Monday, March 24, 2025

The idea of a chimpanzee doing karate goes back a long ways.

 It was in 1983 I was competing at a tournament in Williamsport, Pa. There was a famous 1960s era Vic Moore there. He has a ferocious sparring style back in his day. He had a booth there and was promoting a Chimp for some movie roll. All day long people dropped by to meet Vic and the Chimp.


In those days, a karate tournament was more of an event for the public. The finals were at an evening show. My wife and I had been asked by Cindy Rothrock to give he a ride home (I was studying with Ernie Rothrock then) as she was performing in the finals.


Vic Moore had a demo in the finals, He was showing the Chimp doing karate. It even had go go dancers in day glow outfits. But when the Chimp was to perform he would not do so. The long day had taken his concentration to perform and he would just stand there.


Such are the Chimps doing karate. They can learn it, but will they perform on demand?





Sunday, March 23, 2025

Kuen - Lung Lek Kuen (Supple Dragon)

 




Young Lee


Kuen - Lung Lek Kuen (Supple Dragon)
 


https://www.youtube.com/watch?v=EZ5goAtmkAc&t=1s
 

Supple Dragon was taught at the blue sash level of the Pai Lum system of Kung Fu. This form exemplifies the turning and twisting movements of the Dragon. It develops the quick turning ability needed for defending against multiple attacks and defenses for rear attacks. The left leg kick is emphasized for development. IT also comprises many jumping techniques needed to avoid ground attacks or for chasing retreating opponents. Flower techniques are highlighted throughout the form making this one of the most beautiful sets to watch.



. From ready stance, RFF into twisted stance facing 12:00, as the left arm circles back and over to the front


    With a descending palm strike; the right hand chambers palm up at the waist


 


 . RFF into horse stance with the rigt side lunging punch to 12:00. The left hand covers the solar plexus


 


 . Turn to 7:00 while shifting into back lunging stance with a circular downward block  to 12:00


 


 . Shift head to 7:00, step the right foot out as the right open hand parries down, then the left hand parries


    Down, followed with a right vertical backfist strike with the left leg stepping behind at the same time


    Forming a twisted stance.


 


 . Pivot to the left with a right inside block, followed with the left foot stepping back to form into a right  


      front stance at 1:00, both hand chambered at the hips.


 


 . Left front kick to 1:00, double right then left skipping knee strikes to 1:00, finish with a double knife


     Hand Strike to 1:00, landing in a left front lunging stance.


 


 . Turn the head to 5:00, step the left foot behind and the body drops to low right twisted stance with a


     double descending knife hand strikes to 5:00.


 


 .  Jump in with left knee turning to the left and execute a jump spinning crescent kick with the right leg to


    6;00, hitting your left hand. As the left leg lands, continue with the spin to leap with the right leg to 3:00,


    Allowing the left leg to slip behind the right and execute double wing strikes with descending fingers


    Of both hands to 3:00 and 9:00.


 


.  The left leg moves towards 12:00 into cat stance as both hands perform a double inward knife hand


    strike, then both hands circle down then up to perform a double inward finger strike (palms out facing


    the head of the attacker)


 


.  Step back with the left foot to RFF Cat Stance as both hands perform a double downward open hand


   Parry. The right foot then steps back to the left as both hands roll up into double vertical backfist’s and


   Continue into chamber.


 


.  Step LFF to 12:00, twisted stance as the left hand does a circular downward palm parry


 


.  Step RFF to right bow and arrow stance, the left hand does a circular upward outer palm parry while


   The right hand punches forward to 12:00


 


.  Slide the left foot back and out to form horse stance facing 12:00, the left hand remains in the upward


   Parry/blocking position, as you end the step, the right hand strikes with a knife hand strike to 10:00


   (Palm up)   And then the right hand strikes back to 12:00 with a knife hand strike (palm down)


 


.  Step the left foot to twisted stance at 1:00, with a left descending dragon claw strike


 


.  Step the right foot to 1:00 and the left foot behind the right, while the right hand open backfist strikes


   The opponent and then the hand turns over to complete with a descending dragon claw strike


 


.  Step the left foot away to 7:00, the right arm crosses underneath the left arm, then shift into the right side lunging stance to 1:00, while doing so the right arm strikes high At 1:00 while the left hand strikes low at 7:00 (Cross arms with the maximum cross body torque on this Move.)


 


.  Shift to left front lunging stance at 7:00, chambering both hands


 


.  Right left jumping knee strikes landing on the right knee with a double lower ‘X’ block facing 7:00


 


.  Turn your head to 12:00, rising into RFF cat stance towards 12:00, and do a double reverse circling


   Closed fist block, right high, left low ending in a right outside block position, left hand catching the


   Right elbow


 


.  Look right and perform a double descending dragon claw strike in right cat stance to 3:00


 


.  Look left and perform a double descending dragon claw strike in left cat stance to 3:00


 


.  Look right and perform a double descending dragon claw strike in right cat stance to 3:00


 


. Look right, then step with the right foot to 3:00 into horse stance while performing double side low blocks


 


. Step the right foot to the side, then step behind with the left foot while facing 3:00, right then left parry


  Followed by a right vertical backfist (this is a flower)


 


. Face 11:00 with the right front stance stepping the left foot back to 5:00, chamber both hands at the hips


 


. Left front kick to 11:00, right then left skipping knee strikes, finish with a left front stance to 11


 


.  Right then left reverse punches to 11:00, open the left hand, right crescent kick to 11:00


 


. The right foot sets down to the left, then the left foot steps behind into twisted stance, right then left parry


   and finish with a right vertical backfist to 11:00


 


. Turn counter-clockwise, face 5:00 in a right front stance, the left foot steps back to 11:00, chamber both hands at the hips.


 


.  Left front kick to 5:000, right then left skipping knee strikes, finish dropping down on the right knee.


 


.  Left open hand side block, right open hand low block, reverse blocks to the right open hand side block, and left open hand low block


 


.  Rise facing 6:00 in a right side lunging stance, execute a right high arm block to 6:00 and a left low arm


   Block to 12:00 (Using maximum torque of the body)


 


. Turn left stepping the right foot to 1:00 with a double roundhouse punch to the head in a right lunge


  stance


 


.  Turn left into left cat stance facing 9:00. Drop the hands then execute a double open hand high block


 


.  Drop the left heel, drop both hands while doing a double open hand low palm block and execute a right


   Front kick to 9:00


 


. As the foot retracts, turn to 12:00, drop onto your right knee, the left open hand side block with a right 


  open hand low block


 


.  Jump up into a wide horse stance facing 12:00, the left open hand palm block across the body


   (deflection), followed by a right flat spearhand (palm up) to 12:00


 


.  Chamber both hands to the left, then use a right front side hand parry with a simultaneous left flat


   spearhand (palm down)


 


.  Retract the right foot to a left crane stance, a right inside vertical knife and over the left hand while


   spinning  on the left foot 360’ stopping at 12:00 (still in left crane stance)


 


.  Step the right foot down to 3:00, slide the left foot behind the right as both hands circle up and out, to


   Execute a descending double Dragon finger strike, the hands to 3:00 and 9:00


 


.  Step the left foot to 12:00 in cat stance, double inside knife hand, then descending and rising double


   roundhouse spear strike


 


. Step the left  foot back, execute a double lower palm strike, slide the right foot to the left, double vertical


  Backfist strikes, chanmber both hands at the hips.


 


. finish

Saturday, March 22, 2025

The idea of kata being useful at night

 



 Yambaru forest on Okinawa at night

 

I continue to be amazed that the idea of a kata, namely kusanku, could be used in low light (possibly night) conditions demands skepticism..

 

 

Think back on the times of the origins of te/toudi surely at times training was done in a forest or a courtyard as light diminished from the skies. Then walking home after training was not done in well lighted streets. Rather light probably came from lanterns hanging in homes. Thus in dark, or near dark and the night dark was not a constant ever changing circumstances. It would be ludicrous to believe the instructor did not make comment how their art would function under those circumstances.

 

 

Of course today most training is conducted in rather clean well lit facilities having very little relationship to the past origin days.

 

 

Other karate system do consider kata having night uses. The clearest example came when I met George Donaue of the Kashiba Juku system (a descendent of Matsaybushi Ryu).

 

 

We were discussing just that topic and he explained that their studies worked using all of their kata are studied for applications in daylight, as for night (low level light) uses and for drunken applications. Not just restricted to the night in any case.

 

 

What I came to see was Kusanku could have night applications, which in no way detracted from its uses during daylight. Potential application study is just that potential applications study. Much deeper is the work required for any study to become Application Realization.

 

 

Yin and Yang – Light and Dark.

 

 

You are what you can do.  I worked to do as much as I possibly could.

 

 

https://isshin-concentration.blogspot.com/2019/06/kusanku-night-fighting-kata.html

What makes one kata elementary or advanced?

 

 



 

Rh Gutierrez

 Hope someone can give an intelligent answer to this, What makes one kata elementary or advanced?

 

Victor Donald Smith

I remember Chinen Sensei in a British interview stating that a case could be made to begin with Suparinpei.

 

I just see kata as kata. As ,theoretically any move. can conclude any attack if the subsidiary skills have been developed, the same can be said for any kata.

 

Steven M. Franz

Personally I think it is ones depth of knowledge that can make a kata

 

Ron J. Brookshire Jr.

I think there are multiple answers to this question.

1. Sometimes it's the movement in the kata itself. I.e. The jump double kick that was modified to two stepping forward front kicks because students (maybe even the teacher) couldn't do the technique properly... they had seen it, knew what was there, but lacked skill.

2. Kata in the pre 1900's had a life and death aspect... no damage and end life aspect. I would also propose that there are 7 levels of judgment or increasing severity in the same motion. (Mild Pain, severe pain, dislocation, break repairability, break disability, unconsciousness W/ self-recovery, unconsciousness requiring revival)... 9 total if you count "no injury" and "death".

3. Multiple concept use... increases over time and increased knowledge and skill.

4. "By the numbers"... which is basically being able to do multiple striking in the same motion. This plays with timing/skilland blackbelts usually can get 3 moves. Under blackbelts get 1-2. By 5th degree it should be up to 5 moves. By master it could be 7. (To my thinking). Goes to something Taika Oyata said about regular blackbelts, birds (ravens) and eagles.... very few eagles.

The basic outside block can easily become a 3-5 striking motion and remain the same "basic"... just advanced skill and understanding.

 

Steve Wilson The fighting principals, strategies, and concepts each kata teaches are simple to recognize and understand. With lots of practice they are easy to do. If, as intended, the application of the kata, is also simple. "People" make karate kata and the application of it too complex, difficult, and mysterious.

 

Ed Sumner I'd disagree Steve, at least, in terms of the kata of Goju Ryu. Many of the techniques in the advanced kata are not simple to recognize or understand. I'm still searching (as I begin my 53rd year of training) for advanced Oyo in some of the kata.

 

Steve Wilson Hi Ed: I don't have as much time as you. I've trained 44 years in Goju Ryu. I've had great teachers, guidance, and lots of hard work. From my experience it's pretty clear. Again, I've found people make it complex. With great teachers and hard work it's been recognizable, understandable, and most importantly doable.

 

Ittsukan Dojo There's no such thing as basic or advanced technique, only higher levels of proficiency. My teacher says this.

 

Jeffrey L. Riggs You guys are going to hate me for this but:
Are the Pinon Kata beginners kata or advanced kata? Do you consider them "Classical" or are they what the Japanese refer to as "Gendai Budo"?

 

Pim Barnett As a wise teacher once said: there are no advanced techniques in Karate, only basic techniques performed in an expert, advanced way.

Friday, March 21, 2025

The Bubishi 8 in French

 



Ces préceptes sont les suivants:


1.     L'esprit de l'homme est semblable à l'univers

2.     Le sang circule comme se meuvent la lune et le soleil.

3.     Essentiels sont l'inspiration et l'expiration en force (gô) et en souplesse (jû).

4.     Le corps suit le temps et s'adapte aux changements.

5.     Dès que les membres rencontrent le vide, ils se placent selon une technique juste.

6.     Le centre de gravité avance, recule et les adversaires s'éloignent, se rencontrent.

7.     Les yeux doivent voir des quatre côtés.

8.     Les oreilles doivent entendre dans les huit directions.


These precepts are as follows:


1.     The spirit of man is similar to the universe.

2.     Blood circulates as moves the moon and the sun.

3.     Essential is inhalation and exhalation with forces (gô) and flexibility (jû).

4.     The body follows time and adapts to changes.

5.     As soon as the limbs [arms] strike the opening [space], they place themselves according to a correct technique.

6.     The centre of gravity advances, [then[ moves back and the opponents move away and strike [back].

7.     The eyes must see on four sides.

8.     The ears must hear in eight directions.

Thursday, March 20, 2025

Reflecting on the Karate Tournament

 

  

From 1974 to 1984 I participated in many tournaments in the old region 10 (Maryland, Delaware, Pennsylvania as well as tournaments in Virginia and New Jersey, New York and Connecticut). Most were open tournaments, a few were Isshinryu only tournaments.

 

They had many varied divisions at different times those divisions were:

 

          Kata

          Kobudo

          Kumite (Light Sparring, Semi-Contact and Full Contact)

          Self Defense

          Demonstration

          Breaking

          And a few others

 

Not every tournament had every division, the three K’s were the standard.

 

At that time I moved from white belt to 3rd dan black belt.

 

The competition was some of the best in the country. That included several National Champions. And many of those regional champions could have become National Champions if they had traveled.

 

Note in those days I traveled to compete or judge, and did not travel with a camera. I have but a few photos from those days.

 

Some of those champions (as an example)

 

Among these competitors are Cindy Rothrock, Dale Kirby Sr., Cezar Borkowski, George Michak, Dennis Brown. Bill Pickells and Jun Chung along with others. At Victor Moore’s tournament in Northern Carolina.

 


 

At  times when requested I also judged.



 

Those tournaments had a very wide range of styles. They ranged from the sublime to those that were quite different.

 

There were  tournaments run by:

 

Francisco Conde  (who threw 14 tournaments a year, 2 Large ones and 12 local ones.

George Dillman (2 large tournaments a year)

Hidy Ochiai (1 tournament a year)

And many times many single tournaments run by local instructors from many styles. Such as those of George Iberl and Al Smith.


Much of the judging was done by early American regional karate seniors at most of those tournaments. It took time for the most part for them to really see what a new competitor had. They pretty much controlled the tournaments.

 

There were also many other things going on at the tournaments.

 

For one thing the tournament director often and their own rules for the day.  Of course as the tournament went on those rules would flow to what the judge running the ring thought they should be. There was no one constant set of rules.

 

The Senior tournament judge  often favored their students.  Which is why often the high and low score were thrown out and the remaining scores would be totaled to be the score for the participant.

 

That was not always a constant, I remember at least two tournaments for black belt kata and kobudo divisions, That had 25 judges for those divisions and the total of all 25 judges became the score for the participant.

 

I remember one time two senior judges tried to convince a very good kata competitor not to compete in kobudo,  saying as his system did not have weapons, they did not want him to embarrass himself. They did not know what he had, and he then went on to win the kobudo division.

 

Another time those same two judges tried to give him advice how to throw his side kick, having no idea how he was trained, Of course they could not do what he could do. Then he competed with him doing his side kick as his father had trained him.

 

Often there were other things that happened on the tournament floor that others could not see.  Psych War existed trying to weaken another competitor. Such in a kumite division attempting to tell another competitor how dangerous his opponent was to psych him out.  Even senior competitors would try to play head games with their competitors in kata and kobudo divisions.

 

I experienced all of this happening at one time or another.

 

People go to tournaments for themselves, for their schools, some just showed up at the beginning for black belt kata and/or kobudo. Some showed up at the end of the tournament just for black belt kumite. There was no one reason at times all of them occurred.

 

Strictly for myself I was just competing to push myself to become better, I had no instructor coaching me in Isshihnryu during that time. Lewis Sensei was too distant for regular class and Charles had returned to the USAF for his career. Though I trained with many fine people, none of them cared about my art.

 

So I chose competition to force myself to grow.

 

It was not my concern to win, just to keep pushing myself to become more skilled.` And constantly going up against the best around helped me by doing that.

 

I was teaching youth through the Scranton Boys Club for free. I did not take most of my students to tournaments. Just a few of them at nearby tournaments at times.

 

I saw repeatedly that their parents and families took their kids to tournaments and how those young competitors were lost in the crowd of adults towering over them. It came to me that a tournament just for Youth made sense.

 

So I proceeded to throw three of them (1982, 1983 and 1984). They were without charge, the winners would receive small trophies and all would receive a certificate of participation (so everyone had something to go home with signifying they were there -  an idea I borrowed from Hidy Ochiai.

 

They grew year after year. The first two were held at the Boy’s Club gym , the third at the local Armory. No group or system won everything, all the winners came from many different places

 

It felt very good to do something for the kids.

 

And I attended more sad more tournaments to support other schools, often being placed in youth judging. Obtaining a wider picture of what others were doing.

 

The 1983 tournament at the Scranton Boys Club.


 


One of the real lessons I learned was that most tournaments were a money raising mechanism for the host instructor. I speculate for many of them they were a serious revenue for their program.

 

Then time passed, I had to move on to New Hampshire for work.

Karate was still very important to me, but I had less time for tournaments. I slowly began to move my program in a different direction, one away from tournaments.

 

 

Along the way I learned many lessons. One of the instructors I  spent much time training with on many incredible lessons. He was also an extremely skilled competitor in the region.

 

Among the lessons, when he competed in kumite he went through everyone he faced like a buzz saw. But never in class did I once see his students spar. His abilities did not come for him or his students from sparring. Instead it was the accumulation of many different practices that brought those abilities together.

 

Likewise those who observed his Kumite, Kata and Kobudo at tournaments had no idea of what he was actually about. Following that line of logic, what you see at tournaments tells you nothing about how and what individuals really train in.

 

The tournament performance is but a shadow of the actual arts they practice