Shorin Ryuu

Yes, that injury happens every once in a while among boxers. Sometimes it is due to only slightly improper technique done many times, or may be as simple as using wraps that are tied a little wrong, causing an inopportune wrist formation. When you said you have been "relaxing for a couple of months", do you mean taking them off, or not doing as much as you used to? Sometimes it is really a pain (pun intended), but some of these injuries are best treated by not doing anything that would hurt it at all. That is something boxers want to hear the least, but I have had friends try to push through the pain and cause serious damage to things like shoulders by doing so. You can still do other conditioning things (you kind of have to), but you might want to lay off the punching for a bit. I would see a trainer or doctor (maybe an orthopedist would be the best) just to ensure this doesn't turn into one of those injuries "that never healed".

ryuusoulNOSPAM@hotmail.com Minus the NOSPAM of course...

Right, there's a difference between martial arts (Okinawan karate, for example) and art (flower arranging). If there's no martial application, then there's no point in calling it a martial art. I'm not going to pussyfoot around it and say "Oh, but you can train so that you don't have to fight". If that was the case, then it would be called "conflict avoidance arts". Yes, there is a time and a place for fighting, and I understand the strategic implications of when fighting is not necessary (I'm in the military, so it's pretty important). However, what it boils down to is that there has to be some martial aspect of it. As my signature can attest, I think this is a very important part of what I do...

250 melons? That's a lot. Are they pretty cheap down there? Perhaps the usage of something more permanent, like pads. This will let the another person "feel" the impact as well. Plus, they are not as messy.

No doubt you could clean the floor with me, so I'll have to content myself with nitpicking your history... At any rate, the first recorded use of the word "karate", was, as you mentioned, using the character for the Tang dynasty of China and Hand. Although the Tang dynasty was so long gone before this time period, it was still used to describe China in general on Okinawa. This first recorded instance was around 1900 (about five years before or after, I honestly forget). However, the most common usage was simply "te", or "hand", which was rendered as ti in the Okinawan dialect. Usually when they wanted to influence the more Chinese-influenced variants of Okinawan martial arts, they would use the word toudi. "Tou" was the more accepted pronunciation of the same "kara" that meant "China" mentioned in the above paragraph. "Di" was just "ti" (te) in conjunction with "tou." So it was basically "Chinese hand". And example of this would be referring to Sakugawa (early Okinawan martial arts pioneer) by one of his nicknames, Toudi (or Tode) Sakugawa. I believe the first recorded usage of te or ti was in a poem written in the 1600s that basically said no matter how good your te was or how advanced your learning, it was useless if you did not have a good character (I like to use this to cite how separate the martial art "te" was from specific spiritual development in the old days...). The term karate itself was not officially coined until 1936, where it was agreed upon in a group of Okinawan masters that a standard term was needed. Since the term "karate" was already in limited usage, they decided to use that, but changed the character for "China" to "empty", for nationalist, marketing and philosophical reasons, I suppose.

http://www.karateshorinkan.com The site in general http://www.karateshorinkan.com/store/d000001.htm I know the owner of this store personally, so I can vouch for his reliability. These prices are the same as if you call them up directly, I believe.

Yeah, it's kind of like A Christmas Story...except instead of "You'll shoot your eye out, kid", it's "You'll stab your eye out, kid."

Foam nunchaku? What do you plan on doing, patting them to death? Or maybe paralyzing them with laughter? Errm, but seriously, if you do know what you are doing, wooden nunchaku will be enough. Is it legal to carry those around like that? I thought with all the laws England had against guns, nunchaku would be up there on the banned list, or something. At least walking around with them concealed would be...(but then how would you know?) I usually carry around some Swiss Army Lint in my pocket.

Aw man, that's not that "new math", is it?

Now now, no need to discourage any Darwinian theory in practice...if he wants to spin sharp objects at high speeds, let him do it. It's just as safe if not safer than doing kusarigama... My opinion is that we can advise people to do what we personally think is more productive and beneficial from a martial standpoint, but if they really don't want to, then it's not my problem. But Sauzin's warnings are well-advised. Even dull kama can be very dangerous. If you want to have fun doing that, go ahead. Just don't let it get to your head, or through it.

Surprise...I agree with Shorinryu Sensei on this one. For a brief while, I was taking iaido and jujitsu in addition to Shorin Ryu. Since I was taking it out of curiosity rather than a perceived lack in my system, I ended up canning it because Shorin Ryu contains all the grappling that I'll ever need. As far as the sword goes, I don't consider learning that central to my martial arts experience (it was just "cool"...) While it was interesting to see how other styles approached things, it was simply taking time away from my practicing Shorin Ryu. In my mind, my style is very complete in principles and techniques, so there is no need to "cross-train."

Well, I was staying away from posting in this thread simply because it was a request for online kata videos... But, here goes, anyway. P.A.L.: Since we're in the same system, I had the same observation about Matsumura Passai (sho) when I learned the version that Fuse Kise does. Like you said, it's perhaps 90% similar to Kobayashi's Passai Dai (with some different emphases all over the place). This would make sense, as Passai Dai in Kobayashi Shorin Ryu is supposed to be Matsumura's version, whereas Passai Sho is Itosu's version. For Shorinryu Sensei's benefit, I learned Matsumura Shorin Ryu under the Kise lineage for a year. I had a chance to go to one of his seminars before (which was where I met my Matsumura teacher for a year). For what it's worth, Kise was one of the people who helped systematize Matsumura Seito Ryu in the beginning anyway. As far as him changing things, I'll take your word for it, as I don't have anything to compare it to. Here and there, I've also heard that Hohan Soken had changed some of the kata after coming back from South America. Of course, on the other hand, I've heard that after he came back, he was disappointed in how things had changed the time he was gone...really at this point, everything is sort of hearsay. As a side note, most of the kata clips you find on the wonder-okinawa site are either self-admittedly modified versions of the kata or manipulated via the camera angle so you don't see everything. Okinawan masters are loath to show everything in their full glory to the whole world (part of the reasoning I'm sure is after spending a lifetime mastering kata, why should they let joe schmoe take it and "learn it" and claim that they know style X?)

Nope, no sparring whatsoever. EVER...!!!!!!! Actually, it probably just depends on your instructor, so you'll have to check it out. As far as compatibility with karate training, yes, I would wager it would serve you well. A lot of the principles of traditional Okinawan karate are the same as White Crane, as it had a big influence on some of the Okinawan masters of old. Some styles like Matsumura Shorin Ryu are more "blatant" in showing the White Crane origins, but they are all there. In short, a lot of the stuff you will find will be similar on the conceptual level, and maybe even some on the technical level. That is, if your karate experience is more Okinawan in nature. Of course, it isn't a 1-to-1 direct transmission. The Okinawans took what they wanted from the White Crane schools and combined it with what they already knew to create a hybrid. Yes, a "Mixed Martial Art", if you will.

I started when I was 17.

Not at all...I wasn't trying to point out how often you were posting about this topic, I was just trying to point out I really, seriously recommend that Okinawa program book. Once again, not because you have to follow it to the "t", but as you had asked earlier, but so that you can apply it to your diet, whether it is "Okinawan" or not... Edit: Just think of it like fighting...I could tell you these techniques on how to fight, but they will only work in narrow situations and not help you do the necessary improvisation, etc. Same thing here. I could tell you specifically what to eat, or even general categories of what to eat, but that won't necessarily help you, since you may not have a chance to get all that in your diet. But if you understand the basic principles, whether it is in a fight or in the kitchen, you'll have the ingredients for success. Or something. Sorry if that sounded too cheesy.

Just as an addendum, in the double punch that I described, the lower punch should be about floating rib height while the higher punch should be somewhere between shoulder and chest height, and both punches should be on the opposite side of the body (i.e., your right hitting his left, your left hitting his right). Exact heights of these punches vary depending on what exactly you are trying to do. Part of this is in response to some points that delta1 mentioned about torsional force and/or him pivoting, and I neglected to address those issues earlier. Hitting on opposing sides of the body will stop that sort of pivoting action. Another part is that...well, I'll let those with more advanced understandings figure the other part out if they haven't already. If you get it, fine. If not, keep thinking (or worry about it later or not at all).

This is just a very general suggestion, but instead of backing off, move forward and to the side, or just at an angle to the side (your choice if you want to move forward or backwards). Moving straight back is never a good idea. Standing your ground and moving only slightly is only advisable if you are very comfortable with your skill level.

I see, but in many other parts of the world, Japan and America especially, "Soke" is used to indicate a person rather than a place. Would you agree with me that "soke" very rarely refers to a person on Okinawa?

Strange, I've always found it possible to spar without wearing riot gear. At any rate, the effectiveness of either is simply based upon what you as an individual get out of it. However, you're going to have to describe what exactly you mean by "slow open hand sparring" in order for me to offer anything more useful than the usual "what works for you, works best" line that everyone likes to post.

Sora_Ookami, I'm going to have to respectfully disagree with you on this one. Forgive me if I sound really harsh (I don't think I am, but some might), but I'm in a particulary frank mood tonight. I'm not going to touch your argument in general (to be honest, because I'm lazy and don't care), but just because I found the double punch method you describe to be horribly structured from a biomechanical standpoint. Let me explain why... First, I will tell you how I interpret what you said, so you know where I am coming from. From your post: Your post implies that you would not step out of the way or the side, since you are using your opponent's power against them. That is all fine and good, but your structure must be sound, otherwise your opponent will bowl you over. And yes, I assuming that the opponent is coming at you at full bore, since that is sort of what the original thread's topic was. At any rate, to me, this sounds like your right foot is in front. I base this assumption on the fact that most people use the term "right stance" to indicate the right foot is forward. This makes your right hand high above head level and your left hand high above head level. Now, if someone is coming straight at you, you will want to hit him with both hands at the same time (otherwise why have both of them out at the same time). This is reinforced by the notion that he is heading straight at you, so the plane of his body is parallel to your front. However, in order to do it in the method that you described (one at head level, one at hip level), you must put your body in a position that is biomechanically unsound. Your rear, left hand must extend itself to reach parity with the right hand in terms of hitting the target at the same time. To do this, the left shoulder must drop and the right shoulder must rise as your hips turn to move your body. This is in direct conflict with the inclination of your body because your right foot is forward. If, on the other hand, you simply extend out your left hand rather than move your hips, you have to extend it out in a manner that puts merely displaces that stress more towards your collarbone and makes the punch very structurally weak in terms of biomechanics. Don't take my word for it, listen to what your shoulders tell you. Shortening the extension of the arm to the point where it doesn't cause stress on your shoulders in this position will make both hands extremely close to your body, which sort of defeats the purpose of the entire thrust, so to speak, of your suggestion. I also wouldn't advise stepping back, either. If anything, I would step forward. The math isn't exact, but it doesn't need to be. In effect, you would be increasing the amount of force to bear on the opponent by the amount that you step forward. Stepping back dissipates the force you can bring and it also causes conflicting motion within your body for the purposes of what you propose this action to do. If you insist on the merits of this technique, simply switch hands. Put the left hand high and the right hand low if your right foot is in front. This has several benefits. With only a very slight, and I do mean slight, lean forward, your body's energy is going entirely forwards. Furthermore, the stress in the shoulders is gone (meaning you can extend the arms out and not worry) and the right arm has the entire structure caused by the right foot forward to be backing it. The left arm looks only superficially to have nothing behind it. However, with the slight bend forward, it is still going "high", but due to the setup of your body, has a reinforced dropping of your body. Note that the hips should be at around 45 degrees facing to the left, not straight ahead. In the way you proposed, whether the hips were at any angle to the center (whether it was 0, 90 or anything in between), the structure itself was not sound. How can you test for structure? Have someone push and lean their entire body weight against your extended hands. If you can't support it without any sort of stress on your joints (be honest), you're not doing it right. This goes for anything like punching or blocking (and a good way to see if your kata is being done correctly). Of course, I wouldn't necessarily do the double punch in this situation, I'd probably just change my body angle and hit him from that said angle. But the technique behind a double punch as you describe it should be correct, regardless of the situation you choose to use it in. Different styles have different ways of doing things. Honestly, I don't care. I'm just telling you what the body tells me is sound structure (yes, we all have different body structures, but there are certain things that ring true for all body types) and from what I have learned and observed from others. You may be able to get away with poor structure, it may even work for you (and have worked in the past), but that is simply compromising poor structure with muscle and/or youthful exuberance. I think it is the path of martial arts to not to necessarily ignore the benefits of muscle or exuberance, but also to use the body's structure in as sound a manner as possible to reduce any undue strain on the body. This means letting the structure do as much work as possible with the muscle and exuberance as added benefits. Hope I was helpful (and that is sincerity, not sarcasm).

Well congratulations, Mu Ryuk. I am glad to see that you did well and that you are pleased with your performance. Did you get any feedback on the form you did?

Learning Tip #17 Do not rely on Hollywood to try and pick up good or realistic technique...

Well, I'm going to go out on a limb and say "get a teacher". There are some basic fundamentals that apply to the katana, but a teacher will be able to, well, teach you how to use it properly and give you the constant feedback in your learning. It would be like posting (and it has been done before) "I have a car and a set of keys, but I don't know how to practice driving. What should I do to learn how to drive?" There are many ways to drive, and there are even combative ways to drive (defensive driving, offensive driving, driving one-handed while shooting...I'm not actually being facetious or making this up, by the way), but you'd best find a teacher or you'll end up in a heap on the side of the road...

Kobayashi Shorin Ryu (Shorinkan). Ryu just means "style".

I didn't miss your point, I think you missed mine. You were saying how in Goju Ryu, there is a circle in terms of how advanced everything is. I'm saying that circle of the advanced nature of the kata is present in all styles, as it is dependent on the practitioner, not the kata or the style. Like I was saying, the Pinan kata were devised as a simplification to teach schoolkids. All the same, the Pinan kata in the hands of a skilled practitioner isn't the kata of schoolkids, it is at that time the kata of a skilled practitioner.