Hawaii Karate Kenkyukai Session: April 15, 2012

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

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

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

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

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

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

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

Performing the Kata (in order):

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

Observing:

Carl and Clyde Kinoshita

Loma Lopes (Frank Lopes’s wife)

Tommy Terayama

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Hawaii Karate Kenkyukai: February Session

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

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

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

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

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

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

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

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

Observing:
Walter Nishioka Sensei
James Miyaji Sensei
Robin Sagadraca


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Kime and the Hawaii Karate Kenkyukai December 2011 Training Session

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

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

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

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

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

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

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

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

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

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

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

Observing:
Rodney Shimabukuro Sensei

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Hawaii Karate Kenkyukai - October 9, 2011

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

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

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.

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

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