Monday, December 16, 2019

Choshin Chibana on Age and Study




In 1899 Choshin Chibana began his study of martial arts under Ankō Itosu. Applying to be a student, Chibana was accepted for instruction. He was approximately fifteen years old at the time. Choshin Chibana studied with Ankō Itosu for thirteen years until Chibana was 28 years old.


https://grshorinryu.com/2019/04/01/chibana-choshin-the-interview-1975/

CHIBANA CHOSHIN: THE INTERVIEW (1975)

 

Interview: 

 

During the 1950’s and 1960’s the senior living expert of Okinawan karate-do was Chibana Choshin Dai Sensei (Great Teacher). Chibana Dai Sensei was born in Shuri City, Okinawa Prefecture, on June 5, 1885. On October 10, 1966 the Okinawa Karate-do Association sent a  representative to interview this living legend.

 

This article is now considered a treasure of ancient and modern Okinawan martial arts history. The original article was written in Japanese and was given to me by Nakazato Shugoro Dai Sensei in 1975.


It should also be noted that Chibana Dai Sensei was the first president of the Okinawa Karate-do Association and was ranked a Hanshi 10-Dan in Okinawa Shorin-ryu Karate-do by the Okinawa Karate-do Association. In 1957 the Dai Nippon Butokukai recognized Chibana Dai Sensei as the senior most living Okinawan karate master. He died on February 26, 1969 at the advanced age of 83 and left behind five Hanshi 9-Dans.

His senior students included the following: the late Higa Yuchoku (the first one to be promoted to Hanshi 9-Dan in 1965); Miyahira Katsuya (who started with Chibana in 1933 and is recognized as his senior, living student); the late Nakama Chozo (the oldest student who was born in 1899); the late Kinjo Kensei (who did not teach in Okinawa); and Nakazato Shugoro (the youngest Hanshi 9-Dan at age 46). The following is the translation:

An Okinawan Living Legend: Choshin Chibana of Shorinryu Karate-do

An important figure at the turn of the century was an individual named Kiyuna. It was said at that time that Kiyuna had the strength and power of Ankoh Itosu plus he was also a true expert in atemi (methods of striking the vital points). In describing Kiyuna, I will quote Yukoku Sanjin, whose real name was Taro Shimabukuro, since he was a direct student of Kiyuna:

“I received instruction from Kiyuna, who was at that time the grave keeper of the Sho family (the Okinawan royal family), from the second quarter which began in September of my first year until the mid-first quarter of my second year at the Commerce High School. Kiyuna, as I recall, would train in atemi by using old slippers made of straw and tied to trees call fukuchi-boku with the diameter of these trees ranging from 7 or 8 inches to one foot, which abundantly grew throughout Okinawa. Kiyuna often changed the punching trees since hitting only one tree would cause the tree to lose its leaves and damage the roots and also eventually kill the tree.”

Kiyuna was a gigantic figure and one could not see a person standing behind him. Kiyuna Tanmei [In the Okinawan dialect of hogen, tanmei translates as “an honorable old man.” This honorific term denotes great respect for the individual and states that this person is a man of honor and righteous character. — Ed.] continuously trained in the patsai form and the kusanku form of which he was considered an expert. He was extremely strong in all methods of atemi and fumikomi (stomp kicks with the foot sword). He was also an expert in oi-tsuki (a lunging punch), using his right side forward when the enemy used their left side forward but also changing to his left side forward when the enemy used their right side forward. Such a skill as his was far from being mastered by a small person like myself.

[Chibana stood 5’1″ and weighed approximately 136 pounds. — Ed.]

Another interesting karate expert was Kuwae Ryosei who was also known as the last student of “Bushi” Matsumura Sokon. Kuwae was a very tall individual and was noted for being a kicking expert. The modern day Kuwae family, descendants of Kuwae Ryosei, still preserve the original scroll given to Ryosei by Bushi Matsumura in the latter’s own script.

I also would like to speak of Yabu Kentsu [Yabu (1863-1937) was the acknowledged senior student of Ankoh Itosu. He was the first one to demonstrate Okinawan karate on American soil. In 1927 he demonstrated Shuri-te karate at the American-Okinawan Club located in Los Angeles, California. It should also be noted that although Yabu was promoted to the rank of 1st Lieutenant in the Japanese Army, he was fondly remembered as “the sergeant.” — Ed.] who was the senior most student of my teacher, Itosu Ankoh.  Yabu Kentsu was an ex-serviceman who had joined the military and became a sergeant during the Sino-Japanese War of 1905. Another close friend of Yabu was Hanashiro Chomo [Hanashiro (1869-1945) took over the leadership of the Itosu style upon the death of Yabu Kentsu in 1937. When Hanashiro died in 1945, Chibana Choshin then became the acknowledged successor of Ankoh Itosu. –Ed]. It was Hanashiro who was the first one to use the word karate as it is written today. He also served as a military man in the Sino-Japanese War and also earned the high rank of sergeant.

[The word karate is made up of two characters. The first character was translated as T’ang referring to the T’ang Dynasty of China and pronounced TO. The second character translated as “hand,” and was pronounced TE or DE. An alternate reading of these two characters is translated as “tode” meaning Chinese Hands. — Ed.]

After the war, Yabu taught karate at the Okinawa College of Education and Hanashiro taught at the Shuri City Senior High School. Both were at that time assistant instructors under Itosu. Although both Yabu and Hanashiro were recognized as the chief assistants under Itosu, it was both of them who did the actual teaching of karate. Itosu would often attend the classes as the senior teacher but would act more as an advisor and would occasionally correct the students arms and so forth.

Both Yabu and Hanashiro were tall and very strong figures. Yabu was about 20 years older than I, and Hanashiro was about 18 years older than I (I was born on June 5, 1885).

Another expert was Yamakawa Choto who was 7 years older than I and Tokuda Ambun (1886-1945) who one year junior to me; Gusukuma Shinpan (1890-1954) and Mabuni Kenwa (1889-1952) both were about five years younger than I. These individuals studied under Itosu for about four to five years. Tokuda and Gusukuma were both elementary school teachers in Okinawa. Tokuda died during the Second World War and Gusukuma died about seven or eight years after that war. Mabuni also passed away about fifteen years ago in the mainland (Japan proper).

An interesting personality was Kiyabu (Kyan) Chotoku (1870-1945) who was called “Chan Miguwa” (the small-eyed one). Kiyabu was born in Shuri City and moved to Kadena while still very young. He died at the age of 76 after the war. He was 15 years senior to me and was of the same age as Funakoshi Gichin.

Kiyabu studied under Shinpaku of Haku. As Kiyabu often trained with us, I came to know him fairly well. At those training meetings (which we called embukai) he would often perform such kata as chinto, patsai and his method of kusanku. He was a great expert.

Kiyabu’s chinto kata and patsai kata were considered unique. He developed his interpretation of these forms based on his extensive knowledge of the older methods of Okinawan karate. His kusanku kata originated from the lineage of Chatan Yara. He actually learned this form from Yara of Yomitan who was a direct descendant of Chatan Yara.

Kiyabu taught these forms to Taro Shimabukuro who in turn taught them to Seitoku Ishigawa. I was given instruction in both chinto and patsai kata from Ishigawa. Presently, this patsai form is now called the patsai-no-sho.

Shimabukuro Taro, who is known in the Japanese as Sanjin Yukoku, was introduced to Kiyabu by Kiyuna and studied under him for some time.

Kiyabu’s father was a Bushi who served the then King Sho Tai while he stayed in the capital city of Shuri. Kiyabu was 18 years old at that time. Kiyabu was nicknamed Chan Miguwa because he had small beetle-like eyes that were considered even too small for his little face.

Kiyabu had two students for whom he held great expectations. One was Aragaki Ankichi (1899-1929) who was nick-named Ufuyaaguwaa in the Okinawan dialect, and the other was Shimabukuro Taro (who was also known as Sanjin Yukoku by the Japanese). Shimabukuro was also nick-named Yamatoo and sometimes he was called Yaaguwaa in the Okinawan dialect.

[Up until the 1960’s it was common for an Okinawan to have an Okinawan name and a Japanese name. Usually the Japanese name was the Japanese pronunciation of the Okinawan name. To add to the confusion, Okinawans were also fond of giving nicknames to indicate special personal traits, strengths and abilities. — Ed.]

Kiyabu devoted himself to teaching these two students. He would often tell them that training in the martial arts also included drinking and womanizing and would make them do everything. He would tell them to keep in mind that the ultimate goal was to master the philosophy of the martial arts.

[Although Chibana did not consider Kiyabu as an individual of “sterling character worthy of imitating,” he did acknowledge him as an expert practitioner. With all of his obvious flaws, a drinker and womanizer, Kiyabu was an excellent fighter worthy of the name. One of his favorite sayings was “karate-jutsu in the offense is truly frightening. This is why experts avoid confrontations with each other. It cannot be avoided, one will die now and the other will die tomorrow.” — Ed.]

Kiyabu was very fond of traveling and used every opportunity when he could afford to do so. His wife was raising pigs and he took charge of selling the baby pigs so he could pocket some money to travel and visit the red-light district which used to exist nearby. Aragaki and Shimabukuro always accompanied their teacher in his travels.

He often held training classes in the martial arts (in the Ryukyu martial arts this is called embukai) at different places and even on his way to the northern most island of Japan where he went to introduce karate. On those occasions he did not use the word “embukai” but would put up a sign which read: “Martial arts training! Everyone welcomed to train!”

At one time the street fighter, Tokusampoo, unexpectedly came by their training area. Kiyabu advised Aragaki and Shimabukuro, to carefully watch this trouble maker. He told them that if Tokusampoo would challenge them or attack them in any way that it would be necessary for them to strike him to death, otherwise they would lose respect. Further, that if they did not cause his death that Tokusampoo would come back and kill them from behind.

Tokusampoo did challenge them but only with his eyes and after he saw the challenge accepted with their eyes he concluded that he might die in an open confrontation and then left. The group was never troubled again by Tokusampoo’s presence.

Kiyabu also like rooster fighting. He would often visit rooster fights with his own rooster under his arm. One day, Aragaki and Shimabukuro decided to test their teacher’s strength while they were at a rooster fight. They intentionally started a fight with several young men who were present and then ran away. The young men feeling that they had the advantage, gave chase.

Kiyabu, without knowing what had happened, ran after his two students. The young men, thinking that this old man was part of the fight, quickly attacked him with punches and kicks. Kiyabu fought with the young men using only one arm and leg. He kept his rooster under his other arm all the while.

The young men lost the fight. While Kiyabu fought with the young men, Aragaki and Shimabukuro secretly hid in the bushes to observe the fighting. After watching their teacher, both of them renewed their belief that Kiyabu was truly very strong.

Kiyabu would often mention that a weapon should be used to fight against a weapon. Aragaki and Shimabukuro thus always wore specially made geta (wooden foot wear) and would train to perfect strong foot striking techniques by jumping up and kicking a beam of a ceiling. This was a very difficult technique to master but Kiyabu was an expert in all kicking and jumping methods as were all of his students.

One evening Aragaki and Shimabukuro visited Kiyabu for an evening of training. They walked into Kiyabu’s garden with a lighted paper lantern. Kiyabu immediately said that they should not rely on a lantern, but should train their eyes so they could see in the dark. Kiyabu often had them train in the dark and on uneven ground with water sprinkled on it in an effort to make them more aware of their balance.

In addition to chinto, patsai and kusanku of Chatan Yara, Kiyabu also specialized in the kata ananku, which he learned and brought back from Taiwan (the present island of Formosa). Kiyabu taught ananku first when he was a teacher of karate at the College of Agriculture and Forestry.

Nakazato Joen, who is presently a teacher in a junior high school, is one of the few people who learned the orthodox kata ananku from the originator, Kiyabu.  Nakazato Joen is also a graduate of the College of Agriculture and Forestry and is an active teacher and originator of shorinji-ryu karate in Naha City.

[Nakazato Joen, Okinawa Shorinji-ryu Hanshi 10-Dan, is considered the senior most student of Kyan Chotoku by the All Okinawa Karate-do Association. He teaches Kyan’s original, unchanged kata: ananku, wanshu, sesan, naihanchi, patsai, chinto, kusanku and gojushiho. — Ed.]

Another individual that should be remembered is Ihaguwaa of Haku (also known in the Japanese as Iha Kotatsu) who was born in 1873 and died in 1944. He was also a teacher of Shimabukuro Taro. Shimabukuro often said this to me:

“Ihaguwaa-sensei was a descendant of a Ryukyu Bushi family. He studied under the great teachers, Hakushoo Mora (Matsumora Kosaku of Tomari-te, 1820-1898) and Shinpaku of Haku (Oyadomari Kokeu). Ihaguwaa was a considered a real fighter and was said to have left a large scar on the shoulder of Motobu Choki who was also known as Motobu Saru (Motobu the Monkey).”

Shimabukuro Taro was known for his mastery of the kata rohai and wanshu that he learned from Ihaguwaa-sensei.

Another important individual that should be remembered is Oshiro Choki. Oshiro was four years younger than I (1889-1929). He once taught karate at the High School of Industries and we were very good friends. He died at about 40 years of age and was known for his powerful practice of bo-jutsu. He studied and mastered the style of Chinen Shichanaka bo-jutsu from Chinen Yamane.

Oshiro Choki was a great master.

All my seniors and juniors are now gone. I feel very lonely.

Chibana Choshin, Hanshi 10-Dan

Chief Instructor for the

Okinawa Shorin-ryu Karate-do Association

October 10, 1966

Copyright ⓒ 2011 Ernest Estrada. All Rights Reserved.


Karate-do Taiken by Genwa Nakasone (1938):

 

Karate-do Taiken by Genwa Nakasone (1938): An Overview of Karate-do translated by Mario McKenna.

Table of Contents

Chomo Hanashiro Performing Jion
Shiroma Shimpan Performing Kata Application
Kenwa Mabuni Performing Sochin
Sochin Applications by Kenwa Mabuni and Shinken Taira
Passai Kata Performed by Choshin Chibana
Bowing Ceremony
Dagger disarming the First Seven Techniques
Shinken Taira Performing Staff Techniques: Kongo no Kata
Juhatsu Kyoda (back toward camera) teaching Karate-dó
Memorial Photograph of Dan Promotion
Takushoku University Karate Club Winter Training
Juhatsu Kyoda (Center) Leading Students
Shimpan Shiroma (Center) Leading Students
A Letter Left by the late Karate Master Anko Itosu I
A Letter Left by the late Karate Master Anko Itosu II
The Writings of Anko Itosu
‘Karate Kumite’ by Chomo Hanashiro
Photograph Commemorating the Establishment of Standardized Karate-dó Kata
Calligraphy by Gichin Funakoshi Sensei
Translator’s Acknowledgements
Foreword by Joe Swift
The Life of Genwa Nakasone by Mario McKenna
Foreword by Genwa Nakasone
The Ten Lessons of Toudi by Anko Itosu
Explanatory Words and Notes for Novice Karate-dó Students by Genwa Nakasone
Magnanimity by Soko Yamaga
Strong Commitment by Soko Yamaga
The Twenty Precepts of Karate-dó: An Explanation by Genwa Nakasone
Prepatory Training for Karate-dó by Genwa Nakasone
Karate-dó Kata and their Meaning by Shiroma Shimpan
Basic Karate-dó Kata by Genwa Nakasone
Basic Karate-dó Kata Number 1
Basic Karate-dó Kata Number 2
Basic Karate-dó Kata Number 3
Basic Karate-dó Kata Number 4
Basic Karate-dó Kata Number 5
Basic Karate-dó Kata Number 6
Basic Karate-dó Kata Number 7
Basic Karate-dó Kata Number 8
Basic Karate-dó Kata Number 9
Basic Karate-dó Kata Number 10
Basic Karate-dó Kata Number 11
Basic Karate-dó Kata Number 12
An Outline of the Kata Jion by Chomo Hanashiro
An Outline of the Aragaki-ha Kata Sochin by Kenwa Mabuni
An Outline of Passai kata(Matsumura-line) by Choshin Chibana
An Outline of the Art of the Staff: Kongo no kata (Shushi no kon) by Shinken Taira
Dagger Disarming: The First Seven Techniques by Hironori Otsuka
Tales of Karate-dó by Genwa Nakasone
About the Authors
 
Possibly the most interesting Karate book I have.

 

 
 

Friday, December 13, 2019

Ooops !



Another memory from a long time ago at a tournament if Wilkes-Barre Pa. In the black belt forms division I was competing in, there was a man from a system I regularly saw. Their forms were very complex and long.

So he was competing with this very long form, as we would define it today it would not be karate, but the judges then accepted those forms. And as it was quite long, he worked himself up during it’s performance.

Then suddenly, a bit before the planned end, the string on his gi bottom broke. The gi trousers fell, he was revealed to his wearing shorts with heart shapes on them.

Time to hit the breaks and stop, and he did.

Pulled up his trousers, retied the string. Then turned to face the judges, bowed and asked permission to begin again.

They said do so, and he did, doing his complete long form from the beginning.

I no longer remember the outcome. Of course at the time I was a bit annoyed having to watch the form again. But he completed his form, and received a score.

It did demonstrate composure, or rather grace under fire.

Now I have seen individuals break their bo when striking their side, and completing their form without a break.

I have also experienced many who forgot the next move of their form, and ask permission to begin again.

But I believe that is the first time I have seen anyone lose their pants over a form.


Wednesday, December 11, 2019

Rank and other Musings





 
I never was concerned about rank.

 
I had the same instructors for over 45 years before I stepped down. I received rank from them, each one was a greater burden or responsibility.
 
I never saw ‘rank’ as recognition for achievement, I always saw rank meaning you were to receive greater challenges or more work to be expected from me.

 
I always honored my instructors who entrusted me with my rank.

 
I  rarely discussed my rank with my students, youth or adult. Many of then never learned what rank I was, at times over years at a time. They never studied with me because of my rank, just wanting to learn which then became my responsibility.



Now ‘retired and disabled’ no one comes to me to train, or even talk about my studies. I can do very little these days, but the responsibility which my instructors awarded to me remains and my studies continue daily.

 
I acquired some knowledge of a great number of other systems of study. Some of it made its way into my students studies always because that knowledge could better help them perform Isshinryu stronger. But I never had an interest in creating a new system. I always had more important things to do than that.

 
As far as creating new systems the issue is not can it be done, rather say a brief 100 years later is anyone remembering what was created and actually still learning that system. That is the true test and applies equally to every system ever created.

 
And then Master or Grand Master. The whole idea of titles and the arts.

 
I find the idea difficult to say best. Perhaps an idea about them I put together many years ago no, might be a response.

 
I considered if anyone remembered an instructor after they were deceased 25 years, then they were probably a Master. And then if anyone remembered an instructor after they were deceased 50 years, then they were probably a Grand Master.

 
I for one do not look forward to such an achievement, of course I would then be deceased and would no longer care.
 

I find much irony in such discussions,

Monday, December 9, 2019

A glimpse of Shirman Shimpan in Nakasone's "Karate-Do Taiken"


When I talked about Genwa Nakasone’s book “Karate-Do Taiken” I forgot that a year ago I wrote a bit about Shimpan Shiroma and his contribution on the use of karate technique. This is what I posted, and I have added a photo from the book. In the body of the piece these discussions were accompanied with diagrams.

Thought these words by Shiroma Shimpan from the 1938 Nakasone text Karate Do Taiken might be more interesting than talking about something carved on a monument on Okinawa. He wrote:

 9. Use of the right knee parry of a right kick (interior line of defense) and a left knee parry against a right kick, then place the left foot down (spinning off the attacker) and double palm strike to their spine (exterior line of defense).

 

Alberto Cruz Photos are not in the right order, Japanese books are read from right to left but also the lower right photo must go in the top right and vice versa with the other photo
 
V
ictor Donald Smith The more interesting thing was he was a student I believe of Itosu, one of the original instructors of youth in the Okinawan schools, and what he wrote about the use of karate technique crossed systems, even incorporating discussion about Sanchin, Apparently in his time Okinawan karate was not thought of as being style specific (of course my assumption).

Sunday, December 8, 2019

An idea what to read



There are times I really wonder if many really take the time to read the books written in the 1930’s, when a sincere effort was made to explain Okinawan karate to the Japanese martial order, and is the closest most of us can come to getting direct source material. I so rarely find anyone discussing these works.

Now some of them are available only in Japanese, but even for those books the illustrations are extremely revealing. Others have been translated into English (by McCarthy, Swift, McKenna and others), and I know some have bought them, but I wonder if more to glance through and then placed on a shelf.

There are such wonders contained therein, often presenting a clearer picture of older karate by individuals who lived it.

One such book is the 1938 publication by Nakasone, “Karate Do Taiken”.

Then in English we have Mario McKenna’s translation of the book translated title “An Overview of Karate”

The table of contents might give you an idea what is there.

Chomo Hanashiro Performing Jion
Shiroma Shimpan Performing Kata Application
Kenwa Mabuni Performing Sochin
Sochin Applications by Kenwa Mabuni and Shinken Taira
Passai Kata Performed by Choshin Chibana
Bowing Ceremony
Dagger disarming the First Seven Techniques
Shinken Taira Performing Staff Techniques: Kongo no Kata
Juhatsu Kyoda (back toward camera) teaching Karate-dó
Memorial Photograph of Dan Promotion
Takushoku University Karate Club Winter Training
Juhatsu Kyoda (Center) Leading Students
Shimpan Shiroma (Center) Leading Students
A Letter Left by the late Karate Master Anko Itosu I
A Letter Left by the late Karate Master Anko Itosu II
The Writings of Anko Itosu
‘Karate Kumite’ by Chomo Hanashiro
Photograph Commemorating the Establishment of Standardized Karate-dó Kata
Calligraphy by Gichin Funakoshi Sensei
The Life of Genwa Nakasone by Mario McKenna
Foreword by Genwa Nakasone
The Ten Lessons of Toudi by Anko Itosu
Explanatory Words and Notes for Novice Karate-dó Students by Genwa Nakasone
Magnanimity by Soko Yamaga
Strong Commitment by Soko Yamaga
The Twenty Precepts of Karate-dó: An Explanation by Genwa Nakasone
Prepatory Training for Karate-dó by Genwa Nakasone
Karate-dó Kata and their Meaning by Shiroma Shimpan
Basic Karate-dó Kata by Genwa Nakasone
Basic Karate-dó Kata Number 1
Basic Karate-dó Kata Number 2
Basic Karate-dó Kata Number 3
Basic Karate-dó Kata Number 4
Basic Karate-dó Kata Number 5
Basic Karate-dó Kata Number 6
Basic Karate-dó Kata Number 7
Basic Karate-dó Kata Number 8
Basic Karate-dó Kata Number 9
Basic Karate-dó Kata Number 10
Basic Karate-dó Kata Number 11
Basic Karate-dó Kata Number 12
An Outline of the Kata Jion by Chomo Hanashiro
An Outline of the Aragaki-ha Kata Sochin by Kenwa Mabuni
An Outline of Passai kata(Matsumura-line) by Choshin Chibana
An Outline of the Art of the Staff: Kongo no kata (Shushi no kon) by Shinken Taira
Dagger Disarming: The First Seven Techniques by Hironori Otsuka
Tales of Karate-dó by Genwa Nakasone

It is probably one of the best glimpses in the range of Karate at that time.
Of course it is more aligned to the karate that descended from Itosu lineage, IMO.
But there are other works from that same period that answer many other lineages too.
I have just thought of a new way to look at the Shimpan Shiroma material in the book, and am working on that.

Let me offer one example, I know you have seen this photo many times but did you realize the context of it.

Shimpan Shiroma (Center) Leading Students
in Karate Practice from Shuri Students First Elementary School at Shuri Castle
 

Friday, December 6, 2019

An Aikido mystery posed by Hiroshi Tada


 


 

There is so much I don’t know, then I read something else and ideas come into my head. That does not make them true, but with effort thought might open a glimpse of reality.

 

Specifically I was reading The Aikido Journal from 1884 vol 21 no 4. The article on Hiroshi Tada when his response to a question gave an answer I had never heard before.

 

The interviewer:  “I’ve heard that before the war and during the Iwama period, when performing suwariwaza Ikkyo which is one of our most fundamental aikido techniques, Ueshiba Sensei would bive the opponent a chance to attack, but rather initiated the movement by sending forth his own ki…”

 

Tawada :  “That was known as the “cultivation of magnetism”. It involved a keen sense of kokyu that draws the opponent out like a piece of steel being instantly attracted by a magnet.

 


 

There are three situations: you move first, you and your partner move simultaneously, your partner moved first, The technique is the same for all of these, really, what is important in the end if the sort of state you maintain inside.

 

If you look only at the outside form – for example, if you view techniques only as a means of self defense – then you won’t be able to understand their overall meaning.

 

They have to do with ki, not just the simple interaction of two physical bodies. Training is like a mirror reflecting your sensitivity to ki. The clearness of the mirror is the most important issue.”

 

I do not think I have heard of this previously, but it does cause me to wonder.

 
 
Then I found another description of this process in an interview with Kazuo Chiba in the Aikido Journal of 1995 volume 22 Number 1. Kazuo Chiba had been an uchideshi for Ueshiba Sensei for 7 years.
Interviewer: “Now would you describe O-Sensei’s ‘energy”?”
Chiba: “It was like being pressed by some invisible force. O-Sensei used to tell us to strike at him with a bokken at any time,  Whenever he stopped and turned to speak to his audience seem a good chance to do so, since he wasn’t looking our way at all, but even then nobody tried to strike at him. He simply had no openings. He wasn’t looking at us, but we could feel him holding us fast with just his ki.  It used to make me brek out in an oily sweat, so that I could hardly keep a grip on my bokken.
 
Still, as his opponents we would keep at it, gradually trying to close the distance. Then, for an instant, an opening would appear. O-Sensei created small openings deliberately to help with our powers of perception. He wouldn’t use people who could demonstrate the ability to perceive such openings.
 
The instant O-Sensei slightly relaxed the intensity of his kuokyo power we would rush in with an attack, but he was already gone. For that reason it looked pre-arranged. Actually O-Sensei was already moving by the time we began our attack. We were just too slow to or lacked the ability to perceive it. I find that sort of thing extremely interesting.
 
O-Sensei said that true budo should be executed so skillfull that it looks pre-arranged. He said it is not real budo if you begin your movements only after the strike is in motion. It’s only the real thing if it looks set up to outside observers.”

The closest I ever came to experiencing this was when I was training with Charles Murray. When sparring with him whenever I began an attack he would just dance away, always out of range of my attack. Or conversely he could dance in on whatever attack I was using and score on me, and I was inable to stop those attacks. It was a very difficult time for I was never able to hit him then, but he literally score on me at will. I suffered more than a few dings.
 
I thought he was rough on me, but one time he was able to make a tournament at the Redding Field House. I had competed in forms and weapons earlier as a brown belt. When he got there after changing he asked me to warm him up for his division. Where I thought he was tough on me, that time he was so focused that I felt I was facing a diamond. He had a theory behind what he did, teaching the theory to me, but our time together was simply too short for me to get it, I was what I was after all.
 
Does this description match those discussions of Ueshiba’s abilities. Not sure it was just what I experienced.
 


The Instructor I trained with in pre 1930s Shotokan, pre1930s Aikido and Tjimande was extremely explosive when he fought. Part of that was the extensive drills in his art (of which I only saw a few) that provided training unlike what others do for kumite. But I wonder another of his practices touches on the practice of Ueshiba described above.

 

I have written before of his practice of his art, at 3rd dan they switch over to reverse breathing. Inhaling on the strike, Exhaling on the following move. I have not found another practice which does this except his training program.

 

While this was explained to me, I was not so trained. Of course I was not a 3rd dan in his practice.

 

I tried to theorize what this accomplished. My best guess was that hearing accompanied this practice. If one is taught that strikes are done on the exhale, there is also IMO a subconscious component where one hears the exhale of the opponent causing one to anticipate an attack. On the other hand if the attack now accompanies an Inhalation…. That allows one to subtly mislead an opponent, providing and other opening to use advantageously.

 

Now I am wondering if this was a karate way to tap into what Ueshiba was doing?

 

Frankly none of the incredible martial artists I have trained with ever discussed the use of Ki or Chi. Always their discussions were around physical technical discussions. My t’ai chi instructor was no different. Over the decdes all of our discussions were pure technique, never was Chi mentioned.

 

I have read many times people describing Ki of Chi, but none of those words moved me to action or personal understanding.

 

Also frankly the existence and study of a specific manner of breathing in t’ai chi. The knowledge that this karate system chaged to reverse breathing, all of that contributed to my own study of the manner of breathing.

 

But this is something new to ponder.

 


 

suwariwaza Ikkyo-

Suwariwaza is the training where both tori and uke are seated on the floor, and walking on their knees. It comes from samurai days. The Japanese warrior neeeded to train defense from when seated. Nowadays, other advantages with suwariwaza emerge: it's great for learning to be balanced and stable, and to economize one's movements.

 Ikkyo is the first technique of aikido. That's even what its name means. Sort of an introduction to aikido, at least to its pinning techniques, in the continued count of nikyo, sankyo and so on.