Chinto - Aikido applied to Isshinryu Techniques
The Isshinryu Armbar
A recent post I made discussing how a similarity could be found between Aikido technique and Isshinryu Kata led me to review this on a wider basis than I've done previously. I now realize that I've been doing this with the entire Isshinryu kata curriculum, and when you extract those techniques as a whole, you find a very wide range of applications with this one Aikido Technique - Ikkyo.
What the Aikidoka means by the Ikkyo control most of us would think of as an armbar. A recent quote (still unknown where I found the source) explains: "I see the basis of ikkyo as the shoulder rotating and find that important. Angier sensei (Don Angier a senior Aiki Jutsu stylist) says that the shoulder is the weakest joint in the body so in that way I think a principle is being illustrated in one of the first techniques of Aikido - effecting the center using the arm by way of the shoulder."
Now, Isshinryu specifically, and Okinawan Karate in general, are mostly thought of as striking arts, using the percussive nature of the technique to impart force into the opponent. Many of those techniques can also be viewed as locking and controlling movements.
My original instructors received no application template to the karate technique they studies on Okinawa, and as a result of that applications (or Bunkai) were not taught as part of their Isshinryu curriculum, choosing to keep to their instructors teachings. Over the years training in other systems and intuition have aided me in understanding the potential uses of the Isshinryu system techniques in kata.
For one period I spent over 10 years training with Tris Sutrisno in Shotokan, Aikido and Tjimande. The Aikido techniques I was exposed to, and his unique family exposition of bunkai, led me to appreciate Aikido as an adjunct training to my Isshinryu, and I began to incorporate those drills into my Dan level program. But they were just that, separate exercises and techniques.
Then last December, I was doing Chinto and it struck me that the opening of Chinto would exactly overlay a long practiced Aikido projection. This caused me to do an analysis of potential aikido technique within Chinto kata. What I discovered was that a large portion of the Aikido curriculum could be found directly within Chinto itself. Of course you weren't doing Aikido, but rather Chinto technique which matches the technique developed by Aikido.
My post the other day on the comparison of Aikido and Issinryu and looking at the first technique in Seisan kata, as well as Scott Hankins example from Seiuchin got me to thinking about Isshinryu kata and the arm bar. It wasn't long before I realized all of our kata contain this potential and served as the germination for this project.
I personally am of the opinion that all approaches to Isshinryu (No Bunkai, formalized Bunkai only and Unlimited Bunkai possibilities) work quite well creating competent Isshinryu practitioners. Yep I believe ALL of you are stronger, faster and better looking than me and mine, and thus I will consider everything in order to train to stop all of you.
This analysis is not to imply this is the only way to look at our shared system.
But if considering Isshinryu and Aikido together helps me develop stronger students, I'm more than willing to take a strong look at it.
I also do not write about anything that I do not practice or make work, although I can always learn how to do it better. I'm sure from time to time my students would wish that were different.
Aikido is a martial art which evolved out of the considerable studies of Ueshiba Morihei in Japan. He trained in a number of arts, but it is commonly acknowledged his use of studies in Daito Ryu Aiki Jutsu formed the structural basis of Aikido.
As he taught for a long time and his art continued to evolve and change there are many varieties and flavors of Aikido in existence.
Structurally Aikido is the study of circular projections and controlling movements (locks). Ueshiba sensei's Aikido prior to WWII contained many Atemi (striking techniques) to set up the Aikido movements. The text 'BUDO" by Ueshiba, from that period, clearly shows him striking before applying the techniques. The circles used for those techniques were very small and fast, and the uke required a great deal of skill to perform without injury. Those students who studied in that period retained those practices.
After WWII his Aikido instruction was done more as a physical exercise and less for realistic self defense. Those students did not use Atemi and likewise retained those practices. Likewise the circles used with the techniques became larger and slower.
Thus looking at any contemporary Aikido instruction, you will find a wide variety of practices. Yet the general intent of those techniques remains similar.
Likewise there is a very wide range of good Aikido texts from the founder down through the next several generations of practitioners. Almost all of them contribute different experiences to opening the techniques as well as the application of the techniques. This can be valuable as you explore the nature of these techniques within Isshinryu.
In order to effectively train in the bunkai we'll address, you have to consider what you are defending against.
I prefer to discuss this against several differing attacks.
1. The Thrust Punch
2. The Snap Punch
3. The Hook Punch
4. The Grab (single or double handed)
I find the thrust punch the most useful basic training attack. Especially from the point of view many attacks will begin with a grab, the thrust punch can approximate that same movement towards oneself. Grabbing techniques can be used of course, but as the thrust punch comes in faster, it assists developing quicker responses. Correct body shifting is a necessary component learning how to maximize the response.
You will also find how effective the arm bar is against the turning punches used by most karate systems. As they corkscrew the punch in they are beginning the turning movement used to control them. Against a vertical thrust punch, you have to extend the arm forward more before you can begin to rotate the punching arm.
The Snap (or Jab) Punch requires special training. Truthfully you can't catch the Snap Punch on its outside movement. In its use Shimabuku Tatsuo really gave us a favor because it requires a more complex approach to make happen. I believe you first have to strike into the opponent (or even into their arm) , then grab and extend the arm before you begin to turn it (and the shoulder) over. All of which requires even a higher level of skill.
The Hook punch involves a different form of body shifting to evade the strike and then enter it and use the arm bar control.
Then there is a wide range of ways these techniques can work against a grab.
Each of these attacks need to be carefully considered in order to pick the appropriate Isshinryu response. In my kata analysis for the Arm Bar, I will only work on one of the attacks, in most cases. This does not imply that the same technique won't work against the other attacks.
Of course, being able to sell any response one chooses is a necessary component of advancing skill, too.
The arm bar is an exterior line of defense.
It is applied from outside the opponents arm (in the defensive superior position where there is less chance from a counter attack. On the other hand if one finds oneself inside of the attacking arm, how to maneuver to the outside to apply this is a part of the technique too.
The arm is extended and rotated into the centerline of the body. The one hand grasps the opponents wrist. The other hand presses, strikes across or strikes into the triceps insertion above the elbow.
The grab at the wrist can be a simple grab of the thumbs, palm and fingers. It may be a more complex grab with the same, but the index finger may be straight so the base of the index finger can be used to press into the pressure points at the inside if the wrist. Even more advanced it may be executed with the thumb tip and the tips of the fingers in a 'Eagle Claw' grab into specific nerve points of the wrist. The more complex grabbing techniques will not be part of this discussion.
During application the opponents wrist is extended forward while pressure is applied against their triceps tendon insertion above the elbow. This force can then be directed towards the opponents centerline causing them to turn over in fuller control. [Please excuse me if I am anatomically incorrect in this first draft.]
There are also a number of ranges of application involved. The arm bar can be applied from a medium distance, with grabs and strikes or presses. The arm bar can also be applied at very close range with both arms adhering to the opponents arm with an adhesive effect to control them.
The arm bar can be applied to lock and control an opponent, even to moving them as a shield between you and other attackers. You can use it to project your opponent, or place their face into the ground. You also can use it to break the arm at its weakest point behind the elbow, in some instances.
Often Jujutsu and Aikido Waza (techniques) require you to pin the opponent ot the ground. While that is always possible with Isshinryu technique, in many cases for self defense, it is not advisable to go to the ground with the opponent. Instead shifting them before other attackers, or bending them over making them more susceptible for other attacks, etc. make most sense.
I am using only one attack per bunkai being discussed. Actually these techniques must be studied against the full range of attacks such as:
1 Right foot forward - Right hand attack (either punch or grab)
2 Right foot forward - Left hand attack
3. Left foot forward - Left hand attack
4. Left foot forward - Right hand attack
Ideally they would be practice against the 3 striking approaches, Thrust, Snap and Hook, as well against grabs.
Where sections are repeated I am assuming you can draw the inference to doing the technique on the opposite side from the given description.
1 Seisan - First Section
2 Seisan - First Turn
3 Seisan - Left Parry, Right front Kick, Right Punch
4 Seiuchin - First Section
5 Seiuchin - Section with Augmented High Block
6 Seiuchin - Section with Hammerfist Strike
7 Seiuchin - Section with Retreating Low Block
8 Nihanchi - Section with Cross Body Block
9 Wansu - Section with Hidden Punch
10 Wansu - Section with Fireman's Throw
11 Wansu - Section with Forward Elbow/Forearm Strike
12 Chinto - Opening Section
13 Chinto - Double Block Hi and Low then turn
14 Chinto - Jamming Turn
15 Chinto - Side Block then Hammerfist
16 Chinto - Front Kick Side Elbow Strike
17 Chinto - Double Head Block, Knee Strike, Side Elbow Strike
18 Chinto - Step Back into Left Kake Dachi with Right Low Block
19 Chinto - Step Out with Left Open Side Strike, Right Hammerfist, Right Front Kick
20 Kusanku - Opening Section
21 Kusanku - Step Out Left Hand Parry, Step out Right Hand Parry
22 Kusanku - Left Front Punch Right Horse Riding Punch
23 Kusanku - Twist-Parry &Strike, Front Kick, Drop to Floor
24 Kusanku - Backfist, Crescent Kick Drop to the Floor
25 Kusanku - Turn, outer ridge hand block, step through, spearhand
26 SunNuSu- Opening
27 SunNuSu- Spear Hand Thrust, Turn, Open Low Block Left Spear Hand
28 SunNuSu- Shuffle right spear hand then Left spear hand Right Spear Hand
29 SunNuSu- Backfist, Twist, Left Open Hand Side Parry, Right Shuto, Right Low Strike
30 SunNuSu- Turn, Left outer Parry, Right Descending Press
31 SunNuSu- Stack Hands and Squat Kick
32 SunNuSu- Kame, Step forward and Side Elbow Strike
33 SunNuSu- Kame, step Forward and RightStrike to Elbow
34 SunNuSu- Strike arm and ribs, Turn and Throw
35 SunNuSu- Step back into kake dachi, pull up left and right low block
36 SunNuSu- Close
37 Sanchin - Opening
38 Sanchin - Double Gouge Turn hands over
39 Sanchin - Mawashi Uke
Taking the first section of Seisan and moving into the ikkyo lock. Covers the shift from Interior line of defense to Exterior line of defense.
1. Left Foot Forward, Left Side Block followed by a Right Reverse punch to the solar plexus.
2. Right arm rolls under and then up raising and rotating Uke's arm clockwise
3. As the right arm rolls over, the right hand slides down the arm and grasps the wrist, pulling the opponent slightly forward.
4. Complete the ikkyo lock by pressing down into the elbow with your left palm as you rotate your body to the right (clockwise).
5. Then you can take advantage of a number of options to down and control the opponent by locking them straight down into the floor, to rotating them clockwise spiraling them down.
Now lets go through this again overlaying Seisan Kata with the above technique.
1. Left Foot Forward, Left Side Block followed by a Right Reverse punch to the solar plexus.
Exterior line of defense
Seisan RFF As you chamber the right fist first (You would most likely shift 20 degrees so your centerline crosses their arm)
2. Right arm rolls under and then up raising and rotating Uke's arm clockwise
3. As the right arm rolls over, the right hand slides down the arm and grasps the wrist, pulling the opponent slightly forward.
4. Complete the ikkyo lock by pressing down into the elbow with your left palm as you rotate your body to the right (clockwise).
5. Then you can take advantage of a number of options to down and control the opponent by locking them straight down into the floor, to rotating them clockwise spiraling them down.
For those of us who have trained with Sherman Harrill you can also use that 2nd left punch to punch across the turning arm's triceps, and use that motion to roll the Uke into the ikkyo lock instead of pressing down into the arm.
1. Left foot forward, Double rising high block (deflecting uke's arm to the left and up.
2. Turn 180 degrees to the left
3. The left hand rolls over the attackers wrist and pulls down while the right forearm presses down on the triceps insertion tendon.
The right foot can step between tori (defender's) left foot and the uke's left foot, using the lower body to assist upsetting the opponent. Alternately you can also step on their foot to create a little different effect on the uke.
Description for an Aikido Ikkyo - Seisan kata Left Parry, Right Front Kick, Right Punch
Uke Left Foot Forward Left Punch
1. Left Foot forward left outside open hand parry
2. Left Hand grabs uke's wrist
3. Right front kick into uke's leg, buckling it
4. Bottom of Uke's Right punch rolls across uke's triceps. This rolls the arm over into Uke's centerline effecting the arm lock.
1. You step out with your right foot and adjust yourself into a seiuchin dachi with an open hand bent wrist block across uke's arm. Your left open hand is drawn back to your waist.
2. You turn your right hand over and slide it down to your opponents wrist, grab and pull them forward hyper-extending their arm.
3. Next you strike across their triceps insertion above their elbow with your left spear hand
4. Step forward with your left foot into left seiuchin as you press down with both hands. This rotates the attackers arm over and down into the arm bar, assisted by your leg pressing against the inside of their leg for greater control.
Scott Hankins's contribution on Kata Seiuchin
Another obvious location in the kata to find Aikido moves is Seiuchin.
I'm thinking of the 'second' sequence where you do a "reinforced block" followed by stepping into a seiuchin stance and performing a "down block".
This can be seen as first a ni-kyo (or s-lock)against your opponents right arm followed by the omote version of ik-kyo (or arm bar). The beauty of this sequence is that the easiest way for someone to counter ni-kyo is to lift/raise their elbow, thereby taking pressure off their wrist.
However, doing this sets yourself up for ik-kyo.
1. Right foot forward (hooking around uke's left foot)
2. Left open hand parries the attackers arm and then presses down at the wrist.
3. Right forearm hammerfist behind uke's elbow into the triceps insertion.
1. Step back with your left foot into left seiuchin dachi.
2. Your left hand rolls over (counterclockwise) grabbing uke's wrist and pulling them forward.
3. You use your right low block/strike into uke's arm (behind the elbow)
This pulls uke forward into an arm bar (of course the break potential is there too.
1. Left foot steps back turning to the left and ending in a nihanchi stance paralleling the attackers arm.
2. The left hand rolls up and over uke's punching wrist and pulls back
3. The right cross body hammerfist (forearm strike) rolls uke over into the arm bar
This can be done with the left foot beginning the movement with an inner cutting kick into uke's stepping leg before the lock is applied, or it can be done with the right foot concluding the movement with an inner cutting kick into uke's calf/knee once the lock is completed.
1. Turn to the left so your centerline crosses the uke's arm about 45 degrees, and execute a left knife hand across uke's arm, partially rolling it over.
2. Your left grabs uke's wrist as your right arm strikes across uke's arm above the elbow, completing rolling uke over.
3. Your right front kick can a) kick into uke's leg, or b) can kick past uke's leg on the inside and then strike behind their knee with the retraction of the kick. Either effect differing takedowns.
1. You step into Uke's attack from Horse stance. The left open hand strikes up under uke's arm as the right open hand strikes into uke's side.
2. Your left hand grabs uke's wrist as your right arm presses up into uke's arm behind the elbow.
3. You continue to step through 180 degrees to the left raising uke's arm up and down with a projection / controlling throw.
1. You're left backhand in kamae intercepts the uke's punch
2. You turn the left hand over their attacking arm pressing down
3. You step forward with your right foot delivering the right forearm smash into their arm behind the elbow
4. Controlling them with the arm bar your right foot steps over and you turn 180 degrees to the rear. This will roll the attacker over.
1. Left Backfist into the side of uke's arm
2. Roll left hand over and grab uke's wrist
3. Right reverse punch across uke's triceps tendon as you pull your left hand back into chamber
d
1. You step back into horse stance with your right foot
2. Roll your right hand clockwise to grab their wrist
3. As your right hand pulls their arm down and begins to rotate the arm into their center, your left elbow strikes into their arm behind their elbow on the triceps, locking them into the arm bar
4. You then turn clockwise, pulling them forward as your body turns into their arm
1. Turn clockwise into the Uke and deflect their punch with a right snap punch.
2. Grab Uke's right wrist and roll their arm into their center
3. Left foot steps forward and left punch rolls across Uke's triceps, creating the arm bar.
4. The stepping left foot would step in front of Uke's right leg, trapping it.
1. Turn 90 degrees to the left and block their arm with your right shuto block
2. Slide the right hand down to grab their wrist.
3. Left Hammerfist behind their elbow
4. Right foot steps back 180 degrees, and use the turning motion and the right arm strike to pull the opponent back into an arm bar.
1. From a left kake dachi right low block the kick
2. Left hand grabs uke's left arm
3. Right front kick to uke's abdomnen
4. Turn 90 degrees to the left and strike across uke's elbow/triceps area effecting the arm bar
5. Drop down in horse stance with the arm bar controlling uke.
1. Right foot steps back into Left kake dachi deflecting the punch to the left
2. The left hand parries the uke's punching arm to the left and down
3. The right knee strikes into uke's lower ribs
4. As Uke's hand grabs Tori's wrist, the left forearm strikes across Tori's triceps making the arm bar
5. Place right leg down in front of uke's left leg.locking their lower body as the lock takes hold.
1. You step back with your right foot (turning your body clockwise into left kake dachi facing the opponent.
2. Your left arm rolls up to the center of your chest as they continue to grab your wrist
3. Your right arm strikes down into their triceps. This effects an armbar
4. You follow with a right kick to down our opponent
1. You step out with your left foot and parry their punch to the left with your left open hand
2. Your left hand slides down and grabs their wrist.
3. Your right hammerfist strikes across, behind their elbow into the triceps, rolling the attacker over
4. Your right front kick kicks in front of their foot, and the leg's snap back strikes their knee from the other side and behind, buckling their knee, dropping the Uke with the arm bar for control.
1. Lean to the right and execute a left side block
2. Left hand opens, turns out and grabs uke's wrist and pulls it forward
3. Twist to the right and execute the right punch across uke's triceps effecting the arm bar as uke's arm rolls over towards their center.
1. Left foot forward left open hand outside parry
2. Right foot forward, turning to the left so your centerline crosses Uke's arm at lest 20 degrees
3. Left hand grab's Uke's wrist
4. Right Hand Open Outside Parry as a press behind uke's elbow rolling into the triceps.
The right foot also can step before uke's leg for a trap to make the arm bar easier.
1. Left foot forward left punch across uke's arm moving uke's arm to the left
2. Left hand open and grab uke's wrist
3. Step out with the right foot and turn to the left into Horse Stance. The right foot steps before uke's left foot locking their lower body.
4. Right Punch to the side across uke's triceps, rolling them over with the arm lock
1. Twist into Left Kake Dachi left open hand parries punch across head and Right Shuto strikes across Uke's Triceps
2. Right front kick inside uke's leg to groin
3. As Kick snaps back striking with the heel behind uke's knee, your left hand grabs their wrist
4. Turn 180 degrees to the left and drop on your right knee. The left arm and right arm lock uke's arm in an arm bar.
This movement can be a projection, rolling uke head over heels or it can be used to pin them to the ground.
1. Step out in left Horse Stance and throw a left backfist to move uke's arm to the left
2. Turn to the right, grab uke's wrist
3. Right Crescent kick (perhaps into Uke's side) and place the right foot down inside of their leg
4. Turn to the right, Right hand grabs Uke's arm behind the elbow
5. Drop to the floor, locking uke down with the arm bar
class="header">25. Description for an Aikido Ikkyo - Kusanku Kata turn, left outer ridge hand block, step through and Spear Hand
1. Turn away from uke's grab, and use the left outer ridgehand block to begin turning uke's arm into his center.
2. Step through uke's arm with your right foot as your Right Spear Hand slices across the top of uke's triceps
This rolls uke's arm over into the arm bar.
1. left foot forward, Double outer blocks, left rolls uke's arm over
2.Turning to the left the left hand rolls over and grabs uke's wrist as the right hand slices back across the Triceps and chambers
3.The right arm strikes out, the bottom of that arm slicing across the triecps turning uke over into the arm bar
1. Left foot forward, the left spear hand thrusts up to deflect uke's punch to the left side
2. Right Hand slides up arm and grabs uke's wrist (your palm out)
3. Turn 180 degrees to the right and pull uke's arm down (this will roll them over and overextend them to their front.
4. Thrust a Left Spear Hand across their triceps to immobilize them .
1.From Kame (LFF) Step forward with your right foot and use the right spear hand to thrust uke's punch to the left
2.Shuffle forward, keeping the right foot in front, and thrust across uke's arm with the left spear hand.
3.As Uke's left arm comes back open the hand and grab the left wrist, pulling it back.
4. Again shuffle forward as the bottom of the right spear hand slides across the uke's triceps finishing the arm bar.
Uke left foot forward left punch to head
1. Throw left backfist into uke's arm moving it to the left, then Twist to left with left open hand deflecting uke's strike past the head
2.Continue to turn left hand over and grab uke's wrist as the right hand shuto strikes into the triceps of the attacker.
3.Continue holding the attackers arm with the left hand as you drive the uke down with a right low strike sliding alongside uke's arm bar
1.Turn 180 degrees to the left
2.The left arm turn over counter-clockwise and the left hand slides down to grab the attackers wrist
3.Pivot to the left into left kake dachi and the right arm presses down on the uke's triceps effecting the arm bar.
1.Right hand strikes forward, outside of uke's punch, deflecting it to the right.
2.Right hand rolls over and grabs uke's wrist and pulls it back to the waist, pulling uke fowaard.
3.The last movement began to turn uke's arm over. The left arm then slides out over uke's triceps and helps roll them over into the arm bar
This takes place as you step to the right.
4.The left leg delivers a squat kick into the uke's ribs
The motion of this arm bar is somewhat different from the previous ones, but it still falls in the same classification.
1. You're left openhand in kamae intercepts the uke's punch
2.You turn the left hand over their attacking arm pressing down
3.You step forward with your right foot delivering the right forearm smash into their arm behind the elbow
4.Controlling them with the arm bar your right foot steps over and you turn 180 degrees to the rear. This will roll the attacker over.
This is very similar to the Side Elbow strike in Wansu.
1.Turn 180 degrees to the left and left open hand middle parry deflects punch to left
2.Turn left hand over and press down across uke's wrist
3.Right foot forward , turning slightly to the left
4.Right rising open hand strike behind uke's elbow creating an armbar
This version is somewhat different from the rest, in that uke's arm is being rotated away from their centerline from the motion of your left and right hands, but I still feel this qualifies as an arm bar.
1.Left foot forward, right open hand deflection rises up underneath uke's arm as left open hand palm strike takes place into uke's ribs.
2.Right hand grab's uke's wrist as left hand strikes up behind uke's elbow
3.Turn 180 degrees to the right, step through with the left into horse stance. Your right hand drops pulling down uke's and the left arm keeps the arm locked and keeps the arm bar. This is a projection and or a break.
This technique is the reverse of the same throw in Wansu kata.
1.Step back into left Kake dachi raising the left arm, rolling uke' arm over
2.Deliver the right low blow/block behind uke's elbow into the triceps. This will form the arm bar and drop uke down.
3.The next technique from the kata is a finishing right front kick
1.Right foot forward, right arm rolls up and out with a right open hand middle block
2. Right hand rolls over and grabs uke's wrist, rotating it towards his centerline
3. Turn slightly to the right and left foot forward with a left open palm strike into uke's triceps completing the arm bar.
As before the left step can be on top of uke's foot, or across uke's leg for the trap, or even hooking behind uke's leg from the outside for the trap.
1. left foot forward, Double outer blocks, left rolls uke's arm over
2.Turning to the left the left hand rolls over and grabs uke's wrist as the right hand slices back across the Triceps and chambers
3.The right arm strikes out, the bottom of that arm slicing across the triecps turning uke over into the arm bar
Yes, this is the same as the SunNuSu Opening Arm Bar
1.From left sanchin dachi you slide forward, keeping the same stance but angling to the right so you center line crosses uke's arm about 20 degrees.
2.Both hands slide across the top of uke's punching arm.
3.The right hand turns slightly faster grabbing the uke's wrist
4.The left hand completes the lock by rolling over behind uke's elbow on the triceps.
1.Left foot back into right sanchin as Right open hand parries the punch slightly to the left
2.The left open hand slides up underneath the right arm and the left hand grabs uke's wrist
3.The left hand draws uke's arm back, hyper-extending their arm forward
4.The right hand circles away and then strikes back into the triceps, behind the elbow.
Depending on the speed of the maneuver this may be an arm bar, a break, or if you turn away on the moment of impact on uke's arm this can be used for a projection..
In close range the right strike can be done with the forearm, or at further range with the palm.
In my opinion, this and the other Mawashi Uke (Tora Guchi) applications are among the most valuable in karate.
This is not the conclusion, rather it is just another opening chapter in my ongoing studies on the Isshinryu system.
While I've explored potential iklyo/arm bar bunkai to our Isshinryu kata technique, that alone will not give one the skill to apply it in conditions of extremis.
Every technique requires an appropriate opening. Locks in particular would need a solid shot (in most cases) to give adequate time to apply it .
Likewise there is the need to study a wide range of appropriate finishing techniques. Whether immobilizing your opponent, striking into them, downing them or projecting them there remains much more than just the use of the Isshinryu arm bar.
I am confident that the arm bar can be thought of as the basic lock of all Okinawan karate. As our Isshinryu study has shown us, it can be thought of as an basic, ever present "hidden" locking technique. I'm sure I can show the same with every Okinawan kata at this point.
Thus a case is made for the Arm Bar in my mind.
In Ueshiba's Aikido the techniques was named "Number One - Ikkyo". As I understand their analysis, it is the basis for many other locks which come out of its opening.
I also suspect (with a tip of the hat to Joe Swift for suggesting it in this light that it's number one because its simpler and easier to make work in stressed times. This seems consistent with its presence in our kata.
So have I found every possible presence in Isshinryu? I suspect not, but I think this is a fair opening to the subject.
Now I intend to work and give this same vision to my Dan's, and refocus them on techniques we have already reviewed.
I believe this will make their karate studies stronger.
Your Obedient,
Victor Smith
Bushi No Te Isshinryu Derry, NH
www.funkydragon.com/bushi
The Hidden Roots of Aikido-Aiki Jujutsu Daitoryu by Shiro Omiya - Kodansha Int.
Budo Teachings of the Fonder of Aikido by Morihei Usheiba - Kodansha Int.
Aikido by Kisshomaru Usheiaba - Hozansha Publications
Total Aikido the Master Course by Goso Shioda - Kodansha Int.
Aikido and the Dynamic Sphere by A. Westbrook and O. Ratti -Tuttle
The Principles of Aikido by Mitsugi Saotome - Shambhala Pub.
Samurai Aikijutsu by Toshishiro Obata - Dragon Books
I continually draw inspiration from the infrequent training I've received from Sherman Harrill. Some of you will note some of his concepts present in my descriptions.
I wish to acknowledge Joe Swift's (Kanazawa, Japan) assistance in spell check. Without which I'm sure I'd be less accurate.
As wrote Robert Burns (the Scottish poet), "The best-laid plans o' mice an' men Gang aft a-gle.."
Reflection has made me think of some other Isshinryu arm bar's I missed on the first draft.
1. Left foot forward with a left side block, pressing uke's punch to the left.
2. The left hand rolls over and slides down to grab uke's wrist
3. Right Punch across uke's arm, the bottom of the arm slides across the triceps rolling uke over
1. Left foot forward with a left side block, pressing uke's punch to the left.
2. The left hand rolls over and slides down to grab uke's wrist
3. Right Punch across uke's arm, the bottom of the arm slides across the triceps rolling uke over
1. Right foot forward with a left inner circling downward grab, The left hand come up and over the arm opens up and slides down to uke's wrist.
2. The left hand grabs uke's wrist and rotates their arm into their centerline.
3. Raise the right elbow and bring it down over uke's triceps and draw your right elbow back to your side. This motion will lock uke's arm in the armbar.
1. 1. Right foot forward with a left inner circling downward parry
2. The left hand grabs uke's wrist and rotates their arm into their centerline.
3. Raise the right elbow and bring it down over uke's triceps and draw your right elbow back to your side. This motion will lock uke's arm in the armbar.
1. Your right hand reaches out and grabs uke's forearm (inside of arm to inside of arm)
2. Your right foot slide back into horse stance and you pull their arm back
3. You execute a left side strike under Uke's arm.
This arm bar will cause uke to spin to the left away from their centeriline
1. Rotate your right wrist clockwise and grab uke's wrist
2. Your right foot slide back into horse stance and you pull their arm back
3. You execute a left side strike under Uke's arm.
The arm bar will cause uke to spin to the left, into their centerline.
1. Both arms circle out, the right arm on the inside of uke's punch.
2. As the right arm circles out and then down, it continues to move uke's until it meets your left hand.
3. Your left grabs Uke's wrist and pulls back to the waist as you rotate to the left and the right arm rolls across uke's arm forming the arm bar.
While this is a little different from the normal close (with the side shift at the end) I feel it is perfectly acceptable within Bunkai guidelines.
Victor Smith
