Strange Voices and Art of Conversing

While I was reading Itoman’s 1934 “The Study of China Hand Techniques” on the older practices of Toudi, this section of the chapter ‘Techniques of Cheating and Deception’ made me think on how much has changed since those times.




(2) Strange Voices and Art of Conversing

"As mentioned earlier in the section on offense and defense, the art of conversing and using strange voices are one method of attack and defense. There are many different strange voices but I will mention eight different methods: white crane, monkey, tiger, dog, rooster, dragon, horse, and bull. The art of conversation can use logic and and reason to gain victory, to confuse or render a person ignorant, or remove his will to fight and control him. During the Six Kingdoms period, warriors would be entrusted to traverse the kingdoms on diplomatic missions. These men were eloquent and gifted speakers and from that era a phrase has been handed down, “A man who can win a victory over an enemy by his speech is by virtue worth more than one who can cut down 100 men”. "



Today where the discussions often are we’re not prepared for ‘real’ violence, far less heed is paid to thinking about the skills of conversation to eliminate the need for violence being necessary. We all should give pause at what was once considered necessary skill and what we are doing with our training.

 

The theories behind blocks

A recent discussion with a friend followed a number of different practices I was taught, or discovered, over the past years into the practice of ‘blocking’. This has been a 40 year search to date,



Remember there are differences because I am an Isshinryu stylist. Nor is it contained to our use of the vertical strike. This will mainly be a discussion of the side block (or inside to outside block) We perform it with the side of the arm, often referred to as the two bone blocking technique. Essentially the arm hinges across the body pivoting on the elbow, to stop on the line between the shoulder and ) the knee.



I will mostly refer to the use of the first section of Isshinryu Seisan kata (similar to most Seisan kata versions in the opening) for analysis.



What I have come to believe is that anything is possible with correct training.





The side block for blocking or deflection



Initially the side block was taught to me both to deflect a strike and to ‘block’ a strike. Applying Seisan kata then you step forward and the block deflects a strike, allowing you to counter with a punch.



The side block as preparation for a grab



I thought there must be an underlying principle behind this and worked out the following “a block must be followed a grab to be followed by a strike/kick followed by a takedown” Years later I found this worked. Especially how Sherman Harrill would use the Isshinryu punching hand as a grab, in this case the block followed by a grab and pull of the arm, their clothing of even their neck.



The use of the side block for striking



As stated on occasion use of blocking techniques as strikes is possible.



The Side block as a fractal technique



This uses fractal analysis (a term I borrowed from PaKua stylists), sections of the motion are used as individual tools, or many techniques are contained within the movement. The first example of this is that when you perform the side block you actually cross both hands first and then un-cross them in the motion of blocking. This motion can be used many different ways:



¶ The right hand strikes the attacker’s striking arm, then the left arm blocks to the side

¶ The right open hand parried the attacker’s striking arm, then the left arm blocks to the side

¶ The right open hand parried the attacker’s striking arm as the left strikes into the attacker’s left lower abdomen (where they do not expect an attack), then the left arm blocks to the side. The right hand chambers with a slicing motion (this can strike the face or slash across the torso, or slice into an attacker’s left strike finally to strike out with the right hand.



The Lower Body used with the Side Block



This covers a wide range of potentials.



First, Step on the attacker’s foot as you block. Or use the crescent step inside to lock their leg as your shin presses against their shin, stopping their forward momentum as you block, Or use the crescent step outside the leg to ‘trip’ them as you block. There is a whole range of potentials there.



Second, the lower body can shift to a more advantageous position. There are various methods for this.

You can step backward as you block.

You can step forward *standard* as you block.

You can slide your body to a position 20 degrees across their line of attack.

You can use reverse stepping (your left s\moves alongside you right then you right steps back and out to a position 20 degrees across their line of attack.

Alternatively you might shift non-standard to the left line of defense outside of the attack.



Each has a different purpose and rationale. The reset of the line of defense off 20 degrees is that the attack can accelerate faster to the front that you can retreat to the rear, by offsetting yourself you remove your body from the prime target area and at the same time are capable of response.



Tactically each has different strategic potentials.



The Sucking Side Block



Sherman Harrill opened new potential for me when he showed how the side block could move out and draw back to use its sliding momentum to pull or suck the attacker forward, making closer response possible. This is identical to Bando stick technique we study.





The Side block and body alignment theory



Taken from my tai chi training, after 15 years after my instructor rightly demolished my technique (which I needed but more importantly, he then proceeded to instruct me in alignment theory, how correctly aligning the ‘energy points’ made a difference, and it instantly worked when applied to karate. Now, good technique is good technique, but this was a tool that allows you to prove it to the student. If they’re misaligned touch an energy point and the fall out of balance. Then move them into correct position and they hold correctly with balance when touched. The position of the eyes makes a difference. Tightening the chambered fist makes a difference.



Osae with the side block



One of Chibana lineage students Pat Nakata has written on Charles Goodin’s blog about applying osae with the side block. This in a pressing motion to down the opponent. I have verified this works effectively and is yet another way to perform the side block effectively.



This is part of what I now see.. Blocks to the side, or Sucking, or with Osae (Pressing down). Or striking, or with movement of the body, or with the lower body incorporated in the defense, or a mixture of the above.



I am still learning.

Injuries, Illness, Disability and Aging Considerations

Back in 1983 one evening I showed up to train with Charles Murray and I had some leg injury making it impossible to perform the jumping front kick of Chinto Kata. Charles told me to instead use a stepping side kick, a technique, one step down, when injured.



Now Dr. Harper F.A.C.S.,who was with my program for years made it plain than only someone with a head injury should ever seek out my opinion for medical advice, instead needing competent advice. This is correct for I am not medically trained.


But I would like to address how to address training within competent medical advice.



First, consider the injury limiting oneself. There is still much that works after injury. Should it be jumping techniques, by taking them one step down say using a stepping front kick instead of a jumping one there still is much that can be worked until recovery of the injury. Or it the ankle injury prohibits spinning to perform Chinto kata’s spinning low block, you might always turn the left (the opposite direction for the Isshinryu Chinto kata, and low block. Perhaps knee injury or simple aging are makes dropping to the floor problematic or impossible, you might do the technique standing up instead. Techniques can always be taken a step back or replaced with another.



When movement in impossible you can still practice forms in your mind, and use the breathing patterns. Useful for better oxygenation on your back, from personal experience while in Cancer treatment.



Making technique variations for a form still allows you to work on he other techniques. And that is enough to work with whether the condition is temporary or permanent..



One of my students in Isshinryu and Tai Chi developed what became a life ending genetic condition. He lost control of almost all functions. However, as destabo;ozomg as that was we still were able to practice Tai Chi while seated. He was unable to pick up a glass of water without spilling it but I showed him how to flow to the glass with Tai Chi and return with it and he did. When even that proved difficult at the end we could practice the Tai Chi breathing patterns. It didn’t save his life, but enabled him to retain a quality to life that he wished for, being able to keep practicing.



Currently I face this myself. The Myasthenia Gravis I have developed affects my balance and energy often making things very difficult. So I do the best I can. My Tai Chi is still practiced but it goes quite badly for by balance make the turns very difficult, so I do the best I can, just not a very good one. My karate does better, the simpler forms are often the best. It is very challenging but my applications work quite we.. though my control where I hit Mike in the head is often less.





We have to live our art in our times.

Motobu Choki Self Defense Techniques

Being an Isshinryu practitioner, having the chance to see and practice Motobu Choki’s self defense drills and understand the shape they my have held on Shimabuku Tatsuo’s developing Isshinryu Karate is special. His son has preserved much of his father’s art for us.




Motobu no Naihanchi Shodan may well be the source of Isshinryu Karate Nihanchi kata as we too begin to the left.

Starting to the left as in the 1932 “Watashi no Karate-jitsu”









Motobu also taught this version, Nihanchi ShoDan with Motobu Chosei

starting to the right this time.







There also is Motobu-ryu Naihanchi Nidan by Motobu Chosei

Which is not found in Isshinryu but is important in the self defense techniques.







I have been unable to locate the version of Patsai (Passai) used by Motobu, but this version from one of Kyan’s students may help us see the influence on Isshinryu SunNuSu (Sunsu) Kata.

The kata PASSAI (Tomari, Oyadomari, Kyan version) performed at the Okinawa Kenritsu Budokan in front of Joen Nakazato sensei (R.I.P.) in 2009, by one of his most senior students







From these kata practices came the influence of the self defense techniques.



Motobu Chosei performing Motobu Choki 12 Self Defense technique

interspaced with photos from Motobu Choki’s 1926 book “Okinwanan Kempo Karate-jitsu”

after the techniques are shown there is a 2nd performance of the techniques.

Notice the attacker often uses two strikes, both of which must be dealt with.

Note no. 4 uses the backfist and press similar to our multiple striking drill (hint)

Note no. 8 is similar to the use of the technique in SunNuSu kata (or a Passai technique application)

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This has been cross checked against the Patrick McCarthy translation "Motobu Choki Karate My Art".
Thank you to those who have preserved and shared these video’s with us.

Advancing Studies in Kata

 The advancing study of Kata in Bushi No Te Isshinryu offers advancing training tools for our use.  One of them offers some enjoyable training, promotes use of our senses, prepares students for demonstrations, teaches consistent breathing regulation for the newer student, pushes the advancing student, and provides a framework for advanced challenges.

This in a method for using partner kata practice.

For the newer student Kata Sho is done with a partner in opposite directions. They being their rei facing each other with their right shoulders facing each other. Then as they practice the kata they move in opposite directions past each other. At first slowly to avoid collisions. They have to use their sight and hearing to know where each other is located. This drill becomes an enjoyable confidence builder and helps them not to always do the kata in one direction. The same can be done with kata Annaku.

Kata Seisan offers another choice, have the students begin with their backs facing inside a large circle. Then they try and do Seisan kata all in different directions. Again they are engaging their senses more fully. Kata Seiuchin offers this too.

For kata Seiuchin I often place the students in a diamond shaped or triangle pattern, As the form moves in new ways the points offer a new challenge to lead that section. Then make frequent changes to each students location. This is a very solid way to teach each one the tempo of the form. Yes, it will eventually be replaced in advancing training but first they learn how to use their senses to keep together.

Nihanchi kata offers another option, performing the kata in a stack formation. The one in front leads then moves to the back and the 2^nd person in now in front.

For Wansu kata, we return to facing each other, this time each directly before the other. Caution must be used for the throwing movement not to link hands. The partners arms must not be locked with yours or disaster occurs. You will find this is more tricky to make this work.

Chinto offers a more advanced challenge for the brown belt. To both keep together and to move in opposite directions on a 45 degree angle. Their senses become more fully engaged. An example of this is with Michael Cassidy and Young Lee perform the kata.

These are a few examples of this training. The possibilities are not exhausted. But with the first 10 – 15 years of training this is a useful practice. Later it becomes more engaging for the advancing black belt practice can be to try and change the pace or the speed in black belt practice and see if the rest can follow. It can also be used to duel the test and see if you can confound the others.

Yes, this is not the ‘goal’ of training but a way to engage other senses in our training. We must train the eye to see all sides and the ear to hear in all directions.

Observations on Isshinryu Kobudo

I am only speaking from my own understanding of Isshinryu Kobudo based on my 40 years of experience, My training came from Charles Murray and his time with Mr. Lewis and on Okinawa at Agena with Master Shimabuku and Shinso. I had the kata taught to me at a frantic pace. almost akin to our seniors on Okinawa.  Then I was alone training myself. The versions I was taught resembled what others at tournaments were doing but there were differences and I kept to the way I was shown.



There were no references available to me for years and perhaps my memory is faulty but I was challenged regularly by one of my seniors Reese Rigby as to my knowledge of what I was taught and he shared some performance details behind the techniques too. But the most powerful tool I had was competition against some of the strongest competitors in the US those days and powerful instructors working with me in their own arts too. I most often competed with Chantan Yara No Sai and Shi Shi No Kon No Dai, strong tools.



Nothing I was taught led me to believe the kobudo kata were more than training tools. No instructor ever claimed they were for self defense. When I developed students to train in them I worked out my own schedule for training. I would not teach them until after black belt for I felt there was too much to accomplish on the empty hand training to seriously devote to the kobudo.



But I felt weapons training was useful to prepare the brown belt. I choose to have them begin with the Bando training I had received. (first from Mr. Murray later reinforced by Mr. Rigby and one summer at the Bando summer camp in 1983. Not because it was less serious but because, for the short stick form I teach it was a practical hand held defensive technique for solid defensive traditions as well as a starter training for more serious studies later. Also every hand held object could function as a stick from our studies. Not to be confused with stick systems for stick fighting purposes.

Bushi NO Te practice of Bando Staff with Mike Cassidy

and the ½ of the Hidden Stick with Young Lee

Then I focus on the training at a far different pace than I was taught. Instead of weeks month of initial instruction was involved and then at a very gradual pace depending on the students needs and capabilities.



Most frequently beginning with Tokomeni No Kon along with further work on the Bando staff and the full short stick study.



Next would be Chantan Yara No Sai (the beginning sai study as I received it) and Urashie No Bo.


Kusanku Sai would be taught depending on the students needs. Also taught would be my personal study of Tonfa based on kata Wansu.



Advanced students would study Shi Shi No Kon No Dai and my tonfa study on Chia Fa by the film of Shimabuku Sensei (I retain that name solely not to confuse it with the Hama Higa No Tonfa form of others).



What I came to realize after 25 years of work was the Isshinryu Kobudo had a definite use by design. It was power training for empty hand development. Decades of hard Kobudo training develop muscles and fibers and neuro-musci;ar responses that compliment empty hand development. Say several decades of strong sai low blocks enhance your ability to grab an attackers hand and pull it down with identical force as the sai strikes. The use of bo, sai and tonfa combine to enhance our Isshinryu technique and the way the forms are constructed is an advantage, a force multiplier so to speak. The only other training that could compliment our studies would be the makiwara, when possible in the individual’s practice,.





Thus the mechanics of Bushi No Te Isshinryu Kobudo are not trying to imitate other weapons study. Those studies are worthy but outside of our studyl.



At the instructor level a study of Sutrisno family tanto and kama is available for finer motor control development. The bladed weapons are most serious studies.

The Kobudo of Shimabuku Tatsuo – Tonfa of Taira

We are so fortunate to have footage preserved by the Ryukyu Kobudo Hozon Shinkokai showing Taira Shinken performing the kata Hama Higa No Tonfa.

There is no doubt some version of this was the form originally taught.

But the footage we have of Shimabuku Tatsuo from 1966 shows an abbreviated version of this form.

This makes for debate, doesn’t it?



Did he forget the form?

Was he simply tired from travel to the States in 1966?

Was this a form that he was modifying?


I don't have simple answers to these questions. You are free to believe what you wish.

Today practitioners use versions of the original and /or the film version in practice. It keeps most of the original elements. In Bushi No Te Isshinryu we use the film version. Mr. Lewis didn’t study it on Okinawa in his time there and later it wasn’t part of Mr. Murray’s studies in Agena. We use the name for the form Chia Fa as the film indicates to not confuse it with the other versions.