Spartacus Maximus

One thing that always seemed odd as a non-practicing observer of grappling/throwing systems; is the way almost nobody(including those practicing these) ever brings the question of how and what happens before and leading up to the moment the throw/lock is applied. The only part shown/taught are the actual throws/locks. Unsurprisingly, the more focus there is on competition/sporting grappling, the less there is on set-ups that have a key role in how effective the throws/locks will be. Little things like striking to momentarily stun or unbalance an attacker.

Forgetting the importance of setups from locks or throws is more common than one might expect. So much consideration and attention is given to setting up striking techniques and the very ideas of setting up a technique is often more frequently associated with martial arts focussed on striking. In grappling/throwing/joint locking systems such as classical jujutsu or aikido, the set-up is much less obvious in training. A common criticism is that many of the techniques would do poorly on a genuine attack situation. It may not be explicit or obvious in the way these systems approach training, but the truth is that most if not, all grappling/throwing or locking techniques are only possible and greatly enhanced when preceded by some kind of strike to decrease the attacker’s ability to resist being thrown or having a lock applied. Judo for instance, used to be taught with strikes in its early stages. Nowadays one would be hard pressed to find a judo dojo where these ´lost techniques ´ are still taught. Even in Japan’s official Kodokan dojos it is no longer a norm and quite rare.

The short answer is that it doesn’t matter as long as it puts the defender in the most advantageous position for the most effective possible counter. Secondly it ideally should be creating an opening for either a follow-up(if necessary) or an escape out of the range of attack.

This is something that can be seen across all Okinawan styles, although under different terms. The explanation is centred around the concept and approach that principles of movement are more important to acquire than individual techniques. Many techniques follow the same single applied principle of movement. Defense and counter is based on where one is positioned at the moment the attack comes. A punch for example: If one is on the inside, the defensive technique and counter(usually simultaneous actions) will be best from there. If one ends up on the outside, one will aim to defend/counter from there.

The testing isn’t quite as formal as what one might expect to see in the majority of karate schools in Japan or the West. Only Hanshi can decide who is ready and one simply does not test until Hanshi explicitly tells them to test. Perhaps this is only possible because it is a small dojo with few students and less than 5 training today one time. The test is judged by Hanshi and a panel of at least 3 other people who are at least 2nd Dan or 2 Dan grades above for shodan and above tests. The test content is nearly identical for each level, but the appropriate level of understanding for the grade tested for must be demonstrated. Usually as follows: 1. All kihon waza and 5 kihon kata. 2. Bunkai and bunkai application of 1 kihon kata drawn at random from a hat 3. One Naihanchi with bunkai(solo) and bunkai application(attacks by volunteer shodans and above). Students choice 4. Same as above for Pinan kata. One chosen by the students and a random one chosen on the spot by Hanshi 5. Demonstrate(no bunkai) the highest kata learned for the grade ex: candidates for 3dan must do Kusanku Sho or Chinto 6. Breaking with correct technique. Technique varies by grade tested: 1 inch thick pine board. 3dan and above must break 2 boards and 5dan and above can do tiles. All this takes maybe 45min at most. No gruelling series of push-ups or 5km runs through the neighborhood. No free sparring either. Those are expected to be practiced in regular training and at home. This is by far the shortest and most informal testing I have ever experienced.

For some reason that isn’t quite clear, it seems like there is much less organized curriculum requirements in Okinawan dojos. Perhaps it has to do with the fact that the number of belts/grades was very small before Sho Dan. White, blue, green, then brown. Everyone was expected to learn the Naihanchi and Pinan within the first year and every one trained those according to their level of understanding of the bunkai/application. From Sho Dan onwards in no specific order each person learned Passai Sho/dai, Kusanku Sho/dai, Chinto, Seisan, Gojushiho and Teisho

It is indeed undeniable that karate was influenced by Japanese martial arts when it was brought to the mainland from Okinawa. However it seems odd that the concept of kiai or anything similar would be absent from karate in its earlier history. It may be a matter of coincidence but something similar to kiai exists in many Chinese martial arts including those taught brought to the Ryukyus by Chinese experts and Okinawans who studied in Fukien. In the case of Shorin ryu there may have been some influence as early as Matsumura Sokon’s time. After all, Matsumura was known to have trained in China and also in the Satsuma clan’s territory in Japan where he became highly skilled in Jigen ryu swordsmanship. Jigen ryu is well known in koryu kenjutsu for its distinctive kiai called « enkyo » the « monkey’s scream ». It isn’t entirely impossible that Matsumura may have incorporated a few things from the other systems he learned into his personal practice and teachings…

When first learning the Naihanchi series it did seem simple at first glance because the katas have very few moves and they repeat themselves in opposite directions. Like for many karate students, it wasn’t until much later that it became clear how important these are in Shorin ryu. The depth and breadth of application of it is quite amazing and it isn’t difficult to understand why past exponents like Motobu spent years on it before learning anything else.

Not to depend on books, but books and publications from reputable and reliable sources are probably the best start to get informed before and in preparation to seeking out a proper discussion with a legal professional. Getting a basic understanding and ideas about the local self-defense laws is definitely something worth looking into for anyone who seriously trains martial arts. Having references on hand is also important for instructors who may want to have something to point interested people in the right direction.

Indeed, but it can also be seen in the older sparring footage from the earlier Japanese karate tournaments. Several well known karateka from that era were especially adept at this…Yahara Mikio of Shotokan comes to mind.

Based on your local legal system and laws, what would you say is the most accurate and reliable publication(books etc..) on the legal aspects of self-defense? What, if any, books/written documentation would you recommend to your students/fellows short of discussing the topic with a legal expert(lawyer, judge etc)

There is another concept in Okinawan karate and related martial arts which agrees with getting behind the attacker. The idea is that the most advantageous position for counterattacking and defending is always at an angle or offside instead of moving straight backwards or meeting the attacking force straight on. This is especially important if the attacker is much bigger and stronger. This means moving out of the attacker’s direct line of sight and into the “blind spot” so that the counter will be much more difficult to see coming. Moving behind or as close as possible to the attacker’s back is the ideal application of that strategy.

It seems, at least from personal experience training and discussions with Okinawan teachers; that the idea of ´blocking’ is something that is lost in translation. As what Sensei8 describes, uke waza is different than stopping an attack force on force. The more accurate translation and description is receiving (ukeru in Japanese) the attack in such a way as to deflect it, absorb it and using it to one’s advantage by creating an opening to counter. Both uke and counters are often done simultaneously. Okinawan martial arts share this concept with most styles of Chinese Chuan Fa(Kung fu). As far as distance is concerned, there are some styles such as Uechi ryu/Pangai Noon and Goju ryu which emphasize a very close-in range but all Okinawan karate seems to be most effective from shorter distances, mainly from within arms reach.

Two of the most obvious explanations for hikite or “chambering” become clear when considering the strategy and range of Eastern martial arts. Particularly those of Chinese and Okinawan origins in their older pre-sport versions. Unarmed fighting and self-defense is rarely if ever done at distances beyond arms reach and most techniques require closing distance. It makes a lot of logical sense to seize, trap and pull an attacker while striking. The other explanation for hikite is exploiting antagonist motions to train effective body mechanics and structure for maximum power generation. This is not really unique to Eastern martial arts, but a vital concept. Every technique involves opposite movements and push/pull is one of the most important. In Eastern arts, at least, this is more obvious in training and becomes more subtle once skill develops and when used in actual fighting or defense.

What besides redundancy could motivate a martial arts instructor to decide not to pass on something?

It is a well known historical fact that every lineage of traditional martial arts has one and sometimes several instructors who either added something or removed something from what their own curriculum. This is one of the reasons why there are ´lost’ kata/forms. Chibana of shorin ryu , for instance was well known for insisting on passing on exactly everything Itosu taught him. However several of Chibana’s successors changes. Chinese chuan fa is also known for this as different teachers of the same style will often have a different curriculum and not include everything.

In the history of teaching martial arts it isn’t unheard of for an instructor to change their material. Sometimes by adding something or removing another. Even in the most traditional lineages there are those who, for whatever reason, do not teach everything their own teacher taught them. It could be a certain technique or an entire kata/form. For anyone teaching, is there anything you learned from your instructor(s) that you do not or will not teach? What would motivate you to make such a decision?

Another often pondered question: Is practicing forms at 100%one’s power, speed every time more or less effective as a training exercise From personal experience and observation, going 100% speed/power every time is not something that is done often outside of demos, competitions or some kind of performance(as for testing for example).

Is there a some difference between the way you do your forms in the dojo/school and how you practice them by yourself on your own personal time in private? Personally when practising kata alone it makes sense to do everything step-by-step. Pace and rythm would depend on when the kata was first learned.

There are few things in martial arts practise that are as rewarding as the opportunity to share it with one’s own child. Generations ago it was much more common for parents skilled in something to actually pass it down and teach/train a son or daughter. The possibility of this is actually a great personal reason to keep practicing.

To anyone using solo forms(kata, hyung/poomse, taolu) or techniques sequences: In practise what is the usual speed? What rhythm is used ie: is each move done one at a time step-by-step OR some moves/parts flow into one another? For this discussion the focus is on individual personal training as the conditions for skills evaluation or demonstrations are separate points.

There can be many reasons to find lying about rank objectionable depending on perspective. If it’s done at a competitive event, it is a form of cheating. Much like a pro athlete passing off as an amateur just to compete in a local level tournament. Anyone with a sense of fairplay would justly call cheat/fraud.

If you are teaching, who was the first person to be your student? How did you find this person or how did the student find you?

@Nidan Melbourne The most obvious explanation was that although it was the exact same style(Chibana lineage); the association/GB were different and so were the instructors. The other, no less important, is that ´giving up’ any previous rank/level was essential as a sign of good faith and readiness to learn with the approach of a beginner. To put it into a relatable context, it could be illustrated like this: Your grandfather passed his karate style to four sons who each founded their own association/GB. You started and trained under your father’s students and reached 3rd dan. Then a short time later, you start training with your uncle who was also taught by your GF. Same karate, same kata, same lineage….but taught differently with different focus. All very minute but significant differences. It is as much an advantage or a disadvantage, but as far as the curriculum of kata and techniques everything was familiar. It was/is just a matter of re-learning in a different way and on a different level.

This reminds me of dojo ideals/rules shaped by Okinawan karate and many other martial arts traditions with a code of some sort: As we train our body, we also train our character: This means to strive to be someone who can make conscious efforts to change personal faults. To become a kind and agreeable person. This requires determination because any effort made must be consistent and constant. Martial arts are a great way of developing patience and also determination, resolve. These qualities are essential and cultivated actively in traditional martial arts practice. Cultivate conscious effort. Develop a strong determination/resolve. That is also a loosely translated version, but the meaning stands: To learn and practise martial arts requires making conscious efforts to improve skills. Training over time requires determination and resolve.