Friday, January 6, 2012

Rememberances of Okinawa: Chinkuchi


 
 
When Charles Murray was training me before his return to the Air Force, for his career, he spent some time explaining his training in Agena in 1972-73 and what he learned from those studies. Among them was an explanation of ‘Chinkuchi’ training.

Charles is a student of Tom Lewis and was awarded his sho-dan just before he was stationed on Okinawa for a tour of duty. When there he trained at Shimabuku Tatsuo’s Agena Dojo as much as possible. The Agena dojo was the location Mr. Lewis had trained a decade earlier and the only change was a roof had been added over the original walls. At the time he trained there it was mostly an Okinawan Dojo with several American students. The US Marines then had their own dojo on their base.

Among his studies he received training in Isshinryu ‘Chinkuchi’ from the founder’s son Shinso. Training he kept part of his studies thereafter. Returning to the states he did not find ‘Chinkuchi’ training being done by others. He wrote a brief paper about his training to document it for himself.

In January of 1979 I was tested and received my Sho-dan by Mr. Lewis and his IKC. Immediately thereafter Charles focused on teaching me the remaining kobudo kata of the Isshinryu system and then in April of that year he returned to the USAF for a career. There was not time to focus on Chinkuchi and then on my own I did not feel it appropriate to try and teach it to myself. I believe the correct manner is to be trained by someone who was in turn correctly trained.

Fate has not been kind to Charles and I, over the years we have been able to spend very few hours together and in the brief time allowed to us he was always interested in following and supporting my own studies. But the wheel finally turns and last month during a visit he reviewed his ‘Chinkuchi’ training with me (and it was exactly as I was originally shown). This was further bolstered by his discovery of old Super8 movies he had taken, among which are him performing SunNuSu (Sunsu) Kata as part of ‘Chinkuchi’ training in the Agena dojo, and Seisan Kata also as part of ‘Chinkuchi’ training outside at his base.

When I joined the internet age in the late 90’s as a response to a discussion on the Original Isshinryu List I shared Charles article on ‘Chinkuchi’, with his permission. I made several changes to spelling, Chinkotz to Chinkuchi and Ciso to Shinso, as when it had been written he had no access to the name standardization that would occur and was using a phonetic spelling as he heard the names on Okinawa. But the remainder is all Charles.

Further more I’m attaching his sho-dan performance of SunNuSu (Sunsu) kata done in Agena as a ‘Chinkuchi’ drill, a different pace, etc. than his normal performance. I believe it makes his story more meaningful.

Charles makes no claims at being an expert, this is just what he studied. I am not going further into how to practice ‘Chinkuchi’ as I don’t practice it myself, I do not believe I have the words to do it justice and of course I maintain you need to be trained directly by a knowledgeable instructor such as Charles had in Agena.

Rememberances of Okinawa: Chinkuchi

By now Retired Col. Charles Murray (USAF)


One night after a rather exhaustive workout at Master Shimabuku's dojo, I and several other students were drinking tea that the Master's wife had brought us. In the course of the conversation that accompanied the tea drinking, the instructor, Master Shimabuku's second son, Shinsho (Ciso), was telling me of how he had once threatened to kill an attacker with one punch. As he began to tell me this, I smiled. When he asked me why I was smiling, I told him that I didn't think that anyone could kill another with just one blow.
As I spoke, I guess that I was thinking that if there was one thing that American karate had taught me was that you could not kill with one strike. I mean, who is strong enough to do that, who could generate that kind of power? Did not kickboxing show us that that was impossible, that the "one-strike kill" was just a myth?

Almost in reply to my thoughts, Master Shinsho struck me twice. With his first blow, a nukite (spear-hand thrust), he temporarily paralyzed my arm; with the second blow, my leg. At that moment, I realized that there are some people who can kill with one strike! I asked Shinsho, who was now standing and laughing, how he did that. He replied that his power cam from chinkuchi and that he would show me more the next day.

That was my introduction to what the Okinawans call chinkuchi, and I could not not wait to learn it! The next day I found out that only three Americans before me had ever been taught chinkuchi and out of the three, only one at that time had mastered it. The man who had mastered chinkuchi was from Florida named Bob Bremer. Master Tatsuo Shimabuku swore by this man's abilities, and acclaimed him as the best Isshinryu fighter in the world. He said, "Bremer Number One, Nagle Number 2." It was funny, but not long after hearing of this man, I saw in a karate magazine where he had beaten Parker Sheldon for the championship of a big tournament in the South. The article mentioned that Bremer's movements looked slow until they suddenly locked in place with devastating power. This came from chinkuchi training.

Well, what is this chinkuchi? I should first say that the word is unique to Okinawan karate and has never been officially defined by even the Okinawans. It truthfully has no meaning and many meanings. Chinkuchi is both a way of training and what is achieved when one is able to achieve the main physical goal of karate which is to be able to block and counter simultaneously with killing power. It is the way the Okinawans achieve power through karate-do.


This "power" (chinkuchi) is developed by striking with:
(1) Proper tensing
(2) Proper breathing
(3) Accompanying each movement with what I call "mind control."
Tensing: In karate when we punch and kick, we initiate a movement by swiveling our hips. This swiveling creates a shock wave which finds expression through our striking joint (as we lock our arm or leg into place). It is then transferred to what we strike; through our striking surface (e.g. first two knuckles, ball of foot, etc.). Let me illustrate. When we punch we "swivel" our hips. This creates a shock wave which travels from our hips up to our shoulder and as our arm locks into place goes out from our first
two knuckles.

This power flow that I have just described, in order to be effective, must be accompanied by such things as:

(1) Being loose until the moment of contact (30% tension)
(2) Proper breathing
(3) Mind control or allowing your ki to flow through the movement.

This method of proper body tensing is an ingredient that must be mastered for a person to have chinkuchi in a movement.
Proper Breathing: Every Isshinryu student knows that a kiai is among other things a shout of spirit. It is used because:

(1) The body's striking movement is always stronger when one exhales properly.
(2) It has the capability of momentarily stunning an opponent.
(3) It tightens the abdominal muscles as one strikes, thus aiding in preventing one from experiencing pain from a counter blow.

What few students know is that something like a kiai should accompany every strike in karate (either a silent or audible one). In other words, with every strike one should exhale from the diaphragm. This is a brief description of what I call "proper breathing." A further description of proper breathing would be an article in itself.

Mind Control: The third aspect of chinkuchi and the most important (and least understood) is what I call "mind control." This is known in other martial arts as qi, ki, inner power, the spiritual aspect of karate-do, etc.

This aspect of Okinawan power training (chinkuchi) is virtually unknown, I feel, by our Isshinryu sensei today. Last year in speaking with an Isshinryu hachidan (8th Dan), I asked if he had ever heard of chinkuchi. He said that he had heard of it from Mr. Bremer (mentioned previously), but our conversation revealed that about all he knew of it was the name. You might ask why this is. The answer is simple. Master Shimabuku could not speak English very well so it was impossible to communicate it to the Americans who studied exclusively with him. All of the Americans, that I know of, who were taught chinkuchi studied with Shimabuku's second son, Shinsho, the only one who could speak English well.

Well, let me get back to "mind control." This mind control, coupled with proper tension and breathing, give the karate-ka was masters chinkuchi, additional power
.
Perhaps the best article that I have ever read on what this mind control is was in an article in Official Karate magazine several years ago by Howard Taque from New York. In the article, he defined qi, ki, etc. as a form of "self-hypnosis." For more information on this, see the aforementioned article.

But now the question is: how do the Americans train? The answer in a nutshell is all differently. Some Americans achieve power in their techniques by using strength and weight in their movements much like a boxer. Some try to incorporate tensing and breathing in that they have a vague notion of how they should breathe and tense. But, truthfully, only a few American Isshinryu sensei that I have seen know how to achieve power in any way, right or wrong, American or Okinawan. They act like whatever will be, will be. If their students gain any degree of power from training then that's good; if not, well, it's the student's fault. The student must not be training hard enough, or something.

The real difference, however, in American power trianing lies with mind control. It seems that no one know anything about it. I have never seen anyone really train to master it. Well, this is dragging on. Suffice it to say that there is an organized, proven way of developing power that the Okinawans call chinkuchi. This chinkuchi is taught to the beginning Okinawan student, but because of communication problems has never been taught to most Americans.

The last question that I will address is: why was chinkuchi important to the Okinawans?

It was important because Te was developed in Okinawa as the Okinawans were fighting a guerilla war against the Japanese. I assume that there were times the Okinawans only had one punch or kick to give their oppressors. If this strike did not kill or disable they were in danger of being either killed or disabled themselves. It not only was important, it was all-important.

Well, allow me to end this article with the following story that I recently read in Black Belt magazine. It illustrates graphically what can be achieved through chinkuchi.

One day, an old man walked into a dojo in Hawaii and saw the students hitting the makiwara. He watched as they continued to strike the makiwara (the "American" way), and he began to smile. 

The old man's smiling annoyed the students and they asked him if he would like to try his luck at striking the makiwara. The old man said "okay," took his stance, and threw his punch. It broke the makiwara completely in half. It seems that this old man had been one of Gichin Funakoshi's first students. Master Funakoshi, an Okinawan, had obviously taught him chinkuchi.

Charles Murray practicing SunNuSu (Sunsu) Kata with Chinkuchi Training
Location Agena Dojo, Okinawa 1972

Sunday, January 1, 2012

Ice Chi in Frosty Derry-Air

Another year begins. As I’ve been doing for over 20 years I practiced my Yang Tai Chi outside this morning. Actually I recall performing it with Laoshi over 30 years ago on New Years morning. When I began my Tai Chi group in Derry we practiced outside on Sunday mornings. In hot, warm, cool or cold air. From +100 f. to -20 f., the only weather that defeated tai chi practice was rain. Don’t do soggy chi at all.

These day’s my practice is private.

When I went outside I discovered the ground and driveway were covered with a layer of ice, making my practice more difficult, but also challenging. I didn’t slip and performed my Yang Sword and Yang Tai Chi form without problem. Then Kata SunNuSu and a run-through of Aragaki no Sochin.

On conclusion I then went for a two mile walk. That was harder for the ice was starting to melt and I needed to constantly mind my ability to break-fall.

During my walk I thought about how my tai chi study aided my Isshinru. The attention to small detail of body alignment in tai chi taught me valuable lessons how the same was needed for solid karate performance.

A great way to start a year. Now all I need is a near blizzard to make it perfect.

Thursday, December 29, 2011

Continuing thoughts on Jion

 
I’m going to conclude my 2011 projects with another pass at Chromo Hanshio’s presentation of Jion Kata in the 1938 Nakasone Genwa text the “Karate-Do Taikan”.

I presented some comments earlier this year on blog at http://isshin-concentration.blogspot.com/2011/06/lesson-from-jion.html. I don’t practice the kata, it’s not in the Isshinryu tradition, nor do I know anyone in the Kyudokan tradition which does so, but I think if I draw upon the insights from Nakasone’s text and Mutsu Mizhuo’s 1933 “KempoKarate” I can make some headway towards understanding Hanshiro’s comment “Budo is a living thing; naturally there are thousands of different applications and variations for each technique."

Before I go further let’s look at a Kyudokan presentation of Jion, seen from a different angle than the other video’s I’ve shared.



I have to admit when I first saw this form in the “Karate-Do Taikan” it didn’t do much for me. I saw it as a simple exercise in large techniques. Now I have a very different opinion.

Among the first things I see now are the form as a study in basic techniques for Karate Ni Sente Nashi. The kata using Mutsu’s concepts of Reactive Defense (such as blocks/parries while leaning away from the attacker) and Preemptive Striking (they strike first but your counter-strike hits before they strike you. Especially with the countering strikes being to the head not the center of the attackers body. Strikes to end a confrontation quickly with a head shot.

Take these two principles together and they’re designed to counter a multiple strike attack where the attacker intends a double tap to take you out. Leaning away with the block/parry creates a vacuum to pull the attacker towards you for their second strike. As they move into the space you created you enter that space too with your counter-strike.

You can review these principles with my earlier post on ‘There is no first strike in karate’ at http://isshin-concentration.blogspot.com/2011/07/there-is-no-first-strike-in-karate.html.

Yet I feel this only touches the surface of the thousands of applications Hanshiro mentioned.

I think it’s obvious that in addition to considering that these techniques can be used against any type of attack, there are innumerable add-on techniques for what is shows in the kata.

Consider the lunge strike to the head followed with a high block/strike. If you struck someone in the head what is the high block for? You might suggest that you’re using that block to clear away their strike. I would suggest that the missing technique would then be descending strike, an add-on to the movement not found in the kata. This would be a consistent study such as those also presented in Nakasone’s text by Shiroma Shimpan.

I’ve presented some discussion of Shiroma Shimpan on a previous post at http://isshin-concentration.blogspot.com/2011/12/understanding-shiroma-shimpan.html

Such study might be the first step towards the thousands of answers Hanshiro suggested. I’ve touched similar answers with several of my friends arts.

I believe with this version of Jion Kata, we’re seeing older Okinawan traditions. As it was Itosu’s students who shared so much information in the past, it is logically consistent to draw upon those sources in our quest to understand earlier karate.

I’ve previously discussed some of these concepts in the following posts.
http://isshin-concentration.blogspot.com/2010/05/itosus-reflections-it-is-not-bunki-say.html
http://isshin-concentration.blogspot.com/2010/05/itosus-reflections-watson-look-for.html
 
http://isshin-concentration.blogspot.com/2010/06/normal-0-false-false-false-en-us-x-none.html

Tuesday, December 27, 2011

Concluding a Year – 2011




The nights are long and the cold finally arrives, but the solstice has passed and 2012 approaches. It’s a good time for some introspection.

2011 was a pivotal year in my training. First I was diagnosed with type 2 Diabetes. I had to come to grips with the effects I had been assigning to age were something I could fight. So I regained control of my diet, increased my exercise by walking and used my karate training to rebuild my life. I lost a lot of weight, my karate got stronger to the point I even competed in a tournament. Then the second act found me diagnosed with colon cancer and surgery required. If anything the regulation of my training made things much easier for me because I was healthier. Recovering from the surgery I started walking even more and turned to my tai chi and karate to rebuild myself, stronger than I’ve been for decades. But the third act required a combination of radiation and chemo therapy to the current fourth act of ongoing chemo therapy, all to help my body eliminate any further cancer possibility.

I’m now lighter than I’ve been in 30 years. Age has had an effect on my life, but my continuing training has been of incredible value. I was forced to set aside much of my kobudo training until recently, almost a six month stand down, and now find how much goes too quickly as I return to those disciplines.

On the Isshinryu front my major focus in 2011 has been SunNuSu and Sanchin kata but there are innumerable Isshinryu challenges ahead. Tai Chi and Silat Tjimande drills have become my major method of warming up for practice. I’m using the softer drills to prepare my body for practice. Tai Chi continues to provide depth for my karate studies, but not from similarity of technique, but in the way the entire body is used in technique execution and the relevance to what good karate execution requires.

For a most personal push I’ve used private study of Tomari No Rohai and Aragaki No Sochin. Both forms use a hip shift during striking that I now recognize as a method in Yang study these 34 years, but the transition from the Yang technique to karate striking is not a simple transition. It will be interesting to see what this study yields in future years.

As an instructor of two very small programs the year has been challenging.

For the youth program Mr. Cassidy is well transitioned as the main instructor and works at innovative ways to develop the Boys and Girls Club youth. Such a program has it’s ebbs and flows as students pass through but this year it’s again developed into a most robust group. Being able to step back and watch has been insightful always learning much about how students learn and allowing me to focus on the small details because I’m not running the class. We’ve moved the program to include youth black belts, though not changing the overall content and the true fun begins when you guide someone to taking more serious steps in their training.

The adult program has been a different experience. Keeping to an older standard of small instruction, you learn how your students are affected by the world and it’s economic pressures. Basically they’ve had to make choices requiring intense hours of work to keep their positions and that has had a effect on the time they can train. They remain dedicated students when they have the time, but the underlying lesson for the instructor remains what you can accomplish in your own studies is restricted to what your students can do. Among the causalities my ongoing study in application analysis, I’ve had to learn to set aside what I want to study to always focus on what the students need to study for the time they have. The student needs are far more important than the instructors.

Each student in the end defines how far their studies will go. The instructor is but a guide that continues to point the way but the student defines their path. That is how it should be, they should be developed to make such critical decisions and what their karate will become is among the important ones.

Among the more fascinating studies in 2011 has been my historical research into Nakasone Genwa’sKarate Do Taikan”, especially as I see how much of it parallels the many subsidiary studies from my friends. Essentially much which was published in 1938 has been part of my students studies for decades. When friends shared with me I was able to pick the unique and worked to include it in my studies, now I see those drills explain a lot about what earlier studies in karate represented. I have plans to work to use Nakanone’s book in our instructor development program. I find I’ve shared so much I forget what I’ve already touched. One of my current projects is to amend an earlier post with some additional material to make a more complete suggested understanding.

During 2011 I was most fortunate to spend some time will all of my primary instructors and other friends. I traveled to West Virginia and spent time with Tom Lewis, reminiscing on Isshinryu and friends. I spent time with Ernest Rothrock, received needed corrections on my tai chi and shared some insight with his students on the application potential of one technique. Tristan Sutrisno dropped by and shared some insight on knife studies clarifying older studies for me. Charles Murray had some old Super8 movies transferred to a dvd and shared many precious moments in his training, my instructors before my time training, a glimpse of the Agena dojo in 1972 when he was training there and some of his chinkuchi training on Okinawa. Later during a visit he shared the oral history of his time in Agena studying chinkuchi under Shimabuku Shinso.

I was also able to attend a few hours of John Kerker’s annual Isshinryu seminar at Mr. Whitley’s dojo in Springfieldm Massachusetts. Every time I see him I’m both graced to learn more of his art and blessed to gain further understanding of his instructor Sherman Harrill. This year was no exception and I had many, “Wow I can’t believe I didn’t see this before,” moments.

There is no way to include everything that made the year special. I spent time with other special friends too, including first meetings. Among the more frivolous things were other journeys. Superman finally took flight, Harry Potter kicked ass, Comic book movies remained fun, Sherlock and Watson danced most beautifully and Atlas Shrugged. It helps to keep the mind young.

Walking has become more than mere exercise, it is time to step away from the day’s events and spend time with oneself.

Now it’s time to start another day, new adventures, new studies, many projects on the burner to bring to market. Where does it go? I have no idea, but I long ago learned each year I’ve doubled everything I learned the previous year and I expect that’s not going to stop for a long time, if I can help it.

Saturday, December 10, 2011

In the Land of Dreams

Some of the arts I wish I had the time to learn..............

Cimande


The Shaolin 'Wu Xing Quan' executed by Master Qin Qing Feng, better known as the 'Wu Xing Ba Fa', is the immitating style of the five 'basic' animal styles of Shaolin boxing. It consist of the Leopard (Pao), the Tiger (Hu), the Snake (She), the Crane (He), and the mythological Dragon (Long).


Yanqing Tui

Sunday, December 4, 2011

Tom Lewis and Dennis Lockwood in 1976

It was 1976 when Tom Lewis (my original instructor) and Dennis Lockwood (another of my instructors) gave a karate demonstration in Ocean City, Maryland. This footage was preserved on Super8 by Charles Murray.

Understanding Shiroma Shimpan

As I keep working my way through my copy of Nakasone Genwa’s “Karate-do Taikan” I find myself resolving an interesting mystery that I’ve been living through for over 30 years, namely what can we understand from karate’s past about the older way of the hand. All of the books published in the 1930’s are sharing material that had been very closely held about what karate was.

Among my most interesting discovery is a link between the kata ‘Aragaki no Sochin’ of Aragaki Isumu which may be found on YouTube, to the kata ‘Aragaki no Sochin’ described by Mabuni Kenwa in Nakasone’s book and finally the use of karate techniques described by Shiroma Shimpan also in Nakasone’s book.

A number of years ago when I first discovered Aragaki Isumu’s ‘Aragaki no Sochin’ I was struck by the power of his technique and the unique movements he showed. Since that day I’ve found 4 more performances of him showing that kata and uniquely each is different from each other. Logically there may just be multiple versions of the kata, or it may be that he does not share the complete kata in public (a well known Okinawan tradition). Be that as it may, together they provide an interesting insight into a kata performance.





When I first saw it I tried relating it to the Mabuni Kenwa ‘Aragaki no Sochin’ in my copy of Nakasone’s book. I couldn’t read the Japanese but it was apparent that the Mabuni version was similar but many of Aragaki Isumu’s movements were not part of the form. Today the version of Mabuni’s Shito Ryu students remains faithful to Mabuni’s documented version. Finally when Mario McKenna’s translation of Nakasone’s book became available I could read the kata description and the bunkai of it’s movements which he shared. A very good kata but different in many senses.




As to which ‘Aragaki no Sochin’ came first or was the more authentic I have no insight or interest. Both are complete. But it was finally from Shiroma Shimpan use of karate techniques explained in Nakasone’s book, that I have been able to piece together a logical framework explaining the kata. [Note: logic does not mean a ‘real’ relationship, just a relationship that works in understanding karate’s past, IMO.]

One of the underlying principles I define from Shiroma Shimpan was that karate technique could contain extra ‘unseen’ techniques such as following a ‘block’ with a strike from the same hand. I’ve been using similar principles from the teaching of one of my friends Ernest Rothrock for decades and all of my students do too. Shiroma just added an expanded vocabulary of techniques for use to draw on. Nor do I believe he shared everything he knew, but enough to make a serious effort in understanding.

What I’ve been able to piece together was similar techniques are in the Sochin of Aragaki Isumu’s performance. Logically the Mabuni style Sochin might be the ‘base’ form and the Aragaki Isumu Sochin might be the ‘expanded’ form. Finally I realized that the Aragaki performance was close to the techniques of Ernest Rothrock’s ‘Jing-do’ studies. Then the Aragaki performance may be a further example of Shiroma’s principles. One that you can watch in action.

The Aragaki technique application potential are not better than Mabuni’s application. Just different, yet, the potential in understanding may be significant.

There is much more taking place in Aragaki Isumu’s performance than the additional techniques, but that is an other story.