Training with John Kerker October 2013

This weekend Charles Murray and I attended the training sessions with John Kerker held at Clarence Whitley’s School in Chicopee Mass.

It was very interesting covering Bo basic training that he uses. He also covered the small details within technique, offered various intense application studies of techniques across the kata, moving effortlessly between the kata, and 15 of Tatsuo Shimabuku’s applications over the time we were able to attend. I’m sure what we missed was good too.

John is the senior student of the late Sherman Harrill, who I would be pleased to see his work continue with John.

For great training I encourage all to seek out one of John’s training sessions around the country,  he offers about 10 a year.

Charles Murray on the receiving end of one of John Kerker’s techniques.

Throwing techniques in Karate and Toudi

My recent research into the throwing art of older karate came from my recent posts on Funakoshi Ginchin’s throwing techniques described in his “Karate Do Koyan” from 1935. Then with further research I found a good article ‘Throws in Karate’ by Charles Joseph Swift http://www.fightingarts.com/reading/article.php?id=77  on the same subject.

Then on the same topic there is the great translation by Mario McKenna of Itoman Seijin (Morinobu’s) book Toudi-jutsu no Kenkyu  which describes these throws.

Riding Throw

Back Riding Throw

Heaven Throw

Shoulder Throw

Ox Throw

Supine throw

Arm throw

Winding Neck Strike

Yielding Throw

Sacrifice Throw

Using  the Oshima 1973 translation of the Funakoshi  text he describes them as follows.”Throwing techniques include byobudaoshi, komange, kubiwa, katawaguruma, tsubamegaeshi, yaridama, tanitoshi udewa, sakatasuchi, and others.” (page 227) By comparing the descriptions of the throws from the books it seems there are some similarities and differences from those of Toudi and Karate.

It is unclear to me if these were shown as opening movements to the throws  found in kata or as separate training practices complementing the arts of kata. Perhaps further research can clarify this for me. They seem to be logical training alternatives to karate.

Tai Chi Palm

I practice Yang Long Fist Tai Chi Chaun. Trying to preserve an aspect of this incredibly valuable and complex art cannot be easily done with words. Currently it is not a part of my students studies and as I continue to modify my art for my condition I still wish to preserve some aspects of this art especially as palm strikes are found in my arts.

This is my instructor ,Ernest Rothrock  Laoshi, demonstrates a basic Tai Chi exercise, the Palm Press. This is one of a series of Tai Chi Warm-up Drills Rothrock Laoshi uses to prepare for the Tai Chi workout.

“The exhale is on the strike and the inhale is on the setup before the palm. We do a basic palm strike in class to work on the actual hand expression.  As you know, Tai Chi is rooted in the feet, directed by the waist and expressed with the hands. Many practitioners do not even know about hand expression and have what we call dead strike (which just means "no action").”

“To do the basic palm with the hand expression, start with both hands at your sides with the shoulders and arms relaxed. Stand with the feet about shoulder distance apart and have both knees slightly bent to make sure the weight is centered.”

1. Raise one arm up keeping the arm straight and inhale. Keep the fingers pointed forward.

2. When the arm reaches slightly above shoulder height, bent the elbow down and bring the hand in while keeping the fingers pointed forward.

3. Bring the arm all the way in to your body, but keep the arm in front of you... do not bring the arm over to the side of your body. Keep the wrist bent so the fingers pointed forward.  Do not curl the fingers.

4. Exhale and push the hand forward.  Keep the fingers pointed forward as you are extending the arm.

5. About 2 inches or so before you reach full extension, flex the fingers back so they are pointed up.

6. Drop the arm back down to your side and relax and release. Then do the other side.

I would add you slow your breathing as you progress to each subsequent cycle. You time your breath to the strike and retreat of the technique. The breathing is as important as the movement.

What's on my Desk Right Now!

At times you can tell what’s coming next by noting what in on an individual’s desk.

Here are the books I am currently looking at.

Ginchin Funakishi  “Karate Do Koyan”

Mario McKenna  “An Overview of Karate-Do”

Itoman Morinobu “The Study of China Hand Techniques”

H. Kogel “The Secret Karate Techniques Kata Bunkai”

Motobu Chogun   Japanese Edition of his Combined Works

Irei Hiroshi “Okinawan Karate, A man Called Chanmie, Kyan Chotoku,

Story of his Youth”

Nagamine Shoshin “Tales of Onknawa’s Great Masters”

Engami Shigeru “The Way of Karate Beyond Technique”

Kawaishi M. “The Complete 7 Katas of Judo”

Nishioka Hayward “The Judo Textbook”

Roy Suenaka  “Complete Aikido”

Hokama Tetsuhiro “Timeline of Karate History”

Itosukai Sawabe Shiberu  “Patsai”

I don’t think there is a pattern, except I don’t return books to their proper place when I am finished with them. Can’t say at this time if any of them are a part of my next project.

One thing, most of the books were one time published. They each had a purpose to the author and unfortunately I doubt it was to provide material for us. At best this is incidential/

We are fortunate to find these works. It has been a side project for almost 40 years, beginning when my wife bought me “Karate Do Koyan” for Christmas in 1976.

My collection is not available for others to borrow. I am constantly referring to it in my studies. Many of the volumes were gifts, to the givers, I am most grateful. I am ever searching them to try and understand our arts origins.

A month from now my desk will look different.

The question of Chi

I have no doubt that chi/ki exists, but most of my experiences are personal, not open to independent verification. On the other hand I can suggest an example that I have always found to be true.

Watch a white belts kata performance, then place them in the middle of two advanced black belts and have them perform the same kata as before. This time the white belt approaches black belt level of performance. This works the same way for everyone, place a green belt between two ni-dans, or a brown belt or a ni-dan between two roku-dans and obtain the same result.

Sure there are several possible contributing factors. The presence of the dans might be providing visual and auditory clues to the kyu performance. But select a kata that they are very experienced with.

There is also less performance pressure for the lower raked student. They feel everyone will be watching the dans and not them.

For myself, I prefer another answer.

I feel the lower ranked student borrows the energy of their senior’s performance.

New Authentic Bushi No Te Isshinryu Winter Kobudo Training Uniform

New Authentic Bushi No Te Isshinryu Winter Kobudo Training Uniform – Old School

Karate's Nage Waza

Many of the Karate Nage Waza demonstrated by Yuar Tsur Sensei are the same as shown in Funakoshi Ginchin’s 1925, 1927 and 1935 works. Not often a regular current practice.