Do you remember when we had adult class Every Thanksgiving morning?

 

The full Moon on Okinawa November 2021

Understanding what Sherman Harrill shared.

 

 

In 1995 Garry Gerossie who lived north of me in New Hampshire, looked me up to invite me to a clinic he was hosting by his instructor Sherman Harrill. It was because Sherman had trained on Okinawa alongside my instructor Tom Lewis.

 

I had never heard of Sherman but I went to that clinic and was blown away.

I had been working on potential uses for Isshinryu technique for about 7 years at that time, and had made progress. But meeting Sherman was a jump of 40 years he had spent on that process.

 

For he next 10 years I hosted clinics and attended others in Rhode Island and in Massachusetts. About 80 hours worth. But when Sherman passed away in 2005 I went through my notes and private videos Sherman allowed me to make and wrote up 800 potential kata application uses he had shared, and a who lot of other stuff. I combined them in my personal Sherm Pedia.

 

Five years later I finally met John Kerker  and for the next 10 years I was able to attend 10 annual clinics with him in Chicopee Mass. Out time was always too short however John expanded on many details Sherman made privately to me. I gained even deeper understanding of what being Sherman’s student would have been like.

 

Now let me make in clear I never was a student of Sherman Harrill. Unfortunately I could never travel to Carson and train with him. Working to understand what Sherman shared is nothing like being his direct student.

 

Perhaps I can expand on that. Sherman once privately explained to me that what he shared at those clinics was not how he taught his students.

 

He was focusing on kata technique possible applications, ad nasaum.

 

It was not how he taught his direct students,  For one thing he did not really know those clinic attendees capabilities. Because of that, while what he shared was real, there was also a great number of things he was holding back.  So he was sharing a bit of what he worked on. More than any clinic attendee could remember, but nothing approaching the whole.

 

An example came from when I met John Kerker, At that clinic he blasted his partner over and over, hitting him harder than I had ever seen anyone be struck repeatedly and always his partner was able to get back up and begin again.

 

Another time John explained that there was not a square inch of the dojo floor Sherman had not dropped him on hundreds of times. And each time after doing so Sherman expected John to get back up and do the same to him.

 

That is a level of intensity that was never possible at those clinics.

 

And there so much more, John explained that all Sherman’s students did not train with that intensity. They had to choose for themselves that they wanted to train that way, for it involved much pain. I guess it meant there were different levels of Sherman’s training.

 

That is just my opening explanation.

 

For I just found a video of Sherman Harrill showing some uses for the opening of Seisan kata. It is shared on You Tube by Michael Calandra   And shows some uses for the opening movements of Seisan kata.

 

https://www.youtube.com/watch?v=ZRa2U40B4hs

 

Sherman Harrill Sensei and Mike Best as Uki

 

It serves as a great example of how Sherman worked out kata application potential (uses). Offering 9 different examples for that one movement section of the kata. And I am sure Sherman had endless other application potential in his memory.

 

First seeing a video does not in itself mean much, it is too easy to move on and what is seen becomes vapor-ware. In a sense the same as experiencing those same techniques in a clinic and not working on them.. for many reasons.

 

Unless you are an instructor you probably have little say in your training program and without continual reinforcement of what you saw that does not help you remember how to work the technique. Not saying there is no value to your being exposed to those possibilities. But that is a different issue.

 

And even if you are an instructor it is often not easy to add great material to your already structured training program. In fact even when I picked up incredible technique applications it often would be 5 or more years before I could introduce it into my program, simply because I believe in the value of what I was teaching.

 

Then there is the reality that learning a kata application has a potential application is one thing. Having the work to make that application potential an application realization that can actually work is a very different project all together. That is a much more involved sort of training.

 

The most important part of the process of acquiring valuable information via clinic or video is that there is more involved to truly actualize that technique in your life.

 

What I found is to make notes of the experience. Yes a video can be view over and over, but frequently it is not watched that way.  The most valuable thing you can do is to takes notes of what you remember. That performs a time binding function in your brain. Those notes can highlights details to remember. Something to refer to as time passes. Another guide in your journey.

 

So this is how I view what Sherman shared on the opening of Seisan kata.

 

The attacker is stepping forward with his right foot and going to deliver a right strike.

 

As Sherman goes to open the Seisan technique he first crosses his arms before him, the right arm on top. Then he steps out with his left foot and performs a left side block, while simultaneously his right hand chambers at his side. Then strikes into the opponents solar plexus with his right fist. Sherman uses all those motions in his examples.

 

First Sherman is showing what would be the standard answer as to what the first technique would be.

1.    Sherman steps out with his left foot while delivering a left side strike/block to the attackers arm. Then he delivers a right strike into the attacker’s solar plexus.

 

 

But Sherman is showing how he utilized the crossing of the arms as the initial technique to Seisan.

 

 

2.    If the opponents strike comes in higher Sherman uses the initial crossing of the arms to deliver a rising strike into the opponent arm and at the same time strikes with his left fist into the opponents lower right abdomen. In effect a simultaneous double strike. Then his right hand slices down to become a block in the opponents following right punch, followed by a right strike to the opponents solar plexus from chamber.

 

3.    Then Sherman shows how the strikes from the crossing of the arms from the kata is used when shifting one’s centerline to cross the attackers arm at 45 degrees. Then the rising right punch strikes into their attacking right arm while the left strikes into the right side of their chest at the same time.

 

4.    Then Sherman works another variation on that theme. This time the left open hand is raised to move alongside their oncoming fist, while the right hand (using the ridge of knuckles) to strike into their wrist, causing intense pain. To be followed by a right front kick into their left inner thigh, at the same time a right fist strike is delivered into their right side ribs.

 

5.    This time as their strike comes in you step out slightly with your right foot and shift your center line to cross their strike at 45 degrees. Your right rising hand strikes into their arm above the elbow while your left hand strikes into their armpit. Then your right hand while slashing down as you chamber (which could slice into a striking opponents left punch). At the same time you deliver a left low slicing strike into the inside of their right leg, to be followed by a right strike to their solar plexus.

 

6.    As the opponent strikes forward, step forward your self inside their line of attack, delivering a simultaneous strike to their jaw with your right as you also strike into their abdomen with your left fist. Then you strike with your left arm (side block as another use) into the side of their face. Your right hand drops to chamber and then strikes into their solar plexus.

 

7.    This time you first use the X of the crossing hands. As they strike your right hand strikes atop their biceps and your left hand strikes down. This uses the  bottom of the X to trap their arm. Then instantly you raise your left arm and pull your right arm slightly back drawing them slightly forward. That motion bends their arm back, and forces them further downward from that lock. Your right hand can then strike into the side of their neck. 

 

8.    Sherman then shows the same motion but this time the left strikes across the forearm of the attackers strike, while the right punch strikes into their triceps from the bottom. This also forms the X block that can pull them forward and down with a bent back arm lock to finish the movement with a right strike into the side of their head.

 

9.    Then Sherman uses the same motions as in no. 8 to a left strike with the attacker stepping forward with their left foot.     Again they are bent down to their rear from the side as the arm lock is formed. To finish them with a right strike to their head.

 

10.                       As the attacker comes in from the right, your left arm strikes down across their wrist towards your center line. At the same time your right strikes across their biceps just above their elbow. From there your left arm rolls their arm back and up to form a lock using the chambers of your right arm as the fulcrum of that lock. Forming that lock moves them forward and to bend over from that lock to then allow your right punch into the back side of their head.

 

I am sure this is not everything Sherman saw, but it is a good example of what he explored into every motion of any kata movement.

 

And only when you have a clear idea of any movement application potential (and that is a task of its own) can you move into the greater study. That being how to reach the application realization to actually trust that movement against a solid attack (which may not be the same attack where the application potential is shown against).

 

You must work against stronger then more random attacks to work towards application realization.

 

I have seen this from several different instructors programs. To the uniformed it often seems brutal, but the instructor is sharing what worked for them. I believe it is a necessity to move forward.

 

I would not suggest my description of Sherman sharing is the best description of what he is doing.  I suggest you write your own descriptions, they will make more sense to you.

 

May you move forward in comprehension!

 

School Karate on Okinawa

 Translated from Japanese into English with Bing Translate.

https://hubokinawa.jp/archives/10565?fbclid=IwAR0Q-wlR-Se4_0hq5x9hbjod_VKty7vKB2tCfh7fhynV4L76E-Gr0Bo4gIU

1937 Karate Enbu at Daiji Junior High School in Okinawa Prefecture

 

　In the past, karate was not learned by everyone. Karate and hand (tee) that existed as a self-defense martial art to protect the royal family of the Ryukyu Kingdom were martial arts that were transmitted only to a limited number of people.

 

 

As an opportunity for the introduction of physical education classes to the general public

 

In Okinawa, karate was introduced as a physical education class for school education in the Meiji era, and it is said that it is an opportunity to spread to the general public. The first school was established in Okinawa in 1880, and gymnastics classes began in 1885. Karate began in 1905 under the guidance of Yasutsune Itosu at a junior high school in Okinawa Prefecture. Itosu Yasutsune brought together five forms of "Heian" in order to teach and disseminate the forms transmitted from the old school to young students. This is a systematized physical education technique except for the dangerous technique of the key point attack.

 

From the Meiji period, famous karate artists such as Itosu Yasutsune, Higashi-Onna Kanshu, Miyagi Nagajun, Hanashiro Nagamo, Funakoshi Yoshichin, Joma Mamotsu, Kyoda Shigeaki, Tokuda Yasufumi, etc. provided karate guidance at the school, and in the Taisho period, many karate artists worked as martial arts teachers at Okinawa Prefectural Daiichi Junior High School, Okinawa Prefectural Normal School, Okinawa Prefectural Normal School, Okinawa Prefectural Industrial School, Naha City Commercial School, and Okinawa Prefectural Agriculture and Forestry School. After that, it is said that events such as sports festivals and arts festivals were frequently presented outside of classes, and it became the basis for the spread of karate in Okinawa.

 

After the war, Yutaka Kinjo (1919-2015), who was instrumental in spreading karate on the mainland, entered Okinawa Prefectural Daiichi Junior High School in 1931 and studied under Yasufumi Tokuda, an advisor to the Karate Department at the time. At that time, there was no karate clothing, and it was performed in gym clothes. Karate clothes were made using judo clothes as a model, and as for road clothes, it was transmitted from the mainland to Okinawa contrary to karate.

From the Okinawa Daiichi Junior High School Graduation Commemorative Photo Album (1948), Dr. Yasufumi Tokuda and Yutaka Kinjo (2nd from right standing)

 

　It was due to such a series of flows that there were many educators and teachers in karate artists who had played a leading role in the Okinawa karate world after the war.

 

 

There are many teachers who can teach karate at school sites.

　Next year, 2022 marks the 100th anniversary of Funakoshi Yoshichin's introduction of karate to the mainland. On the mainland, Yoshichin Funakoshi taught mainly at universities and became popular. Therefore, karate spread from the school site called junior high school in Okinawa and university in the mainland.

 

 

With regard to martial arts education in schools, it seems to be fresh in my memory that the Ministry of Education introduced karate in addition to kendo and judo as a compulsory physical education correction section at 10,400 junior high schools nationwide since 2012 with the aim of becoming more familiar with japan's unique traditions and culture through martial arts. Currently, there are more than 180 schools as of its introduction in 2012. By 2020, there will be more than 400 schools, and by the end of FISCAL 2023, we have more than doubled the target of implementation at 900 schools.

 

 

However, this does not reach as many as 10 percent of the whole even if it sees nationwide. In comparison, 135 junior high schools in Okinawa Prefecture were implemented in 2019, and there are more than 90% of junior high schools in the prefecture. The reason may be that there are many teachers in Okinawa who can teach karate at school sites.

 

　Karate initiatives at Konan Gakuen (junior high school and high school), which are also known for baseball Koshien, are particularly famous, and there is a karate dojo in the school where the karate club is in the middle and high schools, and it is said that students will wear karate like a black belt (first dan) when graduating. Ryo Kitana, a karate and men's gold medalist at the Tokyo Olympics, is a graduate of Konan High School. By the way, former boxing world champion Gushiken High School is also from Konan High School. Even now, karate instructors are dispatched as lecturers from dojos in each prefecture of the All Japan Karate Federation during physical education karate classes.

 

My junior high school days

 

　Finally, I would like to introduce my memories of my first year of junior high school (1981). The boy will do the form of karate by the school year event of the athletic meet. The first junior high school in Matsudo City, Chiba Prefecture, where I attended, was a mammoth school with 15 classes in the first grade. About 240 people performed a group karate program, but the jacket of the physical education clothes was taken off, and Hachimaki was wrapped around the head barefoot. This figure is almost the same as the karate class (enbu) of Okinawa Prefectural Dai-ni Junior High School left in the early Showa era.

1981 Sports Day 1 Junior High School in Matsudo City, Chiba Prefecture Front row right author (Aihara)

 

　The author had learned Okinawa orthodox karate of Toyama Hirokenden from the third grade of elementary school, and had just taken the black belt (first step supplement) in the summer before the athletic meet. Two of my friends who went to the karate class like myself were generals, so I rolled a long Hachimaki on my head and took the lead. The shape moved one movement according to the sound of the drum, and the spirit was put in each movement. The first-year men's group karate "Fire Dragon" originated from junior high school physical education classes in Okinawa.

 

 

In Okinawa, there are many opportunities to touch karate on a daily basis at school events, festivals, weddings, etc., including classes, which is different from the mainland. The Tokyo Olympics lasted to make karate known all over the world. Karate classes based on martial arts education in junior high schools will be a familiar opportunity to actually experience karate. I want you to find out the fun of karate from there and continue it for the life.

Become the Ghost

 

Every year at Halloween we have some special training, based on very serious black belt studies.  It is how to disappear before an attacker. Not by magic, but based on the principle most attackers believe they know where you are, and because they know where you are, they aren’t really looking at you. So you move to where they are not looking and disappear before their eyes.

 

In ancient Japanese legends there are stories that Goblins taught these techniques to ancient warriors. They are called ‘Tengu Ashi’ which translates into ‘Goblin Steps’ or translated into more modern English “Ghost Techniques”.

 

While today Okinawa is part of Japan, not so in the distant past, yet part of karate is based on the same principles.

 

As I mentioned this is a very serious Black Belt study, but we are going to look at the first steps tonight.

 

Ghost Techniques or How Not To Be There.

 

For this practice each attack the attacker steps forward with their right foot and throws a right punch at your center line.

 

1.     The first Ghost Technique involves stepping back from an attack.

 

Right foot steps back with a crescent step, avoiding the strike.

 

2.     The second Ghost Technique involves side stepping from an attack.

 

Step to the left side with your left foot, Slide your right foot over and parry with your right hand sweeping right, your left hand held at your solar plexus.

 

Or

 

Step to the right side with your right foot. Slide your left foot over and parry with your left hand sweeping left, your right hand held at your solar plexus.

 

3.     The third Ghost Technique involves stepping away with a surprise technique and walking away.

 

Step with the left foot ot 45 degrees left (away from the strike), spin counter-clockwise with your right foot, then walk away on the diagonal line.

Of course if there is time, you can practice doing this to the right, using mirror image of the first technique.

 

4.     The final Ghost Technique involved stepping forward outside the attack, then stepping forward with the other foot and spinning so you are behind the attacker.

a.     Then you can Moon Walk away from them, and avoid conflict.

b.     Or if tightly done, end up behind them to counter their attack from the superior position.

 

Step forward with the left foot (as close to their strike as possible), then crescent step forward with your right foot (placing it behind their position), spin clockwise with your  left foot to end up behind their back.

 

This  can be done paired, to work on the movement and to work towards increasing speed, After the spin movement, both people slap hands together. It almost becomes a duel to see who can do it faster, Using the slap to strike their body instead of their hands where both are using the same speed,

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Season of the Ghost

 

First you see him (or her) then you don't as the Ghost disappears before your
eyes. The days grow shorter, daylight too disappears before our eyes.

This is the season of the Ghost technique.

I find our true worth rests with our friends. My closest friend is Ernie
Rothrock a martial artists who resides outside of Pittsburgh, Penna. We all
walk many paths, his represent an incredible number of studies. I've been
fortunate that he is my instructor as well as my friend. As students go I'm
certainly one of the least he's trained. But as a friend he has shown me
depths I would have never found without his guidance.

One of the most fascinating concepts which I've been exposed to from our
friendship is that of the Ghost technique. The ability to disappear in plain
sight of your enemies. This can become true magic.

Now it didn't happen because he took me aside and drilled me in the secrets.
In fact, I did it the old fashioned way (a la 'Five Fingers of Death').
Several decades ago he trusted me with a copy of an advanced manual for his
senior students. The 'Fire Dragon Martial Arts Advanced Training Manuel',
and therein was a page describing Ghost Techniques.

I was training in a variety of Chinese Forms from many differing systems in
order to obtain an overview of the Chinese Martial Arts. This was in addition
to my Yang Tai Chi Chaun studies with him. We did discuss some of the
concepts of that manual, but as with many texts, it went on my self and sat
for quite a few years.

I came to understand the basic concept of the Ghost Technique. In my words,
you are using the focused awareness of your attacker to his or her
disadvantage. The attacker attacks you where they know you are. Unless
highly trained themselves, that focused knowledge can work against them if
you shift away from where they 'know' you are so you aren't there.

No, its not magic, in fact I'm sure most of you have studies which parallel
that training. In Japanese terminology it's the use of Tai Sabaki (body
shifting) to evade the attacker.

Well one evening after I had moved to New Hampshire I was moved to review
Ernie's manual. I started working through the techniques descriptions in my
head, and decided that I should give this a try the next class. I decided on
what I would try ( and it wasn't exactly as his manual described), and the
next class I had a student attack me with a punch. He attacked, I moved and
shifted and before he stopped moving I was standing 15 feet behind him. The
rest of the group was falling down laughing from the expression on his face
asking 'where did he go?', for as far as he was concerned I had disappeared,
right in front of him.

Focused awareness is an interesting thing. Trevor Legett in his fascinating
study "Zen and the Ways", describes the concept of Isshin (focused awareness)
and Zanshin (wider awareness). [Forgive my very short description.] The
perfect martial artists (IMVHO) would have both at the same time. Isshin
focusing on the immediate task, and Zanshin to focus on the wider picture,
too.

The funny thing, most attackers aren't that well trained, and their focus on
you as the object of the attack, can be used with Ghost Techniques against
them.

Once I understood Ernie's concept, I began to find examples everywhere. When
I had a course in wrestling in college, I had learned to pull a whizzer, and
spin out and away from someone riding me. A ghost technique.

Tris Sutrisno, in one of our early training sessions, used a technique
against a punch (or a grab) of just moving slightly back, to be a hair away
from the foucs of the opponents attack (a somewhat similar concept is
contained within Ernie Rothrocks form "Lung Lek Kuen - Supple Dragon"). They
attack where you are, but as you are no longer there, they shift slightly
forward into the space you created, and that creates an opening to be
utilized. Heck I forgot, the same concept is found within the opening
section of the Yang 2 person set demonstrated by Dr. Yang Jwing-Ming in his
2nd volume of Advanced Tai Chi. There, against an attack, you simply step
back creating a void that pulls the attacker into the opening, creating the
opening for your counter attack.

An attacker rushes you. Your response is to step aside and counter with an
Isshinryu squat kick into their abdomen. They rush where you are, you
sidestep out of their awareness, the ghost technique, and you respond by
kicking into their entry into that void.

Of course, these are but several basic choices available to the Ghost.

Take the turning potential in kata, such as Chinto, Kusanku or Seipai to name
a few, and use that turning to evade, control or set up the opponent. That
is the beginning of advanced ghost techniques.
I can give some other hints.

You might consider how the application of the evasions of Aikido techniques
represent the Ghost. Correct entry into the Heaven and Earth Flow against an
attack is among the highest levels of Ghost Technique.

If you have M. Nakayama's Best Karate Series Volume 3, Kumite I, check out
page 114 for penetrating tai sabaki.

Of course the highest level I personally experienced, was when Tris Sutrisno
disappeared before my eyes when I was trying to strike him. His response was
to stand on my shoulders, before I finished moving forward, jump off with a
flip side technique to my face and land with a grin. Personally that was one
of the true scary moments I've faced in my life, for I had no idea how he got
up there, and None of his Black Belts in attendance watching the whole thing,
understood how he did it either. Full disappearance before everybody. [I'm
sure I'll live to regret mentioning this again, most likely giving Ernie some
idea of trying something else new on me. Would that I could disappear myself
when needed.]

In many senses this might be among the highest level of our arts. It makes
more sense not to be there when attacked, than to be the toughest monkey on
the block.

I don't think I've ever asked Ernie where the term Ghost Technique came from.
I've often wondered whether it was related to the Ninjutsu techniques of
Tengu Ashi (Demon Steps) where at least the concepts of the names sound
similar to me.

I don't think I'll be any more open about these techniques at this time.
Certainly I wouldn't give out Ernie's own as that is his right. And my own
studies, well I'm getting older, slower and creaking. I've got to keep
something up my sleeve, at least for now.

What I will do is close with a similar concept from "The Sword & the Mind,
translated with an introduction and notes by Hirotaki Sati. This comes from
the Heiho Kaiden Sho (Family Transmitted ook on Swordsmanship) from the
1500's and the 1600's of Japan. There in there is a section of scrolls titled
"The Goblin's Selection: Eight in All". Pae 43.

"Tehiki (also know as Eiibo): Entrapment

When parrying appears to be leading nowhere, feign sudden withdrawal by
lowering your fists. The moment the opponent takes the bait and strikes at
your fists, quickly reverse the positions of your feet, forward and backward,
jerk your fists to the right to dodge the coming blow, and strike to his
fists."

Yet another vision of the Goblin or Ghost.

To close from Tom Stoppard's "Rosencrantz and Guilderstern are Dead"

"Rosen…..Guilder….. Well, now you see me and now you ………….."

Prior blog posts on this subject:

 https://isshin-concentration.blogspot.com/2008/10/ghost-techniques-for-season.html

 

https://isshin-concentration.blogspot.com/2009/11/conversation-with-ghost.html

 

https://isshin-concentration.blogspot.com/2012/10/some-thoughts-on-ghost-techniques.html

 

https://isshin-concentration.blogspot.com/2015/10/just-step-back-simplest-of-ghost.html

 

 

Tales for the Halloween Season

 

A Karate Camp Horror Story 

I have seen this happen and heard of this happening. Let me relate the first version of a Karate (Martial Arts) summer camp. It is not related to a specific style, rather the differences between modern karate training mixing with older days.

 

Itoman Morinobu describes of older Toudi training. Filled with much richer training practices of years past. When training might have taken place in forests or outside of a formal dojo. When environmental conditions were taken into account for technique selection. Likewise low level lighting was taken into account, from those days before modern lighting. It doesn’ suggest tolally dojo training and lighting of today’s schools.

 

One summer this school held an annual summer training at a campground. One of their drills was a ‘Ninja’ war game in the dark. Sneaking about, attacking the others in the ‘other’ group.

 

Well one dark night they played their game. One of the students was doing their best to be stealthy. Then they observed someone crouching down by a tree.

 

They did not appear aware of him. So he snuck up and got in range. Still they did not turn. They were unaware.

  

So he used his best front kick, and kicked toward the opponent. Then they began screaming bloody murder.

 

The opponent hiding in the dark, was a boulder. And they broke their leg.

 

Their training did not cover observing what they saw. A big mistake.

 

What was meant to be a fun drill, turned into an expensive stay in the hospital, rehab and all the rest.

 

As I have said I have other examples.

 

Instructors should be more careful, I would suggest.

 

 

The instructor should be wary

 

A friend of mine, just completed teaching a beginners private lesson. This was back in the early days of the Kung Fu tv show.

 

There were some potential students at the school door, so he began to walk across the school to greet them. Not thinking about the other beginner who had finished his lesson.

 

The beginner having watched too many Kung Fu episodes, thought that he was to unexpectedly attack the instructor to learn a further lesson He kicked the instructor in the leg from behind.

 

He broke the instructors leg, and it was a year before the cast was removed.

 

Lesson. Never take your eyes off a beginner.

 

 

 

The Dexter

 

Long, long ago there was a beginner names Dexter.

 

One class he was having a difficult time with one drill.

 

It was stepping and throwing a reverse uppercut.

 

Finally the instructor told him to leave the group and move before the mirror and work on the uppercut as if he was striking into his own jaw.

 

Then the class continued.

 

Later the instructor looked back at Dexter, and his jaw dropped.

 

For Dexter was striking into his own jaw with each uppercut thrown.

 

Never, take your eyes off  a beginner.

 

*the names have been changed to protect the guilty.

Time passes but the passion does not wither.

  

 

Last night while I was waiting for sleep to fall, a memory of a clinic Ernie Rothrock gave to my students long ago, when he was paying a visit with me, came to mind.

 

I am sure I filmed it but one technique form a clinic is almost impossible to locate and now I only have me memory to guide me.

 

It was a most interesting application, from his Northern Mantis studies. Where moving outside an attack. One hand flowed down across the attacking arm and the other arm became a rising forearm strike in to the attacking limb. Where the one hand drew that limb down the other delivering a rising forearm strike into that limb, hyper-extending the elbow and causing much pain for the attacker.

 

Just a one off technique among so many other techniques covered that day. Still, I remember it clearly as I saw it I saw so many possibilities.

 

I am sure Mike and Young remember it as well as I do.  However, one seen set aside for the most part.

 

So retired, disabled and old, I have not left my studies of my Isshinryu aside, they keep rattling around. And last night I put 2 and 2 together and found another thing I had never been shown or thought of previously.

 

When we learn the shape of a kata, it often controls what we believe those techniques can be used for a very long time. The act of considering how the move could be applied against different attacks coming from different directions is hard to break down the conditions of how one was originally shows.

 

And to make it clear I was originally taught Seiunchin kata by Dennis Lockwood at the Salisbury dojo.  Almost immediately I was on the yellow belt demonstration team, and was extensively drilled on Seiunchin as performed to the music of the Hustle. Over and over, till I still hear that tune when I perform the kata. I know there were some slight differences between that version from what Dennis originally taught me. But after that intense drilling I have done my best to hold to that version ever since.

 

When I began training with CharlesMurray he made it clear that I should do kata Seiean through Chinto as I had been taught in Salisbury, and he would not teach me his versions, rather my kata from that point in time would be as he did the rest of the kata.

 

So what I just realized that the rising forearm strike ½ way through Seiunchin kata could be utilized just the way Ernie showed the Mantis forearm strike.

 

From Seiunchin when the right forearm strikes upward into the left open hand, if done from the outside of the attack, the right hand could end up over the attacking limb to pressure deflect that limb down and at the same time the rising forearm strike could be into the attacking limb.

 

When I was being shown the form I appeared that technique was being done into an attacker in front of you, and that is most reasonable. Over the years I worked up an entire range of possibilities for just that assumption. And of course they work.

 

But the control of how one was shown is very hard to break. Because it seems so reasonable. Accompany that with there are so many kata and so many studies, that it is unlikely one considers everything possible.

IMO that is the true nature of the Infinite Hand, requiring a lifetime of study and effort to cover even a fraction of what is possible.. But each time you see another path more of the Infinite Hand is revealed.

 

So retirement, disability and old age are no reason not to keep looking.

 

I wonder what will occur to me next?