Spartacus Maximus

The best way to understand this question is that Shorin ryu is a "family" of styles. The "ryu" refered to here means "current, style". All Shorin styles originate with Sokon Matsumura. There are 3 main styles in this family: shobayashi, kobayashi and matsubayashi. "Kobayashi" is Chosin Chibana's style as he learned it from Itosu, who had learned it from Matsumura and several other teachers. When Chibana died in 1969, his senior students each started their own "Schools" with a different name. Shorinkan is Shugoro Nakazato's association/school with his interpretation of what Chibana taught. There are at least 3 or 4 other schools founded by students of Chibana.

Usually martial artists have a very narrow frame of influence limited to their system outside of which they are not as well known. One of the reasons Bruce Lee and others with a similar wide-ranging reputation became universally known and recognized is due in part to their success in the entertainment business but also because they did not truly belong to a specific system.

lineage is one of the most important features of an instructor's profile. An honest and legitimate instructor will always be able and willing to speak about where and from whom the skills taught originate. It is never treated as a secret and even the lowest grade students will have heard mention the name of their teacher's teacher. If an instructor is unable or unwilling to discuss this is surely a very bad sign. Consider that even frauds will claim a lineage and readily talk about who supposedly was their teachers. What in the world could possibly be gained by this instructor by refusing to name his teacher? It hardly makes sense. Perhaps contacting others who were also trained by him might help. Maybe one of them will at least be willing to give a name. Another source might be high ranking kenpoists who might have heard of this fellow. Martial artists who have trained in the same city or area a long time usually have an idea of who their peers in the area are.

Many martial artists who have correct technique but for one reason or another have insufficiently trained wrists end up injuring themselves when attempting to strike with any power. This is a common problem for beginners to intermediate level students, but it can affect anyone with sprain prone or unconditioned wrists.

The value of mirrors as a training aid is truly undeniable. Nothing is more useful for self-observation as well as for an instructor to help students notice notice details and understand correct technique. Of course the ideal dojo has at least one wall section of mirrors, but even that can be expensive to have installed. A single large wall mirror, however, ought to be affordable and is a worthwhile investment for any dojo. Often, wall mirrors can be found in used furniture store and similar outlets. Some are lucky enough to set up their school in a facility that already has mirrors such as dance studios.

What are some suggestions for someone who seems to have weaker than average wrists and is prone to frequent sprains when attempting any training which involves striking a pad, punching bag or makiwara? What are the most effective ways to condition and train the wrist joint so that it does not bend or collapse with the slightest impact?

If this is meant as who has had the biggest impact overall, the possible candidates would be limited to only the most reknowned. Very few are universally so, and most are only known within their system/martial art. It is a tough question indeed. Even more so depending on how "our era" is determined. When does "our era" begin? Is it the last 50 years? More recent?

It is difficult to confirm with any certainty that the custom of keeping training secret or private is disappearing. It is definitely not as common as it used to be but the reasons for it have remained the same as they were in the past. Then as now, the point is to avoid trouble and unwanted attention. Fortunately or unfortunately, depending on his one sees it, there are many places where the phenomenon of street gangs and armed violence is virtually unknown. The bored, disturbed, drunk or stupid are found everywhere and anywhere. In most cases when there is trouble, it comes from these types. Training in any public place indoors or outdoors can be done following certain precautions, but anything that is not empty-handed is a sure way to get into a mess of trouble. The risk of being reported to the law is the least of likely problems.

Parks and other such open outdoor public areas are usually the kind of place where unwelcome attention would be more likely. It is indeed a good idea to choose wisely the area and time if one is inclined to train outdoors. Sometimes it is obvious that a place might be a bad choice but no matter where or when one chooses to train, there is no way to know who might be watching.That is what should be understood and accepted before deciding to practise in public. Obviously the considerations and details will greatly differ from one environment to another. Traditionally and historically practise was done in secret or as much out of sight as possible. This appeals to many of the older generations and their students. For example in Okinawa and Japan, it is entirely possible and very common to see karateka in parks, beaches and almost any open spaces. It would be foolhardy and asking for trouble to assume is is possible to do the same in the inner city in USA and many other countries.

Both of the karateka mentioned in the OP had to start somewhere. It is important not to forget that they once were unknown, regular dedicated martial artists quietly training, practising and later teaching in their own dojo. The first chance they were given was probably by their own instructor who believed in them and their students who appreciated their teachings. The rest of their succes stories are due to their determination and will to share with anyone ready to hear them. In short, they are successful and reknowned thanks to their students, their teachers and their willingness to share their interest and experiences. None of it happened overnight and neither would their reputation be what it is without intention. Some of the skilled karateka who were involved with Mr Enkamp and Mr Abernethy are much, much lesser known than them.

Is training outdoors or elsewhere in public spaces a good idea? Why or why not? To many martial artists, training outside the dojo/facility is a good opportunity to get accustomed to practise on irregular or unfamiliar ground. Some take it as a kind of exercise to hone concentration and awareness. There are probably as many risks as there are benefits and there are those who would rather avoid training outside of a private place. The most common negative point is the risk of being disturbed by unwelcome attention such as being heckled at best and being challenged by troublemakers.

If only the explicit kicks are considered, it would seem that most are mid-level to low target techniques. The front kick is by far the most frequent, followed closely by stomps aimed at the knee joint. As Goju-ryu and Uechi-ryu seem to share a similar pattern, it appears to indicate that in all systems there is a marked simplicity as well as a similar ratio of upper to lower body usage for attacking and countering. It would be interesting to hear more from Uechi ryu. Apparently this system has even less kicks overall than the other two original Okinawan systems. According to reliable source, it is supposedly a Southern Chinese system transplanted to Okinawa rather than one that is a melting pot of various influences.

Every karate style or ryuha includes 5 basic types of kick. Front, side, back, roundhouse and stomp. Out of all of these, only the front kick and stomp are included in kata with any regularity. In Shorin ryu and all its offshoots using the same kata, kicks are included in Naihanchi 1 and 2: knee high stomps or leg sweeps. Pinan 1 and 4: front kick. Kusanku sho and dai: front kick Chinto: front kick Gojushiho: front kick Is likely that Goju ryu and Uechi ryu have similar frequency patterns for kicks in kata. Maybe someone who trains can confirm it. What conclusions can one come up with as to the significance of this?

Taekwondo in its Olympic form is quite entertaining to watch and it would be better to keep it there instead of attempting to replace it with karate or another similar type of competitive sport. It also makes more sense to keep TKD because it has much more popularity than karate and it is more unified and standardized compared to sport karate.

Perhaps they key factor in differentiating a serious practicioner from a hobbyist is, as seems to suggest this discussion, dedication and consistency in training. Whether it is everyday for hours or a few hours per week, the serious practicioner is one who is dedicated, consistant and has decided and managed to make martial arts a constant part of his/her life.

It is indeed wise to be weary of anyone teaching sword techniques and claming them to be from Okinawan Kobudo. There are only two systems of kobudo widely practised and these are Matayoshi lineage and Ryukyu Kobudo. Neither of these includes any type of sword. In fact, besides the kama there are no sharp/bladed weapons. The only thing resembling a sword is a short, machete-like weapon called a rochin used with a small round shield. It is rarely seen or taught even in Okinawa. Okinawan masters of old were actually very familiar with the katana. The originator of Shuri-te(predecessor of shorin ryu), Matsumura Sokon was a master of Jigen Ryu swordsmanship which he learned from the Satsuma samurai clan. Azato, who was Funakoshi's main teacher, was also a master swordsman.

The issue is most common in people who are unaccustomed to the intensity of the activity they are attempting. This is the majority of cases, but it also affects those who are in poor physical health as well as those past their physical prime. From experience, it is as if the muscles and the entire body is choking and the result is a kind of panic followed by loss of control. Conscious efforts to breathe effectively is the solution, but it is much more difficult than it sounds. Without concentration, the body will always revert to its usual breathing pattern which is insufficient for intense activity.

Looking to define ideas and categorize them is human nature and it is something everyone does. What causes most misunderstandings is that sometimes these defenitions and categories are very ambiguous and open to personal interpretation. "Martial art hobbyist" is a concept or label that can be found in many discussions, but it always seems to mean something different to different people. In reality, as with all attempts to categorize, there are always exceptions that absolutely do not fit any label and must be considered apart in order to make sense.

Repeating anything often enough and for long enough will enventually make it happen.

Although it is not included in the original kobudo systems commonly taught alongside karate, the sword is sometimes used to practise defensive techniques with the other weapons. Many sword techniques and concepts also apply to the other weapons. This also makes sense from a historical point of view, as those who developed and elaborated the use of the other kobudo weapons belonged to the caste that would have been trained in using swords.

Everything is done naturally without any predetermined training or program specific to becoming an instructor. The dojo atmosphere is very casual and friendly and everyone is expected to help one another, especially those who have shodan or higher. Being able to explain as well as demonstrate is part of regular training and included in evaluations. As of yet, none of those who have a high enough rank have asked for or received permission to teach their own students. The blackbelts get experience and practise teaching in the dojo by helping others.

Martial arts neither have to be a career or professional activity for somebody to be considered more than a hobbyist. By definition, a hobby is a casual activity that is mosty limited to a person's leisure time, regularly but not part of the usual day. The simplest explanation, and it is a broad one; is that a hobbyist trains a couple of hours per week. The serious martial artist trains a couple of hours per day. It is a very simplistic defenition, but it appropriately describes the types of people involved in martial arts.

It would make it much easier to help if the question was slightly more specific. What is meant by the question is not very clear as to the kind of answer. The only possible answer is this: it depends on the school/instructor, not TSD itself. TSD does have system of forms, but these will be taught differently with different approaches and emphasis from one school to another. Therefore it is impossible to give a single defenitive answer such as: TSD is X percent kata.

It must be a good idea since it was used before in the past. If one cares to look into the biography of martial arts masters, many of them speak of these masters having been weak, sickly and even fragile in their childhood or youth and of improving and getting very strong after training for a while in martial arts. Funakoshi, the founder of Shotokan is a well known example.

Very interesting opinions indeed🙂. Although it was to be expected, the opposite of a hobbyist is not necessarily the professional who is paid to teach or train. There are plenty of fanatical practicionners who are not earning a living from martial arts. The biweekly-dojo only type is but one example of what could be called a hobbyist. On the other end of the scale is someone who trains/practises for hours every day in addition to being at the dojo teaching or training. Those types are rare, it is true, but whatever a hobbyist my be they are not. What is truly worthy of admiration is those who have continued at that pace from youth well into "old age". Before these examples, it is almost embarrassing to admit to training a measly 8-12 hours a week.