In it he conveys many issues, but prime among them are his efforts to translate a simple poem by Clement Marot.

From his effort, his wife and many friends and acquaintances he published dozens of answers, each correct and each different from the original, all attempting to convey the simple thoughts of Marot.

Translation, the study of kata, and many other things are inter-related, it is up to us to find how.

In closing I leave you Marot’s poem for your own efforts.

A Une Damoyselle Malade

Ma Mignonne
Je vous donne
Le bon jour.
Le sejour
C'est prison :
Guerison
Recouvrez,
Puis ouvrez
Vostre porte,
Et qu'on sorte
Vistement :
Car Clement
Le vous mande.
Va friande
De ta bouche,
Qui se couche
En danger
Pour manger
Confitures :
Si tu dures
Trop malade,
Couleur fade
Tu prendras,
Et perdras
L'embonpoint.
Dieu te doint
Santé bonne
Ma Mignonne.

Saturday, July 11, 2009

We are known by our passions........

The following will make no sense to anyone not a follower of the Destroyer universe, but today it's lack of continuing presence led me to post a few words.

If you have not been a follower of the Destroyer universe, why you've missed 3 decades of enchantment and wonder...................................




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I am created Shiva, the Destroyer,
the dead Night Tiger made whole by the Masterof Sinanju..... ..
what is this peace of Dog meat that stands before me.......... ......... ..............

memories of the way things used to be..

o'glorious anniversary

it is the day
the day, the bee and the sun
bee sees sun
sun seeks flower
bee seeks flower
bee flying in sun
bee landing on flower
bee seeking sweet nectar

flower died
bee flew.
sun sets
Sinanju gone

the key to the sun source
breathing to fullness
not bending the elbow
respecting little father

there is Sinanju
all else is less
now Sinanju fades to myst

the master returns home
is it next sending the children to the sea?

the world churns
money not gold molds away
only the tribute kept Sinanju alive
but the most foul have wreaked their havoc
let loose the dogs of war against the Destroyer
and Sinanju is not a army

Sinanju is but one idea
a fixed point in the mind
that training and correct breathing
creates one more in tune with the universe

Chiun noted he looks forward to meeting God to discuss God's balance
it is an appropriate thought

Sinanju taught me that correct technique is everything
that and to bring Victory home in your Teeth

I..am created..... ..... SHIVA
DESTROYER
DEATH...SHATTER OF WORLDS
respect for sunshine and bee
the balance of a great song
the gentle tapping of the middle finger on the wrist

i see no sunshine
i fear death for the first time
a companion we do not want
but can not remove

Where john carter, lord greystoke, doc savage, tom swift sr and jr, and tom corbett reside may be the destination for our friends

mysts of the past
the void

iamcreatedshivathedestroyerthedeadnighttigermadewholebythemasterofsinanju
iknowfearthatimaynotincreasethewealthofmyhouseevermore

i am shiva i am
shiva i am i am i am
i've been created many times before
need one more not to close the door

there is a story the masters of sinanju require their tribute first

in the end it's all about the benjamins... ......

i was created shiva....
but who is the true destroyer?

written by my fell hand,
in this year with slight summer
new hampshire
where the old man in the mountains went away

the cool air chilling me to the bone

i who wanted to be shiva
victor

Tuesday, July 7, 2009

Seiunchin Kata - Bushi No Te Isshinryu

Young Lee performing the Bushi No Te Isshinryu Seiunchin Kata.


Saturday, June 27, 2009

Isshin and Zanshin





from Trevor Leggett’s “Zen and the Ways

Page 156

Isshin (one-heart) means to throw oneself wholly into the action without any other thought at all. Zanshin (remaining-heart) means some awareness still remaining. Some of the texts (victor note – of the Way) give both, some of them do not mention zanshin at all, and some of them mention it but say that the heading ‘zanshin’ means that there must be no zanshin.

With a spear, isshin is to commit one’s body wholly to the thrust; in a judo throw, it means to throw one’s body and heart at the opponent. If the action is technically defective, or the opponent more skilful, it will miss; then one is generally in an unfavorable position. On the other hand, the more impetuosity and immediacy and completeness of the movement may have so upset him that he cannot utilize his momentary advantage.

Still, in theory might it not be better to take into account possible failure, and keep something back in order to be able to adapt it/ But then, the one-heart will be broken into two: one saying ‘everything into the throw’ and the other ‘what if it fails?’ The latter is called a fox-doubt, and it infects the physical movement, to cause hesitation.

Similarly, if the attack is successful, must new isshin be formed to deal with a new opponent?

The schools which speak of zanshin take it as an awareness which is wide and unmoving, and which contains the isshin. The immediate awareness is thrown into the action, and yet something remains, unconscious? conscious?, which can handle a failure or even a success. This is zanshin. It must not be consciously aimed at, as that would split the ‘one-heart’.

In a sense the one-heart is the ji or particular technique, and the remaining-heart is the ir or universal principle which manifests in particular situations but is not exhausted in them.

'Isshin is the unity of the wave, zanshin is the unity of the water. Isshin defeats an opponent at a tme and place, by a technique. Zanshin is awareness of the whole process of defeating opponents, and wider than that, defeating them with minimum harm to them, and wider than that, for a good purpose and wider than that…'

In this verse, zanshin is referred to as ‘water holding the moon’.