Miick 11

English terms dispel the confusion. The other week we cross trained with the aikido guys that train in the same park as we do. One asked what a particular stance was called that they saw me use in a technique . " Thats a reverse front back stance . "

To this point, my current dojo makes a distinction between jodan uke and age uke. Jodan uke is a technique that meets the strike with force. Age uke is a technique that meets the strike with redirection. Yet the meaning of 'uke' (which is in both terms ) is closer to the second concept .

Yes , 'blocks' in inverted commas . As 'to receive' and 'to block' are virtually opposites . Most of what is termed a 'block' in my style is a way of receiving and controlling a technique . Actions that look like a block ( the 'standard blocks) are actually strikes . Of course, a block should be in one's repertoire as well ; sometimes one does not have a choice but to block , or in a more controlled situation, one can 'jam' . with a blocking action. ' One good example is our ' shuto ' , when used as a 'block' the hand and wrist does a rolling action .... one of the classical Okinawan dance hand gestures .... that ends in seizing the sleeve or wrist of the other's punch . Then it can rotate and 'lift up' ( another classic dance hand gesture ) in the opposite direction (all using the opponents directional force , of course ) into a standing wrist lock . - continue the 'dance' and its a takedown . from 5:00

Of course ! But this guy was not on the street . .. he was at a demo full of nice non violent Aikido people It can go the other way too .... a few times I have done some knife defense stuff in class .... that was actually based on some ' street reality ' rather than hypothetical typical dojo practice knife defense stuff - some people where aghast and judgmental about it , even vocalizing such - too violent . Hopefully others learned something that might save their lives one day if they are unfortunate enough to confront it n the street other than just in the dojo .

Some of the stuff we do probably looks like fung fu - if you are used to watching another style of karate , especially something like traditional Japanese Shotokan . Let's call them, for convenience , a 'set of kung fu moves' . These moves / techniques often help obscure kata moves resolve via bunkai . I used to wonder and ask in class , why does not karate have this move, or this particular move or other . It turns out it does (after looking at the 'old system' - before changes came in ) . I have found the 'denominator ' is white crane moves ; either 'wings' close / cross (arms deflect) and open ( trap and or strike ) l feet and claws kick ( parts of feet including big toe ) legs deflect and strike ( shin kicks or lower legs and feet deflecting kicks ) 'neck rises' ( a type of rising 'block' / deflection with the lower arm raising up vertically - or it can 'spaer' down - especially when turning or spinning, this is a classic 'kung fu move' ) and beak strikes ( eg as gojoshiho , first up { into the base of the tounge behind the chin, to drive the chin up so as to expose the throat } then down, into the top of the trachea below the 'Adam's apple' . { above that little U indentation where your collarbone meets - try jabbing your finger - softly ! - in there and see what that feels like } ) . - actually our gojushiho seems to have all those 'crane body parts' used in it , particularly the 'crane neck' - you can see it here , for a split second right on 1:17 where his first two fingers and thumb are joined together in a point and raised upwards - although you cant see the downward part of the (this is the closest version of the kata I could find to ours , its very similar but has some differences - the rising vertical 'crane neck rises' 'block' / deflection can be seen following each turn he does to move up and down the central line of the kata's embusen - eg. just after that 'beak strike ' he turns and @ 1:21 and at the penultimate move . [/url]

Some insight into 'those mystical guys' . A few people from my Aikido club went to watch this comp / demo . Some guy there claimed he had 'ability' - you would not be able to hit him with a sword . He invited a few volunteers to come forward and take up the boken and attempt to strike him while he sat there meditating cross legged on the floor , without moving . One took the sword up , stood there looking at him then returned the sword to the rack and walked back and sat down . The second walked forward, raised the sword was about to strike him, but lowered the sword and then did the same as the first . The next did as the guy before him did but slowed down, stopped above his head , then continued slowly and 'bonk' . Later, my clubmates approached the first guy and asked him what happened , he said " I thought, I am not doing this , its silly . " The second said " I was going to smash him over the head , but I thought, what's the point of that , seems like senseless violence . The third said 'Well, I DID hot him with the sword , but I wasnt going to smash his skull while he just sat there ... that would be crazy .' They asked 'The Master' about the 3rd guy that bonked him on the head , Master's response was " well ..... it doesnt work with everybody ." Its certainly a risky 'technique' .

No touch knockout ..... ( But only after he ate beans .)

Sure, I agree with all the above BUT I was in no way lauding Dillman . my point was Dillman is such a self promoter ego buff, that I find his testimony interesting in that he himself exposes his own lack of knowledge and karate generally , in Soken's view . Its not about Dillman's claims to have trained with him , that I wanted to point out , but how Dillman said Soken was explaining how he and other people where doing the techniques all wrong and having huge schools and handing out high grade belts without authority . I can understand Dilman making up stories about training with him , but I dont see why he would make up stories that expose and demean himself . That was my point . I previously heard the same from other sources - about American Karate at the time - , so it was interesting to hear Dillman 'confess' the same . (Yep, James Coffman would have 'known the score'. )

There is not just missing moves ... the whole thing morphed into something else . Even when moves where retained in kata . many times the application was lost .... and turned into blocks and strikes . I think its rather telling that when Hohan Soken returned from many years in Argentina to Okinawa ( hence missing all these dynamics of change ) he saw locals practicing karate and asked what it was they where doing .

I do Shorin ryu Matsamura Sieto from Kosei Nishihira Inner or outer block is not a ' block' neither do the words uchi or uke mean block . Also a 'side block' can be to the inside or outside . Outside ; Our technique ( say for the right side ) is to move off line / evade , cover and deflect with the left palm / shuto - arms crossed . Then uncross arms and strike at the others outside right elbow at the 'weak point' with your right 'uchi uke' - with your knuckles , while your left moves back ready for follow up punch . ( Crane 'flaps wings' .) So the thumb is up and knuckles to the outside . Inside : Your right would come straight in, with the middle joint of the ring finger, slightly extended and strike the incoming fist at the base , around TH4 or LI5 . This time you end the movement with your arms crossed - ready for the next 'opening wings' manouver . (Crane flaps wings and strikes with beak.) In many styles this first deflection movement with the other arm/hand before the 'block'/stike has remained and morphed into a punch like manouver , or that arm and hand is extended outward ... then pulled in and the block performed . see 7:05 - the right arm blocks, then is extended out forwards before being drawn back as the left blocks , then that is extended forward. or https://www.youtube.com/watch?v= 4:44 open hand extended , arm extended , then pulled back as the other arm blocks . You see it with dowward block ( and neither gedan or bari means block either ) as well ; the other hand is exteded downwards ( 'speared ' down ) then drawn back as the other arm drops to do the 'downward block ' . Also as this arm is extended, the blocking arm comes up to the side of the head .... a tilted 'wings ' crossed movement . For 'gedan bari' the knuckles strike the side of the attacking leg's kneecap , the other hand spearing down first is the deflection (as you move IN and offline - with your 'cresent step' ), you continue moving in past the kick and stike outward at the kneecap with your knuckles . Same with upper block, you ofetn see people exteding their opposite arm up and forward in a fascist salute .... then the opposite arm comes up and blocks as the lead arm retracted . I would like to know the SENSIBLE reason why some do this . ( When I was taught it I was told it was 'to sight the block's path' ... You also spot it in their kata , especially before the first upward block in Penan Nidan . Ever wondered why in kata and kihon one practices gedan bari moving forward , but in application drills you move back ? Its all there for a reason ..... which seems lost to most nowadys . It all got changed to fore arms blocking onto forarms ... more suitable form for introduction into the school curriculum .

Now that's an extreme circumstance! If you've got one loaded, that is....I believe it was Matsumura "Bushi" Sokon who said "an effective karateka always keeps one loaded." Ewwww .... saw a film of a match where during groundscrabble one guy started messing his pants, unbeknown to him , but known by the other , the other is madly trying to get away and escape , the pooper is thinking " I sure got this guy on the run , he seems scared of me ! " Oh yeah .... he was . I recommend wearing nappy under gi for tournament .

Do you have to work with her ? I'd walk away . reminds me of two people , years back, in Aikido class, one was a kid, big, a bit 'slow' his mum was always there watching like a hawk. then one night she approached me privately after training and thanked me for the way I had been training with him , yes he had an intellectual disability , she said, "I like the way you are vigorous with him, but at the last moment you lower him gently to the ground , also you seem to be able to relate to him, he has trouble understanding what the instructor is showing him but you try a different approach and he gets it . I was happy to train with him, he was a nice kid . The other was 'new guy' that turned up, declared he had blue belt in ju-jitsu . It didnt seem like it to me . First session I did a take down on him gentle and slow . For the life of me, I still cant figure out what he did ! Every other person previous and since I have done that take down went with it and fell or went down in the direction they where being taken , somehow he jumped on the ground the opposite way got tangled up and immediately screamed ' ARRRGGGHHH ! MY ARM ! !MY ARM ! " Straight away I released any grip I had on him and raised both arms . he was flailing around on the floor and instructor looks over and " MICK! Stop that, stop monstering people ! " Oh fer Gawd's sake ! Dont know what his issue was, but I never paired with him again , which was easy as he started avoiding me like the plague ! Eve to this day, if I see him in the street he gives me a half ****** off / half scared look Sometimes people just dont 'gell' . ( ****** gosh, the auto censor here is just as sensitive as Mr. Blue Belt Ju-Jitsu ! ) rather train with the 'disabled kid' any time .

No escape will work once a competent 'bear' has it on . You have to start the escape before its on on or while its happening . Standing there and letting your partner get a full bear hug on and THEN trying to escape ..... fail (unless they are incompetent ) . About a month ago we where practicing rear bear hug escapes - bunkais from Niharchin Nidan and the end of Pinan Sandan and some others . yeah yeah , blah blah , we know all that , so then I decided to let him get it on and ' see what happens' . I was immediately lifted, he twisted around and threw me to the ground - a classic wrestling move . I thought , good , I am gonna hang on to him and as we land , I will use the momentum to twist, tuen him over and slip in for a scarf hold and submission . Nice plan , except it didnt come off , I landed on my side, with him on top of me and my left fist against my ribcage .... so the stacking order was ; hard ground , my fist, my rib, my body weight, his body weight, plus our momentum = 1 Costochondral separation. It didnt hurt - at the time , I was still contemplating burrowing into his side for the scarf hold , but that pop and glllutch/tear noise that just came outa my chest made me hesitate . We got up - Ah ! So thats what happens if you let them get the hold on before you move .

Further on the other name I am familiar with for this kata ; ' Makabe no bo ' : " MASTER HANSHI – SEI FUSEI KISE was born on May 4, 1935. He began his study of Karate in 1947 from his Uncle Master Makabe. .... On January 3, 1972 Master Kise qualified for the Hanshi title by passing the 8th Dan examination held by Grand Master Hohan Soken and Master Makabe... " http://www.ballaratkarateclub.com.au/grand-master-fusei-kise/

I found this interesting style and video . It has a lot of what we practice in it ; Draw and cut (at same time) from 0 : 27 - similar to our ‘rotate the sword and scarab and then and cut upwards ' except here he is using it as a ‘block’ / deflection . @ 5 : 15 .... ‘ belly twist evasion and cut back’ from 6 : 10 - draw and thrust ( but only to the front - I like to do it to the rear against a rear surprise attack ; draw sword out and leave point facing backwards , thrust backwards while the body turns ) . from 6: 23 - the ‘upside down draw and cut ' (upwards ) . from 7 : 17 - 8 : 08 ; noteworthy 'sword philosophy ' . : 10 - draw and thrust ( but only to the front ) . soph ' . then from 8 : 10 ‘surprise attacks ' We also do defense / attack with sword undrawn (still in sheath), and counters against 'stopping the draw', and some 'unarmed taking the sword ' . It seems like a good school , and they also seem ( like me ) to have a strange sense of humor about it while maintaining a valid practice ( see below )

Ah ... thanks . That explains a bit . The first part came from Ted Lange ( a student of t Hohan Soken that bought the art to Australia ) , we used to practice it but where told 'There is more to this kata ." But Ted had passed on and we Didnt know who knew it all . Then one of the guys found this video on the internet . We always knew it as ' makabe no bo ' ... for some reason . We have a 'Matsamura no bo ' kata , but it isnt anything like this one . It is supposed to be a preliminary / intro kata to Chikin / Tsuken ( ? ) no kon . The bunkai fro those 'twirling ' parts is interesting ... and a little difficult to apply .

I am not sure where such a place might be . By now they probably got mobile phones and watching Bruce Lee on youtube . Or, you could learn first hand by attempting to land on North Sentinal Island One of their 'arts ' is to fire , virtually a spear , from a huge bow . One got an anthropologist through the chest as he attempted to land on the island . Someone left a pig on the beach for them to eat , but they speared it and threw it back in the ocean . Someone left doll for kids to play with , but they speared that and threw it back in the ocean . I guess the martial art that has preserved their culture for so long is if it is not from here , and it isnt a fish or a coconut , spear it and throw it back in the ocean .

And most certainly DURING it, especially the initial invasion of Okinawa ... MANY teachers where killed , and family and traditions wiped out .

Isotu changed the whole basic and ideas about karate , I dnt see that as a development or transition to an existing form of it . The old type of karate, pre itosu's changes is virtually extinct . But I suppose for some it is a thin line between extinct and transformation , I do however note Hohan Soken's comment on viewing it for the first time ( he left Okinawa for Argentina before the changes and came back afterwards ) ; " What is that people are doing ?" He had to be informed that ot was karate ! One of the most famous senior and renown karate masters of last century didnt recognize it as karate ? I think that indicates a great change , not a mere 'development ' .

Yes. The one I do is pretty much extinct . Nowadays ( karate ) people don't even seem to know what I am talking about ( this type of karate )

WE do finger strikes against the more sensitive targets, so over the top finger conditioning is not required . With toe kicks , dont forget, in most circumstances 'out and about' many of us wear hard shoes , with a hard toe (one guy in our style I went out with one night had moccasins on , I commented on it not having seen them in years . He then revealed they had steel capped toes ... steel capped moccasins ??? ) The middle knuckle of the ring finger is often used , commonly to drive or 'whip' it into an attacking punch at wrist ( P7, LU 8, etc ). Students might get one or two hits there so they know what it is like (it can disable that whole arm ) but generally we slap or tap it, as continual striking there will cause permanent damage . Again, this technique does not require heavy conditioning of the knuckle .

Lets look at those three steps first. This pattern is in a few kata that (perhaps) evolved from Kusanku. First off 'tai sabaki' or 'getting out the way' . The principle is the same in the 3 forward steps in some pinan and passai forms - either punches or downward 'blocks' . Note; you are moving forward and 'dealing with' an incoming attack that is also moving forward . Anyone ever do his drill , in your first lessons ; stand in front stance, left foot forward, bring the right foot forward and into and next to the left in a 1/4 circular like movement . Then step it out forward, another 1/4 circle to be in right front stance . This has the effect, if done right, of getting you off line ( when feet are near together ) of the opponents attack, and past it . Eg . when used with a 'downward block' , The opponent moves forward with a front kick, you move forward and off line / out of the way, so the kick goes past you. As your feet are near together , your right hand comes across solidly in a sweeping downward 'stabbing' motion ( this is the 'spear ' part of 'Gedan Bari ' ( bari or yari - spear ... 'spear hand block' , actually a 'passing deflection' ) and the right 'winds up' near your right ear, as you then step your right foot out the right hand comes down ( which most consider is the blocking hand ), knuckles out and strikes the side of the kneecap of the opponent , and / or the leg is then caught by it for a throw . Now, in Pinan , with the hand movements , imagine the same dynamic of getting off line and into that outside position, you are 'going around ' a punch. The hands and arms cross in front of you , the left is checking or deflecting that punch as you move off line from it . Then it checks, holds or presses down a little and the other hand comes in 'rolls over it ' and the opponents arm to do finger strike into their eyes (or other 'weak point') . You should end up ( disregarding the opponent now ) with your right hand extended in nukite and your left about half way along your right forearm and just under it . Thats how we do the 'shuto' and not as the classic karate 'chop' with the side of the hand . There are techniques where the 'chop' is used ( eg after an upper triangular wedge block with both hands ), then the other hand is checking or holding the other's arm / wrist . With tai sabaki, defense is primarily , and firstly about 'ducking. weaving' and 'body placement ' .... like it is in boxing . Why 3 times ? What wastelander said above is valid . Also many other reasons ; from the ancient 'power of three' idea ( or the modern 'three times proves it ) , all the way through to ; you do it one side , practice the other ' or even- the class has more than one student , repeat moves in a form allows the instructor to watch more different people do each move .

Yes, it is a little hard to practice judo by yourself ( yeah, you can, but compare that to kata . )

Well, kata should not be boring ... and as far as it being 'impractical', that just means you are not learning proper application , in that 1. In modern kata the moves have been changed, so any bunkai based on 'wrong' moves is 'wrong bukai' . 2. Application in movement and practice ( eg tai sabaki ) is essential , while in kata movement is often, static, patterned , or 'focused' (meaning its a type of 'index' ... a 'central position' that changes in application depending on how you apply that technique . I have seen people try to work out a striking bunkai from a move that is actually (originally ) a take down, or throw . Of course it won't work or be 'impractical' ... for them . replacing kata with judo ? ; 1. well, that just makes the above even worse and removes the knowledge even more . 2. may as well, as modern karate has got so bad ( with things like the above ) ... may as well give up the whole lot and take up judo - another thing to consider ; in traditional karate, with the throws and take downs you should be learning how to fall and roll anyway .

I see what you're saying and I get that some people might see modern karate as straying away from traditions and cultural heritage, but I guess what I'm thinking about is what aspects of modern karate they're straying from and how much it really identifies a culture? Like I said earlier, I think American sport karate is a totally different martial art from Japanese or Okinawan karate. But I'm having a hard time seeing why someone who's dedicated to Okinawan karate would find it disrespectful of their culture to emphasize the parts of kata that Japanese kata competitions focus on. I think that competition kata elevates the kata scene and really showcases the maximum potential of the human body. Now, when it comes to fighting I guess the idea of point fighting being a game of tag that dilutes the old warrior spirit of traditional karate, I can see that, but point fighting and practical combat applications are two completely different elements of the same activity. Like floor exercises vs balance beam in gymnastics. What do you think? Would love to hear what aspects of modern karate you think puts old traditions at risk. It isn't ALL Okinawan karate instructors, because there are certainly plenty of them who are totally fine with the popularity and money involved in sport karate--they are human, after all--but there is dissent. Due to the focus on aesthetics and athleticism, the Japanese approach to kata has removed many of the body mechanics that karate uses (power generation, muchimi, chinkuchi, softness, etc) and has replaced them with things that look nicer, or are more physically demanding, but are not connected to any combative function. This also alters how the kata can be applied, which is the entire point of kata, originally--providing a template of practical fighting methods for people to use in drilling and sparring with partners. As for the sparring aspect, point karate and practical combat applications aren't really two different elements of the same activity--the former is a roughly 80 year old kickboxing sport that took about 5 karate techniques and put them into a Kendo-style ruleset, while the latter is karate. As to how it puts old traditions at risk; people would rather win trophies than learn how to fight and protect themselves. Physical activities with competitions are more popular than physical activities without them, and people who participate in physical activities based around competitions pretty much ONLY learn what will win competitions. In this case, that's crisp solo kata, completely fantastical application demonstrations, and a game of tag using just a handful of the techniques found in karate. This means that most people end up learning karate that is geared toward competition, and those who learn competition karate are almost exclusively going to learn things specifically geared toward winning competitions. Why should they learn those other techniques? They don't score any points. Some of them are completely illegal. Some of them you just can't do, because you're not allowed to be that close to your opponent. This leads to a loss of knowledge and material over time, because there is no one to teach it to. I know of an instructor on Okinawa who specifically said that he used to know old, realistic applications to the kata, but he hasn't taught them since the 60s, because people just want to do tournaments, and he's forgotten them. If the younger generations don't learn the material, then the karate that was developed on Okinawa will eventually die off, and only the karate that was re-worked by the Japanese will exist. Now, the capitalist argument to this is that the free market has decided that old-style karate no longer deserves to exist if modern tournament karate is what people want to do, but honestly that's just a depressing thought, to me. Well said ! Where is the applause button ?