Wado Heretic

Unfortunately, Dux-Ryu or F.A.S.S.T is very real. Sadly, it is one of the better formulated systems with a faux history, so still manages to have traction. In terms of fictional martial art, I would not call myself a fan of any; however, I do enjoy light-saber fighting choreography. As they are not authentic swords, flinning is forgivable and can be interpreted as just how the weapons are used. I find suspension of disbelief easier with them compared to poor fencing practice with actual swords in films. Prana-Bindu is perhaps the most compelling I have encountered with regards to sci-fi/fictional martial arts, as it is part of a broader narrative on the human condition. In that sense it captures the inability to render martial arts divisible from conflict and politics, which are deeply human affairs, and brings forth the question the benefit of the use of performance enhancing drugs with relation to enhanced capacity in the realm of violence. I do enjoy wielding the bat'leth; it is a terrifying weapon with regards to it's versatility and practicality. I sometimes prefer to practice with my bat'leth over my traditional weapons when ever I find myself feeling under motivated.

If one can find videos reflective of what is expected of you in the Dojo; in terms of waza, embusen, and kime, then online videos can be useful as a memory aide. Ultimately; it is a double edged sword. Thankfully the internet has opened up a whole new era with regards to accessing karate, and information in general, but it also means people who would have once been eliminated via the power of a peer review can spread poor or disingenuous material much easier. Can one learn a kata from a video is a tricky question. In a specific experience; I have a student in the U.S who I visited for two weeks. In those two weeks I introduced him to the Fyukyugata and Pinan series, and Naihanchi Shodan. In the time since, we have used a regular video training session via Skype, and my sending videos of the Kata with commentary, to continue his training. I would say that it is the influence of the video training sessions that matters more with regards to training, than the video of the kata themselves. Ultimately; it is the feed back that is what leads to a good kata performance or not. Hence, why we all go on about finding an instructor. I have met people who have learnt kata via video without a feed back system, and people who have learnt via video but had feed back. The difference is incredible. Now, as an instructor and fan of using media as a training tool; just train. We all develop bad habits regardless of how much we practice or train; train with the mindset of global improvement. Any unwanted habits you develop your instructor will correct; just train and be mindful of corrections. You will not escape bad habits, they will get you, so just train.

As I said in my post; a very clumsy term that is often best avoided. The term originated in circles whose concepts of what Martial Arts should be resolved around the notion of "aliveness", and were heavily influenced by free-fighting, NHB, and MMA. Therefore, the early use of the term was very much critical of any system which did not match this standard of "aliveness. As you can imagine, such an unyielding definition some what comes apart when one encounters the traditional martial arts, and certain combat sports. If we take Kata for example; forms are often considered "dead" training, with even application advocates receiving criticism for the round about manner in which they have arrived at their alive training. However, many of us who study the traditional arts will utilise forms in our training, alongside other "alive" methods, and most of us realise the inherent nature of kata; that although they are a map for our training we should not neglect hojo undo or kumite. Should we considered McDojo for a cultural practice that governs our approach? Many might argue yes, many would argue no. As mentioned prior you also have activities such as Kendo, and we could also mention kobujutsu in the same ilk; it is not going to meet the classic definition of aliveness simply by virtue of the activity in question. The more nuanced version that many of us involved in broader Martial arts circles is thus that of unethical business models. What has been advertised, is disingenuous with what is in fact provided. Seemingly high-costs, and for-profit models, are not for sure signs of a McDojo. There are for-profit schools, whose prices are reflective of the quality of their services, and of their facilities. However; the difference between a for-profit school and a McDojo is the advertisement, and business model: 1. McDojo make money through hidden costs, not by asking reasonable and competitive rates reflective of the quality of their service. 2. What they in fact do will also be disingenuous with what they have advertised; their advertisement will usually be a catch-all approach, but what they teach will be formulaic and often only address one aspect of what was advertised. They do not discuss their actual focus, and this basic approach is an exercise in cost cutting, and time saving, rather than specialisation to enhance the benefits of training. A good sign of this is a good looking dojo; a dojo that is well presented, but when you look around the equipment is some what lacking or non-existent. Cosmetics are cheaper than equipment, and the illusion of a well-presented dojo can easily trick the untrained eye.

Once; but as an incentive of sorts. One of my former instructors, when I was still involved in Kenpo (so nearly a decade ago now) was seeking to hand the club over to someone, as he was starting two new ones in other towns which would disallow him from teaching at the local club beyond once a week. He offered to award me Nidan grade if I took the club over, but I had already decided to leave at that point after earning my Shodan. It was actually the nail in the coffin for me to leave. Another less exact example was when I was an acting assistant instructor. A brown belt who had been helping us for a while, but whose training was inconsistent, who was not going to take his black-belt exam at his own volition. Basically the instructor I was working with gave him his black-belt. Now the instructor I was working with was Nidan in rank, and the organisation I was with allowed Nidan to award up to Ikkyu and Junior Black-Belt grade; so this award to an adult without a formal grading was very much against procedure, or how I felt things should be done. So I have seen it, and it has always been why I have walked away from a situation.

In short; it is a very clumsy term that is often best avoided in conversation. However, it is a useful catch all for discussing Martial arts clubs/centers which have unethical business practices. Usual signs are either an unusually high number of belts/ranks to black belt; with half-grades or stripes for both junior and adult attendees. The intent being to keep grading more regular, and as grading processes often incur an extra fee the owners can make more money on a regular basis. The caveat of this being that the grading is so regular and the requirements for each grade so reduced that the process of grading in itself loses meaning; as there is no possible way to progress in the time between grading, and the levels of knowledge between each grade is often indivisible from the last. Although it is often questioned when double rankings are allowed; you are more likely to find rigid thinking against in such an organisation as the grading is where they make their money. Another is the allowance to skip Dan grades, and to progress through them at an unusual pace. This is rarer, however, as often those practicing these methods will try to prevent people progressing into positions where they might feel privileged to have a degree of power in the organisation. If one finds themselves in a situation where the Dan grades with the higher grades seem closest to the head instructor, but whose technique and knowledge does not reflect well against their junior peers, this is usually this in action. Another are hidden costs, if one is paying a regular fee. Often a McDojo will offer a fixed, and regular tuition fee, which will be sold as allowing full access to the facilities and classes. However, later they will inform you of special classes, that you "should" attend if you hope to progress, but that involve an extra cost that is not covered by the now declared to be standard package. They might also, after initial training, inform you of the need to buy regular insurance; as you are no longer covered under a so called "beginners" clause in the initial contract. Insurance is not unusual in the Martial Arts, but if it is more regular than an annual renewal, than the money is probably not going towards keeping you covered most of time. Further one is that of Junior or childrens' classes. Many places with ethical business models do provide these, but, the difference is often in the time provided to train, the ages allowed, and the cost. A good childrens' class should last approximately an hour, and should involve both authentic martial arts training, and something to keep the children entertained. The minimum age should also be something sensible such as 5-7 years, and the costs should be competitive with sending the child to another sport. If the class is incredibly short, the price excessive compared to other sports or even just sending them to a care program, and there is no emphasis on the child be able to demonstrate what they are learning from class to class then it is merely a money making exercise. To reiterate as well; often black-belt programs and clubs are a solid sign. They are again another hidden cost approach, as often a person who has it in them to earn a black belt will do so without the aid of a special program, and secondly the club is designed to feed the mystique of the black-belt. It is designed to feed the chase of rank, but also provide a way to retain black-belts as they are given a sense of privilege and of belonging at the dojo. These are the most insidious signs, in my experience, of a McDojo. I have encountered places with poor business ethics, but on paper, their knowledge and what they were teaching was sound. How they provided access to what they were teaching though was unethical.

You are probably over-training by the sounds of it, with regards to this particular area. Might I suggest leg work every other day; and more emphasis on good stance work (avoiding collapsing knees) and excises such as squats. Might resolve the issue, might not; but it is the direction I would try.

First, good work, and hope you keep it. This approach of having centralised grading does appear to be in vogue in Shotokan-Ryu. The times I have encountered it, usually what is occurring is that the head instructor or technical director of the organisation will run a course for senior grades in the area, primarily the club instructors, and while he is present will then run a grading for the members of those clubs. This either occurs for two reasons, in the UK anyway; 1. An instructor, or instructors, is/are visiting from Japan, and as an administrative exercise are conducting this style of grading to ensure that the local instructors know the standard expected by the central authority in Japan with regards to grading. It also serves as an effective way to introduce any technical changes being made. The former approach could be declared an “error”, and the new approach a correction. 2. The organisation is a relatively small local organisation; and the clubs are condensed to a relatively small area. Therefore, to maintain standards, it is best to have a centralised grading; especially if it is unarguably not a great inconvenience for any one. Now I should add that it is not unusual for Dan grading processes to be centralised in the UK, just because travelling should not be a great inconvenience regarding the size of the UK, so it is not just a Shotokan thing. However, for junior grades it is far less common in the broader community, but as I mentioned, I have seen it coming into vogue in Shotokan circles. The Kari grade system is essentially for juniors; with the intent to ensure two things: 1. That they can grade regularly, but at a pace and standard suitable for children. Furthermore; for very young beginners, it means that they can proceed through the grading system at an age where they do not have to wait too long before they are old enough to attempt the Shodan grade. 2. For those learners who might find it difficult to grade at the usual pace. Those with learning difficulties, or some form of infirmity they have indeed taken karate up to overcome. As far as I know, I do not believe Kari grades are official in so much as there is no place in the syllabus for them. They are intended as a flexible tool, to be used at the discretion of the grading officer, or instructor, when it is felt needed. On Oss/Osu: it is a nonsense word that developed a flavour of it’s own as a sort of affirmative declaration. I prefer Hai, and do get annoyed at being Ossed at, but it is just the culture of that particular club. Something one just has to roll with. For a more in-depth explanation; the article link posted should suffice. Hopefully this is of use to you. However, really it is something only your instructor can expand upon, and explain. Again, good work, and good luck in your continuing journey.

Like others I enjoyed it when I was younger; though I was never an avid fan, and only really partook in PPVs, the games, and backyard wrestling. I was a fan of the physical activity, the technicality, rather than any of the angles or stories. In terms of mainstream I enjoyed the Attitude Era of the WWE, but some what fell out of love of it in my late teens, as it shifted to the PG/Reality Era. At the same time I started discovering old British Wrestling, and Japanese Shoot-wrestling via the internet and the main stream lost it's charm. Then I discovered old Pancrase footage and through that the emerging MMA scene and, as my interest had always been in technical wrestling, seeing real fighting appealed to me on some level. By the way, in my parts of the wood, it was tricky to access MMA; until around 2008. We did not even have a proper MMA gym where I grew up until 2010, and competitions are still a rarity. Then I discovered I really cannot stomach watching people injuring each other like that in a cage, and because wrestling had lost it's charm, I never looked back. I still watch particular matches where the set up is interesting, the two opponents have distinct approaches which might make for a good learning experience but I do not follow the sport at all. I actually did pro-wrestling as a job when I was trying to make it as a professional kick-boxer; was going the route of putting together a strong amateur record before trying to break into the pro-circuit, and no one pays you to fight as an amateur. With pro-wrestling, it is like Ballet and Opera; if you enjoy it then you enjoy it and it does not need explaining. If you do not, then no matter of explanation can make you enjoy it. However, one should at least respect the physicality, and skills, on display.

Congratulations, and thank you for your contributions.

It is very useful if you have a habit you want to displace; instead of attempting to distinguish the habit, decide on a new benign or beneficial habit and focus on practicing that when ever the circumstances of the negative habit arise. Not a perfect method, but very useful.

Everyone is different, and one has to account for that; in that particular example, is that 16 year old mentally capable and competent in the art. If so, he should perhaps be given the opportunity to go for the blackbelt. I have a strict age 18 policy, because that is the age one is considered an adult under the law. However, I honestly think it must be a case of individual basis beyond that; has that person achieved the qualities that they can to be worthy to earn this belt. Let us say someone knows all the kata they need, but perform them poorly they should not grade; just knowing is not sufficient. Do they perform the kata well for their current condition, and compare well against their peers? If yes, then they should grade. It is not often merely a case of age, although this can be a factor, but the individual being graded. Hence, why I am against a black and white approach to the matter. However, if I am saying a person is responsible for their karate, I believe they should also be legally responsible for what ever they might do with it. That is not a possibility with someone who is not considered an adult by law.

Sorry for the late reply; only noticed your question when I accidentally clicked view your topics. If you suffer lower back pain, or a history of leg strains; then this might be your cause. Overactive hamstrings essentially leave your hamstrings "tight" constantly, so that any movement you do regarding the legs really works them. Now, this can be reflected in kicks, as this tightness will make it difficult to flex and access the calf muscles. The calf muscles are what hold the ankles strong, and if the calf muscles are already over worked, and you then attempt to push them further, you cannot get the results desired. Hence why I suspect the problem might be in the hamstrings, as if it is specifically during kicks, then it is a whole leg issue.

Oddly; I took a class with a lecturer my own age, and he was the only person I have ever had a problem with in my whole academic career. Not sure whether that says more of me or him though; I would like to think him as I have taken martial arts classes with instructors younger than me and have been fine. In the martial arts, we have a peculiar relationship with age, even more peculiar than the rest of the world. We generally respect the benefits of age and experience, but at the same time we admire the performances of individuals in their youth. Whether it is outright hypocrisy, or a double standard (which is no more benign) perhaps comes down to the particular situation begin discussed. Maturity in the arts I believe evolves from one's own authenticity; how one engages internally with what they do. I have encountered 20-30 year old 3rd-4th Dan instructors who were open about what they did not know, but were confident in what they knew and learning with them was a pleasure. I have encountered 50-60 year old 7th-8th Dan instructors who spent 50% of the time instructing comparing what they were doing to another approach, but not as a point of context but of criticising the other approach and advocating their own position. One approach shows security and authenticity, the other a lack of both. I know who I would train with again. Personally; I would never award a Black belt to a child. To me Karate is a discipline, and one that carries a pedigree of violence. The blackbelt to me signifies taking responsibility for your own karate and your martial arts path; it represents both that the wearer should have discipline, but also a capacity to use their skills. To me, the demand of that level of discipline in a child is unfair, and a child will never match an adult in physical capacity. However, if a child can match the demands of a black belt in a system, and they put the hard work in; I am not going to diminish their accomplishment by decrying it as unauthentic. The education system does enough to beat children up, I do not need to help. Saying that though, I have to agree with Montana; and add the caveat that there is a difference between a black-belt and what even higher ranking infers. I think the youngest person I trained with whom had a high grade was a 5th Dan (the last technical grade one could take in the organisation I was a part of at the time), and had earned that at 35. His main specialty was Bunkai, and applied martial arts, so in that sense his youth was actually a boon when it came to his seminar. If you have the knowledge, and the authenticity, and are an adult; I will forgive most grading that seems a bit high for your age. I have met plenty of 3rd and 4th Dans in their 20s, and a number were terrible and a number were very good.

As the stereotype well ran dry, it became, I do not want to say less "funny" but the reliance on where they were getting the humour changed. By three they were engaging in absurdity, and character humour; but because the characters are caricatures and absurd in the first place it fell flat to me. I hope they continue to do shorts, and live shows though, as they remain funny.

I just want to add that this is a good drill; especially for some one new to karate, and even those of us with experience. It is also a drill one can do with something called a Sagi-Makiwara (to some extent: it is less forgiving than a bag), so whether one goes down a modern equipment approach, or a more traditional approach it is a drill you can find useful throughout your training. How I used to use it in the dojo was to start with foot-work drills alone, before expanding onto striking the bag, and would use set drills to get used to how the bag can change direction when it is struck in transit. For example; push the bag, move your back leg across behind you and pull your self across to the side, then hit it on it's side as it passes, and keep doing that while changing the direction of the dodge each time. It is a drill I suggest you start getting used to with gloves, as it can be quite harsh on the hands when you start due to the weight and momentum of the bag. I would also advise against hitting it along it's line of trajectory, especially if it is coming towards you.

Thank you for the clarification; it is perhaps down to who one interacts with that leads to the terminology you encounter. Must admit, my teachers in Okinawa favour the Makiwara, Chiishi, and Nigiri Gami and some western equipment such as kick bags and treadmills. Thus, as you can imagine the talk rarely turns to other types of equipment.

I was talking about a speed bag at that part of the post. If only I could brag about a kick able to break heavy bags at will Saying that; have twice knocked hanging kick-bags and their supports out of the wall. Have also split open my oldest, and otherwise most reliable bag, but time had had it's toll on the material by then. So does not matter about the equipment; if a way for it to fail can be found, it will be found eventually, so take good care of it. I suppose one should also discuss when, and how to use bags for training with karate. I generally follow 2 broad rules: 1. Karate is a self-defence discipline first and foremost; unless one is training for sport, one should seek to avoid the use of gloves where possible. This includes the use of bags, but one should only avoid the use of gloves with safe, fixed drills. Any free practice should involve the use of wraps at least. 2. Pay attention to the weather; cold weather will agitate any inflammation from striking objects. If it is warm then feel free to do traditional impact training, and fore go the use of gloves. If it is cold, avoid traditional impact training, and use gloves to reduce inflammation. Also, use some post-training treatment if one is hoping for longevity.

I have found season three some what hit-and-miss regarding the humour. However, I have enjoyed the satire of season 1 and 2, and although I have found some of it has fallen flat in 3 because it is starting to rely on humour regarding the characters rather than the source material of McDojo culture it is still a good show.

My general routine is to start on my Okinawan impact tools (makiwara ect.), which I then follow by doing individual Kihon Waza on a heavy free-standing bag, and then will move onto striking the air. I have found this to produce my best performance results regarding having good technique. Also, I will usually warm up with a 15 kettle-bell routine before hitting any thing. I will also do an hour of Kata training after this, and an extended flexibility session so as part of my general week I usually do these 3 times a week. When I used to compete; I would do free-style sessions the length of the round I was expecting to fight plus 2 extra minutes, but would limit my self to 4-5 techniques and 2 combinations of said techniques. Between the rounds against the bag, I would do a "round" against a grappling dummy, and again limit myself to a set of techniques. I would also use the rules I would be competing under to guide my way of training; so for example SOMBO does not allow beyond 30 seconds on the ground so I would never exceed 30 seconds on the ground when training. These days I run a similar exercise but instead I go by themes; what Kata and/or Kihon waza is my goal for the month. I just work a sequence involving my choice kihon-waza from the kata I am working on, and experiment with it for about 6 minutes. I also then work potential take downs and follow ups from said sequence with the dummy. I usually do about five rounds, with 60 second breaks, so take just under forty minutes usually depending on the quality of my time keeping on the day. Usually do this twice a week as my circuit training. To explain my logic; research indicates it takes about 3 weeks for a new habit to form. So every month, I choose a "habit" I want to form regarding a kata and a basic technique, and although I do not neglect any element of my training, I place extra effort towards that habit forming. It might sound unusual but I find it works for me regarding improvement. Speed bad drills are a bit more sophisticated as I do several but I am rather irregular with such practice unfortunately. I find resistance bands, plyometric exercises, and weight training contribute to my speed development and maintenance more. I usually warm up by doing the conventional boxing drill designed to work the shoulders and arms before moving onto other drills. A foot work drill I do is that after hitting the bag, I swap my front foot and back foot around, and attempt to strike the bag again before it completes a swing. Sometimes I practice my stance changes, by performing a jab, and then a reverse punch but with a stance change. So say from side-viewing cat stance, to front-viewing cat stance. Try to keep a rhythm going as long as possible. Another is to keep striking it with the same hand but changing the striking surface between each hit; so from a jab to a back fist to a hammer fist. I did once try this using closed to open hand and back but almost injured my fingers so I would not recommend it. Last one, and I would only do this if you own the bag itself, is to do a jab, slide back to give space for a kick, and then get back into jab again before the bag completes a swing back and forth. I would not advise kicking the back as you will probably break it, but can try if you like.

In my understanding the Tou is a an upright bamboo bundle, where as the Ude Kitae was the solid striking post that some times has arms. I could be wrong, but I was certain of it so if I am wrong some clarification would be appreciated. Anyway; I would say that the use of such an implement very much depends on your current goals as a karate-ka. What are you thoughts on other styles cross training with them? The mook jong, and similar devices in Southern Chinese Martial arts, evolved primarily as a device for the training of Hua jin (dissolving energy: think Aiki for an imperfect analogue), which in Wing Chun and the Southern arts is done by trapping and sticking which requires the practice of maintaining pressure. Similarly, such a tactic towards eliminating an attack requires one to condition the arms, and practice entering techniques. AN advantage of the wooden dummy is that no matter the particular exercise, to perform it well you must be aware of all the "dangers" presented by the dummy. If your approach to karate resolves around similar concepts, as a lot of Naha derived systems do, it could perhaps be a useful device for you. This is also true of other disciplines using similar ideas. Are the useful for Karate at all, or do they serve a specific training purpose not native to karate? As I stated prior; it depends on your goals as a karate-ka, and your understanding of the process of Bunkai. As mentioned by Wastelander, there are the devices of the Ude Kitae (Tou maybe?), and Kakite-Bikei, and there are only so many ways to fight effectively. Although there are specific exercises for the mook jong, the ideas it is designed to assist in the study of are rather universal to the nature of hand-to-hand combat. If your study of karate involves Kakei-kumite on any level; you should perhaps explore the use of such devices, I would advise the Kakite-Bikei, as it would allow you to condition for such methods more directly compared to other impact tool. How hard are they to learn to use on your own, without a Sifu? Easier than it used to be; there are plenty of instructional videos, and good books out there to learn particular drills and so forth. However, beginning any type of conditioning should ideally be done under the eyes of a trained individual, but saying that if one trains responsibly and pays attention to their body it should be safe enough. I used to use one daily (it is currently in storage) though mine is now heavily modified, and incorporates elements from the Kakite-Bikei, innovations suggested in Bruce Lee's writing, and some of my own invention. Traditional drills no longer work perfectly, so has been an exercise in discovery regarding it's use; and I have never been injured using it.

I have generally encountered three reasons for individuals starting their own styles; 1. Politics; they have created their own style to remove themselves from the politics of their parent system. Often, the syllabus is the same as the parent system initially, but may over time progress or regress; as in they will either retain objects the parent style deletes over time, or they shall add their own objects over time as they continue on as separate entities. The two common scenarios are either a lower Dan grade with a school, who does not agree with the direction of his/her organisation, but because of their place in the hierarchy cannot access or influence the direction that is being taken. Thus, from frustration, they leave so that they can do as they believe they should. There are a variety of reasons; sometimes the decisions of the higher ups are having a negative business on this particular person’s local success, despite the changes having a more global benefit. Often a change in style name can be legally motivated in such circumstances, depending on the business model of the organisation. The other scenario is a member of the leadership who is frustrated with the politics, and moves onto a new name and new organisation to divorce them selves from the politics of their former organisation. 2. Technical direction; the individual starting the new style believes what they are teaching has become divisible from the art they have been claiming to formally teach. Sometimes this is as clumsy an endeavour as someone who has cross trained and has decided to mesh together elements from multiple systems into a new, distinct curriculum, but without a logic or reasoning which binds the parts together. Other times, it is an authentic example of Shu-ha-ri; where new ideas and principles are taking the place of core principles of the parent system, where performance and presentation are superficially similar but the content is distinct. One can argue that the first case is an example of McDojo; where this is poor practice. The second case is closer to just being sincere and authentic with what one is doing; simply adding, or taking away to a curriculum does not change the system you are teaching or practicing. However, if one has changed the underlying nature, the lens through which the content of the curriculum is interpreted, and practiced, then you are beginning to perform something distinct. An example of this would be Shotokai, and Shotokan, where both have similar content on paper, but how the content is practiced is completely different. 3. Hybrid culture; basically the new style is in itself is coming from a new style. It has evolved from a hybrid martial culture, where the idea of adding and taking away, pursuing the best tools and eliminating what is considered redundant. Sadly, when this is not balanced by being involved with a competitive combat sport element, but instead modelled after traditional martial arts; you end up with style after style. A student will disagree with what is being removed and will retain and depart from the parent style, while others will take away and add to such an extent that their curriculum shares only a fraction with the parent styles; and thus it is believed there is a new “style”.

The assertion is not that it is taken directly; but perhaps influenced by a particular way of preparing the shuto, and with other influences it evolved to what is seen now.

I cannot really disagree within the context of Shotokan-ryu; Funakoshi did devise a certain logic to how he taught, and expanded on the kata. I shall try and find where it was asserted, but it has been stated that Funakoshi only studied Naihanchi and Kusanku for the majority of his career, and only picked up the other kata he taught shortly before leaving Okinawa for Japan. This would make sense of the heavy reference to Naihanchi and Kusanku throughout the other Kata, as well as some "errors" in some other the other kata. If he interpreted and taught the kata as an expansion of his in-depth knowledge of Kusanku, then it would be appropriate the view each kata as an expansion, and variation, of the principles of Kusanku. In my provided example, does shotokan-ryu in Passai follow the same pattern as Wado-Ryu; when moving into the front facing naihanchi-dachi, and performing the fore-arm/hammer-fist cover and punch does one arrive from neko-ashi-dachi and stay relatively upright? In Wado-ryu you move into the position from neko-ashi-dachi, so it's a very small movement and you stay relatively upright. However, in shorin-ryu, one moves into it from cross stance, and into a front viewing shiku-dachi, so it is a very large movement which involves dropping ones weight down significantly. In contrast in Kusanku, you pivot from a deep back stance into shiku-dachi; so it's a very subtle move, you maintain a strong base, and you stay deep. How one exits this otherwise shared sequence also differs significantly; as do the general principles of the Kata in Shorin-Ryu. Therefore I interpret this to mean the sequence should be used differently, not just as variations of the same application, in each kata; even if in terms of performance they appear the same, the content, in my opinion differs. This though is based on my experience of Shorin-Ryu, and I cannot refute the logic regarding the Shotokan kata. To paraphrase Mabuni Kenwa; he insisted that one should study 2-3 kata as "your" kata, and treat other kata as supplementary to those. I could see Funakoshi modelling his way of teaching on a similar line of thinking; as both his students in Ohtsuka and Konishi used similar models in their construction of Wado-Ryu and Shindo Jinen-Ryu.

Have you looked into Scottish back-hold wrestling? In terms of culture; perhaps sword-dancing, or the rituals of the high land games. To be taken with a pinch of salt as they are revivalist traditions but might move you towards the flavour you are after. There is plenty of material on Scottish fencing, and some sources include reference to a variety of weapons beyond the sword, but they all date from the 17th century onward. As it is modern day, you might be able to use such sources to demonstrate the evolution of the art perhaps. However, it might detract from the ancient nature you are going for. Otherwise, I have to concur with the others, and suggest looking at bare-knuckle boxing. A good source would be "Banned from Boxing - The forgotten grappling techniques of Classic Pugilism". Another source would be, if you can find a copy, "How to fight tough" by Jack Dempsey and Frank G. Menke. It covers a very pragmatic approach to fighting, and incorporates both boxing and wrestling. Useful in that it was written by men who were taught by the last generation of professional bare-knuckle boxers and competitive professional wrestlers.

Sorry for the delayed response; this week decided to take a time consuming turn. I had also considered the possibility of making a video explanation but could not find a volunteer. I think Passai Sho/Bassai Dai is perhaps the closest point of comparison to the Kusanku; for both contain the sequence of front-viewing square stance, with a vertical hammer-fist block and punch in that position, before moving/leaning off to the left and performing a right forearm block. The difference though, is that in Kusanku one maintains pressure on the opponent with the front leg, as the front leg pivots into square stance. In contrast, in Passai, one has to project into the position. Prior to this, in Kusanku we perform a shuto uke in back-stance; in back stance we have moved the body, but not our weight specifically, back removing our centre line from danger but allowing us to stop on coming force. If we interpret the move for example as an attempt to deal with a grab to the lapel or throat with one hand to be followed by a punch, a relatively common occurrence, it makes sense to do this. Using the hand position, we can control the grabbing arm, while also covering against the on coming attack. Also, by pulling ourselves back, but keeping our weight even, we pull them off balance, but do not unsettle our own stance. With the feet as positioned, the front leg can used to attack their leg and further destabilise their balance. By maintaining pressure with the front foot, and maintaining control with the arms, by using our hips to turn into shiko-dachi, one can then pull the attacker over. However, if this initial pull did not work, one could twist the arm of the attacker, and then shift their weight to the left, and apply pressure to the arm, to force the attacker to the ground. However, if we try this same method for Passai, the stance moving into the same movement does not apply enough pressure on the attacker. Also, if the attacker was attacking straight on and had body control; defending in cat stance or crossing stance would at best be fool-hardy. However, if we use it as a technique for moving around ballistic attacks, and for absorbing and dealing with techniques at an angle, it still makes sense. So if we move around, say an attempted push, we could then strike the attacker in the side, follow their direction of movement, and work from there into a take down. So hopefully the above gives a direct example of 1: Application reasoning, and 2: similarities in similarly aged kata. Jitte is another place from where shared sequences can be found. In terms of white crane kata; I see many similarities in Gojushiro; primarily those of creating distance, or engaging at close range.