Saturday, May 25, 2024

Pai Lum Information discussed at FightingArts.com discussion group

   
    
So we are told that the Quan Fa came from Shaolin and Fujian province, and many of the forms from Dog Boxing, Monk Fist, Black Tiger and Crane formed the basis for many kata in the three mainline toudi traditions.

But what of kata that the okinawans invented themselves? That came from native te, or possibly from Qin Na, before Kempo was routinely taught by Chinese sailors, settlers and diplomatic missions?

Can anyone classify kata that were invented on Okinawa before the introduction of Kempo, and are the bunkai known for these? 

Did the bunkai come from te gumi drills?

I know that Rinkan was Nakasone's (Tomari) personal kata, I assume that Kokan was invented by Kokan Oyadomari, I know Su unsu was invented by Shimbakuro Tatsuo.

I assume that Annanko was invented by Annan. Chinpe Chinsu, Juma and Uenibu were said to be lost katas, but all five were revived after Choto Kyan did some research in Taiwan.

Although I am only searching on the net, I have found only one source that points to a Chinese origin of Unsu, and it claims it to be a dragon system form.

Does anyone know? Joe


Joe,

Good questions, unfortunately it is very difficult to get solid answers as the past simply wasn't documented. The first texts on Karate were published in Japan (Funakoshi in Japan 1922,1925, Mutsu 1933, Mabuni 1934/1934 and so on). They described the training of their day, but only oral history has any real links (that I've seen).

To give you an idea how difficult this is, let's look at your question on Unsu.



The Pai Lum system (Daniel Pai's White Dragon) system has a form which is a very close clone of Unsu. Pai was from Hawaii, and his system seems to be a bridge of various Chinese systems. [I don't study Pai Lum, and am going on Oral history from trusted sources.] Their Unsu similar form (I believe called Prance of the Panther) could be used for speculation as a Chinese source of Okinawan kata.


But Karate was demonstrated in the past on Hawaii (including the Okinawan population there) from visits of various Okinawan Karateka. It is not impossible to imagine someone watched the form during several demonstrations, and simply memorized the movements and then incorporated the form into the Pai Lum system.


Now I'm not saying that is the case, but it is a possibility.


With 28 years young into my own training, I find it far more important to know what you can do with what you have, as opposed to finding older versions. I guarantee you can do everything you need without doing that.


The rest is work.
Victor Smith
Bushi No Te Isshinryu


 
Pai Lum Kung Fu was created by Dr. Daniel Kane Pai. The Pai Lum curriculum has never been static and has been redefined by successive students. The original curriculum of Pai Lum was Goju Ryu Karate.



The first Chinese martial arts forms that were taught within Pai Lum Kung Fu were Praying Mantis forms from Manuel Agrella’s Jook Lum Tong Leong Pai. These were taught to Thomas D. St. Charles, Peter Genero, and Charlie Hatchett who then taught them to the rest of the students. Lee Chun Pai, a friend and student of Dr. Pai, introduced the Hung Gar forms into Pai Lum. (pakmei.net)


A subsystem of Pai Lum Kung Fu is Bok Leen Pai (White Lotus System). It is also called White Lotus Kenpo which gives hints of its true origin. Contrary to popular belief, Bok Leen Pai was not developed or taught in the “White Lotus Monastery” in Okinawa. The history and personages of Karate in Okinawa are well documented. Curiously enough one is hard pressed to find an actual White Lotus Monastery or Okinawan Karate teacher who would have been able to teach the American/Tracy Kenpo techniques before they were invented.


I hope this helps!  [This message has been edited by AnDruidh (edited 03-03-2005).]
I'm afraid AnDruidh the history I've heard about the Pai Lum teachings varies quite a bit from yours.


Pai Lum Kung Fu was either a Pai family system or created by Daniel Pai. I know of no way to verify either point of view independently.


As to its course content varying, likely the truth. I've seen several different flavors of Pai Lum, some very closely linked to Chinese systems, and some that appear to be karateka doing kung fu, IMO. I'm quite curious where the statement the original source of Pai Lum was Goju Karate arises. Of course they do have a tension form that is very similar to Goju Tensho, yet also quite different, different breathing patterns, etc.

 


As to Manuel Agrella's being a source of Pai Lum material I highly doubt that. I know at one time he did live in Conn. and there may have been some interaction between the parties you mention. But I find no similarity.


For years I competed on the circuit against Mr. Agrella's people. Their material was absolutely nothing like the Pai Lum material. Agrella Sifu claimed to be a student at one time of Mas Oyama, in my presence. Then again I found nothing similar to the Chinese Mantis systems present in his student's forms either.


But China is large and I'm sure I haven't seen all there is by any means.


But Agrella Sifu's people were hard, fast and very skilled at what they did. It's just I personally can't reconcile their art with any of the various Chinese systems I've seen.Also as I heard it, it was Pai who taught the Tracy brothers their self defense techniques.


The entire impact of Pai's teaching is difficult to assess. In the 60's and 70's he was a presence on the East Coast.


But thank you for mentioning Agrella Sifu. I had not thought of him and his art in several decades.


Victor Smith

bushi no te isshinryu



 
Dear Mr. Smith,

I had written you a reply a couple of days ago but it seems to not have gone through for some reason. I will attempt to post something again.

I interviewed GM Kalaii Griffin, Master Robert Schoolnick, and GM Manuel Agrella. Please do contact them if you have any questions as to the validity of the information they supplied. Each of them were independently interviewed and without foreknowledge of verifying or contradicting the other’s version. The information that was supplied to me was through phone call or in person.


GM Pai appointed GM Agrella as the Vice President and 7th Duan of his system at Pai Lum’s inception. The first person to receive the Bai Shi from GM Pai was Kalaii Griffin. This took place in GM Agrella’s home over oysters and pasta. This information was supplied to me by GM Agrella and verified by GM Griffin who added that he presented GM Pai with a white envelope (not the usual red) and while reminiscing about the event, added that the stove had been broken some how that night. Mr. Griffin was given the name Kalaii by GM Pai and given the name of Iron Dragon by GM Agrella. This was confirmed by each of them. This was while both GM’s Pai and Agrella were in Hartford Connecticut.


Both also stated that the curriculum taught during those days was Goju Ryu Karate. Another individual present during those times was Pai Lum, Master Robert Schoolick. He too independently corroborated the fact that they learned Goju Ryu Karate in the early days. He stated that GM Pai had gotten “Praying Mantis” forms somehow but he didn’t know where they came from. GM Agrella had already told me that he taught Bamboo Forest Praying Mantis forms to Thomas D. St. Charles, Peter Genero, and Charlie Hatchet who in turn taught them to the rest of the students. Master Schoolick also stated that GM Pai sought out other Chinese forms to add to the curriculum. This too was verified by Lee Chun Pai on his website     http://www.pakmei.net.    


Master Schoolnick stated that the Pai Lum Kung Fu folks no longer do these original Goju or Mantis katas/forms.


GM Agrella never studied what is now known as Pai Lum Kung Fu. (The oddly placed kenjutsu found in the Chinese Kung Fu system known as Pai Lum does come from him however.) Also GM Agrella does not teach the popular 7 Star Praying Mantis system. GM Cheng Peng Weing who had been a student of several Praying Mantis systems immigrated to the United States in 1962. GM Weing then taught GM Agrella and left him as sole heir. GM Agrella teaches GM Weing's system of Praying Mantis which as you have stated looks nothing like the usual 7 Star Praying Mantis. GM Weing converted him from Kyukushin to Praying Mantis after GM Weing had thrown him to the floor with ease.


There are essentially two different systems. The first system is commonly known Pai Lum Kung Fu replete with its Hung Gar influence and forms/sets from multiple sources. There is a more elusive “Pai Family System” but many today do not know much of the latter and call the former inadvertently by the same moniker. 


Dr. Pai learned the Pai Family System (for a lack of a better term) from his grandfather Pai Po Feng. Pai Po Feng was a practitioner of a Dragon style. No one really knows which one but at this time it is irrelevant. No one in the Pai Lum Kung Fu system is claiming to practice this exact style anyway and for good reason. Dr. Pai never learned this exact Dragon style and didn’t need to. The “Secret Pai Family System” as Master Schoolnick called it, displays none of the characteristics of the Pai Lum Kung Fu system.


This system is completely based upon the I Ching. This system enables one to understand and catalog all internal/external motion. Therefore, this understanding is not constrained or taught through sets/forms but can be used as the DNA to develop any system. This is how it could be passed from teacher to student and manifested as a completely new and different Martial Arts system. Master Schoolnick, who is no fan of GM Denis Decker, stated emphatically that GM Pai taught this to GM Decker before he left the Pai Lum family . He stated that a “great wealth of knowledge left Pai Lum and went with him that day.” GM Denis Decker went onto to develop the Chi Lin System(s). GM Agrella stated that he too learned this system from GM Pai although he never gave it a name. Both GM Agrella and Master Schoolnick offered this information independently, inadvertently corroborating each other’s story of a Secret Pai Family System.


I have visited GM Agrella's home and have seen his various certificates from GM Pai, Oyama, GM Hung, GM Weing and others.


I hope this clears any confusion and opens this up to more research.


Sincerely,
AnDruidh
Hi AnDruidh,


Thank you for your very detailed reply, it is very interesting.

Though I am a friend and student of Ernest Rothrock who is a Master Instructor of Faan Tzi Ying Jow Pai (Northern Eagle Claw), and have a slight familiarity of the Pai Lum he used to teach, I am not involved with any of the Pai Lum groups.


My own studies are confined to Yang Tai Chi Chaun and various studies in a variety of Mr. Rothrock’s systems of study, originally to become a fairer judge of Chinese stylists. I’d like to think I succeeded in that a little. But little did I know they would change my understanding of karate in the process.


Decades ago I observed great differences between the Pai Lum of Mr. Rothrock and that of another group from Eastern Pennsylvania (I believe the group used the name Weiniger or something like that).


At that time Mr. Rothrock was teaching Pai Lum (and Yang tai chi chaun) and intensely studying Eagle Claw and Wu tai chi chaun, but it would be decades before his studies led him to begin teaching that art. His choice was based on wanting to know as much about the system as possible before becoming an instructor. His designation Master Instructor is the result of a very complex test on his performance of the system by his instructor, Shum Leung Sifu. He also has a very vast study of other Chinese systems such as Sil Lum (Northern Shaolin)and Tai Tong Long (Northern Mantis), that he undertook over the years.


The differences between Mr. Rothrock’s Pai Lum and the Weinger group Pai Lum were so great it was difficult to reconcile they were the same system. But Pai Lum was no longer prevalent in the Pennsylvania, Maryland and New Jersey tournaments in the late 70’s through mid 80’s that I attended, and I never happened to see much of it for other comparison.


As the early years of Mr. Pai’s teaching were before my time I accept your points, but had never heard that Goju was associated with Pai from Mr. Rothrock’s stories from his origins. I’m unsure where his timeline began on the Mr. Pai’s teaching in the States. I started training with him in 1978 and his time with Mr. Pai was before my time with him. I am aware of the other names you’ve mentioned.


Mr. Agrella’s people were incredibly strong open tournament competitors. I remember one of his ‘sons’ tying 5 times with Cindy Rothrock, each time them using different weapons trying to break that tie, as well as extremely strong fighters.


But as I had come to see Northern Mantis, I never saw any of the mantis hand techniques present. I am aware that Southern Mantis tradition is very different, and don’t doubt there is much more than I have ever observed. It’s just I have never seen any Chinese groups traditions to date that were similar to Mr. Agrella’s. At the time I was competing I had less knowledge about the Chinese systems and my observations are based on what I’ve seen.


I was aware Mr. Agrella used to live in Connecticut and that Mr. Pai had lived there too, so your explanation that they were linked is reasonable to me.


Mr. Rothrock moved on from his Pai Lum teachings into a vastly different system over the years and rarely discussed the old days. Most of our time together has been training and in technique and overall system study and analysis. There is not a great deal of outside information so what you’ve offered is greatly appreciated. It helps me understand how some of the arts I’ve seen interacted.


Of course my interest is purely selfish. I only want to know what others do to help prepare my students to face them. I’ve been in New Hampshire these past 20 years and except for regular visits with Mr. Rothrock haven’t seen the rest in a very long time.


Pleasantly,  Victor Smith

 


Dear Mr. Smith,



I too see a clear difference between what GM S.L. Martin does and what GM Agrella does. I was priviledged to study under both at one point. In fact at my instructor level test I was named Shen Pao Sheng by them.


As far as my research goes his art is a combination of 7 Star, Chu Ga (a Jook Lum system) and Shining Board Praying Mantis systems. He has told me that his style is unique and wanted to (re)name it "Black Mantis" years ago. This is not its public name, however several other Pai members and I do call his art Black Mantis. The esoteric foundation of his system is the I Ching material as I have discussed in the previous posts. To date none of his students have learned this level because of a number of factors.


I had a video of Ernie and Cynthia Rothrock but haven't seen it in a while. I probably lent it out to one of my students. Life is like that. I would love to see their version of Pai Lum because what I did see of it on tape was stunning. Mr. Wenninger's Pai Lum is very different than what I saw on this video.


I would say that many of the various groups would argue that theirs is the better or a more authentic system of Pai Lum. In fact I have heard such arguments. What they don't know is that none of that matters because the understanding of motion of body and mind is what counts. How many or what forms practiced, or how soft/hard they seem to be is not what is paramount. So I see them as all being vital, beautifully unique, yet snap shots of teachings Pai Lum. A pictures is just still frame of movement that has occurred in a specific time and place. Pai Lum and the teachings which are at its base are not bound by time or space and are not the snap shots.


What I posted is not what has been offered for general consumption but it is factual. Not everyone likes the facts but I think what I offered is more interesting and intriguing than the stories I have heard regurgitated a thousand times. What irks me is that they do this without verification or corroboration by independent sources.

Thank you for taking the time to read my posts as well as replying in kind.


Sincerely,
"AnDruidh"
Shen Pao Sheng


Matsumura No Hakutsuru

This form was shared with me in1994 by one of the attendees of the clinic. At that time there was much mystery about Hakutsuru forms. I shared this video with friends around the world. From Japan, Australia, Portland, etc.. Finally I received a response from Fernando in Brasil. These are among those responses.

https://www.youtube.com/watch?v=1heI6NDt4eI


Taught by Sali Azem at Richard Bernard’s House of Samuary in Londonderry, NH when they converted to his program back in the early 1990’s.

The kata was performed by Martin Priolo.

The handout was that this was Matsumura No Hakutsuru studied by Azem from Hohen Soken on Okinawa while he was in the USAF /

Today, 11/25/2007 it is listed on his website as Hakutsuru No Kata.




Hi Victor

Yes, miracles happen, but this world is crowded with false prophets.

That hakutsuru kata is a creative experiment by a guy from Goju/Shobukan from New York city. It is not a kata, that is, it has not functional structure, just a mambo jambo.

So, it is not from Hohan Soken, as also it is not the spurious versions disseminated by Sandoval, Yabiku, Lindsey, Chandler et caterva, there in US.

The original Hohan's hakutsru is rarely seen today, as his Sanchin, and I think that his student, Nishime, still teaches the original form. Be well,

Fernando

 

Victor,


I've seen a ton of "Hakutsuru" katas, but that one is unique among them. Very long; it has a great variety of technique.

Best Regards,  Russ


Hi Victor,


I agree with Romney, it looks like 2 kata stuck together. The first part reminds me of some footage in a documentary called "Budo" wherein someone does "white crane kata" with pieces of the form interspersed with footage of a real crane doing various wing motions, etc. I'm not sure what to think of the second half - bits and pieces of various other kata strung together maybe.

I too have not spent much time on hakutsuru kata info.


Jim

 

Hi Jim,

that film clip you mentioned is Hayashi Teruo, of Shito Ryu, doing Paiho, I believe, from Ryuei Ryu. Its an interesting film.

cheers,  Fred

                                                                

A view of my Martial Resume




Isshinryu beginning 74 - to pres.
T. Lewis / C. Murray

Tang Soo Do Moo Duk Kwan 75-78
F. Trojanowicz, Scranton, Pa.

Kempo Goju 78 - 85
D. Brojack, Old Forge, Pa.

Studies in Goshin Jutsu - 80 - 83
S. Newman, Kingston, Pa.

Studies in Shorinryu Honda Katsu 81 - 85
C. Long, Kingston, Pa.

Yang Long Fist Tai Chi Chaun & Tai Chi Sword

79 to pres.
E. Rothrock, Pittsburg, Pa.

Studies in Sil Lum, Tai Tong Long, Pai Lum and
Ying Jow Pai - 80 to pres.

E. Rothrock. Pitsburg, Pa.

Bando Weapons /staff & stick 83
R. Rigby ,Dover, Del.&Bando Summer Camp

Studies in Sutrisno Shotokan/Aikido/Tjimande
/Kobudo 81 - 93

T. Sutrisno, Hazleton, Pa.

Studies in Goju Ryu - 84 & 85

E. Savage, Ithica, NY

Studies in Tae Kwon Do 85-86
B. Johnson, Derry, NH

Studies in Ueichi Ryu - 88 to pres.
T. Chan, Nashau, NH

Studies in Isshinryu Bunakai - 94 to pres
S. Harrill, Carson, Iowa

Study of Matsumura Hakutsuru 93

Studies in Isshinryu Bunkai 2005 to 2016
J, Kerker, Carson, Iowa

 
Primary Instructors of Victor Smith


Tom Lewis (Isshinryu)- Isshinryu Karate Club, SalisburyMD.
Sensei Lewis was a student of Tatsuo Shimabuku in 1959 - 1960 Nowretired from the Isshinryu Community and living in Wyoming

Lt. Col. Charles Murray, USAF (Isshinryu)
Sensei Murray is a student of Tom Lewis. About 1970 he Was stationedin Okinawa and trained with Master Shimabuku. He has also visited Okinawaseveral times since then on Special assignments, and has trained with AngiUzei

Ernest Rothrock (Ying Jow Pai, Yang Tai Chi Chaun, Wu TaiChi Chaun, Sil Lum, Tai Tong Long, Pai Lum ) Shaolin School, Pittsburg Pa.
Sifu Rothrock has studied numerous Chinese systems. He Currently trains with Master Sheum, in New York City, in The arts of Ying Jow Pai(Eagle Claw) and Wu Tai Chi Chaun.
 


Friday, May 24, 2024

Respect people for their actions and we have everything covered.

 


Now set that aside and consider rank. In a very structured society (such as that of older Japan) everyone knew there place, sure and nobody ever rolled up on anyone else..... except Japanese history shows everyone knew their place, except for those who were going to change things.



The Okinawan arts moving into Japan in the 1920's saw one aspect of Japanese society and choose to create structures that parallelled what they saw, in the universities, in the military, and society in general.


What they experienced was it really didn't work, the new karate organizations kept breaking apart, splitting off and new ranking situations/structures came into existence (long before the rest of the world would catch on to what was going to happen).


The stark devastation of WWII on Okinawa, the reality that the United States was going to return Okinawan to Japan in 1972 must have had an impact on Okinawan thinking about their newly regenerated martial practices. They were aware of the changes to their arts in Japan and likely thought it advantageous to follow the same.


They forgot their own history, when multiple instructors tried getting together it didn't last. So they created associations, ruling bodies, rank structures and awarded rank. And there were no rules, each group worked them up as they went, some similar to others, some dissimilar.


The only reason to look at history is to fully understand rank was a modern invention as were organizations.


How to pull all of the issue together? It helps to have a structural framework of how things work, myself I prefer Alfred Korzybski's "Ladder of Abstraction".


In karate it works something like this.


First rung, the event level which are actual people and their actions.


then the first level of abstraction.


Second rung, the dojo or actual people engaged in training and teaching. Everyone knows everyone, rank is unnecessary except as a group practice for all know who's in change, who can or can't do what, etc.

 
then the next level of abstraction.


Third rung, the organization, where instructors from the dojo form a 2nd dojo and keep strong links to their original group. Rank from the original dojo still applies as they're following the same standards.


Fourth rung, a larger organization with groups outside of the original training partners. The new groups train together and find a common understanding of what rank means between their different practices. This new organization has no organic quality, but exists because even without long association the group wants it to happen.


Fifth rung, a new organization is created, totally breaking away from the original one and rank is awarded for thier own needs, which has no relation to the original groups ranking structure, execept the names sound alike.


Sixth rung, a umbrella organization comes into existence, one that seriously tests and awards rank to all the sub-organizations, following a large group standard.


Seventh rung, a umbrella organization comes into existence, that awards rank with no testing.



The concept of the ladder, shows as you climb further and further away from reality, people (the event level) training together (the dojo), the meanings behind things are more abstract, but those meanings take on reality of their own, that have nothing to do with the event level.


BTW all of this follows Korbybski's 3 rules which can be stated:


1. The rank is not the person.
2. The rank is not the whole person.
3. The rank can be self reflexive (or becomes an event unto itself which has nothing to do with the person)



In a military structure rank has evolved as a necessity, to structure events which are on the person level unthinkable, in a way to work for success.

The martial arts world is not a military structure.


Nobody, myself or any of you, are your rank, I'm me and you're you.


When rank serves a purpose, to help guide our formal progress in study, it is worthy for it's working on the event, person level.


When rank serves a purpose, to honor individuals efforts in a group where all are working together, that abstraction is useful.


When rank serves someone's desire to be in charge, it's vaporware, as a real organization beyond the event or person level.


It means what you want it to mean.


As a rational individual I will call anyone whatever rank they wish to be called, because I know the rank is not the person, the rank is not all the person, and that they may want their rank to be a reality, but their want doesn't control my event level.


But I don't respect an abstraction that is not reality.


When the event involved becomes 'shite', I call it what the reality is!


for a quick overview of Korzybski's science of general semantics check out 

http://www.generalsemantics.org/index.php/gslc/online-library/199.html


victor smith
 bushi no te isshinryu
  derry, nh usa



I only hold rank from my original instructors for the last 50+ years but consider it personal. If you want to find it out feel free to ask Tom Lewis or Charles Murray, my rank is their responsibility after all.



My karate takes place on the dojo floor.


A discussion about Chinkuchi on the Ueichi Ryu.com list.

C:/Users/Admin/Desktop/G%20Drive/Victor%20Files/Isshinryu%20Material/Chinkuchi_files/001243.htm
Ueichi Ryu.com in 2002

 



Charles Murray performing Seisan with Chinkuchi on Okinawa



2Green

 
Back on July 2/2002 Malcom Wagner posted to the thread "leg positioning".


In his reply he mentioned the word "Chinkuchi", referring to Okinawan-style "full-body flinching" as opposed to "hip rotaion" which he says is Japanese-based and "totally unnecessary for power".


This concept got buried in the reply but sure got my attention. I've never heard of the phrase or concept, at least not by name.
Mr. Wagner if you're out there can you please elaborate on this? It sounds to me like a very important and basic concept and I would be VERY interested to know all you can tell me (us!).
If Mr. Wagner does not reply, could anyone fill me in on this? Eagerly awaiting...NM

Malcolm Wagner


Chinkuchi...


The words of others are much more adequate than my own.


HIGAONNA MORIO "TRADITIONAL KARATEDO - OKINAWA GOJURYU VOL. 2"
Published by Sugawara Martial Arts Institue in Tokyo, 1986  page 27


"CHINKUCHI KAKIN"

This expression is used to describe the tension or stability of the joints in the body for a firm stance, a powerful punch, or a strong block. For example, when punching or blocking, the joints of the body are  momentarily locked for an instant and concentration is focused on the point of contact; the stance is made firm by locking the joints of the lower body - the ankles, the knees and the hips - and by gripping the floor with the feet. Thus, a rapid free-flowing movement is suddenly checked for an instant, on striking or blocking, as power is transferred or absorbed. Then the tension is released immediately in order to prepare for the next movement. Sanchin kata is an example of prolonged chinkuchi kakin - all of the joints in the body in a state of constant tension.
------------------------------------

ARAKAKI KIYOSHI "OKINAWA BUDO KARATE NO GOKUI"
Published by Fukushodo in Tokyo, 2000 page29-30


This "chinkuchi" is sometimes written as "one cun power" and is a principle of movement related to the "cun-power" of Chinese Quanfa. A simple explanation is, when punching for instance, to contract the muscles used when punching (especially the triceps and the trapezius), increasing the speed of the punch or block from within your own body.
------------------------------------

TOKASHIKI IKEN "OKINAWA KARATE HIDEN: BUBISHI SHINSHAKU"
Published by Gohakukai in Naha, 1995  page 142


When punching, the most important thing is that the "koshi" are in it, and that chinkuchi is being utilized. Chinkuchi, in a word, means to contract the trapezius, the triceps, the pectoralis major, etc. when thrusting ths fist out. At that time, the armpits must also be closed when punching or blocking. This means that a punch with chinkuchi has an instantaneous increase in power. This is called "one cun power" and causes a great destructive power upon the opponent's body.

Charles Boyd
Calgary Alberta Canada

Malcolm Wagner

 

Chinkuchi

The following explanation of the term 'chinkuchi' comes from the collective information of the Isshinkai Group composed of Isshinryu Karate Instructors and practitioners. Contributors to this description include Tom Saunders, Carol Womac, Jeff Perkins, A.J. Advincula, Sherman Harrill, and others from the group.

Chinkuchi is a physical conditioning process and focus of mind and body, which employs the skeletal muscle system, sinew, connective tissue, and balance to hasten and strengthen the striking velocity or absorption of a karate blow. The physical act of employing chinkuchi in karate moves is to help enable the practitioner to brace himself for the impact of a blow, protect his joints from hyperextension, and add strength and speed to the technique.

Chinkuchi is both an offensive and defensive focus of the mind and body which adds physical strength to the economy of human motion. The technique can be applied to the entire body as with the practice of dynamic tension kata such as Sanchin, or learned to be applied into individual parts of the body. It is a mental and physical process which is learned in stages and degrees and can be applied with weapons.

The learning and application of chinkuchi in karate technique is viewed to be a vital asset in the application of karate for self defense. It adds power, and supplies added strength, and speed which is not seen in all karate systems. The application of chinkuchi in the execution of a karate technique is visible to those who practice this application. It is characterized by the audible snapping from kicks and punches in the execution of techniques by advanced practitioners. Techniques can be seen as being executed from a soft to hard form of delivery which prevents the joints from locking, but adds velocity to the blow in aggressive moves.

Chinkuchi is learned as an applied theory of karate directly related to many hard-soft theories of martial arts. It is meant to be applied as an integrated part of a technique.

Many instructors use the aid of analogies and visualization to help apply chinkuchi to various applications. The process is best learned from instructors, and is learned mostly from example.

Chinkuchi is taught as part of the overall development of techniques in classical karate systems of Okinawa, such as Isshinryu, Go-ju, and others. Like applications in other martial  Arts may exist in whole or part and may be known by other names. Many practices in the application of classical karate may contribute to the development of chinkuchi in the karate-ka.

[Non-text portions of this message have been removed]


Bill Glasheen

 
Great stuff, Malcolm. Thanks.


What you describe is extremely important. There's been a great deal of discussion - some calm, some heated - on the subject of power generation in Uechi Ryu. Most assuredly folks like Van Canna are correct in pointing out the lack of life in some practitioners' waza - hence the expression "dead fish kata." But how we put the life back in... That's where the heat begins to generate.

Here we see a description of power that seems unique to sanchin-based systems, and is of Chinese - as opposed to Japanese - origin. It is one important view of how to put the life in the movement.

I find the following statements very interesting.

quote:


This means that a punch with chinkuchi has an instantaneous increase in power.


quote:


Thus, a rapid free-flowing movement is suddenly checked for an instant, on striking or blocking, as power is transferred or absorbed. Then the tension is released immediately in order to prepare for the next movement.


Van has also used the analogy of the whip, which I think aptly describes the transition from relaxed to tense, and then relaxed again.


You know it when you see it.

- Bil


Wednesday, May 22, 2024

Tatsuo Shimabuku and students 1960

 Mr.Scala and members,


I finally found what I was looking for, one of the times I first saw that photo you asked me to post, dated 1959.


 


That exact photo was sent into the U.I.K.A. (United Isshin ryu Karate Assoication)newletter, spring of 1992 issue, by Sherman Harrill sensei. The article came from the Newspaper article of the Traid and was dated March 4, 1960.

The caption under the photo read, Teachers and students of Isshando Karate - Over fifty Marines are presently training at Shimabuku's karate dojo in Agena. The finest Karate training in the world can be attained under the expert instruction of Shimabuku, 10th degree black belt, and Shinken Taira, originator and world's authority on "saya" and "boo" techniques. All phases of karate, it's values to the individual and to the Corps and its People-to-People merits are required at his school. This school is open during the week from 4 p.m. through 10 p.mp. and on Saturdays and Sundays from 1 p.m. till 10 p.m.

In Isshin ryu,

Rich


Tuesday, May 21, 2024

Victor and 16 Tons

 

 




If you see me comin', better step aside
A lotta men didn't, a lotta men died
One fist of iron, the other of steel
If the right one don't a-get you

Then the left one will

16 Tons Tennessee Ford

https://www.youtube.com/watch?v=RRh0QiXyZSk