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Kime and the Hawaii Karate Kenkyukai December 2011 Training Session

2012-01-02T23:51:00.000-08:00

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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Hawaii Karate Kenkyukai - October 9, 2011

2011-10-17T19:12:00.000-07:00

On October 9th, 2011, the Hawaii Karate Kenkyukai gathered to train together and study the Niseishi, Naihanchi Sandan, Gekisai, Fukyuugata, and Wanchin kata.

At the beginning and the end of the training, we shared a moment of silence for Shihan Bobby Lowe, who passed away on 14 September 2011. Lowe Sensei was a senior member of the Hawaii Karate Kenkyukai and very much a part of the Hawaiian karate community for many years. He was the Dai Sempai for the entire Kyokushin organization and a man who truly loved karate. Lowe Sensei, OSU!

The schools performing Niseishi/Nijushiho were Ryukyu Kobudo, Island Ki, IKL, Kenshukan and Minakami Dojo. Niseishi is a Nahate kata, meaning that it was directly imported from China, being taught and performed in the same manner as it was in China. According to Chibana Sensei, most Nahate kata were generally “numbered”. Niseishi is the Chinese pronunciation of the kata, literally meaning “24”. One of the main versions of Niseishi practiced today came from Arakaki Seisho, who taught this kata to Shito-ryu founder Mabuni Kenwa. The kata spread further when Shotokan founder Funakoshi Gichin incorporated this kata into his system after sending his students Nakayama Masatoshi and Ohtsuka Hironori to learn it from Mabuni. Hironori Ohtsuka later founded his own style known today as Wado Ryu Karate. As such, the different schools performing had interesting variations in pattern and technique, but were fairly similar.

The remaining schools do not practice Niseishi, so they demonstrated different kata. OSKA did the Naihanchi Sandan kata, one of the basic mainstays of Shorin-ryu. It was explained that some believe the Naihanchi Shodan and Nidan kata were created by Tudi Sakugawa and that Naihanchi Sandan was created by Itosu Anko. According to Chibana Sensei, his teacher Itosu Anko actually emphasized that all the Naihanchi kata should never be altered because Tudi Sakugawa, who created the Naihanchi kata fighting system after training in China, was such a skilled master. This suggests that they were all created by Tudi Sakugawa instead. The focus of the Naihanchi kata is strong, powerful basics.

The next group of kata were interrelated, with Kyokushin Karate performing Gekisai Sho, Senbukan performing Gekisai Shodan, and Hikari Dojo performing Fukyugata Ni. It was explained that the Gekisai kata and Fukyugata 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. Fukyugata Ichi was developed by Nagamine Shoshin of Matsubayashi Ryu and the Gekisai Sho (referred to as Fukyugata Ni by Matsubayashi Ryu) was created by Miyagi Chojun of Goju Ryu. In the end, the goal of having a universal kata shared by all karate styles on Okinawa was not realized.

Rounding off the kata demonstration portion, Wanchin was performed by the Ninchokan Dojo. Wanchin was created by Shimabukuro Zenryo and presented at the grand opening of his Seibukan dojo in 1962. It was explained that the name did not have any special meaning, only that it was chosen because it sounded similar to what a traditional Okinawan kata would be called.

After each kata was demonstrated twice and questions were asked, everyone broke into pairs and practiced techniques from the various kata. Both this section of the training as well as the demonstration of the kata emphasize to me the similar and differing approaches that each style brings to the table. As techniques were explained, some styles moved completely off-line to avoid attacks, others stepped back to change distance, and others still simply rotated the body. Other differing approaches included using blocks to destroy an opponent’s attack or simply to redirect it.

Performing the Kata (in order):
Niseishi - Ryukyu Kobudo - Pat Nakata Sensei, Alan Yokota (representing Fumio Nagaishi Sensei), Roy Rivera, and John Oberle
Nijushiho - Island Ki dojo - Taylour Chang (Round 1) and Hisae Ishii-Chang Sensei (Round 2) with participation in the application practice by Frank Lopes
Niseishi - International Karate League - Stephen Lodge (representing Walter Nishioka Sensei)
Niseishi - Kenshukan Karate Kobudo Association - Shawna Carino (representing James Miyaji Sensei)
Niseishi - Minakami Dojo - Sean Roberts Sensei
Naihanchi Sandan - OSKA - Pat Nakata Sensei, Alan Yokota, Steve Chun, Grant Kawasaki, and John Oberle
Gekisai Sho - Kyokushin Karate - Herbert Ishida Sensei
Gekisai Shodan - Senbukan Dojo - Alan Lee Sensei, Kyle Nakasone Sensei and Ryan Okata
Fukyugata Ni - Hikari Dojo - Charles Goodin Sensei
Wanchin - Ninchokan Dojo - Angel Lemus Sensei and his wife Judy Lemus Sensei

Observing:
Walter Nishioka Sensei, James Miyaji Sensei, Rodney Shimabukuro Sensei, Robin Sagadraca

After the session was over we shared light refreshments and as always, had a fun time talking story. Food and drink were provided by the following: Grant Kawasaki/Hanapa’a Sushi, Steve Chun/C.Q. Yee Hop Co./Commercial Enterprises, Kyle Nakasone Sensei, and Pat Nakata Sensei.

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Mrs. Diane Satoko Nagaishi Memorial Demonstration (Hawaii Karate Kenkyukai) - Guest Post by Pat Nakata Sensei

2011-08-26T09:09:00.000-07:00

The following is a guest post by my teacher, Pat Nakata Sensei:

The August 2011 Hawaii Karate Kenkyukai session was an informal, one-year anniversary memorial Karate demonstration to honor Mrs. Diane Satoko Nagaishi. This demonstration was agreed upon with the full support of the Hawaii Karate Kenkyukai. She passed away August 20, 2010 and was the wife of Fumio Nagaishi Sensei. As his wife, she came into contact with many of the great legendary Okinawan teachers, such as Chosin Chibana, Shinei Kyan, and Taira Shinken, to name a few. She was a dynamic and leading force in the formation of the Ryukyu Kobudo Hozon Shinkokai Hawaii. Mrs. Nagaishi loved doing and watching Kata. She loved Kata.

Mrs. Nagaishi practiced the 16 Kata of Chosin Chibana's Okinawa Shorin-ryu Karate curriculum, 9 Kata from the Ryukyu Kobudo Hozon Shinkokai (Shinken Taira), and 8 other open hand Kata, the Itosu Rohai (Shodan), Itosu Wansu (Wanshu), Itosu Seisan, Niseishi, Jutte (Jitte), Jion, Itosu Gojushiho, and Tensho. These 33 Kata formed the program for this demonstration.

The program started out with Mrs. Nagaishi's favorite Kata, Tsuken Sunakake (throwing sand) No Eiku. This Kata uses the oar (kaibo / eku), and was performed by Alan Yokota, Roy Rivera, and John Oberle. Next, the OSKA group, consisting of Alan Yokota, Steve Chun, Grant Kawasaki, and Tom Terayama, performed the Chibana Shorin-ryu Kihon Kata Shodan, Nidan, and Sandan.

In most demonstrations the Pinan Kata is performed by the youth or beginners group. For this demonstration the senior instructors performed the Kata. Pinan Shodan by Charles T. Goodin Sensei, Pinan Nidan by Sean Roberts Sensei, Pinan Sandan by Herbert Ishida Sensei, Pinan Yondan again by Roberts Sensei, and Pinan Godan again with Ishida Sensei. This entire set was dynamic.

The Naihanchi Shodan Kata is the fundamental Kata for Shuri-te, and was powerfully performed Angel Lemus Sensei and Judy Lemus Sensei, though they are Tomari-te stylists.

Alan Yokota, Roy Rivera, and John Oberle performed Rohai (Shodan). This Rohai is the first of 3 Rohai created by Anko Itosu. The classical Rohai is the Tomari Rohai. Following the Rohai was a well coordinated group performance of Bassai Dai (Itosu No Patsai) by the Minakami Dojo, consisting of Randee Chang, Nicole Cardinale, Justin Kaneko, and Adam Hagadone.

Everyone was on the edge of their seats when George Sasano Sensei was called to perform the Jion Kata. Sasano Sensei has been suffering from Tinnitus, which has affected his equilibrium for over a year. His performance was dynamic.

Gavin Hiramatsu showed the International Karate League's hard-hitting Kushanku, which is their rendition of the Itosu Kusanku Dai. Next was Dexter Chun with a quick paced Kishaba Juku Shorin-ryu Naihanchi Nidan Kata.

The Maezato No Tekko was another group Kata with Alan Yokota, Roy Rivera, and John Oberle. This Kata was created by Shinken Taira (Maezato) using the pattern of the Jiin Kata. The Tekko can be made from a brass (iron) knuckle (knuckle duster), stirrups, or horse shoes, but most likely came from China as a knuckle duster. Hisae Ishii-Chang Sensei's Nijushiho was versatile, being both smooth and flowing as well as quick changing.

Angel Lemus Sensei and Judy Lemus did their powerful Matsumura Seisan. Their Matsumura Seisan techniques are very close to the original Itosu Seisan, but the Itosu Seisan of Wado-ryu's Seshan and the Shotokan Hangetsu are more exacting in pattern (embusen). George Sasano Sensei followed with another forceful Kata, the Kusanku Kata Sho (Shotokan Kanku Sho).

Another Kobudo group Kata was the Timbei by Roy Rivera, John Oberle, and Harold Hamada. The Timbei originally was a farmer’s hat with a sharpened instrument or tool, such as a potato digger. It gradually evolved into a short spear (rochin) and shield art. Robert Matsushita's Wanshu (Wado-ryu / Shotokan Empi / Chibana Wansu) was quick moving and quick shifting. This Wanshu was the Itosu Wansu, but the classical Wanshu is the Tomari Wanshu, believed by many to be the oldest Okinawan Kata. Charles C. Goodin Sensei followed with a quick hitting Kishaba Juku Shorin-Ryu Naihanchi Sandan.

Alan Yokota, Steve Chun, and Grant Kawasaki performed the Chibana Shorin-ryu signature Kata Patsai Dai (Matsumura No Patsai). Shawna Carino was quick and hard hitting in her performance of the Itosu Chinto. George Sasano performed a very exacting Jitte (Jutte). Everyone was amazed since even with his health challenges, he looked like he did 30 years ago.

John Oberle's Kojo No Sai was interesting with tempo changes throughout the Kata. Ralph Sakauye did a very versatile Taira No Nunchaku. Hisae Ishii-Chang Sensei's Gojushiho Sho (Itosu No Gojushiho) was rhythmic and dramatic, which reflected intense concentration. Alan Lee Sensei's Senbukan Karate's Shushi No Kun (using a six foot staff) was powerful and smooth and is equivalent to the Ryukyu Kobudo Hozon Shinkokai's Shushi No Kon (kun / bo) Sho. Roy Rivera delivered a very forceful Shushi No Kon Dai.

Herbert Ishida Sensei performed a very dynamic Tensho Kata, his teacher's favorite Kata. Kyle Nakasone Sensei followed with a powerful performance of Hamahiga No Tunfua. Alan Yokota finished the program with a polished and refined Kanegawa No Nichogama (two sickles).

There are many thanks to be said, as the demonstration was the result of combined effort from many individuals. Charles C. Goodin Sensei agreed once more to be the Master of Ceremonies and as always, did a great job. Angel Lemus Sensei (koadigital) designed the beautiful program brochure and Aileen Higa (FedEX) printed the brochures and handouts. Clyde and Carl Kinoshita agreed to capture the entire event on film which Angel Lemus Sensei edited and converted to DVD. Alan Yokota, with the help of John Oberle, sacrificed much of his free time coordinating this event. Alan Lee Sensei graciously hosted the event and provided manapua for the numerous individuals who helped to set up before and tear down afterwards.

Refreshments were provided by Grant Kawasaki (Hanapa'a Sushi / Gokujo Sushi / Hawaiian Grown), Steve Chun (C.Q. Yee Hop and Company, John Oberle (drinks), Gary Nakata (ice), and Tom Terayama (paper goods).

A Big, big thank you goes out to the Hawaii Karate Kenkyukai. And lastly, thank you to everyone for attending.

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A Strong Testament to Willpower and Training: Hawaii Karate Kenkyukai - June 12, 2011

2011-06-25T14:34:00.000-07:00

This was quite a memorable Kenkyukai training session for me, for many reasons! The June 12, 2011 session once again had us joined by Walter Nishioka Sensei and his International Karate League (IKL). In addition, George Sasano Sensei, head of the Aikenkai Dojo, demonstrated and fully participated in the training despite not being fully recovered from an ongoing equilibrium condition (tinnitus). After this session, both Nishioka Sensei and Sasano Sensei were voted in as full members of the Hawaii Karate Kenkyukai, something which required 100% approval from all current members.

A big treat for me personally was the full participation of my instructor, Pat Nakata Sensei (OSKA), a mere month and a half after he suffered a heart attack due to either ventricular fibrillation or tachycardia followed by 11 days in the ICU. The cause of his heart going out of rhythm remains unknown, only that it was not due to cholesterol or clogged arteries. Some present at the session remarked that it was a miraculous recovery, which is indeed true, but I got to witness his refusal to “take it easy” and persistence in training over the past several weeks. On one of the nights, he told me, “I will not let this heart attack beat me.” It was not long until the rest of us in OSKA were back to pushing ourselves to keep pace with him. I am convinced his karate training before and after his heart attack drove the “miracle” behind his amazing recovery. Sasano Sensei joked that he was forced to perform at this Kenkyukai session since Nakata Sensei’s example took away any excuse he had... it is good to see that they can both joke about it, and better still, what more powerful testament to willpower and dedicated training can you have?

Getting back to the actual session, the two main kata performed and studied were Seienchin/Seiyunchin/Seiunchin and the Patsai/Passai/Bassai kata. Kyokushin Karate, the Minakami Dojo, and the Senbukan Dojo performed the Seiunchin kata, demonstrating similarities and variations in meaning and execution across the different styles.

The OSKA dojo demonstrated the Patsai Dai, or Matsumura Patsai, while the Hikari Dojo demonstrated the Tomari Passai. They were followed by the Island Ki, IKL, and Aikenkai dojos performing the Bassai/Passai Sho, or Passai Gwa. The “gwa” is an Okinawan word for “small”, which is the same meaning as “sho”. This kata was created by Itosu, who only taught the short, minor kata to some of his students. It was largely popularized by Tokuda Anbun and after some modifications, the kata became known in Shito Ryu and Shotokan karate as (Itosu) Passai/Bassai Sho. Note that this is a separate kata from what is considered the “main” Itosu Patsai, which is called Patsai Sho by Shorin Ryu and Passai/Bassai Dai by most other styles and was the focus of the Kenkyukai session before this one. It was interesting to see the Patsai kata performed one after the other, each with their own distinct “feel”.

Rounding off the kata portion of the session, the Ryukyu Kobudo group performed the Kyan Sai no Kata Dai, which is technically not a Ryukyu Kobudo kata and has it’s lineage in Kyan Shinei Sensei. It is also known as the Ufuchiku kata, as it was created by Kanagusuku Sanda “Ufuchiku” Sensei. A signature feature is the triple slashing movements to the head, shoulder, and hip/hand levels.

Performing the Kata (in order):
Seienchin - Kyokushin Karate - Herbert Ishida Sensei (Bobby Lowe Sensei's representative)
Seiyunchin - Minakami Dojo - Sean Roberts Sensei
Seiunchin - Senbukan Dojo - Alan Lee Sensei with Kyle Nakasone Sensei and Ryan Okata
Patsai Dai - OSKA - Pat Nakata Sensei, Alan Yokota, Steve Chun, Grant Kawasaki, and John Oberle
Tomari Passai - Hikari Dojo - Charles Goodin Sensei
Bassai Sho - Island Ki dojo - Hisae Ishii-Chang Sensei
Passai Sho - International Karate League - Stephen Lodge (representing Walter Nishioka Sensei)
Passai Guwa - Ninchokan Dojo - Angel Lemus Sensei and his wife Judy Lemus Sensei
Bassai Sho - Aikenkai Dojo - George Sasano Sensei
Kyan Sai no Kata Dai - Ryukyu Kobudo - Pat Nakata Sensei, Alan Yokota (representing Fumio Nagaishi Sensei), Roy Rivera, and John Oberle

Observing:
Walter Nishioka Sensei, Rodney Shimabukuro Sensei, Carl Kinoshita, and Tommy Terayama.

After the session was over, our customary light refreshments as we talked story turned into quite the potluck as food and drink was provided by the following: Grant Kawasaki/Hanapaa Sushi, Steve Chun/C.Q. Yee Hop Co./Commercial Enterprises, Alan Lee Sensei, Hisae Ishii-Chang Sensei, Charles Goodin Sensei, Sean Roberts Sensei, Rodney Shimabukuro Sensei, Alan Yokota, and Pat Nakata Sensei.

Technorati Tags: karate Martial Arts martial-arts Self Defense fighting personal combat kata traditional karate Shorin Ryu Okinawan karate martial arts ippon kowashi Hawaii Karate Kenkyukai

Hawaii Karate Kenkyukai: April 10, 2011 (Guest Post)

2011-05-16T20:23:00.000-07:00

Below is a guest post by my instructor Pat Nakata Sensei on the most recent Kenkyukai training session:

The Hawaii Karate Kenkyukai keeps improving. On the Sunday, April 10, 2011 session, we were joined by James Miyaji Sensei and his Kenshukan Karate Kobudo Association and Walter Nishioka Sensei and his International Karate League (IKL). The Patsai / Passai / Bassai Kata were selected for this session. The OSKA, Kyokushin Karate, Island Ki, Minakami Dojo, Kenshukan, and IKL all performed their version of the Itosu No Patsai (Dai). All six schools were similar, but with distinct and interesting variations. Both the Hikari Dojo and Ninchokan Dojo performed the Tomari Passai and these too had unique and interesting variations. The Ryukyu Kobudo group performed the Kanegawa no Timbei and the Senbukan group performed the Goju-ryu Sanseiru.

Performing the Kata were Herbert Ishida Sensei for Kyokushin Karate (Bobby Lowe Sensei's representative), Alan Lee Sensei with Kyle Nakasone Sensei and Ryan Okata from the Senbukan Dojo, Hisae Ishii-Chang Sensei for her Island Ki dojo, Charles Goodin Sensei with participation from Jerry Tsuda and Dexter Chun of the Hikari Dojo, Angel Lemus Sensei and his wife Judy Lemus Sensei of the Ninchokan Dojo, Sean Roberts Sensei for Minakami Dojo, Ralph Sakauye (representative for James Miyaji Sensei) and Shawna Carino from the Kenshukan Karate Kobudo Association, Stephen Lodge (representing Walter Nishioka Sensei) from the International Karate League, Alan Yokota, Steve Chun, John Oberle, and Pat Nakata with participation from Grant Kawasaki for the OSKA, and Alan Yokota (representing Fumio Nagaishi), Roy Rivera, John Oberle and Pat Nakata from Ryukyu Kobudo.

Observing were James Miyaji Sensei, Walter Nishioka Sensei, George Sasano Sensei, George Drago and Daniel Nakamoto.

Refreshments were provided by Grant Kawasaki / Hanapaa Sushi and Steve Chun / C.Q. Yee Hop Co. / Commercial Enterprises.

Technorati Tags: karate Martial Arts martial-arts Self Defense fighting personal combat kata traditional karate Shorin Ryu Okinawan karate martial arts ippon kowashi Hawaii Karate Kenkyukai

Special Kenkyukai Session: Pat Nakata Sensei Teaching Sai Basics

2011-04-21T09:05:00.000-07:00

On March 16, 2011, my instructor Pat Nakata Sensei was invited to teach a class on sai basics at the Halawa District Park Gym during Charles Goodin Sensei's karate class. This was a continuation of our “training abroad” due to our dojo being refloored at the time. Just like the takedown session with Angel Lemus Sensei, this was not considered one of our usual Kenkyukai training sessions held once every two months, but it was open to all Hawaii Kenkyukai members.

Nakata Sensei heads the Okinawa Shorin Ryu Karate Association (OSKA) in Hawaii, teaching the Shorin Ryu karate he learned from Chibana Chosin Sensei. He also teaches the Ryukyu Kobudo he learned from Fumio Nagaishi Sensei (Ryukyu Kobudo Hozon Shinkokai Hawaii) and the kobudo he learned from Kyan Shinei Sensei, through Nagaishi Sensei.

The skill and sai familiarity level of all the participants was varied during this session. Along with Goodin Sensei’s students, there was George Drago, Alan Lee Sensei with two of his students, and from our OSKA group there was Alan Yokota, Roy Rivera, Harold Hamada, Grant Kawasaki, and myself. After a brief introduction, Nakata Sensei began running the class through the sai no kihon keiko, or “sai basic practice”. This was part of the curriculum he learned from Kyan Shinei Sensei, who learned the bo and sai from Kina Shosei Sensei. Kina Sensei in turn was a student of Kanagusuku Sanda “Ufuchiku” Sensei.

The basics are composed of various single and double strikes, alternating left and right hands, with and without stepping. Nakata Sensei started off by having everyone follow along for a few sets of techniques, then allowed for a short break, after which everyone followed along for the same techniques again with a few more added in. This pattern continued until before we all knew it, the entire class was fairly familiar with the sai basics, which consists of 20 different sets. The breaks were welcome not only because they enabled everyone to let things “sink in”, but also because that much sai work is a pretty hefty workout, even for those of us that are used to doing them. From what Nakata Sensei says, Kyan Sensei was a big proponent of conditioning and basics, which is exactly what this kind of training offers.

An interesting item to note is that in the Kyan (or Ufuchiku) methodology, when the sai is in the “chamber” position, the fist is held with the palm of the hand perpendicular rather than parallel to the ground like in karate or in Ryukyu Kobudo. In addition, the tsukagashira (head of the handle) of the rear chambered sai points straight towards the tsukagashira of the front sai.

One of the more difficult basics to perform is the kiri uchi, or “cutting strike”. The Kyan sai basics only contained gedan versions of this technique (lower cutting strikes), but since kiri uchi is so prevalent in the actual Kyan sai kata, Nakata Sensei added mae (front) and naname (diagonal) kiri uchi to the basics. The mae no kiri uchi involves starting with the sai in the “reverse” position (blade along the length of the forearm). As the hand moves forward, the yoko (prongs) of the sai are parallel to the ground. Even as the sai is flipped from the reverse position to the forward position, the yoko remain parallel to the ground, causing a cutting arc similar to that of a sword draw. Care must be taken to avoid the bad habit of letting the sai “dangle” downwards during the flip, and timing and wrist usage is vital for power generation.

At the end of the class, Goodin Sensei asked if we could perform a sai kata for everyone, so Nakata Sensei, Alan Yokota, Roy Rivera and I performed the Kyan Sai no Kata Sho and the Kyan Sai no Kata Dai. The Sai no Kata Sho is a fairly long and repetitive kata, which fits in nicely with the idea of basics and conditioning. The Kyan Sai no Kata Dai is also known as the Ufuchiku kata.

From what I saw during and after the class, it was easy to tell that everyone had an enjoyable time training hard and learning something new. We are grateful to Goodin Sensei for allowing us to train at his dojo and Nakata Sensei for sharing his knowledge and experience.

The following schools/individuals were in attendance:

OSKA (Okinawa Shorin Ryu Association Hawaii, Pat Nakata Sensei)
Hawaii Senbukan (Goju Ryu, Alan Lee Sensei)
Hikari Dojo (Okinawa Shorin Ryu Kishaba Juku, Charles Goodin Sensei)
George Drago (Aikenkai Shotokan Karate Association)

Observing:
Rodney Shimabukuro Sensei

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Special Kenkyukai Session: Angel Lemus Sensei Teaching Takedowns

2011-03-15T00:50:00.000-07:00

On March 14, 2011, Angel Lemus Sensei was invited to teach a class on takedowns at the Halawa District Park Gym during Charles Goodin Sensei's karate class. This was fortunate timing, as our dojo was being refloored and we found ourselves without our normal training location. While this was not considered one of our usual Kenkyukai training sessions held once every two months, it was a training event that all Hawaii Kenkyukai members were invited to attend.

Angel Lemus Sensei is a member of the Board of Directors for the Okinawa Shorinjiryu Toude Zentokukai, a traditional Okinawan style with roots in the karate of Kyan Chotoku Sensei and Shimabuku Zenryo Sensei. He currently runs the Ninchokan Dojo every Monday and Thursday on Coconut Island and we have enjoyed his participation in the Hawaii Karate Kenkyukai for a couple of years now.

After Goodin Sensei led everyone in a warmup consisting of stretching and several executions of their first two Naihanchi kata, Lemus Sensei began his seminar. The general theme was initiating takedowns after blocking an opponent's attack. As such, Lemus Sensei demonstrated several variations of takedowns (Cael Goodin graciously agreed to be the uke), explaining the techniques, and allowing time for everyone to split up into partners to practice the sequences. Because there were many techniques and my vocabulary in describing them is limited, I will instead list just some of the principles that Lemus Sensei explained:

1. It is always easier to hit the opponent first before attempting to grapple.
This principle seems fairly self-explanatory; either you transition immediately to a grapple after executing a block or strike that does not put the opponent away or you intend from the beginning to use the block or strike as an effective distraction in order to initiate grappling effectively. This means you must be close to your opponent, so you can not back away or try and keep distance as the opponent attacks.

2. Stances must be strong and utilized.
When engaged with the opponent in close range, the legs can be utilized to disrupt the opponent's balance (kicking or applying weight, or both), to stomp on his feet so her cannot escape, or to set up the conditions for a lock. If a stance is floating with no real foundation, it can not perform these functions. Furthermore, during the conduct of the throw itself, one must be conscious of the stance in order to utilize it to deal with the weight of the individual.

3. Never force a technique.
When your attempts to execute a technique fail, don't get too absorbed in trying to make the technique work. Sometimes flowing on to another technique or hitting the opponent again just might do the trick in order to culminate with a takedown.

4. Some useful tips.
When blocking, if you control the opponent's elbow, it makes it harder for him to hit you when you grapple.
Aiming to hit the elbow while blocking can make the block more effective.
During a takedown, if you control the head, it can prevent him from turning out from a technique or attacking you.
Don't be afraid to slam an opponent's head into the ground during a takedown if the situation warrants it.
There is no such thing as "fighting dirty", so use all targets of opportunity.
When practicing takedowns, it is important for the attacker to execute a proper attack with proper range so that the defender can reasonably expect to get hit if nothing is done.

Lemus Sensei concluded with a brief demonstration on various flow drills meant to teach transition from one lock/takedown to another. These incorporated several of the principles that he had discussed.

In addition to Lemus Sensei representing the Ninchokan Dojo and acting as the lead for the training session, the following schools were in attendance with their students:

OSKA (Okinawa Shorin Ryu Karate Association, Pat Nakata Sensei)
Hikari Dojo (Okinawa Shorin Ryu Kishaba Juku, Charles Goodin Sensei)

Also observing:
Aikenkai Shotokan Karate Association (Shotokan Karate, George Sasano Sensei)
Island Ki (Shotokan Karate, G. Hisae Ishii-Chang Sensei)
Rodney Shimabukuro Sensei
George Drago Sensei
Gary Miyashiro
A guest from Japan

We are thankful for Lemus Sensei volunteering to teach this special session. Those of us students in OSKA who were present (Alan Yokota, Steve Chun, Harold Hamada, Grant Kawasaki, Phil Gevas, and myself) were grateful to have a place to train for the evening and it was interesting to see things from a different perspective. I believe my teacher put it best in his statement: "I think it was a good experience for our OSKA students. As you know, we only concentrate on walk-in, Osae, and hitting. Thank you."

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Hawaii Karate Kenkyukai: February 13, 2011 (Guest Post)

2011-02-22T18:54:00.000-08:00

The following description of the most recent Hawaii Karate Kenkyukai training was written by my instructor, Pat Nakata Sensei:

The Hawaii Karate Kenkyukai session for February 13, 2011 covered the Pinan Yondan & Godan of the OSKA (Chibana Shorin-ryu) and the Hikari Dojo (Matsubayashi-ryu), the Pinan Sono Yon & Go of Kyokushin Karate, and the Heian Yondan & Godan by Island Ki (Shotokan) and Minakami Dojo (Shito-ryu). Performing for the OSKA group were Alan Yokota, Steve Chun, John Oberle, and Pat Nakata. The Chibana Shorin-ryu Pinan Yondan and Godan are the oldest. The next oldest form of these Kata were the Shotokan Heian Yondan and Godan, which were performed by Hisae Ishii-Chang Sensei. Sean Roberts Sensei showed the Shito-ryu Heian Yondan and Godan, the third oldest of the variations. Charles Goodin Sensei with Jerry Tsuda and Peter Kamlangek performed the Kishaba Juku version of the Matsubayashi-ryu (fourth oldest) Pinan Yondan and Godan. Herbert Ishida Sensei demonstrated the Kyokushin version, Pinan Sono Yon and Go.

The Ryukyu Kobudo group consisting of Alan Yokota, Roy Rivera, John Oberle, and Pat Nakata performed the Maezato No Tekko and Tekko Nashi (without Tekko). This Tekko Kata was created by Shinken Taira (Maezato) Sensei and the pattern is from the Jiin Kata. There are some theories on the origins of the Tekko. The traditional explanation in Ryukyu Kobudo Hozon Shinkokai is that the weapon originated from the stirrups (abumi), although others state they were made by fusing two horseshoes together (uma no chimagu). Still others say that the spiked Tekko came from China. Whatever the case may be, it is a formidable and universal weapon. Since Goju-ryu Karate does not have Pinan Kata, Alan Lee Sensei and Kyle Nakasone Sensei performed their unique Senbukan Kata Gekisai Sandan and Yondan. These 2 Kata were created by their present head of Senbukan, Katsuya Izumikawa (son of the founder, Kanki Izumikawa). Zentokukai does not have Pinan Kata in their curriculum either, so Angel Lemus Sensei performed the Wanchin Kata that was created by Zenryo Shimabukuro Sensei and also the Tokumine Bo.

In the question and answer session there were many questions with interesting and enlightening explanations. On the pairing-off for the Kata application practice, Herbert Ishida Sensei chose the Hiza-geri for everyone to practice from their Pinan Sono Yon. Angel Lemus Sensei chose a strong block to the biceps for a decisive technique from their Wanchin Kata. Charles Goodin Sensei had everyone practice an arm-bar drag followed with a thrust to the head, which was a follow-up move from the opening move of Pinan Yondan. Alan Lee Sensei chose a draw-in, hooking, drop block from their Gekisai Yondan for everyone to practice with variations of counter attacks. The last application was from Pinan Yondan, which was moving into the opponent, pressing, and a backhand attack.

Refreshments were served after the session. Grant Kawasaki (Times Hanapaa Sushi, Marukai Gokujo Sushi, Hawaii Homegrown) brought a large platter of sushi and Steve Chun (C.Q.Yee Hop Company / Commercial Enterprise) brought roast pork, roast duck, and roast chicken for everyone to enjoy.

Also in attendance were Walter Nishioka Sensei, George Sasano Sensei, Rodney Shimabukuro Sensei, Carl and Clyde Kinoshita, and George Drago. Although Nishioka Sensei and Sasano Sensei were invited to participate, they were only able to observe, because of medical concerns. They commented on the friendship and the camaraderie and were impressed with the closeness of the group.

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Hawaii Karate Kenkyukai: December 5, 2010 - Ippon Kowashi and the Walk-in

2010-12-14T20:15:00.000-08:00

The Hawaii Karate Kenkyukai met for training again on 5 December, 2010. The first half of the training was standard, with every school demonstrating a kata (or two) in the first round, followed by the same kata demonstrated in another round with a chance for everyone to ask questions. This was followed by an open discussion on fighting methodology, namely the concepts of ippon kowashi, or “destroying the opponent with one hit”, and how to close distance while fighting. The last portion of the training involved everyone pairing off with a partner to practice these above concepts using focus hand pads. Because I found the discussion interesting, most of this write-up will focus on a summary of the main points.

The first round of kata started off with OSKA performing Pinan Nidan, followed by the Roberts Sensei doing Heian Nidan and Ishida Sensei demonstrating Pinan Sono Ichi. In the writeup for the last session, I erroneously stated the Hayashi-ha Shito-Ryu Heian Nidan was equivalent to our Pinan Shodan. However, Roberts Sensei said what he performed in this session was the Heian Nidan (equivalent to our Pinan Nidan). This was interesting, as most schools that use the Heian name swap the order of the first two Pinan/Heian kata.

The next segment was OSKA doing Pinan Sandan, Roberts Sensei performing Heian Sandan, and Ishida Sensei doing Pinan Sono San. Afterwards, Lemus Sensei performed the Tokumine Bo and Lee Sensei did Gekisai Yon. It was explained that the Tokumine Bo was the style of Tokumine, who was quite the carouser, resulting in his exile to the island of Yaeyama. Chotoku Kyan went there to learn from him, but by that time Tokumine had already passed away. Instead, Kyan learned from the landlord or caretaker of the place where Tokumine lived, as this individual had learned the kata from Tokumine. The kata had a lot of scooping movements that scraped the ground, reminiscent of the Tsuken Sunakake eku (oar) kata wherein sand would be thrown into the opponent’s face. Another characteristic was the circular scooping that targeted the opponent’s leg, similar to the Shirotaro no Kon bo kata. Just like Gekisai San, Gekisai Yon was created by Izumikawa Sensei to increase the variety of kata for younger practitioners, especially for use in tournaments.

During the second round of performances, everyone was able to ask questions on the varying methodologies exhibited.

Following this, a discussion on fighting methodology was started, examining the concepts of ippon kowashi and how to close the distance between you and your opponent. Ippon kowashi means “destroying the opponent with one hit” and has parallels with the terms ichi geki hissatsu, or “one hit, one kill”. More than just the act of “trying to hit someone hard”, it is at once both a mindset and a realistic training goal, which is to generate such intense power in all techniques, whether a punch, kick, or block, that the opponent simply cannot withstand it. If an opponent strikes at you, your block should floor him. If he tries to block you, your punch should drive right through. If he tries to cover up and take your punch with his arm, his arm should break. These are fairly strong statements, ones which require total commitment and supreme confidence, and ones which many tend to view as unrealistic. However, if their potential is not acknowledged in the first place, if training is never structured with them in mind, how can they ever be realized? Achieving this requires an objective study of power generation and constant training towards this end.

When analyzing striking power and fighting methodology, there are often debates that crop up, such as “speed versus power”. Ippon kowashi requires you to be in close range to your opponent and would represent “power”. Yet in many cases, “speed” refers perhaps tangentially to how fast the hand is moving, but has more to do with how quickly you can get in and out of range to attack the opponent or disrupt his timing. In these cases, the issue actually being addressed is dealing with the distance between you and your opponent.

In sparring or sport fighting, there is a specific distance between two opponents, which is why you see “reach” listed as a personal stat before boxing or MMA matches. More important than just “reach” is someone’s range. You must know your range and judge the opponent's range. If you are in range, you hit. In sparring, you maneuver just outside of the opponent's range and set him up for a one step attack. In other words, the opponent needs to take a step to hit you. The moment he steps forward, you shoot your punch and will be successful in catching him almost all of the time. Sparring to a large extent is waiting, and the focus is not on absolute destruction of the opponent with one technique. One of the difficulties of waiting to time the opponent is just that, waiting. One can only maintain absolute concentration for a few seconds at a time and this strategy grants the initiative to the opponent. Furthermore, to distract themselves or the opponent, many choose to jump or bounce around, or to constantly bob and weave to present a difficult target. In these situations, timing the opponent can become tricker, especially if the opponent is purposely trying to throw your timing off.

In a real combat situation, however, there should be no setting up inside or outside of the opponent’s range, there should only be a walk-in. As the name implies, distance is closed by simply walking in, not too fast where control is lost, and not too slow where you can be easily timed. Your attack is executed as you walk in, but your method of attack is not decided before you begin. What is required instead is the firm decision to walk in, which prevents you from overthinking the situation. You accept whatever consequence may occur, whether it be complete success or total failure, and whatever the opponent gives you. Attack his arm if he punches and attack his legs if he kicks. If he covers up, remove whatever obstacle he presents and punch, strike or kick... or just destroy the obstacle with your hit. This is the tie-in with ippon kowashi. Without training for and achieving ippon kowashi, it is harder to develop the confidence to walk into and attack the opponent. And of course, it almost goes without saying that if you do successfully walk in, your chances of victory are far better when you can put your opponent away with one hit, since if he is in range, so are you. Fighting in this manner is not waiting for the opponent, it is taking control of the opponent and being active rather than reactive.

With this methodology, things such as speed or timing the opponent for an opening become irrelevant. When you are in control and enter into the opponent with the walk-in and destroy the opponent, sparring methods and pure speed are not needed. To fight in this way, one must train this way. Therefore execution of kata should demonstrate action and control rather than reaction. Every technique and the transition between them must be oriented towards entering the opponent and destroying him with one hit. The transition from movement to movement must involve pressing forward into the opponent with the entire body and body weight, which is the concept that we call osae, or press. While the walk-in does not technically require this press, it further enhances control of the situation. However, when all of this is missing from training, especially in kata, the training becomes reactive and we condition ourselves to lose the initiative and give up control of the fight. With this kind of reactive mindset, it becomes that much harder to walk in to the opponent and achieve ippon kowashi. Again, to train for the walk-in and ippon kowashi, intense concentration must be given to each technique and the transitions between them.

Since the study of fighting is best done through training rather than words, we then partnered up with focus pads and practiced walking in from several steps away and then hitting without “setting” or pausing first. Focus pads can be more useful than hitting makiwara or heavy bags since the feel of it lets you know if you are pushing/muscling through the hit, making contact incorrectly, or other deficiencies in form that might be masked otherwise. We practiced both a punch and a uraken, or back fist. True to our discussion, we aimed to use the backfist not as a glancing or jabbing strike, but as a powerful blow to end the confrontation. Partnering up allowed us to view both the similar and different ways that everyone employed body weight and focus during these techniques.

Upon conclusion of our training, we all partook of some Hanapa’a Sushi graciously provided by Grant Kawasaki and talked story for a little while. Like always, I felt privileged to take part in the Kenkyukai training.

In attendance:

Herb Ishida Sensei (representing Bobby Lowe Sensei, Kyokushin Karate)

Pat Nakata Sensei (OSKA [Okinawa Shorin Ryu Karate Association]), Alan Yokota (Ryukyu Kobudo Hozon Shinkokai Hawaii), Steve Chun, John Oberle, and Grant Kawasaki.

Alan Lee Sensei (Hawaii Senbukan Dojo, Goju Ryu)

Angel Lemus Sensei (Ninchokan Dojo, Zentokukai)

Sean Roberts Sensei (Minakami Karate Dojo, Minakami-ha Shito-Ryu)

Technorati Tags: karate Martial Arts martial-arts Self Defense fighting personal combat kata traditional karate Shorin Ryu Okinawan karate martial arts ippon kowashi Hawaii Karate Kenkyukai

Hawaii Karate Kenkyukai: October 31, 2010

2010-11-04T20:25:00.000-07:00

The Hawaii Karate Kenkyukai held its most recent training session on 31 October, 2010. Sensei Alan Lee / Hawaii Senbukan hosted this session at the Kotohira Jinsha.

A familiar format was observed, with every school demonstrating a kata in the first round, followed by the same kata demonstrated in another round with a chance for everyone to ask questions, and closing with each school sharing an application from their kata to be practiced with a partner.

Five of the schools did their version of Pinan Shodan, with variations in the kata name as well, reflecting the various lineages of the styles. Our OSKA group under Pat Nakata Sensei started off with the Chibana Shorin-ryu Pinan Shodan, followed by Charles Goodin Sensei performing the Kishaba Juku version of Pinan Shodan. This was then followed by Herbert Ishida Sensei performing the Kyokushin Pinan Sono Ni, succeeded by Sean Roberts Sensei doing the Hayashi-ha Shito-ryu Heian Nidan and Hisae Ishii-Chang Sensei with the Kenneth Funakoshi Shotokan Heian Nidan.

It was explained that Ankoh Itosu 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. Interestingly enough, Kyokushin calls this set of kata Pinan rather than Heian, although they still retain the switched order of kata, which is why Ishida Sensei performed the Pinan Sono Ni kata.

Because the remaining two schools do not perform the Pinan/Heian kata, Alan Lee Sensei’s group did the Gekisai San kata and Angel Lemus Sensei and his wife Judy did Wanchin. Lee Sensei informed us Gekisai San was created by Izumikawa Sensei to increase the variety of kata for younger practitioners, especially for use in tournaments. It includes techniques from Gekisai Ichi and Ni in addition to other sequences. Lemus Sensei stated the Wanchin kata was created by Zenryo Shimabukuro to commemorate the opening of his dojo in 1962. The name was derived from a combination of Wansu and Chinto, which formed the basis of the kata.

During the application portion of our training, it was interesting to note how the distance from the opponent at which a technique would be executed would differ from school to school, even if the movements were similar. This affected the meaning of not only that technique, but the subsequent one as well. For example, in our school, a shuto uke (knife hand block) that strikes the opponent’s upper punching arm requires close distance, thus stepping forward, crowding the opponent, and executing another shuto uke would be more akin to striking the opponent and/or knocking him out of the way. On the other hand, some schools use a shuto uke that strikes at an opponent’s punching arm at the wrist, thus requiring greater separation between you and your opponent. Therefore stepping forward with a shuto uke would be aimed further up the opponent’s other (or same) arm as he punches again and be a means of closing distance.

I am grateful to continually witness the earnest sharing of karate of many schools by instructors who truly consider each other friends. The focus on training is what makes these sessions embody what is meant by “the study of karate”.

In attendance:

Herb Ishida Sensei (representing Bobby Lowe Sensei, Kyokushin Karate)

Pat Nakata Sensei (OSKA [Okinawa Shorin Ryu Karate Association]), Alan Yokota (Ryukyu Kobudo Hozon Shinkokai Hawaii), Roy Rivera, Steve Chun, John Oberle, and Grant Kawasaki.

Alan Lee Sensei (Hawaii Senbukan Dojo, Goju Ryu) with Garrett Miyagawa and Corey Shimabukuro.

G. Hiase Ishii-Chang (Island Ki, Kenneth Funakoshi Shotokan Karate)

Charles Goodin Sensei (Hikari Dojo, Okinawa Shorin-Ryu Kishaba Juku)

Angel Lemus Sensei (Ninchokan Dojo, Zentokukai) with Judy Lemus

Sean Roberts Sensei (Minakami Karate Dojo, Minakami-ha Shito-Ryu)

Observing were Rodney Shimabukuro Sensei, Carl Kinoshita, and Clyde Kinoshita

Technorati Tags: karate Martial Arts martial-arts Self Defense fighting personal combat kata traditional karate Shorin Ryu Okinawan karate martial arts Hawaii Karate Kenkyukai

Hawaii Karate Kenkyukai: August 22, 2010

2010-08-30T20:47:00.000-07:00

The following is a writeup by Pat Nakata Sensei on our most recent Kenkyukai training session held on August 22, 2010.

Again, the Hawaii Karate Kenkyukai session was a very good and interesting session. We selected everyone's most advanced Kata in their Kata curriculum, with Ryukyu Kobudo Hozon Shinkokai performing Kanegawa no Nichogama, Herbert Ishida Sensei's presentation of the Kyokushin Karate Kanku, OSKA presenting the Chibana Shorin-ryu Chinto, Alan Lee Sensei and Kyle Nakasone Sensei demonstrating their Goju-ryu Karate Suparinpei, Hisae Ishii-Chang Sensei showing the Kenneth Funakoshi Shotokan Karate Unsu, Charles Goodin Sensei doing the Kishaba Juku Fukyugata Ichi, Angel Lemus Sensei showing his Zentokukai Yara Kusanku, and Sean Roberts Sensei executing the Minakami Karate Seiunchin. The discussion on the various Kata was very informative and interesting. The application practice was fun as usual.

For the October session, we will be presenting our renditions of Pinan Shodan (Kyokushin Karate Pinan Sono Ni, Heian Nidan), and because Zentokukai does not have any Pinan Kata, Lemus Sensei will be asked to perform their Wanchin Kata. Unfortunately, Alan Lee Sensei and Kyle Nakasone Sensei will not be able to attend the October session. Lee Sensei will try to have a representative perform the Senbukan Gekisai Sandan.

We have found that it would be far more beneficial for everyone to perform their versions of the same Kata, if possible.

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Hawaii Karate Kenkyukai: April 11, 2010

2010-04-21T19:48:00.000-07:00

The following is a short write-up by Pat Nakata Sensei on our most recent Hawaii Karate Kenkyukai meeting held on 11 April 2010.

This session was very interesting and fun. Sean Roberts Sensei started by performing the Rohai Kata. We were expecting him to do the (Itosu) Rohai Shodan, but instead, he performed the Tomari Rohai, which is the classical Rohai. Anko Itosu Sensei created three Rohai kata (Rohai Shodan, Nidan, and Sandan) from the Tomari Rohai. Hisae Ishii-Chang Sensei was to have performed the Meikyo Kata, which is a Shotokan Kata that was created by Gichin Funakoshi or his son Giko, or possibly both. Meikyo is a combination of the Itosu Rohai Nidan and Sandan. Unfortunately, Hisae Sensei was not able to attend. Charles Goodin Sensei performed the Matsubayashi (Tomari) Rohai.

Angel Lemus Sensei performed the Chikina no Tunfa (Tuifa, Tunkua), followed by Alan Yokota, Roy Rivera, John Oberle and myself performing the Hamahiga Tonfa (Tonfa or Tounfa in the Shuri dialect). Alan Lee Sensei, Kyle Nakasone, and Garrett Miyagawa performed their version of the Hamahiga Tunfua.

Herbert Ishida Sensei finished Round 1 by performing Sokugi Taikyoku Sono Ichi.

Round 2 followed the same format, but with discussions after each presentation. First again was Roberts Sensei with his Tomari Rohai. Goodin Sensei asked Gerry Tsuda to perform their Rohai and he followed by performing and explaining their moves. After discussing the Tomari Rohai, Alan Yokota and I decided to perform the Itosu Rohai Shodan, although our OSKA / RKHS no longer practice this Kata.

Lemus Sensei followed with explanations of the unique Chikina Tunfa. Our Ryukyu Kobudo Hozon Shinkokai (RKHS) followed with a presentation and explanation of our Hamahiga Tonfa. Alan Lee Sensei, Kyle Nakasone, and Garrett Miyagawa presented and explained their Hamahiga Tunfua, which is a little different from the conventional Hamahiga Tunfua.

Herbert Ishida Sensei again finished the round with Kosugi Taikyoku Sono Ni.

After a 5 minute break which gave everyone an opportunity to compare notes, Herbert Ishida Sensei led everyone through the Kosugi Taikyoku Sono Ni. After 15 minutes everyone partnered up to practice kicking with their toes. After about 10 minutes, it was Lemus Sensei's turn. He had everyone practicing an unconventional Tunfa flip out strike that goes 360 degrees. It seems everyone was having fun, especially the people who are more used to the conventional methods.

Lee Sensei and I followed with our more conventional Tunfa basics.

The session was educational and interesting as always, but this session was fun.

The participants were: Sean Roberts Sensei, Charles Goodin Sensei, Jerry Tsuda, Angel Lemus Sensei, Judy Lemus, Alan Yokota, Pat Nakata, Roy Rivera, John Oberle, Jay Paige, Alan Lee Sensei, Kyle Nakasone, Garrett Miyagawa, and Herbert Ishida Sensei.
Observing were Rodney Shimabukuro Sensei, Carl Kinoshita, and George Drago.

Technorati Tags: karate Martial Arts martial-arts Self Defense fighting personal combat kata traditional karate Shorin Ryu Okinawan karate martial arts Hawaii Karate Kenkyukai

Hawaii Karate Kenkyukai: February 28, 2010

2010-03-02T03:18:00.000-08:00

The Hawaii Karate Kenkyukai held its most recent meeting on Sunday, 28 February, 2010. As always, it was an enjoyable opportunity to learn about and share traditional karate with each other. The session followed our usual pattern of three rounds of kata study. The first round was a demonstration of kata, followed by another round of demonstration, but with a question and answer session after each kata. The third round consisted of each instructor explaining an application from the kata they performed and then a few minutes for everyone to practice the technique.

This time we studied four kata: Anan, Gojushiho, Saifa, and Kanegawa no Timbei.

Starting us all off, Sean Roberts Sensei performed Anan. This kata most likely came into Shito Ryu from Ryuei Ryu and Roberts Sensei emphasized the more circular movements within the kata and some of the crane-style strikes and blocks.

Following this, the Gojushiho kata was performed by Charles Goodin Sensei, Angel Lemus Sensei and his wife Judy, and Hisae Ishii-Chang Sensei. Gojushiho was explained as being more of a Naha-style kata in derivation and not technically a “core” Shuri-te kata, although many Shorin schools do perform this kata since Sokon Matsumura taught his version of it. It was this version that was performed by each of the instructors mentioned above. The Naha/Chinese roots can not only be seen from the actual movements themselves, but also the name itself, as “Gojushiho” means “fifty-four”. Nakata Sensei explained that his instructor, Chibana Chosin Sensei, stated that all “number” kata were Naha kata of Chinese origin. The Shotokan Gojushiho Sho appears to be a variant of the Itosu Gojushiho, while their Gojushiho Dai is the more prevalent Matsumura Gojushiho. One of the easiest ways to distinguish the Itosu version from the Gojushiho version is that one of the earlier sequences contains two punches, a kick, and then another punch. If the foot steps back after the kick, it is the Matsumura version. If it steps forward, it is the Itosu version.

Next, Alan Lee Sensei and his student Kyle Nakasone Sensei performed the kata Saifa, followed by Herb Ishida Sensei, who was representing Bobby Lowe Sensei. While not a “number” kata, this kata does have Chinese origins, having been brought back by Kanryo Higaonna. The kata included a lot of grabbing, ripping, and tearing, the name itself meaning “smash and tear”.

Lastly, Pat Nakata Sensei performed Kanegawa no Timbei, being joined by Alan Yokota, Roy Rivera, Steve Chun, and myself. He explained that this weapons kata came more from the farmer/peasant class and that the classical items used were the large Chinese straw hats (timbei) or pot covers as a sort of shield coupled with a small stick called a hira, which was essentially a potato digger. If there is metal and/or blades involved, the weapon is called a rochin. Due to these weapons’ relatively flimsy natures compared to a sharp katana, the kata focuses more on deception, timing, and masking of the weapon while moving and striking in order to defeat the opponent.

During the application round, everyone partnered up to practice techniques present in the kata just performed. Unfortunately, Roberts Sensei had to leave early to teach a class. Lee Sensei, Lemus Sensei, and Ishida Sensei each explained techniques based around escapes from a grab, while Nakata Sensei explained some of the concepts involved in elbow strikes. These included the use of the opposite hand to pull an opponent inwards rather than overextending and the difference between a forearm smash versus hitting with the elbow.

After the conclusion of the session, there was some discussion about footwork and how it affects moving with body weight and power generation. Like always, it was very refreshing to see individuals from different styles meeting together in the spirit of openness and learning in order to help everyone grow as practitioners of karate.

In attendance:

Herb Ishida Sensei (representing Bobby Lowe Sensei, Kyokushin Karate)

Pat Nakata Sensei (Okinawa Shorin Ryu Karate Association Hawaii, Ryukyu Kobudo Hozon Shinkokai Hawaii) with Alan Yokota, Roy Rivera, Steve Chun, and John Oberle

Alan Lee Sensei (Hawaii Senbukan Goju Ryu) with Kyle Nakasone Sensei

G. Hiase Ishi-Chang (Island Ki Shotokan Karate) with Dr. Leo Maher

Charles Goodin Sensei (Hikari Dojo, Okinawa Shorin-Ryu Kishaba Juku)

Angel Lemus Sensei (Ninchokan Dojo, Zentokukuai of Hawaii, Sukunaihayashi Shorin Ryu) with Judy Lemus

Sean Roberts Sensei (Minakami Karate Dojo, Minakami-ha Shito-Ryu)

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Closing Distance and Not Overextending: Musashi's "Body of a Shuko"

2009-12-28T19:55:00.000-08:00

Miyamoto Musashi’s Book of Five Rings speaks of “having the body of a shuko”, a shuko being a short-armed monkey. He writes that “… The shuko does not extend his arms… If you think o f extending your arms, your body will retract… it is easy to approach with your body in the same time it would take for your hand to reach out.”

In other words, close distance so that you do not execute any technique before you are within the proper range to do so. This is one of the largest compromisers of proper stance and posture because it causes leaning, throws off your center of balance, and prevents proper body weight transfer into the opponent. Simply put, your technique becomes incredibly weak and leaves you vulnerable. This applies to anything, whether it is a punch, block, kick, or grappling maneuver. While this seems like common sense, executing outside of proper range is extremely common and in the end ironically boils down to a fear of getting hit. This is easily observed in many fighters, regardless of their training background and experience. As such, many people are used to “stand-up fighting” well outside of the proper range and will prefer only to grapple within what we would consider to be proper striking distance. It requires extreme confidence to close distance with the body as a whole first before execution.

As Musashi would say, “study this well.”

This concept is of course tied in closely with what we call osae, the constant press forward into the opponent, which requires a post in and of itself. While Musashi does not use the term osae, he writes of the same concept in at least three separate passages. This will be discussed in another post.

As a footnote, I am currently using the William Scott Wilson translation of Musashi’s Book of Five Rings. After comparing it to the archaic Japanese used in the original work, Wilson’s translation is perhaps the best I have come across.

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A Good Coach

2009-12-14T19:38:00.000-08:00

My sensei Pat Nakata will sometimes remark that he does not teach in any of his classes, but everyone is welcome to train with him. Or, he might say something along the lines that he is not a karate teacher, but a coach. I always used to think these were odd things to say. Recently, Sensei has been emphasizing that we be proactive in correcting each other during our training, especially since we have some newer members training with us.

In a typical class, we will normally execute each kata about two or three times. If there are more than three of us, the students will usually rotate out one at a time. This isn’t meant to be a break; the student who is not performing kata is expected to make on-the-spot corrections verbally and/or physically. However, these corrections must be done succinctly and accurately so as not to disrupt the flow of the kata. Just like in a fight, there is no time to “think” and the correction must happen naturally. This requires as much engagement and concentration as performing the kata itself. There is no time for putting things gently or diplomatically, it just has to be done.

This rotation happens regardless of how long people have been training. At the bare minimum, it provides an opportunity to see how it is supposed to be done for those who are still learning the kata. Of course, if some of us are doing kata incorrectly, it can also show how NOT to do it.

I sometimes find myself seeing someone requiring correction, yet have difficulty making the correction quickly or adequately. This usually means I do not understand the technique or concept well enough myself. Then there are other times when I explain something and then Sensei will have to interject and correct some (or all) of what I just got done saying. Either way, it aids in identifying my own weaknesses as well.

With this class setup, not only must I constantly work on improving my own karate, but also the karate of others, which then theoretically should improve my own… and so on. If I “go easy” on others and just let their bad habits slide, I will not be doing anyone any favors. Correcting, watching the corrections of others, receiving corrections and correcting oneself are all necessary to become a good coach. Maybe it’s not that odd after all.

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Robert "Snaggy" Naoto Inouye

2009-07-19T00:35:00.000-07:00

Today we celebrated the life of Robert "Snaggy" Naoto Inouye, one of Sensei's real old-timers who passed away on the 3rd of July, 2009.

Alan Yokota would always speak of his constant coaching, mentoring, and vocal corrections. When Snaggy came back to the dojo to train with us, I finally got to understand what Yokota meant. Like others who have been coached by Snaggy, I still hear his voice while I do my kata, telling me not to go blank, to get my chin up or relax my shoulders or... and the list goes on. His guidance during class and mentoring afterwards had a profound effect on me, so although I am a slow learner, I continue to understand more of his words the more I train.

Last November, he was diagnosed with aggressive kidney cancer. I was still in Iraq at the time so I would occasionally give him a call to see how he was doing. After we filled each other in on what we had been up to, Snaggy would start mentoring and coaching me long-distance, asking me how my training was going and what corrections I had been working on. Even as he battled cancer, his willingness to help others grow in karate was unchanged.

After I got back, we went out to eat at Utage's and were talking story. He told me what he missed the most due to his condition was karate. He said he would literally dream of training and would have given up anything to be able to train once more.

The power of his statement struck me hard. What an important lesson! When you start to lose everything, you gain sight of what is truly important. There are many common variations of that phrase, but Snaggy made me understand its true depth.

While in ICU, Snaggy still never ceased his mentoring. When I visited him, he started off by scolding me, saying he wasn't "make" yet (for you non-Hawaiians, "make" is pidgin for "dead"). And sure enough, even though I was supposed to be there to encourage him and despite his difficulty speaking at the time, he still gave me a pep-talk on my training. That is the kind of fighter, coach, and mentor Snaggy was.

During the funeral reception, we did several kata with a "missing man formation", leaving a space open for him. So in the end, Snaggy's wish was granted and he was training with us once more. Upon returning back to my apartment, I couldn't sit still. I finally had to go down to the dojo and train. Sure enough, Snaggy was there, shouting out his corrections like usual.

You may be gone from this life, Snaggy, but you will always be here training with us. Thank you for everything. Thank you.

Chibana Chosin's Kata Curriculum

2009-05-25T02:24:00.000-07:00

Chibana Sensei consulted with Itosu Sensei about which kata he should use for his teaching curriculum. Chibana Sensei was concerned that a limited amount of kata would limit one's versatility, while a large amount of kata would not allow one to work on refinement. Itosu Sensei told him to use the core Shorin kata, listed below. After watching Chibana Sensei perform the Matsumura Patsai, Itosu Sensei instructed him to retain this kata as "Patsai Dai", while the Itosu Patsai would be taught as "Patsai Sho". In addition to the three kihon kata developed later by Chibana Sensei, the Chibana core curriculum became as follows:

Kihon Shodan, Kihon Nidan, Kihon Sandan
Naihanchi Shodan, Naihanchi Nidan, Naihanchi Sandan
Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan, Pinan Godan
Patsai Sho, Patsai Dai
Kusanku Sho, Kusanku Dai
Chinto

When discussing Chibana Shorin Ryu karate, questions about the Gojushiho kata sometimes arise. If a student wished to learn Gojushiho, Chibana Sensei would normally refer them to Nakazato Sensei, although Nakata Sensei was able to learn the Itosu Gojushiho from Chibana Sensei. However, this was not considered a core Shorin kata and thus not part of the standard curriculum.

The Patsai Gwa kata (gwa being the Okinawan equivalent of sho, the "lesser" kata), is said to have been created by Itosu Sensei and popularized by Tokuda Anbun Sensei. Chibana Sensei did maintain that there were no Sho and Dai versions of the Patsai until Itosu Sensei instructed him to retain the Matsumura Patsai as Patsai Dai and the Itosu Patsai as Patsai Sho. Patsai Gwa was left out.

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Present State of Training

2009-04-28T18:32:00.000-07:00

Well, I'm still alive. I returned to Hawaii a week ago after an extended stay away from the island. With far more free time now, I find myself contemplating the state of my training over the past 8 months while I was gone. While I did train fairly consistently (I like to think I kept my priorities in order), the level of concentration and focus on refining was not what it should have been for various reasons, some of which have merit, but I suppose they ultimately become just excuses when viewed objectively.

Sensei and I were talking story after practice when he made the comment that I had "gone off on a few tangents", referring to several bad habits I picked up since he last saw me. Then he made a fairly insightful comment for me, remarking that at this stage of development, most of us tend to execute the kata using kimochi, or feeling, so if our execution is wrong, then our feeling of how the technique is executed must also be wrong.

Some of this incorrect execution probably stems from "getting away with it" in the past; in other words, I might have been performing those movements somewhat correctly on the surface, but bad habits emerged because I did not truly internalize proper execution and feeling. This calls to mind the ever apt phrase, "You must consciously develop good habits or you will unconsciously develop bad ones" I hear so often in the dojo. Getting locked in a comfort zone will make it all too easy to turn what used to be an occasional mistake into a bad habit. At this stage, you start to actively try and achieve a certain feeling when executing a movement, but that feeling is your body telling you NOT to do it like that...

While unfortunate they happened in the first place, these tangents provide context for me as I concentrate on my corrections and more importantly, what I should be doing rather than merely trying to avoid mistakes. If anything, I am far more conscious of those movements on which I have had corrections made. At this time, I can't help but recall Snaggy's warnings in the past against relying solely on feeling without understanding the technical side. He has always told me that there must be absolute concentration on proper execution before one can rely on feeling. As always, the fine balance between "learning karate with your body" and staying cognizant of what you're actually doing by staying in the moment is essential. Gravitate to one extreme with a slack mind and your techniques will be sloppy and ineffective; gravitate to the other with a constricted mind and you become far too rigid and can't apply techniques in a practical manner.

As usual in the end, whether you can execute correctly from the beginning or have to make mistakes first and have them corrected, you have to train first.

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Rushing and Ego

2008-06-21T14:53:00.000-07:00

I am always cautioned not to rush my techniques. Entirely different from pacing techniques too quickly, it is a correction for a lack of concentration or an ego defense mechanism. In either case, it leads to jerky muscling and rushed timing, meaning there is no kime. All movement must be smooth and accelerate into the kime with a flow. Unfortunately, when people aim for the kime timing and power, there is a tendency to tighten far too early, and I am no exception. The feeling of the muscles activating early makes a technique feel stronger, but at the same time, makes it weaker.

Instead, I should focus on breathing and ensure there is no pause between my inhale and exhale. This causes jerkiness because the working muscles must activate once more to accelerate, disrupting the flow and timing. Of course, I have been hammered for not concentrating on breathing and breathing rhythm… it is just starting to make more sense now.

Ego comes into play because it is easy to concentrate on the first part of a movement. The final execution and kime timing is the hard part. When the other parts are done more or less correctly but the timing is off, things will feel very weak (from what I hear, even proper timing feels weak to those not used to it... I suppose I'll find out one day...). The subconscious mind doesn’t like this and compensates through muscling.

Working on this timing really takes people out of their comfort zone. Just like hitting the bag, people avoid it because the feedback confirms their suspicions that their technique is weak. Many of those that do train on the bag muscle it, which is really just another term for self-delusion.

The only way forward is “muga” (無我), no ego, and "mushin" (無心), no-mind. Snaggy likes to talk about that a lot, and I am starting to see why. As he puts it, ego gets in the way of living in the moment, in the now. Without muga mushin, there can be no refinement because things like rushing will always get in the way. This is not abstract Zen philosophy, this is the difference between going through the motions and training to fight.

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Are Mistakes Necessary?

2008-05-12T16:28:00.000-07:00

At our dojo, there are constant corrections on everything: breathing, movement, posture, timing, etc. I often wonder at the amount of patience it takes to continually stress the same things over and over (Snaggy says it's a matter of them getting sick of seeing crappy kata). Everyone wants to instantly make the correction told to them, but oftentimes it's pretty hard, especially when you've been screwing things up for a long time. Even if you do something right, sometimes you're not sure if you did it right because you're not used to the feeling. In fact, you're usually used to the feeling of doing it wrong.

So much of Shorin Ryu is refinement by taking away extra things, such as leaning or tightness in the wrong places at the wrong times. I often find myself seeking for the right way by "not doing" things I've been corrected on. This can be dangerous, since overcompensation can be just as bad and in the long run, it's a heck of a lot easier to do one thing than to not do a thousand.

All the same, the more conscious I become of the things I'm doing wrong, the more the corrections start to make sense not just from an intellectual standpoint, but in execution as well. To move beyond bad habit comfort zones, serious concentration is needed, not just mental endurance to merely tough out the continual long hours of practice. As Sensei says, he can't do it for you, so you have to do it yourself. He can explain and correct, but it comes down to just doing it.

Learning karate is a highly active process that doesn't allow laziness; mistakes won't correct themselves over time. People can get bogged down in their mistakes or just as bad, be too complacent about them. To get beyond this, willpower, hard training, and mental focus are needed.

This karate is hard work...

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Terrain and Karate Training - Guest Post: "Dojo"

2008-04-24T15:44:00.000-07:00

What follows are some thoughts of my instructor, Pat Nakata, on the literal dojo environment and the effects on training:

In the beginning of Karate (Te, Ti, Di, Toodi) there were no dojo, because Te was practiced in secret. Practice was conducted in remote and hidden areas, such as hillsides, forested areas, grave sites, and in general away from prying eyes and inhabited areas. All training was held outdoors. Okinawa's temperate climate (unlike mainland Japan's more varied seasonal temperature fluctuations) was ideal for practice throughout the year.

Mrs. Nagaishi told me when she was a little girl (in the late 1930s), she would see the men of her village (farming village) go into the mountainside (hillside) every evening with candles. One night she followed them and hid as she observed Karate training for the first time. These practitioners never performed their Karate in public and practiced in the dark of night, thus they were called "kakure bushi" (hidden warrior). Practice even in this relatively modern time, was conducted in a remote outdoor setting.

Nagaishi Sensei talks about his early training (mid 1950s) with Chibana Sensei, where classes were held at a graveyard and light provided by a U.S. military issue, kerosene lantern. Nagaishi Sensei also tells us about clearing glass fragments from broken beer bottles, left behind from people drinking when there were no Karate classes. Besides the glass, the rocky soil had many large rocks that were removed before practice. There was a very small building where Chibana Sensei could correct students on a one-on-one basis, but the bulk of the training was done outside in the graveyard.

My training with Chibana Sensei during the daytime was on his front lawn, with the soil being a mixture of dirt and almost powdered coral. There were no large rocks and the lawn was relatively even and firm. In the evening, we would train at the dojo (Chibana Dojo / Yamakawa Recreation Center), with a training area of not more than 250 square feet. A class of 30 students could do a very abbreviated Kihon Kata with double stepping and the three Naihanchi Kata. The rest of the teaching was done individually or by groups where Chibana Sensei observed and corrected (see Classical Fighting Arts on Part 2 of my interview). The bulk of the practice was on our own and was done outside, which was actually a playground, during the afternoon.

A dojo in Okinawa is a modern phenomenon, which has changed the way we now practice Karate. With the smooth hardwood floors we can now do long sliding steps, wide stomping movements, stepping heel-to-toe (rather than toe-to-heel), and other stance and stepping adjustments. Which way (new or old ) is more effective? It depends on the situation or in this discussion, the terrain.

Returning to Hawaii from Okinawa, my first classes were held at my parents' home in their patio. The flooring for the patio was very porous cement, with a lot of loose black sand (cinders), so stepping was done in the same way as in Okinawa. Teaching at the University of Hawaii, we used the dance studio building which had smooth hardwood flooring, but our classes were conducted more like the "conventional" Japanese styles (Wado-Ryu). Soon after, we started classes in the evenings at the Moiliili Community Center, sharing different evening with the Shito-ryu Karate classes of John Teraoka and the Moiliili Judo Club. The dojo floor was tatami (straw mats) and uneven, so stepping was done in the same way as in Okinawa.

Moving to our own dojo on Waimanu Street, the flooring was tile on a wood floor. At this time, we were heavy into tournament competition and not too concerned with stepping and stance, since we were not as concerned with Kata and were more concerned with sparring techniques. Moving to our Waikiki Kapahulu dojo, we inherited a tatami floor from the previous tenants, Sensei Ed Yamaki's Judo club. We were still quite involved with tournament competition. After I moved to Hawaii Kai, I converted the backyard of my townhouse to a red brick patio, turned over the Waikiki Kapahulu dojo to our senior students, and started practicing with 6 to 8 students on my patio. My Hawaii Kai patio floor surface was a slight improvement over my parents' patio, except my parents' patio was covered, while my Hawaii Kai patio was open and on occasion, we trained in the rain (much like my training in Okinawa). After a couple of years, I resumed practicing at the Waikiki Kapahulu dojo.

The Waikiki Kapahulu dojo gradually evolved. The tatami was removed because it was falling apart and not conducive to our Karate practice. After about ten years, the windows were redone, new flooring installed, and reinforced with additional braces, all paid for by Alan Yokota and Ricky Tokumoto. As time passed, we were no longer into tournament competition. We gradually did away with sparring, and we started to do strict Chibana Karate, which is Kata training. Today, because of our flooring, we can concentrate on heel-to-toe stepping, which allows our Hara to flow.

Over the past few years, I have trained in many different settings and all of it was nice, but training in Tim Muzzin's backyard in San Francisco brought back memories of my early years of training. The Mainland U.S. is like Mainland Japan. With wide temperature variances throughout the year, you almost definitely need a dojo to train throughout the year, but again the old traditional dojo in Japan do not have heaters and you brave the cold during the winter (be it indoors). Hawaii's climatic conditions are even better than Okinawa. It would be nice to find a private place outdoors in Hawaii to practice. Humm...

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Fighting Mentality

2008-02-10T09:44:00.000-08:00

Several months ago, me, Sensei, and Snaggy were eating at a Zippy's after practice and talking story, something that happens fairly often. Our conversations end up wandering all over the place, but almost always return to fighting (and food or the other simple pleasures in life). We shifted towards talking about fighting mentality, and one of Sensei's favorite quotes on the subject was revisited. "Tatakaeba, kanarazu katsu." This literally means, "if you fight, win." This line was taken from the 1970s Japanese samurai TV classic, Yagyu Clan Conspiracy. Don't let the cinema or the simplicity fool you. It has to be one of the more resounding statements on the subject. But I will let Sonny Chiba do the talking.

(vid updated... old one was taken down)

For those of you who cannot view the clip, it goes like this:

The secret doctrine of the Ura Yagyu states: "Once engaged in battle, fight to win. That is the first and cardinal rule of battle. Supress all human emotions and compassion. Kill whosoever stands in thy way, even if that be God or Buddha. Only then can one master the essence of the art. Once it is mastered, thou shall fear no one, though the devil himself may block thy way."

What stronger mentality is there? What greater way to achieve ippon kowashi?

This isn't recklessly attacking, blind confidence, or mere words; this is resolution. Without it, you cannot be truly strong.

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The Worst Horse

2007-12-22T21:41:00.000-08:00

I like to write. I like karate. I like to write about karate. I've written a few things about the technical side of Chibana's karate, some with varying degrees of conceptualization, some with faint glimmers of understanding, and some with nothing at all.

But maybe I jumped the gun. Perhaps it's a little early to get carried away and write only about understanding. If this blog is supposed to be a reflection of my training, I should be writing about failure... and frustration. Leaving that out would only be telling half the story. No, a lot less than that.

During practice the other day, Sensei roundly scolded me about constantly filling my cup. He said I get carried away after getting enamored with some minor achievement or another which causes me to exaggerate whatever adjustment I made and end up worse off than before. I was a bit hurt and then angry, because anger is an easy emotion that blocks off pain, just like how you might press your finger after you cut it, since the feeling of pressure overrides all else. I started to say, "I don't think I fill my cup with confidence." But I cut myself off after the second word. What did I fill it with, then? Was it confidence? Was it ignorance? Fear of failure, maybe? Was it me focusing too much on not doing it wrong rather than doing it right? I'm no psychologist, but it's probably some combination of all these. Ultimately, does it matter? Whatever the case, he was right. My frame of mind was wrong.

Sensing my deep frustration (I felt very low at that point and was such doing a terrible job of hiding it that you'd have to be blind not to see it), Sensei fell back on an old favorite of his that a lot of us students have read, Zen Mind, Beginner's Mind, by Shunryu Suzuki. Suzuki mentions the following:

"... it is said there are four kinds of horse: excellent ones, good ones, poor ones, and bad ones. The best horse will run slow and fast, right and left, at the driver's will, before it sees the shadow of the whip; the second best will run as well as the first one does, just before the whip reaches its skin; the thrid one will run when it feels pain on its body; the fourth will run after the pain penetrates to the marrow of its bones. You can imagine how difficult it is for the fourth one to learn how to run!"

Yeah, no kidding. I'm just trying to learn how to walk.

Echoing Suzuki's commentary on this, Sensei mentioned that everyone wants to be the best horse, but in the end, the fourth horse may end up being the best one after all. Haven't the lessons on running been beaten into the horse's very bones?

In the end, Sensei's whip is there to snap me into the right frame of mind (after the stinging subsides). I always remark that I'd rather have my ego bruised and have good karate than get physically bruised or worse on the street. Of course, like everything else in karate, easier said than done. Sensei told me that all too often, people would say don't take criticisms personally. He then gave his smile with that tinge of amusement and said, "No, you have to take it personally." And... he's right.

I don't know about me eventually becoming the best horse, but I certainly feel like the worst horse right now. Maybe that's the hard part. I'm used to being the best horse. Certainly not in everything (my ego isn't that large). But mostly in the things I care about. Come to think of it, I don't think I've ever been frustrated by something I cared about this much.

Sensei and the others always like to say "From frustration comes enlightenment." I like Snaggy's corollary to this: "Correction was not a function of time training but one of frustration. After a while, you get so disgusted looking at an ugly kata that you gotta do something..."

Frustration... check.
Willingness to get better... check.
Training... check.
Training correctly... working on that.

In the end, it boils down to training (correctly). I wish there was a shortcut. But as usual, easier said than done. Time for this horse to get going.

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Strongest Move in Shorin Ryu

2007-11-29T13:00:00.000-08:00

Someone on Ebudo.com asked rhetorically what the best bunkai (what we call imi, or meaning) for moves from our kata were. Rather than answering rhetorically or philosophically, I answered technically. I don't know about you, but I hate answers that are just "whatever move you are comfortable with" or things like that. My answer was our opening move from our most "basic" kata, kihon shodan. Not that I can take credit for coming up with this on my own, since my instructor talks about it a lot.

I can take credit (blame) for the (potentially flawed) explanation below, however. Those who practice any Chibana-descended lineage school should be familiar with the movement, even if the execution is different. From what I've seen, the meaning tends to be the same among many of the Chibana schools. However, the meaning is just the starting place for study, not the finish line.

Stand in a natural stance, feet about shoulder-width apart (at 45 degree angles) and fists down in front. Weight is in a 50/50 distribution, centered.

Your left foot sweeps out in a crescent step (I get hazy on the exact terminology). Basically, sweeps in and out along an arc and returns to a position shoulder-width apart, but settles back in to where the back of the left foot would be on the same horizontal line as the toe of the right foot. So the left foot ends up slightly forward of its original position with the toes slightly inward and the heel slightly outward.

As the leg and foot moves out, the left arm forms a similar arc, going from in front of your left side, out in front to your right side, and then back in front of your left side, only it does so in an arc along the entire path and ends up around chest level. During the outward sweep, the fingers of the hand are pointed out straight with the thumb pointing down.

Towards the end of the movement, the gripping with the hand takes place. As the gripping takes place, it is timed with the settling of the left foot which pulls the opponent down and off balance with your body weight instead of your arm. It is important to clear the space in front so that an attack from the opponent's left or right side will be cleared. The actual grabbing occurs at the end.

Also during the movement, the concept of back pull is used, where both sides of the back are pulling inwards as if pinching the shoulder blades together as the body angles off (the body doesn't have to angle off, it just does in this technique). This makes the technique stronger by employing both sides of the body and avoiding a collapse in posture. Using the proper muscles is important so the technique locks down properly with your body weight and pulls rather than pushes or rises.

The grab as described above is meant to be used whether the person is attacking you or just trying to put up a guard which you can clear easily (no sense punching around his hands, just move them out of the way). Obviously, it requires a closing of distance, which if studied, is aided by the stepping as described as the distance enters fighting range.

After all that stuff happens at the same time, you punch him... which would also take a while to explain, but I'll leave it at that.

If one watches from the side, it looks like a really simple move, but the concepts of how the weight is controlled, how clearing and entry takes place, how the basic punch is executed, posture, etc. form the basis of study for every single move in our kata. The moves we tend to do are very simple, but we put a lot of work into them.

I wish doing this was as easy as writing about it.

technorati tags: karate Martial Arts martial-arts Self Defense fighting personal combat kata traditional karate Shorin Ryu Okinawan karate martial arts stance kihon kihon shodan bunkai meaning

Shallowness of Thought

2007-10-18T13:47:00.000-07:00

"First of all, everyone fancies the insignificant principles of the martial arts, whether in knowing how to give the wrist a three to five inch advantage with the fingertips, or in understanding how to gain the victory by extending the forearm by handling a fan. Or again, by taking up a bamboo sword or something like it, all may study the simple advantage of speed and, in learning the functions of the hands and feet, specialize in the lesser advantages of alacrity."
Miyamoto Musashi, The Book of Five Rings, 1645

Sadly, the no-nonsense warning issued centuries ago by the great fighter Miyamoto Musashi remains largely unheeded today. Many martial artists, traditional or otherwise, pride themselves on their debates over the advantages of circular vs. linear, hard vs. soft, punching vs. palm strikes, knowledge of "bunkai" (application), etc. This reveals shallowness of thought and fighting ability. Ignorant of the mechanics of generating power or the other realities of fighting, they are reduced to smugly debating these "lesser advantages". I was one of these "enlightened martial scholars" focusing on buzzwords rather than practical application. My goal was certainly practical application, but my entire mindset was incorrect, reflected by participating in these pointless debates so prevalent today. Many will claim to be in agreement with me, but most will not be intellectually honest with themselves. Now, I care little for the differences between linear and circular, nor do I obsess about grappling or being "soft" or "hard". All I know is strong or weak, effective or useless. As Musashi would say, "study this well."

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Hawaii Karate Kenkyukai

2007-09-23T16:51:00.000-07:00

On Saturday, 22 September, the Hawaii Karate Kenkyukai (Research Association) held its first meeting. Like any good karate research association worth its salt, it wasn't about committees or reading dusty old history books, it was just training. The instructors present were Senseis Bobby Lowe (Kyokushin), Pat Nakata (Shorin Ryu), Alan Lee (Goju Ryu), Charles Goodin (Kishaba-juku Shorin Ryu), and G. Hisae Ishii-Chang (Shotokan). There were several students from various instructors, although I was the only student of Nakata Sensei present.

As we all had different ways of doing things, we worked on some of the simple basics of punching. Nakata Sensei introduced our methodology of punching and had everyone put the theory to the test by punching some hand pads. Observing everyone's punching styles allowed me to see advantages and disadvantages of each. We also practiced the concept of "creating a one-step" situation where you take advantage of understanding range to pick off an opponent when he has to cross certain range boundaries in order to attack. It was interesting to note that despite the necessity of moving forward into the attack for this to work, some people still had the natural tendency to adjust range backwards before launching their counter strike. Throughout this section and the entire training, there was continued emphasis on natural striking, moving into the opponent, and smooth movement.

We then moved on to some gedan mawashigeri (low roundhouse kicks), which are definitely not my specialty. To add a little realism, attackers and defenders were allowed to move around. While my mawashi geri isn't all that great, as we tend to employ simple, direct kicks in training, I saw the effectiveness of breaking up an attack or defense using the direct walk-in to the opponent. This was the same for the one-step situation creation earlier.

Afterwards, we worked on a little self-defense drills run by the Kyokushin group and some people did some sparring as well. As with the other parts, it was interesting to observe the fighting styles of the participants.

All in all, it was enjoyable and I think everyone benefited from the exposure to the multiple viewpoints offered during the training. I look forward to the next session.

Technorati Tags: karate Martial Arts martial-arts Self Defense fighting personal combat kata traditional karate Shorin Ryu Okinawan karate martial arts Hawaii Karate Kenkyukai

What Is Okinawan Karate?

2007-08-28T13:20:00.000-07:00

Over the years, my view on what Okinawan karate is has changed dramatically, so I will now restate my views.

The Okinawan Shorin karate that I know is smooth, relaxed, and powerful. The stances are natural, narrower, and shorter with toes pointed out to allow the flowing of hara forward and stepping is done heel to toe. Weight is towards the outside of the foot. The transition between each technique is just as important as the endpoint, to include how stepping is done and how the entire body moves from A to B. Moving with the weight continually into the opponent to crowd him is what we call "osae".

Flow does not mean there is no kime. Without kime, there is nothing, just like without a strong stance or a good posture, there is nothing. There is no muscling of technique, but there is an incredible amount of muscle, ligament, and tendon usage.

The rhythm of movement is done at a natural breathing pace with no artificial breathing. While it does flow, there is a staccato when there is kime. It flows relaxed into the kime. Each movement is done with a separate "count", as maximum power is generated for each block, strike, and kick. The goal is to end the confrontation with a single technique.

The emphasis on analysis is not on "what" is being done in kata, but on "how" it is being done. Knowing the meaning of movements is necessary, but knowing how to do it is essential. The interaction of stance, posture, timing, weight, and muscle/tendon/ligament/skeleton usage is what is analyzed. The "what" appears to be incredibly basic, because it is. The vast majority of our meanings for kata are simply punch, kick, and block. There is some grappling, but it is quite simple--again, the emphasis being on "how" and the transition between movements rather than "what". The meaning, or bunkai (popular term used nowadays), should match the kata movement exactly. Any deviation and either the meaning or the movement is wrong.

When fighting, there is no offset between you and the opponent. You walk straight in and destroy him; there is no deviation. The goal is not an exchange of technique, it is one-sided destruction.

Okinawan karate is neither Chinese nor Japanese; it is Okinawan. It borrowed some from Chinese arts, but its nature and development is uniquely Okinawan. I have seen karate with so much flow and no kime it looks like Tai Chi. I have seen karate with so much tension and muscling it looks like the robot. I have seen karate with so much grappling it looks like judo or chin na. None of these is the Okinawan karate I know.

Chibana Chosin Sensei DVD Review

2007-05-08T12:50:00.000-07:00

Recently, there was a DVD released showing footage of Chibana Sensei performing kata. This DVD was made using footage taken by Clarence Lee, who visited Okinawa in the late 1960s. I purchased this DVD and what follows is the review I placed on Amazon.com.

It is great to see this footage of Chibana Sensei finally released. It is unfortunate that this footage was taken so near to Chibana Sensei's death (footage is actually from 1968). It is my understanding that on the morning this footage was taken, Chibana Sensei was so ill his wife had to help him put on his gi. This is testimony to his pure strength of will in performing the kata with that much dedication and focus.

There is other footage of Chibana Sensei doing the Patsai kata in 1962, but it is not publicly available. The difference between this Patsai kata footage and Mr. Lee's footage taken in 1968 is rather striking, as the 1962 film displays Chibana Sensei’s legendary power, strength, and efficiency for which he was widely respected.

I will limit my critique to clearing up some historical inaccuracies from the video.

Chibana Sensei's name is Chibana Chosin or Choshin, not Chosen. I am not sure why they chose to write "Chosen".

Chibana Sensei’s hometown was Torihori, not Toribora. Spellings of his hometown such as Toribora or Tottori-cho are inaccurate.

Chibana Sensei was not born to a modest family nor did he work the fields as a boy to support his family's livelihood. His family was nobility from the pre-Meiji era and was extremely successful in the sake business.

It is my understanding that the senior students of Itosu Sensei (Yabu Kentsu, Funakoshi Gichin, Hanashiro Chomo, etc.) were all teaching at the public schools by the time Chibana Sensei started tutelage under Itosu Sensei. Itosu Sensei's senior students did meet to have training sessions periodically after Itosu Sensei's death. It would probably be a stretch to call Funakoshi Gichin a "training partner." Chibana Sensei always referred to Funakoshi Sensei as his sempai. That being said, Chibana Sensei's training with Itosu Sensei was probably more personal because of the Chibana family’s relationship to the Itosu family through marriage.
Chibana Sensei did not pass away on 16 October 1969, he passed away on 26 February 1969.

Miyahira Katsuya was not appointed successor by Chibana Sensei, he was voted in after Chibana Sensei passed away, despite Chibana Sensei’s wish for his grandson to become the atotsugi (successor).

Chibana Sensei never used “Kobayashi” to refer to his karate. While it can be pronounced that way, it was meant to be “Shorin” as tribute to the Shaolin temple (Shorin is the Japanese/Okinawan pronunciation of Shaolin). However, he believed strongly that Shorin Ryu was largely Okinawan and purposely modified the first character from the Chinese “Shao/Sho” so it would retain its originality.
Despite all this, nothing can take away from the fact that this is genuine footage of Chibana Sensei. I only rated this three stars [of five] because I was disappointed with the other content and general presentation.

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Okinawa Trip 2007 - Part 6

2007-04-26T23:11:00.000-07:00

Overall Impressions

My trip to Okinawa was very worthwhile. As the birthplace of karate, it was good to at least see the place and meet the people who are part of karate history, even if it is the history of karate entering into the modern age. My friend Terry told me that when he visited Okinawa, it confirmed many stories about Nakata Sensei when he was on Okinawa. It was no different for me, whether it was noting the respect that many people paid him due to his being a student of Chibana, people reminiscing about his relationship with Chibana Sensei, or simply those mentioning his fighting prowess when he was there.

Secondly, it showed me the directions that karate was taking, even on Okinawa. The more I train, the more I am able to get what my instructor calls “karate no me”, or simply, an eye for karate. I’m certainly not as good as evaluating people as he is, but there are certain indicators using both the framework of osae, koshi, and hara as well as simple timing and posture that lets me know whether I would wish to train with them or not. I wouldn’t mind learning about other styles and instructors, but I’m not so sure if I would learn from them, as the direction Okinawa seems to be heading in is different than the one I am.

Thirdly, it was nice just meeting people and making contacts. They were all very friendly and open people. Should I ever come to Okinawa again, I’ll know some people I could talk to and Sensei could always be my “in”. If I ever want to know the location and practice times of anybody on Okinawa, I can just swing by Shureido and talk to Nakasone-san.

Fourthly, the food was tasty. Enough said there.

Goya Chanpuru and Tebichi

Fifthly (I can safely say that I have never before used the word “fifthly” before this), after having a sticker on my car for a couple of years that has “Okinawa” and “Ishigantou” given to me by my Japanese teacher in grad school, I can finally answer “yes” when asked if I’ve visited Okinawa before.

Sixthly, I got to see the world of karate politics on Okinawa. Some people we met were very straightforward while others had their own various agendas to attend to. Of course, everyone was really nice, but those are two separate things. Anyone interested in karate history should always take their source into account when reading historical accounts written by Westerners, Japanese, or Okinawans or talking to the people themselves.

Lastly (because “seventhly” would just be ridiculous), I got to see Terry, even if it was just for one evening. I could insert some really trite phrase about friends and long distances, but I’ll just content myself with saying it was cool to see him again.

karate Martial Arts martial-arts Self Defense fighting personal combat traditional karate Shorin Ryu Okinawan karate martial arts Okinawa Japan karate history

Okinawa Trip 2007 - Part 5

2007-04-22T18:29:00.000-07:00

Friday, 6 April 2007

Friday morning was my opportunity to pretend I was just a regular tourist in Okinawa. I naturally spent some time at the Shuri castle, which played a big role in the history of karate as many of the karate masters were associated in some way with royalty or of nobility, and the Chibana family was no exception. It was interesting just to be able to see the sites always pictured in various karate history books or on the vast multitude of patches, logos and emblems in dojo all across the world.

Shuri Castle, inner courtyard

The afternoon found me standing by a payphone and Sensei Goodin’s cell phone number nowhere in sight. After trying various ways to contact him, I finally gave up and did what anyone else would have done after walking from the Shuri station to Shuri castle, all around the castle, to Asato from Shuri, and all around town: I went to lunch. After a nice meal of goya chanpuru and tebichi (pig’s feet), I walked around for a few souvenirs and later met up with Sensei at the hotel.

From there, we went to Yonamine Kosuke Sensei’s dojo where we observed his Uechi Ryu practice. True to Uechi Ryu, it involved a lot of testing of muscular tension by hitting the students as they performed their basics and their kata. But just like my opinion on Goju Ryu, I’d rather learn how to hit with devastating power than to take hits. There were a lot of two-person sets where the student performed the kata and basically demonstrated the meaning of the movements with the partner as they went through the form. Amusingly enough, one of the younger students got a big kick out of discovering that karate exists on Hawaii. He apparently had a hard time believing that karate was practiced anywhere outside of Okinawa. After practice, Yonamine Sensei invited us into his house and we had a little to eat and drink while we discussed various things. Sensei told me that when he was on Okinawa, he would fight a lot with Yonamine Sensei because he was the strongest Uechi Ryu fighter back then. In the midst of discussion, Yonamine Sensei said that Sensei was the strongest fighter period back then and that I should continue my training with him (I assuredly will). Our talk was less on the historical side and more on just “catching up”, but it was still enjoyable. After an hour or so, we excused ourselves and made our way back to the hotel. I packed all my stuff and went to bed.

Saturday, 7 April

I got up, gathered my things, checked out of my hotel, and met up with Sensei and Sensei Goodin for breakfast at the little diner we ate at earlier. The plane ride back was uneventful and due to time zone changes, I ended up back in Hawaii about 6 hours before I left.

To be concluded in Part 6

karate Martial Arts martial-arts Self Defense fighting personal combat traditional karate Shorin Ryu Okinawan karate martial arts Okinawa Japan karate history Yonamine Kosuke Kosuke Yonamine Uechi Ryu

Okinawa Trip 2007 - Part 4

2007-04-17T04:40:00.000-07:00

Thursday, 5 April

Thursday morning found me a little short on yen, so I did a lot of footwork around Naha looking for an ATM that would accept my gaijin debit card. After a good deal of hunger-inducing walking, I ended up at Sensei’s hotel empty-handed (and empty-stomached). Sensei and I walked around a bit and found a 24/7 diner that had a pretty decent Japanese breakfast for only 500 yen. We went shopping for a little while, as Goodin Sensei had to pick up some Shiseido products for his wife and I still had to find some way of getting some yen. I later found a machine at the end of Kokusaidoori (not the one that everyone told me about, but the one at the post office). Feeling a little less naked now that I had some more money, I met up with Sensei and Sensei Goodin. We ate at another local restaurant and had a reminder that Okinawa still is in the island of karate, regardless of if it strictly sticks to the old ways or not. As we paid for our meal, we noted that the humble restaurant owner had a karate menjo on his wall, being an instructor in Goju Ryu.

After making our way back to the hotel, Sensei and I swung by Shureido once more and had coffee again with Nakasone-san. At this point, I think I can say that I’ve had more coffee at Shureido than I’ve had in my entire life. I accidentally left my historian hat at the hotel because I somehow got absorbed in looking for T-shirts and didn’t catch most of what Sensei and Nakasone-san were talking about. They then discussed a little about our plans for the day and we mentioned that we were going to visit Oshiro Nobuko, wife of Uechi Ryu’s Yonamine Kosuke and teacher of Higa Yuchoku style Shorin Ryu. They provided us with directions to the dojo and after a little more talking, we went on our way.

We took a cab out to Urasoe City, where Oshiro Sensei had her dojo. We ended up coming a little before her 2^nd class and watched for the duration of that one and some of the 3^rd. It appears that she has 4 classes a night, with the 4^th one being the adults class, although we did have the opportunity to watch an adult independently practicing in the background. I do have to say I was impressed with the discipline and focus of many of the kids. They were doing quite a lot of exercise without complaint and hitting the bags with a lot of power and focus (for their age). She was no slouch herself, being quite active and very fit despite being 59 years of age. Like some other Chibana lineage schools on Okinawa, there seemed to be a lot of personal interpretation which had taken place in the kata. After some time, we excused ourselves and found a taxi.

We made our way to Chatan to visit the dojo of Shimabukuro Zenpo Sensei, of Seibukan. We talked for a while in his dojo and I was very impressed by his fluent English. My instructor has apparently met him on occasion, and his father, Zenryo, would always visit Chibana Sensei very frequently and that the only other person who visited more often (when Chibana Sensei was in good health) was Nakama Chozo Sensei. In some ways, it seemed like my instructor and Shimabukuro Sensei were kindred spirits of a sort, both being similar in age and both trying to preserve what they learned from the last of the old masters in a world embracing modern karate. As it was, he was someone that we could ask direct questions to and get direct answers.

We talked both at his dojo as well as at McDonald’s (a late night place to get coffee). Not having had food in a while, I unashamedly ordered a cheeseburger in lieu of the coffee, although it wasn’t quite filling especially after I tossed the bun. Shimabukuro Sensei mentioned that Nakama Sensei taught him a version of Patsai called Patsai Gua, but he was unsure where Nakama Sensei learned it from. He said that while Nakama Sensei would stay with the Shimabukuro family during the week when he had a job working at the nearby military base messhall and would visit his family on the weekends. A lot of his training from Nakama Sensei occurred during this period. The other main source of karate training was Kyan-style karate from his father. Chibana Sensei would remark that Shimabukuro Zenryo Sensei’s karate was “true Kyan” karate. Chibana Sensei would also always say that karate should be learned with the body, so it was nice to hear Shimabukuro Sensei say the exact same thing. He also stated the kata should keep their original meaning; something Chibana Sensei would always say. Adding credence to the notion that Chibana Sensei never called his style “Kobayashi”, he mentioned that one time Nakazato Shugoro Sensei got upset when he accidentally referred to it as Kobayashi Shorin Ryu. It seems likes the closer a student was to Chibana Sensei, the more likely that student is to call their karate Shorin Ryu as opposed to Kobayashi Ryu or Kobayashi Shorin Ryu.

When speaking about Chibana Sensei, Shimabukuro Sensei echoed the sentiments that I have heard others say: his fighting was very strong and his kata was very clean. By “clean” (he used the Japanese term “kirei”… not to be confused with “pretty”), he meant that it was efficient and devoid of any extraneous movements. It always amazes me that with as much respect that everyone on Okinawa speaks about Chibana Sensei and as much as they acknowledge his seniority in karate and fighting prowess on Okinawa during his lifetime, such little is written or known about him in the wider English or Japanese circles. And sadly, even much of what is written in English tends to be incorrect… but I digress.

After we all talked for quite a good while, Shimabukuro Sensei kindly drove us all the way to our hotel and dropped us off. After Sensei and I chowed down on some big macs (minus the buns) I bought earlier (I made some lame excuse about buying breakfast for the next day), we turned in for the night.

To be continued in Part 5

karate Martial Arts martial-arts Self Defense fighting personal combat traditional karate Shorin Ryu Okinawan karate martial arts Okinawa Japan karate history Chosin Chibana Chibana Chosin Chibana Choshin Goju Ryu Shureido zenpo shimabukuro shimabukuro zempo Nakama Chozo Higa Yuchoku Yuchoku Higa Oshiro Nobuko Nobuko Oshiro

Okinawa Trip 2007 - Part 3

2007-04-13T04:15:00.000-07:00

Wednesday, 4 April

Wednesday morning, I woke up a little later than usual thanks to the awamori. We met up at Sensei’s hotel and went to Shureido where we talked with the owner Nakasone-san over coffee. He was a very nice man and seemed to know a lot about every karate instructor on the island, probably doing business with all of them. We heard later that Nakasone-san is always present at gatherings here and there, taking pictures and footage. He probably has exclusive media and is a veritable encyclopedia of karate history himself. Shureido called up Yonamine Kosuke of Uechi Ryu for us, since we were unable to reach him. They ended up getting in contact with his wife, Oshiro Nobuko, who runs a large Higa Yuchoku lineage school in Urasoe City and we decided to meet up with her the next evening. Speaking with Nakasone-san, I started to notice a trend that everyone we talked to asked how Nagaishi Sensei was faring. Fumio Nagaishi Sensei worked for the US government on Okinawa for many years. He studied under Chibana Chosin and is one of the most senior students of Taira Shinken (he is without a doubt the most senior American student of Ryukyu Kobudo). He served as a liaison for many of the early American karate practitioners on Okinawa and is a close friend of my instructor, Pat Nakata. Nagaishi Sensei is such a large part of karate history on Okinawa, yet he seems to be missing from any of the history books. Some of this is due to his humility, and some of it is due to his being an American despite the many years he spent on Okinawa.

In the afternoon we went to the head of Shorinkan Shorin Ryu Nakazato Shugoro Sensei’s dojo. There we saw Sensei Pat Haley with his group of 20-odd students from the U.S., (Canada?), and South Africa. When we walked in, Nakazato Sensei’s face lit up and he welcomed us, introducing Sensei to several of his 9^th dans and a black belt of his who were observing the practice. When he mentioned that Nakata Sensei was a student of Chibana Sensei, they started bowing respectfully. Right away, I could tell that Nakazato Sensei was pretty comfortable with Nakata Sensei. We watched Sensei Haley’s students and they were trying very hard. At one point, one of the students suffered a contusion after bending down on his knee, so he was taken off to the side. Nakazato Sensei gave Sensei Haley a bandage of some sort and gave directions how to apply it, but Sensei Haley was having a little trouble understanding the Japanese and wasn’t really sure what the exact injury was. Nakata Sensei walked over, very quickly diagnosed the problem, and told the student exactly what to do to work it out. It was a nice reminder of just how broad and deep Sensei’s knowledge is. After that, a lot of the dialogue was funneled through Nakata Sensei both by Nakazato Sensei and Sensei Haley.

When their practice was finished, we went upstairs into Nakazato’s Sensei’s home with him and his wife. It was mostly Nakazato Sensei and Nakata Sensei reminiscing about Chibana and the level of familiarity of Japanese that Nakazato Sensei was speaking with indicated that they shared a deep bond since they were both very close to Chibana Sensei, far different from the typically distant Nakazato Sensei that I had heard about. Of course, Nakazato Sensei asked how Nagaishi Sensei was doing and expressed gratitude for what he had done for Chibana Sensei when he was ill (But let there is no doubt that of all the students, the one who did the most for Chibana Sensei when he was ill was Nakazato Sensei). Nakazato Sensei and his wife were visibly upset when they heard about Chibana Sensei’s house being sold and Nakazato Sensei’s wife was brought to tears when she heard about Chibana Sensei’s haka being sold. Nakazato Sensei mentioned that the burial plot he bought for Chibana Sensei was twice as big as his, but that Chibana Sensei was in the Chibana family plot, not the Tawada family plot as Nakamoto Sensei mentioned, but it is possible that some arrangements were made without Nakazato Sensei’s knowledge. We turned the conversation to lighter matters and ended with an open invitation for Nakazato Sensei and his wife to come to Hawaii just to visit if they wanted.

Upon returning to the hotel, Higaonna Sensei and Goodin Sensei were already waiting for us. We then went to another old bookstore and this time, Goodin Sensei spotted a rare book (he already had) with the founder of Goju Ryu Miyagi Chojun Sensei in it. Higaonna Sensei forked over a large sum of cash for it and left feeling very happy. After the bookstore, Higaonna Sensei treated us to dinner before we went to his dojo to observe his class.

The dojo was only a small distance away from both our hotels and like many on the island, was a part of the instructor’s house. Already in the dojo were not only Okinawan students, but students from across the world as well. Practice started with a lot of their hojo undo, which involved the use of traditional Okinawan or Chinese training devices. This usually entailed gripping something heavy and/or either hitting or hitting themselves with something pretty hard, like a rock or a big metal ring. I used to do a lot of hojo undo myself (more so the gripping of heavy things), but I sort of gave that all up a while ago in favor of modern training equipment (like my bowflex). While their ability to take punishment was impressive, I always prefer to train to give punishment rather than to take it. At any rate, after the hojo undo, they did their kata with the usual dynamic tension and artificial breathing methods of Goju Ryu. Higaonna Sensei asked if I wanted to try out some hojo undou, so I grabbed some jars and did some of the walking up and down the line. It was a bit gratifying to feel that the nigirigame (gripping jars) were a little lighter than what I used to train with (or maybe I just grabbed a light pair). When he was showing me how to punch the Goju Ryu way, I’ll admit I had a little difficulty… Some may say there is a lot of similarity between Goju and Shorin Ryu methodologies, but I would have to disagree strongly. Suffice it to say, I will stick with my Shorin Ryu for various reasons. After class, Higaonna Sensei took us upstairs into his house and showed us the beginnings of his museum, which was pretty good already. After a little while, we excused ourselves and I made my way back to my hotel… It was a pretty long day.

To be continued in Part 4

karate Martial Arts martial-arts Self Defense fighting personal combat traditional karate Shorin Ryu Okinawan karate martial arts Okinawa Japan karate history Chosin Chibana Chibana Chosin Chibana Choshin Goju Ryu Morio Higaonna Higaonna Morio Shorinkan Shureido Nakazato Shugoro

Okinawa Trip 2007 - Part 2

2007-04-10T07:10:00.000-07:00

Tuesday, April 3

After getting up, I walked around the area for a little while before heading to Sensei’s hotel. Upon arrival, I found that Higaonna Morio Sensei of Goju Ryu was already there talking with Nakata Sensei and Goodin Sensei. I found him to be a very soft-spoken and down-to-earth individual, like most of the other masters I met on my trip. We spent some time discussing various things, including the use of kata. While I disagreed with him (internally, of course) about the necessity of things like one-step drills or kumite, we all agreed that the kata should always be the root of one’s practice. In fact, Higaonna Sensei made the interesting statement that he did not mind if you made up your own kata, but you should never change the original kata. After spending time discussing various aspects of karate history, we agreed to meet again on Wednesday in order to visit an old bookstore, have dinner, and observe one of his practices.

Afterwards, we made our obligatory visit to Shureido, although Nakasone-san wasn’t there at the time. We drank our coffee they served us (although I never drink coffee) and looked around for some weapons. Unfortunately, some of their weapons inventory seemed rather low, which I speculate may have been because of Sensei Pat Haley of Shorinkan bringing a group of 20-odd students who probably bought a lot… I later asked Nakasone-san about this and he said they did. At any rate, I bought the last pair of tekko and Sensei bought the last pair of stainless steel sai. I was hoping to find a pair of stainless steel manji sai, but they were all sold out. Having accomplished that, we went around the Shuri area for a while and I ended up buying a pair of nice sunuke nunchaku at the weapons shop across from the Miyako hotel. Apparently, sunuke wood items will be getting pretty rare because it was recently put on the endangered list. They are nice and heavy.

Next, Sensei and I went to the Yamakawa Community Center, which relocated from where Chibana Sensei’s dojo used to be. We got there a little early, so we first ate at a nearby hotel before returning to the community center. Since we were on Okinawan time (similar to Hawaiian time, I guess), the 8:00 practice didn’t start until a little while later. There we met Isa Sensei, who is technically the successor of Chibana Sensei’s Shorin Ryu. He took over for Nakazato Akira (Chibana Sensei’s grandson) after Nakazato quit over 20 years ago. It was a rather mixed experience watching Isa Sensei and his students train, as their methodology has become rather distant from Chibana Sensei’s teachings. When practice was finished, Isa Sensei took us out to a small bar where he treated us to some drinks and snacks. The awamori hit me a little hard, since I haven’t been drinking all that much lately (and since I had some earlier in the day), but I couldn’t just go to Okinawa without trying some, right? After a while, we excused ourselves and turned in for the night.

To be continued in Part 3

karate Martial Arts martial-arts Self Defense fighting personal combat traditional karate Shorin Ryu Okinawan karate martial arts Okinawa Japan karate history Chosin Chibana Chibana Chosin Chibana Choshin Goju Ryu Morio Higaonna Higaonna Morio

Okinawa Trip 2007 – Part 1

2007-04-07T23:33:00.000-07:00

Okinawa Trip 2007 – Part 1

Sunday, 1 April

I spent the first week of April in Okinawa with my karate instructor Pat Nakata and his good friend Sensei Charles Goodin, who owns the Hawaii Karate Museum. Things were originally supposed to work out well for us, as my best friend Terry (and student of Nakata Sensei) now lives in Okinawa and this was an excellent chance for us to see him again. As fate would have it, Terry was called away for a trip the day after Sensei and I arrived, so we only saw him for a few hours. Much of this time was spent first finding Nakata Sensei’s hotel and then finding mine, which were actually in humorously close proximity to one another (maybe ¾ of a mile). Upon arriving at my hotel, we discovered they had no knowledge of my reservation, but it worked out in the end (especially AFTER they took my safety deposit). I stayed at the Forest Makishi, which was a bit cheaper than a hotel since it was a condo and ran me about 200 dollars for the whole week. After eating at a local diner and talking story, we turned in for the night and said our goodbyes to Terry.

Monday, April 2

We started the morning off by visiting Shinzato Katsuhiko Sensei of Kishabajuku Shorin Ryu, who is Sensei Goodin’s teacher. We watched Shinzato Sensei teach Sensei Goodin and a group of visiting Slovenians. It was interesting to see Shinzato Sensei’s methodology in some ways start to approach ours, with of course some very dramatic differences (at this point, far more differences than similarities). Shinzato Sensei was a professor at the Ryukyu University and his English is very good.

Afterwards, we swung by to visit Nakamoto Masahiro Sensei, prolific karate historian/author and kobudo practitioner (and to my surprise, wearer-of-bright-Hawaiian shirts). He was very excited to see us and showed us around his museum before taking us out to lunch (and later, dinner). We ate at a small restaurant that for all appearances looked like a house and had true Okinawan home cooking. It’s probably the kind of place that not a lot of locals know about. At any rate, it was quite good. Afterwards, he took us by the haka (grave stones) of Matsumura “Bushi” Sokon, Hanashiro Chomo, and Itosu Anko. Unfortunately, he informed us that not only was Chibana’s house sold, but his haka was sold as well. He said Chibana’s daughter was staying with her in-laws, so when Chibana’s son-in-law decided that as a Christian, he did not care to have a haka around, she could not object. Chibana Sensei’s remains are presumably interred on church grounds somewhere. Nakamoto Sensei said the people of Tori Hori were organizing a memorial for Toudi Sakugawa and for Chibana Sensei, and he was playing a part in the process. He felt especially that since Chibana Sensei’s haka and house are now gone, it would be a great shame if there was nothing physical to remember him by. 2009 will mark the 50^th anniversary of Chibana Sensei passing away. We then swung by a used bookstore, where I bought Nakamoto Sensei’s book (and had him autograph it, which he got a kick out of) and Sensei Goodin found himself a pretty old book which mentioned karate. For dinner, we ate at a place that Nakamoto Sensei’s relative worked at, and included multiple courses that I easily lost track of. We had interesting things like umi budo (sea grapes… a type of seaweed) and ikasumi (squid ink mixed with rice). Quite tasty, actually.

It was quite interesting to hear many of the stories Nakamoto Sensei had to tell, such as his speculation that Chibana Chosin’s father was probably a martial artist, even if he wasn’t a famous one. He based this on the assertion that most all sakeya were martial artists, and they usually had to defend themselves walking home from the market. As the sake business was quite profitable, they had a lot of money to carry, and Chibana Sensei’s father was a leader in the business. During the rule of the Okinawa king, the Sakiyama area was the only place where sake was allowed to be made in honor of their efforts during the Japanese invasion (I need to confirm this). After the annexation of Okinawa and the king was deposed, the restriction was no longer in place, so it is surmised that the Chibana family entered the sake business at this point. At any rate, they ran quite the profitable business. Nakamoto Sensei remarked that on occasion, all the fighters (and bodyguards) in Torihori would come together and have a big fight without any referees or rules. As Terry mentions on his site, there is still some ambiguity regarding the relationship between Chibana-Tawada-Itosu. It is consistently heard that Chibana Sensei’s older sister married Tawada’s eldest son. This time, Nakamoto Sensei clearly said that Tawada’s daughter married Itosu’s eldest son. Regardless, the relationship meant Chibana Sensei was privy to a deeper level of Itosu’s and Tawada’s karate than other regular students of his.

When speaking about how Okinawans cared for their dead, he mentioned that it was the daughter-in-law’s duty to clean the bones (senkotsu) for a number of years after the body has decayed, which then allowed the person to ascend into heaven. Of course, this means you must always be nice to your daughter-in-law, because then she can pay you back by not taking care of your remains after you have departed! The remains are interred in a ceremonial jar and the ink they use to write the names on them is indelible, the same kind that the yakuza use for their tattoos. He mentioned that in this way, oftentimes the most reliable family tree records for old families would be found in the haka.

Another interesting bit of information turned up after Nakamoto Sensei showed us several old sai. These sai all had large bumps where the crosspieces met with the handle. He explained that in the old days, the way they made them resulted in a bulge in the intersection, which was also useful in order to stop blades or other objects caught by the sai. He was amused by people decrying cheaply manufactured sai with bulges where the crosspieces intersect. He stated sai originally had bulges there, although they were a little different. Of course, cheap manufactured sai with bulges are probably worse than well-made, modern “traditional” sai that do not have them. All the same, I had not heard that theory before and found it interesting. After spending the vast majority of the day with Nakamoto Sensei, we headed back to the hotel. On the way, we stopped by where Chibana’s old house used to be, which was a little bit of a letdown since I was interested in seeing it. After getting back, I planned to go out for a wild night on the town, but I just went to bed instead…

To be continued in part 2

karate Martial Arts martial-arts Self Defense fighting personal combat traditional karate Shorin Ryu Okinawan karate martial arts Okinawa Japan karate history Chibana Chosin Chibana Choshin Nakamoto Masahiro Shinzato Katsuhiko

Using Kata in a Fight - Keep It Simple

2007-03-23T04:17:00.000-07:00

This post was brought up in a discussion I was having at Karateforums.com regarding the usefulness/uselessness of kata.

This question was raised to me after I mentioned the fallacy of using people who train kata but fight poorly as evidence for the uselessness of training kata (mistaking correlation with causation, to put it in statistical terms):

Could you offer some information regarding ways to make kata training more applicable to self defense and enhance fighting ability? We could go back and forward saying we think kata is good or bad over and over (which has already happened a bit in this thread). But I would be interested in hearing from those who are experienced in making kata work, and what it is in the training that sets them apart from the "doing kata for fun" crowd.

My response:

I said it in my first post in this thread, but keep things simple. Based on everyone's responses to it, this was misinterpreted pretty much as "people who do kata are just doing fancy things so don't waste your time memorizing useless kata". That's not what I said.

Chibana Sensei always used to say that if you had to change the movement of your kata to match your meaning, or the meaning to match the movement, then your meaning is usually wrong. (For background, "meaning" or "imi" was the word most commonly used to describe what a movement meant in a kata. The word bunkai is a relatively newer phenomenon.) In other words, how you move in the kata is how you move in a fight. There is no point in continuous repetition of a move that you are going to do completely differently in a fight. There is the obvious slight modification due to your opponent's size, etc., but the core movement is the same. The core process of what you do and how your body does it is the same.

Chibana Sensei taught three different levels of technique within the kata, pretty much younger kids, high school, and advanced. The thing is, even the "advanced" techniques weren't mystical pressure point manipulations or 3-step grappling maneuvers. The advanced part usually meant the technique was just more vicious and permanently injurious/fatal than the "basic" techniques. What people fail to ultimately realize is that there are no advanced techniques, only advanced execution of basics. A lot of times, that block is just a block, that punch is just a punch. What made them worthwhile to practice was that the kata taught you exactly the proper posture, stance, movement, and timing necessary to give you a punch that would knock someone out cold in one shot or a block that would literally floor your opponent.

The sad part is, most people can't punch or block with enough effectiveness to end a confrontation with a single technique. It has got to the point where even the idea itself is considered ridiculous. Most people give up on the idea entirely. Therefore, they have to invent new meanings for moves in the kata, since their attachment to kata remains, even if they can't fight effectively using it. Currently, there is an intense interest in grappling, so you see all these hidden grappling techniques taught, some of them bordering on absurdity in their complexity. I'm fairly sure the Pinan kata weren't formulated to end up with an armbar on the ground. But you will find many enlightened kata analysts who can modify the technique in a kata so it bears a passing resemblance to the movement, but is something entirely different altogether. Again, if you're not going to train the same execution as you would use in a fight, you're doing something wrong.

There is grappling in karate, don't get me wrong. We have a fair number of throws, a few joint locks, and the odd choke every now and then. But usually a "super secret hidden technique" is more often a simple grab to the ear with one hand, the throat in the other, and a turn which facilitates the throw. Very simple and effective, yet often overlooked because the meaning couldn't possibly be that basic. Like it or not, the mainstay of karate is striking. Grappling is just a bonus used upon convenience or necessity.

Again, because there is the lack of ability to generate pure destructive power from very simple techniques, people insert extra things into the kata, both analytically and physically as they alter the movements or how they do them. At this stage, the kata lost connection with their roots and anyone attempting to keep the kata simple would only have weak basics. It is a sadly vicious cycle and not one that anyone can mend other than having the fortune to train with those who truly learned the basic methodologies of those who have passed down the kata with only minimal individual modification.

If one reads between the lines, you can guess how much I feel even the majority of traditional karate meets my above criteria. I have my doubts as to how many people are afforded even the opportunity to learn good kata under an instructor who can teach what needs to be taught. All the same, there is no doubt in my mind that kata is an effective training tool for fighting.

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Meeting up on the Mainland

2007-03-12T11:37:00.000-07:00

On a recent business trip out to the East Coast, I met up with Ed Tiller, a long-distance student of my instructor. After living here in Hawaii since last October, the East Coast cold was not exactly my idea of nice weather, but the warm reception by Ed and his family more than made up for my ruined plans of not seeing snow at all this year. Like me, he is a former Shorinkan Shorin Ryu practitioner with the fortune of discovering Nakata Sensei, so some of our training background is very similar.

Ed was generous enough to pick me up on the first night from my hotel near Baltimore and drive me out to his residence over 70 miles away. There, I met his wife and two younger daughters and we had a pleasant dinner which left me satisfied but wishing I could make salmon that delicious. Before and after dinner, Ed and I went through some kata and kept each other on our toes as to what we probably should and should not be doing. Afterwards, Ed dropped me off at my hotel and I realized he must do an awful lot of driving every day.

The next day, I met him halfway and we drove out to the community center where he conducts a kids class followed by an adults class. It was refreshing to have the rare opportunity to meet others training with the same methodology. I really enjoyed "teaching" the class, although it was more of me giving observations and advice while providing a heavy dose of disclaimers as we did kata together. Come to think of it, I suppose that is teaching after all. So much did I enjoy myself, I regretted not having more time to spend training with Ed and his students when class ended. After practice, we swung by Ruby Tuesday's to grab a bite to eat and then went our separate ways.

While I enjoyed myself immensely, it highlighted the level of understanding necessary to put each detail of our methodology into clear and concrete terms. Not just in theory and on paper, but in actual practice. I also learned much more about why Sensei has us rotate out during kata so that we can test and correct everyone else. Of course, correcting my seniors is a little difficult since their mistakes aren't that obvious to me...

At any rate, I would like to extend my gratitude to Ed Tiller, his family, and his students for having me and I wish you all the best of luck in your training.

For those of you in OSKA wanting to know more about Ed, he has assured me that he will post his introduction on the mailing list soon. Hah, the pressure is on!

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Putting Theory To Practice: Newton's 3rd Law of Motion

2007-02-26T08:31:00.000-08:00

"For every action there is an equal and opposite reaction."
Sir Isaac Newton

*

Last week, I understood a little more about how Newton's Third Law of Motion applies to karate. It was a typical post-practice scene, with Sensei and I talking story as I hit the heavy bag. And as usual, Sensei provided corrections and suggestions in between stories about his training on Okinawa, anecdotes about people he ran into that week, and some various musings we were both entertaining. Like I said, talking story. Sensei mentioned that I should push against the ground with my feet when I hit. This wasn't the first time I heard it, nor was Sensei the first person I heard it from. He pressed his foot against mine to let me feel how I should be doing it. Again, that night wasn't the first time. However, this time something clicked. Having my weight towards the outside of my feet as they pushed against the ground suddenly made it easier to keep good posture and to time the kime. It was easier to use koshi naturally and to employ hara... or, at least to feel it. It wasn't a perfect hit, far from it. But it felt good. No, it felt great. Certainly better than any of my previous tries that evening... maybe one of my better ones up until that point, period.

I already knew about Newton's 3rd Law and that whenever I pushed off the ground, the entire earth pushed back with the same amount of force. I already knew that I have the ability to walk, run, and jump around because even though the earth and I are pushing against each other with the same amount of force, I accelerate a lot more because the earth has far, far more mass than I do. Technically, I accelerate the earth by the merest fraction when I do this... we all do. And as I mentioned before, other styles tell their students to push against the ground during their techniques to take advantage of this wonderful earth-moving power, although whether or not their stance and posture maximizes this benefit is another matter.

But until my accumulated experience of trial and error from continued practice allowed me to understand it, all that knowledge was worthless in a fight. Knowing theory can only point you in the right direction. Knowing methodology gives you the opportunity to train properly. Training properly gives you experience. Experience is the difference between knowing and understanding, and understanding makes all the difference in the world.

"Knowledge is empirical and not intellectual. It is to be experienced and from experience comes understanding."
Sensei Pat Nakata

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Paradigm Shift Part 2: Boxer Mentality versus Ippon Kowashi

2007-01-18T12:45:00.000-08:00

When reading all the stories about the old masters of karate fighting in real situations, you notice one thing: the fights didn't last more than a few seconds. Yet if you notice the way most people train, whether it is karate, mixed martial arts, boxing, or whatever, they train specifically to exchange blows and use all sorts of tricks. Certainly, they don't preach that one should take a long time to win, but looking at their approach, multiple techniques and combos are viewed as necessary. This exemplifies the notion of having a "boxer mentality" versus Chibana Sensei's concept of "ippon kowashi" or "one technique, total destruction."

The boxer mentality stems from simply tradition, a more sport oriented focus, the belief that it is better to be safe than sorry, or the outright refusal to believe a fight can be ended with a single technique outside of good luck and proper circumstances. In most cases, it is a combination of this last reason with one or more of the others. For these people, combos or advanced techniques are a must because the basic techniques simply aren't strong enough or effective enough to win a fight by themselves.

In traditional martial arts circles, there is disillusionment with the idea of ippon kowashi. Sadly, many of the schools that do believe in it grossly overestimate their skills, which only contributes to that disillusionment amongst the greater martial arts community. Many rational martial artists notice their techniques lack the power needed for ippon kowashi. In brutal honesty, this lack of power comes from having an instructor who couldn't or wouldn't teach them how to generate it properly or simply the student not being good enough to learn it (but usually the instructor is to blame). As a result, these rational martial artists begin to believe martial arts techniques must rely on speed and involve a heavy emphasis on esoteric pressure points, complex grappling, or whatever the flavor of the week is. Unfortunately, this overly eclectic approach, while useful for exposure, causes seriously dedicated martial artists to do everything except work towards an advanced understanding of basics. Much lip service is paid to the idea of keeping things "simple" and sticking to the basics, but few instructors actually do this. Then again, few instructors ever teach ippon kowashi, let alone teach it properly. At most, there is a philosophical idea of ippon kowashi, but only in terms of giving full concentration to each technique, as if each technique was a killing blow. Consequently, for most people who do not believe in ippon kowashi, it is a self-fulfilling prophecy and their techniques will lack the degree of power necessary to pull it off. In order for them to fight effectively, they must use the boxer mentality as their approach.

By contrast, Chibana Sensei's Shorin Ryu karate was all about ippon kowashi. His karate wasn't merely ippon kowashi in the philosophical sense, but had the ability to defeat opponents with one technique. Ippon kowashi isn't the result of mystical sounding pressure point techniques or any sort of spiritual ki. Instead, it is the application of such intense power that an opponent cannot stand against it. By mastering the closing of distance and proper timing, his use of ippon kowashi made him the most respected karate instructor on Okinawa. If the opponent kicked or punched, his block would literally floor them. If they did nothing or tried to guard themselves, he would open them up and destroy them with a single punch. Such a power seems legendary, and in a way, is. However, this kind of power is not unattainable nor is it merely an exaggeration or a fond myth. His teachings were passed to my instructor Pat Nakata and are the foundation of how we train.

Before I trained under Nakata Sensei and before my friend Terry showed me ippon kowashi was possible, I was firmly in the boxer mentality crowd. Even still, my attachment to the way I was doing things was so great, it wasn't until after I trained with Terry for an extended period that I was able to get over the hurdle of my ego and recognize that the doubts I had about my own training were indications that my training methodology was seriously lacking. After seeing the profound improvement in Terry, I made the firm decision to come to Hawaii so I could train under Nakata Sensei. I literally thank myself for doing so every day.

Ippon kowashi is the result of refinement rather than being a technique collector. To obtain ippon kowashi, you must have an instructor who can generate that kind of power and can teach how to do it. I've learned that such an instructor is exceedingly rare. Equally necessary is being able to learn it. I facetiously joke with Sensei about him one day revealing to me the hidden scroll of all his knowledge, but that is because we both know there are no secrets, no hidden techniques. All it takes is an understanding of timing, body mechanics, and continual training. You gain this from doing kata, hitting the bag, and practicing a few walk-in drills. Nothing more, nothing less.

When fighting, there is no waiting for the opponent to attack. There is no letting the opponent determine the pace of the fight. If he attacks, you destroy what he attacks with and him in the process. If he blocks, you destroy what he blocks with and him in the process. If he does nothing, then you destroy him regardless. That is the mindset needed to match the technical skill to actually achieve those results. Fighting with ippon kowashi requires total commitment. Total commitment fully accepts life or death as the outcome of a fight and requires supreme confidence, which can come only through training and experience. Confidence without skill is merely bravado. Skill without confidence can't be utilized.

Back to Paradigm Shift Part 1: Search versus Pursuit

~To be continued in Part 3

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Clearing the Air: The Truth About Chibana Sensei's Succession

2007-01-12T01:12:00.000-08:00

Many people make many claims about who exactly is Chibana Sensei's chosen successor in Shorin Ryu karate. What follows are the words of my instructor, Pat Nakata, a direct student of Chibana Sensei:

In 1965 when I spoke with Chibana Sensei about the future of his organization, he stated that his grandson, Akira Nakazato (not related to Shugoro Nakazato) would succeed him as the head of Okinawa Shorin-ryu Karate-Do Kyokai. The 4 senior instructors, Chozo Nakama, Yuchoku Higa, Katsuya Miyahira, and Shugoro Nakazato would be part of an executive advisory board to help guide Akira in his administration of the organization. Akira would then adopt the Chibana name and become Akira Chibana. For some reason Chibana Sensei's wishes were never carried out.

Instead, a meeting of Chibana Sensei's senior students was held. At this meeting Katsuya Miyahira was elected the President and head of the Okinawa Shorin-ryu Karate-Do Kyokai.

It is my sincere hope that over time, the truth of the matter will be well-known. Chibana Sensei did not appoint anyone other than his grandson to be his direct successor.

technorati tags: martial arts Karate personal combat self defense Chibana Chibana Chosin Chibana Choshin Shorin Ryu kata Shorinkan succession

Paradigm Shift Part 1: Search versus Pursuit

2007-01-12T00:44:00.000-08:00

Over my years in training, I noted several things lacking in my karate, although I still remained convinced of the practicality of traditional karate. When my best friend and old time training partner Terry opened my eyes to what strong karate really meant, I began to undergo a radical paradigm shift as he began to teach me what he learned from Nakata Sensei during his time in Hawaii. Fortune has allowed me to start training under Nakata Sensei and my views on karate have continued their transitions.

The events of the past year as well as my previous personal journey in karate leads me to conclude that there are two kinds of traditional karate: searching karate and pursuit karate. What unites these two is their traditional focus on kata to gain effective fighting skill as opposed to other training methodologies or the mere existence of Japanese cultural traits, which is the main thrust of my article entitled "What is 'Traditional' Karate". While there are many differences between the two, I chose their names based upon the learning journey in each.

Searching karate lacks a definite and consistent methodology from which refinement can occur. As the name implies, the individual is searching for such a foundation, but because of a lack of serious fighting experience (common among traditional karate practitioners) and the lack of an instructor with true depth to teach them, they are left to fend for themselves. I have met many traditional karate instructors who firmly believe that every generation of karate practitioners reinterprets much of the kata they learn from their instructors, as transmission from teacher to student is often incomplete. This simply means that someone was being a poor student, a poor teacher, or did not have the opportunity to learn everything. Whatever the case, the results are unfortunately the same. Even if there is a consistent methodology, limited understanding causes it to lack "stand alone" quality as it is not fighting effective. This leads many to develop a mixed martial arts mentality. Their understanding of kata and fighting is shallow, so they must supplement it with knowledge of other styles, whether it be jujitsu, Chinese martial arts, or whatever the flavor of the week is. At this point, they only indulge in patchwork karate, even if they devotedly train their kata. The more one searches outside of karate to understand their kata, the more pointless it becomes to "remain traditional" and train with kata. In the end, their study of karate focuses more on "what" they are doing rather than "how".

This is in direct contrast to pursuit karate, which distinguishes itself through the potential for refinement. A consistent methodology providing context for every movement in every kata makes refinement possible. In other words, it is already known "what" is being done. What is important and what must be refined is "how". This perspective highlights the luck needed to find an instructor of true depth who can provide the necessary context. Context and refinement don't narrow one's scope; they widen it. Because the emphasis is on "how", technique collection from other styles is unnecessary. My instructor uses the analogy of being able to see the light at the end of the tunnel rather than groping around blindly in the dark. He half-jokingly states that the light keeps on moving whenever he gets closer, but forward progress is always made.

~to be continued in Paradigm Shift Part 2: Boxer Mentality versus Ippon Kowashi

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Karatedo no kokoroe

2006-10-26T19:06:00.000-07:00

My instructor Pat Nakata Sensei has an article in the current issue (#10) of Classical Fighting Arts about "Karatedo no kokoroe", a piece of calligraphy written by his teacher and legendary karate master Chibana Chosin Sensei. It lists five teachings on karate he wished to pass on to his close students and is a beautiful piece I am fortunate enough to have a copy of to hang on the wall.

Even if you don't normally read this magazine, I would recommend it solely on this article. It offers insight on the karate of legendary master Chibana Chosin Sensei. Sadly, not much is published on Chibana Sensei, and even a lot of what is published is a little inaccurate. Now would actually be a good time to get a subscription to CFA, as more works on Chibana Sensei are... well, in the works.

With the recent release of the footage of Chibana Sensei doing kata, many people are starting to gain interest in this karate master who was the first to actually coin the term "Shorin Ryu" when referring to his brand of karate, which he learned from Itosu Sensei. This article also contains photos of Chibana Sensei doing Naihanchi Shodan from 1952 when he was at the tender age of 67. This was a good many years before cancer began to take its toll... the video that many people are now starting to see was when Chibana Sensei was in his 80s.

If you are interested in learning about the karate of the man reknown for his ippon kowashi, or "one technique, total destruction", check out this article!

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More Chibana Goodness From Onimitsu2004

2006-02-11T16:14:00.000-08:00

My good friend Onimitsu2004 has come out with another post on Chibana Chosin, legendary Okinawan karate master and kakidamashii. Check it out.

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The Other Half of Training

2006-02-10T16:23:00.000-08:00

I suppose I should start living up to the "bujutsu" part of this blog's name and make a martial arts post every once in a while.

Many people who study "traditional martial arts" have a correct emphasis on kata, or forms. These forms reinforce proper biomechanical positions in the learner (which is why having a teacher who can ensure the student is doing it properly is important) and contain much of the "secrets" of a system. Of course, these are not really "secret", requiring only time and practice to find them out. Yet many of those studying traditional martial arts neglect another aspect of their training, which is the supplemental conditioning of the body. Ironically, many of the much more sport-oriented are not lacking in the exercise department (however misguided much of their combative emphasis is). They do tend to focus more on simply increasing the attributes of overall fitness such as aerobic endurance or pumping iron rather than specifically tailoring it to the needs of a quick and dirty fight. Don't get me wrong, it is very good to have strong arms and legs, but simply training for strength and speed will only get you so far.

Traditional martial arts practitioners on Okinawa knew the importance of training not only in the fighting principles and concepts, but also in simply training the body so it is strong enough to perform manuevers correctly and healthy enough to do it for the rest of their lives. Note this is not the same as simply relying upon brute force to achieve your ends. There is a big difference in mindset between those who train simply to "stay in shape" and those who train with the mindset of preparing for combat. Sadly, such a phrase is repeated so often by so many that it comes off as sounding rather trite. But it's true.

One of these ways was by striking the makiwara. Rather than being simply a method of toughening up your knuckles by striking a post covered in straw, it is actually meant to teach proper technique. The board should be flexible to have some "give". Otherwise, you are just harming your joints. Even still, a makiwara tends to tell you rather quickly if you are doing something wrong. A common critique of karate is that it involves people simply waving their hands in the air and punching the space in front of them. They fail to realize we the whole range that karate training encompasses. And before I sound like a cheesy advertisement, on to the next piece of equipment...

Another type of training was the use of various weights that specifically emphasized gripping strength. They are great for strengthening the fingers, the hand, the wrists, the forearms, the shoulders, trapezius muscles (and others...I'm not that great with anatomy). Great for striking or grappling and do a better job at targeting martial arts-specific muscles.

These are my set of traditional (or traditional-type) weight training devices. The jars, weight hammers, weighted sandals, and stone lock are from the store of Kyoshi Kevin Roberts. The two other sets are from BushiPower.com, which I enjoy using because it is easier to customize the weight-load by being able to use different plates. I've noticed significant increases in grip strength, including whenever I have to carry in a load of groceries...

These are three large paint buckets, one with corn, one with pea gravel, and one with sand. I ended up getting these after taking the advice of Hanshi Ron Lindsey, an old school Shorin Ryu teacher. I had the opportunity to attend one of his seminars here in Texas and wanted his input on the type of training devices he used. He used much of the above (and some more), but he also recommended the buckets. Striking the corn and pea gravel with various types of finger strikes strengthens the surface of the fingers while striking the sand strengthens the joints as it only gives to a certain point. Also, digging deep into the corn and opening and closing your hand strengthens the muscles and connective tissue used in opening the hand, which is something most people do not work on. This aids especially in finger strikes as well as finger strength in general.

I recently starting to play piano again after a long leave of absence. A large part of my motivation was simply wanting to play the piano again. Another part was ensuring coordination in both hands and to keep working the fingers...don't laugh, it's true.

And of course, the benefits of all this is not limited to martial arts. I was playing basketball with a group of friends the other day when a rebound bounced hard off the rim and right into my fingers with a loud "thwack". People beside me winced in sympathy pain and one of them said I probably sprained a finger. I'm convinced I probably would have, but my fingers were absolutely fine...a cheesy example, but one that is true...

Technorati: karate Martial Arts martial-arts Self Defense fighting

Hanging Out With Onimitsu2004 Again

2005-12-19T07:05:00.000-08:00

I spent last Saturday at Onimitsu2004's house when he was home from Hawaii visiting his folks in Texas for the holidays. It really was great seeing him again, as it's been roughly a year-and-a-half since I last saw him in person. And just like old times, we spent hours doing our karate together.

Unlike old times, he is now studying Pat Nakata's method of Shorin Ryu, thus being a Chibana Chosin method of Shorin Ryu (Kobayashi), as Nakata-Sensei was a direct student of legendary karate master Chibana. Nakata is also well-known among the Okinawans for being able to knock people out. Consequently, he would always use these terms like osae and backpull in ways I didn't understand. Or, he would come up with all these stories about Chibana which were pretty sweet. As time passed, he began to develop a physical understanding of these terms and gradually became able to do them with regularity. Whenever I saw the videos of the way he and Nakata performed the kata in their particular manner (which just looks kind of weird), I wasn't exactly skeptical, but I was very curious what it was all about. Last Saturday, I was able to feel the results. And as we say in karate, "feeling is believing".

I asked him to punch me (as I do many people) just to see how hard it is. Normally, most people (myself included) tend to punch in a manner that has a lot of surface impact but not a lot of penetration. Granted, I didn't block or even tense up to receive the blow (I normally don't), but he hit me far harder than all but a handful of people I've ever had hit me. I was doubled over for about ten seconds or so. I probably could've straightened up, but I was still in surprise at how hard it was. I was able to be just fine after that, but I felt him hit me in the chest and it felt like a mallet slammed me in the gut. He says I was supposed to feel it go straight in rather than drop, but since I kind of dropped too, I guess it was okay.

The rest of the time was spent comparing kata, explanations for various moves, and me trying to understand as much about all those terms Onimitsu2004 tosses around like leaves on a windy day. He would humorously sound like a someone from Hawaii whenever he tried to explain something in depth. He admitted that he couldn't help but adopt some mannerisms of his teacher when doing so. You could tell that not only is Nakata really good, but he is a good teacher as well, since Onimitsu2004 was able to explain things pretty well in person.

It really was like old times, although I found myself learning much more from him. All the same, I was able to hear many things that I have been told in my style (and Onimitsu2004's former style) of Shorinkan Shorin Ryu but didn't quite have it stick with me (stop looking down, "royal" posture, slow down more, etc.). All in all, it was a heck of a lot of fun. I look forward to the day that Onimitsu2004 comes out here to Goodfellow for Intel training next summer as there will be some overlap between my time here and his.

At the same time, it was almost kind of sad. There is a definite divergence between my karate and his. For now, I can see myself staying in the Shorin Ryu Shorinkan, but Onimitsu2004 will now most definitely remain a student of Nakata (and for good reason, too). His karate has become much more powerful like Nakata's while mine wants to become softer. I know I won't see him at a lot of the Shorinkan camps I go to. I seem to have chosen my way and he has chosen his. But you know, that's why I said "almost kind of sad", and not "kind of sad". In some ways, this represents the manner in which karate is supposed to evolve: along individual lines. If our karate remained identical, then it truly would be sad. I can see us decades down the road, sending students to each other just to see what "the other side" is about. And that is kind of cool.

After we did all our karate stuff, we went to a dessert party at someone else's house (which for a non-junk food eater like me simply involved a lot of talking and some fruit). After that, we went back to the house and sat around talking with his family, which was enjoyable as well. I'm sure Onimitsu2004 just loved all the stories that all parents love to tell about their kid when guests are over. I spent the night there and headed out the next morning. All told, well-worth the 8-9 hours of driving roundtrip.

Technorati: martial arts Karate personal combat self defense chibana chosin warrior kata bunkai shorin ryu shorinkan

My Martial Articles Link Page

2005-12-04T06:39:00.000-08:00

Index of Martial Articles

Most recent articles listed first

- Closing Distance and Not Overextending: Musashi's "Body of a Shuko"
The importance of closing distance and not reaching out to execute techniques outside of range

-A Good Coach
Learning from corrections and correcting

- Robert "Snaggy" Naoto Inouye
A tribute to the memory of Snaggy.

- Chibana Chosin's Kata Curriculum
How Chibana Sensei came up with his teaching curriculum and the kata it included

- Present State of Training
Where I stand after a period away from Hawaii

- Rushing and Ego
How can ego affect your fighting? Rushing, that's how.

- Are Mistakes Necessary?
Mistakes and the active learning process in karate

- Terrain and Karate Training - Guest Post: "Dojo"
The views of my instructor, Pat Nakata, on the literal dojo environment and the effects on training

- Fighting Mentality
What it really boils down to

- The Worst Horse
Sometimes being objective is painful.

- The Strongest Move in Shorin Ryu
A technical answer to a rhetorical question

- Shallowness of Thought
Over the centuries, some things in martial arts never change. The presence of pointless debates is one of them.

- Hawaii Karate Kenkyuukai
A group for the informal study of the martial arts

- What Is Okinawan Karate?
As my views on Okinawan karate have changed over the years, I restate my views on the matter.

- Chibana Chosin Sensei DVD Review
My review of the Chibana Chosin DVD recently released and corrections I have to the historical inaccuracies presented

- Okinawa Trip 2007 Part 1 2 3 4 5 6
Multi-part series that details my week-long trip to Okinawa in April 2007

- Using Kata in a Fight: Keep It Simple
Article based on a post I wrote on Karateforums explaining one of the biggest guidelines necessary to keep your kata fighting-effective

- Meeting Up on the Mainland
Article about meeting Ed Tiller, a long-distance student of my instructor, Pat Nakata

- Putting Theory To Practice: Newton's 3rd Law of Motion
Article detailing through personal experience of knowledge of physics becoming understanding of fighting

- Paradigm Shift Part 2: Boxer Mentality versus Ippon Kowashi
Article about the "common wisdom" that it is impractical to train to end a confrontation with one technique and the reasons for it

- Clearing the Air: The Truth About Chibana Sensei's Succession
There are many claims regarding who was appointed as Chibana Sensei's successor to head Shorin Ryu (widely and erroneously referred to as Kobayashi Shorin Ryu nowadays). Read this article to find out the truth.

- Paradigm Shift Part 1: Search versus Pursuit
Article about the phenomenon of training in too many styles instead of refining what you already know

- Karatedo no Kokoroe
Post about Nakata Sensei's article on Chibana Sensei's calligraphy and guidance on karate entitled "Karatedo no Kokoroe"

- The Other Half of Training
Traditional Martial Artists were very serious about their physical conditioning and used specific kinds of workouts tailored not just to general fitness, but to martial arts.

- Hanging Out With Onimitsu2004 Again
I visited my friend Terry while he was home visiting his parents. This encounter led me onto my new path of martial arts study.

- Sometimes a Punch is Just a Punch, a Block is Just a Block, and a Kick is Just a Kick
This post actually contains an excerpt from my friend Onimitsu2004's blog and his post here which laments the trend of people overanalyzing their kata to the point. The comments included on the bottom of my post are more interesting than my individual contribution, which was merely to act as a signpost for this article.

- Training at Karate as a Martial Art
Focusing on the most important part of the compound word "Martial Arts"

- Lone Star State Karate & Kobudo Seminar 2005
Renshi Charlie Dean held his first annual karate seminar in November 2005 and we were graced with the presence of many great instructors. Here are my thoughts on the weekend.

- Character Development in Martial Arts
The Okinawan approach to character development is not the way it is currently spun in many karate circles.

- Not Just a Few Kata
My thoughts on the notion that the "old masters" only knew one or two kata

- Shorinkan Summer Camp 2005
Every year, Kyoshi Perry holds a "summer camp" which is more like a massive seminar that spans from mid-Thursday to mid-Sunday. Aptly dubbed "Little Okinawa", it is a gathering of high- level Shorin Ryu Shorinkan practitioners and high-level guest instructors who come to teach various concepts and techniques. It truly is wonderful to have that much skill in karate gathered together outside of Okinawa. This are my thoughts on the 2005 Summer Camp in North Carolina.

- A Few Days With Kyoshi Perry
My thoughts on the days I trained at Kyoshi Doug Perry's dojo during my second trip out there in North Carolina

- Random Thoughts on "Tradition"
As the title says, some random thoughts on what "tradition" means in karate

- The "Chambered" Fist
My thoughts on that "chambered fist" held by the side of the torso that you see in so many martial arts

- A Day With Shiroma Jiro
My thoughts and impressions of the seminar I was able to attend with Shiroma Jiro, an 8th dan in Shorin Ryu karate and a man who truly is oriented towards the strategy and tactics of self-defense

- Stances in Kumite
My response to the notion that one should not practice certain stances if they do not occur in sparring

- Learning Outside of Class
Just a brief exposition about the importance of training outside of class...not just for the extra time, but for the individual critical thought process.

- What is "Traditional" Karate?
My article relating how the term "traditional" in conjunction with martial arts almost never refers to the traditional way of doing karate, and what that means

Technorati:
personal combat self defense chibana chosin warrior kata bunkai karate Martial Arts martial-arts Self Defense fighting personal combat kata traditional karate Shorin Ryu Okinawan karate martial arts ippon kowashi boxer mentality

Onimitsu2004 on Overanalysis of Kata

2005-11-30T05:12:00.000-08:00

Onimitsu2004's latest post talks about how many people try to make their analysis of the fighting applications of kata too complicated. I don't echo all his sentiments exactly, but he makes many good points:

While it's heartening to see a new wave of martial artists launching themselves into analyzing the breadth and depth of kata, it's disheartening to see how they sometimes miss the point because they don't fully understand the science behind the moves in kata. After watching a series of videos, reading some posts on martial arts message boards, and remembering to some of my own early training, I've observed that the latest craze afflicting interpretation of moves in kata is the grappling craze. Every move of every kata can suddenly be interpreted as a grappling movement. Even more alarming is that these grappling techniques are passed off as "the next level" of development.

The more I look at kata, and the more I study the Chibana methodology, the less convinced I have become of grappling applications in certain places in certain kata that I have seen passed off as "advanced techniques." Yes, there are many places in kata where you are clearly grappling with an opponent. But in other places, sometimes a punch is just a punch, a block just a block, and a kick just a kick. I think instructors are beginning to read too much into movements or perhaps too little, not fully understanding the science of the movements. And, thus interpreting or inserting grappling imi when it is not the imi that is called for. And the problem with using the wrong imi is that you miss the proper bunkai (tautological, but true). If a move in a kata is just a punch but not understanding how a punch is to be properly executed in that move of the kata, you might interpret it as a throw instead. Both are diminished in execution; throwing and punching are not the same, and both have a different bunkai.

Read it all.

Technorati: martial arts Karate personal combat self defense chibana chosin kata bunkai

Training at Karate as a Martial Art

2005-11-29T16:25:00.000-08:00

Chibana Chosin (1885-1969) was a true Okinawan karate master. Sadly, "karate master" is now such a trite phrase that it can never fully carry the same impact in a reader's mind that it should. Widely respected across Okinawa for his martial skills, he was considered among the last (some say the last) of the "old Okinawan masters" generation. I bring him up because I always have his quote pasted somewhere on my site, which goes as follows:

"In the old days we trained at karate as a martial art, but now they train at karate as a gymnastic sport. I think we must avoid treating karate as a sport - it must be a martial art at all times!"

His words still remain true to this day. They also highlight first and foremost the traditional goal of karate: fighting. That means not sport, or even a specific vehicle for character development(for more on this subject, see my article here). Lest there be any doubt, the quote continues:

"Your fingers and the tips of your toes must be like arrows, your arms must be like iron. You have to think that if you kick, you try to kick the enemy dead. If you punch, you must thrust to kill. If you strike, then you strike to kill the enemy. This is the spirit you need in training."

But what does it mean? What does it mean for it to be a martial art? The answer is simple enough. Don't let the "art" at the end fool you. It is a study of that which is oriented towards bettering one's ability in combat. Yet many people fall short of Chibana's ideal, even though they practice styles or methods of training that still retain a central focus on practical combat. And here is why: "training at karate as a martial art" is a much deeper phrase than an initial read might suggest. However you choose to cut it, karate is a combative skill. And when it comes to skills, as one of my coaches back in high school always used to say, "You're either getting better or getting worse. There is no staying the same." Doug Perry, the North American Director for the Shorin Ryu Shorinkan, has many, many sayings. One of them is "there's no substitute for training". He certainly wasn't the first to say this and definitely will not be the last. Put these two sayings together and you can only come to one conclusion: The only way to keep from getting worse is getting better through continual training.

Believe it or not, I did not just engage in some meaningless tangent to the discussion at hand, nor am I about to do so now.

Many martial artists have stated their reasons for studying the martial arts: social atmosphere, exercise, health, self-defense, tradition, discipline, character development, looking cool, etc. Realistically, it is a mixture of some or all of those aspects. Underlying most of these reasons is another: "because it is fun". However, there are many people for whom enjoyment (for any number of reasons as stated above) is a deciding factor for when and how they train. Even if a person states above all else their purpose is to become a better fighter, they may often "not have their heart (or head) in it today" or "just don't feel like it". In these cases, they usually do not train and prefer to do something else. In other cases, people's lives are very busy and there is not that much time to train, or if there is, they would much rather spend it doing something else. To put it in economic terms, they do not gain much utility out of training and therefore perform some other act that gives them utility.

Bear with me, I am almost there.

What kind of person "gains utility" from training no matter what their mood? A warrior. One warrior, Gurney Halleck from the novel Dune, admonishes the main character Paul Atreides with these words after the latter states he is not in the mood for training: "Mood's a thing for cattle or making love or playing the baliset. It's not for fighting." Chibana Chosin was a real-life warrior. He was known for doing things such as never entering a room before scanning it for potential enemies, even in his own home. If he had such intensity outside of his training, how much more he must have had during it!

Herein lies the difference between those who train for fun and those who train for skills. Too many people focus on how much fun they get out of training while they do it instead of how much they value the combative skill acquired. Don't get me wrong, having fun during training is acceptable and certainly helps the effort required for continuous training over multiple decades. I certainly do and recommend it. Yet whenever you feel yourself not in the mood to train, remember what it is you are training for: fighting skills. This is more than simply having "discipline", although it has much to do with it. It is continually making the decision to either be someone who practices karate or a warrior who trains at karate as a martial art.

Technorati: martial arts Karate personal combat self defense chibana chosin warrior

Shorinkan Lone Star State Karate & Kobudo Seminar (and random thoughts)

2005-11-14T17:56:00.000-08:00

This will be long, so bear with me (all the handful of you who even read this). It is partially a summary of a camp I attended this weekend and partially a collection of various thoughts I have about karate at this point in my life.

Last weekend I had the pleasure of attending the Lone Star State Karate & Kobudo seminar held by Renshi Charlie Dean, who did a great job in assembling a great amount of talent to attend the first seminar like this he has organized. The guest instructors who attended were Kyoshi Doug Perry , Kyoshi Chris Estes, Kyoshi Pat Haley , Kyoshi Eddie Bethea , Kyoshi Sean Riley, Kyoshi Noel Smith (all from Shorin Ryu Shorinkan) Hanshi Ron Lindsey (of Matsumura Seito...and where the heck is his website?), and Kyoshi Mike Arnold (the first teacher of a good many great karateka such as Chris Estes and Sean Riley). As is typical of camps of this nature, the amount of skill assembled was truly amazing. Many karate camps bring guest instructors and high-ranking people from various places, but it is truly rare for them to have this much talent in old school, combat effective arts like this. Like the Matrix, one has to experience it to understand what it is. Unlike the Matrix, the people assembled are more than just for show and have a deep understanding of fighting. I constantly get this impression, but the vast amount of people doing martial arts have no concept of the gradations of skill present among high-level practitioners. I have talked to so many people who believe their instructor is "the best" or "one of the best", but they have never met more than a handful of instructors to which to compare them to. I have had the unique opportunity to see a wide smattering of instructors (those I have trained with and those I have merely met or watched) and the difference between is striking, even between those who are "good" and those who are "great". Most people just can't comprehend it. But I digress...

I have said it before and I will say it again. One of the advantages of a large organization (there are certainly disadvantages in some respects) is the ability to have camps like this and to meet various people in and out of our system. Out of the fifty or so people which attended, there were a good many visitors from other systems which only added to the mix. But it really does help to maintain quality control. Our North American director, Doug Perry, makes a point to visit a good number of these Shorinkan camps every year and that really allows him to keep a handle on how good (or bad, like me) people are in his organization. But apart from skill levels alone, it really is a great social networking device to create relationships that will lasts over the many miles and years that everyone's karate career will take them. It is always nice to be in the presence of those who bring a smile to your face simply by seeing them. Having them be extremely deadly martial artists (no matter how cheesy that sounds) is a plus. As always, it was great seeing Kyoshi Doug Perry again, who truly opened my eyes at how deep the rabbit hole goes (I'm just full of Matrix analogies today...or is it Alice in Wonderland...) in karate. And all the other North Carolina crew, such as Kyoshi Chris Estes and Richard Church. But I'm going to end up naming everyone I've met in Shorinkan over the years...so I'll stop. I would be totally amiss if I didn't mention that I got to see Kyoshi Sean Riley again. He was the instructor I met up in Colorado. Much to my eternal regret, we never knew he was outside of Denver until December of my senior year, so my time with him was quite limited. All the same, it really did change the whole direction of my martial arts career, and that isn't just something said for dramatic effect. He was the one who arranged my first trip out to North Carolina to train with Kyoshi Doug Perry (which was all free, including my hotel for the stay...of course I had to pay for my transportation out there, but Doug Perry refused to accept any money for tuition and bought me and Terry, who went there with me, a great many meals). That trip expanded further my awareness of the depth truly existent in karate and the ability to maintain cross-country karate relationships and development if I were so inclined (which I am). Much like I am greatly indebted to my first karate instructor Mark Staal, I am deeply indebted to Sean Riley. Bottom line: a great many friends and teachers there.

And now my thoughts on Hanshi Ron Lindsey. Like Kyoshi Perry, you can tell this man lives and breathes martial arts. There is a huge difference between those who have simply spent many long years practicing karate and those who have spent many long years learning and improving their karate. He is without a doubt one of the latter. I was greatly impressed with his skill and knowledge and his reputation as one of the best traditional Okinawan karateka and preserver of the "old ways". We were very fortunate to have him attend our seminar and he added a lot. Like a student of his I got to meet last August at the Shorinkan Camp in North Carolina (Phil Koeppel), he was excellent in efficiency and deadly tactics which are simple to do and hard to master. I only hope to get the opportunity to learn from him again in the future. He puts on a great many seminars which I wish to attend.

Like most all Okinawan karate instructors worth their salt have stated, he really emphasized the sad fact that the "old ways" are disappearing even on Okinawa although there is a small but hopefully growing presence of the "old ways" in America. He also stated (and I have heard this elsewhere) that one day Okinawans will have to come to America to learn the old ways. Nor did he hesitate to state that the vast majority of what is marketed and mass produced as karate did not work. Confirming again what I have heard from so many in the early generation of karate in America, he remarked that the youngsters of today (I still consider myself one) have such a unique opportunity in learning much of the old ways of Okinawa. We have the chance to learn them from people speaking the same language and who often had to learn the vast majority of their understanding themselves. As my instructor Sam Ahtye always says, people like me are so fortunate to be exposed to concepts they only were able to pick up after so many years of experience. I, for one, feel this unique opportunity is also a heavy responsibility. Many of these older karateka will not be here forever. Hanshi Lindsey joked that he was going to live forever or die trying, but the sad fact is, when they pass on the world of karate will not only be losing great people in the personal sense, but also in the terms of aggregate skill and knowledge. Paul Weed, who I've had the pleasure of meeting last summer during a Karateforums get together (ironically attended by myself, him and another individual who barely have a presence there anymore), likes to cite the death poem of karate master Hohan Soken: "I have taught you all I know.There is no more I can teach you.I am a candle whose light has traveled far.You are my candles to whom I have passed on my light.It is you who will light the path for others.Today I see around me the lights of Shaolin.The flame of tomorrow,My task is done, soon my flame will end.Teach the true spirit of karate-do and one day you may enter the Temple of Shaolin". Like any tradition, it runs the risk of dying out. And however lame this sounds, I want to ensure my life serves to stoke the flame of old karate rather than simply being a cheap candle bulb you can buy at Wal-Mart. These candle bulbs have the form of a candle just like modern karate and what goes around calling itself traditional karate has the form of old Okinawan karate, but they are never the same.

Finally getting to the seminar, I attended the seminar on fighting techniques given by Ron Lindsey, the various kata applications and fighting concepts seminars given by all the kyoshi (they rotated around), a seminar on a tekko kata (Onimitsu2004 would get on to me and say correctly they are tecchu being used in a tekko kata) and tanbo kata given by Doug Perry, the Yakusoku kumite class and a bo application class given by Pat Haley (who is great with weapons and their applications). There were a few other classes held but they ran at the same time others did. Despite this being the suppposed meat of this entry, I've not much to say other than I learned a lot...maybe I'll touch up on some actual tactics and concepts later. This post is way too long already.

Demonstration night was nice. Various kyoshi did various kata. I was actually voluntold to do a demonstration, so I ended up doing Hamahiga no Tonfa. I only messed up two or three times, but that was more the sequence of the kata rather than anything blatant like dropping the tonfa. Since most people didn't even know the kata, I guess I was somewhat safe...of course all the really good people were able to critique me on the basis of either knowledge of the kata or just knowledge in general, but I think I did "okay". Kyoshi Perry called me up to do it first (he was just calling off names from the list). He asked me if I was doing something, and then told me to be the first one (about one minute before the demonstrations started). I wasn't nervous or anything since I was doing what I do many times a week anyway, but I wish I had something greater to contribute. Anyway, that was obviously not the highlight of the demonstrations. Sean Riley did the Chinto kata in a mirror image (in other words, right and left directions and techniques were all reversed) and then did it completely backwards (as if someone pressed the rewind button after completion). Yeah, he's good. Chris Estes did the Takemyoshi no nuntebo dai ichi and Kyoshi Perry did Rokkishu after the audience pressured him to do something. Even people who visited from other styles who probably had no inkling they would be doing a demonstration (like me) did kata, so that was nice.

Another thing I gained from the camp was being introduced to the Shorinkan group in Austin (200 miles away) so I'll probably make a trip out there once a month or so. It'll be good to keep my kata in standard and prevent bad habits (different from personal interpretation) from creeping in. Having spent the last year driving twice a week to Sam Ahtye's dojo which was 114 miles away from me, I'll probably do more of the same albeit with much less frequency.

Well, this entry is certainly ending with a whimper rather than a bang. I suggest martial arts minded people check out Onimitsu2004's latest entry as he has apparently reached a great milestone in his growth in karate. I am envious and my blood burns to fight him once again when I think about how much training and development he has experienced. I guess that's just the Rohirrim in me.

Technorati: martial arts Karate

Random Update

2005-09-19T13:35:00.000-07:00

Karate-wise, I've made the decision to drop Matsumura Wansu, Ananku and Seisan. I've been doing them, but I've not spent enough time on them to make them worthwhile. I'll keep Matsumura Hakutsuru Sho, though. That feels more like a "gift kata" to me from my Matsumura Shorin Ryu instructor, so I want to maintain it. I figure I know way too many kata as it is, and I need to focus my efforts better...(I still have my opinion about the old masters only knowing "a few kata" though...see my article linked in the sidebar if you haven't read it yet).

Brief exposition on karate and character development

2005-09-08T09:22:00.000-07:00

People always talk about how the martial arts improves character. I think it CAN, and often does. However, there are some things to keep in mind historically. And read the whole thing before you get offended...or don't...I don't mind.

People always tend to quote Funakoshi as one who exemplified high character and great karate. They point to his statement here: "The ultimate aim of karate lies not in victory or defeat but in the perfection of the character of its participants."
I think that statement does at least two things which are not beneficial in my mind. First of all, it divorces karate from what it actually is: the technical science of personal combat. Secondly, it degrades one's quality of martial arts by ignoring the technical aspect and focusing on how one "feels" or how their character is.

I think the second is most tellingly told in the technical aspect of Funakoshi's karate. He did an excellent job of promoting karate to the Japanese mainland and was responsible for ensuring its viability throughout the world. But he wasn't that great of a fighter and most people on Okinawan had a very low opinion of his fighting ability. Furthermore, much of the technical aspects were lost in their transmission to the mainland. But does it have to be that way? Do you have to be only an "okay-at-best" fighter if you want to have high character? I don't think so. But to understand why, we have to understand the differences between Funakoshi's approach to character development in karate and the way it was approached before him.

Funakoshi's emphasis was something like this: Through your study of karate, you will perfect your character. The zen-hungry Japanese ate it up like takoyaki at a downtown stall in Osaka. The emphasis was shifted upon countless repetition of very basic techniques. Stances were changed to be more physically demanding and aesthetically pleasing-but a lot less practical in fighting. These changes were to impose difficulty on the practitioner and thus character development through overcoming struggle, hardship, and if you want to put zen into the equation (you must), the Self that is, but isn't. But is (As I've had several professors put it that way). This context has been totally lost on many practitioners, to the detriment of their karate.

Before, it was something like this: Karate is a venue to pursue character perfection, but it isn't always the outcome. You should focus more upon the perfection of character in all things, rather than making karate your vehicle. Unless you have character, everything is useless, whether it be your karate or your knowledge.

This is exemplified in the poem that went:

No matter how you may excel in the art of te and in your scholastic endeavors, nothing is more important than your behavior and your humanity as observed in daily life. (Teijunsoku Nago Oyakata 1663)

Therefore, it wasn't "from karate I improve myself", it was "from myself, I improve my karate".

It is a difference of approach and implementation. Those who say "I want to make karate my way of life, not just a martial art" are doing it "backwards", so to speak (not in the sense of value assignation). Those who say "I will perfect my character, and it will show through my martial arts" are doing it "forwards".

For those in traditions where it was the other way around, I know you might be offended. But that is an important historical context of your style and has to be addressed. Even if you don't make karate your vehicle of character development with these detriments to martial effectiveness, those before you have, and it shows in the teaching.

Doing it forwards means you can express your character development through your karate, but doesn't mean you have to do all those other things that will impair your karate. By choosing to express it or nurture it rather than solely develop it through karate, which is what one does when you make "karate your life", you can still gain improvements in character will maintaining your active improvement in combative ability. A semantic difference but an important one, as nurturing development means it is something that aids development yet the development would already be there.

Aristotle often said that excellent was a habit rather than an act. And he was right. Both of these approaches are in line with Aristotle's argument. It is all too easy with the first approach to do actions which only improve your character rather than both your character and your martial ability. Am I saying you can't improve the technical aspects of your karate using the first framework? Of course not. I think the benefit will only be less.

I suppose in the end neither approach is "wrong." If you achieve character development, that is a good thing. But I think it is useful to understand how history and context shapes this whole belief, and how that shift has changed karate (not only "spiritually" but "technically").

Yes, too many kata, but...

2005-08-26T10:10:00.000-07:00

This is something I've been thinking about for a while. This post was prompted by a conversation I have been having with someone via pm from e-budo.com.

We all recognize that we tend to learn a whole lot of kata, much more than the "old masters" did. At the same time, I can't help but feel a logical disconnect by the statement that the "old masters" really only knew very few kata.

I will use an example, Bushi Matsumura. Yes, perhaps I am padding my case by adding the genius founder of Shorin Ryu karate, but I can't feel that he is the only one to have learned so many kata.

1. He is known to have taught many kata.

2. On empty hand alone, he taught Seisan, Chinto, Kusanku, Passai, Gojushiho, Naihanchi shodan, Naihanchi Nidan, the various Channan kata (which Itosu modified into Pinan kata), male and female Hakutsuru, and Chinshu. That's at least 12 kata. This doesn't include kata he either did not teach (ones he made or learned in China or from local te traditions) or did not gain mass popularity. Nor does it include variations of those kata he himself knew or taught to his students or the various drills and exercises not included as "formal kata". That is still a sizeable number.

3. As far as weapons go, it is more difficult to ascertain which weapons kata he knew. It is known that he personally devised at least a sai, bo, and eku kata which bear his name. This implies he knew at least one kata for each of these weapons from other sources. A student of Sakugawa (or lineage, as there is debate over that), he had to have known at least Sakugawa no Kun. As a royal bodyguard he was skilled in the jo, the fan, and as many sources point to, Jigen Ryu swordsmanship. This means at the barest minimum, he knew 9 weapons kata. Because the bo, sai and sword are recognized as entire systems in and of themselves, I strongly believe he knew multiple kata for each of these, which pushes the number 9 to a much higher amount. In addition, the use of nunchaku was also known among Bushi of the period (albeit in a different form than we see common nowadays). But if we accept the number 9, which I think logic strongly argues against, we still have a sizeable amount of kata.

4. So we have by the strictest definitions of logic, Bushi Matsumura knew 21 kata, although common sense leads to the hypothesis he knew far, far more.

5. Yes, some styles like Uechi Ryu started with a very small number (3). Most of these are "younger" styles in the sense that while they come from a rich tradition in China, their current form is a relatively new one, hence there is little of the evolutionary build-up of kata. Even now there are 8 official empty hand kata in Uechi Ryu. This isn't to bash Uechi Ryu or styles with a small amount of kata, certainly not. I recognize the existence of those greats such as Motobu Choki who knew a limited number of kata yet were excellent fighters.

6. The establishment of standard curriculum kata is more of a modern concept of karate, as is the style system. Ironically, it was meant to preserve the older ways against encroachment by sport karate or other watering down effects. However, this requires people to learn a specific number of kata and any optional learning (which was freely done in the old days) is frowned upon by some as it takes attention away from the established set.

7. My thoughts are still mixed on this. On one hand, keeping a core set of kata and principles ensures the original framework is there (balanced by the fact that every generation reinterprets the kata to varying degrees with varying degrees of modification). On the other hand, there is a loss of personal modification of the kata which is the reason why we have so many version of the same old kata to begin with. Certainly every good karateka worth his or her salt has their version of the kata and the standard curriculum version. But it is often only the standard curriculum version that is passed down. Therefore an important burden is placed upon each instructor to maintain the difference in instruction and determining the delicate balance between doctrine and innovation. It is helpful to discuss these differences candidly with students who have matured in their martial arts to understand them (I think my current and past instructors have always done a great job in this). In the end, all karate is individual and nothing can change that.

8. In the end it all boils down to principles rather than techniques, anyway. A variety of kata is great for introducing awareness of different techniques which enhance improvisation and adaptibility to a broad range of circumstances. But the most important thing is the principles underlying those techniques so even if you know a lot of kata, you can avoid being bogged down by having too much techniques to study by focusing on the principles instead.

And by the way, if any of you know for certain there are kata Bushi Matsumura knew that I did not include (I didn't feel like doing too much intensive research on this and tried to err on the side of confirmation rather than conjecture), if you would be so kind, please leave me a comment informing me which kata it is. Or if you feel I'm totally off the mark, let me know too (I say as if there are a lot of people that read this).

Kyoshi Perry's Shorinkan Summer Camp 2005

2005-08-23T11:40:00.000-07:00

This past weekend I had the opportunity to make it to Kyoshi Doug Perry's summer camp for the first time. It was simply amazing for various reasons. I really enjoyed myself, getting to see people I've met before and meeting others for the first time. I was very impressed by the vast majority of teachers. There were also some I was not impressed with (who will go unnamed as this is a public site...don't want to hurt anyone's feelings/offend people for various reasons) but they were the vast minority. The instructors ranged from within our system (like Kyoshi Perry, Kyoshi Haley, Kyoshi Roberts, Kyoshi Estes, etc.) to gues instructors from other systems such as Hanshi Logue, the designated head of Taika Oyata's system. Sadly I was unable to meet up with my first karate instructor Mark Staal who is currently deployed. He originally planned to come, but Uncle Sam had other plans. His instructor, Kyoshi Gravelin did show up and I chatted with him for a while. I met Major Jason Perry, USMC (Kyoshi Perry's son) and he was quite impressive as a karateka. He is also working very actively on the US side on the issue of ballistic and theater missile defense in the Pentagon, which just so happens to be the topic of my thesis (Japanese theater missile defense). I wish I knew that about a year ago...oh well. I also picked myself up a nunte bo, which was pretty nice. Now I can do the kata without having to use just a bo as my proxy.

Just as general info, it was held at Camp Pinnacle. Humorously enough, it was the place where most of the footage for the movie Heavyweights (basically one about fat camp if I recall correctly) was shot. The weather was pretty nice some of the time while raining at others.

So, what did I do? I only went to a few seminars on learning kata. I went to a nunte bo seminar just to ensure I had it down from when I last came to North Carolina to see Kyoshi Perry a couple of months ago. I also went to the Rokishu class taught by Kyoshi Perry because he's just the man and it is always great seeing him doing it. I then attended 3 of the Tai Chi classes so I could start learning the Yang Style Long Form. I think it will help me loosen up even more. The rest of the classes I went to were more "concepts and principles" classes. I figure I can always learn kata from my instructor. Gaining concepts and principles from other instructors is something I can't just do everyday.

So, just as a brief rundown, I will simply list the things I went to. Note that for each hour, there were 6 different classes being held. These are just the ones I went to.

Thursday

1200-1300: Kyoshi Pat Haley and Kyoshi Eddie Bethea gave a class about principles and concepts in Passai and Gojushiho kata. In this one, he remarked on the lack of people "locking down their stances" and was demonstrating a few commonly misperformed stances. For Terry, I think is most likely what you were mentioning earlier...

1315-1415: Kyoshi Chris Estes held a Takemyoshi no Nunte Bo class.

1430-1530: Kyoshi John Carria (Uechi Ryu) held a Uechi Ryu concepts and principles class. Pretty interesting. Liked to emphasize the simplicity of the system. He would liken it to simply pulling a gun out of its holster, shooting, and putting it back in. A pretty neat guy.

1800-1900: Hanshi Jim Logue gave a principles and concepts of application class.

1915-2015: Charles Dean gave a Tai Chi class introducing the Yang Style Long Form.

0630 -0730 Friday and Saturday Morning: Kyoshi Kimo Wall (Goju Ryu) gave a quick class on Hakutsuru, Sanchin, Tensho and kung li (I think that is what it was...). Like many of the instructors, an ex-Marine (he used to be Kyoshi Perry's spotter when Kyoshi Perry was a sniper...the saving of life went both ways many times I hear).

Friday
0845 - 0945: Kyoshi Kimo Wall gave a Thai massage class. Pretty interesting. Humorously dubbed as "Kimo Therapy" later on in the camp.

1000 - 1100: Kyoshi Phillip Koeppel gave a seminar on principles and concepts in Matsumura Shorin Ryu. I'm glad I went to it. Due to a typo on the schedule, it said "Matsubayashi Shorin Ryu", but he was actually a Matsumura guy who studied under Yuichi Kuda. Quite an impressive guy. True to Matsumura Shorin Ryu, he heavily emphasized tai sabaki (body change) and multiple blocks/strikes at once.

1115 - 1215: Class on Rokishu conducted by Kyoshi Perry. As usual, he is lightyears beyond any of us yet drops us little pearls of knowledge here and there.

1345 - 1445: Okinawa Kenpo Principles and Concepts by Hanshi Larry Isaac.

1600-1700: Charles Dean gave a Tai Chi Class. This one me, Mike and Gawain learned the first 16 of the 108 steps. Each step has different postures, so it was enough to keep us busy.

1830-1930: Me, Gawain and Mike sat out of the classes and brushed up our Tai Chi form. I was not particularly interested in going to the other classes as they were primarily learning new weapons kata and I didn't want to overload the brain.

1945-2045: Kyoshi Chris Estes and Kyoshi Jerry Taylor gave a karate principles and concepts class for the shodan - sandan level. It mostly focused upon tai sabaki while doing various responses to varying attacks. Quite interesting.

Saturday
0845 - 0945: Charles Dean gave his last Tai Chi class. Disappointingly, most all of the attendees didn't go to his other classes, so we essentially started over from square one. On the other hand, it helped solidify the things we already went over.

1000 - 1100: Kyoshi Pat Haley gave a kobudo kumite principles class. He gave very, very practical applications and drills for the sai and kama against the bo and nunchaku against empty hand. He essentially did this at the behest of my instructor, Sam Ahtye (I remember him saying he asked Kyoshi Haley to give a seminar on it for the camp earlier).

1115 - 1215: I wanted to go to the Kikou level (Martial arts breathing level) seminar for Rokishu conducted by Kyoshi Perry, but he was adamant about it being only for those 35 and up. I keep forgetting Mike's age (I always think he's about 10 years younger than he really is) so he was able to go. Me and Gawain went over the Tai Chi set.

1345 - 1445: Kyoshi Haley and Kyoshi Luzzi gave a seminar for yudansha level concepts. Kyoshi Pat Haley took over the seminar, but since he is one of the best Kyoshi in our organization, that wasn't a bad thing. Lots of Gojushiho applications.

1615 - 1715: Kyoshi Perry gave a seminar on Sueishi no Kon. Quite a beautiful and advanced bo kata. This block was reserved only for "fun" and all the classes offered were on weapons kata not widely taught at all in our system. As it was Kyoshi Perry, quite interesting, as usual.

1845 - 1945: Kyoshi Luzzi and Kyoshi Williamson gave a class on Shodan-Sandan principles and concepts.

2000 - 2130ish: Demonstrations. There were quite a few demonstrations during this time period. The most memorable was Kyoshi Perry dancing the cha-cha and the shag with his wife Joy. He told us before that he would have "Something special. Not good, but special." He refused to tell us what it was, so when he changed out of his gi and into his shag dancing clothes, we were all greatly surprised. For those of you not in the know, he was a national shag dancing champion back in the day. It was quite a treat as he has never danced in front of us karate people like that before (only perhaps maybe a few steps at a time to demonstrate a linkage between dancing and karate). People literally pay him thousands of dollars to perform. He's pretty good...and at 68, he moves like he was 18 still. Other ones which stood out were things like Myles Luckert (age 14...) doing passai dai backwards. I don't mean mirror image, but he did it all the way forwards, then at the very end he went through it backwards. It looked like someone pressed the rewind button. Sensei Gordon Shell (current owner of Murasaki kobudo) did a self-created version of Naihanchi Sandan to the front with open hands. Obviously a tribute to Kyoshi Perry's creation of Naihanchi Shodan to the front. It looked very Kyoshi Perryesque. I was impressed. Kyoshi Kevin Roberts and Sensei Jason Perry did the yakusoku kumite. It was more like an "old times" presentation because they used to do it all the time when Jason Perry was growing up. There were a few other presentations. Last (and right after Kyoshi Doug Perry's demonstration), Kyoshi Chris Estes did his version of Hakutsuru. He had quite an act to follow, but did it very well. At the end, Kyoshi had all the war veterans and the past-and-present active duty military members come down to the floor for applause. It was a nice touch.

Friday and Saturday nights me and Joe Stitz (he was also there at Kyoshi Perry's when me and Terry visited his dojo last summer) went out with a lot of the "Hendersonville crowd" to a local Irish bar (Hana O'Flanegan's or something like that). It cut a lot into my sleeping time...I did talk a lot with Kyoshi Bethea on his views of fighting and tournaments and all that. Pretty interesting. He was of the mind that fighting (sparring, preferrably) was essential to creating a good fighter.

All in all, a great experience. I've no regrets whatsoever in going, no matter how busy I am now (why the heck am I spending time to write this?).

As Onimitsu2004 said, there is always the danger of being a kata collector. Here's my kata catalogue (not including things like yakusoku, kihons, fukyu kata, ones I've forgotten, etc):

Empty Hand
Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan, Pinan Godan
Naihanchi Shodan, Naihanchi Nidan, Naihanchi Sandan
Passai Sho, Passai Dai
Chinto
Kusanku Sho, Dai
Gojushiho
Hakutsuru So, Hakutsuru Tan, Hakutsuru Tan he (White Crane training drills, Matsumura Shorin Ryu)
Hakutsuru Sho (Matsumura Shorin Ryu)
Wansu (Matsumura Shorin Ryu)
Ananku (Matsumura Shorin Ryu)
Seisan (Matsumura Shorin Ryu)
Hakutsuru (Kyoshi Perry's version, I believe it is the Takemyoshi family style)
Rokishu (Kyoshi Perry's version, unsure where he got it from)
Yang Style Tai Chi Long Form (aptly named...I'm still learning it)
Another one I'll say if I get the "okay" to make it public (No, it's not some super secret society thing...)

Weapons
Shushi no Kun (Yamanni Ryu - Shorinkan)
Sakugawa no Kun (Yamanni Ryu - Shorinkan)
Kubo no Kun (Yamanni Ryu - Shorinkan)
Sakugawa no Kun Dai Ni (Shugoro no Sakugawa no Kun)
Nakaima no Kama (Shorinkan no Kama Dai Ichi)
Shugoro no Kama (Shorinkan no Kama Dai Ni)
Shugoro no Tonfa (Shorinkan no Tonfa)
Hamahiga no Tonfa
Shorinkan no Nunchaku Dai Ichi
Tonaki no Nunchaku (Shorinkan no Nunchaku Dai Ni)
Nakaima Kenkou no Sai Dai Ichi (Shorinkan no Sai Dai Ichi)
Nakaima Kenkou no Sai Dai Ni (Shorinkan no Sai Dai Ni)
Shugoro no Sai (Shorinkan no Sai Dai San)
Shugoro no Eku (Shorinkan no Eku)
Miyazato no Tekko (Yeah, yeah, the correct way is Maezato)
Takemyoshi no Nuntebo Dai Ichi

Yeesh. Too many kata...now you know why I wasn't interested in learning any more kata at the camp apart from the Tai Chi form?

Sensei Richard Church asked me this weekend if I was going to do an entry on the pullout from the Gaza strip. I should. I've just been so late to the game I can't say anything that hasn't been said far better than I ever could...maybe in a few days I'll put a belated entry together...

A Few Days in North Carolina with Kyoshi Perry: Training with the Best

2005-06-27T18:06:00.000-07:00

Hello all. It's been a while since I last wrote. As I mentioned in my last entry, I went out to North Carolina to train with Kyoshi Doug Perry, North American Director of my system and then to Montana for a karateforums.com gathering. This will be about my time spent with Kyoshi Perry.

Just like the time I went out to North Carolina with Onimitsu2004 last year, every day was extremely long, ranging from 10-14 hours in the dojo (around 8-12 hours of actual training). And just like last time, I had a lot of quality time with Kyoshi Perry and some of his senior students. Kyoshi Perry was much busier than the last time I saw him, especially as he was recovering from surgery (he didn't get Purple Hearts for nothing). All the same, he took a lot of time going over things with me and Myles, another visitor to the dojo. Myles lives in North Carolina so he's been visiting with much frequency the past nine months.

It would be a rather exhaustive and unentertaining post to simply list all the things I did...so I won't. I did manage to pick up three kata: Miyazato no Tekko, Rokushu and Takemyoshi no Nunte Bo Dai Ichi. The latter thanks largely to the efforts of Sensei Sharon who introduced me to it, Sensei Mary who let me tape her and Kyoshi Perry who had the patience to continually watch us fumble through it until I memorized the gross (emphasis on gross) pattern. I did it several times during my previous visit, but Onimitsu2004 and I were certainly already laden with the other 4 weapons kata we were learning while there. Now...all I need to do is wait for Murasaki Kobudo to get more nunte bo in stock and I'll be all set. Meanwhile, I'll have to use my bo to practice it. I don't need anything to visualize the "tip" of it, but I do need a nunte bo so I can see where each of the tines are facing. For those of you not in the know, a nunte bo is a bo with a manji sai on the end. For those of you really not in the know, a manji sai is a sai with one tine facing up, the other tine facing down.

I made sure to jot down any corrections I could remember in my little note pad to add to my martial arts notebook. I suggest to any of you out there who are serious about your training to start your own if you haven't already. Needless to say, the corrections were many. Kyoshi Perry also introduced or further explained several subtleties which should be present in our kata. Everyone says their styles incorporate "natural movement". It's almost like a buzzword that has lost its value. However, natural movement was perhaps one of the biggest things he emphasized, along with various "Perry-isms" usually involving continuous movements and extremely tight (meaning small) circles. With Kyoshi Perry, it was definitely not the case of a simple buzzword. Interestingly enough, I found the nunte bo kata to be one of the most natural weapons kata I've done as the moves practically fell into place whenever I didn't think about them too hard, even during the first few times I did it.

In his book Martial Musings, Robert Smith wrote "Doug Perry, exceptional karateka and dancer, obviously resonates with music." I knew Kyoshi Perry was in the shag dancing Hall of Fame and a national champion, but I never quite grasped the meaning of that line until Tuesday of last week. Myles had just got his promotion to shodan in the Shorinkan system that night (he was already a shodan in another style but switched a while back). I was told it was tradition to do some interesting things in the yudansha (black belt) class after someone gets their shodan. And that they did. Kyoshi Perry brought out a cd with a song lacking a beat. "Light of the Spirit" by Kitaro, to be exact. He then told us all to do Rokushu (which me and Myles only learned the day before...an exquisite extra-curricular kata not in our system) to the music. He told us not to do a "musical kata" but instead to do "kata to music". It sounds very esoteric and flaky at first, I'm sure. So we divided into groups and then proceeded to attempt with varying levels of ridiculousness to do so. Every once in a while, Kyoshi Perry would start doing segments of kata to the music here and there. After we had all been effectively out of our comfort zones, he then demonstrated what he meant and the only word for it I can use was beautiful. He then told us doing kata to music with a beat binds us because we wait for the beat to move. He said songs without a beat (think classical Asian music, although Kitaro is lumped together with "New Age", much to his annoyance) force you to become the rhythm and "kata without emotion is body motion". He then had us do Chinto to the same song which was a little easier, but I still was woefully far off from what we were just shown. Later on, I asked him about the music he used and he then took me to his office and had me listen to another Kitaro song, "Flight", which had quite a different "feel" to it. Watching him both on the dojo floor and later doing motions to the music as we sat in chairs in his office was a pretty moving experience. I'm usually someone who likes to really emphasize the scientific and biomechanical aspect of kata, but I must admit I almost felt something....spiritual. There, I said it. Of course, he was quick to remind us on the dojo floor and me in his office that he was a man who spent many, many years of his life in war and that this wasn't merely some flaky nonsense. I assured him that was the farthest thing from my mind. In fact, watching him do the kata to music even made some of the bunkai (application) more readily apparent to me, at least. But that wasn't the most important part of it. Kyoshi Perry always says he teaches kata on five different levels. I think I got to glimpse one of those rarer levels back then.

Anybody who knows me personally knows I like to eat extremely healthy. So, another thing I discussed with Kyoshi Perry, or rather, questioned and then listened to, was dietary supplements and vitamins. Kyoshi Perry, amongst all his other achievements, is something of a medical marvel internally. At age 68, he's still gaining muscle mass and bone density where most people his age lose it dramatically. The doctors say he's got the insides of an 18-year-old (give or take things like a gall bladder due to a particularly bad case of stomach influenza he picked up in Vietnam...of the only 7 cases of this occuring amongst U.S. troops, he had two of them...). He's also been told his heart and chest cavity are so strong they look like they belong to someone about 50 or 60 pounds larger. He attributes it to the fact he started taking dietary supplements and vitamins long, long before all the recent buzz about them. In fact, stuff like fish oil were the result of the regimen his boxing coach made him do (Kyoshi Perry started boxing at age 9). I then asked him what he recommended a guy like me take, and he pointed me towards Pharmanex and their Life Pak, Optimum Omega, Cordy Max and Overdrive as things I should take daily. All of the above are various things to promote health and strength. The Overdrive is an interesting thing. It is made of completely natural ingredients and you are supposed to take it an hour before working out. It makes you feel energetic and ready to go and when it wears off, you don't experience a "low" like you would from a sugar rush. Well, after he gave me a free bottle of Cordy Max and Overdrive I tried them and a mere twenty minutes later (I was not expecting it to kick in until an hour later so it caught me totally by surprise) I started to feel very energetic and all tiredness drained from my body. To put this in perspective, this was my last of the four days of training I spent there. By that time, I was almost hobbling around and quite exhausted, yet that went away after I took it. I have taken it several times, all to the same effect. It is definitely not a placebo effect. At any rate, I have to call up pharmanex tomorrow and set up my account. I plan to be on this earth a very long time, so while I do I may as well be healthy. I continually seek out the advice of those like Kyoshi Perry in doing so.

I must say my experience was extremely motivating. I currently plan to attend the Summer Camp in North Carolina come this August and anxiously look forward to meeting everyone again. In the meantime, I am going to redouble my efforts to be the best karateka I can as my only way to offer payment back to Kyoshi Perry and all those who helped me out. Yes, it sounds sappy, doesn't it? (Sensei Church, don't laugh please) But I will cut out some things which have been taking a lot of my extra time and focus on my martial arts and actually trying to be fluent in Japanese rather than merely being "okay" at speaking and reading (for future use when interacting with Okinawans...I should pick up the Okinawan dialect as well). As a motivator, I think I'll be translating these books I have on Okinawan karate into English.

Random Thoughts on "Tradition"

2005-06-13T19:12:00.000-07:00

Just some thoughts I had while replying to someone about the traditional (sic) nature of the karate gi on karateforums.com.

Someone said:
"Please explain to me how the gi "is a relatively new innovation in karate"?a version of the gi and obi used to be the traditional underwear for Okinawans and Japanese, and thats what they originally trained in. The gi has almost been around as long as the birth of traditional karate in Okinawa"

And my response:

Sure. "The gi is a relatively new innovation in karate." But, I suppose that isn't sufficient...

So...what date do you cite as the birth of "traditional karate"? And what do you mean by "traditional"? The term itself despite being thrown around even by everyone including myself has very little actual historical meaning.

The use of the gi in karate is essentially what Funakoshi borrowed from judo in the early 1900s, only in a lighter form.Kano Jigoro himself didn't create the standard judogi we see nowadays until 1907. Funakoshi's decision was partly based on his efforts to successfully market karate as a "budo" similar to judo and kendo and as such he adopted some of the formalities required to be accepted by the Butokukai. Another reason was it simply got rid of any class distinctions that may have been evident by what kind of clothes you wore when you trained with others. In those days, class distinction, though long abolished was still a very real part of people's attitudes and perceptions. For example, Motobu Choki always went out of his way to bully and badger Funakoshi (who he considered inferior to him in class and skill) partly because he was offended someone of his class (and skill) was chosen to represent karate's mainstream introduction to Japan.

At any rate, the sharing of martial principles and techniques on Okinawa between masters and other students was common even before what now is known as "karate" was fully introduced to the public. Any sort of particular tradition regarding uniformity of dress, particular training locations or customs and courtesies were more the personal preferences of individual teachers if they existed at all.

Before Funakoshi's decision and even after, many karate practitioners wore whatever...be it shorts, pants or work clothes. Yes, I would imagine sometimes before the formal karate gi was introduced some of them maybe wore something vaguely resembling the gi you see nowadays, but it wasn't very common. In some cases, teachers preferred students to not wear tops just so they can see the structure of the student's body easier.

Yes, the general pattern of what a gi is has been around for a long time. I never claimed it wasn't. However, saying its use in karate is a traditional aspect (there really isn't much that can be called traditional other than kata) is a bit mistaken. I'm saying they didn't care at all what you wore while you trained until recently. There was never any sort of mystique, reverence, tradition or any other sentiment attached to what they wore other than perhaps the lingering stench if it wasn't washed in recent times. In fact, much attention must always be made not only to the similarities to and influences from Japan that Okinawan martial arts and culture has in general, but also its differences.

But who knows. Maybe in twenty or thirty years everyone in MMA will soon regard their shorts and t-shirts as a hallowed part of their tradition. They may even come up with the story that everyone started with a white t-shirt but over time they turned black with sweat, blood and dirt, signifying that they truly became a master. At such a time, I can only hope someone remains historically objective enough to point out how things actually were. Sadly, it isn't the majority of cases when it comes to the same things regarding karate and "traditional karate".

Monday, June 06, 2005

2005-06-06T21:20:00.000-07:00

I've just been writing final papers for my classes in school and working out. Other than that, not too much new. Currently, I'm finishing up a paper about the colonial origins of the opium trade in Southeast Asia. It is interesting, as it goes into much more depth than the usual "British sell opium to China from India" line we all got in high school/college.

I started taking up an escrima/knife fighting class two Saturdays ago. Because of the seminar with Shiroma Sensei, I am very much interested in knife and gun self-defense. I'm not sure exactly what all styles it comprises. The teacher goes through various cycles of knife, empty hand and weapons. The teacher strikes me as pretty talented and certainly knows his way around a knife, which is my primary consideration.

My first class with him last Saturday was nice. We ended up doing some knife flow drill (possibly Silat?) where the person with the knife does about a dozen attacks and the defender...defends. I like this one because it is open-ended at the final move, meaning the attacker or defender can "win" depending on how well they respond. The focus was on body rotation without giving up any ground and blocks were performed softly with both bones of the forearm. From technique to technique, the defender was supposed to "ride out" techniques by matching the opponent's energy and subtly guiding his knife away from you. The drill was obviously more for flow than pure practicality, as all the attacker needed to do would disengage his hand and withdraw quickly and the defender would be left with a cut arm. Some of it was annoying, as I would push or pull to "feel out" one of my partners who then got up on a soapbox about the utterly passive nature of the defender in this aspect. He stated that when I was tense, he could use that to his advantage and cut me, yet when he tried, he could not. What he didn't realize is that I was the one actually manipulating him (crudely, I admit, I'm not some expert) by forcing a change in his energy, but whatever. Something about him just rubbed me the wrong way. He seems nice enough, but a bit to eager to "teach" when he isn't the best model to follow. I of course am perhaps guilty of the same thing, but I try to do it a bit more diplomatically. The instructor later on of course fell into the whole condenscending "Oh, you come from a very hard karate style so I'm sure you will have some trouble adjusting" line...which was a bit annoying considering the dual hard and soft nature of Shorin Ryu in all actuality. Regardless of how hard or soft I am (I consider myself aware of if not somewhat attuned to the soft nature of it all), he's got his facts a bit wrong. But I'm just there to be a sponge and soak up as much as I can, so I won't let any of that bother me. It will be interesting to see how things play out when it comes to empty hand...As some of them do (and the instructor teaches elements of) Wing Chun, I think they fall into the trap of putting it on some pedestal because Bruce Lee was supposedly good at it. But I digress. It is at least fun to have some focused knife training and a lot of my karate principles come in handy (as expected).

As for the future, pretty much all my papers and final exams will be done in a week from Wednesday. A few days after that, I will get to go to Kyoshi Perry's dojo and train there, which is something I look forward to. After that, I'll go to Glacier Park in Montana for the Karateforums.com gathering. Unfortunately, it seems a bunch of the people backed out and now I'm the only one going except for the host...(I bought tickets and all, so I'm still going). Either way, I'm sure it will be an interesting time and a chance to learn from one of the guys who really has his head on straight.

The Chambered Fist

2005-05-29T09:59:00.000-07:00

EDIT: I've changed my views on some of the things in this article... I'll probably write an update at some point in the future... and by that, I mean a long time from now.

I am writing this entry in response to a discussion currently going on at KarateForums.Com.

We've all seen the classic karate punch, where the person brings one hand "chambered" to their side while the other hand punches. Or we've seen those ridiculous kung fu movies where the bad guy waves his hands around in the air while screaming, blocking air several times, chambers his fist and then attacks. So that's going to be the subject of today's discussion.

I've often asked instructors in other styles what the purpose of this was. They would tell me "This symbolizes your empty hand and you chamber it to the side because you are signalling your intention that you do not wish to fight but are prepared to if necessary." That, or simply "It is a chamber position" or "more power" without any deeper mechanical explanation. Even if I press them harder for information, those are the most common explanations. Of course I am very polite and thank them for their answers. On the inside, I tell myself "What a load of BS." Here's a hint for all you practitioners out there. If a teacher can not give you a convincing explanation for why it is they "chamber" a technique or even what the "yoi" or starting position is for in a kata (form), the odds are they honestly don't know. That, or they buy into simple schoolchildren explanations for their karate. There's way too much pseudo-philosophy floating out there that gets in the way of combative effectiveness.

The "chambering" was basically what they told everyone it was for. Keep in mind that traditional Okinawan (and Japanese) culture was very much centered on "in group" and "out group" relations. When karate was starting to be taught to the mainstream (in the early 1900s on Okinawa), there was a fundamental shift because karate used to be taught in very small groups of well-acquainted people or recommended students, not en masse. This then became the origin of large karate classes taught in military discipline fashion...They weren't exactly going to tell everyone all the in-depth meanings of everything, especially American GI's a half-century later who just got done devestating the island of Okinawa. They didn't even tell every Japanese or Okinawan the "good stuff" either. The mass production of karate meant less individual training time and less personal trust between teacher and student. Karate was always first and foremost a combative discipline. The deeper knowledge of which was not simply handed out to whoever showed up and trained. There are exceptions to this, but suffice it to say they were not always as open as many American instructors definitely are or as some Okinawan teachers are today.

Back to the chambering part...I do not see that as the true intent of the technique. It really does depend on the situation. In many of our kata, there are places where the hands do not automatically go back into "chamber" before performing the next technique. What's more, you have to keep in mind that with all techniques, they are set up a certain way but will be performed as the situation requires.

On to the explanation...I for one believe it is meant primarily to be a grab with the retracting hand and punch with the leading hand. It is basically a grab/parry that is performed simultaneously with a strike, which I believe technically what most of us are aiming for (simultaneous techniques along the vein of more Chinese styles).

This concept is also present on many of our "blocks" where the retracting hand/arm/wrist crosses over the blocking hand/arm/wrist. This is because the real intent is to grab the opponent's attack with the retracting hand while striking either the opponent's body (i.e. face), breaking whatever he attacked with (i.e. arm) or performing a throw (i.e. arm bar) with the "blocking" arm. There are those who say the retracting hand is there to let the person "be aware" that you can pull a person while punching if you want to. I disagree. The retracting hand is there because it is saying you SHOULD pull a person like that. It forms the heart and principle of many of the techniques of good Okinawan karate.

With this in mind, bringing the retracting hand to your waist is useful because it hyperextends the opponent's appendage, causes the opponent to lose their balance, and places it in a position where it is biomechanically strong for you to hold the opponent. It also allows more momentum into the system by making your opponent move towards you as you strike into him. At the most basic level, it also forms an easier connection between the hand and waist for most beginners, although that is probably the weakest argument for the fist chambering.

This also reflects a difference in the mindset of the practitioners. The most common detraction against the chambered fist says it leaves your face open, etc. In the more traditional schools, by which I mean traditional focus, mindset and training...NOT gi, hardwood floors, military discipline, etc., these techniques were meant to end the fight quickly. Therefore, pulling the hand back was because you were pulling the opponent into you and from that position you were simultaneously striking him/breaking something and most likely taking him down instantly to end the fight. It is my opinion that traditional karate is centered around getting in close and going for the takedown. Therefore a retraction hand technique was a set up for finishing the fight, rather than having an exchange of blows. You can see this in pictures of how most of the old Okinawan masters had their regular fighting stances, which were not one hand chambered to the side.

If you blindly chamber your fist to the side without having any idea what it is for then I will agree with those detractors who say it is useless. For them, it is.

A day with Shiroma Jiro Sensei

2005-05-22T10:40:00.000-07:00

Surprise! This'll be an all martial arts entry, just like the good ol' days. Writing about politics is fun and all but I could write multiple entries everday on the goings on if I had the motivation; it just gets exhausting after a while.

Yesterday I got up early and drove to San Francisco to meet Jeff, a fellow student under Ahtye Sensei. From there, we drove to Vallejo to meet up with Charlie, a senior student of Ahtye Sensei and then we drove to Elk Grove. There, Shihan Tim Evans was hosting Shiroma Jiro, 8th Dan in Okinawan Shorin Ryu. Let me give you a little background on Shiroma-Sensei...

Shiroma-Sensei's early training began at age 13 in Shuri-Te and Kendo at age 15. At age 20, at the death of his first master, he began to train under Hanshi Shugoro Nakazato, the head of the system I take. In the late 60s he also opened up a Thai boxing gym and a karate gym and basically he trained with an incredibly large number of people. As an interesting sidenote, the then-white belt Doug Perry (now Kyoshi Perry the North American director of Shorinkan Shorin Ryu) trained under Shiroma Sensei and was knocking out all his top students...At any rate, Shiroma-Sensei moved to the United States in the late 70s and has been teaching his "style" of Seishindo. His school is in Phoenix, Arizona but he travels around the US for seminars quite often.

When we arrived at Shihan Tim Evans' dojo, we got changed and introduced ourselves to Shiroma Sensei. He instantly showed himself to be a very friendly and very jovial man and he went on a humorous discourse about his iron cup he always wears after he discovered some of us (me included...) forgot to bring cups. When class began, he had us do a thousand punches and then started fielding questions about various things. Someone asked him to demonstrate applications for the kata and while he said he "was not an application man", he went through and showed numerous bunkai for various moves. He seemed to favor the short and quick moves rather than really elaborate techniques.

Watching him move was a treat. He moved and punched very similar to a boxer in many respects and had excellent grappling technique, yet I could still call most all of what he did as "karate". He then proceeded to demonstrate a lot of self-defense techniques against knives and guns which were very well-structured and believable. When demonstrating the use of the knife, his speed and accuracy practically screamed of beautiful, expert lethality and actually makes me want to take up some knifework. I was able to catch on very quickly to his knife and gun self-defense techniques because they were simple, yet effective if you did them properly and applied the necessary martial arts principles. I also liked them because the techniques they were to defend against were practical, common and deadly attacks, not the contrived downard strike you see in so many places (or In Living Color skits...). He has done much work with law enforcement and studied many cases of such attacks, and from what he says and hints at, has been in quite a few situations like that himself...

His other big thing was women's self-defense. I am usually a harsh critic of "women's self-defense" because most places that do them are not really good. However, I was quite taken aback as his techniques and explanations revealed his actual knowledge of such situations and were all very practical. He really has done his homework...One thing he really sought to emphasize was the difference between rigidly adhering to specific technique and the improvisation necessary in a real fight situation. As I think most experienced karateka agree with him, so his message was probably oriented more towards the lesser experienced folk (or those black belts who don't seriously think about these sorts of things).

The seminar was great and all, but the real fun was the dinner. Me, Sensei Ahtye, Charlie, Tim Evans, and his wife and son got to sit on a small round table at a Chinese restaurant with Shiroma Sensei. In case any of you people ever wonder where all these authors on karate history and stories and such get their info, it's usually in settings like these or when they go drinking at their homes, restaurants or elsewhere. We talked for a few hours as we ate and Shiroma Sensei would often pause and start to shadow box or demonstrate a technique in response to a question--all while sitting at the dinner table. He seemed to enjoy the fact that Tim Evans' son and I could both speak Japanese. He told us all many stories about his run-ins with gangs, how he dated the sister of a famous gangster, the vengeance of rats on Okinawa, experiences with Hanshi Nakazato and other things. Rather recurring in his conversation was his continual insistence that one should learn from as many teachers as possible and the individual nature of karate. He kept going back to the importance of an open mind and not closing yourself off to any learning experiences. He had a point, but I think all of us at the table kind of already shared that point of view before even meeting him. He tended to over-emphasize the rigidness of karate in comparison to other ways of fighting, but I think he was doing it more to make a point. While he claims kata is still more "meditation" for him, he never failed to quickly respond to any questions of bunkai. He was critical of practicing too many kata because you wouldn't be able to focus enough on them. All in all, it was a very enjoyable experience with a true master. Those are trite words very often used in these types of stories, but I found them very appropriate.

We split up around 9 pm. I would've loved to stay longer (Shiroma Sensei said he wanted to stay up all night and talk), but I had to get back (a supposedly 3 1/2 hour drive and I was someone's ride to San Francisco) so we drove back. Charlie and I mused about the seminar and the dinner and then dropped us off in Vallejo. It was still nice to talk to him as he's going to Japan for a month this summer in conjunction with his college to study Japanese. I of course recommended James Heisig's "Remembering the Kanji" book as it is the best book to learn the Chinese characters used in Japanese for a Westerner. Period. So I thought it would smooth sailing after that, but the 4 lane highway had 3 lanes closed so I had to take a detour (luckily I knew other ways), but it took forever for all 4 lanes of cars to merge into one...I got back around 1:30 am. Despite all that hassle, it was well worth it. Should any of you ever get a chance to train with Shiroma Sensei, I highly recommend it. He is definitely the real deal.

Update: Greg asked me to put up Shiroma Sensei's website, so here it is: www.azmartial.com

I'M FINALLY DONE!!!!!!

2005-03-29T10:39:00.000-08:00

I finished the last of my papers Sunday. Unfortunately, the next quarter has already started yesterday. This still leaves me with much more time for other things though, like martial arts. I'm getting to learn the Hakutsuru kata (White Crane) that my instructor learned from Kyoshi Perry, which is very nice. It is a lot more "obvious" (at least to an experienced eye) in showing the open-handed grappling and lethal manuevers present in truly traditional karate. Much more Chinese in orientation.

RANDOM MARTIAL ARTS OBSERVATION TIME

Something I noticed as usually a stylistic difference between many martial arts styles is whether they turn on the heel of the foot or the ball of the foot. Last year I trained in Matsumura Shorin Ryu, and they avoided the heel of the foot like it was the plague. In Shorinkan, there is a tendency to turn on the heel (or the heel of one foot and the ball of the other). I believe they both serve useful purposes depending on the situation. Turning on the ball of the foot allows for very quick, agile movement more appropriate for evading at various distances. This can also be done by rotating on the ball of one foot while keeping the other foot more or less stationary. But when you turn in kata, you are most likely throwing, breaking or doing some other similar type of close-in fighting manuever, not just simply changing the direction you face. When throwing with a double ball of the foot turn, it puts a lot of stress on the knee. Therefore, turning on the heel is better for throwing or grappling purposes because it allows you to be rooted without stressing the knee. There is a criticism of turning on the heel that states you will be off-balance, but I think that is only if you do it incorrectly. By keeping your center-of-gravity centered (or in other places, depending on what you want to do), you avoid compromising your chuusen (center line) and the tendency to tilt backwards. Both methods of turning or rotation on the foot are useful in different circumstances. Try and think about what you do when you turn and why. Experimentation with both methods is always a bonus.

Keep training hard.

Note: Humorously enough, Xanga crashed the first time I tried to write this, so I had to write it again...that was annoying

Obligatory Update

2005-03-15T16:31:00.000-08:00

Time for the obligatory update.

I'm currently awash in writing papers at the moment. I've realized that the quarter system is way too short after having done the semester system back in college.

I've also dumped $2,000 and started my Roth-IRA (after months of saying I was going to do it). Time to think of the future, I guess. Since I'll be maxing out my contributions, that'll take a nice chunk out of my paycheck each month. Less random buying for me now (I swear, I was just helping out the economy by increasing consumption, that's all).

No real time to give any semi-profound observations on the martial arts, other than I've started to go through and mirror a lot of my kata (doing everything on the exact opposite side throughout the entire form). It really does let me see which moves I have a clear and distinct application for (other than just basic punch, block, throw stuff) and which ones I've merely been going through the motions for. I recommend all you people in my readership (meaning Onimitsu2004, I suppose) to try it out every once in a while. From what I hear, at a Shorinkan camp last month, Kyoshi Sean Riley wowed everyone by not only doing the Passai and Kusanku kata and then doing the mirror of them, but also doing them completely in reverse (as if someone was pressing the "rewind" button). That takes skill, concentration and effort. I suppose it is things like that which make the difference between a really good karate practitioner and a "kyoshi". Since it is him, he definitely has applications for all the moves...

And, back to the grind. I've got way too many papers to do (most of them being due on Monday, which also happens to be the same day I have two finals).

Update: My computer crashed and I lost some pages...there goes my motivation for the rest of the evening...

Tuesday, March 08, 2005

2005-03-08T21:30:00.000-08:00

Geez. I knew it would turn out like this. I'd get a blog and never write in it.

What's happened since my last entry? I've written some papers, had a economics mid-term (much easier than Onimitsu2004's economics mid-term), went to practice. My karate instructor is currently training in Okinawa and will be there for a few weeks. I look forward to hearing some stories and learning what he cares to pass on to the rest of us students.

I've set up a training trip this next summer to go to Kyoshi Doug Perry's Dojo next June for about 5 days. I got to do that last summer with my friend Terry (Onimitsu2004) and it was a blast. We trained literally all day in the dojo (between 9-12 hours a day) and learned a lot (mostly about how much improvement we needed...but isn't that always the case?). Kyoshi Perry was also very generous with his time (and money...he bought our hotel room for the week, not to mention dinner on a few occassions) and also had some of his students train with us outside of class, who were simply impressive. I can't wait till I do it again. Terry may not be able to make it. He has some weak, lame excuse about having to do an internship or something. (Yeah, that pesky "Real World" interfering with training, as usual) Hopefully he can train with Kyoshi Perry some other time.

After that trip is over, I'll be going to small gathering of people from karateforums.com held in Montana, which looks to be a great time. As big a talker as I am on those forums, it'll be interesting to see some of these people in person. Hopefully people don't expect too much from me...I just like to talk like I know a lot...All in all, another great experience to look forward to, I'm sure.

I've been doing some more work on the Naihanchi Shodan kata performed forwards and backwards, as opposed to side-to-side (another one of Kyoshi Perry's interesting contributions). It really gives the practitioner a great way to really visualize Naihanchi in application. The expansion of movement in all directions as well as how it mirrors itself completely is just a great training tool. Since our instructor is in Okinawa, us students have been turned loose to train on our own, and last week we hashed through that kata and focused a lot on the bunkai (application). I really do enjoy working with the other students in that dojo. Their inquisitive nature, experience, and skill level is really conducive to a critical analysis of karate, which is essential in getting better (as opposed to simply training and practicing). A refreshing change from other places I've seen. Fortunately, I've always been lucky enough to have these sorts of people around me after I started taking Okinawan karate.

Stances in Kumite

2005-02-19T07:54:00.000-08:00

Someone on karateforums.com asked why many different kinds of stances weren't seen in kumite (basically means free sparring in this context). Here was my short response. Since I didn't feel like spelling everything out for him, it isn't too detailed. Maybe I'll expound upon this later and create a full-fledged article. But for now, just this:

The perceived lack of utility derived from stances in kumite can be boiled down to one main thing: the limited nature of kumite.

By that, I mean that the reason behind many of the more "esoteric" stances (a term I use rather facetiously here) does not exist because there are so many principles, techniques, attacks and defenses that you will not do in kumite, mainly because they are against the rules or will not be given an opportunity because they usually are in response to things that are also against the rules. For the record, we don't use ridiculously long, deep front stances in our kata either, let alone our kumite because I don't see too much of a need for them.

But back to answering your question. What did I mean? Well, in the first place, if your kumite does not incoporate grappling or are even allows you to hold an opponent, then that eliminates the need and opportunity for whole sectors of the fighting paradigm, let alone stances. Much of the weight shifting (done to your center of gravity or your opponent's) is not needed simply because you're not manipulating his balance to take him down, you might just be doing it to hit him. If you're not going to throw the opponent or take him down and he isn't going to do the same to you, then there isn't necessarily a need for many of the deep stances that you see. Many of the stances are responses to situations that simply are off-limits in kumite. No, not built-in automatic, carved-in-stone responses to specific, narrow techniques, but conceptual responses to certain circumstances regardless of the actual technique.

Also, if you are not allowed to attack below the belt, than another important function of specific stances is also eliminated (tying along with the first point) which is to attack specifically your opponent's base (read: the legs). Many stances are actually manipulations or outright attacks against your opponent's legs, which are against the rules, are also things you will not see. This goes beyond simple sweeps or things like that.

As a combination of points one and two, another function of these stances you won't see in kumite is after you've taken the opponent down, the legs are applying a lock or otherwise attacking/controlling the opponent when he is on the ground as well. Once again, you won't see this if you aren't going that far.

Lastly (for now), I use various stances in kumite. Even in straight out punching/kick/block only kumite (which I do with very little frequency due to what I perceive to be its limited training utility), there are various stances you can employ to aid your movement and positioning and manipulate that of your opponent's. This holds true even if you are only kicking, punching and blocking without grabbing and only above the belt.

If you really do need me to cite a laundry list of things you can do with regards to stances both in more "complete" kumite and rather "limited" kumite, then perhaps you need to talk to your instructor or senior students in your dojo. They should be able to tell you.

You will have to forgive me if I sound a bit critical here. If your interpretation of the utility of stances is limited basically to "If he and I squared off a couple feet from one another, what stance would be practical now in this kumite match?", then you are woefully undeveloped in your analysis of what stances actually are. Saying the utility of stances is limited because they aren't found in kumite is looking at it completely backwards. It is because kumite is limited in and of itself that you won't find as many of the stances in it.

2005-02-11T10:18:00.000-08:00

So for the past year or so I've been working on making my kata less of a "metronome" pace. I've been trying to link together the different moves with some sort of phrasing to show I understand the bunkai (application), or at least my interpretation of the bunkai behind it. This causes the tempo to change and not be merely "1, 2, 3, 4, 5...." But recently, I've also been making some of it a lot softer and really trying to experiment with the "flow" of it.

So there I was, doing kata in front of my instructor who gives me a dubious look. After an explanation, he basically said my kata was too much of a set rhythm. I suggested "metronome?" and he agreed. Darn. I was half-pleased with myself for trying to feel a certain flow and continual movement, but looks like I've been really over-emphasizing that too much. Granted, there's many ways I practice my kata and many ways to practice kata (hard, soft, rhythm, breathing, bunkai timing, etc.). I guess I really need to work more on the timing a little bit more, at least when I'm doing in front of my instructor. In other words, I've been adopting a certain pace and tempo for my kata practice that "took over" all of it, rather than being just one of the many ways to do it.

So some of you are wondering (perhaps all one or two of you gentle readers) why I ramble about this stuff and not my daily life? The answer is really simple. My life is pretty uneventful so there's not much else to talk about...

On the lighter side, I'm starting to learn Hamahiga no Tonfa kata. I started learning Monday and have just got to the point where I can at least go through the whole kata with the rough movements down (emphasis on the "rough"). Due to my somewhat stunted weapons development earlier in my brief karate career, that makes it the 9th weapons kata I've learned in the past 7 months (and 4 of those were in the period of a week last June). Fortunately, I have my entire life ahead of me to get better. Although looking back at the kata I "know" and still practice, that makes 20 empty hand kata and 14 weapons kata, not including basic kata like the kihon or fukyuu, or the yakusoku kumite and the few other kata (empty and weapons) that I've learned and let fall by the wayside. That's a lot to work on...but that's a topic for another day...

February 7, 2005 - Learning outside of class

2005-02-07T10:47:00.000-08:00

While my friend Onimitsu2004 agonizes over asking a girl out, I am racked by far more important decisions, like should I use Italian spices on my fish tonight or make it teriyaki? Either way, I'll be eating it alone...woe is me and darkness covers the pit of my soul. NOT! This isn't one of those stupid goth blogs where people compete how often they can use dark and dreary words in a pitiful imitation of something that may resemble poetry. Or just crap. Hah!

And back to more important stuff, like my rambling thoughts on martial arts.

One thing I've noticed about people is how much many of them brag about how they go to martial arts class X days a week. I think it is great to be able to attend class as much as possible. However, unless you have the time to practice by yourself, you're not really getting the necessary free space for your own development. Don't get me wrong. I love going to class and having the opportunity to discuss concepts and techniques as well as train with my instructor and other students.

I think there is a certain danger in that going to class as many times as some of these people because it makes it less likely that they will train on their own. Not training on your own is disadvantageous. For one, the "class" environment has a tendency to change the dynamics of your training. When there are other people doing kata with you, you have to change your pace to match a consensual tempo. The presence of other people when you are doing sparring or what have you adds that extra layer of analysis to all your sensory inputs. That isn't a bad thing, but sometimes you really need to focus on yourself, especially in regards to biomechanics. When an instructor is there pointing out your faults or explaining things to you, it relieves some of the burden of self-discovery. These are all good things in their context. However, I think it is much more difficult to grow as a martial artist if you are almost always only in the class setting.

I acknowledge the existence of those that train 4-5 days a week and workout much on their own. On the other hand, there are a lot of people that don't fit this model. Most people practice only when they go to "practice". My opinion is that class is only for the learning of new material, the correction of mistakes and the discussion of ideas and concepts. Many people short-change their learning by using class time to go through the necessary repetitions of kata, drills, or whatever they train in. Again, my gripe is with emphasis here. Repetitions and drills aren't a bad thing in class. It's for the sake of correction, discussion and letting the instructor know where you stand. But never, never should it be used primarily for the purpose of getting the material down-pat. That's just a bonus. The building up of repetitions for training in whatever you do should be done outside of class, in my opinion. You may do some things incorrectly, but that's what class is for: to correct those mistakes. Class time is often too short to go through every single thing with corrections as it is, let alone struggling to do something that could've saved precious time (yours, your instructor's, your fellow students').

Getting as much done outside of class ensures the most gets done during class. It's very simple and quite obvious, but many don't do this? Why not? The answer to that lies in busy schedules, conflicting obligations, etc. I understand that. But to those people that go to class 5-6 days a week, I dare suggest it would be better to skip class one night and work out on your own. An added benefit to this is that it really forces you to think about what you're doing. Well, ideally anyway. Once you do that, you'd be surprised what you can learn and come up with on your own. Having an instructor tell you everything and correct everything is nice. But it doesn't mean you're learning. It just means you're copying. At some point or another, you have to start taking those conceptual leaps on your own. It's something most people acknowledge and espouse, but actually don't do rather often. You probably won't discover anything that hasn't ever been discovered before. There's very little that's new under the sun when it comes to martial arts by now. However, most masters didn't become great by simply getting everything from an instructor. There really isn't that much time. They had to figure stuff out on their own. I was once told by Kyoshi Doug Perry, the head of my system for North America that out of all the martial arts knowledge he has, only 10 % of it was shown directly to him. The rest he had to figure out himself. Now math isn't necessarily my strongest suit, but I figure that's 90% he had to figure out on his own. That's quite a bit. I for one am very envious of just 10% of what he knows.

So what does this all mean? It means you got to start thinking for yourself. I don't care what rank you are, but if you're just a carbon-copy martial artist, you really have to turn yourself around. Sure, it's awfully hard to drive down a street without any lights to show the way. But if you're just in the passenger seat, you're not really driving, are you?

February 6, 2005 - What is "Traditional" Karate?

2005-02-06T10:46:00.000-08:00

[Originally posted on Karateforums.com]

I always have mixed feelings when I hear the word traditional in conjunction with karate.

There is the respect I have for many traditional training methods, such as kata. There is also just the sense of, well, tradition, that evokes certain notions in the mind. I don't mean the tradition of hanging up stockings over the fireplace during the Christmas season, or hiding eggs so that your children have to earn their breakfast for a change by finding them on Easter morning, but you all know what I do mean. Traditional values like respect, humility and self-control.

Further still, I still use the word "traditional" to describe what I do, mainly because of the perspective and the general idea that it purveys to who my audience is. It certainly denotes to the reader that I do not do more "reality-based martial arts" or "forge myself in the furnace of the ring." Depending on your viewpoint, it may also suggest I don't "waste my time with sport karate." Whatever you view it as, the word "traditional" is convenient in discussion.

And then, there's the part of me that wants to jump up and down with a bullhorn and a banner, announcing that as it relates to karate, very little of what most people see as "traditional" is, in fact, traditional at all.

Now, now, put away the ropes and the torches (and you with the pitchfork, let's just say it was meant to stick into hay, not bored writers on internet forums).

There have been countless posts, both by me and others, pointing out how relatively new the dan/kyu and belt system is in traditional martial arts. About how in the oft-quoted "old days", people trained in what basically amounted in a loin cloth and belts were made to hold your gi closed (no, not hold your pants up, do you ever think of the physics of that? If people used obi to hold their pants up, there'd be a lot more hanging in the breeze than grandma's freshly washed laundry). There have also been a few posts, quite a bit of them mine, that address the extremely recent nature of the solidification of styles (the ryu system) on Okinawa.

I haven't seen too many posts on what strikes at the issue here. I've hinted, cajoled and directly stated it from time to time. I have also seen others post something along those lines as well, but not very often.

Unfortunately, what I do see is a rather large misconception on what "traditional karate" actually is and what it is we do. I think the largest part of this is confusing what is "traditional karate" and what is "traditional behavior patterns of Confucian-influenced societies."

The bowing and the respect paid to the sensei and superiors, the sense of group unity, the notion of the transmission of certain practices, these are obviously not exclusive to karate. Nor are the values of being a "team player", humility and self-control. You can find as much in Japan on the Hanshin Tigers baseball team or the Thursday Evening Ladies' Ikebana (flower arranging) Club. These are people that have (although with much less emphasis nowadays) a ceremony dedicated to drinking tea, for heavens sake. My perhaps flippant treatment of this is simply to help put things in perspective.

The Japanese response to Okinawan karate's introduction to the mainstream (first half of the 20th century) was quite condescending. They viewed it as incomplete. Whatever its combative capabilities, there was no established curriculum, no concerted effort towards the indoctrination of spiritual and self well-being. They probably didn't know which they thought was worse, the lack of an established ryu system or the archaic teaching methods that didn't necessarily lend itself to being taught to large masses. This ushered in a large host of changes into karate. The wearing of gi. The dan/kyu system. The creation of established ryu that taught one person's method of doing things. The perception that training in more than one ryu as being disloyal, undedicated and unscrupulous. Kata became more rigid, more formalized, more symmetrical in orientation, whether that meant in pattern or body structure. Many people did go about merely copying the many moves perfectly, without knowing the deeper meaning behind them. Rigid adherence to a "count" totally disrupted the timing of the kata, and was more of a tool for teaching the kata than for learning it.

But that wasn't always the case. If anything, in traditional Okinawan karate, at least, and I'm sure the same goes for true traditional Chinese boxing, combative training was always tailored towards the individual. Sure, they were given certain drills and things to do, but everyone had their own way of doing them. You look at all the karate masters on Okinawa and what did they do? They didn't obstinately learn just one thing. They traveled all over Okinawa, learning different ways of doing things. Maybe one person was famous for his bo techniques. They went to his place and trained. Another was perhaps famous for kicking, and one for punching. Odds are, they're probably friends and maybe traded students with each other. They traveled to "mainland" Japan, China, and Taiwan. They took things they liked and discarded things they didn't like.

So as far as counting in Japanese and using Japanese terms (that's only because they spoke Japanese...of course, the Okinawans spoke Okinawan), bowing, wearing gi, the belt system, the ryu "style" system, all of that isn't exactly what truly makes up traditional karate. So, what is?

Kata. In my mind, that is one of the few things truly traditional in "traditional karate" in terms of what has been part of the training for over 105 years.

I could perhaps continue my discursive dissent with the widely held views of many people. However, I will limit it to a more pertinent topic, which to put it elegantly, really gets my goat.

I have said this before, and so have others, to their credit. Most of the disparaging of traditional karate is in my mind, the product of Bruce Lee's denigration of what he viewed as uncritical copying of technique to create mindless automotons that had nary a free thought of their own, let alone the ability to win a fight.

But I'll let you in on a deep secret. Bruce Lee and I, we really think alike. Me, the defender of "traditional karate" and one who, to say the least, did not hold it in high regard, have the same view.

Unfortunately, what I think Bruce Lee missed is the generalizations he made only apply if you are guilty of what he said never to do: Be obssessed with techniques. But, I'll stop picking on Bruce Lee. He was a good fighter. In my opinion, not great and certainly not the greatest, but he did a lot for the martial arts community in terms of popularity. He definitely had a work ethic that could probably somehow fuel the electricity of a small rural town during winter. And like I said, he and I think alike. We like the idea that the only limit you have is what you place on yourself. Not quite what Nietzche was saying, but more like what Immanuel Kant was saying. Don't sell humanity short, because we have unlimited potential. Now, before I take this on a more philosophical bent, let me get to the whole reason I bothered to bring Bruce Lee up at all.

We also both agree you need to have an open mind, and you shouldn't be hung up on techniques and learn principles instead. If anything, that's the principle of JKD.

My beef with him is that concept isn't anything new. And this is where I actually tie everything together.

Let me start by rebutting this statement:

"Lots of people who are great at kata cannot translate it in real
situations."

I answer this statement in two ways. The first is that what many people's
idea of being "great at kata" is usually wrong. There are many people who are excellent athletes who can kick high, fast, and move real quick. Often times, however, they learn kata that only teaches them to be in great physical shape, rather than being a great fighter. This is a drawback on many people blindly accepting kata that has poor mechanics and thinking it is useful.

The other way is that many people who are "great" at kata are just "great
mirrors." You can teach a monkey to mimic a pattern. A person can mimic the looks of even a practical kata, but unless they actually concentrate on learning the "why" instead of the "what", they will never become good fighters. Most people I've trained with or discussed with divide their training into "traditional kata" and "the useful stuff." With that mindset (and if they're taught to divide it, the kata probably is crap anyway), they'd never be able to gain anything from the kata, even if it was worth knowing. I've met many "kata" collectors who can show me the Shotokan version of one form followed by the Wado Ryu version. I ask them why they do a certain movement, and I rarely get any response better than "I'm punching" or "I'm blocking" or "It's just tradition." For these people, the critics are right.Kata was a waste of their time...but it should not have been.

The focal point is that kata is a training method, a tool. Just like many things in life, "you get out of it what you put in". Unfortunately, if you don't put effort in it properly, you won't get much out of it either.

Kata and drills, the staple of traditional karate, are meant to teach you some techniques, but more importantly, they are supposed to teach you PRINCIPLES. My caps-lock key is actually not stuck, but I harp on that for a reason. There is too much of an emphasis on techniques by many people, some traditionalists (none very experienced traditional martial artists that I've encountered) and many non-traditionalists. As the non-traditionalists argue, a technique may not work in a "real fight" (ironic in and of itself as it often is meant to mean the sports arena, whether that is Taekwondo, the wrestling mat, or UFC). However, you train to gain the understanding of the "why" behind it. Any real fight is often dirty, sloppy and fast. Techniques often don't work out quite the way they do in kata or partner drills. Unless you know the principles firm enough, through a combination of kata (pure theory combined with complete execution) and drills (technique compromised by real world limitations), you're right. The defender does not have to "play by the rules". If you've trained correctly and learned principles, you will make him regret he ever came to the table because you can adapt.

So what does this have to do with the inability of traditional karate practitioners to adapt? Oh, nothing much, except that the notion of nonadapting, unchanging traditional karate practitioners is not the heart of what traditional karate is.

Granted, there are some things that are established as "the way" to do things, but even that changes from year to year, and is only for the purposes of preservation for future transmission (kata being the most obvious example). Nowadays we put karate masters on the spot by asking "what is the official way to do the kata?" We have them make videos or ask how they "count" a certain kata. But in the old days, they weren't necessarily always as precise in their hand placement or demanding that everyone look exactly the same. Because everyone's body is different, the kata will look different. Maybe the emphasis isn't on placing one hand with the fingers of one hand touching the wrist, maybe the emphasis was placed on crossing your hands in whatever manner you can without having to rotate the body, which means the hands will be in a slightly different position for every body type.

But still, you learn the "official" way of doing kata. But as you progress, you develop your own way of doing it, the way that suits you the best. You might argue that the act of learning kata in and of itself is a sort of limitation, but that is an underestimation of the act of learning kata itself (not to mention the myriad of other training methods that karateka do in addition to kata).

In short, the only thing really traditional with karate is the kata. Most everything else, from teaching en masse to wearing a belt and gi, to rigid adherence to form, is new.

The purpose of the kata was self-defence and/or training for self-defence, as was the purpose of traditional karate. Kata isn't necessarily always set in stone (maybe jello, perhaps), but getting rid of kata would get rid of that which defines traditional karate.

And this is why I believe changing with the times isn't exactly necessary. And the reason for that, is because the training method of kata itself, despite the commonly held view to the contrary, is not a rigid, locked, unadapting method of training. It is only that way if you, as the individual who is training, is rigid, locked, and unadapting. So maybe when people that go on about the metaphysical and spiritual glories of the kata are right. In this sense, the kata truly is the representation of your self.