I believe it is important to be honest up front. As a student of Tom Lewis and Charles Murray I have always followed the Isshinryu they taught me. I realize at different times Lewis Sensei taught differing version of our kata. But I did not experience that myself. When I began training with Charles he told me do perform my Ishinryu that I had been taught in Salisbury always that way. and my new kata should be done his way.
I followed that advice for the rest of my life.
When I saw videos of Tatsuo and Angi I realized the versions they were showing might have differenced, however I never considered those videls a reason not to perform as I had been taught. Then at tournaments I ofter saw other ways, eventually on the internet and you tube I sas more. I was interested in those variances, but never used them as a reason to find a new way.
For example i was taught Naifanchi by my senior Dennis Lockwood with the toes facing inward for naifanchi dachi. Nothing others did gave me a reason to change from that.
In today’s class, while working on Nihanchi kata, some earlier training stuck in my head.
Murray Sensei when training me told me that Nihanchi was the Shorin version of Sanchin.
His explanation was that the lower body (stance) should be locked in tight (similar to Sanchin stance), but the upper body should be flexible to move cleanly from side to side.
I’m not sure where he picked that up, but its one of the focal points I’ve always considered.
Now as I’m prone to do, I’ve done more than my share of ‘special’ training with Nihancihi. For strong, energetic late-teenagers, I’ve often taught them Nihanchai with two jumping spinning crescent kicks (a great way to reduce their energies).
But far more appropriately, I’ve used Nihanchi as a never ending kata. When you finish the kata you simply continue to keep doing it again and again.
The long repletion of Nihanchi, besides strengthening the legs and the torso, when repeated endlessly:
1. Allows the instructor to readily see where the mistakes in the students performance are located. 2. Becomes a great strength in technique drill.
I find it has a distinctly different flavor than just doing the kata, stopping, doing the kata, stopping and doing the kata, and so forth.
Today this got me thinking, this ‘never-ending’ Nihanchi has a different link to Sanchin than the one Murray Sensei suggested.
[I especially like Nihanchi because so many people hate it for its unaccustomed lateral movement. I find the best way to guage a students real abilites can be done by their ability to execute Nihanchi, most especially in advanced Black Belt level.]
The histories (based on oral testimony) of Hiagonna teaching, didn’t use Sanchin of a fixed number of steps. Instead they would continue down the space of the dojo (inside or outside) until they couldn’t go further. At that point they’d just turn around and to Sanchin back the way they came. Eventually this turn worked its way into the finished Sanchin kata (expressed through Miyagi’s Goju-ryu).
I understand there are several theories (in tandem or apart?) regarding Miyagi’s Sanchin (without the turns), which later translated into Shimabuku’s Sanchin. One that Miyagi specifically wanted to work on moving backwards.
But it is the oral history of Hiagonna’s Sanchin, the never ending, go down the floor, turn, go down the floor, turn, go down the floor, etc. also is a never ending kata.
[Which does not imply that Isshinryu’s Sanchin can’t be done as a never ending kata either). Thus you can find a common ground linking these practices together (if you choose to practice this way].
Perhaps this will give those of you who are instructors some interesting class ideas.
Of course this brings up a larger question I posted in May, regarding Nihanchi and Motobou. We never did discuss that adequately (IMO) though there may be no ‘logical’ answer.
A closing comment, in the kata’s never-ending kata version, the instructor can more readily see the small problems in the student’s execution. If the kata isn’t done very correctly small mistakes begin to build and create a counter-vibration to the kata’s correct execution.
https://nagarate.blogspot.com/ Tuite Jutsu (Personal training/teaching methodologies in Te)
We teach this technique as one of several “beginning” Defensive combinations to student's when they begin their study of RyuTe.
When instruction is initially began, the student should determine their dominant (or “Strong-side”) hand. If the student is Right-handed, then (usually) the Right hand will be their “dominant” hand (and vise-verse, if Left handed).
This technique is often taught as a Reaction/response motion for unperceived, or surprise aggression as it is a very simple, yet effective protective motion. As with most RyuTe beginning techniques, this motion is ambidextrous in it's response capability (meaning it works equally well in defeating a Right, or Left hand Strike from an aggressor/uke, though the tori's motion doesn't change, regardless of which hand the uke uses).
Practice of this, as with most RyuTe combinations, Begins with the tori and the uke standing face-to-face, at an arms length of distance from each other (confirmed, by the tori placing his hand on the shoulder of the uke to establish “distance”).
Practice is began with both parties having their hands at their sides. As the uke begins their strike, the tori will raise both hands straight up (bending at the elbow), then will loosely close the finger's of their strong-side hand. This is done without clenching them together, so as to keep the muscle's of the forearm relaxed, while protecting the finger's from accidental injury.
The fingers of the other (non-dominant, or weak-side hand) are left open, intending to parry an approaching strike. The dominant hand then crosses in front of the tori (to the opposite side) at face level, while the weak-side hand, will also cross in front of the tori's face, but is done with an open-hand.
The strong-side's motion will be closer to the uke, and performed with the intent of being a strike, the weak-side will motion with the intent of a parry, or deflection. Both of these motions will cross (in front of) the tori's face (to protect it), and be performed with the intent of Injuring the aggressor's striking arm. Emphasis should also be placed on utilizing the forearm of the strong (striking) arm, as opposed to the (sole) utilization of the hand as being the striking implement.
When performing these actions, the tori's body should rotate slightly to face towards the tori's weak side. This is done to add (body-weight) emphasis to the dominant (striking) arm as well as repositioning the tori's head (which was commonly, the originally intended target of the uke).
The tori has several targeting options available to them (upon the uke's striking arm). There exist numerous atemi points on the uke's arm that could be utilized (depending on the tori's desired reaction from the uke). Initially, the tori should limit their (defensive) strikes to the uke's striking arm's forearm. As the tori becomes comfortable with striking specific points on the forearm, they should begin practicing strikes upon the uke's upper arm (at the relevant points located upon it).
When these strikes are performed correctly, the uke's arm will be unable to close it's respective hand's fingers, and/or will be unable to bend at the elbow (depending on the struck point).
Too often (especially beginning) students attempt to “target” their defensive strikes towards the uke's Head/Neck area. It Must be remembered, the threat, is the uke's arm's (and/or legs), and our goal is to immobilize those threats. If necessary, any other threats are dealt with after the offending arm (ie. The “Punch”) is neutralized.
At beginning levels, the tori can rotate into a Back stance (which is faster), or step towards the uke into a step stance. Once the student is confident with the action, then tori will add the option of a straight kick to the defensive action. Doing so, will change the dynamics of the student's initial stance use/choice (usually) because of the change to the uke's reaction resulting from the kick. For this reason, the addition of a kicking motion, will usually be delayed until the student has been shown several of the initial combination technique's.
There are multiple “follow-ups” available, and student's should be encouraged to experiment with discovering what (and/or which one's) would work best for them (be it Tuite, arm-locks or strikes) in varying circumstances and/or their individual level of instruction.
Right-Handed Strike
When student's are comfortable with the execution of this motion/technique, we offer them the option of full-speed/power practice (utilizing Full-Coverage Protective Head-Gear). This optional practice method is encouraged, but not mandated. It's utilization illustrates (to the student) how this motion will work effectively for either a Right or Left-handed strike attempt.
Left-Handed Strike
There are multiple “follow-ups” available, and student's should be encouraged to experiment with discovering what (and/or which one's) would work best for them (be it Tuite, arm-locks or strikes) in varying circumstances and/or their individual level of instruction.
How we share our art is a direct reflection of how we’ve trained and what we believe.
When it comes down to it I’ve been trained by individuals who spent no time applying kata technique, individuals who’ve utilized the ‘secret’ approach to the techniques they share after over 50 years of techniques blended from multiple systems, individuals who directly used their kata technique with no embellishments and had thousands of applications, and individuals who’ve spent decades studying extremely complex Chinese arts.
On the whole none of them were interested in spending time with each other. They all could and can kick butt in their own dimensions and they could all teach their approach brilliantly.
What one person insists only the most basic techniques are credible, the next takes the most incredibly complex and through correct training makes them effortless.
If you can’t do it its just that you’ve been incorrectly trained, plain and simple.
I see it as ludicrous to accept there is any correct answer. There are just correct answers for individuals, nothing more.
Coming from a heritage with no kata application and fighting tooth and nail over the decades to make sense to myself what it can mean, and layering in all the experiences I’ve garnered, I’ve built my own Isshinryu tradition for my students.
Here is how I approach the instruction of kata application.
In 'Kyu' training I do not teach kata application in a formal manner. But I do show it to demonstrate why the shape of their kata is done in a specific manner, especially when their form varies from the standard performance.
This is one of the inherent factors in our choice of a minimum of 15 years continuous training for instructor qualification. The instructor must have a deeper knowledge of the system than just initial performance. Can you instantly demonstrate and sell the application of any of your kata techniques. That’s a starting point to shoot towards.
As most students do not choose to remain in training for the long haul, why have them work on what is most definitely long term study. I, instead, follow the way I was taught and:
1. Give them strong basic instruction that may carry beyond their training. We do this with a small number of basic techniques that can be used in a wide variety of situations.
2. Until the student actually advances in their technique potential (specifically I’m referring to many years of study) they are likely not skilled enough to sell the kata technique. By that I'm referring to actually making it work against a focused attack, not walking through a technique against a half-hearted attack. (I would suggest there is evidence that this was the classical approach to karate training. The evidence shows that the time for this may be a very long one.)
3. No question some of the application potential is very dangerous unless that is the intent, and you should really know who you're sharing this with. While this is inherent in techniques, most individuals are locked into what they've been shown, until you unlock that knowledge. This is clearly where things are hidden in plain sight, such as a horizontal elbow strike that can be a neck breaking/wrenching technique at the same time.
At the same time, there is a balancing act for the 'reality' your students live in. Each instructor must understand their home 'environment', to determine what is the best mix of study for the student. What works for me where I live and teach is likely the incorrect mix in a different area.
But the students are exposed to the concept of kata application, and in an informal manner work them from time to time too.
I am not a believer in ‘formal bunkai’ of the Isshinryu kata, or of any kata. To often the formal one’s I’ve seen have degenerated into drills and not application. I see the use of application study as a tool to unlock any movement’s potential to allow us to tap that potential as needed.
At Sho-dan the formal study of kata application begins .
https://www.youtube.com/watch?v=Xc0JrvCpFII
https://www.youtube.com/watch?v=IoLSaM1OQ90
The first step is a complete Analysis of one technique, being the first section of Seisan Kata. This includes learning to sell dozens of applications against a very wide range of attacks. By application they learn the entire range of potential in a single technique. They also acquire the ability to stop anything, in one sense not needing something else, yet come to understand this is only a starting point in a lifelong growth potential.
Once they’ve acquired some skill next comes the study of application potential of a single kata, and the one I feel most important is Sanchin. Most especially as most of the world insists Sanchin has no applications and is only for health. The only health I’m concerned with is the students ability to learn how to drop anybody.
Intermingled with this initial training are studies in principles underlying their ongoing development. Often using kata Fyukyu Sho as the workhorse to study them.
They include studies in:
a. Breathing during inter kata technique versus intra kata technique. b. Compression and Explosion of energy from movement from the center and a deeper understanding of the crescent step. c. Underlying structure of technique application. d. Countering locks and Holds e. Multiple Striking, layered striking, stop hits, multiple blocking, jing do
It is after moving through these stages the student moves into the wider study of application that can last forever. These stages aren’t attempts to study at one time the application of a kata. Just a never ending chance to explore kata potential.
At some point the exploration of Shimabuku Tatsuo's Self Defense Techniques is necessary. I find them a fascinating answer to the central issue, but then I find each technique as fascinating an answer, too.
Add in periodic exploration of specific technique studies, such as elbow striking exploration, techniques for hand and foot and most especially the use of turning as a weapon, studies in how the art of aikido is contained within Isshinryu with no modifications and so forth.
The range you can explore depends on the student’s abilities. I’ve long been fascinated with the ground fighting techniques (not BJJ) that several instructors shared with me, but each time I grow a new potential candidate for study, they move on in life, growing up, and my adults no longer can realistically move in those dimensions.
And the underlying template for my ongoing studies and teachings, my own research, the studies with Sherman Harrill in his application, the training with Tris Sutrisno in karate, aikido and other techniques and the training with Ernest Rothrock in kung fu.
BTW, I believe in everything I practice and believe all of it can drop people too. It’s just a question of correct practice.
This is how I define Bushi No Te Isshinryu.
Pleasantly,
Victor
- - - - - Note on the use of the term 'Bunkai'
Over the years I've seen many concepts that look like they make sense enter the common vocabulary of my own teaching. Bunkai was one of them.
As a student I studied no 'bunkai' to the Isshinryu system , nor did my instructors teach it when I was a new student. In turn they didn't study it with Shimabuku Tatsuo. This didn't mean he didn't show the application of the kata (though it wasn't the practice my instructors taught).
Simply, 'bunkai' is not an Okinawan term.
As I've come to understand the Okinawan's essentially taught in a mostly non-verbal manner by demonstrating and use of little terminology.
'Bunkai' is a Japanese term. Several years ago I had a Japanese English Teacher visiting our area for several weeks and staying with us. He had trained in Shorinji Ryu Kempo while in college and naturally we discussed the martial arts. When I came to the term 'bunkai' he had no idea what I was referring to.
In part because his training was in a different vein, but in part as he explained the term use as I described it would have been specific to some karate groups and not the general populace.
The average Japanese would use the term 'bunkai' as "the car mechanic bunkai-ed the car" or 'took apart'. Now taking apart a kata for application is part of what 'bunkai' has come to mean. However, as the term is not native to the general Okinawn karate community (though because of American influence reading about the term, the Okinawan's have begun to use the term in turn) and I didn't study with the Okinawan's I think its more dignified to use terminology consistent with my own studies.
I did train with an instructor who used 'bunkai' in a consistent way, but not one which anybody else uses. His family use of 'bunkai' described how kata was a mnemonic device to learn a vast number of self defense techniques (intertwined from karate, aikido and Indonesian tjimande). This was an approach his father built up over 50 years (long enough to achieve any level of legitimacy in my mind) of practice. But this is a usage very different from what others use, more akin to the concept of kakushite or hidden hand.
In that I chose to use Kata Application. It may not have the 'ring' of Japanese, but I clearly know what I'm referring to when I mention it.
Back about 1981 after I had been regularily visiting the dojo of Tristan Sutrisno to share in training with his students, one night I learned a Tjimande form, the first form of his families system called Matzan Tildur. He was teaching it to his senior students who were brown belts and he invited me to join on if. He covered the form and the next night I visited he went into the explaination how the forms movements would be utillized.
The Tjimande he has studied was a private family system that was run by his uncle. This was in addition to his other Shotokan karate, Aikido, and Kobudo studies. But his father had privately begun his own training in Tjimande basics when he was 4 years of age.
I found the form was very interesting and unlike anything I had seen elsewhere. I learned it, then practiced it from that point of time onward. As in many of my studies with Tristan, I never filmed it nor did i teach it to anyone, ever.
And as with much I was shown by Tristan, it was just shown to me one time, never to be repeated. But I did keep notes, useful to me as time passed. And they have always proven to be accurate notes.
I an sharing this because I want to remember that once upon a time.
Also I realize no sane person will attempt to learn this form from my notes. There are many small details that require being pressed into one's flesh. Those are not in my notes, instead they were impressed into me.
Note: I only have this saved via screen prints as seen below.
In this video, 10th dan Goju-Ryu Karate legend, Tetsuhiro Hokama Sensei, demonstrates the pressure point striking of Okinawan Karate inside his home in Okinawa, Japan.
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