Kanegawa no nichogama

 Kanegawa no nichogama

 https://www.youtube.com/watch?v=YnkMd5BMYqY

 

kanshiwa.mp4

The second kata to be mastered in Uechi-ryu Karate-do

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

 

The idea of a Neverending Kata - Linking Naifanchi and Sanchin

 I believe it is important to be honest up front.
As a student of Tom Lewis and Charles Murray I have always followed the Isshinryu they taught me. I realize at different times Lewis Sensei taught differing version of our kata. But I did not experience that myself. When I began training with Charles he told me do perform my Ishinryu that I had been taught in Salisbury always that way. and my new kata should be done his way.

I followed that advice for the rest of my life.

When I saw videos of Tatsuo and Angi I realized the versions they were showing might have differenced, however I never considered those videls a reason not to perform as I had been taught. Then at tournaments I ofter saw other ways, eventually on the internet and you tube I sas more. I was interested in those variances, but never used them as a reason to find a new way.

For example i was taught Naifanchi by my senior Dennis Lockwood with the toes facing inward for naifanchi dachi. Nothing others did gave me a reason to change from that.

Now the past discussion.

Considering Nihanchi and Sanchin

 

Tatsuo Naifanchi
https://www.youtube.com/watch?v=48HPCTktT70

 

Tatsuo Sanchn
https://www.youtube.com/watch?v=3WunF0nHUvI

In today’s class, while working on Nihanchi kata, some earlier training stuck in my head.

Murray Sensei when training me told me that Nihanchi was the Shorin version of Sanchin.

His explanation was that the lower body (stance)  should be locked in tight (similar to Sanchin stance), but the upper body should be flexible to move cleanly from side to side.

I’m not sure where he picked that up, but its one of the focal points I’ve always considered.

Now as I’m prone to do, I’ve done more than my share of ‘special’ training with Nihancihi.  For strong, energetic late-teenagers, I’ve often taught them Nihanchai with two jumping spinning crescent kicks (a great way to reduce their energies).

But far more appropriately, I’ve used Nihanchi as a never ending kata. When you finish the kata you simply continue to keep doing it again and again.

The long repletion of Nihanchi, besides strengthening the legs and the torso, when repeated endlessly:

1. Allows the instructor  to readily see where the mistakes in the students performance are located.
2. Becomes a great strength in technique drill.  

I find it has a distinctly different flavor than just doing the kata, stopping, doing the kata, stopping and doing the kata, and so forth.

 Today this got me thinking, this ‘never-ending’ Nihanchi has a different link to Sanchin than the one Murray Sensei suggested.

[I especially like Nihanchi because so many people hate it for its unaccustomed lateral movement. I find the best way to guage a students real abilites can be done by their ability to execute Nihanchi, most especially in advanced Black Belt level.]

The histories (based on oral testimony) of Hiagonna teaching, didn’t use Sanchin of a fixed number of steps. Instead they would continue down the space of the dojo (inside or outside) until they couldn’t go further. At that point they’d just turn around and to Sanchin back the way they came. Eventually this turn worked its way into the finished Sanchin kata (expressed through Miyagi’s Goju-ryu).

I understand there are several theories (in tandem or apart?) regarding Miyagi’s Sanchin (without the turns), which later translated into Shimabuku’s Sanchin.  One that Miyagi specifically wanted to work on moving backwards.

But it is the oral history of Hiagonna’s Sanchin, the never ending, go down the floor, turn, go down the floor, turn, go down the floor, etc. also is a never ending kata.  

[Which does not imply that Isshinryu’s Sanchin can’t be done as a never ending kata either).  Thus you can find a common ground  linking these practices together (if you choose to practice this way].

Perhaps this will give those of you who are instructors some interesting class ideas.

Of course this brings up a larger question I posted in May, regarding Nihanchi and Motobou. We never did discuss that adequately (IMO) though there may be no ‘logical’ answer.

A closing comment, in the kata’s never-ending kata version,  the instructor can more readily see the small problems in the student’s execution. If the kata isn’t done very correctly small mistakes begin to build and create a counter-vibration to the kata’s correct execution.

Pondering Isshinryu studies for a change.

Victor

The Art of Kata Application

                           

I’ve been thinking that a discussion of the elements involved in the analysis of kata application may make for an interesting discussion.  This discussion will not examine a larger potential issue, how to mix and match techniques from a single kata, or from multiple kata, to find other application answers.

As the arts have been passed, except as our instructors shared or didn’t share applications, there are no concrete rules in most cases that must be followed The only exception is in the actual direct teaching of an instructor or group of instructors. In such cases, if you remain their student you have the answers you need.

The first consideration may seem simple, that one has to know the material, but it is extremely important. Knowing the material is much more than just moving through space. It is having true knowledge in the material to have faith in it.

Many individuals working a specific technique application find when facing the pressure of an attack, even with a technique series they’ve been doing for years don’t have the faith to follow through with the technique they were just shown, an application that will work, and instead do something else. A reasonable choice for sheer survival, yet short cuts won’t build skill in the long run.

It’s not the technique doesn’t work, especially when the instructor just showed it to them, and explained what to do in detail. But you have to believe that you can actually drop somebody with it too.  That faith is a critical element in technique analysis. If you write a technique off as ‘useless’, you’ll live up to that prediction.

So let’s assume you truly have faith in the technique, one which your instructor or lineage did not explain the application potential. What general components might one look at in the analysis process.

I think the first is defining the sequence that you are using. When you’re taught a kata the sections were drawn for you by your instructor.  For general discussion I’ll use the opening section of Isshinryu Karate’s Seisan Kata.

1 Bow feet closed.

2 Step to ready stance with both hands performing a double down block stopping before each knee

3 Step forward into the left front stance as you execute a left front block, while your right hand chambers.

4 Then retract your left hand to chamber and throw a right reverse punch.

5 Step forward into the right front stance, retract the right hand to chamber and throw a left reverse punch.

8 Step forward into the left front stance as you execute a left front block, while your right hand chambers.

 

I’ll discard bow motion applications, leaving them for another time.  This is a personal thing I’m not into bows.

The most common usage would be seen as no’s 3 and 4 done together, step in block and reverse punch.  In fact I’m going to use this as the base application in other points I’ll be examining.

But, there is a much wider range of answers. The answer could be 2, or 2 and 3, or 2, 3 and 4, or 2 through 6 using the large picture of the motions involved. But complete techniques can be found in the fractals of the motions involved. The sub components of a technique may be complete techniques or all the sub components within a technique may be a complete series in their own right.

Another avenue to explore is the role of timing and breathing in the series of execution. These aspects can change the technique potential in many ways.

Then the direction your technique motion addresses an attack must be considered.  That section of Seisan I’ve previously mentioned, 3 and 4, is most often shown against a lunging punch, and you’re replying straight on, which gives one set of answers. Another answer is to change the angle of insertion into the attack, say cross the line of attack by 20 degrees, giving a separate set of answers.

The motion of striking must be considered. What looks like chambering and striking contain various components when combined with say changing the angle of attack. Is that reverse punch just a strike into the chest, from some angles of insertion it could strike ito the chest several times as it ends striking into the triceps of that attackers arm.  The kata motion may give one option, but high and low strike potential coming from that same motion can be logically explored. The retracting hand also has vast striking, slicing potential into an opponent.

The full use of the body, upper and lower, must be maintained. Often the act of moving hides lower body applications, kicks, knee strikes, stomps, checks, sweeps, reaps. The act of moving can be used as a shearing plane of force in addition to karate’s percussive aspects. Techniques dropping to the floor may be throws. Techniques rising into the air may hide more than just kicks, after all when you go up you come down.

 

The direction of kata technique can be reversed providing more options. At times stepping back can be more than just defensive, getting away from an attacks pressure, it can create a void the target moves into, creating an opening to attack/counter-attack.  This strongly means breaking kata from just one way of potential, and instead exploring all its implications.  In fact with replacement stepping you can do a kata with all it’s movement staying in one place.

The technique of no movement must be explored.  You can do a complete kata without taking a step, and without sacrificing any of the above principles.

Even more abstract is the fact kata technique could be seen as the opening, then intermediate and even closing response to an attack, not necessarily the entire picture.

Kata provide many layers of technique execution. Say a side block/strike. Are you blocking across with one answer, or are you going out and drawing back as you execute the sucking block, provides a separate answer. Both have uses.

The method of execution incorporating many force multipliers must be taken into account.  Examples would be the role of chambering, the use of the knee release, the alignment of the body especially where one hand touches the arm of execution, and the use of the eyes in conjunction with the rest, all can be tools to increase the effect of a technique.

There is no fast rule to how these issues are incorporated in the study of kata application potential.  In fact they are likely layered in over long study, not everything at once.  As your understanding deepens, the potential to see more aspects increases too.

 

                                                                   
Information pertaining to Isshinryu kicking – old style


A long time ago, back in the mid 1990s, there were many things no longer discussed about Isshinryu. This was one of those discussions.  The reality is there are many divergent Isshinryu traditions, each with their own history back to the beginnings of Isshinryu. This is one of them.

 

I was recently reading several interviews with senior Okinawan Shorin-ryu instructors,  Iha Seikichi and Miyahira Katsuya, and in the course of those discussions they both made the same point about kicking.

 “In the “old days,” the kick was never extended past the extended punch. You always kicked within the extended fist.  It is too difficult to do nowadays and students just ignore this concept. Nowadays, the students often seek the easier way and extend their kicks way past their fist. This is the sport kick, but it is okay for those who do not really understand kicking.”

“Remember that in kicking, the foot itself must be tight with the leg loose. You then hinge the kick out. The kick must be chambered, then kick and then re-chambered before the foot is set down. All the kicks in Shorin-ryu are done with the toes. I think that 85% of all the kicks are done mid-body. We then do have a thrust made to the head, but only about 15% of the time.”

Miyahira  Katsuya stated, “The Shorin-ryu student must work on retracting their kicks quickly. They must also practice kicking within an arm’s reach. This is highly important in doing good Shorin-ryu kicks. The kick does not extend out but within the length of one’s arm.”

IMO, this fully describes how Shimabuku Sensei was kicking in our video reference of his technique.

Kicking at the range of direct engagement, striking distance. Fully raising the leg and then kicking out and retracting the kick, at a very close distance.


Victor

 

 
Hi Rich,

I don't offer this as proof of anything, but as something provocative to consider. One of the more interesting developments from our computer age is continual new material to consider, as well as ongoing translations of older 'stuff' we haven't seen before.

I certainly think Okinawan senior's descriptions of their own arts worth pondering.

When I watch Shimabuku Sensei's kicking technique on the video's, I can see a connection to that point of view.

Of course this doesn't mean you can't kick at a further range, either, or that it doesn't have relevance.

I do look forward to your own observations.

Victor



isshim2@... writes:
Of course this doesn't mean you can't kick at a further range, either,  or that it doesn't have relevance.

Victor,
                I agree with what you wrote in your last email. The above statement says it all.  I actually stood up, arm extended and kicked a few times to see where my kicks were in relation to my arm. It passed my hand by a few inches (about 6") and I have long arms. Anything less chokes the kick.  I retract my kicks fast and think of kicking myself in the butt with the heel. The rest of what Iha sensei wrote I agree with.
 
  This is just what I needed, more food for thought, another thing to study. Good article and a keeper.
 
Thanks or should I say gee thanks,
                                                     Richard

 Rich and Victor,
 
Mr Harrill taught front snap kick with the ball of the foot and the toe's at this distance, same length as a punch, with the ball of the foot as the weapon it tends to be an upward angle kick into the abdomen, this took a little bit of time to get use to,
 
 
John


 
I was taught the same kick by Harrill Sensei. Once he tapped you with it you understood it's effectiveness immediately. ~Lee Norton

Lee is right, the knee is as high as you can get it almost,
 
My best example as to were to find the kick in Kata is in Kusanku were we do the backfist Front kick at the same time, the knee comes up and almost touches the elbow.
 
John



Some katas I was taught to kick low with either the ball of the foot or the shin to targets like snkle, shin or groin; others used the ball of the foot to the inner thigh or groin; still others into the abdomen.
~Lee

 
Kerker added:
Mr Harrill taught front snap kick with the ball of the foot and the toe's at  this distance, same length as a punch

 
Rich recalls:

Let's not forget the brush. Ah yes the brush kick. The one where he kicked you on the outside of the lower leg, in an upward brushing motion. Then there was the return to chamber heel kick. The kick would either strike or pass it's intended target and on the way back, just when you thought the worst was over, he nailed you with the heel as the foot returned to chamber. I got these two types to the legs and more then once.
 
Kicking within the extended punch.
 
Now back to this other kick Iha sensei spoke of in the article Victor supplied.

Take this test and you decide:

1 - fully extend an arm ( try it with either the left then the right arm )
2 - lift a leg into chamber ( try both legs )
3 - now kick with full intent making certain you foot does not pass the extended arm
 
I did this yesterday to test what Iha sensei said was the proper way to kick. First, the length of my thigh ( upper leg ) is almost as long as the extended arm to begin with leaving me with only a few inches of forward movement. By the time my lower leg hinges forward, I am past the extended arm. The only way in God's world I can stay within the distance of my arm is to kick short and choke the kick. No matter how I tried it reduced the power of the kick immensely. I tried pulling my hips back to gain some more distance, but that helped very little. I can use a rising kick to the groin, but that went way past the arm.

I didn't stop here. I went to several video's of Harrill sensei and others doing kata. In every case they kicked past the extended arm. Now I am doubting myself thinking I missed the class on kicking 101. But I realize I didn't and contrary to Iha stating people would can't do this don't understand the proper way to kick, I do understand.

Being I liked most of what Iha said and agree with him, I will conduct more experiments with my students on the subject of kicking.

Additionally, in July I will take this subject to Kyoshi Marquez, a fine Goju ryu and Kobudo teacher.John and Lee we have to go over this at next meet.
 
Darn Victor, look what you started. If I didn't like it so much, I wouldn't be posting.  Rich


 
Try pulling you knee higher than you are used to. That's how I learned it.
~Lee




Hi Rich,

I’ve been thinking about this kicking concept for some time “In the "old days," the kick was never extended past the extended punch”.  

First I think we must consider that the use of language (and of course translation) may not fully describe what is being done.

I can see this several different ways:

1. Delivering the kick as if you in distance to strike a wall, and instead using the kick.
     i. Targeting the lower abdomen.
    ii. Targeting the groin/legs

2. Delivering a kick with the same body alignment as if you were striking, and not shifting the hip into the strike. In that case your kick might hinge further than the fist.

3. Targeting a space one arm length from the body that the opponent will be moving into as your kick is delivered. That is not the same as kicking a static distance, but one where the opponent is moving into the space you have taken.

I see each as having a different launch mechanism in practice.

I tried doing a search but didn’t locate any video of IHA SEIKICHI SENSEI to watch. I did locate some video of his contemporary, Miyahira Katsuya, but nothing that makes a case either way.

When I watch Shimabuku Sensei’s kicking technique in the 1966 Seisan kata versions, I see his marvelous chamber, and kicks that appear to strike to the groin or the legs. In that case I see striking the distance a fist can strike, reasonable.  You can watch them yourself and make your own decision.

And that may well tie into Harrill Sensei’s Brush Kick. [And perhaps the cutting kick of the Kashiba Juku folks.

I’m not sure any explanations of a systems kicking technique can fully describe what they may do.

At one time or another I’ve been trained in kicking from several different Isshinryu traditions, Korean Tang Soo Do Moo Duk Kwan, several different Chinese traditions (N. Shaolin and Tam Tuie) as well as Indonesian ones. They each have their time and place, execution theories and strategy.

I firmly believe in my Isshinryu core and teach it as I was taught, but even in that there is flex. I was taught that one’s kicking potential was taken as far as they could go, and in turn use my other studies as appropriate for student growth.

IMO, the only lower body chart I’ve studied for the past 35 years is mostly focused on striking into the lower body of the opponent.

 

Lower Body Combinations

Front Snap Kick
Knee Strike (45degrees)
Front Kick (Side)
Cross Kick
Side Snap Kick
Heel Strike (Knee)
Knee Strike
Rear Kick
Side Kick (45 degrees rear)
Squat Kick
Side Kick (on  Floor)
Front Thrust (from floor)
Double Jump Kick
Roundhouse Kick
Side Kick (Rear 45 degrees), Rear Kick

Victor


 
Some katas I was taught to kick low with either the ball of the foot or the shin to targets like snkle, shin or groin; others used the ball of the foot to the inner thigh or groin; still others into the abdomen.
~Lee



Hi Rich,

Last night my group too was working on kicking in the striking range.

Working on the standing bag we found it was exactly as John described,a rising kick into the lower abdomen range.

Opening a fascinating line of kicking investigation.      Victor




In a message dated 6/4/2008 4:21:11 A.M. Eastern Daylight Time, isshim2@... writes:

Working on the standing bag we found it was exactly as John described, a rising kick into the lower abdomen range.

Victor,

          Every kick a purpose. I am well aware of a rising kick and of course I teach it. Iha, in his interview, led me to believe a person not kicking within his extended arm does not understand kicking. To that I say nonsense. A rising kick has it's purpose, but it is not, in my opinion, our primary front snap kick. Gedan uke ( lower block ) travels downward, a rising kick upward. I believe a rising kick is easier to block being it travels toward the block. I think it's harder to block a snapping kick which hinges and remains parrellel to the ground. I still like all kicks and that's not the point. I understood Iha to mean all mae geri stay within the extended arm. I just don't see this being true.
 
  Draw a straight line down either your left or right side. One from the center of the arm socket to the center of the hip. Now extend your arm and measure from that line to the end of your fist. Do the same with the leg. I guarantee the leg is longer then the arm. Therefore, you must choke the kick or make it rise and choke it to stop it at the end of that arm.
 
  Lee suggested bring the knee up more. If I pick my knee up more, then the rising kick can go higher. But I still, according to Iha, can't past the extended arm. I have seen a great deal of people kick and for sure they are passing the extended arm. I am referring to Isshin ryu people, including myself. Yet they snap and pop the kicks. The kicks are fast, smooth and very effective.

Your going to tell me Harrill sensei's kicks didn't pass his extended arm? Then I must have his double on video's doing kata and kicking wrong according to Iha.
 
  I am waiting for Iha to write me back. Then I will clarify what he wrote in his interview. This made me stop and think which is a very good thing.
 
Rich



Hi Rich,

I agree it is fascinating topic and look forward to any response you get from Iha Sensei. I do belive the concept is open to a number of different meanings depending on definition.

If I had been a student of Harrill Sensei I would practice exactly as trained. Having been a student of others I follow those paths, but am always willing to learn and try.

The immediate result of this will not change my basic teaching approach, but it may have an impact on advanced kicking studies.

Of course it's not necessary one has the strongest kick (or technique) or the fastest kick (or technique) but simply that one has the right speed and power to place the kick (technique) into the right space and time so it has an effect on the attacker. Not a suggestion how to train but a comment on the use of strategy and tactics. The time to strike is when the opportunity presents itself, of course.

Victor


Rich and Victor,
 
Sensei first showed me this kick in the summer of 1992, After he showed this to me he said," Now young man, don't let this change the way I taught you to kick in Kata." The two places he told me to think of this was the back fist front kick combo in Kusanku, and the last kick in Seisan Kata.
 
Also when Sensei would apply this, a trapping seizing type of technique was used prior to the kick
 
Think of it this way, how many different types of handstrikes did you see him employ? Those many ways of striking though never changed the way he ran his Kata.
 
John
 
 
 
In a message dated 6/4/2008 2:47:52 P.M. Central Daylight Time, rlilricky@... writes:

Your going to tell me Harrill sensei's kicks didn't pass his extended arm? Then I must have his double on video's doing kata and kicking wrong according to Iha

Rich

 Mentioned videos:

Miyahira Katsuya performing Pinan Godan
http://www.youtube.com/watch?v=gElz6vYH9tk

 

Shugoro Nakazato Sensei performing the Kusanku Dai   

http://www.youtube.com/watch?v=znNZKMaBVDg

 

Tom Lewis – Seisan kata
https://www.youtube.com/watch?v=TvPnE085r9g

 

Ambidextrous Defense, The Two-Handed Forearm Strike

https://nagarate.blogspot.com/
Tuite Jutsu (Personal training/teaching methodologies in Te)

 

  We teach this technique as one of several “beginning” Defensive combinations to student's when they begin their study of RyuTe.

  
 When instruction is initially began, the student should determine their dominant (or “Strong-side”) hand. If the student is Right-handed, then (usually) the Right hand will be their “dominant” hand (and vise-verse, if Left handed).

  This technique is often taught as a Reaction/response motion for unperceived, or surprise aggression as it is a very simple, yet effective protective motion. As with most RyuTe beginning techniques, this motion is ambidextrous in it's response capability (meaning it works equally well in defeating a Right, or Left hand Strike from an aggressor/uke, though the tori's motion doesn't change, regardless of which hand the uke uses).

 

  Practice of this, as with most RyuTe combinations, Begins with the tori and the uke standing face-to-face, at an arms length of distance from each other (confirmed, by the tori placing his hand on the shoulder of the uke to establish “distance”).

  Practice is began with both parties having their hands at their sides. As the uke begins their strike, the tori will raise both hands straight up (bending at the elbow), then will loosely close the finger's of their strong-side hand. This is done without clenching them together, so as to keep the muscle's of the forearm relaxed, while protecting the finger's from accidental injury.

  The fingers of the other (non-dominant, or weak-side hand) are left open, intending to parry an approaching strike. The dominant hand then crosses in front of the tori (to the opposite side) at face level, while the weak-side hand, will also cross in front of the tori's face, but is done with an open-hand.

  The strong-side's motion will be closer to the uke, and performed with the intent of being a strike, the weak-side will motion with the intent of a parry, or deflection. Both of these motions will cross (in front of) the tori's face (to protect it), and be performed with the intent of Injuring the aggressor's striking arm. Emphasis should also be placed on utilizing the forearm of the strong (striking) arm, as opposed to the (sole) utilization of the hand as being the striking implement.

  When performing these actions, the tori's body should rotate slightly to face towards the tori's weak side. This is done to add (body-weight) emphasis to the dominant (striking) arm as well as repositioning the tori's head (which was commonly, the originally intended target of the uke).

   The tori has several targeting options available to them (upon the uke's striking arm). There exist numerous atemi points on the uke's arm that could be utilized (depending on the tori's desired reaction from the uke). Initially, the tori should limit their (defensive) strikes to the uke's striking arm's forearm. As the tori becomes comfortable with striking specific points on the forearm, they should begin practicing strikes upon the uke's upper arm (at the relevant points located upon it).

  When these strikes are performed correctly, the uke's arm will be unable to close it's respective hand's fingers, and/or will be unable to bend at the elbow (depending on the struck point).
 
  Too often (especially beginning) students attempt to “target” their defensive strikes towards the uke's Head/Neck area. It Must be remembered, the threat, is the uke's arm's (and/or legs), and our goal is to immobilize those threats. If necessary, any other threats are dealt with after the offending arm (ie. The “Punch”) is neutralized.

  At beginning levels, the tori can rotate into a Back stance (which is faster), or step towards the uke into a step stance. Once the student is confident with the action, then tori will add the option of a straight kick to the defensive action. Doing so, will change the dynamics of the student's initial stance use/choice (usually) because of the change to the uke's reaction resulting from the kick. For this reason, the addition of a kicking motion, will usually be delayed until the student has been shown several of the initial combination technique's.

  

There are multiple “follow-ups” available, and student's should be encouraged to experiment with discovering what (and/or which one's) would work best for them (be it Tuite, arm-locks or strikes) in varying circumstances and/or their individual level of instruction.

Right-Handed Strike
  

When student's are comfortable with the execution of this motion/technique, we offer them the option of full-speed/power practice (utilizing Full-Coverage Protective Head-Gear). This optional practice method is encouraged, but not mandated. It's utilization illustrates (to the student) how this motion will work effectively for either a Right or Left-handed strike attempt.
 
 

Left-Handed Strike

  There are multiple “follow-ups” available, and student's should be encouraged to experiment with discovering what (and/or which one's) would work best for them (be it Tuite, arm-locks or strikes) in varying circumstances and/or their individual level of instruction.
 

 

Tatsuo’s Kumite by Master John Bartusevics

https://isshin-concentration.blogspot.com/2023/12/tatsuos-kumite-by-master-john.htm

https://isshin-concentration.blogspot.com/2022/07/tatsuos-kumite-by-master-john.html

Where did Shimabuku Tatsuo Sensei get his kumite from? \
https://isshin-concentration.blogspot.com/2023/07/where-did-shimabuku-tatsuo-sensei-get.html

Teaching the Application of Kata

 

How we share our art is a direct reflection of how we’ve trained and what we believe.


When it comes down to it I’ve been trained by individuals who spent no time applying kata technique, individuals who’ve utilized the ‘secret’ approach to the techniques they share after over 50 years of techniques blended from multiple systems, individuals who directly used their kata technique with no embellishments and had thousands of applications, and individuals who’ve spent decades studying extremely complex Chinese arts.

On the whole none of them were interested in spending time with each other. They all could and can kick butt in their own dimensions and they could all teach their approach brilliantly.

What one person insists only the most basic techniques are credible, the next takes the most incredibly complex and through correct training makes them effortless.

If you can’t do it its just that you’ve been incorrectly trained, plain and simple.

I see it as ludicrous to accept there is any correct answer. There are just correct answers for individuals, nothing more.

Coming from a heritage with no kata application and fighting tooth and nail over the decades to make sense to myself what it can mean, and layering in all the experiences I’ve garnered, I’ve built my own Isshinryu tradition for my students.

Here is how I approach the instruction of kata application.

In 'Kyu' training I do not teach kata application in a formal manner. But I do show it to demonstrate why the shape of their kata is done in a specific manner, especially when their form varies from the standard performance.

This is one of the inherent factors in our choice of a minimum of 15 years continuous training for instructor qualification. The instructor must have a deeper knowledge of the system than just initial performance. Can you instantly demonstrate and sell the application of any of your kata techniques. That’s a starting point to shoot towards.

As most students do not choose to remain in training for the long haul, why have them work on what is most definitely long term study.  I, instead, follow the way I was taught and:


1. Give them strong basic instruction that may carry beyond their training. We do this with a small number of basic techniques that can be used in a wide variety of situations.

2. Until the student actually advances in their technique potential (specifically I’m referring to many years of study) they are likely not skilled enough to sell the kata technique.  By that I'm referring to actually making it work against a focused attack, not walking through a technique against a half-hearted attack. (I would suggest there is evidence that this was the classical approach to karate training.  The evidence shows that the time for this may be a very long one.)

3. No question some of the application potential is very dangerous unless that is the intent, and you should really know who you're sharing this with. While this is inherent in techniques, most individuals are locked into what they've been shown, until you unlock that knowledge. This is clearly where things are hidden in plain sight, such as a horizontal elbow strike that can be a neck breaking/wrenching technique at the same time.

At the same time, there is a balancing act for the 'reality' your students live  in. Each instructor must understand their home 'environment', to determine what is the best mix of study for the student.  What works for me where I live and teach is likely the incorrect mix in a different area.

But the students are exposed to the concept of kata application, and in an informal manner work them from time to time too.

I am not a believer in ‘formal bunkai’ of the Isshinryu kata, or of any kata. To often the formal one’s I’ve seen have degenerated into drills and not application. I see the use of application study as a tool to unlock any movement’s potential to allow us to tap that potential as needed.

At Sho-dan the formal study of kata application begins
. 

https://www.youtube.com/watch?v=Xc0JrvCpFII

https://www.youtube.com/watch?v=IoLSaM1OQ90

The first step is a complete Analysis of one technique, being the first section of Seisan Kata. This includes learning to sell dozens of applications against a very wide range of attacks. By application they learn the entire range of potential in a single technique. They also acquire the ability to stop anything, in one sense not needing something else, yet come to understand this is only a starting point in a lifelong growth potential.




Once they’ve acquired some skill next comes the study of application potential of a single kata, and the one I feel most important is Sanchin.  Most especially as most of the world insists Sanchin has no applications and is only for health. The only health I’m concerned with is the students ability to learn how to drop anybody.

Intermingled with this initial training are studies in principles underlying their ongoing development.  Often using kata Fyukyu Sho as the workhorse to study them.

They include studies in:

 a. Breathing during inter kata technique versus intra kata technique.
 b. Compression and Explosion of energy from movement from the center and a deeper understanding of  the crescent step.
 c. Underlying structure of technique application.
 d. Countering locks and Holds
 e. Multiple Striking, layered striking, stop hits, multiple blocking, jing do

It is after moving through these stages the student moves into the wider study of application that can last forever. These stages aren’t attempts to study at one time the application of a kata. Just a never ending chance to explore kata potential.

At some point the exploration of Shimabuku Tatsuo's Self Defense Techniques is necessary.  I find them a fascinating answer to the central issue, but then I find each technique as fascinating an answer, too.

Add in periodic exploration of specific technique studies, such as elbow striking exploration, techniques for hand and foot and most especially the use of turning as a weapon, studies in how the art of aikido is contained within Isshinryu with no modifications and so forth.

The range you can explore depends on the student’s abilities. I’ve long been fascinated with the ground fighting techniques (not BJJ) that several instructors shared with me, but each time I grow a new potential candidate for study, they move on in life, growing up, and my adults no longer can realistically move in those dimensions.

And the underlying template for my ongoing studies and teachings, my own research, the studies with Sherman Harrill in his application, the training with Tris Sutrisno in karate, aikido and other techniques and the training with Ernest Rothrock in kung fu.

BTW, I believe in everything I practice and believe all of it can drop people too. It’s just a question of correct practice.

This is how I define Bushi No Te Isshinryu.

Pleasantly,

Victor

 -  -  -  -  -
Note on the use of the term 'Bunkai'

Over the years I've seen many concepts that look like they make sense enter the common vocabulary of my own teaching. Bunkai was one of them. 

As a student I studied no 'bunkai' to the Isshinryu system , nor did my instructors teach it when I was a new student. In turn they didn't study it with Shimabuku Tatsuo. This didn't mean he didn't show the application of the kata (though it wasn't the practice my instructors taught).

Simply, 'bunkai' is not an Okinawan term.

As I've come to understand the Okinawan's essentially taught in a mostly non-verbal manner by demonstrating and use of little terminology.

'Bunkai' is a Japanese term. Several years ago I had a Japanese English Teacher visiting our area for several weeks and staying with us. He had trained in Shorinji Ryu Kempo while in college and naturally we discussed the martial arts. When I came to the term 'bunkai' he had no idea what I was referring to.

In part because his training was in a different vein, but in part as he explained the term use as I described it would have been specific to some karate groups and not the general populace.

The average Japanese would use the term 'bunkai' as  "the car mechanic bunkai-ed the car" or 'took apart'. Now taking apart a kata for application is part of what 'bunkai' has come to mean. However, as the term is not native to the general Okinawn karate community (though because of American influence reading about the term, the Okinawan's have begun to use the term in turn) and I didn't study with the Okinawan's I think its more dignified to use terminology consistent with my own studies.

I did train with an instructor who used 'bunkai' in a consistent way, but not one which anybody else uses.  His family use of 'bunkai' described how kata was a mnemonic device to learn a vast number of self defense techniques (intertwined from karate, aikido and Indonesian tjimande). This was an approach his father built up over 50 years (long enough to achieve any level of legitimacy in my mind) of practice. But this is a usage very different from what others use, more akin to the concept of kakushite or hidden hand.

In that I chose to use Kata Application.  It may not have the 'ring' of Japanese, but I clearly know what I'm referring to when I mention it.