Kata Unlimited

Volume 1, Issue 3

Kata Unlimited

July 2003

Inside this issue: How Relevant Is Your Training?

4 Bill Burgar: Firstly, please accept my apologies for the late arrival of this months newsletter. I’m afraid Single Kata that illness and my wife having emergency surgery took precedence for a while! Study Goju Ryu’s 6 As I meet new people Gekasai Dai during the course of Ichi - By producing this newslet- Reiner Par- ter, I am struck by the diversity of skills, sons knowledge and zeal “Is this what 10 that exists in martial they mean by artists. This month es- cross train- pecially, I have experi- ing!” by enced a lot more of the Simon passionate enthusiasm. Keegan I am beginning to lay aside time boundaries Pinan Shodan 13 (within reason) as I go - By Iain to photo shoots. If it Abernethy takes 3 hours to do Bernard 18 what I expect would Downey: take normally about an Kata - Form hour and not be con- and Function cerned about the time, to be thoroughly enjoying myself, to be learning a great deal and to be getting material for you to read, then can New Feature we really say that being “editor” of this news- • Kata videos on web- letter is a job? site to download It must take an enor- • Only available for the mous amount of some- month of publica- thing to spend an entire tion. weekend training on a course. As I’m sure many readers will be Scott Langley (4th Dan JKS Karate) • Videos featured on aware, karate is quite an energetic activity (to demonstrating Bassai Dai Kata the web site are say the least) but to spend 5 to 5 ½ hours a Pinan Shodan, day training and teaching hard, then there is a good deal of enthusiasm there. I know that for Gekisai Dai Ichi, those of you who have spent many years in the martial arts, this will be nothing new, but it Jitte & Meikyo strikes a chord with me as I see the adolescents wandering the streets with nothing to do and the huge numbers of people out “enjoying themselves” in the local town at the weekends.

This month I began to read a new book, the third in a series from Koryu Books called “Keiko Kata Unlimited Page 2

Editorial (Continued)

Shokon” edited by Diane Skoss. Incidentally, the title is translated as, “Reflecting deeply on the past, illuminating the present”, which could well be a motto for all practitioners of the traditional oriental fighting arts. The book (and the other 2 volumes) are purely about Classical (Koryu) Japanese Schools of fighting arts, and contain material from some of the worlds leading western practitioners and highly respected writers in the field. The theme of this last volume is as the title implies, that the study of these ancient and archaic fighting methods in the way that they were originally intended, has great benefit in a number of areas of a persons life. This set me to thinking.

In a world that seems to want everything right now, the classical arts teach patience. Whether it is with sword, stick or empty hand, the benefits of learning these old ways mould the character, to produce members of society who have humility, compassion, confidence and genuineness. Some may say that the “traditional ways” are dead, have no meaning in today’s society and are totally irrelevant as fighting systems, because they are for another time and another cul- ture.

Well here’s the thing. Are we not learning to fight as the core of our training? Yes I know we are also learning to defend ourselves and build our character, but as you will be aware, “martial” means “military way” and as such is referring to how to conduct ourselves in a way consistent with that of a trained fighter (not necessarily in an army). The effective martial artist, in my view should be deadly, in essence a person who has been trained to kill and maim effec- tively. What other purpose could there be for all this activity of punching, kicking, twisting and throwing? But how often do you hear of such trained practitioners actually going out and killing someone? I think you’ll find the answer is, “never”!

The point to all this for me is that our training, interest, pastime, hobby or whatever you want to call it, has enormous relevance in today’s society. How would it be if there were no people who stood up for what they believed in; who were prepared (and able) to protect others less able to do so; who could show incredible restraint under arduous circumstances; who were humble enough to recognise themselves merely as the equal of others, not superior?

If your enthusiasm and passion for your chosen art begins to give you this, then speaking personally, “Long may it continue”.

I hadn’t planned this editorial as a plug for a book, but if you haven’t already read it, then the three volume set on the Classical Warrior Traditions of Japan are highly informative and provide a wonderful insight to attitudes and method- ology of the existing Classical Japanese arts. They can be bought from www.amazon.co.uk or www.koryu.com (the latter is the publishers own site in the USA and ordering from there incurs a hefty postage fee!).

Moksou - Three Methods to forestall the enemy

The first is to forestall him by attacking. This is called Ken no sen (to set him up).

Another method is to forestall him as he attacks. This is called Tai no sen (to wait for the initiative).

The other method is when you and the enemy attack together. This is called Tai Tai no sen (To accompany him and forestall him).

There are no methods of taking the lead other than these three. Be- cause you can win quickly by taking the lead, it is one of the most important things in strategy. There are several things involved in taking the lead. You must make the best of the situation, see through the enemy’s spirit so that you can grasp his strategy and defeat him.

Miyamoto Musashi, Go Rin No Sho (1645) Volume 1, Issue 3 Page 3

Training Directory

This section is intended to enable individuals to find and contact others who practice with the express intention of furthering their understanding of their art through the me- dium of kata and kata based training (but not exclusively). The people in this directory would be those who devote a significant part of their

Karate

Glasgow Karate-do Shoto Association Karate classes held in Glasgow and Milngavie. Style taught is Shotokai Karate augmented by training in other martial arts. Regular cross training courses held with Rick Young in Glasgow by the association. Head coach: Stephen McGlinchey, practicioner of Shotokai Karate for 35 years, awarded Black Belt in Shotokai Karate in 1972 at the age of 17 by Master Harada. Contact address/telephone no/e-mail & association web site address: Glasgow KDSA, 144 Rampart Avenue, Glasgow G13 3HX. 0141-959- 8192. [email protected]. Web site www.glasgowkarate.co.uk Shin Do Shotokan Kyogi - Tai No Sen Dojo - Wigan, Lancashire J.K.S. Shotokan Karate. Style is taught in traditional manner, with emphasis on technique, kata and applications. Dojo run by Steve Lowe (3rd Dan J.K.S.) 20 years (plus) experience. Training held Monday & Wednesday evenings, 7.30 till 9.00pm.Contact 07747 122707

British Karate-do Chojinkai - Cockermouth & Whitehaven, Cumbria Wado Ryu Karate taught by Iain Abernethy (4th Dan). Teaches Wado ryu style with special emphasis on kata, bunkai and other kata based training. 21 years experience. Contact Iain on 01900 829406

Bushinkai - Wigan, Lancashire Kia Yamabushi Ryu Shoshin Ryu, Bugei Remni. Shotokan Karate & Jujutsu taught, as well as various weapons, by Simon Keegan, (2nd Dan Shotokan; 1st Dan Jujutsu). Contact Simon by e-mail: [email protected]; Tel. 07763 150842; Web site www.bushinkai.co.uk

Traditional Karate Club - Cardiff, Wales Bernard Downey (4th Dan) holds training centred on Kata and its application to common attacks. Anyone interested in exploring and understanding their art is welcome. Training on Monday & Wednesday evenings 7.00pm to 8.30, Roath Community Hall, Roath Park, Cardiff Iaido

Muso Jikiden Eishin Ryu Iaido - Stoke-on-Trent, Staffordshire International Martial Arts Federation (Senior UK Instructor) John Lovatt (5th Dan Iai; 3rd Dan Shotokai Karate; 1st Dan Kendo). Teaches classical Iai to high standards. Classes held Saturday 2.00 - 5.00pm at Willfield Community Centre, Lauder Place, Stoke. Contact John on 01782 320473 Aiki-jutsu

Kaze Arashi Ryu - Haslingden, Lancashire Aiki-jutsu, Atemi-jutsu, Jo-jutsu, ken-jutsu. Classical (koryu) art of the Mountain Warrior Monks of Japan. Taught by Kirby Wat- son (Menkyo), senior UK instructor. Contact on 01706 219747. Training also available around the UK - London 020 8404 2404; Liverpool 0151 521 3813; Lancashire 01706 213015; Tayside 01764 652254; Grimsby 01472 594045. Website www.kar.telinco.co.uk

• If you would like your dojo listed here then please send your details to the editor.

• If you are an individual who would like to be contactable by other like minded individuals for the purposes of relevant martial arts training & information, then send in your info. There’s no grade requirement, so its not important how much experience you have, just a desire to learn. Kata Unlimited Page 4

Single Kata Study -What Is It And Why Should You Do It? By Bill Burgar

Any karateka who has read anything about the history of their art ments in a manner, which looks powerful, balanced and skilful. will, no-doubt, have paused briefly to reflect on the fact that This training directly transposes to the competition mat and grad- karateka of old (pre-introduction to the school system i.e. before ings where the karateka is judged on performance only. circa 1900) used to practice a single kata for many years. In Ka- rate-do Kyohan, Funakoshi wrote (P38) "In the past, it was ex- pected that about three years were required to learn a single kata, and it was usual that even an expert of considerable skill would only know three or at most five kata". He further notes that he studied for ten years to learn the three Tekki forms properly.

Now, most of us, upon reading that, are curious for a moment or two and wonder what it would be like to study a single kata for so long. But I suspect that most of us do not think about it for too long, mainly because it is way outside our method of practice. So, just for a moment, think about it. Just think about what that would be like: the same kata year-in, year-out for three, five or more years.

Incomprehensible, right? Or just boring? After all, spending an evening repeating the same kata 20 or 40 times, you'd start to get Practicing the performance of kata bored, wouldn't you? So multiply that boredom by five years and you've got to be thinking that it would be terminally dull for all Broadly, the above is a reasonable description of a typical mod- but the most ardent perfectionist. ern karate practice - clearly there is diversity between particular dojo, but most karateka would recognise the description. And that is about as far as most people get in thinking about a single kata study. They just stop being curious at that stage, and Let's start travelling back in time, past when competition was move on in their reading. But wait a minute; the fact is still there introduced in the 1950s and back to the early 1900s between 1900 that the Okinawan karateka trained in a single kata for many and 1925. It was during this period when karate was introduced years at a time. So we have to ask ourselves, "What are we miss- into the school system in Okinawa and subsequently introduced ing here?" into Japan, first into the universities and then more widely. In order to be accepted into the education system karate needed a To understand why we would be bored and the Okinawan's of serious face lift - it had to be transformed from its method of yesteryear wouldn't, we have to look at what the differences are back-garden practice, into something suitable for practice in large between what they practiced and what we practice today. Let's groups. The objectives for the new karate were clearly spelled out start by looking at the practice that is common today and then by Itosu in his letter to the education board: the key being to pro- rollback the years to pre-1900. duce good, fighting fit, young men for the military.

The most common style of practice seen in the dojo of today is a The method of practice during this period of karate's evolution reasonably balanced mix of "the three k's" i.e. kihon, kata and was geared mainly around the group practice of kata, which had kumite. been specifically designed for the job (namely the Pinan series, later renamed to Heian by Funakoshi). This brand of karate was In kihon the fundamental or basic movements of karate are prac- devoid of the practical applications, the objective being to build ticed individually or in combination, usually up and down the the resolve of the practitioners and to make them fit and strong. dojo floor with all the karateka in the club arranged in lines and The method of training followed that which was prevalent in the moving to count. In this way the basic, most common, tech- education system - rote learning by repetition with no questioning niques are practised in isolation. about why something was as it was or what it was for.

In kumite training, the ability of the karateka to defend against an Now going further back in time we arrive at the era of backyard opponent is built up through progressively more difficult training practice in Okinawa with just one or two people learning from a practices of single step sparring, through semi-free sparring to more senior karateka or "master". This is a much more informal free sparring. The rules for the various forms of sparring are method of practice with partner drills (tegumi) being more preva- implicit in the way they are practiced and a number of assump- lent, the focus being on self-defence skills that would be useful in tions are also implicit in order to be able to practice this way. A civilian confrontation situations. There was a focus on dealing key assumption is that the attacker will use karate-style tech- with the common assaults that people instinctively use in violent niques to execute his attack. Another key assumption is that confrontations. These scenarios and their solutions would be competition rules for kumite are almost identical to the rules for practiced with partners when available and also alone by using dojo free sparring. visualisation of the opponent. By stringing these techniques together in a sequence they became easier to remember and to prac- In kata training it is mostly the performance of the kata that is tice in both partner and solo work. These sequences are kata and practiced. Training in the applications (oyo) or learning how to so you can see that the practice of kata in Okinawa was more analyse the movements (bunkai) is becoming more widespread about practicing the individual solutions to violent confrontations but is still not practised by the majority in any consistent sense. than it was practicing the performance of a long sequence of For the most part, kata training is limited to performing the move- movements. Volume 1, Issue 3 Page 5

The Okinawan method is what we call "kata centred karate". The kata centred training looks very different from the modern prac- kata provides the central mnemonic around which is constructed tice of kata performance. a complete training regime. It should be apparent to you now that practicing kata centred karate should not be boring. It actually encompasses the following activities among others: practicing techniques for defending against the "habitual acts of violence" (the common or instinctive assaults that people use in violent confrontations), the principles of combat, the tools of the trade for defending successfully and for damaging the opponent, methods of manipulating vital points of the body and advanced mental imagery techniques for practicing alone.

Application of the movements of the kata

(Above) A habitual act of violence - a round punch (Below) Understanding the vulnerable areas of the human body

In 1996 I started the exclusive study of a single kata, which has culminated in my writing a book, which shows what you can get out of a kata when you focus on it appropriately. The book is called "Five Years, One Kata" and is available via www.sanbushi.co.uk/martialartspublishing , and all good book- stores both on-line and off. In the book I describe the tools of the trade for a single kata study including the concepts of reverse engineering the kata (bunkai), I show full applications (oyo) for the kata Gojushiho along with the common variations on those applications and also apply objective measures to the quality of the applications. Further I show how the reader can embark on his or her own single kata study. The differences between the old way and the contemporary method can be summed up by saying that: the current method is to practice the performance of the kata, and the old way is to practice the techniques contained within the kata.

The benefits of practicing the techniques within the kata rather than practicing the performance of the kata become readily apparent when one considers that the techniques within the kata are aimed at defending against common assaults and violent scenarios. This means that when you train in kata you are practicing for the most likely scenarios you are likely to face, which in turn means that rather than just repeating the pattern of the kata, you Five Years, One Kata – Price: UK £24.95 US $32.95 get involved in much more useful training practices where you Available online at : www.sanbushi.co.uk/martialartspublishing and by phone rehearse the scenarios, work on the habits (or principles of com- from Sanbushi on 0870 92 205 92. bat) that are essential for maximising your effectiveness, and a We accept Visa, Mastercard and American Express. range of other skills such as manipulating vital points. In short, By cheque: send check made out to "Sanbushi" to: Sanbushi, 44 Spylaw Street, Edinburgh, EH13 0JT Kata Unlimited Page 6

Goju Ryu Kata - Gekisai Dai Ichi

For our first offering from the Goju Ryu school of Karate we are going to look at the kata Gekisai Dai Ichi. This is the kihon kata for most Goju Schools, and is a fitting, if not particularly complicated introduction to the style. Created by Goju Ryu teacher Cho- jun Miyagi, this kata was meant to be taught to children (according to Mark Bishop in his book “Okinawan Karate”). Whether this is true or not, it rates alongside the Taikyoku kata of Shotokan for its simplicity, and there is much room for the study and perfection of the fundamentals of karate technique.

Demonstrating the kata and some applications in this article is Reiner Parsons (5th dan Goju Ryu, 3rd Dan Kobudo), a Regional Di- rector of the International Martial Arts Federation (I.M.A.F.). Reiner runs his own club in Magull, Liverpool.

I briefly met Reiner last year at a seminar in Scarborough at the Annual I.M.A.F. seminar, where we chatted one lunch time about karate (I was there studying Iaido) and I was struck by the depth of his understanding and feeling for karate. At the time I had no intentions in the publishing arena, but when I was thinking about Goju Ryu in particular, my first thought was to speak to Reiner. So he very kindly offered to travel from Liverpool to my sensei’s dojo in Wigan, and brought two of his sons, Graham (3rd Dan) and Clive (2nd Dan), as well as one of his students Jem Gaskell (3rd Kyu).

We spent the entire afternoon together, and the time seemed to fly by, and listening to Reiner as he shared a wealth of information including various anecdotes (I couldn’t possibly even begin to remember half of them) my head was spinning by the end! One thing that I will say, is that I have experienced a fair number of teachers, who try to explain and try to demonstrate the myriad of principles involved in martial arts. Never had I met anyone who could demonstrate so much, with such ease and confident understanding that these techniques worked and worked with ease.

What seemed old news to him was something that had only dawned on me in recent times, which was that whatever school or style of art you train in; aikijutsu, karate, kobudo, kung fu, iaido…whatever; “It’s all the same” he said. The principles he demonstrated during the session were those I had seen for myself in training in aikido, jujutsu, kenjutsu, iaido, karate, aikijutsu and tai chi chuan. Had I remained a student of karate and nothing else, I would have thought Reiner was demonstrating wizardry. Although I don’t profess to be competent in all the areas mentioned, I at least recognise the common principles. I’ve come to believe for myself, what Reiner said, “It’s all the same”, (But different!)

Lets move on to the kata. As we have done in previous articles of this type, we’ll have a look at a section of the kata first and then some applications from that section and so on. For the most part, the comments during this next section are mostly from Reiner as we went through the kata. Kata Gekisai Dai Ichi - Opening Sequence

A B C D

E F G H

The first movement of the kata shows an immediate difference between itself and kihon katas of Shotokan & Wado Ryu, as from the ready position, Reiner steps backwards to perform Jodan age uke. The transition from photo [c] to [d] is achieved by stepping the right (forward foot) back, with the effect of dropping down into shiko dachi. Volume 1, Issue 3 Page 7

Gekisai Dai Ichi- Bunkai - Opening Sequence

1(a) 1(b) 2(a) 2(b)

1(c) 1(d) 2(c) 2(d)

Reiner is aware of the opponent punching from the side, so In application [2] above, the opponent could be side or the first movement is to step forward to avoid the punch (1 face on; the block of the punch is turned into an arm [b]) block (or strike) jodan age uke or uchi. If possible lock. grasp the attackers arm and perform hikite while punching Below, the block is turned into both deflection and to the head. strike to the neck simultaneously.

4(a) 4(b)

4(c) Moving on to the second half of this sequence, Reiner jokes “I messed up the first bit, so I’m going to hit him again!”. More seriously, sequence [4] begins by turning to the side to avoid the punch, grasping & pulling the attacking arm whilst delivering an “upper cut” to the jaw followed by a groin strike for good measure. This sequence of the kata can be seen as an alterna- tive type of response to a similar attack. The key here is the sinking down into Shiko-dachi as the hikite movement occurs with the strike. Reiner explains that this sequence could just as eas- ily be a throw as the positioning is ideal. (not illustrated). Here’s another one. Looking at the position in 1[d], you’ve delivered a strike and now the kata uses hikite with your right arm, which was well placed to encircle the neck after the punch (or maybe you just reached out as the opportunity arose?). Move back into shiko dachi, which pulls the opponent forwards (off balance). At the same time, Instead of the upper cut in 4[b], reach through opponents armpit for control and finish off with tetsui to his exposed neck or temple. (Again, not illustrated). Kata Unlimited Page 8

Kata Gekisai Dai Ichi - Second Sequence

I J K L

M N O P

Its fairly obvious that photos [I] to [L] are just a mirror image of the first section. Starting at photo [M], he steps forward in zenkutsudachi and performs first one uchi uke and then stepping forward with another. This repetition or mirroring has no complex of mysti- cal significance, just ensuring even practice using both sides of the body Gekisai Dai Ichi- Bunkai - Second Sequence

5 (5, left) Quite obviously it’s a 6(a) 6(b) block!

(6, right) Not so obviously, the leading arm in the technique is a deflection of the attack, while stepping in to attack the opponents floating rib. (Photo 6[b] shows the strike from a better angle

(7, right) A variation on a theme - to turn application 6 into 7(a) 7(b) application 7 requires no thought at all, just that circumstances have prevailed that you be in just a slightly different position, where the previous rib strike does not present itself as obviously. So now, Reiner can utilise the forward momentum to greater advantage, as he slips his arm under the opponent armpit and moves forward while straightening his arm. The opponent is unbalanced, and with good judgement, will land on Reiners knee as he falls to the ground. Volume 1, Issue 3 Page 9

Kata Gekisai Dai Ichi - Third Sequence

Q R S T U

V W X Y Z

For some clarification of this next sequence, directly after the maegeri in [Q] the empi strike [R] is followed very swiftly by uraken and then [T] gedan barai and gyakazuki. Reiner now lifts the knee in [V] as he turns to his rear to perform shuto strike. The camera angle changes for photos [Y] & [Z]

Gekisai Dai Ichi - Third Sequence - Bunkai

8(a) Sequence [8] - Nothing 8(b) 8(c) particularly hidden here. This seems to be about multiple striking. I’ll let Reiner explain in his own words for this one:

“Because I’ve kicked him he bends forwards. I then empi him which straightens him. I then flick him in the

8(d) throat because he’s nice and exposed. He’s now going back, so I now hit him in the groin which bends him forward again. I then hit him in the ribs which are coming towards me. And that’s usually enough!” Add to that last comment his (natural) German accent and I was reduced to a fit of laughter!

As an aside, you may have noticed Reiners’ expres- sion in some of the photos. He is a man who really likes having fun and has a great sense of humour. I was actually tired of laughing by the end of the day.

Sadly, we haven’t enough room to finish the kata off in this month’s issue, so we’ll have to leave it there for now. One thing is for sure and that is that we’ll be seeing more of Reiner in the future as we look at more Goju ryu kata. Apart from his obvious wealth of experience, I had a great time during his visit and I look forward to the next one. Till next month. Kata Unlimited Page 10

Is this what they mean by “Cross Training”? By Simon Keegan

In previous columns I have looked at and Ryu-Kyu Kobu-Jutsu under Motoka- Karate kata-bunkai, concerning hand tsu Inoue. techniques and stances. On this occasion I would like to pay tribute to a great Budo In the 1930's Japan extended its empire master. As a multi-style instructor I am into mainland China. A puppet state of often questioned for my decision to mix Manchoukuo was set up in Mongolia and and match martial arts in my club. In the Manchuria. In 1938 Minoru Mochizuki Bushinkai school I teach Karate, Jujutsu, became director of the school for Mongo- Aikijutsu and weapons. Jujutsu and Aiki- lians in Paou-to. He was appointed the jutsu compliment Karate perfectly, and under prefect of Sei-Ga in 1940. He be- readers of Kata-Unlimited will know, help gan to study Chinese Martial Arts the to make sense of Bunkai/Oyo. Similarly following year. During this time he also the principles within Kenjutsu and Bo- promoted Japanese Martial Arts among jutsu go hand in hand with those of the the people of Northern China. After the weapon-less arts. defeat of Japan in 1945, Minoru Mochi- zuki returned to Japan where he gained It seems a tall order to seek to gain com- his 6th Dan in Judo. Japan was in ruins. petency in so many areas but these styles Martial Arts practice and development have been mastered in the past. Mastered had almost ceased. In 1950 Minoru Mo- by in my opinion, the greatest Budoka of chizuki reorganized the Yoseikan Dojo. It the 20th century. Minoru Mochizuki, the was also in 1950 when the first foreign founder of Yoseikan Budo, mastered Ka- students arrived at the Yoseikan Dojo, rate, Judo, Aikido and several forms of Shizuoka City. They were Claude Urvois Bujutsu. I realise the concept of "mastering" a martial art and Jim Alcheik. In 1952 they returned to France where may open a theological debate on how mere mortals can with Henri Plee they formed the French Karate Federation. never attain the Tao - but for anyone¹s money Mochizuki Kancho certainly came close. Minoru Mochizuki was born In 1954 Hiroo Mochizuki arrived in France to teach Yosei- in 1907. At the age of five he began to study Judo and kan Ryu Karate and associated Martial Arts. Yoseikan Ryu Kendo. In June 1926 he achieved his shodan in Judo at the Karate was the first style of karate to be introduced in Kodokan. Here he came to the attention of Master Kyuzo Europe. Some of Mochizuki¹s students favoured Karate Mifune who invited him to be his personal student and and others Aikido, which has resulted in, basically two assistant instructor. The leader of the Kodokan, Jigoro styles of Yoseikan, - Yoseikan Ryu Karate and Yoseikan Kano wanted to preserve the traditional Martial Arts of Budo which favours Aikido. Japan by creating a special group of the Kodokan devoted to their practice. Minoru Mochizuki was chosen by Jigoro Through the 50's, 60's and 70's Minoru Mochizuki contin- Kano to study a variety of Martial Arts disciplines which ued to expand his Martial Arts knowledge, receiving his were to be added to the Kodokan syllabus. 5th Dan in Kendo and Jo Do in 1956, 8th Dan in Judo 1977 and finally his 10th Dan in Aikido in 1979. His certificate Mochizuki studied Aiki-jutsu under Morihei Uyeshiba who was presented to him by a member of the Japanese Imperial had not yet founded Aikido, Tenshin Shoden Katori Shinto Family. Ryu under Yazaemon Hayashi, Kendo under Hakudo Na- kayama and Shindo Muso Ryu under Master Takaji Shi- Mochizuki¹s legacy had an enormous effect of British Ka- mizu. rate. His student Henri Plee entered discussions with Eng- lish Judo instructor Vernon Bell in the late Fifties and sub- In 1930 Uyeshiba asked Kano to send Mochizuki to him as sequently Bell became the first Englishman to attain a a permanent assistant. The following year he helped Uye- black belt in Karate. The first Karate dojo in the country shiba to teach Aiki-Jutsu to the Japanese military. was a Yoseikan Dojo in Essex. It was Vernon Bell, now 10th Dan Hanshi, who paid Hirokazu Kanazawa and Kei- In 1931 Mochizuki became ill. He returned to Shizuoka to nosuke Enoeda’s wages when the JKA movement reached recuperate. The plans to introduce Bujutsu section at the Britain and so paved the way for pretty much every Shoto- Kodokan were abandoned. In late 1931 Mochizuki founded kan club in Britain. But how do students achieve a good his own dojo in Shizuoka, which he called the Yoseikan standard in these disciplines? My answer is to gain a good "House of Honesty and Education." It was here that he solid grounding in every area and then upon reaching dan started teaching everything that he had been taught to his grade the student will then specialise. The knowledge students. gained in thespecialist area should enhance the knowledge of the other areas. But thats easier said than done... In 1933 Mochizuki was awarded the “Daito Ryu Aiki Ju- jutsu Okuden Inka” – a set of scrolls containing the secret techniques of Daito Ryu. In effect these scrolls act as an acknowledgment that Mochizuki was accepted as a Master of the system. In 1935 he was awarded his 5th dan in Judo. Bushinkai instructor Simon Keegan holds black In 1936 Mochizuki's first son Hiroo was born. When Hiroo belt grades in Shotokan Karate, Kiai Yamabushi was old enough he began to receive the same type of Budo Ryu Jujutsu and freestyle Karate. training as his father, studying Judo, Aikido, Karate-Do Volume 1, Issue 3 Page 11

samurai warrior, as he practiced swordsmanship, grappling and striking with his fellow warriors. I see no reason to assume that various Chinese Wu Shu or Okinawan fighting arts would be any different, with the obvious exception of cultural and historical influences. Fighting is fighting, and In the absence of any mail from subscribers this month, I’d to quote Iain Abernethy, “There’s only so many ways that like to share an e-mail conversation I had this month: the human body can do a thing”.

Dear Editor, Forgive me going on at length, but I didn’t just want to send you some patronising drivel in response to your e- I'd like to draw your attention to www.ryoute.com which mail. I have strong beliefs based on my own studies to date has many kata applications on it. The applications relate to and I wanted to explain my position. a non-combative double hand grappling formula called Ryoute. The Ryoute formula allows you to use both the leg I feel that perhaps (and may I stress “perhaps”) our interests techniques and hand techniques from kata without having are incompatible in the larger context. Let me know what to adapt any movements. The movements from kata are you think. used in a non-combative format for competitive double hand grappling. If you're interested then let us know. Regards, Steve Chriscole (Editor, Kata Unlimited)

Martin Clewett Thanks for the reply Steve, Dear Martin, It's not that we want to believe that kata (Okinawan) are non-combative. We have tried for years to use Okinawan Thank you for contacting me about Ryoute. I will say kata for combat training and have tried all the major theo- straight away that my own belief is that one reason kata was ries and schools of thought. The problem is that they don't designed was to record/pass on combatative methods pecu- work without changing the positions and the movements liar to a particular style of fighting. That “style” may have considerably, and even then they are not that great. For been the musings of one man initially, or the collaborative example Abernethy in his books has to adapt the move- efforts of many. The fact is that there are many kata and the ments so much that they barely resemble the original move- interpretation of them, sometimes many centuries after their ments. We have found the Ryoute formula to be very use- creation, is a very subjective thing. ful, kata movements simply come out in Ryoute randori. But there is no way that double hand grappling is combat I welcome any serious attempts to better understand kata, effective. So we are forced into a non-combative conclu- and from what I can see from your web site, you have put a sion. great deal of effort into doing so. From that point of view, I am interested in Ryote. I’m afraid that I have no interest in Although Ryoute is non-combative it probable grew out of competitive elements and I will not be promoting such some sort of combative practice. So there is no reason why practices in my newsletter. Please don’t get me wrong, I do methods used for documenting combat techniques could not dislike them, I just have my focus on the martial arts, not have been used for documenting Ryoute techniques. not as “arts” but “jutsu”, systems of combat. I take the prac- Anyway, Okinawan kata do not appear to be just documen- tice of kata as the means of perfecting certain types of tative. They have more of an aesthetic dance like quality to movement which can be practiced solo, in pairs or even in them than they would have if they were just collections of threes. Their purpose would be to enable the student to be combat techniques. Many people have commented that they effective in combat. could have been related to Okinawan folk dance. So casing them in a combative framework is dubious. As an example, I refer to the aikijutsu of Kaze Arashi Ryu which I practice myself. It is an ancient Japanese school of Anyway I'll understand if you are not interested. But I had combat, practiced by the mountain monk warriors of Dewa. to ask anyway. Training methods have been passed down over the centuries, and certain locks, throws and joint manipulations are deliberately practiced in solo form, as a kata. These tech- I leave you to decide for yourselves. Any comments or niques are deadly (I can vouch for that as they must be thoughts either way, then let us know in the usual way. practiced slowly to avoid serious injury) and most certainly (Ed.) not sport. The same can be said for Iai (art of drawing the sword). The individual kata (and there are some 54 kata alone in Muso Jikiden Eishin Ryu) are practiced today in their “do” form, with little or no interest in their deadly nature (after all, who carries a sword today?). However the modern society wishes to practice these forms, there is no The Editor, Kata - Unlimited, Simco Publishing, 27 doubt in my mind that Jinsuke Shigenobu (1542-1621) the Ash Grove, Orrell, Wigan, Lancashire. WN5 8NG. first populariser of Iai, practiced this relatively “new” style of swordsmanship because it was a highly effective way of manipulating the new shaped longsword to deadly effect in (44) 01942 205619 (Tel/Fax) the society of the time.

So for me, no matter where the origin of a particular kata, where records exist, kata has been shown to be (in ancient times) the preferred method of training, certainly for the [email protected] Kata Unlimited Page 12

Pinan Shodan Kata of Wado Ryu

Earlier this month I went back to visit Iain Abernethy, who was keen to demonstrate the first kata in the Wado Ryu syllabus, namely Pinan Shodan. As most karateka will be aware by now the Wado Ryu syllabus for kata is different that that of Shotokan in a number of ways, but when it comes to the Pinan/Heian katas, the first two katas are switched around in order of presentation to the student.

In the first and second issues, I presented the “same” kata (Pinan Nidan/Heian Shodan) from both styles to show the differences and similarities in the katas and their applications. That means of course, that in order to see all the other Wado Ryu katas, we must firstly take a step back, so to speak, and look at their first kata, Pinan Shodan.

Without further preamble, let’s have a look at the kata and Iain’s interpretation of some of its applications. Kata Pinan Shodan - Opening Sequence

A B C D

E F G H

This opening sequence will I’m sure be etched into the minds of karateka from many styles. There are always the stylistic differences, but the basic format of this kata is fairly standard across the board. As you can see, the move to nekoashi dachi with what appears to be a double block, unusual strike with tatezuki and a trapping motion (photo [D]) , then standing up and punchng to head level. The sequence is then repeated on the other side. Opening Sequence - Application No.1

1(a) 1(b) 1(c)

As much as possible, the descriptions of the applications will be more or less in Iain’s own words. So he begins by explaining that the opponent swings in with a hook, and the natural reaction to a swinging head punch would be to protect the head. The kata uses this principle, and so one arm comes up to check the punch, while the other arm slips in around the back of it. The kata is showng Volume 1, Issue 3 Page 13

quite clearly that this technique is performed facing sideways to the opponent, and so this is included in the application of the movements. Again following the movement of the kata (see photos [D] & [G]) the opponents arm is folded in such a way as to bring his elbow inwards. He has no choice but to follow the path of least pain, which leads to him becoming instantly unbalanced, especially if the defender piviots to further unbalance him, which ends with the opponent on the floor. (If I were pedantic about it and wanted to stick to the kata a bit more by not including the final pivot, then the result would be the opponent having a dislocated shoulder at the very least. Even though the eventual throw is effective, these techniques were designed to be ruthlessly efficient in the incapacitation of an opponent. In this case, the technique would surely severely damage the shoulder and elbow joints, with a minimum of effort [Ed.]) Opening Sequence - Application No.2

2(a) 2(b) 2(c)

If you’ve ever had the misfortune to be involved in a real fight situation, or have had the opportunity to practice close in sparring in the dojo, you will know that often the techniques you want to apply will not work properly for all sorts of reasons, even if they make a great deal of sense when you learned them initially. That is the nature of a real fight. Iain now shows us how to adapt the movements is you aren’t able to fully apply the lock in the first sequence. Photo 2(a) shows Iain blocking the initial strike as before, but it all goes wrong and he’s missed the arm lock. So rather than try to make it work, he abandons it and uses what he has got. Referring back to the kata (Photos [G] & [H], he is in contact with the striking arm and so can then grasp it and use the hikite (pulling hand) motion to draw the opponent forwards, while punching directly to his face with the right hand. This is a simple and highly effective example of thinking on your feet, and the ability to do that can only come with practicing these techniques in the dojo. Opening Sequence - Application No.3

3(a) 3(b) 3(c) 3(d)

This next one is similar to the last, except that it is a separated technique, using the principles shown by the kata. Iain demonstrates parrying an attack, grasping as before and then the use of hikite again and finally the punch, in this case slightly more side on than the last, but the effect is much the same! Finally, in photo 3(d), Iain shows yet another variation on this technique. Having already struck his opponent, he is ideally placed to slip the arm along his neck, and with a slight pivot around, this could turn into a throw or even a head lock.

The beauty of kata is that once the principles of a given sequence are unlocked, then it opens up the doors to a vast number of possibilities. Its hardly surprising that one kata took so long to “master” by the Okinawans. Watching Iain perform these techniques and revisiting them as I put them on the page, I see the possibilities and the variations. I hope you do too!

For those of you who have not read any of Iain’s books, especially “Bunkai Jutsu”, it is worth commenting that these applications are not merely “made up”. They are the product of a great deal of research on his part over an extended period of years. In the afore-mentioned book, he spells out the “rules” of bunkai. Well, they’re not so much rules, simply because they were never written down before now, but more a set of guiding principles for the interpretation of kata. These principles would invariably have never needed to have been written down, as the masters of the day would have them at the core of their practice….all the time. We have had to try and rediscover them. On his journey of rediscovery, much has obviously revealed itself. Kata Unlimited Page 14

Kata Pinan Shodan - Second Sequence

H I J K

Beginning with photo [H] from the end of the opening sequence, Iain turns to the rear and blocks with uchi ude uke and kicks with maegeri to mid level (chudan). Photo [J] shows this from a slightly different angle. After the block and kick, he turns 180 degrees to his left to perform shuto uke in nekoashi dachi. This is repeated (stepping forward) twice more and the sequence is completed with Nukite (spear hand) in zenkutsudachi

L M N

Second Sequence - Application No. 1

1(c) 1[c] - The application of what Aikido practitioners would call “Ikkajo” (see below for explanation)

1[e] - Applying pressure to back of elbow by bending at the waist. Note: this is not an elbow strike.

1(a) 1(b)

1(d) 1(e) This application begins at a point where an opponent has made a grab for the clothing from the front as per photo 1[a]. Ian reaches around with his left hand and places his hand so that his thumb presses onto the back of the opponents grasp- 1(f) ing hand. He then pivots to his left, keeps hold of the grasping hand and extends his right arm out (photo 1[b]) so that it covers the opponents now up-turned elbow. The close up photo above may show more clearly that the opponents hand is now firmly twisted backwards. This may seem to be the intended area of pain, which is true, but the intended area of control is actually the shoulder. His arm is straight and locked by the wrist control and as Iain now sinks into his cat stance, and applies even more pressure by use of his own right elbow, the opponent is fully controlled and drops down (photo 1[d]). Applied with enough force, this technique alone is sufficient to shatter the wrist, both bones in the forearm and the elbow too. As if that weren’t enough, there’s a kick to any exposed area, which acts as the finishing blow. Volume 1, Issue 3 Page 15

Second Sequence - Application No.s 2&3

2(a) Application No. 2 (Left) begins working 3(a) Applicaton No.3 on the principle that at a point in the - in a similar fight, forearms have clashed. This is ideal situation, Iain for the use of shuto uke (knife hand slips his left arm strike). The initial movement ofshuto uke through and over is usually taught as having no function, the top of the but here it serves as a means of removing opponents arm, the opponents guarding forearm (photo 2 grasping the [b]) to then enable the strike to be deliv- upper part of the ered with the forward momentum of arm, with which shifting the body weight forward. he then pulls backwards, sinking into cat 2(b) 2(c) 3(b) stance and performs the knife hand strike with the right arm.

Second Sequence - Application No.4

4(a) 4(b) 4(c)

This last application is quite may look straightforward, but has one or two points of note. Firstly, to get the opponent bent over as in photo 4[b], it is not just a matter of pulling rearwards. Iain’s left arm must make a circling action in an anti-clockwise direction. When done cor- rectly this motion has three functions, the first being to begin to turn the opponent outside of his “centre” (that safe zone where the body is balanced), secondly to allow Iain to turn the attackers grip against himself by grabbing the forearm and thirdly, straightening the offending arm and turning the elbow upwards. This may seem quite a lot to accomplish, but again, lots of practice and a spot of good luck in a real situation will reap dividends. As the photos show, the opponent is forced into a compromised position, with his own joints working against him. The strike can now be delivered, but not the thrusting of fingertips as you might expect, but teisho or shuto strike to the exposed neck area.

During this section, Iain pointed out how its worth noting that where a kata is showing open handed techniques, this usually indicates that there is a grab and is likely to be to the upper arm. Where the kata shows closed fists with hand drawn back to the waist, this usually means a grab, but to the opponents wrist

That’s about all we’ve got room for this month. We’ll finish this kata off in the next issue. See you then.

For further information on Iain's books and videos write to "NETH Publishing, PO Box 38, Cockermouth, Cum- bria, CA13 0GS" or call 01900829406. Secure on-line ordering, articles, read-a-chapter can be found at www.iainabernethy.com Kata Unlimited Page 16

Kata - Form & Function by Bernard Downey

There are no wasted movements in your Kata…Every on the human body), kicking, blocking, locks, strangles , movement has a meaning. If I could only have a pound for throws, immobilisations and everything relevant to emerg- every time I have heard or read that statement. But is it ing (hopefully unscathed) from an encounter with an at- true? What information does the Kata hold and how do we tacker bent on inflicting bodily harm on them. decipher the meanings? Before the emergence of “Styles”, therefore, the prepara- I have practised Karate for over thirty years and have been tion for combat included two-man practise of the funda- exposed to many types of Kata and have found that they mental principles and would include the use of any means are all basically made up of the same components. There to achieve the desired outcome. Simplicity and brutality can be many variations of a single Kata ( E.G…Seisan were the two main requirements for a forms function and (Goju-ryu), Aragaki- Seisan, Hangetsu (Shotokan) or various drills were practised to enhance those areas. These Seishan (Wado-Ryu )but the Kata`s of all systems two-man drills helped prepare the student to deal with an (regardless of “ Style”) were all constructed for the same attack in a safe and controlled environment (the Dojo) but purpose…to convey the methods that can be used when always at the heart of their training would be the Kata. confronted by an act of physical violence. These methods These drills should not be confused with the type of spar- will be simple and brutal and will aim to “get the job done ring drills that have been promoted in many Karate dojo. I quickly”. Of course, your response will depend on the am sure that many Karate-ka reading this can identify with situation and will not necessarily leave your attacker dead spending many hours of practise in the Gohon, Sanbon and so the teaching of morals and ethics alongside your com- Ippon-Kumite routines in order to prepare them for the bative application will enable you to respond in the correct transitition to the more advanced Jiyu-ippon and Jiyu- manner. Kumite. Yes, these forms are very demanding but the outcome of this mode of practise is to prepare you to face an Hence the Kata will have “ layers” of application which, attack by another Karate-ka with Karate-style techniques. over time will reveal themselves to you. As Gichin Funa- This was not the aim of the techniques in Kata (although koshi states in his book Karate-do-Kyohan..… they can, and have, been adapted to represent that outcome)…they were put together as memory aids to remem- “In training, do not expect good results in a short time. ber the best ways to handle oneself when confronted by a Karate training may extend over one`s entire life” determined attacker who had no training in a system of fighting and who would, therefore, be unaware of the com- so do not expect to know everything straight away. Con- bative principles that you, as the defender, would apply. stant practise of the principles that govern your art will enable you to draw apart the veil of secrecy and decipher Much work has been done in this area by Sensei Patrick the “code” and that will enable you to understand the Kata McCarthy who has formulated a set of drills known as and yourself. “Tegumi” (Kumite reversed). In my club these drills re- place the Gohon, Sanbon and Ippon forms mentioned ear- When I first began the journey along the road (or up the lier and they are important in preparing the student to deal mountain) I was taught to view the postures in the various with attacks such as straight punches (or pushes or grabs) Kata in the same way as my Kihon (basics) and Kumite and wild hooking punches (the “John Wayne” type) upper- (sparring ). This seemed to make sense and was fully cuts, downward strikes and sideward strikes while learning backed up by books and magazines. The aim of my training the principles of movement needed to make it all work. I was to become as proficient as I could in Jiyu-Kumite (free believe that these drills give an insight into the themes that sparring) which represented the highest level of training. Kata address and many variations can be worked once the But I was also told that the Kata were the most important “basic” drill is mastered. part of my art and that I should practise them until I could perform them perfectly….but….very little time was put In next month’s issue of Kata Unlimited, I would like to aside to explain what they meant and when explanations take a look at some of these drills and then take sequences were given they showed defences against Karate-style (or a single sequence) of the Kata “Jitte “ and show how attacks. Hence they became merely a way to gain another they could be used. This Kata was taught to me when I belt or to win trophies in a competition…not much faith practised Shotokan karate many years ago and it became was put in the use of Kata for protection against a violent one of my favourite forms. It is a short Kata with some attack even though we were told that the intention of the very unusual movements and more often than not was ex- Kata was just that! plained as being a form that dealt with attacks with a stick (a Bo or Jo ). Many arts today have become specialised in certain areas and hence are recognised as addressing those areas. Karate For now, on the following pages is a sequence of photos for example, is the art of “striking , kicking and blocking” that show the Kata Jitte in it’s entirety. while Aikido deals with “ locking and throwing” etc…so trying to understand a Kata with a limited view-point will There’s no attempt to give any explanation to the kata as result in frustration for the student. Many postures cannot you will see. Over the next couple of issues, Bernard will be explained away with this limitation and hence are ig- be taking a detailed look at the kata and exploring it from nored or ridiculed. In the early days students would be his perspective. The kata is presented here mainly as a taught different levels of application (when their master reference so that it can be seen it its entirety, without any thought they were ready to learn them) and would include breaks. (Ed.) all aspects of combat….striking (especially to vital points Volume 1, Issue 3 Page 17

Kata - Jitte

TIP: Just read the photos like a book; left to right. I know it might be obvious but you never know! (Ed.) Kata Unlimited Page 18

Kata - Jitte (continued)

That’s the entire kata. If you are connected to the internet and you’ve a bit of time to spare, why not download the video of this kata as performed by Bernard? This is a new feature for the newsletter, and I hope you find it useful.

The file is in .avi format and can be viewed on any PC with Windows Media Player. The file is quite big (16.7Mb) and could take a while to download using a 56k modem (20 mins or so). If you have a broadband connection, it’ll take just a couple of minutes. The file is on the July issue page, along with a selection of other katas featured in this months issue. Volume 1, Issue 3 Page 19

J.K.S. GB Open Seminar 2003

Thanks to the dreaded virus, I’ve only been able to travel so scoff and say “we’ve always done that”. Well maybe so, but far this month, and as I was too ill to train at the J.K.S. semi- there are a great many nar, I thought I’d cover it for the newsletter. who have not.

The seminar was taught by Scott Langley (4th Dan) who has There was a lot of kata recently returned to Europe after completing the arduous practiced over the week- J.K.S. Instructors course in Japan. He trained in Japan for over end, going over all the five years, and is now living and teaching in Dublin after be- Heian, Tekki, Bassai Dai, Meikyo and more. What I found disap- pointing was the lack of explanation of bunkai directly from the katas. This is a shame, as much of the “aiki” type training I saw over the weekend was based on sound principles, its just that it was taught in isolation of the katas, (Left) Kata Practice with no connection (Above) An example of irimi made between the kata (entering) and the techniques. (Below) Who said karateka ing appointed Technical Director (UK & Ireland) for the I don’t wish to be unfair can’t break fall?!! J.K.S. to sensei Langley, after all this was only two I’m sure that many of our readers will be familiar with this days of training at kind of course, as they have been offered by visiting Japanese mixed levels of experi- teachers for many years. The two day event covered the famil- ence. I would just like to iar three “K’s” (Kihon, Kata & Kumite) all of which are im- have seen something of portant to be a well rounded karate practitioner. an interest in kata be- yond them being vehi- Despite having the feeling that I’d seen it all before, there cles for the practice an were one or two interesting points which are worth mention- perfection of the overt ing. Firstly was the depth of the technical instruction in the techniques in the kata. practice of basics. Sensei Langley placed great emphasis on There’s so much more the use of hip movement and expansion, something that many in these kata and I did- karate schools ignore, or at least pay little heed. There was a n’t see much of it that noticeable thread to the first day as the concentration of work weekend. on hip movement was evident in the kata Scott moved on to practice, that of Meikyo. Throughout the practice of the kata, Never-the-less, given my interest in kata, its hardly surprising much reference was made to the use of “hip expansion and that I was a little disappointed. But surely it has to be re- contraction” and “hip vibration”. garded as progress when karateka are being taught to break fall, throw and be thrown? Certainly in my experience that’s As we all know, Shotokan Karate has been about explosive true. power in the past, which has probably given the style a bad press over the years, probably due to the misunderstanding of Going back to the basics once again, it has to be said that a many, as to exactly what this “explosiveness” was really all thorough understanding of hip movement etc. is not just for about. Today it would seem that the Japanese are trying to set delivering blows. Its vital in the delivery of techniques from the record straight, by teaching more relaxed technique, but just about every Japanese and Okinawan fighting system. So still having the power to deliver effective karate. What I have full marks for the J.K.S. in that area. It was certainly evident seen and learned recently is that concentration on detail in in the “throw” training on the weekend, how effective bal- technique delivery pays dividends, and I certainly have no- ance, posture, hip movement, stance shifting and general ticed an improvement in my karate, and I’ve been doing it for body movement can be. a very long time! Over the course of the weekend I saw “aikijutsu” principles Another point worth noting is that the typical training regime of irimi (entering), various taisabaki (body movement), ikkajo of old (kick, block & punch) was evident because they have to (first control), kyusho (vital point striking) and probably more be taught; they are a necessary and vital part of karate. What I missed while glued to a camera! Not bad for a course on was really uplifting to see was a one hour session of what karate! could only be described as “aikijutsu” training in disguise! At last the Japanese are teaching some of the locks and throws that are in the art. I’m sure that Goju ryu practitioners will Simco Publishing • Subscription to the newsletter is for 12 issues, each of which is published in the last week of every month (published a week earlier at Christmas) 27 Ash Grove, Orrell, • Only £29.95 for 12 issues for UK residents Wigan, Lancashire. • Only £39.95 for 12 issues to anywhere overseas WN5 8NG • Either send in this form (post or fax) or subscribe Phone: (44) 01942 205619 using our fully secure online ordering facility on the Fax: (44) 01942 205619 internet. Email: [email protected] www.kata-unlimited.com • Telephone (24 hrs) your details to subscribe straight away.

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