Slingblade01

I already have this. It only includes one kata, Seipai. I'm looking for something with a variety of kata.

Hello, I'm looking for a resource, probably a book, that depicts many of the kata performed by Kenwa Mabuni or, if not possible, one of his students that demonstrates HIS style of techniques. I know systems change over time, so I looking for a representation of Shito-ryu from the '30s into the early '40s. I have Kyohan (Funakoshi) and Taihokan (Toyama) and would like something from Shito-ryu to compare and contrast the techniques within the kata, specifically: Pinan 1-5 Naihanchi 1-3 Bassai sho/dai Jitte Rohai all flavors Kusanku sho/dai Unshu Gojushiho sho/dai Any help would be great, Thanks

Yes. Interesting term. Thanks.

Kanku65, thank you.

Wastelander, thank you for sharing that. Is bridge a more appropriate term for the chamber or are you referring to something different? Can you provide a youtube sample?

The purpose of my inquiry is not to understand the application. That, for the most part, is clear. I am more interested in which styles practice each of these methods of chambering. Do any styles practice both? My guess is not. Or better yet, help me classify styles strictly on their chambering method, specifically styles as taught by Funakoshi and Toyama, and to a lesser degree, Mabuni and Chibana. Does Shotokan (Funakoshi) teach a punch style chamber or an across-the-body style chamber? Does Shudokan (Toyama) teach a punch style chamber or an across-the-body style chamber? Does Shito-ryu (Mabuni) teach a punch style chamber or an across-the-body style chamber? Does Chibana teach a punch style chamber or an across-the-body style chamber?

Ok, forget that ever mentioned Chudan. Where my confusion lies is the variations of the chambering of the non-blocking hand. Below are some examples: Soto uke with non-blocking chambered straight out. https://www.youtube.com/watch?v=Lzn1XgAUBpU Soto uke with non-blocking arm in covering the body. Uchi uke with non-blocking chambered straight out. https://www.youtube.com/watch?v=hDjWZfdonLo Uchi uke with non-blocking arm in covering the body.

Ok, now I understand why my question makes no sense. I am aware of two variations of soto & uchi uke. What makes these two variations different is not the blocking arm but rather the other arm (elbow strike/grab/escape/clear...). In these different variations, this "other" arm is either chambered out like a punch or chambered across the body prior to the application of the technique. When I went to youtube for clarification, the 2 or 3 chudan labeled blocks were chambered across the body and the non-chudan blocks were chambered out like a punch. Obviously, I didn't research enough. After reading your answers, I just found examples to contradict my assumptions. This brings me back to my re-revised question...why the two different chambers of the non-blocking arm and are the akin to specific styles? Sorry for the earlier uneducated question.

Thanks for the definitions and the clarification on the varying use of nomenclature. That clears up a one question. What does chudan mean? I guess I should have phrased my original question better: Soto uke vs Chudan Soto uke Uchi uke vs Chudan Uchi uke Do any styles use one exclusively over another? Do any styles show tendencies towards chudan vs non-chudan versions? Which is older? Are there any known origins of chudan and non-chudan versions?

I'm looking for explanations for the variations of: Soto uke & Chudan Soto uke Uchi uke & Chudan Uchi uke Specifically, I would like to know which masters/ schools/ styles taught them between Funakoshi, Toyama, Mabuni, and Chibana? Also, what is the thought process of the Chudan variations? Thank you, David

I also learned backfist and we are Yunmookwan/Jidokwan. For those that are Moodukkwan, are you from Whang Kee or Ki-Whang Kim?

Wow, a simple question yielding a wealth of information. This has to be the best forum ever! Thank you

I've been spending a little time studying the nuances of some techniques and their variations based on styles. I've noticed that age uke rises inside (between the body and lowering arm) with Shito-ryu and outside with Shotokan. How do other styles perform this block? What is the history of the difference? Thank you, David

At this point in time, I would have to agree that is not Okinawan based. And I would go so far as to say it's not Funakoshi based either. As Wado Heretic theorized, I am inclined to believe that it is Chaun Fa based. While most of the TKD founders were students of Funakoshi, Toyama, and Mabuni, there is no evidence that I can find that this chamber came from karate. However, several of the TKD founders had exposure to Chaun Fa. Also, I have found that other TKD techniques were derived from Taekyon which is heavily Chinese influenced. Example: Khaljaebi (throat strike) Unfortunately, I have yet to find this chamber in Taekyon leading me to believe that it is Chaun Fa based.

Furthermore, as stated above, "Sonnal momtong makki is ... strictly a block and nothing more." I posted this question in an attempt to discern to origin of the chamber of the block not the merits or the block.