Aug and Oct 2012 Hawaii Karate Kenkyukai Sessions

On Aug 12 and Oct 14, 2012, the Hawaii Karate Kenkyukai gathered to study the Pinan / Heian Shodan, Nidan, and Yondan Kata, the Kyan Bo no Kata Sho and Kyan Sai no Kata Sho, and the Gekisai Shodan and Nidan Kata.

As mentioned in previous writeups, Itosu Anko Sensei created the Pinan Shodan kata for the Okinawan school system in the early 1900s as a simplified version of Kusanku, which would be easier for the schoolchildren to learn both in terms of kata length and the literal duration of the physical education classes. While there was initially meant to be only one Pinan kata, Itosu Sensei created four more in successive years to give returning students  more kata to practice. Funakoshi Sensei renamed the Pinan Kata to Heian, a change which carried over into schools which had ties to Shotokan. In addition, because Pinan/Heian Shodan was viewed as more complex than the Nidan kata, Funakoshi Sensei switched the teaching order, which is why the Heian Nidan kata is equivalent to the Pinan Shodan kata. Variations of the naming convention over the years across different styles is responsible for the difference in the Pinan / Heian kata names listed further below, which are all the same kata.

Steve Chun and Grant Kawasaki performing Pinan Shodan

Sean Roberts Sensei performing Heian Shodan

Ralph Sakauye Sensei perfoming Pinan Shodan

The Kyan Bo no Kata Sho and Sai no Kata Sho refer to the bo and sai kata taught by Kyan Shinei Sensei, which he had learned from his instructor Kina Shosei Sensei. These kata likely originated from Kina Sensei’s teacher, “Ufuchiku” Kanagusuku Sensei. Ufuchiku Sensei’s bo system is often considered to be a “northern” style due to the influence of Jigen Ryu, which was popular sword style amongst the Satsuma samurai. Evidence to support can be seen via the prevalent use of the “jodan kamae” (upper ready position) where the bo is held over head in a similar fashion as the sword.

Alan Yokota Sensei and John Oberle performing the Kyan Bo no Kata Sho

[DSC_26: Alan Yokota and John Oberle performing the Kyan Bo no Kata Sho]

The Gekisai kata were originally created in the attempt to have a simple, universal kata that the many different styles of karate on Okinawa could practice and perform together during exhibitions, study sessions, or just in general. The Gekisai kata were created by Miyagi Chojun of Goju Ryu. While the goal of having a universal kata shared by all karate styles on Okinawa was never quite realized, these kata remained in practice.

For these study sessions we ushered in a newer format. Every school still performed two rounds of their kata, but after the second round, the meanings / applications of the kata movements were explained and demonstrated with a partner move-by-move from start to finish. Following this round, we split into pairs and each school shared one of those meanings for everyone to practice with a partner.

Pat Nakata Sensei explains a riding block and arm break from the Pinan Shodan kata

Steve Chun demonstrates a strike from the Pinan Shodan kata

Hisae Ishii-Chang Sensei demonstrates a thrust from the Heian Nidan kata

Robert Matsushita Sensei executing a block from Pinan Shodan

Herb Ishida Sensei demonstrates a block from Pinan Sono Ni

Alan Yokota Sensei executes a hook / disarm followed by a strike

Alan Lee Sensei demonstrates a strike from Gekisai Shodan

Charles Goodin Sensei explains a block and strike from Pinan Shodan

There was an interesting discussion on the development of karate “terminology” as we know it today, and how that in turn can affect our understanding of various techniques. Karate terminology isn’t just a matter of translation; it’s all Greek even to Japanese and Okinawans as well. I’ll never forget the time I visited the dojo of Yonamine Kousuke Sensei (Uechi Ryu) during a trip to Okinawa back in 2007. Yonamine Sensei was preparing some of his students for promotion testing, and he was quizzing them on specific karate terminology, in Japanese of course. It never occurred to me that karate terminology would be foreign even to native speakers, although now it seems to make sense.

Chibana Sensei often demonstrated techniques rather than using “standard terminology”. Upon being asked, he mentioned to Nakata Sensei that back in the old days, there was no real set terminology used in karate. Teaching was done in standard conversational Okinawan or Japanese, and most everything was demonstrated for proper visualization. It was only much later that “formalized” karate terminology emerged, largely due to the efforts of mainland Japanese to catalogue their techniques and stances. Yoko te (side of the hand) became shuto (knife or sword hand), yoko ashi (side of the foot) is now called sokuto (sword foot), and mae nagai dachi (forward long stance) is now referred to as zenkutsu-dachi (forward bent knee stance). In comparing some of the old kata to the modernized kata, it seems that when a move or stance in the old version of a kata did not fit neatly into the confines of the new terminology, then that move or stance was modified.

One of the more evident examples of terminology affecting understanding is the distinction between what are now called yoko geri and mae geri. Geri (keri) means “kick”, while yoko means “side” and mae means “front”. Therefore yoko geri is taken literally to mean “side kick” in the sense of a kick towards the side, while mae geri refers to a  “front kick” in the sense of a kick towards the front. 

Originally, yoko geri was called “yoko ashi yoko geri,” which breaks out to: yoko ashi (side of the foot) yoko geri (side kick). Simply put, a kick to the side using the side of your foot. Over time, the term was shortened to “yoko geri.” Mae geri on the other hand used to be called “tsuma saki mae geri”, which breaks out to: tsuma (toe) saki (tip) mae geri (front kick). In other words, a toe kick to the front. This too was shortened simply to “mae geri.” These abbreviations became so ingrained that soon, kicks using the side of the foot were only done to the side and toe kicks were only done to the front.

However, in some original Shorin Ryu kata such as Pinan Yondan or the two Kusanku, there is a kick that was originally called “tsuma saki yoko geri”, or in other words, a toe kick towards the side (with the body still facing forward). Using modern terminology, one would view this kick as a mix between mae geri and yoko geri. Some schools focused more on the “toe kick” aspect and altered the move so the performer turns their body fully towards the side to execute their mae geri (with a toe kick). Others focused more on the “to the side” portion and instead performed a yoko geri (hitting with the side of their foot) while still keeping their body oriented forwards. In both cases, there was a modification to the original movement and meaning, which again was having your body oriented forwards, but kicking with your toe towards your side.

To me, this goes to show that karate terms must always be specific and demonstrated fully for students to understand. Thinking about it, I suppose this would apply even to our kenkyukai study sessions, where many different schools gather together to share their techniques with one another. Sometimes it is useful to remember that our semantics can make our karate terminology a foreign language, even to other other karate schools!

Once we finished, we all stayed afterwards to talk story and enjoy refreshments. On 12 Aug these were provided by Steve Chun (C.Q. Yee Hop Co./Commercial Enterprises), Grant Kawasaki (Hanapa’a Sushi), Lee Sensei, Nakasone Sensei, Ishii-Chang Sensei, Matsushita Sensei, Loma Lopes, Nakata Sensei, and Yokota Sensei.

After our 14 Oct, we had a birthday celebration for Nakata Sensei, which Goodin Sensei helped to organize. Ishii-Chang Sensei outdid herself with a delicious and organic birthday cake. She claims to very rarely bake cakes... but if that’s true, then what a shame! We had a veritable feast, with additional refreshments provided by Steve Chun (C.Q. Yee Hop Co./Commercial Enterprises), Grant Kawasaki (Hanapa’a Sushi), Goodin Sensei, Hamakawa Sensei, Harada Sensei, Hiramatsu Sensei, Lee Sensei, Nakata Sensei, Roberts Sensei, Shimabukuro Sensei, Yokota Sensei, and Loma Lopes. Thank you everyone!

Performing the kata on 12 Aug (in order):

• Pinan Shodan - OSKA - Steve Chun, Grant Kawasaki
• Heian Shodan - Minakami Dojo - Sean Roberts Sensei 
• Heian Nidan - Island Ki Dojo - Taylour Chang, Frank Lopes, and Loma Lopes (Round 1) and Hisae Ishii-Chang Sensei (Round 2 / Explanation)
• Pinan Nidan - International Karate League - Robert Matsushita Sensei (representing Walter Nishioka Sensei) and M.J. Matsushita
• Pinan Shodan - Hikari Dojo - Charles Goodin Sensei
• Pinan Shodan - Kenshukan Karate Kobudo Association - Ralph Sakauye Sensei(representing James Miyaji Sensei) 
• Pinan Sono Ni - Kyokushin Karate - Herb Ishida Sensei, Dean Harada Sensei 
• Kyan Bo no Kata Sho - Ryukyu Kobudo - Alan Yokota Sensei, John Oberle 
• Gekisai Shodan - Senbukan Dojo - Alan Lee Sensei, Kyle Nakasone Sensei

Observing:

James Miyaji Sensei

Rodney Shimabukuro Sensei

Carl and Clyde Kinoshita

Tommy Terayama

Special thanks to Clyde and Carl Kinoshita for their photography during the 12 Aug session.

Performing the kata on 14 Oct (in order):

• Pinan Nidan and Pinan Yondan - OSKA - Alan Yokota Sensei, Steve Chun, John Oberle
• Heian Nidan and Heian Yondan - Minakami Dojo - Sean Roberts Sensei 
• Heian Shodan and Heian Yondan - Island Ki Dojo - Frank Lopes and Loma Lopes (Round 1) and Hisae Ishii-Chang Sensei (Round 2 / Explanation)
• Pinan Shodan and Pinan Yondan - International Karate League - Craig Hamakawa Sensei and Gary Hiramatsu Sensei (representing Walter Nishioka Sensei)
• Pinan Nidan and Pinan Yondan - Hikari Dojo - Charles Goodin Sensei
• Pinan Shodan and Pinan Yondan - Kenshukan Karate Kobudo Association - Ralph Sakauye and Shawna Carino Sensei (representing James Miyaji Sensei) 
• Pinan Sono Ichi and Pinan Sono Yon - Kyokushin Karate - Dean Harada Sensei 
• Kyan Sai no Kata Sho - Ryukyu Kobudo - Alan Yokota Sensei, John Oberle 
• Gekisai Nidan - Senbukan Dojo - Alan Lee Sensei, Ryan Okata

Observing:

Rodney Shimabukuro Sensei

Stephen Lodge Sensei

Robin Sagadraca

Hawaii Karate Kenkyukai: 10 June 2012

On June 10, 2012, the Hawaii Karate Kenkyukai met for their bimonthly training and to study the Jion, Patsai/Passai, Nipaipo, and Saifa/Saifua kata.

Jion is a Tomari-te kata, although it was spread mainly via several students of Itosu Anko Sensei, similar to the related Jiin and Jutte kata. This was known as the signature kata of Hanashiro Chomo, one of Itosu Sensei’s students.

The Patsai/Passai kata is a Shuri-te kata, believed to have been created by “Bushi” Matsumura Sokon. The Matsumura version is called Patsai Dai in Shorin Ryu, having been learned by Chibana Chosin Sensei via Tawada Shinjo, the son of Tawada Shinboku who was a student of Bushi Matsumura. Upon the advice of his teacher Itosu Anko, Chibana Sensei retained this kata in his curriculum, and was told to call his (Itosu’s) version “Patsai Sho.” Since history just enjoys being confusing, the Patsai Sho kata is known as Bassai Dai in Shotokan Karate. This is partly due to the existence of another albeit minor Patsai kata created by Itosu Sensei called the Patsai Gwa. “Gwa” in Okinawan is actually the same character as “Sho”, which means “minor”. It is known as Bassai Sho in Shotokan Karate.

Nipaipo is a Shito Ryu kata with its origins in the Chinese tea merchant Gokenki, who taught the techniques to Mabuni Kenwa Sensei. It is a “number” kata with the name meaning “28.”

Saifa/Saifua is not a “number” kata, but it was brought back from China by Kanryu Higaonna Sensei. The name itself means “smash and tear”, and appropriately, the movements include a lot of grabbing, ripping, tearing. 

Every school performed two rounds of their kata, providing answers to any questions following their second performance. We then split into pairs and each school shared a meaning from the performed kata and allowed everyone to practice with a partner.

Once we finished, we all stayed afterwards to talk story and enjoy refreshments provided by Steve Chun (C.Q. Yee Hop Co./Commercial Enterprises), Grant Kawasaki (Hanapa’a Sushi), Lee Sensei, Nakasone Sensei, Sasano Sensei, Ishii-Chang Sensei, Loma Lopes, Nakata Sensei, and Alan Yokota.

Performing the Kata (in order):

• Jion - Ryukyu Kobudo - Alan Yokota, John Oberle
• Jion - Island Ki Dojo - John and JoAnn Endou, Taylour Chang, and Frank Lopes (Round 1) and Hisae Ishii-Chang Sensei (Round 2)
• Jion - Kenshukan Karate Kobudo Association - Shawna Carino (representing James Miyaji Sensei)
• Jion - Aikenkai - George Sasano Sensei
• Passai (Tomari) - Hikari Dojo - Charles Goodin Sensei
• Passai Gwa - Zentokukai - Angel Lemus Sensei
• Patsai Dai (Matsumura) - OSKA - Steve Chun and Grant Kawasaki
• Nipaipo - International Karate League - Wayne Okamura Sensei, Gary Hiramatsu Sensei, and Robert Matsushita Sensei (representing Walter Nishioka Sensei)
• Saifa - Kyokushin Karate - Dean Harada Sensei
• Saifua - Senbukan Dojo - Alan Lee Sensei, Kyle Nakasone, Ryan Okata

Observing:

James Miyaji Sensei

Carl and Clyde Kinoshita

Loma Lopes

Tommy Terayama

Hawaii Karate Kenkyukai Session: April 15, 2012

Most people remember April 15th as tax day, but for the Hawaii Karate Kenkyukai, it was when we held our latest training session. The kata we studied were Seisan/Seishan/Hangetsu kata, Naihanchi/Tekki Sandan, and Anan.

Starting off with a little bit of karate history, the Seisan kata, also referred to as Seishan when using a more Japanese pronunciation, was introduced to Okinawa via Matsumura Sokon of Shuri. Despite this, it is considered to be a Naha-te kata, since it was originally taught in China and brought back to Okinawa. The fact that it is a “number” kata, literally meaning “13”, also lends credence to this idea, as that is a common indicator it was imported from China. This being said, three main variants appeared over the years, reflective of overall themes in Okinawan karate. The Shuri version was taught by Itosu while the Tomari version was taught by Chotoku Kyan, with both having learned Seisan from Matsumura Sokon.  The Naha version was taught by Arakaki Seisho, who most likely directly imported Seisan from China at a later date than Matsumura. Gichin Funakoshi changed the name to Hangetsu (Half Moon) for Shotokan.

All three of the Naihanchi kata (Shodan, Nidan, Sandan) were created by Tudi Sakugawa. Some believe it was actually Itosu Anko who created Naihanchi Sandan, but according to Chibana Sensei, Itosu emphasized that all three Naihanchi kata should never be altered because they were created by a master as skilled as Tudi Sakugawa. Sakugawa created these kata using techniques learned while training in Peking (Beijing) in northern China. This is in contrast to many other Okinawan karate pioneers, who primarily studied in southern China, often in the Fuzhou area of Fukien (Fujian). The main focus of this kata is developing strong and powerful basics. These kata were renamed to Tekki  (Iron Horse) by Gichin Funakoshi. As an interesting note, Kyokushin refers to them as Naihanchi, but use “Sono Ichi/Ni/San” rather that “Shodan/Nidan/Sandan”. “Sono” is a Japanese counter word that is roughly equivalent to “volume”, as different volumes of books, so they have Naihanchi Volumes 1-3.

The Anan kata comes from Naha-te Ryuei Ryu, which was the Nakaima family style only introduced to the public in the early 1970s. The version that Roberts Sensei performed was the Shito Ryu Hayashi-ha version, which they had added to their curriculum at some point after Ryuei Ryu became public. Like many karate kata, the name itself has no known meaning.

During the portion where the different schools explained a movement or set of movements and the fighting application, I noticed there seemed to be a common Naha-te theme in the Seisan kata of hitting an attacking arm and then a smooth transition to grabbing and pulling off-balance, as demonstrated in the meanings by Lemus and Nakata Sensei, rather than just trying to grab an attack mid-air. In addition, a lot of the other schools demonstrated the response to a reverse bear hug, which involved dropping the body weight and easily breaking the grip by bringing the arms forward. This effectively both raises the level of and separates the opponent’s arms without having to sacrifice a strong biomechanical position yourself. An even simpler response is just to drop weight and strike the opponent’s groin, which works even if the lock is much lower on the body.

A technical word of advice was given on the knee kick, which appeared in one of the meanings that was demonstrated. In order to effectively generate the greatest amount of force into the opponent, it is important to bring the opponent’s body down fairly low. When they are not brought down low enough, you will almost always find your grounded leg start to lift up or your striking leg having to reach out past your optimal power generation range in order to strike.

After the session ended, refreshments were provided by Steve Chun (C.Q. Yee Hop Co./Commercial Enterprises), Grant Kawasaki (Hanapa’a Sushi), Sasano Sensei, Ishii-Chang Sensei, Loma Lopes, Nakata Sensei, and Alan Yokota. It is always nice talking story and catching up on how everyone is doing! 

Performing the Kata (in order):

• Seisan - Ryukyu Kobudo - Pat Nakata Sensei, Alan Yokota, Roy Rivera, John Oberle
• Hangetsu - Island Ki Dojo - Taylour Chang and Frank Lopes (Round 1) and Hisae Ishii-Chang Sensei (Round 2)
• Seisan - Kenshukan Karate Kobudo Association - Ralph Sakauye and Shawna Carino (representing James Miyaji Sensei)
• Seishan - International Karate League - Craig Hamakawa (with participation from Gary Hiramatsu Sensei, representing Walter Nishioka Sensei, and Robert Matsushita)
• Seisan - Zentokukai - Angel Lemus Sensei, Judy Lemus Sensei, and Rob Toonen
• Naihanchi Sandan - OSKA - Pat Nakata Sensei, Alan Yokota, Steve Chun, Grant Kawasaki, and John Oberle
• Tekki Sandan - Aikenkai - George Sasano Sensei
• Naihanchi Sono San - Kyokushin Karate - Herb Ishida Sensei and Dean Harada Sensei
• Naihanchi Sandan - Dexter Chun (representing Charles Goodin Sensei)
• Anan - Minakami Dojo - Sean Roberts Sensei

Observing:

Carl and Clyde Kinoshita

Loma Lopes (Frank Lopes’s wife)

Tommy Terayama

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Hawaii Karate Kenkyukai: February Session

After a couple of February Sundays that first played host to the Super Bowl and the OSKA Shinnenkai, the Hawaii Karate Kenkyukai met once more on February 19, 2012. On the docket was the Seienchin/Seiunchin/Seiyunchin kata, the Kihon kata, Wankan/Okan/Matsukage, Kojo no Sai, and Wanchin.

Performing the Seienchin/Seiunchin/Seiyunchin kata were Kyokushin Karate, Senbukan Dojo, and Minakami Dojo, respectively. This kata is generally believed to have been passed down by Kanryo Higaonna who learned it while in China. There is also another version in the style of Ryueiryu, as founder Nakaima Kenri had also trained in China even earlier, as he was nearly fifty years older. Like most kata, the name’s meaning is lost in history, as it was passed down orally or written down in katakana without the use of Chinese characters.

Next up were the three Kihon Kata by OSKA. Chibana Chosin Sensei formulated these kata, which contain basic but powerful fighting sequences.

Following this, the schools performing Wankan/Okan/Matsukage were Island Ki, Hikari Dojo, International Karate League, Kenshukan, and Aikenkai. While Wankan is sometimes rendered as “King’s Crown”, the use of meaning derived from Chinese characters was something added retroactively, as the name had been passed down orally or written in katakana.

Rounding out the kata portion was Ryukyu Kobudo performing Kojo no Sai and Zentokukai performing Wanchin. Kojo no Sai is considered the oldest sai kata in Okinawa, having been passed down by the Kojo family. Wanchin is a kata created by Zenryo Shimbakuro Sensei for his dojo’s grand opening in 1962, and the name was derived from a combination of Wansu and Chinto.

After each school performed their kata twice and answered questions regarding the meanings of various movements after the second round, everyone partnered up to practice techniques from the kata as presented by each school. Indicative of their respective fighting methodologies, they ranged from stepping off-line to avoid an attack, combination strikes, grappling and catching techniques, to walking in directly to attack an opponent.

After the conclusion, refreshments were provided by Lee Sensei, Nakasone Sensei, Ishii-Chang Sensei, Nakata Sensei, Steve Chun (C.Q. Yee Hop Co./Commercial Enterprises) and Grant Kawasaki (Hanapa’a Sushi) and everyone enjoyed themselves talking story.

Performing the Kata (in order):
Seienchin - Kyokushin Karate - Dean Harada Sensei (representing Herbert Ishida Sensei)
Seiunchin - Senbukan Dojo - Alan Lee Sensei and Kyle Nakasone Sensei
Seiyunchin - Minakami Dojo - Sean Roberts Sensei
Kihon Kata Shodan, Nidan, Sandan - OSKA - Alan Yokota, Steve Chun, Grant Kawasaki, John Oberle
Wankan - Island Ki Dojo - Taylour Chang and Frank Lopes (Round 1) and Hisae Ishii-Chang Sensei (Round 2)
Wankan (Okan) - Hikari Dojo - Charles Goodin Sensei
Wankan / Matsukage - International Karate League - Gary Hiramatsu Sensei (representing Walter Nishioka Sensei)
Wankan - Kenshukan Karate Kobudo Association - Shawna Carino (representing James Miyagi Sensei)
Wankan - Aikenkai - George Sasano Sensei
Kojo no Sai - Ryukyu Kobudo - Alan Yokota (representing Fumio Nagaishi Sensei), Roy Rivera, John Oberle
Wanchin - Zentokukai - Angel Lemus Sensei, Judy Lemus, Ruth Gates, and Rob Toonen

Observing:
Walter Nishioka Sensei
James Miyaji Sensei
Robin Sagadraca


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Kime and the Hawaii Karate Kenkyukai December 2011 Training Session

The Hawaii Karate Kenkyukai held their last session of the year on December 11, 2011, coming together to study the Gekisai Ni(dan), Chinto/Gankaku, Jiin, and Maezato no Tekko kata. This was followed by an open discussion of “one-step attack” range and the walk-in, as well as kime (focus). The last portion of this article will focus (pardon the pun) on the discussion of kime.

Senbukan Dojo and Kyokushin Karate started off the first round of kata with their performance of Gekisai Nidan/Ni. As discussed in previous write-ups, this kata series was originally devised in an attempt to create a universal kata for use in demonstration and training on Okinawa, but it did not catch on with many schools.

The next kata performed was Chinto, which according to popular legend, is derived from the Chinese martial artist/sailor Chinto. The Okinawan king’s bodyguard, “Bushi” Matsumura Sokon was originally sent to detain this individual, but they befriended each other and the kata is a representation of the fighting techniques that Chinto taught Matsumura Sokon. As such, it is generally accepted to be originally a Shuri-te kata and was continued on by Itosu Anko with minor modifications.

Minakami Dojo, Hikari Dojo, and Zentokukai performed their similar Tomari-te versions of Chinto. These renditions are easily identifiable by the beginning move switching left off to a 45 degree angle rather than starting straight on. Many old school historians believe this version was introduced to the Tomari schools by Yabu Kentsu, a student of Matsumura Sokon and Itosu Anko. Nowadays, it is more commonly referred to as the Tomari Chinto, Kyan (Chotoku) Chinto, or the Tomari Kyan Chinto.

OSKA, IKL, Kenshukan Dojo, and Island Ki then performed their versions of the Itosu Chinto. Shotokan karate refers to Chinto as Gankaku, which means “crane on a rock.” Shotokan founder Funakoshi Gichin renamed most of his kata for political reasons, as he did not want them to sound Chinese. The new names were written in kanji, but the names of the original Okinawan Shuri-te and Tomari-te kata were written in katakana due to the oral tradition of most early karate. One of the differences between the Shuri-te and Tomari-te versions of the kata was a signature “take-off” move. Interestingly enough, the Tomari-te versions perform this movement closer to the original Matsumura Sokon manner, with both hands coming out to the side, and back to the center. The Itosu version brings the fists down to the hips (with elbows out to the side) and the take-off occurs first with one side, then the other. This key difference is also noted in the Matsumura and Itosu versions of Gojushiho.

The last two kata were Jiin performed by Aikenkai Shotokan and Maezato no Tekko by Ryukyu Kobudo. This “pairing” was chosen because Taira Shinken (whose mother’s name is Maezato) is believed to have used the Jiin Kata to create the tekko kata. I have heard this stated before, but it really sank in when I saw Sasano Sensei perform Jiin before we did Maezato no Tekko, and I could observe the similarities. Jiin itself is considered a Tomari-te kata, but like the related Jion and Jutte kata, were primarily popularized via students of Itosu Anko. As for the tekko, it can be made from brass (iron) knuckles (knuckle dusters), modified stirrups (abumi), or horseshoes (chimagu). It is most likely to have been directly imported from China as knuckle dusters, however. Once the first round was completed, everyone performed the same kata once more, allowing for questions when they were completed.

A discussion was first brought up on the notion of a “one-step attack” range. For a write-up on this concept, please see my post from a year ago. Suffice it to say, we broke off into pairs and practiced first identifying this range, then having someone cross that range into striking distance. It was interesting to observe the varying natural tendencies of all present, depending on their various training methodologies and approaches to fighting.

Following this, there was a discussion on the concept of kime (focus) stemming from a question on whether kime can be more or less effective depending on how short or long it is. Simply stated, kime is explosive power generated by timing the movement of the body and striking limb in order to lock down all the muscles, ligaments, tendons, etc. as contact and penetration occurs. This is to ensure all power is generated into the target with minimal recoil or loss of power in different directions. An explosive exhale is integral to coordinating this locking of the body.

With the above definition in mind, it is important to focus on the notion of correct and coordinated timing. While explosiveness indicates that the entirety of kime must occur over a very short time, dare I say instantaneously, it must first occur at the right time or it will not occur at all. If it is attempted early before contact, the technique will be “muscled” and lack true penetrating power since it ends up as a “push” suffering from deceleration and misdirection of force. If tightening of the body happens “late”, power is also diminished via recoil back into the body or via cushioning of the blow as the striking surface decelerates and/or pulls away from the target. In other words, if an attempt at kime is early or late, it will suffer from a lack of power for largely the same reasons. Therefore kime can not be slow, fast, short, long, or incorrect... it either is, or it isn’t. Nakata Sensei often uses the seemingly frustrating statement “kime is kime is kime.” Sometimes maybe that is the best way to describe it!

After the conclusion, refreshments were provided by Lee Sensei, Ishii-Chang Sensei, Nakata Sensei, and Grant Kawasaki (Hanapa’a Sushi) and everyone enjoyed themselves talking story.

Performing the Kata (in order):
Gekisai Nidan - Senbukan Dojo - Alan Lee Sensei and Ryan Okata
Gekisai Ni - Kyokushin Karate - Dean Harada Sensei (representing Herbert Ishida Sensei)
Chinto - Minakami Dojo - Sean Roberts Sensei
Chinto - Hikari Dojo - Charles Goodin Sensei
Chinto - Zentokukai - Angel Lemus Sensei
Chinto - OSKA - Alan Yokota, Grant Kawasaki, and John Oberle
Chinto - International Karate League - Stephen Lodge (representing Walter Nishioka Sensei)
Chinto - Kenshukan Karate Kobudo Association - Ralph Sakauye and Shawna Carino (representing James Miyaji Sensei)
Gankaku - Island Ki dojo - Taylour Chang and Frank Lopes (Round 1) and Hisae Ishii-Chang Sensei (Round 2)
Jiin - Aikenkai Shotokan - George Sasano Sensei
Maezato no Tekko - Ryukyu Kobudo - Alan Yokota (representing Fumio Nagaishi Sensei), Roy Rivera, Stephen Lodge, and John Oberle

Observing:
Rodney Shimabukuro Sensei

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