Sauzin

Well in the case of Oyata, he may not have been the only guy to learn from Shigeru Nakamura (Oyata's instructor) but he was one of the few to stick with him long enough to have such knowledge. Nakamura's two senior students were Seikichi Odo (recently deceased) and Seiyu Oyata. These were the two his system was passed on to. Odo was very passionate in his belief that ki did not exist. He likewise dismissed the idea of pressure points that manipulated ki. That does make Oyata a rather unique individual. I’m not trying to say that he is the sole holder of Okinawa’s pressure point lineage. Quite the opposite. I am simply pointing out that if you are looking for pressure point knowledge descending from Nakamura then he’s is probably the only living person who would have that directly. Still there are many things he learned from Nakamura. Pressure points would only be a drop in a very large bucket. If I had the opportunity, I would ask to be introduced to the bucket itself.

Mmmm...that is a bit different. Still I see what you are talking about. So these guy's head strikes don't extend all the way out. In this case the right hand is forward in front of the chest and the left at the hip. He moves the left hand out in front of him verticalizing the bo. As he is doing this he changes over the right then immediately the left once it is in front of his body. He then brings his back left leg up to his right knee and then begins the turn, smoothly moving the staff in front of him to his side for the block. Our style does a similar hand change, however, instead of verticalizing the bo in front we bring the bottom hand over even further which causes the bo to set in a diagonal position once the hands are changed. We then spin around, verticalizing it for the side block. Still if I were I you I might rethink trying to learn this from a video. If it's you're only option, well, then ask me more questions. But otherwise I would highly suggest learning this from a real person.

I don't want to step on you're toes here but that generalization is so general it isn't even true. I practice both Okinawan and Aki-jo (Japanese) Jo kata. Both have many hand changes, both have rotations with fingers up and down. If I could offer some generalizations that fit a bit more accurately. In Okinawan Kobudo the jo is not a very common weapon. Most kobudo schools don't offer it. The ones that do have some very interesting strikes and throws that look a bit different then what I've seen with the Aki-jo. In true Okinawan fashion the strikes are overhead and to the side instead of diagonal (like the Aki-jo). They also have a tendency to take much deeper stances. There are some kata's that have a lot of hand changes followed by some rather odd overhead strikes with the lead palm down, but they aren't all that way. One Okinawan jo kata I practice (the first one I learned) has no hand changes at all. The Aki-Jo that I have learned defiantly is different. The techniques greatly resemble that of the Japanese sword. Lots of diagonal strikes and most of the work is done on one end of the Jo. But they have a lot of hand changes, weird ones, where you let go with one hand and flip the jo over to the other side with the other. Parries are done by similarly changing hand positions. And with Aki-jo you get the sense that you are swinging or swaying in and out and from side to side. I'd also have to say there seems to be a lot less grappling work with the Aki-jo (I do realize the irony of this statement). Techniques for the Japanese jo were largely developed vs the Japanese sword. Really a skilled jo practitioner is well matched should his opponent have a katana. He might even have an advantage. It’s good that you’re being exposed to a couple of different ways of using the jo but I would suggest doing a little more research or perhaps consult with your instructor before making such generalizations. I’m sure he could offer further perspective on the differences and origins specific to the kata you are being taught.

I wouldn't suggest walking up to Oyata and asking him to show you Dim Mak. He's been a little suspicious of people asking about pressure points ever since a guy (who may have previously been mentioned) took a couple (3) seminars from him then tried to steal his system's name and proceeded to proclaimed that Oyata taught him all the secrets of Dim Mak when in reality it is doubtful that Oyata even gave him the time of day. Oyata is a true living legend however. It's ironic that his name has become associated with pressure points since Oyata is about the most no-nonsense down and dirty fighter you've ever met. He just happens to have a large knowledge base as well.

Well the neither ni or ichi have a crescent in the version I practice. In fact there isn't a 270 degree turn either, that sounds more like Suioshi. Do you have a link to the video, a web site or name of organization the kata comes from, or perhaps a description of the hand techniques before and after the turn (for example: low block, turn sweep and groin slip strike)? In the version I practice there is the opening of a reverse low block, head strike, step back into horse and mid block then step out low reverse block, step forward low sweeping block and groin slip strike, step forward head strike then repeat. Afterwards there is a series of low crab/dragon/leaning stance work that consists of a couple of sweeps then a block and a throw. All this occurs facing forward without turns. The first turn occurs after a head strike just after the throw. It is a 45 angled degree shuffle back with a mid block and then a hand change and an overhead block. Then a upward reverse strike to the left and another overhead block. Then the left hand basically lets go as you turn to face the right in a front stance. The hand that lets go grips in front of the right hand and prepares for a side strike which then follows. Then the hands both change grips and a low sweeping motion is made as you move into a horse stance. Then things get really complicated. So if you could provide any of the previous information I might be able to help, but you can probably tell how different the versions are by the description I gave and if I can be of any help. It's up to you.

Make that reason number 7. Wushu lost it's focus of actual combative functionality in kata about the same time it entered the Olympics.

I know I'm preaching to the choir here but I'd like to list a few objections in order of the amount that they tick me off. 1. Karate is not a SPORT! It is not competitive and there is no winning or loosing. You’d have just as easy of a time turning abstract painting into an Olympic sport. There's a reason why they call it Karate-do. It's a way of living not a way of competing! 2. The decision to place Karate in the Olympics will only serve to further the publics inaccurate perception that karate consists of people beating the crap out of each other, high flying kicks, and karate chops. Because that is what will win competitions. 3. This will also cause a further rift between those who choose to practice "sport karate" and "traditional karate". Any organization no matter how big that chooses to endorse the Olympic sport will only further separate itself from traditionalists. And I don't mean the big corporate "traditionalists". No I mean the mom and pop arts that are being practiced in the back yards on sand and dirt in the streets of Okinawa. 4. We already have sport karate in the Olympics. It's called Tae Kwon Do! 5. We'll be lucky if the American announcers even pronounce the name right "And next at the 2008 Summer Olympics Karauddie competition!" 6. The fact that this is already happening makes me afraid to take up knitting for fear they might turn it into an Olympic sport too!

Well I practice Seikichi Odo's Sakagawa no kun ichi and ni. The hand changes are a bit complicated and I'm not sure how much I can explain in type but I'd give it a shot if you care to ask some specifics.

I really think this would be a bad idea. What I would fear is people doing kata for the sake of competition and Olympic standards rather then applicability and standards that only individual styles and teachers can set. The nature of competition and standardization is counterproductive to art in any pure form. Not that I am against the Olympics but there are some things that just don't mix well.

Not going to be able to help you out there much without more information. Kenpo is the same type of term as karate. It doesn't refer to any specific school or even family of schools these days. It used to be that Karate refered to martial arts from Okinawa, since that is were the term was thought up. Kenpo used to refer to Chinese martial arts but some Okinawan arts decided to use the term and more recently a guy named Ed Parker took a liking to it as well. Kenpo generally means "fist law" and karate literaly means "empty hand" so if someone says they practice kenpo karate then they are saying they practice "fist law empty hand" which is really kind of redundant in my opinion. Still the actual style would not be called kenpo karate, it would be called something like "American Kenpo Karate" or "Ryu-kyu Kenpo". Ask a senior student or teacher of the school what style(s) they practice and where they come from and you'll get the best explanation.

I would rather go to jail then be killed. And if you are facing another knife fighter those may be your only two options. Still I'd rather kill him and find out afterwards then get killed trying to find another way. The term "stab" infers burying the knife into the flesh. Not only is this a great way to loose control of your weapon but I cannot think of an easier way to "accidentally kill" then that. If you are going to stab, it needs to be a finishing move. I have nothing against slashing ligaments, especially if there is opportunity, but limiting your targets instead of taking opportunistic ones can be a fatal mistake. Personally I don't want to kill. If given a clear choice to injure or kill, of course I will choose to injure. But knife fighting isn't like that and I resent people who think it is. If you aren't willing to kill why do you have a killing weapon? If a life isn't in danger, why are you endangering his? What can you learn from a killing weapon if you choose not to learn to kill? Why not a staff or a baton then? Even then killing is an option, but those weapons make it easier to choose something else. I'm not saying that you have to kill. I'm just saying that if you're not willing to what the heck are you doing with a knife? One more thing I’ve learned. The people who are best at not killing are the ones that have learned how to do both and are willing to do whatever it takes. It’s ironic but if you aren’t willing to kill then you aren’t in a position to stop it.

I find this interesting because there are a couple of thought processes here. Okinawan Kenpo and many other traditional Okinawan styles (such as Go-ju-ryu) practice what is commonly called double blocking. In these styles this refers to parrying with the non-blocking hand that is already extended then “blocking” with the other. Now I know I’m not revealing any hidden secrets when I say “blocking” is a rather subjective term. Blocks mean you are hitting an attack coming at you. Technically the attack isn’t just the fist, but the arm and body behind it as well. Thus when a double block is applied the initial parry often clears the attacking appendage out of the way and the primary blocking hand actually hits the opponent, usually in an area more vulnerable then the arm. This creates a block and strike within very close time proximity. It is however not simultaneous. Of course neither are a block and a strike thrown at the same time. While they may be thrown together, the block connects first and the strike second. The same is true of double blocking only it encourages use of the already extended appendage while striking with the other vs. rechambering then blocking and striking. Still there are situations that either may be appropriate. I just think that the term simultaneous may be a bit misleading in regards to actual application.

Sparring is something that is seriously dangerous with this weapon. It's like sparring with a loaded gun, it's just not safe. Using rubber or padded nunchacku doesn't work either. It's like using a gun that isn't loaded. It just doesn't translate well to reality. I have however practiced hitting targets and I learned two things. First when you swing and the weapon hits something, it bounces back. Depending upon what it hits and the angle of impact it may bounce in any number of directions. There are two ways I found to control the recoil. You can whip it back around to your side with a reverse spin and/or you can let it die. Here's what you can't do after a strike that hits something: You can't catch it. You can't burry under your arm. You can't immediately strike again. You can't whip it back towards yourself (well you can but it's painful). And you can't hold the weapon too close to the string, it will bite you. Another thing to note is that when swinging without your arms properly extended you are about twice as likely to hit yourself after a recoil. As near to the body as was demonstrated in the video is dangerous in real combat. You don't need to spar to figure this out. Just go outside to a pole or wooden steak. Try hitting the pole without your arms fully extended. You will notice that you will need to be closer to the target you are swinging at. This is obviously dangerous and difficult to control. Try hitting at different times during the passover or swing. It really messes things up. You will find youself dodging your own weapon as it comes at you from different directions. Now try stepping back a bit and swinging with your arm out there. When the weapon hits you are further away. Also you will note the weapon will hit harder. That's because with the arm properly extended you have more range to swing. This weapon needs room when swinging. This is all it takes to see these basic principles. It has nothing to do with traditional or not. It's just physics. Try it out yourself but be careful.

This guy is a master juggler. Seriously. He has a refined skill and I respect it. But it's juggling, not weapon practice. If he were to hit a person with any of his "strikes" he would likely hurt himself more then the person he was aiming at. He has no recoil counter swings, his strikes are not extended, and his grip would not support a real strike/wrap-up situation. Many of his grips are in fact a bit dangerous if he were swinging it at full speed. Still he has obviously practiced it long enough to know what speeds his grips will support and how to time them. Unfortunately in combat a grip that cannot support a full swing is all but useless. I do wish there were more appreciation for his skills in theater, and talent events. I would however like to see less juggling in tournaments dedicated to martial arts.

Hope this helps, Bo Shihonuke Choun no kun Suiyoshi no kun ichi Suiyoshi no kun ni Shima jiri bo ichi Shima jiri bo ni Sakagawa no kun ichi Sakagawa no kun ni Tokumine no kun ichi Tokumine no kun ni Ko bo Sushi no kun Bo tai so renshu Kinjo no Bo tai Bo kumite Nakamura no Bo tai Sai kumite Kakazu no Bo tai Tonfa kumite Kakazu no Bo tai Kama kumite Aki-Jo Ju san no Jo Ni ju ni no Jo San ju ichi no Jo

I like the article but I disagree with it fundamentally and I would like to present a slightly different perspective. I believe the first question one must ask themselves is, “What position is my fist in when it first makes contact with its target?” I prefer to make initial contact before any turn has begun (in the palm up position). I do not think there is any question as to strength of the arm with the palm turned up. With the elbow in, bent, and down there is no stronger position. There is a reason our mid-blocks come here. Uppercuts and inside jabs further demonstrate the strength of this structure in close. It does, however, lack reach. If it is overextended it looses its solidity. So we must then turn the fist to obtain the full extension of a punch. But what happens to the wrist as it turns? It grips. One forearm muscle after another tightens in coalition with the others adding incrementally larger amounts of tension and solidity. By tightening the fist and rotating it the grip becomes exponentially stronger. To test this try gripping a regular grip spring exercise tool. Grip it once without rotating it. Then grip it as you rotate the wrist, the same way you would a punch. It will seem much easier. The arm is designed to grip and turn. So this establishes the reasons behind both the starting position and the turn. But why turn it all the way? Well the first thing to note is that by the time the punch has reached the ¾ position it is 95% complete. Most if not almost all the force has already been absorbed. What then is left? The fist must reach full extension and impact to its target. Really how far the fist turns over depends on what you hit. Hitting the solar lexis will cause the fist to naturally stop at ¾ because the shape of what you are hitting will match your fist. In fact this will naturally occur with many targets however some will require a full turn to match the shape of your fist to what you are hitting. Practicing a partial rotation will limit the punches ability to match these target’s shape and reach its full extension and damage. What I am suggesting is to practice a full turn but to learn how to land and feel your fist into a target so that it ends naturally where it fits. This will allow for the greatest amount of damage when hitting the body. Further benefits are gained by practicing the full turn. It is harder to maintain proper alignment when the fist is turned all the way over. That’s the point. The dynamic tension created by forcing the proper alignment further strengthens the forearm. I believe that training with a full turn produces a stronger fist in the end. To summarize, it is of little consequence which ending position is stronger as the same principles and structures are used during the moments when the impact is absorbed. Utilizing a full turn offers a greater mobility of the fist to match its target and trains a stronger punch in the end.

Goju is a good solid art. You learn to move very quickly from low stances. It develops strong legs. Go-ju has a very solid and effective Sanchin. A good Go-ju practitioner can take a punch from the best of them. It is versatile and very street effective. Its applications span from powerful strikes to beautiful and effortless grappling applications. You can take Go-ju knowing that you are practicing one of the most widely respected and practiced Okinawan arts. Really all you have to worry about is the instructor. As in any art, the instructor will either make or break the experience.

For the gun there are certain angles that are very difficult to maintain aim. Generally speaking, the correct direction to move is towards the opposite foot from the lead hand of the opponent. Besides that everything that has already been suggested works well. Hands up, "don't hurt me", get off the line of fire, fast and lethal are your best bets, you don't want to get into a struggle for control of the weapon. I would only suggest defending if you know your life is in danger, since to defend correctly against a gun you must be willing to apply lethal force. Otherwise, know what he wants and give it to him. The knife is the superior weapon in close, especially when in trained hands. The only problem with a gun is it is more dangerous in untrained hands. Either way if a man pulls out a knife, generally speaking he knows how to use it. In my opinion it is best to present the knife with the outer arm, give it something to cut, don't let him choose the targets, if possible elongate the opponent, maintain control, and stay low. It also never hurts to have a weapon of your own.

That's pretty good. Thanks for the referal!

I too practice Okinawan Kobudo (of the Okinawan Kenpo variety). We work with several different wepons. Bo, Jo, 3ft bo, tan bo, tonfa, sai, kama, nunchuku, eku, tekko, koa, nunte bo, and once in a while we break out the turtle shield and spear. The bo is the most popular. Personally I do not think it is the most important simply because you might find a broom or a poolstick to use durring a fight. I believe it is the most important because of the principles it teaches. There are timing, hip motions, and push pull concepts that cannot be taught with any other weapon. A bo will show you where your hip is, wether you are level while you transition, and it will force your hands to move together. These are very important for training. I personally view the principles learned durring correct bo use as more important then the bo skill by itself.

*Droool* If you don't mind me asking, how much did they set you back?

My suggestion is that you strip your bo with some medium grain sand paper. Then apply a very thin coat of linseed oil and let it dry for a day. Repeat this process 2 or 3 more times and you will have a weapon that will feel great in your hands and not slip or stick based on the sweat on your hands. Three more suggestions. Grip the bo with the following strengths applied to each finger: Pinky 100% Ring 80% Middle 60% Index 40% Thumb 80% Second, keep two hands on the bo at all times except the very beginning and end of each kata. Third, durring a strike always have the middle palm of the hand behind the bo. Only turn it over at the very end of the strike. You will loose your grip less often this way. Hope this helps, -Paul

Thank-you very much for the replies thus far. I understand that all of these ranks are truly based on skill, dedication, contribution, and personal character. However most systems do have some kind of time/progression "guideline" and these replies are greatly aiding my research on this. Thank-you again, -Paul Holsinger

I'm not a Christian now but I used to be and I would like to offer a few observations. First, most if not almost all Christian martial artists have no problem with ki. They draw parallels to the holy spirit, God’s energy, or that God's power created life and life's energy (or power) is therefore the power of God. But regardless of all these assumptions and prepositions a mere 400 years ago they all would have been burned to the steak by their peers. Traditionally Christianity has had a very narrow view of what consists of God's power and what doesn't. But recently it has gotten much larger. It always seemed odd to me how the God's word (or the interpretation thereof) became more PC and non-condemning the more open minded its practitioners became.

Definitely a bo. Even if there isn't a stick around, there's always the guy's arm/leg/torso that works just as well.