There is No First Strike in Karate

 

An article I wrote for Fighting Arts. com..

http://www.fightingarts.com/reading/article.php?id=687

 

There is No First Strike in Karate

By Victor Smith

Mutsu Mizuho

Mutsu's "Karate (Toudi) Karate" published in Japan in August 1933 by Tokyo Imperial University Karate Research Society. It was one of the first books on karate ever published.

Karate Ni Sente Nashi is a very famous Okinawan saying, “There is no first strike in Karate”. It is considered by many as a central philosophical principle of karate, a topic much discussed in karate books, articles and in discussion groups.

On this topic I think I’ve hit on something interesting in the 1933 book “Karate Kenpo” by Mutsu Mizuho.

The last half of this incredible book describes Kumite or the use of karate technique. Mutsu organized the technique studies by type, not kata, and I’ve just realized he started with a practical method of using Karate Ni Sente Nashi. (Please refer to footnote 1).

My analysis is solely based on visual inspection of the drawings, with the help of Joe-san Swift’s brief explanations. It might not be what Mutsu intended but I think it has great value.

Mutsu had been a student of Funakoshi Ginchin and Karate Ni Sente Nashi must have been an important concept of Funakoshi Sensei. What I’m now realizing was the order Mutsu described how to use Karate technique is a practical method of training based on the concept.

Joe Swift’s article (noted below) describes the first section of the Kumite as reactive defense, and the second section of the Kumite as preemptive striking(building on the reactive defense). In both cases the attacker moves first maintaining the principle of Karate No Sente Nashi. (Not that I suggest this is the only or best course of action in an attack, instead it is a method of training that can be used to hold to the principle if that is the choice.)

Here are the technique practices described by Mutsu.
Reactive Defense, or the art of not being there when attacked using 5 training principles.

1. Attacker leads with a left lunge punch to the head and then follows with a right front kick

a. Defender steps back with the right foot, away from the punch.

b. Defender steps back with the left foot, away from the kick.

2. Attacker leads with a left lunge punch to the head and then follows with a right front kick

a. Defender leans slightly back moving the head just beyond the punch.

b. Defender skips slightly back moving the body just beyond the kick.

3. Attacker leads with a left lunge punch to the head

a. Defender steps forward with the left, slipping inside the strike and striking upward into the attacker’s chest with a reverse punch.

4. Attacker leads with a left lunge punch to the head

a. Defender steps forward with the left, slipping inside the strike and striking to the solar plexus with a left lead punch

5. Attacker steps with the right and throws a left reverse punch to the head

a. Defender steps right foot forward slipping the attackers punch to the outside

b. (Alternate) Defender steps left foot forward slipping the attackers punch to the outside.

Preemptive Striking building upon the principles of Reactive Defense or the art of Counter Strikingagainst the attack.

1. Attacker leads with a left lunge punch to the head

a. Step back with your right foot and lean your head away from the strike

b. (Alternate) Step in with your left foot and strike their head with your left hand

2. Attacker steps with their left and throws a right reverse punch to the head

a. Step in with your left, and slightly rotate your body counter-clockwise and slip inside of their punch

b. (Alternate) Step in with your left and slightly rotate your body clockwise and slip inside of their punch and strike their solar plexus with a short left lead punch

c. (Alternate) Step in with your left, and slightly rotate your body counter-clockwise and slip inside of their punch and strike their solar plexus with a right reverse punch

d. (Alternate) Step in with your left and strike their head with a right reverse punch

e. (Alternate- drawing not shown) Step in with your left, and slightly rotate your body clockwise and slip inside of their punch and strike their solar plexus with a right uppercut

3. Attacker steps with their left and throws a right reverse punch to the head

a. Lunge forward with the left foot and left lunge punch their solar plexus

b. Lunge forward with the left foot and right reverse punch their solar plexus

IMO the difference between techniques 2 and 3 is that the 3rd section is done without slipping

Rotation of the body and though the attacker begins their strike the lunge gets the defender there first.

4. Attacker steps with their left and throws a left lead punch to the head

a. Step forward with the right foot slipping inside of the punch and beginning a right lead punch to the solar plexus

b. (Alternate) Step forward with the right foot slipping inside of the punch and throw a right roundhouse punch under and around the striking arm to hit their head

c. (Alternate) Step forward with the right foot slipping inside of the punch and throw a right uppercut to their solar plexus

5. Attacker steps with their left and throws a left lead punch to the head

a. Step back with your right, rotate your body clockwise and slip their punch on the outside

b. (Alternate) Step back with your right, rotate your body clockwise and slip their punch on the outside as you left uppercut into their armpit

c. (Alternate) Step back with your right, rotate your body clockwise and slip their punch on the outside as you left uppercut into their face on the inside of their strike

d. (Alternate) Step back with your right, rotate your body clockwise and slip their punch on the outside as you left lunge punch into their face on the inside of their strike

6. Attacker steps with their left and throws a left lead punch to the head

a. Lunge forward with your left as you drop your right knee to drop your center and left lead punch to their solar plexus

b. (Alternate) Lunge forward with your left and throw your right punch to their head sliding the punch on top of their striking arm

c. (Alternate- drawing not shown) Lunge forward with your left as you drop your right knee to drop your center and right reverse punch their solar plexus

7. Attacker steps with their left and throws a left lead punch to the head

a. Lunge forward with your left as you drop your right knee to drop your center slipping inside their strike

b. (Alternate) Step forward with your left foot and strike their head with your left hand

8. Attacker steps with their left and throws a right reverse punch to the head

a. Lunge forward with your left, rotate your upper body clockwise and slip their strike

b. (Alternate) Lunge forward with your left, rotate your upper body clockwise and strike their solar plexus with a left uppercut

9. Attacker steps with their left and throws a right reverse punch to the head

a. Step back with your right and lean your upper body away from their strike

b. (Alternate) Step back with your right and strike their head with a left lead punch

c. (Alternate) Step back with your right and strike their solar plexus with a left reverse punch

10. Attacker steps with their left and throws a left lead punch to the head

a. Step forward with the left foot slipping outside of their strike

b. (Alternate) Slide the right foot over and rotate counter-clockwise, outside of their strike, and throw a right hook punch to the rear of their head

c. (Alternate) Slide the right foot over and rotate counter-clockwise, outside of their strike, and throw a right reverse punch to their back (likely a kidney punch)

11. Attacker steps with their left and throws a right reverse punch to the head

a. Slide the right foot clockwise and rotate your body to slip outside their strike

b. (Alternate) slide your right foot back and strike to their head with a reverse punch

12. Attacker steps with their left and throws a right reverse punch to the head

a. Step forward with you left foot so your head slips outside their strike and execute a left reverse punch to their solar plexus (under their striking arm)

b. (Alternate) Step forward with you left foot so your head slips outside their strike and execute a right reverse punch to their head

c. (Alternate) Step forward with you left foot so your head slips outside their strike and execute a left uppercut to their jaw (under their striking arm)

The reason I feel these technique studies are an example of Karate Ni Sente Nashi is that the first example in each series represents evasion without further response, the option of just evading the attack. Karate was not developed and taught on Okinawa because of a day to day possibility of threatening adversaries, Okinawa was a rather quiet place. There are situations where one is attacked, say at a party where the opponent is worse for wear that do not require destroying the attacker. The moral use of karate is to always be able to respond appropriately.

It behooves us to incorporate those skills, evasion with no response, into our training to give each student the option of doing more than just breaking that attack. Logically I believe this is what Okinawa intended with Karate Ni Sente Nashi.

I hope this introduction study to Mutsu Mizuho’s “Karate Kempo” builds your own appetite for the day this is available in English. I’ve only described the beginning of a technique usage study of great depth and variety. Much more existed than just strike and kick in his 1933 analysis of karate usage.

If anything Mutsu’s efforts show how the logical analysis of karate technique potential may help develop the highest understanding of our arts.

This study is not just related to Mutsu’s Itosu-Funakoshi lineage. It describes the potential of all Okinawan Karate-ka, even with their technique differences. Goju Ryu, Isshin Ryu, Shorin Ryu, Tou’on Ryu, Uechi-Ryu and more all can draw study from his efforts.

I find a sp

ecial affinity as an Isshinryu stylist because this study directly shows applications to the first four techniques studied by every Isshin ryu karate-ka.

Acknowledgement: The friendship and sharing of Charles Joe-san Swift has been instrumental in my developing the appreciation of Mutsu’s “Karate Kempo”. Thanks Joe-san!

Footnote:
The article “Mutsu Mizuho’s ‘Karate Kenpo’ by Charles Joseph Swift at http://museum.hikari.us/

And yet another one

  

 

Very close to my beginning attempting to understand the use of kata technique I decided to concentrate on the opening of Seisan kata to discover how many uses I could find.  Quickly I came up with about 50 of them. Then over time I worked up many more. The count rose to 75 to over 100 actual uses, then to beyond. What I realized there was no limit to how that technique series could be used.

 

Now quite a few years later I have worked up another use these past few days.

 

The standard I have always used will the use put a determined attacker on the floor every time.

 

But knowledge of an application is not enough!  That is where the work starts to reach the ability to actually do it.  That requires more and more time till you reach that.

 

Let up take one attack situation.  The attacker steps forward toward you with their right foot and beginning  to  grab what you are wearing with their left hand,  or grabs your left shoulder,  and as they do that they are beginning to strike at you with their left fist.

 

The defense I am describing follows:

 

As you see the attacker begin to move toward you with their right foot and reach out with their right grab as they are reading to strike you with their left hand you begin your response.

 

1.     You shift your centerline to 45 degrees across the centerline of their attack by a shift of your right foot.

 

2.     Your right open hand crosses your centerline to press into their reaching right hand.

 

 

3.     As that occurs your left hand performs a left sucking  side block against their grabbing arm, pressing their attack and their body down.

 

4.     And your left crescent step draws alongside your right foot then completes its  outward step to behind their stepping right foot.

 

 

5.     As you complete the step your shin is behind their leg, and as your foot steps down at the same time your sucking left side block draw them down, that shin presses into their leg, further making their center draw down.

 

6.     As the sucking left side block concludes your right hand circles forward to strike into the joint of their shoulder and arm. Vastly weakening their grabbing arm.

 

 

7.     At your right strike ends you begin to fully chamber your right hand. However that returning hand to your right side chamber it first violently slashes against their jaw on the right side of their face. Then as that hand continues to chamber it also viscously slashes against the left striking arm they launched. Than moves their striking arm away from you.

 

8.     Simultaneously your  right crescent step begins then ends behind their left foot.  At the same time your left fist delivered a left hook punch into their right armpit. This combination further destabilizes their capability.

 

 

9.     Then the left fist moves into a rising left uppercut under their jaw.

 

100.                        Attacker falls down, goes boom.

 

 

Of course my mind does not stop there. For example I can see another use against an attackers right front kick, Then more and more.

 

 

 

 

 

A piece of advice

 

You probably have noticed I have shared a fair amount ot kata technique from clinics I attended with Sherman Harrill and John Kerker.

 

I actually have hours more in my library. While I also have many hours more of  each of their presentations.  But those will never be shared

 

For one thing my students contributed a great deal of money to assist Garry Gerrosie, who was Sherman’s student, pay for  the expenses to bring Sherman in for those clinics. It was Sherman who personally permitted me to film those clinics (providing I sent him a copy of the videos). In turn those videos are for my students use.  I have shared some of those videos on my blog for them.

 

But after his death, I literally went crazy writing down each technique he showed (around 8 hundred applications for Isshinryu’s 8 kata.

 

What I realized no sane individual really can  watch those hours of video. The eyes will glaze and roll up quickly. Very quickly and unless you have your own school and are willing to replace your program, most of those techniques you will never teach. It was no different for me… sad but true.

 

You can view what I have posted and determining the principles behind what he shows to use in your own studies.

 

But I feel the strongest way to use what I have shared is this.

 

Pick one technique application you really like.

 

Work out for yourself how to accomplish it with  the standard attack being shown. Then work to make really work for you.

 

Next work out how to use it against many different attacks.

 

Such as:

 

1.     Right foot forward with a right grab, followed by an immediate left cross punch.

2.     A right front kick to your abdomen (or groin)

 

Make the technique yours, own it.

 

Even one technique that really works is a 100% improvement to your art.

 

Only then worry about a 2^nd, then a 3^rd and a 4^th technique and so on.

 

Just a suggestion.

My little red notebook on my Isshinryu

 

  

 

Back in 1979 I obtained my Black Belt in January. Then in April  Charles Murray returned to the USAF for his career, and I was totally alone with none of my instructors under Sensei Lewis living near to me. They were all 7 of so hours away from Scranton Pa.

 

There was  far less information available on Isshinryu in those days. Perhaps a few books and occasional magazine articles, none of which was the Isshinryu I studied under Sensei Lewis and Charles Murray.

 

Well I bought a small book filled with blank pages and began recording everything I could remember, and material from those aforementioned books and magazine. It was just for me.

 

I still have it, but that was the beginning of my notebooks on everything I experienced in the arts.

 

Looking at it now I see many things spelled very differently than one would find today.   Isshinryu as I experienced it was never a spelling test. I would record things as I heard them, my own phonetic spellings. However that worked for me.

 

That effort showed me the power of making notes  later to be used in so many different ways.

 

Sensei Tom Lewis and Sensei John Bartusevics' Ju Dan UIKA Promotion Photos

 

Charles Murray <charlesmurray300@gmail.com>

To:  You;  Tue 10/19/2021 9:03 AM

 

Hi to all.  Attached are a first batch of photos and video from this past weekend's promotion ceremony.  The Ingram Senseis, their daughter Sheri and Sensei Holloway did another amazing job.

 

Phenomenal event made even more special by all of Sensei Lewis past students from all over the country who could attend.  Many of the others who couldn't for various reasons also sent him their best wishes on this special day. -- Charlie Murray

 

 As I am no longer on Facebook I did not know about this. Congratulations to Sensei Lewis.

On Nakazato and Kyan

 

 

>Thank you so much. This is enough information to make a case to me that Shimabuku's methodology in running his programs wasn't unique but based on shared tradtion from at least Kyan..

Honestly Victor I think the obvious high regard that Nakazato holds Tatsuo in would be -apart from his respect for Tatsuo as one who didn’t see training with younger students of Kyan as something to overly enforce hierarchy over; "unlike others" (his term) - also an additional (though not necessarily defining) indication that this *particular* aspect was one that comformed to the model set by Kyan, which was (as far as I can see) the model for Nakazato's own teaching method, more than, say, Zenpo’s.. (though not necessarily Zenryo's).

I think additonally that Nakazato comes from an academic standpoint in that he as a career school teacher would have been particularly conscious of traditional transmission methods and (perhaps might be said to more than some others) base his evaluation on that exactly kind of thing. I also know from talking to him (many times) that Zenpo recognizes the difference in his own (modern) method ("I know some people let it go but cant just sit there and see something yet not correct it") and a different approach - one outlined prior - which wouldnt intervene to such a great extent. ..and that this is done not only out of traditon but that this tradition was based on reasons such as allowing ie that the student find their own level and practice *to that level*, rather than simulate a (possibly higher) level through *over* teaching beyond the abilty or full understanding of that particluar student.

My understanding is that this not only assists the student in allowing their own understanding and "making their karate their own," but allows the master teacher (or senior student) to measure that student's progress immediately, on sight.  
 
all the best

love  harry davis

Hi Victor
 
>Is this simliar to the methodology of dojo manegement in Other Kyan student dojo, or were they mostly classes driven by the head instructor.
 
Thanks for considering I might be able to help, I dont know if I can, but here goes. 
I cant really generalize or know how far the model you describe extended but can only speak from my own experience and trying to glean what I can, often in the context of stuff revealed during answers to other questions. What I mean by this is that quite often I have seen not only in answer to my own questions but in recordings of others' interviews, the interviewee quite often doesnt understand the motivation for the western researcher's question and so gives them an answer they think is what the interviewer is looking for... often misubnderstanding the intent of the question and hence being very helpful.. but with the wrong answer!

I think this has led to a good number of misunderstandings we have about the cultural aspects of karate and how it is/was transmitted. Sorry this is a long winded way of saying parts of my understanding are keeping my ears open to the particular bits that interest me (ie teaching methodology, etc) and in gleaning snippets here and there.So my gleaning is as follows: 
 
What you describe is entirely consistent with the way Nakazato "teaches". In other words, my experience is he will sit there and watch, and only intervene if a basic movement is incorrect. This sounds obvious - that corrections would only be made when a mistake is made - but I think it goes deeper than that, to not wanting to completely lead a student, but merely to address things AT THAT CURRENT LEVEL, and that any progress (apart from help with the current level) is actually at the student's own initiative or as a result of the student's personal interpretation. In my limited experience Nakazato has OTHERS demonstrate (indeed supposedly never did show his own kata very much as example) and it's from interaction with seniors (and, crucially *observation* of seniors) is how the student learns, before any intervention by the head instructor.
 
A snippet to back this up was in Zenpo's dojo, there is still the bench that Zenryo (of course dead more than 40 years) used to sit on and observe class in a similar manner. He would therefore "oversee" a training session.. as compared with Zenpo's method, which would be the evening classes: a modern western style class work-out. Now, of course this is from a combination of snippets from Zenpo and Dan, and we must remember that Dan only caught a few months of sporadic daytime training from Zenryo before his death. So I dont know if Zenryo always did do this but he did tell me once that Zenryo never actually said ANYTHING to him (!).. Therefore the vast majority if not virtually all Dan's training was with Zenpo, this *after* Zenpo had spent his couple of years or so with Walt Dailey in Pennsylvania and had supposedly become fascinated with the Shotokan method. It was precisely this very Shotokan-like method that attracted the Shotokan nidan Dan Smith to train at the Jagaru dojo in Seibukan in the first place. He told me this was what he had been looking for and found it to be be pretty much the only place that did it that way. (assuming here: courtesy of Zenpo)
 
So what I'm saying is it seems that Zenryo's method would have been similar to what you are describing of Tatsuo, and is consistent with what Nakazato does now and - as directly as I have been able to get it from JN - says Kyan did. Nakazato said Kyan taught the kata but not much else; no drills etc.. These I believe would have been "the moves": essentially neutral in intent and performance.. it was up to the student to develop any training regimen/ weights/makiwara etc. 

So, it seems within the Kyan line the apparent exception is Zenpo, who changed the regimen to a modern systematizing (and, crucially, standardizing) in line with Japanese methodology... But my understanding is this was not the "traditional" way it was taught, but of course we really only are able to say  "I was taught this and my teacher said he was taught this by xx, and I havent changed it".. so while I would say this is the way I personally think Kyan also taught and it makes sense to me personally and it makes all these things fit (like why folks kata is different, apparently) I cant say for sure everyone else did. One thing i would say is that before all the methodological changes, it makes sense to me this was all done in a very traditional master-student way and hence if one eventually adopted the same role as one moved from student to master one would indeed have followed the traditional methods..  which sounds like just sitting there observing, making the odd correction when necessary.. not leading a class in the way we might now..
 
well, as they say: my 2c!

cheers!
love  harry  davis

My description of who Sherman Harrill is.

 

I just discovered some comments I made to myself about training with Sherman and what I described to Ernie in a letter I sent in 1996.

 

 

These impressions would be followed by a decade of clinics with Sherman, really a very short time, then, in 2005 after his death I created my Sherm-pedia to try and capture what I had seen. But just more words,  that would mean little to others. I think of how many people experienced Sherman over his lifetime, and there is almost no discussion about what he brought to the table.

 

Of course his direct students would not need to do such description.    He had a need to show what the kata technique application of Isshinryu could become. He was not teaching the full system with those clinics, just attempting to open the eyes at how Isshinryu could be used.

 

The perfect answer was how he created John Kerker, who IMO got the full transmission from Sherman, then continued a slightly different path finding his own mission to use everything he got from Sherman, his own voice.  Not an attempt to duplicate what Sherman did, rather focusing on a different sharing for different students, with the same goal in mind, letting those students learn what Isshinryu can be.

 

As I look back on these notes, many things were framed on how I saw things through my own lens of experience at that time. With much more experience with Sherman my opinions would become framed in a more mature understanding. But this does allow me to look again at what the first glance showed me.

 

 

Personal notes made in 1996 –

 

Mr. Harrill does about 15 clinics a year.

 

He drives a school bus an teaches around 20-25 students. In Carson Iowa.

 

He does a lot with the Midwest Ueichiryu people, working with the 2^nd highest  ranking dan under George Mattson.

 

He tells  me US Ueichiryu do almost everything extremely hard (ie striking, etc). They’ve been having him help them to become softer.

 

Yes, his ‘softer;; does not equate with Kung fu movement as T’ai chi. Rather its using very soft striking as punching.

 

 

 

Letter to Ernie Rothrock in 1996 – where I tried to explain what I was learning from Sherman Harrill

 

 

Then there is the clinic Mr. Harrill clinic.  Now there is  where I am  really worked up.  Prior to that clinic. (having received a copy of the video tape Garry Gerossie had made of that day), I began to document the techniques from that first clinic on last May, 1995.  Approximately 174 technique applications covered in 8 hours, ranging across the Isshinryu kata.. I have yet to do so on the 2 kata he covered in Feburary. My next project, Having stated that attended his clinic on June 29.  Most interesting, Garry Gerossie chose the kata and questions on same and Sherman went 8 hours again. Mostly concentrating on Seisan, Sunsu and Naihanchi and Mike, Young, Maureen and John and I worked to create documentation on what actually took place.   I think we concentrated on 75 bunkai applications from the February clinic, once I have completed my documentation it becomes an impressive analysis.

 

Without question. He could easily do 8 hours on any single kata.  Now I am not building him up to be something he is not, i.e. the greatest, but he is definitely the most  interesting Isshinryu practitioner I have met.  Our clinics have only been on the art of application of Isshinryu technique.   As most of us present are not his students, we miss the arathon 8 hour sessions on kata practice, etc. which he held with Garry’s students the day before.  And there were no bunkai there, either, that Garry tells me.

 

Having documented clinics a year apart (May 95 and June 96) he does not repeat many of his applications on the same technique, either.  I don’t think his knowledge  outside of actual Isshinryu is very wide, but he does know what could be addressed with Isshinryu.

 

Observations on the Harrill technique.  He always explores a technique by my principles of analysis. (i.e. the Interior vs. Exterior Lines of Defense).  When he looks at a technique, he looks at every part, {windup motion, each possible striking surface attendant, multiple targets within the technique can be utilized against}.

 

He shows a wide range of hidden striking techniques.  His vertical punch is angled somewhat like Dillman’s.  He strikes with the thumb side of the punch, raps with the knuckles, uses single knuckle strikes, uses the ‘Hidden Sword’, uses hidden thumb strikes, etc.  He shows how to strike hard and then to strike soft with the same technique.  Often showing  how a soft strike causes a greater reaction in the target.  He also shows many specific striking locations (head, neck, torso, arm and leg) with each strike.

 

Approximately 50% of what he shows is immediately useful and practical.  The other 50% often causes you to scratch your head and question why you would want to go through that sequence, even though it matches the kata.  On reflection I believe these complex forced sequences are more like the equivalent of 2 person forms, the values lies in the difficulty creating greater skill level in the practitioner, rather than the practicality for the adept. Yet at the same time, often the completion of the more complex sequences the attacker is found in a most complex locking position and the continuation of the forms movement intensifies the pain of the lock.  An example of this would be in Sunsu, the person is in a complex bent arm/bent wrist press lock and once in that position, the form’s next right forearm block followed by a left forearm block ratcheted he attackers locked arm in intense pain.  Go figure.

 

The plethora of technique also is finding another expression.   When teaching the adults, I find myself demonstrating the applications when trying to get them to understand the kata technique.  It definitely adds another layer of understanding to my own technique.

 

It is interesting to speculate what my Isshinryu would have been had been instructed by Sherman originally.  I imagine I would not have experienced other karate systems.  Well who knew?

 

My program stands on its own two legs without Sherman Harrill.  Much of the applications I have developed are mot in his work as demonstrated.  I’ve come from different principles and I firmly believe in them too.   I imagine this technique will be used only for my senior students, as sort of a graduate work on Isshinryu.   It appears to me that this type of analysis belongs in only the most serious, senior practitioners. (Snobish aren’t I.)

 

*Note: At this time I was using the term ‘bunkai’ to describe what Sherman was doing at those clinics. Later I evolved the description to be that of kata technique application analysis, the precursor to the larger study of kata technique application realization.

 

On reflection I can see how Sherman initially affected me, only as time passed did I see what he was doing more clearly. As I really wasn’t his student and I only saw the application portion of how he saw Isshinryu there was never enough to base a basic change in the structure of the way my program developed.

 

Among my greatest things I was not able to experience was to really show him what I had seen.  Only twice was I able to share slivers of what I was doing. One time I shared a small piece of three variations of one movement from Tjimande and of course he showed me a new fourth variation.  The last time I saw him out in Chicopee while on a break outside I was able to demonstrate a small piece of my t’ai chi studies. I remember how interested he was as he considered what the application of that form could mean.

 

But things did not go that way.  I gained so much from him, more than anyone could work on. And now 25 years later I am still working on what he shared and still learning.