November-December, 2015 Table of Contents Dojo Events Belt Test Results Dojo Spirit Week Student of the Month Schedule Changes Articles of Interest Videos of Interest Dojo Events Events in November: November 26-28 – Dojo Closed for Thanksgiving Events in December: December 2 – Deadline to Interview for Beginning Belt Test December 11, 4:30pm – Little Warriors Belt Test December 11, 5:30pm – Beginning Belt Test December 24-26 – Dojo Closed for Christmas December 31-January 1 – Dojo Closed for New Year’s Events in January: January 1, 10:30am-11:30am– New Year’s Day Fitness Workout January 1, 12pm-1pm – New Year’s Day Kata Workout Belt Test Results Little Warriors Belt Test Yellow Stripe Belt: Aaron Yellow Belt: Kyle
Transcript
November-December, 2015
Table of Contents Dojo Events
Belt Test Results
Dojo Spirit Week
Student of the Month
Schedule Changes
Articles of Interest
Videos of Interest
Dojo Events Events in November:
November 26-28 – Dojo Closed for Thanksgiving Events in December:
December 2 – Deadline to Interview for Beginning Belt Test
December 11, 4:30pm – Little Warriors Belt Test
December 11, 5:30pm – Beginning Belt Test
December 24-26 – Dojo Closed for Christmas
December 31-January 1 – Dojo Closed for New Year’s Events in January:
January 1, 10:30am-11:30am– New Year’s Day Fitness Workout
January 1, 12pm-1pm – New Year’s Day Kata Workout
Belt Test Results Little Warriors Belt Test
Yellow Stripe Belt: Aaron
Yellow Belt: Kyle
Orange Belt: Jacob, Finley, Matthew, Katelynn
Beginning Belt Test
Yellow-Training Belt: Israel, Rex, Joshua E., Karissa, Orren, Carlos
Sunny has worked very hard these past few months to become a more
serious karate student!
December
Ethan
Ethan also works very hard in class, and is always eager to learn and
become a better karateka!
Schedule Changes
Starting the first week of December, we will be
implementing the following changes to our class schedule:
Wednesdays – 5:30pm – Kata Class (replaces 5:30pm Jujutsu/Grappling Class)
Thursdays – 4:25pm – Sparring Class (replaces 4:25pm Kata/Kumite Class)
Saturdays – 11:40am – Jujutsu/Grappling Class
(new addition to the schedule)
If you have any questions about the new schedule, or any of our classes, please feel free to reach out to us by phone,
email, or Facebook!
Articles of Interest
Clearing the Way by Noah Legel
Click here to view on the web As karateka, we often look at being on the receiving end of attacks, but sometimes we can overlook dealing with the defense of our attackers. From a philosophical view, it is easy to understand why this could happen. Most serious karateka are familiar with the concept of “karate ni sente nashi,” or “there is no initiating hand in karate.” Often, people translate this to mean “there is no first strike in karate.” This maxim is meant to emphasize the defensive nature of karate, which is very important, but it can sometimes make us forget that an attacker can defend themselves, too. If we are attacked, most of the responses we are trained to use are actually attacks, themselves. Hopefully, they are successful and the situation is over, but for any number of reasons, our counter-attack might fail. If it does, then we are left with an obstacle to overcome, and that is the opponent’s response to our counter-attack. This is where old-style karate really shines.
The most likely obstruction that you will find is the opponent’s arms. If you strike, they might block or cover up. If you apply tuidi-waza (seizing hand techniques), they might resist or grapple with you. In either case, the attacker may continue to fight if given the opportunity, so we must be able to deal with their defenses before they resume their assault. This scenario is precisely why sticky/listening hands drills, like kakie/kakidi (crossed/hooked hands) are vital to karateka. Through those drills, you should develop tactile sensitivity that will allow you to quickly notice if your strike has been blocked, or your lock resisted, or your arm grabbed. You should also be able to determine if the opponent’s arm is static, or if it is pulling or pushing, and in what direction. This is a skill that takes a while to develop, but can be introduced very early on in training–even children can work
This tactile information can be processed by your brain more quickly than visual information, alone, so it enables you to make quicker decisions about how to deal with the obstruction. As a general rule, you should move with your opponent, rather than against them. If they push your strike away, then you can pull their block in the direction it is already pushing, which will clear it from the path of your next strike. If they bend their arm to resist an armbar, then you can bend their arm further to put them into an ude-garami (arm entanglement). If they grab you and pull you toward them, you can step toward them with a strike, using their pull to add power to your attack. These are all ju (soft) aspects of karate. If you are dealing with a more static defense, such as a boxer’s guard, then a more go (hard) approach can work. You can simply pull or push the arms out of the way, or strike them out of the way by cutting lines.
These principles can be applied to the rest of your opponent’s body, as well. Good grapplers can sense an opponent’s balance and movement through their grips, and move with it to apply throws and sweeps. If you try to throw or sweep a person, and it fails, they will try to correct their balance and stance. This correction gives you an opportunity to change your throw or sweep so that it uses their new motion against them. In addition, if they try to throw you, then they are committing their energy in a way that can be exploited. French judoka, Automne Pavia, does this very well with her harai makikomi (sweeping wraparound) counter throw, which you can see in this animated GIF, and in this video. You could go the hard route, and try to force your throw or sweep to work with all of your strength, and it might even work, but it uses a lot of energy. One of the key tenants of judo is “seiryoku zenyou,” which means “maximum efficiency, minimum effort.” Many competitive judoka ignore this tenant, but I feel that it is vital–not only to judo, but also to karate.
7 Ways to Establish Good Homework Habits
by Karin A. Bilich Click here to view on the web
Homework not only helps a child learn about school subjects, it is also one of the first ways kids develop responsibility. Learning how to read and follow directions independently, how to manage and budget time for long-term assignments, and how to complete work neatly and to the best of their ability are skills children need for life. Homework can be trying for children, but with a little help from Mom and Dad, it can be a positive learning experience. Here are some ways you can help. 1. Designate a regular place to do homework. This location needs to be
well lit and quiet, without the distractions of the television, other children playing, or people talking on the telephone. 2. Choose a time every day to work on daily assignments. Some children do best if they tackle their homework shortly after returning home from school in the afternoon; other kids may do best if they devote the after-school hours to unwinding and playing, and do their homework in the evening. However, some children respond poorly to a dictated study time, such as 4:00 every afternoon, and may be better off if they're given guidelines, such as "No video games until your homework is done." 3. Let your child play a role in the setting the rules. Make sure that you and your child agree on the set time and place, which can eliminate some of the homework-related dissension between parents and children. 4. Observe your child's homework habits. Is she stuck on a certain task or is she easily distracted? Does she understand the directions, or is she making the assignment harder than it really is? Is her studying interrupted by television, phone calls, or chatting with other family members? If so, you may need to rethink your homework rules or discuss these difficulties with her teacher. 5. Don't do your child's homework for her. It's perfectly okay to help your child get focused and organize her approach to the assignment, but insist that she do the work herself. Occasionally, you may need to clarify the directions of the assignment; in those cases, let your child take a stab herself before offering to help. 6. Give positive feedback. Look over your child's homework on occasion and praise him about all the things he's doing right. If you do find errors, don't criticize. Instead, review his work together and try to pinpoint his area of difficulty.
7. Keep in touch with your child's teacher. If your child is having ongoing homework problems, such as difficulty understanding what the assignments are or how to complete them, or if he breezes through them as though they were no challenge at all, let his teacher know. The teacher may adjust the assignments so they are more in sync with his capabilities.
Chibana Choshin (Gekkan Karatedo Article) Translation by Terry Garrett Click here to view on the web
After the end of the dark and long Second World War, Choshin returned to Shuri. And, he resumed karate instruction at Shuri's Gibo
Village. In Showa 23rd year (1948), he founded the Okinawa Shorin Ryu Karatedo Association and became its first president. In the five years between Showa 29th year (1954) and Showa 33rd year (1958), Chibana served as the instructor for the Shuri Police Department. As for Choshin's kata, he was noted for his Patsai and Kunsanku katas. In the 1938 publication Karatedo Taikan (edited by Nakasone Genwa), he is featured performing the Patsai kata (1). "Beautiful techniques are sharp" and "Strong techniques are beautiful" were his favorite sayings. Chibana emphasized as important both learning kata without distraction and practicing and defining technique within kata. In those days his sayings were called "Chibana's Churadi" or Chibana's Beautiful Ti (2). Chibana received praise for his beautiful martial exercises. As for his techniques, his kick was famous. There is an anecdote from around those times that he once kicked a boar, and afterward the boar couldn't move. When asked about this, he neither confirmed nor denied it. It seems as far as his kick was concerned that Choshin kept it a secret. Normally, you kick with the ball of the foot. However, Choshin used a "Tip of the Foot" kick where he kicked using the tips of his toes (he would overlap his big toe with the second toe to reinforce it) (3). How did he develop so much power? One story has it that he would lightly crack two 7 bu (two 12 cm) pieces of cedar planks (4). There is another episode like this when he is a little over 60 years old. This is Nakazato Shuguro's story. At that time he says he saw Choshin hold and crush a 2 sun (5) (approximately 6 cm) diameter long jointed bambo pole. Nakazato tried to do it, but he found it impossible to split. He says he saw Choshin crush the bamboo very easily. "Sensei's grip strength was an incredible thing. During a physical exam, the mercury in the hand dynometer seemed like it was going to burst" (Nakazato in "Okinawa Karate's Great Stars") (6). Naturally, Choshin was of modest character, and he found it against his conscience to talk about his own martial prowess. Therefore, there is very little on his martial story. However, as far as his instruction goes personal opinion holds, and his life as a teacher is one-sided. When he spoke of Karatedo's true meaning, it is said that it was like he was speaking about Okinawan music. In 1957, in the Okinawa Times newspaper, the following speech remains: "Young colleagues would break roof tiles and boast about it, but it was just frivolous thinking; if the practicioner of karate sufficiently drills kata, kumite, makiwara, and others (hojo undo), and when that power
reaches a suitable limit, the power of karate will naturally emerge. Even people of weak constitution can do karate. Normal people can't make these kinds of people do karate. Like lightly getting someone to dance, when you make the mind cheerful, you will completely forget the illness. Karate teachers not only teach kata; they have a responsibility to make people's bodies splendid. With this work as my life's work, even now I continue to study karate." The great number of students who adored Choshin beat down his gate. Choshin's students include Zanami Jiro (7), Higa Yuchoku, Miyahira Katsuya, Shimabukuro Katsuyuki, Nakazato Shuguro, Nakama Chozo, Arakaki Ankichi, Nakazato Akira (8) and a great many other superior disciples grew under his tutelage. Notes (1) These can be found on pages 28-34 of the 1991 reprint edition.
(2) This is my extrapolation. "Chura" or チュラ (美ら）is a Hogen word that means "beautiful." (3) Chibana was probably embarrassed by the boar incident if it occurred, hence his reluctance to confirm or deny it. A related story told by Mr. Patrick Nakata is that when Chibana was demonstrating the proper way to execute a front kick using the tip of the toes, Chibana accidentally kicked the wall and cracked it. He was incredibly embarrassed by the accident. However, Hirokazu Kanazawa says that when he visited Chibana in 1964, Chibana demonstrated kicking a bundle of bamboo with the tips of his toes ("An Interview with Kirokazu Kanazawa Part II", Classical Fighting Arts, Issue 8, pg 26). (4) Before conversion to the metric system in 1924, the Japanese adopted a measurement system from the Chinese Tang Dynasty in 701 and called it
shakkanho (尺貫法) where length is based on the shaku. Most kobudo enthusiasts are familiar with the shaku in terms of bo length (e.g., the roku-shaku bo). The modern shaku is based on the measurement carpenters used where a shaku was roughly 30.3 cm or 11.93 in; this was approximately the distance between the bottom of the elbow and top of the wrist. A bu is roughly 1/100 of a shaku. (5) A sun is roughly 1/10 of a shaku. (6) According to Mr. Patrick Nakata, Chibana used to cut his lawn with a pair of household scissors. When asked why, he replied it was good training for his grip and his forearms. The Chibana lawn was at least 100 square feet.
(7) An extrapolation on this person's name that in the original text reads "座波二郎." Cursory research has not turned up anything on this individual.
(8) Nakazato Akira, unrelated to Nakazato Shuguro, was Chibana's grandson and Chibana's designated successor to his karate organization. Events following Chibana's death in 1969, however, led to the rise of Miyahira Katsuya as the successor.
Kobudo: The Okinawan Weapon Arts by Charles C. Goodin
Click here to view on the web Karate is an important cultural legacy of Okinawa. Today, "karate" means "empty hand," but this was not always the case. Prior to 1936, "karate," which could also be pronounced "tote," meant "China hand." This older terminology was used in Hawaii even after World War Two. The modern usage of the term "empty hand" has incorrectly led some people to believe that Okinawa lacks a weapons tradition -- after all, by definition how can an empty hand hold a weapon? In fact, Okinawa has a rich kobudo (weapons arts) tradition. Karate and kobudo were often practiced together. The development of karate in Okinawa is often attributed to a ban on the ownership of weapons in the country by King Shoshin (1477-1526) and later by Lord Shimazu of Satsuma. Stripped of weapons, the civilians were forced to develop unarmed methods of self-defense, literally to turn their hands into swords and their arms into clubs. There is some controversy about the extent of the weapons ban in Okinawa. In any event, the sword and samurai class certainly did not play as central a role in Okinawa as they did in mainland Japan. Over the centuries, Okinawan martial artists actually used a wide variety of weapons. These weapons originated in places such as China, Japan and in Okinawa itself. Some of the more well-known Okinawan weapons are the bo (6 foot wooden staff), sai (iron truncheon usually used in pairs but sometimes in sets of three), nunchaku (wooden flail), tuifa or tonfa (a section of wood with handles, usually used in pairs), and kama or nichogama (sickles, usually used in pairs and sometimes with a long chain attached). In recent years, the use of the ieku (wooden paddle) has also become popular. Several of these weapons were derived from farming implements. The bo was readily available in the form of long-handled tools. The nunchaku is said to have come from a horse bridal and the tuifa originated as the handle of a grinding stone. The kama (sickle) is little changed from the ones still used in farms and gardens. There are also variations of these weapons. A short staff is called a jo. While most bo are about 6 feet in length, there are also longer and shorter versions. Bo can be tapered, straight or even octagonal. Most sai are as shown in the accompanying photograph. There is also a type
of sai with prongs in opposite directions. This is called a manji sai. When a manji sai is attached to a bo, it becomes a nunti bo. Other weapons used in Okinawa include the tekko (metal knuckles), tinbei (short sword and shield), and double bladed sword. Many Okinawans were educated in Japan and/or China and thus had opportunities to learn the weapons arts of these countries. Thus, some Okinawans were educated in the use of traditional Japanese weapons such as the long and short swords, yari (spear), naginata (halberd), and bow and arrow. Sokon "Bushi" Matsumura, the bodyguard and karate instructor to the King of Okinawa, for example, was a master of the Jigen-ryu form of swordsmanship. Some Okinawans also mastered one or more of the many forms of Chinese weapons. The most commonly used weapon in Okinawa was the bo. Bo training in Okinawa is documented as far back as the 14th century. A wooden staff was readily available in farms and villages. In fact, it is sometimes said that karate training was more popular in the cities in towns while bo training was more prevalent in outlying areas. Each village usually had one or more bojutsu masters. A village style was unique to that village and it generally would not be taught to outsiders. Unlike the sai, nunchaku and tonfa, which are short-range, generally concealed weapons, the bo offers the advantage of length, particularly against a weapon such as a sword. One expert I spoke to said that the bo is the easiest weapon to learn and the most difficult to master. In the hands of an expert, the bo moves almost invisibly and actually cuts through the air (and the opponent) like a sword. Imagine a skilled kendo sensei. His precise movements are literally too quick to see. The same is true of a bo expert. And unlike a swordsman, a bo expert can strike with either end of his weapon! There have been many kobudo masters in Okinawa this century. Some of the more well-known are Yabiku Moden, Chojo Oshiro, Kenwa Mabuni, Kamiya Jinsei, Shiken Taira, Shinpo Matayoshi, Shinyei Kyan, Jokei Kushi, and Chogi Kishaba. Although he rarely instructed students in their use, Gichin Funakoshi (the founder of the Shotokan form of karate), was also skilled with the bo and sai. The art of bojutsu, like karate, came to Hawaii with the first Okinawan immigrants in 1900. Demonstrations of bo kata or bo odori were common at festivals and gatherings here in Honolulu and on the neighbor islands. Some experts practiced bojutsu alone, but others also practiced karate. During my research, I have discovered several bo experts, but none who taught the art after they arrived in Hawaii. Chinese martial artists also used the bo. One of my karate teachers
mentioned that one of the experts he knew back in the "old days" was a manapua man who carried his wares hanging on the ends of his bo. When trouble arose, the manapua man was quick to drop his goods and grab his bo. His attackers usually ran for their lives! Fortunately, Okinawa's weapons arts have experienced a resurgence in Hawaii, due in part to their popularity in tournaments. Ironically, a company I contacted that manufactures bo, reported to me that their most popular model is a "toothpick" bo, one that is extremely thin and light weight. Something I have always found amazing is how a true bo expert can make a heavy, hardwood bo seem weightless. Such an expert would snap such a light weight bo in half. Weapons arts are also practiced in traditional dojo as an adjunct to empty hand practice. In our dojo, shodan (first degree black belts) are expected to train with at least one weapon. Each person will usually select a primary and secondary weapon. For example, I primarily practice with the bo but also train with the sai. Yudansha (black belts generally) are expected to show proficiency with various weapons as they advance. Aside from their direct self-defense value, weapons are useful training aids. The heavy metal sai, for example, offer an effective form of weight training. After practicing with sai, the arms are strengthened and the hands feel very light. The same is true of tuifa (or tonfa) practice. The bo is useful to make a student relax. It is impossible to use the bo correctly when the body is tight or stiff. Because the bo is so rigid, the student must learn to relax and harmonize with its weight, speed and momentum. Kobudo involves much more than merely using weapons in an existing karate kata. Some karate students are known to do just that. For example, the sai can be held along the forearm and used in a conventional jodan uke (upper block). Many modern karate students practice such a movement. In ancient kata, the blade of the sai would usually be flipped out, rather then held against the forearm. This increased the engagement distance (maai) and also deflected the attack rather than transferring the shock directly to the arm. In addition, the sai could be thrown, particularly at the opponent's feet. It was for this reason that a third sai was often carried concealed in the obi (belt). The unique advantages of the sai and other weapons are maintained in the ancient kobudo kata. By practicing the weapons arts, we are helping to preserve an important aspect of Okinawa's rich cultural heritage. Do you know of a bo or other weapon's expert who practiced or demonstrated in Hawaii before World War Two? If so, please contact me so that I can include the information in my book on the early history of karate in
Hawaii.
Shisa An Article from Okinawa Index
Click here to view on the web Most people have either seen or at least heard of shisa, or lion-dogs, which form an integral part of Okinawan culture. Also known as shi-shi, these small statues can be found standing guard on top of roofs or at the entrances to homes, businesses and shops all over Okinawa. The shisa was first brought to Okinawa from China in the 14th century. These figures are believed to ward off evil spirits and were originally used as guardians to residences and shrines. Shisa come in all shapes, colors and sizes, and most homes will display two shisa -- one with its mouth open to ward off evil spirits, and the other with its mouth closed to keep the good spirits in. One variation you might notice is a shisa poised with a golden sphere under one paw. This symbolizes a concentration of goodness, wealth and bountiful crops. Many stories exist concerning the origins of the shisa, and how they came to be protectors is a story that has been told and retold down through the generations. According to one legend, a small boy was given a shisa as a gift from an Okinawan nobleman. One day, a dragon appeared to destroy the boy's village, and the inanimate shisa came to life and saved the village. According to another story, the shisa came to Okinawa many years ago as a gift for a Ryukyuan king. It became famous for protecting the villagers of Madanbashi from a terrible dragon who lurked in Naha Bay. When the king had the shisa confront the dragon, the shisa roared like a lion, causing a great rock to fall from the sky onto the dragon and turning it into present-day Ganna-mui Island.
