On Aikido in the Heian Kata

While today everyone seems to know what Bunkai is, there was a time say pre 1980 where the word was almost never used.

 

For everyone who knows that Shotokan does not have effective ‘bunkai’ I have a different opinion.

 

 I was taught the use of the term by Tristan Sutrisno and in the context of the bunkai taught by his father from his father’s studies with Funakoshi in tht 1930’s in Shotokan, and with those in aikido and tjimande. This is the only ‘bunkai’ I ever studied, a very different ‘bunkai’ meaning than elsewhere. His paradigm had the applications using kata for a placeholder for the intended application. Most often the application did not have anything to do with the kata. These Bunkai were taught at Dan level, and a different interpretation at each Dan level.

 Of course as an Isshinryu stylist I do not use the Heian Kata.

 The application studies I had with Sherman Harrill followed an entirely different paradigm.

 

By way of example, the following clip is from his aiki bunkai for Heian Yon Dan. This was about 1981.I am with holding my son Victor-Michael .He attended the clinic and learned too.

 

Some Tristan Tanto Play

Choto Kyan Extracts from what to know about Fighting.

Choto Kyan  Extracts from what to know about Fighting.

Translated by Patrick and Youkio McCarthy

 

I believe I have only seen two versions of this, and it has not been widely disseminated. It is worth the time to read.

 

5. During a fight pay close attention to defending the center-line and not be caught off balance by staring at the oponents feet or eyes. You must be especially careful not to get hit in the vital organs, grabbed or even have the testicles seized when attacked. Also, it is not always wise to use too much force in defensive technique as movement tends to become slower, which also reduces the possibility for quick reaction or taking advantage of an opportunity.

For one thing I was taught to focus on the opponent’s chin, where peripheral vision allows you to see the entire opponents actions. I was taught the eyes of an opponent might captivate your awareness.

6. If you sieze an opponent’s  wrist, garment  or arm, be certain to maintain a pliable strength at the time being prepared to exploit his reaction. This way you can maintain control of the opponent’s movement.

In practice we try to use light pressure controls over grabs for just this reason.

 

There is much more in “Motobu Choki Karate” by the McCarthy’s

 

 

 



Mefutode by Motobu Choki

Mefutode by Motobu Choki

Watashi No No KarateJutsu

Translated by Patrick and Yuriko McCarthy

 

Page 83

 Mefutode

 

In the case of an actual fight both hands should always be used together, as illustrated in the corresponding photo. This is commonly referred toas” Mefutode”. Let’s discuss how using both hands actually work. When facing an opponent in a combative posture it is important to know the lead hand can be used to deal with both offensive and defensive issues. The lead hand can be used for both protecting and attacking concurrently. The rear hand is used as a reserve if and when the front hand cannot accomplish the` intended outcome. Them Mefutode can be used for both offense and defense.

 

Generally speaking the use of Mefutode is not well known as it is more common for one hand to be held out while the other remains chambered on one’s hip while being prepared for usage. Some theories believe the lead hand is used for defensive and the opposite hand is reserved for attacking, I believe this theory to be incorrect and greatly impedes the lead hand from its collective potential. I refer to the lead hand in this case as “shite” or “dead-hand”  and the rear hand as “ikite” of “live-hand”. Moreover, this inadequate positioning can slow down one’s advantage.  It simply makes far more sense to have one’s hands `as close to the opponent  for immediate employment. If you will study how this applied to fighting, you will understand it’s effectiveness.`

 

 For those who have studied kata application potential you will have experienced this motion use. Of course you can use this as  advice from Motobu against chambering.

 

I do not hold either course is the complete answer. One of the instructor I studied with at 3^rd dan level stops the use of chambering and teaches all technique delivered from any starting position for increased speed. All of the training used to internalize the full range of prior motion studies into the ending point of each strike.

 

While I understand this approach, and it is fast, a case can also be made to use the full potential of each motion from kata, with a different dynamic.

 

Again one cannot do everything.

 

This Mefutode is often referred to as the Husband – Wife hands in Okinawan karate. You do not hear of it often. I first encountered a Goju stylist with a Brazilian lineage, where the use was taught. I had a difficult time understanding it’s use with Goju. Then I recalled this Motobu description and it became clearer.

 

Something else to think on.

 

 

This article on Karate by Jesse discusses this topic.

http://www.karatebyjesse.com/reviving-meotode-the-ancient-okinawan-karate-concept-of-kicking-ass/

Another view:

Otsuka sensei shows meotode (husband and wife hand) and naihanchi stance. 1935.

I recommend reading Motobu Choki Karate by Patrick and Yuriko McCarthy

Motobu on Naifanchi-Dachi

Watashi No KarateJutse by Motobu Chokoi

English translation by Patrick and Yuriko McCarthy

 

Page 89

 

Naihanchi Kata

 

You may probably already know that there is a kata called Naihanchi, which uses the Nachimonji-dachi (please refer to photo #3 of Naihanchi). There are those who believe the proper way to perform the stance is by twisting the toes inward and squeezing the feet together. Hence it is often taught this way. However, I believe this to be completely wrong. This way of performing the stance has been down through the Itosu lineage. However, disciplines of Matsumura and Sakuma senseijust naturally open their feet up into the eight-shape posture (hachimonji-dachi) without  application of power. I once questioned Matsumura and Sakuma about this point. Matsumura sensei responded by saying   “I think the practicality of Itosu’s method and someone using it could easily defeated.” I considered his comments and agreed with his theory. Using the hachimonji-dachi by twisting the toes inward and squeezing them together, as prescribed by Itosu, would be unstable. A person could be shoved to the ground even if lightly pushed from the rear with someone’s fingertips. I just don’t think this is the type on stance that functions very well when power is applied to it. Kata should be taught with the practical issues it represents. I don’t believe it is wise to teach a student to apply force to the movements if the application of the technique is impractical or misunderstood. This is why I disagree with twisting the toes inward and squeezing the feet together and felt it necessary to clarify my point.

 

Motobu then proceeds to discuss his Naifanchi kata.

 

 

 

Frankly this is quite interesting.  First to indict the Itosu lineage, which in Japan at that time was the karate of Funakoshi and Mabuni. The photos of Funakoshi performing Tekki- Shodan (his renames Nihanchi Kata) are almost identical to those of Motobu.  Assuming this had something to do with the rivalry with Funakoshi.

 

Thus I am not sure why he would take space in a book about his karate to criticize others practices.

 

But small points make large differences.

 

As I as shown Naihanchi dachi the toes are turned inward. I have seen others who are parallel footed when doing the kata.  In my opinion it does not make a great deal of difference. I can see a logic behind each practice. If it puts some attacker on the ground. Fine.

 

Now what does this mean for Tatsuo Shimabuku.  Not sure. This was written in 1932 or 34, perhaps Motobu changed his thinking. Perhaps this represents Shimabuku Sensei’s own evolution in karate thinking.

 

Just another of our mysteries.

 

 

 

Funakoshi Ginchin

Aikido No. 5

Back in 1980 when I first started visiting and training with Tristan Sutrisno he was teaching his students an Aikido drill for karate-ka against punching attacks where the technique after technique placed the opponent on the floor with either a throw (projection) or a lock.

 

The complete drill was like a game of monkey in the middle, with each attacker either ending locked on the floor, or projected away.

 

After watching them do this for 15 minutes, Tristan turned and asked me if I would like to try. At that time it was done with 8 attackers (though the drill had more sections) this was the kyu version. I had learned by that time to pay attention. I said “Sure” and then did it.

 

I remember Tristan asking me how I knew it. I told him a black belt pays attention and never says no.

 

After that he shared with me more closely for a decade,

 

From his book the Complete Martial Artist, here is Tristan Sutrisno performing what I was told to call Aikido No. 5. It is the Aikido Heaven and Earth Throw. It does not show the ending locking movement.

 

 

Great Photo

This photo of Shimabuku Eizo is reason enough to share it.