Seibukan Seminar 2000
Dear
Seibukan Yudansha,
The
material in this booklet is a compilation of information
that I have been working on for the last two years with
the guidance of Hanshi Zenpo Shimabukuro.
I
am working on a book that will be titled. "Kyan's Karate:
A Unique Blend of Tomari and Shuri Te". I made the
decision to begin publishing for all the Seibukan students
the material as I complete it so as not to delay the information
that you might find helpful in your training.
Over
the coming months I will continue to publish the completed
chapter of the book for your reference and study. I will
provide all this information to the member schools of the
IOSSKA.
The
purpose of the work is to capture as much of the current
knowledge we have of Seibukan and to expand the body of
knowledge of Seibukan.
Please
understand I am not a professional writer. You will certainly
find many errors in the grammar and typing. I ask each of
you to read and study what I am presenting. Ask questions
and make comments so that I can produce the best document
possible for Seibukan.
Thank
you for supporting Seibukan by attending the winter training.
If you desire more copies of the booklet please let me know
and I will send them to you.
Dan
Smith
Perfection
of Technique
:
By
Dan
Smith, Kyoshi, Shorin Ryu Seibukan
Results
in Developing Instinctive Spontaneous Reactions
The
training emphasis in Seibukan Shorin Ryu has been influenced
by Zenpo Sensei’s requirement for the perfection of the
smallest of details of the kata. The effort to standardize
the kata practice by all Seibukan dojo has not been for
the purpose of insuring that everyone practices the kata
and kihon the same for convenience of teaching.
The
standardization process is to insure the perfection of the
techniques.
The
exact performance of each technique is necessary to gain
the full value of the movement. The movements of our kata
were designed to produce specific responses to attacks.
The methods of movement, the stance postures, and fighting
strategy are not the natural instinctive movements of a
human being under attack. For example; during a surprise
attack it would be human nature to retreat from the attack
but through kata practice we attempt to change our nature
and move into the attack to disrupt the movement of the
attacker.
The
kamae or fighting postures of the kata develops the Seibukan
karate-ka to make the next movement instinctively. The intermediary
movements of authentic Okinawan karate become the instinctive
spontaneous reactions to attacks.
We
have to understand the purpose of kata, fighting theory
of the kata, and the construction of a kata to prepare for
the use of kata in self defense. The understanding of these
three elements will lead the Seibukan karate-ka to appreciate
the desire of Zenpo Sensei for us to achieve the perfection
of the technique through kata practice. The perfection of
technique is not only the physical but mental perfection
of the kata. You must combine the mental and physical efforts
for a complete balance of the techniques. You must have
an intellectual understanding of the kata before you can
perfect the kata.
On
many occasions I have asked Zenpo Sensei about the applications
of the kata techniques and he answers, "just
do what comes natural", and
"you can only achieve
chinkuchi through the spontaneity of the moment.
Purpose
of the Kata
- The record
of Okinawan fighting traditions is the kata. The techniques
of the innovators of Okinawan karate were cataloged for
the purpose of passing the techniques onto future generations.
The kata are reflections of a past time when fighting in
unarmed combat was a necessity. Kata affords us the opportunity
to look to the past to understand how we can defend ourselves
in the present. The movements of the kata were perfected
during a time when man was more attuned to the
need
for defending themselves. A time when the understanding
of the human body and it's weaknesses and strengths during
combat were vitally important to survival.
In
summary the kata is the repository of information from a
past time. A body of knowledge that can be utilized today
for not only self defense but a method to change our bodies
to react instinctively to mental or physical attack.
Fighting
Theory of the Kata - The
fighting scenarios that were created
by the innovators of Okinawan kata were designed around
three potential scenarios of a fighting encounters. In my
research of Okinawan kata I have interviewed many of the
senior Okinawan teachers and have found ubiquitous agreement
on the scenarios that Okinawan kata have been designed to
address. The study of these scenarios and the applications
of the kata will help you find answers to address those
skeptical of the practical combat value of the practice
of kata.
Scenario
One - A surprise attack.
The attack is launched without warning by a known or unknown
assailant. The attack could conceivably come from any direction
and by multiple attackers. A surprise attack would be with
the intent of controlling or injuring you.
Scenario
Two Encounter that escalates
into a fighting situation. Actions that lead to physical
contact and eventually into actions of attempting to control
or injure you. The escalation scenario is more likely to
lead to an attempt of injury vs. control.
Scenario
Three - Mutually agreed
upon combat. This scenario would occur when there is mutual
agreement to fight. The desired outcome can be set by the
opponents but the opportunity always exist that one of the
combatants can deviate from the agreed upon outcome of the
combat.
The
kata of Okinawan karate takes into consideration the elements
of distance, timing and spontaneous response for all three
of these scenarios. The
importance of
understanding
these scenarios is to mentally identify which scenario you
are in and apply the appropriate kamae and intermediary
movements.
The
logical method of preparing for these three scenarios is
to; one, perfect the physical movements of the kata, two,
understand the bunkai of the kamae, and three, practice
through the methods of ippon kumite, tegumi, yakosoku kumite
and jiyu kumite the three scenarios of fighting.
Ippon
Kumite - Develops the initial
reaction to a singular attack and has a corresponding response.
Tegumi
- Develops the
close up fighting skills that are consistent with an encounter
that escalates into a fighting situation.
Yakosoku
kumite - The prearranged
fighting drills simulate the potential of mutually agreed
combat.
Jiyu
Kumite - a form
of agreed upon combat that is controlled and has a predetermined
conclusion with limited techniques and targets. The popularity
of jiyu kumite has brought about a gross misunderstanding
of kata and it's applications. The movements of the kata
cannot easily be converted to the movements necessary for
jiyu kumite due to the distance and timing of the contest.
The inherent distance and timing of Okinawan kata is derived
from the necessity of defending against the surprise attack
and the escalation of a physical encounter. The aforementioned
is the reason for many people changing or abandoning the
authentic kata of Okinawa so that they can excel at jiyu
kumite.
In
my opinion we should only focus on the first two fighting
scenarios in our training. Of course for development of
a fighting spirit and the development of a competitive nature
the jiyu kumite in traditional karate tournaments is an
excellent tool of development for young people.
Construction
of Kata - The
construct of a kata consist of two major components. These
two components are that of kamae and intermediary moves.
The innovators of Okinawan kata captured in the kamae the
concept of being able to predict the next movements of an
opponent. The intermediary movements are the specific tools
of karate that are used to execute the instinctive responses
of the kata. By constructing the kata in a series of kamae
and intermediary movements a linkage was established to
provide transition from kamae to kamae. In essence the kamae
then becomes the primary driver for a response to the three
fighting scenarios.
Kamae
- fighting Posture. The fighting
postures are the positions that develop the spontaneous,
instinctive movements of karate. Through the practice of
the kamae the potential attacks and responses are limited
to a smaller range of potential movements. By limiting the
potential number of possibilities you increase the potential
of being able to respond to an attack with spontaneity.
A relaxed mind and body that moves without the stress of
uncertainty increases the opportunity for a karate-ka to
achieve chinkuchi
which
is the ultimate utilization of the mind and body in any
given movement
The
kamae in a kata are limited in number. The kamae in the
kata are not the only kamae that a karate-ka can utilize
but the ones in the kata are those given to us from the
past. These kamae deal with the concept of protecting against
a fatal blow and delivering a fatal blow in a mortal combat
situation. The development of a kamae not found in the kata
would run the risk of not knowing whether it would work
in real combat. The act
of faith
that is placed in the practice of kata is one aspect of
the mental discipline that is required to become proficient
in authentic Okinawan karate.
The
perfection of the kamae has a dual purpose of being a fighting
posture and one of health improvement. Every kamae has a
significant impact on the development of our internal energy,
muscle mass, increased bone strengthening, and improves
the coordination of the mind and body.
Intermediary
Movements - are movements
that the basic tools of karate The blocking
, kicking, punching, grasping,
striking and stepping methods
are used to link the kamae in the kata. The intermediary
movements are the specific responses delivered from a kamae
or the movements that lead you to a kamae.
Sensei
Zenryo Shimabukuro said, "Begin
in a kamae and return to a kamae as fast as possible".
His example was in Seisan
with the first sequence of the kata as you performed the
middle level block, followed by a middle level punch and
the reverse outside forearm block. Upon examination of this
sequence you can see where you began in a kamae, transitioned
to an intermediary movement and returned to a kamae. On
a basic level you can see where you go from a protected
position to a counter attack and then return to a protected
position. This concept
repeats itself throughout all of the kata of authentic Okinawan
karate.
Intermediary
movements are the tools of karate. They are to be practiced
through repetition and basic exercises to provide the important
physical link to the kamae. Zenryo Sensei created the kihon
renshu for this purpose. Without
the highest level of physical
ability
in the intermediary movements the actualization of the kata
concept is weakened. He
developed the kihon renshu to provide
his students with a basic building block for the intermediary
movements. Once the intermediary movements have been perfected
the kamae are linked in the kata and produce an overall
invigorating exercise that develops balance and agility.
Summary
A
developed kamae produces that appropriate instinctive responses.
A perfected kamae coordinated with the intermediary stepping
techniques provides the karate-ka with the instinctive response
to a surprise attack or an escalating encounter. Instinctive,
intermediary movements accompanied by the proper kamae completes
the cycle of utilizing Okinawan karate in a self defense
situation.
Koshi:
The Center of
Power Transmission
By
Dan
Smith, Kyoshi, Shorin Ryu Seibukan
proprietary
Information for use by IOSSKA members only)
Koshi
is the Japanese word that describes the pelvic girdle region
of the human body. This region contains the lower stomach,
hips and low back. Ml physical movement is enhanced by the
efficient use of this region. This is due to the connectivity
of the large muscle groups of the upper and lower body to
the pelvic girdle.
The
Oriental cultures have long understood the significance
use of the Koshi in the creation,
storage and transfer of energy. The
Shorin Ryu Seibukan movements begin and end with the Koshi.
Without the proper understanding and use of the koshi the
movements of Shorin Ryu Seibukan become stiff and weak.
The lower and upper body moves together and generates the
power of karate through the harmonizing efforts of the koshi.
The large muscles groups are connected to the koshi and
this allows the energy to be delivered through the limbs
of the body in a whipping, fluid motion or the explosive
change of posture movements. The integrated movements of
the body are enhanced by the use of the koshi.
Creation
of Energy
in the Koshi
The
initial movement of any Shorin Ryu Seibukan movement should
begin with the tightening of the shitabara
or the lower stomach.
The shitabara is the lower stomach muscles that are located
below the navel and above the pubic bone. This area is also
referred to as the tanden or center point by some Japanese
martial arts. The shitabara or tanden is the center of movement
of the human body. The critical role that the shitabara
plays is the connection of the upper and lower large muscle
groups. The shitabara leads these muscles groups to move
together thus insuring the movement of the body as a whole
rather than separate muscle groups moving without coordination.
The
contractions of the large muscle groups that begin in the
shitabara engage the koshi creating the power of Shorin
Ryu Seibukan.
Storage
of Energy
in the Koshi
The
storage of energy occurs in the koshi as the shitabara contracts.
The large muscle groups when contracted in the proper sequence
brings the energy of the contractions to the koshi. Due
to the relaxed nature of the tanden the contracted muscles
are enabled to remain tense while the tanden or center point
remains relaxed. The relaxation of the center point is the
key to natural fluid movement while the large muscle groups
are being contracted. Without this natural relaxation point
the human body would move like a robot.
Transfer
of Energy
from the Koshi
The
transfer of energy occurs from the koshi out through the
large muscle groups to the small or refined muscles. The
limbs of the body become the extension of the contraction
that has occurred in the large muscle groups. The shitabara
contracts at the beginning of a movement, relaxes in the
middle and contracts again at the end which creates the
whip like effect or explosive movements of Shorin Ryu Seibukan.
In
summary the koshi, tanden and shitabara create movement
from the center of the body. By moving the center of the
body first we create the possibility of chinkuchi occurring.
Chinkuchi:
The Unique Power of Uchinandi
By
Dan
Smith, Kyoshi, Shorin Ryu Seibukan
This
material is proprietary
information only for members of the IOSSKA)
The
Uchinan Chu or Okinawan people use the term "chinkuchi"
in their language to describe the power that occurs when
someone uses their mind and body in a spontaneous action
that creates the maximum power from the body. To achieve
"chinkuchi" all of the muscles, tendons, ligaments,
breathing and mental intention would be in perfect coordination
at an exact moment
One
of the goals of Shorin Ryu Seibukan is to achieve "chinkuchi".
How this goal is accomplished is through the five elements
of creating the maximum results with a minimum effort.
Intention
or Zanshin - You
must have the correct intention and
understand the circumstances the you are involved in.
Perfection
of Technique
- The perfect executions of the
kamae and intermediary movement. Perfect execution also
considers timing and distance.
Fluid
Movement - Fluid
movement comes from the relaxed use of the body. The body
moves as one without pauses. Breath control and use of the
koshi are key ingredients to fluid movement.
Speed
of Movement - Speed
of movement is determined by the acceleration and velocity
of the movement. The transfer of energy
from the koshi to the limbs creates the speed of
movement
as perceived by the opponent.
Power
of Movement - The muscle
contraction, snapping of the tendons and ligaments have
to be strong enough to produce enough energy to deliver
a decisive blow.
Kyan
Sensei is reported to being able to lift a two hundred pound
bag of sugar with a pole and throw it several feet in the
air with just the movement of chudan soto uke. This was
called a demonstration of "chinkuchi" by Okinawans.
A
carpenter demonstrates "chinkuchi" when a nail
is driven with a single blow. A perfect hit with no thought
creates the best outcome.
Sensei
Zenpo Shimabukuro demonstrates "chinkuchi" often
in the kata Wansu when he picks up men that outweigh him
by one hundred pounds. He performs the movement of
kataguruma
with ease as he uses the perfect movement with no thought
as to how much the opponent weighs. If he considered the
weight of the opponent the spontaneity of the movement would
be lost and he would have to rely just on strength alone.
Zenpo
Sensei has said, "through constant practice and doing
the technique correctly you will realize chinkuchi"."
If you are looking for chinkuchi you will not find it",
and "chinkuchi comes from natural movement, it just
happens."
"Chinkuchi"
comes from the spontaneous movement that brings all the
body and mind together at one moment. We practice the kata
and seek the perfection of movement to bring us to the execution
of “ chinkuchi”".
How
Kyan Made Power
By
Dan
Smith, Kyoshi, Shorin Ryu Seibukan
This
is proprietary information
for IOSSKA members only)
Kyan
was small even by Okinawan standards. He stood approximately
4' 10" and weighed slightly over 100 pounds. His father
knew that his son would be small and needed to learn how
to use all of his potential to become a skilled martial
artist.
Kyan's
strategy for fighting was to never back up, to jump in on
the opponent at the beginning of an attack or to evade the
attack and jump back in with a counter. How did such a small
man develop the strength to accomplish this strategy? Kyan
dedicated himself to what is known in modern terms as biomechanical
study of movements to get the most out of his body to fit
his fighting strategy.
Tendons
and Ligaments versus Muscle
Kyan
leaned that the strength, flexibility and use of the tendons
and ligaments along with the most efficient body motions
created what the Uchinan cho called "Chinkuchi",
the special power that comes from the utilization of all
the body to make one action.
After
the time that Kyan had moved to Kadena due to economic hardships
he worked at odd jobs to make money. One of these jobs was
loading the samisens or small boats carrying goods along
the coast of Okinawa to various villages. When Kyan was
in his 50's he could load bags of sugar weighing two hundred
pounds with a pole. He put one end of the pole into the
top where the bag was tied and with the rotating motion
of his wrist, forearms, waist, hips and legs could throw
the bags onto the boat. The other men loading the boats
would have to load them on their shoulders and carry them
on to the boat. This is an example of "Chinkuchi"
used by Kyan. The story was relayed to me that he used the
motion of chudan soto uke with the bo to accomplish this
feat.
The
Okinawans believe that the muscle will deteriorate faster
than the tendons and ligaments. By developing the strength
and flexibility in the tendons and ligaments the karate
movements are made stronger. The greater the range of motion
the body has and the greater the snapping motion a technique
has the more torque is produced. The muscles only serve
to contract, which initiates the movements, but by depending
on muscle contraction alone your technique along you will
not by utilizing all of the body to make the technique.
The greater the snap of the tendons and ligament the greater
the power is of the technique. Many of the unique tools
used by the Okinawans to make their bodies strong provide
for this development of the muscles and tendons.
The
Okinawans had a custom of cleaning the bones of a person
one-year after their death. There is a story of a great
karate man that died at and advanced age and when they went
to clean his bones the ligaments and tendons were as if
he were still alive. Of course this is a story and seems
totally unbelievable and I only include it to show how important
the concept of well-developed ligaments and tendons are
to the Okinawans. As humans reach middle age the ligaments
and tendons start to tighten from lack of use. As this tightening
process begins they lose flexibility. The body begins to
stoop due to the legs and back not being able to fully straighten.
Kyan
built his special power through the use of the shitabara
along with the snapping motion of the tendons and ligaments.
The use of the shiko dachi versus the front stance in the
kata is due to using the spring action From the shiko dachi
to enable Kyan to move quickly in any direction. The use
of the kosa dachi or crossed leg stance with both feet flat
on the floor versus one-foot being on the ball requires
the stretching of the tendons and ligaments. The neiko ashi
dachi formed by touching the toe to the floor with the ball
of the foot raised is another example. The naifanchi stance
used to keep the lower body facing forward while the upper
body turns sideways is another method of developing the
tendons and ligaments in the waist and spine area. The flexibility
and strength of the spine improves the strength of the shitabara.
Having both feet facing directly forward in a front stance
with both ankles bent forward is another example of stretching
the tendons and ligaments.
Kyan
focused on making use of the full range of motion of the
body and to get the full range of motion the flexibility
and strength of the tendons and ligaments are very important.
Soi
de and hiki de
Kyan
concentrated on using techniques of movement to integrate
his muscles to get maximum power with minimum effort.
Soi
de means following hand and hiki de means withdrawing hand.
The majority of movements made in Kyan's karate contains
one of these elements. Every kata has both elements in them
and the applications of the kata are predicated on the understanding
of these two methods of movement.
The
hiki and soi de movements are not necessary for actual combat
to have a strong technique. The use of the hands along with
the coordinated movement of the shitabara and koshi develop
the maximum use of the koshi. Once you have discovered the
power of the withdrawing or following hand you realize that
you can apply the techniques with strength but you will
also realize where the development of power came from. This
understanding makes the practice of hiki de and soi de even
more relevant.
Following
hand
The
soi de is best described in the opening movement of Passai
as the left hand follows to give strength to the right hand.
This is not to be contused with morote uke or reinforced
block. The morote uke is a specific technique that uses
soi de.
The
following hand techniques are used when close to the opponent
to allow you to use both hands in coordination of blocking
or attacking. Even in the double punch technique in Passai
one of the hands follows slightly behind the other thus
making it the following hand.
The
middle level open hand block of Kyan is another example
of the following hand. Kyan used the same motion to create
his open hand block that is used in the opening movement
of Passai. The use of the open hand block by separation
of the hands causes a loss of speed, power and balance.
Kyan wanted to move in when blocking with the open hand
block so therefore he moved both hands in the same direction.
The
Withdrawing
Hand
The
hiki te, or withdrawing hand, is the most common way of
moving the hands. Anytime that anyone uses the withdrawing
hand movement they must be at a distance that allows the
hands to be able to move apart. For example; if you are
close to an opponent and you pull one of your hands away
from the opponent to allow the opposite hand to go forward
then there must be enough distance between you and the opponent
for the hand to move far enough to create velocity. If you
use the withdrawing hand when to close to the opponent then
you will lose balance, speed and power.
The
withdrawing hand helps move the body away from the attack.
Generally in the Kyan kata you only use the withdrawing
hand movements when you are retreating or evading and attack.
The withdrawing hand helps move the body and at the same
time allows you to deliver a blow or block to the opponent.
Kyan
focused on these two hand movements and instructed Zenryo
Shimabukuro to always use the appropriate hand technique
for the right distance. The two methods of moving the hands
is very important to Kyan's fighting strategy. If you take
the initiative when you are attacked and move in you must
use the following hand movement to have enough strength
to intercept the attacker. The pulling of the hand backwards
when you evade helps you move away and be ready to spring
back in for a counter attack.
The
other standard of making Okinawan karate power were used
by Kyan. Methods such as concentrating energy in the shitabarra
or lower stomach, relaxed breath control, using relaxed
whipping actions and proper stance. The use of the following
and separating hand were specific specialties of Kyan. Sensei
Zenpo Shimabukuro teaches these methods to the Seibukan
students and a high level of importance is put into the
mastery of these techniques. The unusual strength, speed
and power that Sensei Shimabukuro has developed came directly
from understanding Kyan's method of making power.
Blocking
Techniques of Shorin
Ryu Seibukan
By
Dan
Smith, Kyoshi, Shorin Ryu Seibukan
(This
Is proprietary Information
for the use of IOSSKA members only)
The
art of Uchinandi was first introduced to the mainland of
Japan in 1922. The Okinawans that introduced the fighting
art of Okinawa spoke limited Japanese but soon found that
the terminology that was part of the Uchinandi traditions
were not acceptable in Japanese. Uchinangushi, the Okinawan
Hogen or dialect that was spoken by the Okinawan people
was foreign to the Japanese. The Japanese required that
terminology be developed in Japanese in order for the new
art to be introduced into the Japanese educational system.
Therefore, the Japanese observed the techniques of Uchinandi
and gave them names that described their purp6se. Many of
the names came from traditional Japanese martial arts since
many of the new converts to Uchinandi were already practicing
martial artist.
The
Okinawans had no term for what is today commonly referred
to as a block. The Japanese observed this motion and described
it as "uke", which means to receive. The tradition
of naming any movement that intercepts, protects or is received
by is then referred to as an "Like" or block in
the English translation. The English translation is to stop,
keep from coming or to put an end to. The importance of
this background information is to show how the terminology
was created.
Blocking
as a concept has many forms and in Shorin Ryu Seibukan it
is important to understand the difference in the blocks
not only from an application standpoint but also how to
properly use the body to generate the “uke" or receiving
motion.
The
Shorin Ryu Seibukan blocking or receiving methods are:
1.
Applied as an attack.
2.
A sweeping motion.
3.
Pressing or parrying
An
additional method of receiving an attack is the scooping
action of ashi sukui.
Each
of the blocking movements have a distinct body movement
that creates the application of the block..
