Sunday, January 20, 2008



Okinawan Conversations #1



THE ESSENTIAL OKINAWAN
The life and times of
Shoshin Nagamine

By Mike Clarke
Author of Roaring Silence


The late karate master Shoshin Nagamine sensei founder of the Matsubayashi branch of shorin-ryu karatedo, passed away in 1997 at the age of ninety years old after a life of struggle and triumph. Along with every other Okinawan of his generation his life was interrupted by the kind of devastation and destruction few of us can even begin to imagine. The bloodbath that was the Battle for Okinawa began on the first day of April 1945, and continued for three months. At the end of it some fifty thousand Americans were either dead or injured, and an estimated one hundred and sixty thousand Okinawans had joined them on the list of statistics. Behind each of these deaths and each of these injuries lies a story unique and immensely personal.

Mike Clarke with Shoshin Nagamine 1992

In November 1992 I had the honour of meeting Nagamine sensei. I visited his dojo a number of times and was fortunate to have captured something of his story on tape.
He was in his eighties then, and still training. His hospitality was overwhelming and at times left me feeling somewhat embarrassed. Few martial arts sensei these days are as ‘giving’ as his generation was. The example of generosity he displayed was one of the signs I have come to recognize over the years as being the mark of a budo-no-tatsujin, a master of the martial ways. When I met him he had already been training in karatedo for over seventy years.
The following extracts come from my book ‘Budo Masters, paths to a far mountain’. **

Born in Tomari-son on July 15th, 1907, he was rather small at birth and remained somewhat undersized throughout his childhood. His father, Shoho, and his mother Gozei, did not worry too much about him though as he was just as wild as any other boy of his age. He entered high school in 1923 but shortly afterwards fell ill. The medication he was given proved useless and so he resorted to diet and exercise to improve his health.
The exercise chosen for him was karate. A neighbour, Chojin Kuba sensei, taught karate in his backyard and it was here that the young Nagamine first received instruction in karate. The year was 1925.

Nagamine sensei was drafted in to the Japanese army in 1928 and saw action in Sainan, China, but thankfully most of his national service was less eventful and he eventually found himself back home in Okinawa having received a honourable discharge. Joining the police force soon afterwards, he was now in a position to meet and train with some of Okinawa’s most revered karate and judo masters. At around that time he met and trained with Chotoku Kyan sensei and, whilst on assignment in Tokyo, trained with the notable Choki Motobu sensei.

Back in Naha, Okinawa’s capital, he met often with Chojun Miyagi sensei, and although he never received any official training from him, he told me he learnt a lot from Miyagi sensei by watching him and the way he lived his life.
The two men worked together on creating kata for school children and were successful in producing Gekisai-ichi and Gekisai-ni, Ichi being the kata representing the Shuri-te tradition, and Ni, representing the Naha-te tradition. Both these kata are still in use today by students of both Matsubayashi-ryu and Goju-ryu. In 1940 Master Miyagi recommended to the Butokukai that Nagamine sensei be awarded the title of Renshi.

On June the 23rd, 1945, news reached the small band of policemen, who were trapped in a cave, that Lieutenant General Mitsuru Ushijima had followed the example set by the Commanding Officers of the 62nd and 63rd divisions of the Japanese Imperial Army, and committed suicide. At that point Nagamine sensei realized the futility of fighting on and, in the company of his fellow police officers, he surrendered.

Although karate was the furthest thing from his mind at that time, fate would step in to keep alive a spark of interest where once there had been an intensely burning desire.
Whilst working as a prisoner of war, transporting casualties from Iraha village, he came across a book lying in the dirt on the side of the road. Instinctively he stooped down and picked it up while he continued to walk. Clearing away the mud and dirt from the cover he was amazed to find it was a copy of ‘Karate-do Nyumon’ written by the great karate master, Gichin Funakoshi sensei, founder of the shotokan dojo.

Nagamine sensei kept the book close to him and read it many times over the following months. It inspired him so much that he once more dedicated himself to living his life through the tenets of budo, and he found a new strength to face the many hardships surrounding him at that time.

By the summer of 1947 he had been allocated a small house in the Makishi district of Naha, and shortly afterwards, he began teaching karatedo in a makeshift dojo he opened in his backyard. He felt very strongly at the time that the war had not only stripped away many of the ancient buildings and landmarks from his culture, but more seriously, it had destroyed in the minds of those youngsters who had survived the onslaught, any sense of their heritage. Once known throughout Asia as the; ‘Land of Propriety’, Okinawa was now facing a very uncertain future, and in the day to day struggle for survival, many found the battle to remain morally and spiritually intact just too much.

To help combat this, Nagamine sensei, along with other like-minded karate teachers, did his best to re-introduce the youth of the island to a part of their culture. He believed that in some small measure he was helping them to rise above the devastation that surrounded them. In 1952 Nagamine sensei resigned from the police and in January 1953 set up home above his small grocery shop, and next to his purpose built dojo at 3-14-1 Kimoji, Naha. He called his dojo the kodokan, and his school of karatedo, Matsubayashi-ryu.

During one of my meetings with Nagamine sensei he kindly agreed to be interviewed about his karate. His answers often ran in to great detail about small points that were clearly important to him. At the time the importance of many of these points eluded me, and have only become clear in recent years. What follows is an abridged version of the conversation I had with Nagamine sensei all those years ago at the kodokan in Naha, Okinawa.

I began our conversation by addressing the subject of kata, and I wondered what thoughts he had on them and their importance in understanding karatedo. This was his response.

“ I believe that the kata we practise today are about seventy percent Okinawan and about thirty percent Chinese in content. We can trace many of these movements back as far as the 16th century, and can see where Okinawan kenpo and Chinese martial arts started to exchange and mix. Of course the great contribution made to karate by Okinawa was not kata, but the makiwara [a stout post set in the earth and used to condition the hands, particularly the first two knuckles of the fist]. In China they had, and still have, many tools to develop techniques, but it was the Okinawans who devised and then developed the makiwara that we know today. In olden times men would gather in backyards all over Okinawa and hit the makiwara. I knew a person who did this even though he never visited a karate dojo.

Also, when people travelled to China and then returned home, they practised many of their kata with stretched [open] hands as the Chinese did. But when they saw how strongly a fist could be made they changed the kata by making a fist instead.

Goju-ryu karate is an example of this. I remember about sixty or seventy years ago, people from that tradition [Naha-te] changed the shape of the hands. Uechi-ryu karate has also been changed a little from the way it was done in China, but they have kept the old way [with the hands] when training in Sanchin kata.

I want to emphasise that doing something ‘this way’ or ‘that way’ is not a question of being better or worse, but simply different. So I want to stress that the kata that came from China have been changed and are now Okinawan.”

I knew that Nagamine sensei had known Chojun Miyagi sensei, the founder of goju-ryu, and as a student of that tradition myself I asked him to please share some of his memories. Although Miyagi sensei was almost twenty years older than Nagamine sensei, the two worked closely for a time on the creation of the Gekisai kata and their introduction in to the school physical education curriculum.

“I spent about seven or eight years with Miyagi sensei at the Okinawan police academy here in Naha. We became friends even though he was a lot older than me, and of course, he was very much my senior in karate. At the police academy I used to teach the procedure of law, and Miyagi sensei used to teach karate. It was him who recommended me for the title of Renshi [expert teacher] in 1940. He was a very strong person with a happy, pleasant character, and his karate was really skilful.”

Nagamine sensei saw himself not as a Japanese person but very defiantly Okinawan. From the outside, and from a distance, the differences may seem small. But one only has to go to Okinawa to discover the music the architecture the costume and even the food are all very different from Japan. Even the language [Hogen], though almost lost to the younger generations who have grown up since the Second World War, is still in use. In deed, many of the terms used in an Okinawan karate dojo would be unintelligible to many Japanese karate-ka.
I asked Nagamine sensei why he thought it was that Japanese karate had spread around the world and become more popular than the Okinawan methods? This is what he had to say:

“Well, you must know for a fact how smart the Japanese are when it comes to adapting things. In order to make karate more popular they have developed it as a sport, and this has helped to increase the number of people doing karate. They have developed the numbers of people but, in my opinion, they have not developed the minds and characters of the majority of those people. So now, the quantity is good, but not the quality.
The main reason for this is that many Japanese karate teachers want to eat from karate.
In other words, they want to make a living from it and, furthermore, they want to be sportsmen and women.

Admittedly, there is a sporting element to Okinawan karate today, but this is balanced by the culture we have here and our traditional philosophy. We have not dropped the traditional side of things, as the Japanese have tended to do. So this makes our karate less attractive to those people who are looking for a sporting pastime.
Now, sporting people have changed the kata and most of them no longer have any meaning. You see it is vital to understand kata, as they are the heart of karate. From understanding your kata will come all the other things. If kata has no real meaning in it then it is not kata at all, just movements.

What you have to understand is this, the kata as you do them in the dojo, are only the basic principles. It takes a tremendous amount of time and effort to develop your formal kata ability. Now, if you train yourself to do this, and you keep in mind other techniques that may not be seen in the kata, for example hooking kicks, punches and so on, then by studying your kata for a long time you will subconsciously develop the skills for combating even unorthodox techniques.

So the best way is to stick to the old traditional techniques [kata], but always think about how you would use them in application. This has to do with the idea of ‘Shu-Ha-Ri’, or, “Obedience-Breakaway-Transcend’. First you practise exactly as you are taught, then you begin to experiment and start to bring your own experiences in to play. Finally, you reach a level that is yours alone. When you have a problem, you refer to your kata and develop techniques that will help you solve your problem. This kind of training also has to do with your mind, not just the physical techniques. Do you know about Miyamoto Musashi? Well, he used the same way of training; his mind was very strong.

Then there is the question of communication between people, which is very important. You should always take the opportunity to learn from others and their martial arts. But for things to go smoothly a person must have self-confidence. Once this is the case, we can all train together and it doesn’t matter what kind of karate you do.
Of course your roots are important as these are your heritage after all, but it is more important to be a good person and behave properly. In both karate and life, you must learn to rely on yourself and to have confidence, while at the same time you should be humble; this too is vital.”

I expressed the opinion that in my experience many people seem to drop ideas like ‘respect’ and ‘humility’ at the door of the dojo as they leave. Personal integrity too seems to disappear once people are away from the environmental influences of a well-run dojo.


He had this to say.
“To behave as you have described is not the way of karatedo. I know that, for instance, a person will train very hard if someone is watching but then stop as soon as the spectator has gone. In karate you have to train with the same attitude all the time, and it should not matter if people are watching you or not. In Zen they teach; Behave in the company of others as you do when alone, and behave when alone as you do in the company of others.
In karate we have a principle called ‘Shin-Gi-Tai’, ‘Spirit-Technique-Body’. This means, that to do karate well, and to understand it properly, one has to harmonise these three things. Today I think there is an over-emphasis on the Gi and Tai [Technique and Body].
The Shin [Spirit] of the person is often left behind while the other two aspects are worked on. Technique and power seems to be the reason why some people are doing karate today, and this is now a much bigger problem than it was sixty years ago. We should not forget to build a person’s spirit and character. This is very important and I want to emphasis it.

I believe the decline has come about because people want to do karate just for sport or business. To adopt the principles of ‘Shin’ [spirit] through karate training is very hard, and to be successful at it takes a long time. People today want things too quickly and so it is much easier to train just your body without the discipline of ‘Shin’.
The ability to do techniques comes from your knowledge and training in those techniques, but your wisdom comes from your mind and heart. It is now the fashion to look at karate techniques and to explain them with scientific information. Everything has to be logical for the modern person to accept how things work, but this kind of thinking leads them away from searching for the ‘feeling’ of the techniques. The ‘feeling’ for something comes from, if you like, your mind.
In the end, your ability to make things work comes from your ‘feeling’ for the techniques of karate. In future I would like to see more attention given to a student’s education. If karatedo is to be understood by people, we must educate them to develop a good ‘feeling’ for it.”

It should be clear from the above extracts that Nagamine sensei, in spite of his advanced years at the time, still had a mind as sharp and as clear as it ever was. His views and comments may not please everyone, but it should be remembered that he lived through a time, as a young man, that few of us would have been able to survive. His views were forged in the furnace of survival and not in the sporting, business or political arena where many of today’s leading karate teachers reside.

He was ninety years old when he passed away, and left behind him a legacy that is still treasured by many thousands of karate-ka around the world. His dojo still stands in the little side street just off Kokusai-Dori, Naha’s main shopping area, though these days his family store is now a restaurant. Matsubayashi-ryu karate-do’s present Kancho is the founder’s son, Takayoshi Nagamine sensei, who teaches karate three times a week at the kodokan dojo.

**
Budo Masters; paths to a far mountain
Michael Clarke
Published by P.H. Crompton Ltd, London, [2000]
I.S.B.N. 1 874250 26 X

Sunday, December 9, 2007

Coming soon - interviews with Okinawan Masters...

I'm delighted to inform all of our readers that we will shortly be publishing interviews with a number of top ranking Okinawan martial artists. The interviews are supplied courtesy of Mike Clarke who is a top martial arts writer (see one of his books Roaring Silence in our book stores) and who has spent a significant amount of time studying in Okinawa.

Watch this space.

Regards

Bill.

Interview with Rick Clark.

I'm delighted to present this interview with Rick Clark by Matt Sylvester. Rick is my main mentor in the martial arts and I've learnt a great deal from him over the years. This is a fairly introductory interview with him and I hope to publish more detail from him in the future. I highly recommend his books which are available from our book stores.

Regards

Bill


Interview by Matt Sylvester.

MS - 1. What was your first experience of the martial arts?
RC - Back in 1962 I first started in Boxing and then saw a Judo class being offered at our local YMCA – and thought this is for me. My parents gave their permission, reluctantly and truly believed I would last about a week. Well that was a long time ago and its one of the few times I have seen my parents wrong.

MS - 2. Why did you start the martial arts?
RC - Like many of us in the martial arts, I was looking for a form of self defense. I was not a very assertive kid and when the older or bigger kids sense weakness they are drawn like sharks to blood. I need to harden myself up so I could stand up for myself.

MS - 3. What has inspired you to keep training all this time?
RC - There is not enough room in an article to answer this question but the short answer is the friendships I have made over the years, around the world. You can go just about anywhere in the world and find a group of people with similar attitudes who will take you in and make you feel at home.

MS - 4. Do you feel that instructors should encourage their students to exceed the skill level of the instructor?
RC - Of course! That would be like not wanting research to be carried on in science, we would still think the world is flat, there would be no penicillin, cell phones, all of the progress we have made over the course of civilization would be nothing because none of the students would have outperformed their teacher. It’s our responsibility to increase the body of knowledge base in the martial arts and then pass that knowledge on to as many students as possible.

MS - 5. Should students be encouraged to look at other styles and at what level would you do this?
RC - Today its hard not to see other styles and even to practice. It’s not like 40 years ago when martial arts schools were far and few between. Now most cities will have several clubs or schools of various martial arts. As to when a student could cross train it’s up to the skill of the students and their ability to recognize that there is a difference between various arts. They need to be sufficiently aware that there are differences between arts and have the ability to keep the arts separate as needed by their instructors.

MS - 6. What styles have you looked at outside of your core style and why?
RC - I have been very lucky to have been around a lot of really good martial artists and have had the opportunity to practice quite a few arts over the years. Judo, Tae Kwon Do Chung Do Kwan, Shotokan, Ju-Jitsu, Arnis, Ryukyu Kempo, Chinese Kempo, Isshin-ryu, Tai Chi Chuan, Hapkido, Aikido to name a few. The reason I trained with them is because they were available to me and I have always been inquisitive.

MS - 7. Mixed Martial Arts have come to the fore recently do you think they are evolution or devolution?
RC - To me mixed arts are in fact the more traditional arts. If you consider that when a warrior several hundred years ago trained they trained in arts with edged weapons, projectile weapons, grappling arts, and other arts, you would not play a round of golf with one club. What we consider as traditional martial arts have only been in existence a little over 100 years. Karate as we know it today did not come into existence until 1922.

MS - 8. What do you feel makes YOUR art unique?
RC - I don’t think the “art” is unique it the person who is unique. Each of us is unique and have our own way of performing techniques, and which techniques we prefer. Each of us will perform techniques different with age, experience, and physical ability. Even those who practice in the same school will still be unique in their application of that art.

MS - 9. Based on my own experience classes learn a given applications, do it a couple of times, and then move on to something else. Do you think that there is room in present dojos/dojangs to incorporate grappling as taught in the kata/patterns into the curriculum proper?
RC - I guess it depends on the time frame you will have a student, if you are teaching someone for only 3 or 4 years then no you don’t have time. But if you have students for 15 or more years you have the time to add a full list of most everything you want.

MS - 10. There are going to be a lot of defensive martial artists out there who will not like your approach to your style, they might even decry it. What would you say to them?
RC - Not much, they have their opinions and they are valid for their own individual purpose. Just as my definition of martial arts is valid for myself, I do not need the approval of individuals who have no connection to me. Self defense arts are just what they say, they are for the self not for others.

MS - 11. Your style is very practical. What about the claims that pressure points are at the heart of karate/judo/whatever bunkai. Does your style cover pressure points?
RC - For me it’s central to my martial art, in fact I believe they are central to all of the martial arts. Look at just about any text on martial arts and you are likely to find some mention of striking or grabbing various points of the body. If so many arts make use of them then it seems to me it must be important.

MS - 12. There is a lot of judo in karate bunkai. Would you recommend that students also study judo to get a better understanding?
RC - Sure, if nothing else for the fact it’s important for a martial artist to be able to take a fall properly. But really I see more Ju-jitsu type movements in Bunkai than Judo. Judo as you know was developed from several styles of Ju-jitsu and was made safe for practice by students in the school systems. Erwin Von Baelz, I believe played a major role in the formation of the concept of a martial art to be used as a means of physical education for the masses. Von Baelz influenced the founder of Judo and Kendo both of which were the first of the “Do” arts. (Matthew take a look at my article on Von Baelz on the web page for more information on this http://www.ao-denkou-kai.org/von_baelz.htm).

MS - 13. What is your favourite technique/pattern?
RC - For the past 12 years or so I have been concentrating on Naihanchi / Teki / Chulgi 1.

MS - 14. What is your greatest personal achievement to date?
RC - In life the greatest personal achievement any parent can have is the success of your children, both of whom have turned out to be wonderful young men that I am very proud of. My second greatest personal achievement is without a doubt the success of my students. Just as a parent is proud of the growth of their children, an instructor is proud of the success of those individuals they have influenced in even a small way.

MS - 18. Who do you most look up to/want to emulate?
RC - One of my major influences was my first instructor Wesley Hughes. He was my instructor, and tragically was involved in an automobile accident that left him paralyzed from the neck down. Once he was out of the hospital he was brought to the dojo in a wheel chair to coach the class from the side of the matt. That man gave me so much inspiration for his spirit I hope to be able to follow his example in his spirit of teaching and desire to share his knowledge.

MS - 19. Should children (for argument's sake, under 16s) be awarded black belts?
RC - It depends on the individual and the individual requirements of the style or association. Could someone get a black belt who was 15 and 9 months old? Or should it be 17? What is in an arbitrary age? For me you can have a 14 year old who is much better qualified to be a black belt than a 18 year old who spent the same amount of time in class. Plus you have to consider that Jigoro Kano was around the age of 21 when he founded Judo, which is a relatively young age.

MS - 20. Do mixed classes (adult and under-16s) discourage some people from starting?
RC - What about classes with senior students who are uncomfortable with trying to keep up with the 20 year old students? Once again this an arbitrary division that really has to be taken to an individual situation of the club and instructor.

MS - 21. Do you think that Grappling/MMA are institutionally sexist due to the very nature of the training?
RC - I don’t think grappling is sexist in and of it’s self, rather it’s the culture that makes it more sexist. Martial arts as a whole are probably sexist in many respects just by that fact that women are not socialized to be fighters. But of course that does not mean women can not be excellent fighters and I have met some truly exceptional martial artists who are women. Going back to Jigoro Kano, he taught women early on, and we have women who compete internationally in Judo.

MS - 22. What do you consider to be the core aspect of your martial art?
RC - For me and members of my group I think we look at the individual development of their personal system. I truly believe no one system holds all of the answers for the individual. Each person comes to the martial arts for different but similar reasons, like we all will go to the shop to purchase a new set of clothing we can’t get all get the same size, nor do we all want the same style and color. To me martial arts are somewhat the same, in that we all want the concept of the martial arts yet we need to find the style and system that matches our style. Then further we need to tailor the clothing (martial art) to fit our individual needs.

MS - 23. Do you consider conditioning to be a vital part of your training?
RC - At one point in time it was important to me, but as age and health considerations creep up on me my views have changed. I think when you are young and in your prime you should make use of this time and be at your peak. However, I have had some health problems and injuries that have limited my physical training so as a consequence I am not in the shape I would like to be in. But then you play the hand your are dealt and I must work at the level I can and try to push myself forward a bit more.

MS - 24. How do you condition yourself?
RC - In the past year or so I have tried to improve my diet, increase the amount of exercise, and work on forms.

MS - 25. Are pressure points valid or do you consider them to be ineffective/pointless/so full of mysticism that you don't bother.
RC - Of course pressure points are valid, they have been a part of the martial arts for centuries, and have been documented over the years. Traditional Chinese Medicine and Western Medicine have a place when you consider the application of pressure points. I look at pressure points from a TCM perspective ONLY for the nomenclature of naming and locating points. I do not believe there is any practical value in the attempt to explain why pressure points work using TCM theory. The example I most often use is that you could cut up little slips of paper with all of the various acupuncture points then put them in a hat and draw out any two or three. Then by using the various “laws” of acupuncture you would be able to construct a theory as to why you should get a knock out or severe pain from the application of these points. You have so many “laws” to draw on such as the cycle of creation, cycle of destruction, Yin / Yang, Midday / Midnight, Mother / Son etc. that you will find something that gives you an explanation.

Thus, if everything is included and nothing is excluded you do not have any predictive value to the paradigm. Equally WM can offer you a number of explanations as to why various techniques can work and will work. But yet at the same time when you ask a physician why it’s possible to knock out an individual by striking points on the arm or leg they just shake their head and say it should not be possible. So after a number of years of researching both perspectives I will take from each information that provides some explanation but fall back on my personal favorite the JHH paradigm. JHH is defined as Just Hit Here, once you know where the various points are located and the predictive results it is possible to say JHH and you will get these results.

MS - 26. What is your definition of a practical martial art?
RC - Once again this is a really important question because it falls back on what the individual wants out of the martial arts. What is practical for one person is not practical for another. This goes back to the principle of the art I teach where each individual begins to take personal responsibility for their own training and the results of that training. Even if you practice only one martial art, you have the choice as to what aspect of that art you practice and make your own. For example in Shotokan you have the opportunity to practice Kata or Kumite, you can practice for competition or for simply for the club. In addition if you look at Shotokan as Gichin Funakoshi taught in his book Karate Do Kyohan the original Japanese version, you will see him use a staff and sword. You see him utilizing locks and throws along with defensive techniques from the ground. So clearly this was part of his training at that time, in our time it seems that these aspects are not being practiced to a great extent. From my perspective someone who practices Shotokan should be able to research this aspect of their art and make this part of their training, and it could then be the thing that makes it practical for their own use.

MS - 27. What dan grade do you presently hold?
RC - I have been lucky enough to have been graded in several arts over the years an 8th dan is my highest rank. However, in the past few years I have been promoting my own organization Ao Denkou Kai and my own system Ao Denkou Jitsu. I don’t use a rank in my own system, because as the founder of the system I really don’t have a rank. Who would rank the founder of an organization and system? From a purely practical point of view as the founder I am able to promote individuals to 10th dan. But if I were ranked as a 10th dan in my own system I would only be able to promote to 9th dan. So for me its just as well to not be ranked as the founder of my own group.

MS - 28. At what level do you think Dan grades should stop?
RC - I am very comfortable with the kyu / dan grade system set up by Jigiro Kano, if something works well there is no reason to fix it.

MS Thank you for your time Rick.
RC My pleasure.

Visit our book stores and look under "other recommended titles" for books by Rick Clark.

Tuesday, November 20, 2007

Beginner’s work? Why we should spend more time on the Heian forms.

Article by John Titchen, Author of "Heian Flow System" a new book available in our book store.

Approximately three years ago I was chatting with a well known senior martial artist and I mentioned that I had put together a flow system for the Heian Kata, teaching students how to flow from one move to another within the techniques of the five steps in response to habitual acts of violence. “Now do the same for Bassai or Kanku Dai,” my friend replied. I mention this because it would seem to me that there is an unspoken implication in that reply, that the Heian are ‘okay’, but they are beginners forms – you should be working on the real deal. It is an assumption that I disagree with and the purpose of this article is to explain why.

Another article of mine on the Heian forms looked at what we know of their history. In their present five stage form they are at least one hundred and five years old. The kata upon which they are based, Chiang Nan, and/or Kushanku and Bassai/Passai is at least two hundred and fifty years old, The survival of the moves from these forms suggest to me that it must have held great value for generations of martial artists.

In their present form the Heian are taught as beginners Kata. We are aware that some techniques have been simplified or altered for teaching purposes by Anko Itosu. But what is a beginners form? A few simple techniques to keep them busy until they are good enough to learn the real stuff? On the contrary, I would argue that it is the beginners forms that are the real stuff, the core of Karate. The later forms that are studied in lesser or greater numbers are merely additions, variables, to this core.

So what do the Heian forms teach us?

On the defensive front we can see footwork that teaches us how to move inside, round or through an attack as well as shifting offline. There are flinch reactions to deal with high level and middle level attacks, not only punches but also low and high level wrist grabs, pushes, lapel grabs and head butts. In addition to this there are moves that can defend against less common attacks such as headlocks, attempted full nelson holds and even drunken tackles.

On the offensive front these Kata take on a frightening aspect. Using the fists, blade of the hand, forearm and the elbows there are potential strikes to the arms, chest, neck, jawline, inner thigh and back. There are throws that take the balance from below the centre and throws that take the balance from above. There is stepwork that trains practitioners to unsettle their assailant’s balance by bumping into the inside of the thigh with the knee at Sp10 and on the outside of the thigh at GB32, usually combined with high and mid level attacks. There are kicks – some of which seem to be aimed at the groin or lower abdomen, others which seem to attack the weakest points of the leg (again in conjunction with upper level attacks) and knee strikes. There are strikes that can be followed through with holds, strangles and head locks. There are straight arm bars and s-bend locks. Many of the offensive techniques use proprioceptive striking and the sequence of many moves suggest alternative techniques as redundancies in the event that the initial attack has not had the desired result.

It is true that the techniques of the Heian seem to be blunter and lack the finesse of ‘more advanced’ Kata. This is a positive rather than a negative factor. Under pressure our awareness is reduced and our ability to use complex motor skills are diminished. As a fighting core we need to be able to use techniques involving natural defence reflexes that use the blunt tools of the forearm and elbow. Can you see the pattern here? Gedan Barai, Age Uke, Shuto Uke, Uchi Uke… The pattern I see is called the Hiean.

Anko Itosu changed the name of the form from Chiang Nan to Pinan, Peaceful Mind. Mastery of the Heian Kata should bring a peaceful mind since they are truly a beginner’s kata. The first thing I want my beginners to be able to do is to deflect attacks and counterattack. The Pinan/Heian Kata teach students how to do this. But they go further, they teach even more important basic principles: free flowing movement, multi-level striking, unbalancing, combining percussive and grappling techniques, vital point striking, technique redundancy…

Beginners need the same things that advanced martial artists need – a training regime that teaches them how to fight effectively. The Heian/Pinan Kata, practiced with intent (and if possible with a partner), provide that routine. They are not merely a stepping stone to more advanced Kata, they are at once both the advanced and the basic kata – the core system that most karate styles are based on.

The conversion of Karate from a fighting system to a martial way or sporting activity has resulted in many of the lessons of the Pinan/Heian set going unregarded and untaught. It is small wonder that many Karate styles sought out extra Kata – they were seeking a stimulation, fighting ability and technical knowledge that a deeper study of their core Kata would have provided – had they been taught it as anything more than a form of physical exercise.

I’ll be training later today. The Kata I’ll be picking to reinforce my ability is the Heian.

This article first appeared in a slightly different form in Practical Martial Arts and was recently printed in Traditional Karate Magazine November 2007.

Coach John Titchen teaches Defence Attack & Resolution Tactics to students, education professionals and corporate clients and can be reached via his website http://www.d-a-r-t.org.uk/, e mail jwt.dart@gmail.com. He is a Personal Defence Readiness™ Coach with Blauer Tactical Systems and is available to teach both self protection and Karate Bunkai seminars. The author’s new book, Heian Flow System - Effective Karate Kata Bunkai, is available on Amazon and through all good bookshops.

Saturday, November 17, 2007

Article: Holistic Bunkai

Holistic Bunkai by Bill Burgar author of Five Years, One Kata.