Budo Blog

Kata is NOT the Soul of Karate

2011-04-05T07:21:00.000-07:00

Holy Crap! Did he just say that?

Yes I did. But don't get too bent out of shape. I don't really mean it.

But, for the purpose of presenting a little philosophy about kata, I have to exclaim this. This way, some of Karate's detractors and Karate's dedicated followers can put a few things in perspective.

In surveying several different martial disciplines: Brazillian Jujutsu, MMA, Defensive Tactics, Krav Maga, Firearms, and Knife Fighting; I propose to an instructor that the most basic techniques be explained so that a beginner can understand them.

The overwhelming response is a well thought out, organized, and systematic approach to introducing the concepts of the technique to the student.

However, when asked how this most basic of techniques might be used in real life, the answer is ALWAYS, "well, you have to put it together with other combinations, and more importantly, practice using it in real life in order to be proficient enough with it to make it work."

I have found that most modern martial arts teach in this progressive, building-block type methodology. However, traditional karate's implementation of the same methodology seems to be frowned upon. The idea of doing kata and practicing basic; seemingly practically ineffective techniques, is perceived as archaic and a waste of time. Yet, everyone else is doing it. It puzzled me for a while until I came to grips with the problem.

The problem is the karate practitioner. He/ she takes traditional maxims such as "Kata is the soul of karate" completely out of context. You see, the karate person inevitably believes that this means, "kata is the only thing you have to practice." Ahh, there is the issue.

What is Kata?
Kata is an exercise where one repeats a prearranged movement to establish muscle memory, strength, flexibility, and a source of solo practice when a partner is not available. While modern martial artists think they are not doing kata because they do bag work and work on fighting combinations with a real person, they would be wrong. The moment one practices the same technique twice or more in a row, he is doing kata.

In karate and other traditional Japanese martial arts, kata also serves as a historical record of the primary philosophies and techniques of a system. So, in karate, what is kata?

Kata is a way of boiling down everything one needs to live a long and healthy life into one simple set of exercises. Kata being the foundation of a healthy life is the reasoning behind kata being the "soul" of karate. But we have to understand that knowing a kata; or even being proficient with kata has nothing to do with fighting prowess. Fighting prowess is only ONE byproduct of practicing kata.

Fighting prowess comes from being able to transition from the learning of the basics, putting them into the combinations, applying them to a partner, to applying them in an unrehearsed application, and then to revisiting the basics to get an understanding of more advanced concepts such as timing and position, and then altering the basic techniques to reflect those new concepts.

This is the methodology for everything else! Of course it is the same with karate!

So, lets put it in perspective. These are the elements of practice listed above:
1. Learn Basics
2. Put Basics together to make combinations
3. Making them work with a partner
4. Practicing them unrehearsed
5. Advancing on the basics

Kata is item 2. I know there is more to kata than just putting basics together, but, in perspective, we have to go through all 5 steps and then come BACK to #1 and then revisit kata with the newfound principles and concepts. NOT try to use kata ALONE to discover these elements.

Sooo... with each of those 5 elements being a percentage of your training, each is 20%. That's right! Lets take a 100 minute class twice a week: That's 40 minutes a week or 20 minutes per class on kata... as an example.

Yet, how many of us spend an entire class on kata. How about half of EVERY class on kata. The bottom line is, doing this brings a deficit in the beginning student's comprehension of the SYSTEM! THIS is why the general public's perception of karate is centered on what kata is (to them as an untrained observer) and the basic application from the kata they see demonstrated by the beginners.

You MUST partition your training schedule differently if you are to properly transmit the principles of traditional karate correctly and for kata to truly be experienced as the soul of karate. Let me give you another anecdote that has similar implications but gets misconstrued all the time. "Victory lies with the sword remaining in the scabbard" referring to swordsmanship and the thought of giving life and taking it. This does not mean we practice swordsmanship without EVER taking the sword out in order to learn the art!!

From another perspective, saying Kata is the "soul" of karate is like saying the holster is the "soul" of gunfighting. Without context or true involvement in the art, it actually means nothing.

I have also found that most advanced teachers of traditional Karate know this. Through their experiences in the world and their learning of karate from leaders in the traditional karate community, they know what I am saying is true. However, there is this odd apprehension about doing something about it! Perhaps, there is too much stock placed in the mind of a beginner...they can only internalize so many things and it is probably better for them to spend most of their developmental time on only practicing the basics. Perhaps it is also too hard to take on the task of reworking a standard curriculum of teaching and learning to allow for the implementation of some of the above concepts. Well, my only advice is, if you do what you always did, you will be what you've always been.

Here's some help to ease what I can only assume is guilt over changing what one might think is the traditional method of learning. Its not. If you look at the context and history of the training of westerners in eastern arts, you will inevitably find that information is transmitted differently to us than it is in Japan and Asia. What made the masters of the classical era so good and maintain such legendary reputations? Well, let's just say its NOT by practicing kata all day.

So, back to the beginning. Kata IS the soul of karate... for me. But that's because I get it. It is for many of Karate's present day masters who have gone beyond typical western classroom karate and looked into the past a bit. But don't just use the "soul" statement as a cheap catch phrase. Get out there and mix things up. Trust the beginners, the black belts, your staff, and the tradition to be able to adjust and excel with a more classical view of training. Somebody 200 years ago said that kata is the soul of karate. We can't understand that with our modern mind. We have to literally go back in time. It takes time. It takes money. Its frustrating. Its degrading.

Its life-changing.

This is of course where I should shamelessly plug my seminar series on the subject... but I won't:)

Happy Training

Kem(n)po Karate

2011-04-04T07:21:00.000-07:00

The title looks odd doesn't it. People ask me, referring to the name of my dojo, the Academy of Kempo Karate, what is the difference between Kempo, Kenpo, and Karate.

Well, it can be an easy answer, but we can also make it really complicated. How about easy?

As an aside, Kenpo, with the ken being used to mean "sword" is used in the old sword disciplines of Japan to simply describe ways of using the sword. "Po" means method. However, kenjutsu, iaido, battojutsu, and kendo are more popularly chosen when referring to the style.

Ken, when using another character, means fist, so, Kenpo means methods of using your fist. In Chinese, the same characters are pronounced "Chuan Fa".

Okinawa has cultural ties to China. When Chinese martial arts were introduced to Okinawa, the term Kenpo was often used to describe what they were doing. But, Di, Ti, and Todi in the Okinawan dialect were also used. Todi means "China hand" and the implication is similar to that of Kenpo, ways of using your fist or Chinese hand techniques. However, it is not denoting a style... it is simply a way of describing a martial art in general.

The characters for Todi are pronounced "Kara Te" in Japanese.

So what is the difference? Nothing. Typically, the difference is a time period. At some time in Okinawa's history, certain terms were used to describe the martial arts.

As far as pronunciation goes, Kenpo and Kempo are the same. As an example "number 1" is "I Pon" and "number 4" is "Yo Hon". The P becomes an H depending on how the word sounds... kinda like how we use "a" before a consonant and "an" before a vowel.

Additionally, when not using kanji and using hiragana (using characters organized by syllables and not by idea) there is no "m"... but there is a "n". So, the word Kempo would be written in hiragana as "Ke N Po" instead of trying to make the m work like this: "Ke Mu Po". Again, there is no "M" syllable in hiragana. So "mu, ma, me, or mi" would have to be injected.

That's the easy...they are the same. Different teachers like using Kempo to imply or more classical approach with the word Karate being a more modern term.

It gets complicated when we start talking about Karate's migration to Hawaii in the early 20th century. They preferred to use Kempo, and further William Chow chose to use Kenpo to differentiate his art from the Kempo of James Mitose. Ed Parker, a student of Chow's, used Kenpo, thus the terms "American Kenpo" was founded. American Kenpo is different in many ways that Okinawan Kenpo, which leads to the confusion and the question "What's the difference?"

Notable Okinawans who chose to use the term "Kenpo/Kempo" are Choki Motobu, Shuguro Nakamura, Shinsuke Kaneshima, Seiyu Oyata, and Seikichi Odo.

The terms Kempo, Kenpo, Karate, and Kempo-Karate are used all over, but cannot today be distinguished from the other based on name alone as they used to be.

How "Motobu" Is Your "Motobu ha?"

2010-11-15T12:46:00.000-08:00

What I will be discussing concerns the art of Motobu ha Shito Ryu. It is a style of karate stemming from Master Choki Motobu and extends to his student Master Kosei Kuniba (Kokuba), Kuniba’s son Master Shogo Kuniba, and to the different factions carried on by Successors and Shihan of Master Shogo Kuniba.

The name “Motobu ha Shito Ryu” comes from the fact that Shogo Kuniba studied the Motobu Ryu Karate his father learned from Choki Motobu and the Shito Ryu he learned from several Shito Ryu exponents, including the founder, Master Kenwa Mabuni.

From my expererience in other classical traditions, the terms “Motobu ha Shito Ryu” are actually a little odd... it implies the Motobu faction of Shito Ryu, implying further that Motobu was a student of Shito Ryu, which he wasn’t. Shogo Kuniba was attempting to give tribute to the influences of Motobu and Mabuni Shito Ryu on his branch of the karate tree. I am certainly not one to critique a Japanese martial arts Master with his use of the Japanese language, so I’ll just leave it as... it just sounds a little odd in this combination of terms. Regardless, I, and thousands of others all over the world, enjoy practicing this unique version of traditional karate.

Motobu ha Shito Ryu, and its organizational umbrella under Kuniba, Seishinkai, has had a wild history of development since the death of Master Kuniba. Organizational rights, familial rights, and stylistic rights have plagued the style. Today, no less than 5 different organizations represent Motobu ha Shito Ryu, all with legitimate “paperwork” to teach the style. While many choose to focus on political issues, myself and my peers choose to positively promote the style and its unique place in karate history to the students of the style who will one day carry the torch.

The idea for this little excerpt came from a topic I have discussed at clinics, seminars and camps for years now. That is, there’s a point in some martial artists’ career where a sort of identity problem materializes. I personally have wrestled with the question, with regards to Motobu ha Shito Ryu, what did I “really” know about the style? Is it really just a matter of doing a kata a certain way or holding my middle block at a certain angle. Certainly, there’s more to the art I study than this! After pondering and pondering, I boiled it down to several concepts that I needed answered in order for me to be an authority on the subject. One question in particular, that I had sort of saved for last due to its overwhelming elusiveness was “where is my “Motobu?” It is the first name in the style nomenclature, yet, nobody seemed to know anything about how the name truly identifies our style.

The reason for this realization is that when it came down to it, most of the emphasis of the Karate Do facet of Motobu ha Shito Ryu was the execution of kata, and this execution revolved around Shito Ryu methodology. Kata is one of the primary training practices of all training in Karate Do...Karate’s “soul,” if you will. While there are some stylistic differences between the different styles’ execution of kata, most kata, regardless of style, are more similar than they are different. In fact, some instructors within the same style execute their kata differently. Additionally, different students who studied with the same instructor but at different developmental stages in the Instructor’s career tend to do things slightly differently and even argue about who is more correct...when in fact they are all correct.

So I decided to forego trying to figure out whose version is right, who has the rights to what name, whose picture to put on the wall, and whose history lesson to believe and find out for myself... What does the “Motobu” mean? You see, everyone lays claim to Master Motobu being in their lineage, but who really knows... who has researched extensively... the history and training practices of Master Motobu.

The answer was, apparently, nobody.

Until one day my good friend Tom called me to say that he had made contact with Chosei Motobu’s organization and he is interested in meeting us. Chosei Motobu (formally “Soke”) is the son of Choki Motobu, our style’s namesake. If we were to find out real answers, this was a great place to start.

Fast-forward. We have since brought Master Chosei Motobu to our dojo on two 8 day trips constituting about 50 hours of training in the root art of Motobu Ryu. I even have taken the study of Motobu Ryu a step further and began studying the Kobudo of the Motobu family. I have lots of pictures, lots of “paper”, and lots of memories. But most of all, I found my “Motobu.”

My love is truly for Karate Do, styistically the Motobu ha Shito Ryu, and specifically my kai. There is no better group of practitioners who are willing to put the politics of everything aside and only worry themselves about good training, character development, and the welfare of the member students. I took up the study of a nearly forgotten discipline, Motobu Ryu, to enhance my understanding of the discipline I love, Motobu ha Shito Ryu.

So, for the benefit of Motobu ha Shito Ryu practitioners everywhere, regardless of whose flag you fly in the dojo or whose patch you wear on your chest, here are some suggestions for adding a little more "Motobu" to your repetoire.

First, when it comes to trying to understand the Karate of Choki Motobu Sensei, there is no higher authority than his son, Chosei Motobu, Sensei. He is 2nd Soke (Headmaster) of Motobu Kempo and 14th Soke of Motobu Udundi, a rarely seen Okinawan Budo. Material provided here can be found in Choki Motobu’s “Watashi no Karate” as well as articles preserved in the Motobu Ryu archives, available on the Motobukai web-site. Other information was provided to me (and others present during the visits) personally during interviews and training with Chosei Motobu, Soke here in Virginia.

The Differences

Motobu Kempo (Motobu Sensei’s prefers the term “Kempo” to “Karate”) utilizes, at its core, only two kata; Naihanchi Shodan and Naihanchi Nidan. Paraphrasing Choki Motobu Sensei, all one needs in order to understand the principles of Karate are in these two kata. This is of course, the greatest contradiction to the almost encyclopedic collection of kata boasted by Shito Ryu practitioners. Kenwa Mabuni, Sensei preserved many old fighting styles as a responsibility to the art, thus, the numerous kata contained in the Shito Ryu syllabus. While remembering all of the kata is a daunting task, it is a noble one. In no other faction of traditional karate are so many Karate based fighting principles, theories, and techniques preserved than in Shito Ryu.

Motobu Kempo utilizes “irimi” more so than Shito Ryu. Irimi means that, instead of side-stepping or angling in techniques, Motobu Kempo moves straight in whenever possible. Angling, as traditional training professes, is a compromise between moving away from an attack with a blocking sequence, only to have to move back in and moving straight in on an attack which presents a timing issue. This is not to say that I personally am against moving at angles, I am a huge proponent of it, but, it is not consistent with Motobu Ryu methodology. Choki Motobu, according to his son, taught that it is better to practice hard and get good at moving straight in, than practicing to be “safe” and moving at angles.

Motobu Kempo is not as circular as Shito Ryu. Shito Ryu contains the Naha te element of Okinawan karate which uses effective circular techniques in the execution of defense. Blocking, striking, kicking, and tuite (grappling) are very “straight,” attacking the closest target available with the closest weapon available in the straightest path possible.

Motobu Kempo utilizes a posture called “Miutudi,” meaning husband and wife hand. This would translate into orthodox kata techniques as the “Morote Uke.” Many styles call this block a “reinforcing block” but in Motobu Kempo, it is used entirely differently. The principle is that wherever one hand goes, the other is linked to it.

The position of the “middle block,” or chudan uke, is different in Motobu Kempo. The forearm is vertical rather than the approximate 45 degrees that most karate styles employ.

The range, or “ma ai” of Motobu Kempo is different. This is demonstrated in the kamae (posture) and hand position of techniques. Motobu Kempo techniques are done much closer to the opponent.

Shito Ryu contains several dachi (stances), whereas Motobu Kempo contains only a couple.

The way in which the Naihanchi kata are performed are significantly different.

Similarities

Similarities lie in the fact that the basic waza of both arts have their roots in traditional Okinawan Karate and therefore share certain characteristics in form. However, the nuances of each art, particularly in the execution of kata, are quite different.

They both have the Naihanchi kata in their curriculum.

They both place an emphasis on practical applications of kata and self defense, particularly in the softer side of the arts such as grappling, joint locking, and throwing techniques.

Thoughts

Master Choki Motobu was the teacher of the Seishinkan founder Kosei Kuniba and the progenitor of the systems that bear his name. Yet, nothing other than informational “tidbits” such as Choki Motobu’s birthdate and nickname (Saaru, which is also incorrectly explained as “monkey...” saru is Japanese. It means something different in the Okinawan dialect...) are taught within the curriculum of Motobu ha Shito Ryu.

People ask me and my peers, “Did you study under anyone from the Kuniba family?” The answer is no, I did not have the privilege. There are many practitioners in the world that I would recommend as absolute authorities on the subject of Master Kuniba and his teaching methodolgies. Master Kuniba is succeeded by his family and his Shihan, all of whom share(d) the burden of promoting Motobu ha Shito Ryu. But, I have studied under the Motobu family...

In my years of exposure to this art, most who consider themselves authorities on the subject end their level of expertise with an understanding of Master Kuniba’s and his successors’ deepest philosophies, and from these teachings, students of Motobu ha Shito Ryu have a lifetime of practice ahead of them. I appreciate their efforts, but have been personally plagued with the idea that so little was known about the technique of the art’s namesake. My hope is that this will, at the very least, promote some interest in getting to know more about this great karate Master.

For a mere blog topic, this entry contains just enough information to aggravate... on purpose. If there is continued interest in the topic, I’ll keep the ball rolling.

The Squish

2009-12-23T08:10:00.000-08:00

You Budo yes, you Budo no, you Budo maybe...you get the squish, just like grape.

This is a modified quote from the Karate Kid.

When I see martial arts that are just not to my liking (through a lot of therapy and shock treatment I have learned not to say "those martial arts that suck") I have conditioned my brain to reflect on something that Niina Gosoke said once:

As long as they are having fun...but it's not Budo...

At the time he was watching a video and the participants were clearly enjoying what they do. He said nothing negative. He smiled and said it looks like fun!

But, it was not Budo.

Musashi

2009-12-23T08:01:00.000-08:00

In reading "Musashi: His Life and Writings", I've learned something interesting about the training methodology of our completely unrelated Motobu Udundi.

In the book, there are excerpts of a Kendo Sensei's writings on how he relates the study of Musashi's "single cadence strike" to kendo. The author then does his best to translate some of the esoteric material into English.

Regardless, the talk of the relationship between your right and left sides, how the cadence is different with only a single hand weapon in your right hand, how that translates into having a two handed weapon, how the diagonal tension between the upper and lower body relates to cadence, maai, and speed/ timing, and the tanden/ koshi is all quite eerie when considering the esoteric training practices of Motobu Udundi. This will require some time and thought. I love finding something new to dive into.

The Black Belt

2009-12-22T13:27:00.000-08:00

Shodan, what is commonly referred to as black belt, 1st degree, does not mean first degree black belt. Black belt would be "Kuro Obi".

Shodan literally means 1st level. It implies that a student is officially at the first level, one is NOW ready to learn.

Too many young people receive their black belts and think they know enough to comment on martial arts. They think that the black belt is a huge accomplishment. It is only the beginning. These people need to just keep their mouths shut and train. As a shodan, you're not even shown anything of substance let alone have any authority to offer an opinion on anything.

Supatsu Ryu

2009-12-22T08:57:00.000-08:00

Supatsu is how you say "sports" in Japanese.

Sport Karate has now become traditional karate, and I f-in hate it.

The concept of "seitei kata" and tournament kumite and the intense focus people have on it nowadays is completely destroying karate. The hours spent mastering a seitei kata...a kata that is simplified and standardized simply so the judges have an easier job, could be spent actually practicing karate.

When asked for his endorsement for Karate into the Olympic Games, Morio Higanonna, Hanshi, 10th Dan, Okinawa Goju Ryu, refused.

The JKA dictated to the Okinawan karate federations what the rules for competition would be... It was argued that the JKA can dictate the rules for Kumite, as they invented that, but the standards for kata competition should be dictated by the Okinawans. The JKA over-ruled them.

When trying to determine the best way to apply kumite to karate, masters like Motobu, Mabuni, Haneshiro, Miyagi all determined that it couldn't be done. Just as the dangerous techniques were taken out of Jujutsu to make Judo and the sharp swords were taken out of Kenjutsu to make Kendo, the principles of Karate would have to be changed in order to allow competition. Many masters felt that this was not acceptible. They saw the trend of watering down everything down to make it aesthetically pleasing and competition friendly occuring in other arts. Taking the roots out of karate for the sake of competition could not be allowed for the sake of protecting the heritage of the art. But, again, the majority rules and we are where we are today.

As a side note, Kumite was taken out of the Okinawa World Tournament... why would they do that? Because sport kumite is not karate.

Competition is good. But it has to reflect the true heritage of the art.

Feel 101

2009-12-22T08:32:00.000-08:00

I get messages all day long about how to do stuff, usually related to Iaido. Unfortunately, they are questions about the "feel" of something.

I've said this repeatedly over the years. Westerners (me included...but not as often anymore...) need to know how to do a technique, every detail, before it is even attempted. If I have said it once I've said it a hundred times. Don't try to understand it. Just do it. Thousands of times. The practice combined with a little detailing by the instructor will produce a great technique.

For example, "I can't make my noto look like yours..."

20 years, hundreds of times per day... call me when you're done.

Seriously, I can't tell you how to feel something. There is a great story by Hakko Ryu Jujutsu Soke Ryuho Okuyama that rings true:

"You must tune three strings when you practice the shamisen. Most beginners cannot, so for their beginning stage, they ask their teacher to tune it for them instead of doing it themselves. But gradually, bit by bit, because they practice everyday, their feeling for the sound becomes sharper and sharper. Usually within a year or so, they have a trained ear for the sound and can tune it by themselves. So until then, teachers won't say anything very useful to their students. Teachers know there are no words to express how to feel the sound."

Amen

Now Sensei...

2009-12-18T15:53:00.000-08:00

It is not written anywhere that Sensei need to be nice. In fact, good students are those who do not feel bad when they receive a response for their shoddy work that is other than "positive reinforcement".

But, Sensei does need to be considerate to his students. He does need to be positive and reinforce good actions.

But, how is the student going to realize the seriousness of REALLY trying to get better or efficiently learn something without wasting everyone's time. "lighting a fire under your butt" sometimes accelerates the learning curve when it is apparent that the student is just being lazy. Constant positive reinforcement of laziness is going yield in more laziness.

A little sarcasm and a little pushiness and other wise slightly negative reinforcement lets the student know that there is a degree of seriousness required of him. The seriousness does not necessarily need to be emphasized in order to demand more respect for the teacher...which is often the case. The teacher brings the seriousness to the table to let the student know that it is their responsibility to BE SERIOUS... without the teacher always HAVING to push them. This is the beginning of self-discipline, self-respect, and integrity.

Omote Kage

2009-12-17T08:24:00.000-08:00

In formal Japanese martial arts, the concept of demonstrating the application of a technique for the general public and general student population is called Omote. In karate, as it is Okinawan and not Japanese, the concept exists but it is simply called bunkai. Bunkai has different levels of understanding as the student advances such as "honto".

In Japanese Budo, what is hiding in the shadows of the basic techniques is called Kage or Ura. These techniques are only taught behind closed doors and a student must be at a certainl level of trust with the Sensei.

In Karate this concept is often referred to as Oyo, or as one of my Sensei also calls it Tichiki (literally "what the hand is doing", hogen, implying "what the 'hand' is really doing").

It is amazing that to this day, I can demonstrate this concept in the several koryu Japanese Budo I participate in and am met with high enthusiasm, yet, when I demonstrate the same concept in Karate, I am met with scepticism and a sort of "well, that's his interpretation of it."

While there is a certain degree of my interpretation laced in everything I do, I am doing so with an innate desire to keep things in context. I am not going to attend an FBI defensive tactics clinic and then try to reverse engineer the techniques into a kata. The techniques contained in kata must first be trained and understood within the context that they were created. With the principles in place, one can then adjust them to their needs, but it is important to maintain the tradition and the principles of an art.

The following video was forwarded to me and is a prime example of this concept and perfectly executed.

http://www.youtube.com/watch?v=M71Iev8Ix8c

A student asked me, "Is he following your methodology, Sensei?" I had to humbly reply that Teruo Chinen Shihan is not following my methodology... he was taught this methodology before I was born...funny

The concept of ShuHaRi is often ignored by my western brethren. They take to applying their own interpretation of the kata within their own perspective without learning even the most basic historical perspective. Compound this with the cycle repeating itself over several generations and what you get is the great majority of karate teachers in the world really missing the boat. The new minority, those keeping the tradition and those adhering to the concept of ShuHaRi, and nay doing it correctly (I know...baffling) are further sent into the minority because our view is no longer the correct view...it is the minority view, afterall, as history demonstrates, the correct view is the majority view.

To complicate things, our desire to continue to adhere to this tradition forces us to remain silent and let the idiots of the world propogate their own ego-driven perception of the martial arts. In the rare event we decide to interject into the silliness, we are looked on as the crazy minority view trying desparately to hold on to an archaic approach to self defense. Our inability to "change with the times" is actually a negative attribute of traditional martial arts today.

For those who don't know, Shu means to adhere, to follow the instruction and direction of your Sensei unconditionally. Ha means to break down or break away. With the teachings internalized, one begins to find their own way with the principles of the art as his foundation. The problem with most is that there is a misunderstanding of the timeline involved with the Shu and Ha stage. One is given permission to officially be on their own with the issuance of a menkyo, such as Shihan or some other official teacher certification. In a world where 16 year old 1st degree black belts are referred to as "Sensei", it is easy to see the confusion. Menkyo are typically issued at what amounts to 6th Dan, or approximately 20 years of experience. Bingo. Simply put, the methodology of transmitting the true martial arts philosophies involve staying with your teacher and the art/ style for no less than 20 years. The innermost teachings are not going to be taught before the Ha stage. Now, how many people do you know who have broken away from their teacher, usually due to ego, and go out on their own while still in the Shu stage? How many generations has this gone on? How many martial artists in the world think Karate is crap because they are seeing the "majority view" and not the minority view? This cycle is destroying karate's traditions.

Ri means to separate from. This is where most who are still in the uneducated Shu phase think they are. To put it in context, Ri is usually accompanied by a Hanshi, Kaiden, or if you want to go Dan level, about 8th Dan. And what I mean is 8th Dan achieved adhering to the ShuHaRi philosophy from an instructor who is transmitting the information of their style within this methodology.

Omote means front. Kage means back. For the student, this is a constant and poetic reminder that there is always something else to learn about a particular form. It is in the nature of Japanese and Okinawan Budo to always hold back the true meaning of something. The highest levels of understanding are always going to be reserved for the most dedicated members. The problem with most is that the ego convinces that perhaps our teacher or our teacher's teacher considered us to be the exception to the rule. Or, we, with our profound level of understanding and expertise, can figure out the true meaning on our own.

-I am not the exception. I am a novice. I know nothing. My abilities can not be forged on my own. I WILL NOT know the truth unless my teacher shows it to me. I am one within a population of a million other practitioners who lets my ego prevent me from learning correctly. The battle within myself is to stop trying to understand and to simply do, to stop thinking "I get it" and to start thinking "I'll do what I'm told". There are those far more experienced thanI am and infinitely more knowledgable... who still do not know it all. I am not special. -

Regardless of our experience and understanding of Budo, if we can all recite or just think to ourselves the above phrase, we might then be able to appreciate the value of tradition.

Just figured it out

2009-12-16T18:07:00.000-08:00

I think I have just figured out a real philosophy of those who feel that they can "evolve" their art from the source without actually knowing the source.

Take for example this pour soul on youtube (I'll leave the names out). He was told that his goju ryu kata did not look like...nay even resemble an actual version of the kata done on Okinawa.

His response was that the art has been evolving for centuries, his version of it is just a natural evolution of it. But the fact remains, he says he is doing Goju Ryu, but it looks nothing like Goju Ryu, yet he thinks he is doing Goju Ryu.

Anyway, I'm rambling, but it got me thinking. What if these guys really were the evolution of it. Imagine, all of the Okinawa masters die right now. Anyone left with any knowledge of traditional Budo dies, right now. All that is left are these idiots. What would they think about the only source for actual history and proper technique being dead. Would they enjoy being the authority or would they lose sleep at night knowing that what they teach is not the real thing and they now have a bit of guilt as representing the only semblance of tradition in human existence.

I truly think that these idiots who are just too egotistical to change styles or put on a white belt again secretly sit at home watching Higaonna or Toguchi or Chinen wishing they could be them and know what they know. But, they realize that the subservience, commitment, and starting over is more than their egos will let them do. They already have high ranks, fancy titles, a dojo with loyal students, and the admiration and support of those other idiots in their own clique who all shower each other with plaques, awards, hall of fame nominations, seminar appearances, and such. I think that they NEED the traditional Sensei and the original way to do kata and train in order to bring what they do a sense of order.

Because...if you take away the root art, that which their art is of but a shadow is ridiculous. Its awful to look at, it has lost all of the meaning of even doing a naha te style kata, and the applications become impractical because they were not based on the root techniques to begin with. It is the shell of the art. But nothing is inside. Why have peanuts in a shell if there is no peanut.

Sanchin Shime

2009-12-16T06:49:00.000-08:00

Shime means to test, and with regard to the kata Sanchin, it has to do with correctly protecting your vital points.

In Sanchin Shime, the student does Sanchin while the instructor "tests" the stance and posture. Unfortunately, the majority of the world does not understand how it is done...but they've seen the testing done so they try to immitate it. Shime is very, very specific...not random. Nor is it simply hitting the guy to test his "toughness". An in depth understanding of Traditional Chinese Medicine theory and physiology is needed to even attempt doing Shime.

I post this in response to a video I was sent yesterday of these two idiots doing shime. You can tell simply how the student is doing sanchin that he does not understand the kata. The instructor...well, video is worth a million words.

http://www.youtube.com/watch?v=AJVz98apRq8

I can't stress enough that this is how 99% of all karate schools perceive this practice. Most do it wrong, yet the students and parents feel they are learning to toughen themselves up.

For a correct example of Kata shime, watch the following. Higaonna Sensei, 10th Dan, Okinawa Goju Ryu.

To reiterrate, even Higaonna Sensei is doing it this "hard" because the student is prepared for it, having done it for decades. For newer students, it is done considerabley lighter. It is progressively more in depth as the student gets better.

http://www.youtube.com/watch?v=TKoz2Bqfx_s

Lastly, shime this way is specific to goju ryu. It would not be prudent to do it this way in Shorin Ryu and it is done slightly differently in Shito Ryu. No, Iaido (sword) practitioners do not have their kata tested this way as they are swinging swords. The context of the fighting philosophy in Goju Ryu makes this pertinent.

Buyer beware

iBlog

2009-12-15T10:55:00.001-08:00

Blogging from iPhone... Sweeter than yoohoo...

- Posted using BlogPress from my iPhonebpo

Wrestle Ryu

2009-12-15T07:23:00.000-08:00

Had a good class last night with the juniors. One of the guys is wrestling in middle school. ANALOGY TIME!

I showed them a couple moves I always liked. I wrestled for six years in school...I wasn't great but I could hold my own. I was always wrestling against great guys for the varsity position... they were always in the top 5 in the state... so I only wrestled in a varsity match a couple times, but I was pretty good in relation to who I was training with (I wrestled 142 pounds my senior year... team members had to wrestle for position on varsity each week. just 'cause you made varsity, doesn't mean you wrestled in the meet at varsity. Anyone could beat you for the spot any given week). At 142 I was bench pressing about 225 pounds and running a 6.1 50 yd. Aahhhh...to be young again...

Anywho, I was showing a couple basic things that they hadn't seen before. I immediately thought to myself that the coach must not know what he is doing...and almost fell right into my own trap!

I thought better of it and didn't say anything out loud but instead thought about it for a while...why wouldn't he show this...

Cause its their first year...duh! Wrestling is, for all intents and purposes, a martial art. And as such, there is a cycle of learning that revolves around repetition of basics for a very long extended period of time. You see, there is no way to teach how to "feel" something. You simply have to do it over and over to develop the feel. So, I gave myself a mental self-smack in the head and tried to reinforce what the coach was doing. Basics, basics, basics. I'm doing what so many karate sensei do...they try to use their knowledge of a complicated topic and try to teach these concepts to someone not ready for it. These guys have been wrestling for a month! Anyway, I've decided it might be cool to have a little wrestling practice for these guys after class to reinforce the basics. Feel is a matter of time, not understanding nor is it about learning a plethora of techniques. It is simply about time.

As a side note, a friend of mine wrestled in college. He was varsity. The guy always trying to take his position but couldn't manage it... a UFC Champion (I'll leave the names out to protect my butt). I've wrestled against this guy several times, he even took karate with his kids at the dojo for a while. I could never even get behind the guy...

Just Train

2009-12-15T06:56:00.000-08:00

Rant mode on

Its amazing how much one shift in culture can shift the entire future of an art.

In the west, and even in Japan now, with the advent of the internet and the world's complete over-exposure to information, everyone has this desire to try to completely understand how something works before even trying it! This drives me up a freakin' wall...but I get it.

Everyone always asks me why the blind dedication to a particular art. Isn't it better to get multiple perspectives of something to make you more well-rounded? The answer is yes, but put it into perspective. What is missing is the public's understanding of how long it takes to "get the perspective". How about this... 15 years. That's right. You must do something with complete dedication for 15 years before you are ready to move on and "mix it up".

In Japan, the idea of having a 300 year old martial art means that the track record of the style implies that it works! It has survived 300 years... in a feudal and warring environment. Thus, the concept of trying to learn the history, technique, and philosophy of the art BEFORE attending the first class is completely non-existent. The history of the art speaks for itself. This is why I dedicate myself to the "archaic" forms of martial arts and refuse to divert my attention to something with a more "Modern" approach.

These arts with the modern approach are all created by these same people who shopped around for the techniques they personally like and feel work better for their situation...without really knowing what the situation is! Someone with no experience in martial arts has absolutely no business deciding for themselves what is best for them in a martial art. Yet, it is this person, one who floats from dojo to dojo trying to find what works for him that, after 20 years of floating around with absolutely no stability or commitment (one is never going to be shown the "secrets" of something if there is no commitment) decides "they've got it" and decide to start teaching their own "new" art.

THIS concept of martial art training has actually been going on for SO LONG that it is now perceived as acceptable. The person is looked upon as having "20 years of experience", not "hopped around from dojo to dojo for 20 years never truly learning the art and committing to the school".

Don't confuse this with realizing after a short time that you may be in the wrong environment. If after a few months, it doesn't feel right, then by all means find another school. But, what is the root of this process, anyway? Money. Ego. Disregard for authority. Could be many things. But, why is someone shopping around schools based on price and what "looks" good instead of actually using all of that internet power and actually investigating the history of the martial arts, the history of the different styles, and for God's sake why not actually look up the credentials of the instructor?

The state of the martial arts today is quite sad. Anyone can get a black belt. The public thinks that a black belt is a black belt is a black belt. 10th degree black belt grandmaster...? SURE America's full of them! There are more in New York than all of Japan. ITS A JOKE! How can someone who has never been to Japan claim to be a grandmaster of a Japanese art!!?? But, the public keeps these people in business because they simply don't know to run the other way.

Rant mode off

Hyold on a minute

2009-10-15T11:39:00.000-07:00

I think its funny that all of these people who practice and "teach" derivatives of Mugai Ryu ( our style of Japanese swordsmanship) all of the sudden are calling it Mugai Ryu Iaihyodo...instead of "Iaido". Many of the same people also talk badly about our group because we do not tolerate their crap. Ironic. They wouldn't have known the "hyo" was in there originally without us telling them.

2009-10-09T10:19:00.000-07:00

Curriculame

I hate having to teach a curriculum. But the parents and students brought up in the National public school system think that martial arts instruction should operate the same way.

Youtube Ryu Karate

2009-10-02T13:34:00.000-07:00

I have not heard of any professional Mixed Martial Artist, Jujutsuka, Karateka, Iaidoka, Kendoka, or Judoka bad mouth practitioners of other arts.

This example should be followed by all of the other idiots out there sharing their months of knowledge with experts who have been working hard in the respective fields for decades.

The commentators who present the most amazing idiocy are the Karate and MMA guys. Here is some highly abbreviated advice for both camps:

Karate guys
Learn karate. No...really. Go to Japan and learn karate. Your completely ignorant understanding of classical karate, its origins, its mythos, and its principles do absolutely nothing to support those who are really in the business of propagating the ART of Karate. The countless posts that are articulated as if the 16 year old brown belt in Cobra Ryu Karatee were an actual expert make all traditional karate instructors and practitioners look like a clan of freakin' morons. Don't do your homework with wikipedia as your only reference. Don't learn your kata from youtube. Don't base "expertise" on what you see the latest WKF World Champion doing. And...you know what...if you have a black belt and a whopping 4-5 years experience with not one minute of training in Japan then keep your mastery of the English language to yourself. Only when you have as much experience and skill as the 70 year old Okinawan Hanshi whose forward stance you are trying to critique should you put your fingers on the keyboard.

MMA Guys
You DO karate so stop talking bad about it. Every principle of Karate can be found in MMA practice. If you think traditional karate guys fight with their hands on their hips yelling and screaming all day long then you are also using youtube, "The Karate Kid", and the NASKA World Championships on ESPN 2 as your reputable research sources. If you think that someone who posts themselves doing kata on a video does not know how to apply the techniques you're wrong. If you think karate practitioners are going to fight you from a traditional forward or horse stance you're wrong. If you think they are going to hit you, stop, and then look to a referee to award a "point" you are wrong.
Karate is the original "Mixed Martial Art". Its lineage contains elements from all of the major martial arts. This is because all of the major Asian martial arts can trace their lineage to China. Check this out:
China (Chuan Fa), Thailand (Muay Thai), Okinawa (Kempo), Japan (Karate), USA (MMA Striking Arts)
China (Shuai Jiao), Greece (Pale, not implying this started in China...), Okinawa (Tegumi), Japan (Sumo), USA (Wrestling, MMA Ground-work))
China (Chin Na), Japan (Jujutsu/ Judo), Okinawa (Tuidi), Brazil (Jiujitsu), USA (MMA grappling and submission-work)

So, you see, historically most of what MMA sportsman do shares elements of other countries' indigenous fighting systems. As time went on, the arts were adapted to the geography and the political climate of each culture the arts settled in. MMA has done what martial arts systems have been doing for centuries, adapting to the context of a need of a particular time period. Classical Karate is made up of Gote (hard techniques, punching kicking, elbows knees) and Jute (soft techniques, sweeps, reaps, joint locks, takedowns...what is called tuidi in Okinawa). The techniques are practiced on an individual basis (kata), partner basis (ippon kumite), spontaneous basis (kumite), and practical basis (goshinjutsu). The only difference between this format and MMA is the percentage of practice time spent on each element. Natually, in MMA more time is spent on the "kumite" or spontaneous fighting element. The difference has nothing to do with effectiveness...it has to do with CONTEXT. The context of MMA is simply different than that of Karate. While comparing the two might not be like comparing apples to oranges, it would be like comparing lemons to grapefruit. Almost the same...different proportions.

Now the difference comes with MMA being developed solely for sport. The "depth" that most traditionalists speak of is that classical martial arts were developed to improve a society's well-being on several fronts. Respect, discipline, confidence, higher education, self defense, physical fitness, mental fitness, longevity, military effectiveness, societal uniformity, and national pride are just a few attributes that are developed to a very high level and have been for hundreds of years. Of course the MMA guys are going to think they can point out elements of MMA training that develop these same facets, but don't be confused. Extensive practice of any sport is going to develop an instinctive reactive process to the techniques of the game. This is not the "mental fitness" I am speaking of. That's simply being good at what you do. The focus in classical martial arts is just different.

Unfortunately for the karate guys, they have stopped learning, too. The result is a bunch of karate guys who know there is more to their art which makes it a superior form of practice to MMA, yet they are not willing to work hard enough in the traditional system to learn it. The MMA guys see the uninformed, under-trained, misguided karate-as-a-religion practitioners caught in an ineffective and archaic method of fisticuffs as a bunch of guys in pajamas that would get their heads wripped off by even the most novice of MMA practitioners.

The cure? Simple. Everyone needs to get rid of their egos. Some people will say that MMA guys are the egotistical ones...with UFC, cage matches, sponsors embroidered over every inch of a pair of booty shorts, trash talk, and the brutality in the ring against another human being simply win at all costs for the big payday. It is a good point.

But, I think the karate guys are equally egotistical. There are more 10th degree grandmaster Soke Dr.s in the state of Tennessee than in all of Japan (sarcasm of course... I didn't actually count them). And not one of them has been to Japan! "Masters" and "Experts" hide behind their impressive techniques...against pre-arranged and highly orchestrated attacks from opponents who will flip through the air with a proper wink of the eye. There is a great attraction to the 8,000 sq. ft. facilities, black belt clubs, summer camps, and after school day care opportunities to pay off the Jaguar early. These disgusting practices certainly put these idiots at the top of the heap as well.

So, my advice is to follow the example of the REAL experts. Those who have been everywhere and done everything and can now express a well articulated opinion on all sides of the traditional vs. modern martial arts discussion. They're easy to pick out. They're the guys from both camps not bad mouthing other martial arts.

Youtube Ryu

2009-10-02T13:27:00.000-07:00

If I have to read one more comment from an idiot who knows nothing about the subject matter he/ she is posting about, I am gonna... start a BLOG!

That's right ladies and gents, I am now going to vent my frustrations with all of the idiots on youtube and other forums who comment on subjects they know nothing about. I may tend to be a bit more crass than you may see me in the dojo, certainly not as humble or forgiving, but I think the expression of the alter-ego might do some people some good and can certainly help to voice the opinion of those with similar opinions.