Sunday, February 8, 2015

Failure

Warning: This one may be a bit soap boxish, but that is what a blog is.  And no, I am not without my own failures.  As I revue thousands of hours of videos and thousands of documents, I continually find events I’ve failed to remember.  Things I’ve forgotten.  Et cetera.  I’m not perfect, but I strive to learn from the things Taika shared and hold things that Taika preached as very important to me.  With that in mind, here is my blog on failures.

Failure to Listen

One of the biggest problems with training with Taika I saw over the years was failure to listen to what he was saying.  Whether it was about the martial arts, history, life in general or just some random topic.  He had the ability to overwhelm you during any training session which is why some of us chose to keep notebooks next to us during the majority of training years.   I have numerous volumes annotated and filled with sketches.  On some topics however, people have chosen to completely ignore him.  Alas, here are but a few examples that really crawl under my skin.

Makiwara

I know, I know.  I have blogged about this before.  But recently, a former student had a ventation proclamation calling all of us non-makiwara users wimps and other such names.  He made bold claims about makiwara making people tough and other such nonsense and if we were not using it, it was just because we were measly little cowards and weaklings.  I don’t use the makiwara because Taika proved to me that it was not necessary back in the mid 1990’s.  In fact, for those that don’t believe me, feel free to read one of his books, RyuTe® no Michi which was published back in 1998.  Or in fact, as some of this Makiwara Worshipers have allegedly read it, maybe try to study it.  He had worked on the book for years, and I have the original Japanese notebooks that evolved into it.  He spoke freely of what a poor tool this was as well as wrote about it.

So why did he use it as a young martial artist?  Taika would say quite freely that in his early days, a lot of what he did was about proving how tough you were on the island.  At one point, teaching the art became a job which provided him with income.  The market share of students that were providing his income were the military, predominantly United States servicemen.  Looking tough and feeling tough was ‘the in thing’.  Plus, he would say in his early years he had a bit of an attitude.  So large callused knuckles was a way to show how tough you were.  They were a badge to show off.

Later, when he came to America, he stated that he used it as a tool to weed out the less diligent, and whenever he had someone that was hard headed.  So if you are bragging about how Taika had you continuously work on the Makiwara, particularly after, say the mid-eighties, then that should tell you something about what Taika thought about your character at that time. 

I won’t continue on too much about better tools, but think about it.  A Makiwara doesn’t give like a human.  There are much better tools that give like a human and even feel relatively close to a human.  Think about any one of Taika’s fingertip knockouts, how much strength did he really need?  He didn’t have huge callouses built up on his fingertips.  Any guitarist will have probably ten times the callouses on their fingers and they don’t know how to knock someone out.  Taika didn’t require big callouses to do so and swore that it was more about angles of attack that power. 

Technology has made better tools.  You don’t see US servicemen in Iraq and Afghanistan fighting with samurai swords or blunderbusses.  If that makes sense, why doesn’t this?

So am I a wuss for not using makiwara and following Taika’s instructions that are a good 25 years old.  Ask my students.  I continually have bruises where I let my students and peers in KC Shihan Dai beat on me as we research topics left us by Taika.  I continually do things that hurt, over and over again, in the name of training and research.  I don’t use a makiwara, not because it is painful, but because I choose to follow the teachings of my instructor.  There are better training tools.  My choice has absolutely nothing to do with pain.  Pain is an inevitable part of training that I embrace in an endeavor to increase my knowledge, stupidity however…

Bogu and Kicks

Again, a topic I have ranted on before.  Why don’t I do kick to the head and why don’t I bogu?  Because Taika found these things in the last years of his life to be counter to his philosophies on training.  AND I truly believe his logic.  High kicks screw with your balance.  His philosophy of kicking below the belt doesn’t work when the rules of a tournament require you to kick in complete contrast to Taika’s teaching…..above the belt.  Oh, and good luck performing Tuite or Kyusho or even Atemi with a huge set of gloves on your hands.  But hey, I must just be scared to get hit?  Oh wait, I covered that.  I stand there and let me students and peers hit me over and over again in most every spot you could imagine in the name of learning.  But go ahead, call me a coward.  Bogu does not further my knowledge, I have done it and had fun back in the day.  But I choose to listen to Taika’s teachings and not waste my time when my training time is so precious.

Birth Year

Taika was fifteen years old at the end of the war and that is pretty young.  An age that would be difficult for people to believe of someone that was uneducated in certain topics, to of done the things he did.  In the United States, no 15 year old boy would be tossed into the war and trained to ride a suicide torpedo or anything else for that matter.  Americans would have trouble believing such a story.  Taika spoke openly about changing his birthday around, during his younger years, trying to explain away his age.  In his final years on this earth, he confessed that he was actually born in 1930.  He said this openly and repeatedly in his Kansas City class as well as at other gatherings and yet some people still didn’t believe him.  He told us these things and some of us took him at his word, but when he died many people would not believe it.  In fact, some people got down right snotty about it.  Knowing that some people wouldn’t believe Taika’s word, I got proof from his sister.  Prior to her death she verified for Mrs. Oyata and the Association that Taika was indeed born in 1930.  Taika’s sister, who knew him her entire life, verified that Taika wasn’t mad, out of his mind, crazy.  He indeed was born in 1930.  This was published on the RyuTe.com history page.  And yet, some people refuse to snap out of their coma, and even are getting snippy about it.  They fail to believe. 

Bo Length

In a class there was a big discussion about 5’ or 6’ bo for a certain kata.  Taika arrived and one of the students performed the kata (so there was no doubt in Taika’s mind which kata was being discussed).  He said that this kata was supposed to be done with the 5’ bo and that he just allowed everyone to use the 6’ bo on it for decades because everyone had a 6’ bo, nobody owned a 5’ bo.  That same person then started to argue with Taika that he was wrong and Taika got quite angry.  “I say 5’ bo!”  He got really angry that he was not believed.  After class, that student and another continued talking about how Taika must be confused.  Later, after he died this same kata was taught at a National Conference in Kansas City.  I made a bunch of cheap 5’ bo for the conference for people to learn it (so they wouldn’t’ have to pay for airport fees) and got no end of grief over it and still to this day people don’t believe me or Taika.  The two people that argued with him during class and argued after class still don’t believe what they were told and added to the confusion at the National Conference.  They fail to believe.

Dojo Kun and Kokore vs RyuTe® Motto

Taika didn’t make the Dojo Kun.  He didn’t make the Dojo Kokoroe (Principles).  Those were Nakamura’s.  Some of his early students who trained with him during the days in Okinawa were the ones that brought those scrolls back to the United States setup the sales and propagation of them into the art, not Taika.  Taika did sell copies of them in their original form, to make money.  Later he cut off the original kanji that said Karate Do and added the kanji for RyuTe.  But later in his life he came up with the RyuTe® Motto, “To strive to attain true moral goodness and express it through ones every action.”  THIS was his.  THIS was what he wanted us to memorize and enact in our lives.  NOT Nakamura’s legacy.  Again, some fail to believe this as it was published in Tasshi Logue’s book. 

During the last couple of years of Taika’s life, Tony Skeen and I were working on a project with Taika to reprint the Dojo Kokoroe.  Believe it or not, there were several errors in the one that had been reprinted since the 60’s that Nakamura had penned.  Yes, I said it.  Nakamura had made mistakes.  He had even crossed out kanji on that print and put in other kanji above kind of like we’d spell something wrong and ‘x’ out the wrong letter putting another letter above it.  Not exactly a pretty product when you look close.  AND it had no reference to RyuTe®.  It referenced Nakamura’s organization and the style of Karate Do.  So Tony would brush a principle and I would scan it into Adobe so make the graphics into mathematical equations.  But that is a topic for later.  In short, I’d bring these large prints to Taika to discuss the positioning and ensure all kanji were correct.  This is when he talked to me with Lisa and Marvin around about how it was ok to do this (the Principles Project) and sell these, but this was NOT his.  This was Nakamura’s.  Ok for history, but NOT his view, his life, his work.

Live Taika’s Motto, Not Nakamura’s.

I’m sure I could go on and on forever but let me skip to the one that is really chapping my arse.

Family

One of the really wonderful things about Taika’s art over the years was the price tag.  Look at how many years we paid a mere $50 for our annual membership.  Look at the low price of seminars, particularly the ones that were outside Kansas City, the smaller ones.  Yes, a shodan test could be expensive for students that had to pay airfare, hotel, conference and testing fees; but a student should have had years to put money in the piggy bank.  That is if their instructor was preparing them in advance for this, and if their instructor wasn’t pushing them through to test in just a couple of years or less.  Taika never had a retirement fund.  He didn’t have a pension plan to take care of his family when he was gone.  His thought was he’d always be fair to his students in pricing, and they in turn would take care of him in his retirement years and his family thereafter. 

For years I would hear some dojo owners whine about how much money they had to pay for each student.  Really?  $15 or $20 a year for a student (Depending on the point in history).  Divide that by twelve and add it to your student’s yearly fees.  It is next to nothing.  A student wouldn’t bat an eye at an extra $1.25 in their dojo fees in one year.  Particularly the ones of them charging hundreds of dollars a month. 

Taika never retired.  How many of you want to work in your 80’s?  He still trained every day, even when he was sick.  He still did seminars.  He still taught.  His students kept demanding more of him and regrettably many cheated him financially.  Luckily, those people showed their true colors and have left.  But Taika’s retirement and pension plans were his extended family, us.  And what has happened to this plan.  Many people feel that supporting Taika was one thing, but the family is different.  The thing to remember is, Taika supported us for decades.  We were his extended family.  Robin, Masaki, Masami and RyuTe® in general are his family.  We should be supporting them by continuing to support the association.  THIS was the pledge that so many made to him in so many conversations.  This to me is one of the greatest failures.
So many people went to seminars and trained with Taika.  But so many people failed to listen to him.  Failed to listen to his words.  Failed to listen to his philosophies.  Failed him mentally and physically.  They took what they wanted, and stored what snippets they wanted in their brains.  They failed to move past his early teachings.  They failed to move along, to bigger and better things.  They failed themselves.  And now they are failing his family.

Please do some hard thinking, look at your failures, and try to overcome them.


Wednesday, December 3, 2014

Pinan Schmidan




 Pinan Schmidan

The Pinan 平安 are a mentally painful set of kata for students to learn and more particularly, retain.  Itosu, Anko apparently carved up at least two larger kata to form these smaller versions.  They were introduced to the Okinawa school system in the early 1900’s.  So if school kids can do them, why do they torment so many people?  The kata all have very similar or exact motions in the other seven introductory (kyu) kata in our system.  Thus, when students reach the Pinan, their bodies have trained the other motions so much that when they get to a point in a Pinan which is familiar, they side launch into a different kata.  This requires a little more attention and focus when performing the Pinan.  Students it seems, are always concentrating and rarely seem to feel natural when they perform these.  I see students get to the point in the other seven where they can do them in their sleep, but rarely so with the Pinan.  I have even seen yudansha, trained in this art for years, completely forget their Pinan.  Thus I continually tell my students, you have to really spend some time analyzing them, dissecting them, and coming up with interesting pneumonic devices to retain them.



Unlike most people in our art, our school teaches the Pinan as the last five kyu kata.  We feel that the student should have more years of experience in Passai, Kusanku and Niseishi by the time they reach their shodan test, than in the five Pinan.  We therefore place the confusion on the Pinan, not on the ‘higher/longer’ kata.



A note on the descriptions below: First off, we don’t use the term BLOCK.  We use FOREARM STRIKE.  Tony and I have both blogged on the why of this so dig deeper for an explanation if you desire.  Also, if you have trained in some other system on these same kata, there is enough difference that the written explanations will probably not make sense.  The purpose of this blog is to help my students.  The terminology will be familiar to them.  If this aids or spurs some thinking by others, then great.  Also, the names of the kata are different in other systems (or sequence) so that might also confuse those that are not in this style.

This is a quest for patterns and analysis.  Note exactly best formatting options for me with the blog tools online, so I apologize if this isn’t as ‘pretty’ as I’d like it to be.  And my apologies for any typos, I’m sure there is something in there though I’ve gone through each section several times comparing to kata video and comparing to kata in my head. (At least there is something in there).


Patterns in the Midst

Pinan Shodan
Pinan Nidan
Pinan Sandan
Pinan Yondan
Pinan Godan

All five start the exact same way, they all start with your standard Attention, then move with the right leg to a Ready Position.  Taika would explain that traditional kata moved the left foot first, non-traditional moved the right. 

Next, all five perform their opening strike to the left.  Only the second one starts with a different stance. 


Beginning


·       4 Start with Cat Stance – 1 with Side/Horse Stance
·       4 Start with Left Outside Forearm Strikes (of sorts) – 1 with Down Forearm

CAT
HORSE
CAT
CAT
CAT

Right Cat Stance for the old school or Hourglass - Left Outside Forearm Strike, vertical fist to the side with Right Upper Forearm Strike
Left Side Stance
(horse stance looking left) - Left Down Forearm Strike
Right Cat Stance for the old school or Hourglass - Left Outside Forearm Strike
Right Cat Stance for the old school or Hourglass - Left Outside Forearm Strike, vertical fist to the side with Right Upper Forearm Strike both Open Hand
Right Cat Stance for the old school or Right Hourglass - Left Outside Forearm Strike then Right Middle Punch

CAT
Attention
Attention


Right Cat Stance – Left arm circles around and down forearm/hammer fist
Step up to Attention (though flexed knees) – Two Double Forearm Strikes
Bring Right foot to Left to Attention (Flexed) – Left cross forearm
CAT
CAT

Left Cat Stance for the old school or Hourglass - Right Outside Forearm Strike, vertical fist to the side with Left Upper Forearm Strike both Open Hand
Left Cat Stance for the old school or Right Hourglass - Right Outside Forearm Strike then Left Middle Punch
Forward
CAT

Right Forward Stance – Right Punch
Turn Clockwise to Left CAT – Right Outside Forearm Strike


Attention


Step up to Attention (though flexed knees) – Two Double Forearm Strikes
Attention
Bring Left foot to Right to Attention (Flexed) – Right cross forearm


CAT


Turn Clockwise to Left CAT – Right Outside Forearm Strike
Left Cat Stance for the old school or Hourglass - Right Outside Forearm Strike, vertical fist to the side with Left Upper Forearm Strike both Open Hand








Attention



Step up to Attention (though flexed knees) – Two Double Forearm Strikes











All do a series of attacks left, then turn 180 degrees right and repeat them.  They then turn 90 degrees left to face the original direction you were when at attention and enter the Straight Phase

Straight Phase

·       1 Starts with Attention – 4 Start with Forward Stance

Attention/Cat
Forward
Forward
Forward
Forward

Stand and Tuck, then back kick, then land in right Cat or hourglass
Left Forward stance with down forearm strike
Left Forward stance in Seisan style pose
Left Forward stance with cross double forearm strike
Right Forward stance in Seisan style pose

Two c-steps with double knife hand
Three steps with upper forearm strike
Forward stance, with spear hand.
Right Forward stance in Seisan style pose
Left Forward stance with cross double forearm strike

Fourth c-step into spear hand.
315 Degree counter clockwise spin to left side stance (horse) with left down forearm strike.
Stand Up Right with Tuck, Side Thrust Kick and backfist, Land in Left Forward Stance, Smash
Pull back, crossed hands to right side, right back stance.  Open, flip, roll, left punch



Three Forward Stances with Middle Punches.
Stand back Left with Tuck, Side Thrust Kick and backfist,  Land Right Forward Stance, Smash
Right forward stance, right punch, wrap with left foot behind.




Chi ball, Kick, wrap, two punches


Back Corner Phase

·       3 have Back Corner Sections – 2 have no Back Corner Section

Two knife hands to left 45, two to right 45, all forward stances.
Turn Counter Clockwise, One down forearm strike to left 45
No Back Corners
Turn Counter Clockwise, Left Forward stance with cross double forearm strike at left 45, then open.
No Back Corners


C-Step to Right Forward Stance - One high punch
(Repeat at right 45)

Right kick to forward stance, left then right punch
(Repeat at right 45 – opposite)


Return Trip

Return to middle line - Left Forward Stance, Right Arm Wrap
Left Foot Returns to Mid-Line, Left Forward Stance, Left Down Forearm Strike
Turn 180 Counter Clockwise, pulling right foot to left, to Attention (Flexed) – Hands to Hips
Return to middle line – Left Forward Stance – Seisan Hand Positions
Turn 180 Counter Clockwise to Right Cat – Left Down Forearm Strike with Right Outside Forearm Strike (Behind)

Right Kick to Right Forward Stance – Left Punch to Left Wrap
C-Step to Right Forward Stance – Right Middle Punch
C-Step to Right Forward Stance – Seisan Hand Positions
Right foot forward, turning Counter Clockwise to Side Stance (Horse) – Right Fist to Belly, Outside Forearm, Inside Forearm, Return
Right step to left 45 corner, dropping Left knee to ground – Double Cross Strike at 45
C-Step to Left Forward Stance – Left Middle Punch
C-Step to Left Forward Stance – Seisan Hand Positions
Left Kick to Left Forward Stance – Right Punch to Right Wrap
C-Step to Right Forward Stance – Right Middle Punch
Hands up, pull down with Right Knee Strike – Land Temporary Cat
Right up and C-Step to Right Forward Strike – Seisan Hand Positions

Right C-Step to left Corner, Seisan Arm Position

Left foot forward, turning Clockwise to Side Stance (Horse) – Left Fist to Belly, Outside Forearm, Inside Forearm, Return































Right foot forward, turning Counter Clockwise to Side Stance (Horse) – Right Fist to Belly, Outside Forearm, Inside Forearm, Return





Remain in Side Stance – Chamber Fists





Left foot crosses to Left Forward Stance – Left Middle Punch.





Right Foot up to Ready Position



Turn Around

·       2 Forward – 2 Cat – 1 Side/Horse

Forward
Stances
Cat Stances
Side Stances (Horse)
Forward Stances
Cat Stances

180 Degree Turn Counter Clockwise, to Left Forward Stance – Left Down Forearm Strike
Turn Counter Clockwise to Left-45 into Right Cat Stance – Double Knife Hand Low
Turn Counter Clockwise to Side/Horse Stance – Right Elbow Strike, punching over left shoulder.
Step Forward to Left Forward Stance – Middle Double Knife Hands
Turn Counter Clockwise to Cat Stance – Leave Right Arm in place, Left Down Forearm Strike

Continue at 45 angle with C-Step to Right Forward Stance – Right Upper Forearm Strike
Step forward to Left Cat Stance – Double Knife Hand Low
Right Straight Kick to Left Knee, Shuffling Right to Side/Horse Stance – Left Elbow Strike punching over right shoulder.
Step Forward to Right Forward Stance – Middle Double Knife Hands
Pull Left Foot to Right for Attention Position (Flexed)

Pull Right Foot back, turn 90 angle clockwise to Right 45 to Right Forward Stance with Right Down Forearm Strike
Pull Right Foot Back Slightly then Turn Clockwise 90 to Right-45 in Left Cat Stance – Double Knife Hand Low


Open Left Heel to make room for Right Foot to come forward at 45 to Left Cat Stance – Right Down Forearm Strike, Left Outside Forearm Strike (Behind)

Continue at 45 angle with C-Step to Left Forward Stance – Left Upper Forearm Strike
Step forward to Right Cat Stance – Double Knife Hand Low




Ending

·       3 Left Foot Returns – 2 Right

Pull Left foot back to line right is on, end in Ready Position, then Attention
Pull Left foot back to line right is on, end in Ready Position, then Attention
Pull Left foot sideways towards right, end in Ready Position, then Attention
Pull Right Foot Back to Ready Position, then Attention
Pull Right foot back to line, end in Ready Position, then Attention




I could stand to do a lot more analysis, but will leave some for another day.  The formatting alone has worn me out.