Training log: Write it down

Training Log!

I am often asked what the most effective and necessary piece of training equipment that a student could buy to improve their Karate. Often I hear some say “kicking pads” or “heavy bags” and of course the more traditional “Geta” or “Makiwara”…but for me the most important piece of training equipment you can purchase is the training log. Its by far the most effective piece of training equipment and the cheapest.

Lets face is, Impact gear is great for testing the power of your technique and also training in case you need to use Karate against an attacker. I am always saying that the only thing worse than hitting someone and “nothing happens” is when you hit someone and shock yourself. So second runner up would be a Makiwara or striking bag/pads. But the training log is the most important thing you can buy.

A good training log can be purchased at any store, it can be in a binder, on its own or as an actual log. Heck you can do it on line if you have electronic equipment like my blackberry. But the most important thing is to keep it near you right after your class and review it often. I have probably 100 text book size training logs at home and normally once a month I bring one up from my office and read over things that I did in seminars, classes and even on my own while training.

A good training log will be hand written, use drawing, be in your own words and will be added to right after a class. It will have a detail of things you learned and things you did not understand and need to work on. It will have sketches of body movement and things you did in class to train the basic movements. It will have things like how you felt after a work out and often my notes will include things that are critical of my own body and ability like “DAMN I NEED TO STRETCH MORE” or “TWO LEFT FEET WOULD HAVE BEEN NICE, I HAD THREE AND STILL COULD NOT KICK”. But I also put things like “WOW, SENSEI MADE ME MOVE LIKE WATER, IT WAS SO NICE” or “DAMN ROUND KICK FELT FLUID AND FAST”. No matter what I try to A) comment on the feel of the work out. B) list what we did and C) wrote down follow up on things I think I need to work on.

I even log my home work outs, ideas on Kihon waza, physics ideas that I play with in work outs and have written in the margins when I get a “light bulb” moment and figure something out that Dingman Sensei or any of the masters I have trained under have tried to get thru my thick skull!

The true charm of training logs is two fold. First it keeps you thinking about training, you can work on things at home and not have to sit down and say “What the heck is on the agenda for today’s training?” and the second one happens years down the road when you are reading work out logs from Seminars and training that happened 5,10,15 or 20 years ago. The oldest training log that I have….I stared it in 1996. I started it after Dingman Sensei suggested that I take notes to remember what we were being taught by Yaguchi Sensei. He was talking to older students, and I was around 14-15 at the but I felt it was a great idea to start as well.

My suggestion to everyone is that you go out, get a five subject note book, the smaller ones, Rip out the five separations and start taking notes at each of your classes. It will help with your short home work outs, as well as serving as an instant reference to the things you want to work on before and between testing. Keep in mind that if you are a visual person you can have a lot of drawings in the books.

Most of all enjoy your training and remind yourself by making good notes and reminding yourself what you did in class. And go back and read them when you get a chance.

Karate’s Progression in Training

Karate’s Progression in Training

Karate training progresses from white belt to black belt in a very direct path. One learns the basic movements of Kata and drills in Kihon Waza to train the body and hard wire in basic movement dynamics and even gets to train in interaction skills with Kumite Keiko. Up to this point the training is what we call Kihon Keiko or basic training. The need for this is most self evident. We need to learn basic sounds and words when learning another language and if learning a performance dance routine we need to first be armed with the basic movements. When learning how to play sports like Basketball we need to learn the basic movements of free throws, dribbling and the basic rules, so much like sports and performance art Karate has its basic training, or Kihon Keiko.

Kihon Keiko should not be rushed and in most cases I have seen those that think they are done the basic training part of their progress, need a lot more training. It is also something that we need to come back to the most. It helps us physically do the actual movements and over time, when the sword is dull, it helps sharpen the movements again. But getting past this and moving into different “levels” of training is difficult for some. They have the body for it, but the brain is not catching up, or they have the brain for it but the body is lagging behind.

Kihon Keiko should last between four and six years. We need to learn the basic movements and move our body into the ability to perform these movement properly. We often see black belts that look somewhat robotic and having issues with being smooth in movements, its because they have not integrated the movements into their own tool box completely yet. Kihon Keiko should also include a hard mental component to ensure we all understand the basic level of Karate, what Karate is and what it is not. A person in the Kihon Keiko may not be able to use all of the tools they are given and still are learning how to apply the movements as a reaction to a situation but they are in the infancy of their training. The more attention one pays to basics and learning the techniques the more they will start to move out of Kihon Keiko.

One argument I have been reading about Karate is that we take to long, 2-3 years, to get a person to the point of being able to defend themselves. This is true we do take this long to prepare someone to move from Kihon Keiko to Goshin Jitsu, but the difference between us and other sport oriented arts like Muay thai is we don’t plateau and stop our skill progression.

When someone takes up a combat sport and they train and get thrown into sparring and learn the few techniques they have they learn them quick and can apply them quickly, but they don’t learn the depth of the techniques and also, they are doing great amounts of damage to themselves while they train. Something I will get into in a different blog.

So, once a student is ready and has worked on polishing the basic concepts, techniques and strategies of the system they move into one of two directions, shiai Keiko or Fukai rikai Keiko, this basically means you can move into sport training or Deeper training in basics…which is a great way to get to the point of becoming an instructor.

Karate Shiai Training is intense physically and you end up learning more about applying the techniques in a limited arena, you are one on one and you need to be faster, have better strategy and timing. This kind of training will make someone look very impressive and can be very fulfilling. It also helps you learn how to apply Karate in the next phase, Goshin Jitsu. Shiai Keiko training is also very hard on the body however and can not be maintained for very long. Because of the long time of training in basics however most Karate athletes do not make their prime until their late 30’s however and end their careers normally in their early 40’s . Combat sport fighters start their growth as athletes in their early to mid 20’s and outside of people like Randy Couture they end their careers in their 30’s due to injuries in training and in contact sports events.

Once you are done with shiai training a student would normally move into Fukai Rikai or Goshin Jitsu and work on understating the art from a different perspective. You delve deeper into the techniques and applications and even deeper into the art, its history and concepts are now more apparent to you and your understanding of the art you are training in begins to grow.

If you do not go into tournaments then and you do move past Kihon Keiko and into Fukai rikai or deeper understanding training, this route does not really mean you are missing a component of the art, but you will need more time in this level of understanding because you need to now physically apply components of your training with more intent and learn aspect of training that you are not working on regularly in Shiai training. But it can be done and many people that have not done tournaments still learn the deepest aspects of Karate.

Goshin Jitsu is the step after you move thru the process of deeply understanding techniques, it’s the level at which you begin to truly understand how to apply Karate and its deeper and more technical aspects. Distance, timing are all basic level things for this type of understanding and at this level you are so far beyond basic sport application that it is obvious to you that the combat sports are actually lacking in their approach.

At the level that your Karate is taking on Goshin Jitsu you can actually use the movements that you have a deeper level of understanding about to apply them for defense. Not to say that you cannot use basic Karate skills to defend yourself, but now you can use them naturally, you understand the nature of attack and defense and can apply the Kihon waza you have learned to these situations properly without force and without having to think. You are also avoiding these situations because you recognize the situations themselves before they escalate.

Goshin Jitsu is a level of competence and understanding in martial arts training that most combat sports people can only dream of getting to, the use of physical skills can be used at a level far beyond just kicking and punching. We also see more emphasis on common attacks, not just swinging punches and kicks. In Karates evolution the intent was always to get to this point and many of the older masters like Funakoshi and Itosu Senseis focused a lot on working basics to the point that they could be applied, they also had to use them more often as they were in situations where they had to fight for their lives or at least fight because they were attacked on the streets.

Once you pass Goshin Jitsu you move into a more spiritual form of training called Budo Keiko. Budo Keiko is a deep understating of Karate and its use as well as the ability to now use it to understand yourself better. It has a more whole approach to it and it becomes a life style. Not to be confused with some who obsess with Karate and have to wear the tee shirt so to speak, you simply are about Karate. Those that I see that are at that next level would include people that go beyond the politics, power plays and the issues that plage our Karate now, but those that simply live Karate and don’t care. It’s a personal thing and the act of training becomes habit. It is not about sport and it is not about winning, it is not even about self defense as an act, it is simply who you are.

Karate phases can go slowly for some and some will never understand how to make that next step. Others will think they have and find out that they garner wealth and power over true Karate spirit. These lost souls wont get to the next step. Budo Keiko is also a step that can be lost. So once you begin to realize your training is about false things, that is when you need to step back and see were you actually are on the path.

Intent in Kumite notes

Eye of the Tiger: Intent in Kumite!

The eyes can be your greatest weapon in Karate. Not only can they be used to see attacks and movements of the partners and used to judge your relative location in a room or were obstacles are, but they can be used as part of your attack.

I always preach that you have to have the intent in your Kumite and drill work, you can not just throw arms and legs about like you are dancing or doing an aerobics class. This makes your Karate as dangerous as a bad Cha Cha! You have to have the intent in your Kumite! You must be so focused on making effective techniques that your form is dangerous and your intent on ending the fight can be felt by the partner. It’s a kind of controlled aggression and danger that gives your Karate life!

Let me say firstly that we are not here to harm each other, we are here to learn how to harm each other! The difference is that we are not pounding on each other and doing damage, we try to make as little contact as possible but still demonstrate skill that could save your life if need be. I have trained with so many people that do not understand true intent in Kumite or cannot demonstrate it when the time came. You end up with one of two kinds of people when Intent is not present, ineffective dancers and bullies that like to hurt people.

The ineffective dancers forget that they need to focus, they don’t five purpose or life to their Karate! There is not drama in what they are doing, they throw lazy kicks and punches as if it is a command of a puppet master who is pulling strings and they have no spirit in their moves. They are boring to watch spar or do Kata, their Kihon is limp like old celery! When they Kiai, its all from the throat and not from the belly, they yell like they must, not like they want to! This kind of student can be coached but it takes a long time to get them out of their shell and understanding that Kumite is about presence and technique. The injection of Intent into their Kumite will make a world of difference and make a okay technician a Kumite machine if they simply commit and develop the proper attitude with control.

A person with good techniques who turn to bully tactics and show a lack of control is the exact opposite and still has issues that must be dealt with. There is a big difference between intent and pushing to hard and hurting others. I have seen so many bullies join Karate with the hopes of being able to hit other people and get away with it. Now let me qualify this by saying controlled impact that does not harm others is the goal of Karate training, we don’t go full force on anyone because you can do some very serious damage, having said that…excessive contact and striking vulnerable areas is not acceptable….and in the old days would have been dealt with swiftly and clearly. I recall one incident were a bully was hitting girls in the club because he felt safe, well Sensei Tammy took his head off with a round house kick and put an end to his pestering the ladies. I also remember a farm boy that tried to play grappler with me and out wrestle me during free sparring, I almost broke his arm the first time and then had him purple with a decent choke the second. To bad he was to stupid to figure out he was being politely asked to stop it…the not so polite way would have lead to a broken arm or him waking up in the street with his clothing and shoes.

The idea of intent is to inject Kumite with spirit and the attitude that is correct for making self defense in a respectable and safe way. Intent in kumite is the act of showing the correct attitude for a serious self defense situation and creating the feel that you are going to defend yourself, even if the act is a “play” of sorts. To often we see limp defense and the act of defending yourself gets hard wired in as being a not so serious thing. So if that is how you are hard wired…how do you hope to defend yourself?

Intent should start in the eyes. Focus your eyes on your opponent and look at them as if they are an opponent. Now you know you are not to hit your partner but you have to have the feel that you can and will, the use of control is like a spark from flint. You attack and at the last possible second you pull your attack up short, but before that actual second of control, you are still attacking with intent to do body damage. The eyes should look thru the defender and a glair should be used to show the attacker, or partner that you are serious about doing harm to the person. If you blankly stare at your partner then you give the impression that you are not serious and it is hard to foster the right attitude if externally you do not have the right look of seriousness.

Your eyes should be affixed to your opponents. It takes practice and at purple belt you should start using the eyes in a more serious way, before that you can look at some ones shoulders or chin, but the eyes may become a bit to intimidating. Practice to use your eyes in combat and you will have one more tool that not everyone can use properly. It is said that a good glair can topple a strong fighter.

Some of the most scary people to spar with understand that it is not really about killing the other guy or crushing him, its about attitude and intent on training. Push yourself to understand this and your kumite will improve.

The most important things you can train in Karate are your technique and your spirit, intent and the eyes are all part of that spirit. Work hard to get your eyes into Kumite and you will have forged one of the scariest first lines of defense that anyone can. Remember Intent and a bit of danger in kumite make for a spicy and fun time doing kumite.

Bassai Sho - To destroy, smaller

The Bassai Sho Kata Notes

Bassai Sho, an introduction

Bassai Sho should be practiced after mastering Bassai Dai. The two Kata for a series that complement each other, while Bassai Dai outwardly shows power and solemnity, Bassai Sho demonstrates calmness in its techniques and contains a feeling of inner strength and tranquility while performing its movements.

The characteristics of Bassai Sho include the arc like movements of the hands and feet and the use of the sword hands, ridge hand and tiger mouth. The techniques learned in this Kata are defense against a stick or staff attack as well as different ways to apply the Bassai movements against an unarmed opponent. The palm is often used for this purpose and strength is important for each block, especially against a heavy stick. Wrists, elbows and knees must be flexible and stances must be stable.

Of specific importance are the correct applications of power and appropriate speed in execution of the techniques. This is a good Kata for learning how to block strongly and counter attack sharply. One will also find out a great deal about turning and spinning along with timing and breathing. Bassai Sho has many interesting points to consider when doing the Kata. It is much like Bassai Dai and even shares a similar embusen.

Not many people do Bassai Sho; it is a difficult Kata to master and has many unique balance points to worry about, but the person that can do this Kata well will learn a lot from it.

History of Bassai Sho

Shotokan practice a "smaller" version of Bassai Dai, called Bassai Sho. Itosu is thought to have created this from a version of Bassai practiced in Shuri city. But to confuse matters a bit Bassai Sho is written exactly the same way as a Chinese form know as Ba Ji Xiao which has a counterpart form known as Ba Ji Da (from the Ba Ji Ch’uan style), so perhaps this Kata pair and the Dai-Sho naming scheme originates from China, invalidating the claim Itosu authored most of the -Sho kata. This is only a theory that was put forth however.

Sometimes translated as to 'remove or extract from a fortress' or 'to penetrate a fortress' the word "batsu" which makes up part of the name does mean to extract. While Passai was a very popular Kata in Okinawa it has been suggested that more than 11 version of the original Kata exist. It is most commonly believed that Bassai 'Sho' was created by Anko Itosu and was based on Dai. The Kata would appear to have a large amount of stick fighting counter in it. This seems to be a common thread in most of Itosu’s Kata.

One story told to explain this habit of Itosu’s comes from a story about his childhood. Apparently Itosu’s father, a Samurai class gentleman, would tie Itosu to a tree and poke him with a stick to teach him spirit. Itosu therefore worked hard to develop skills to disarm his father; this then made it into his Katas. The last movements of Bassai Sho appear to be the original ending of Bassai Dai! At some point the ending for Bassai Dai was changed to the more aggressive Shuto attacks. Mabuni's Bassai Dai still has the original movements at the end of the Kata. On several occasions he wrote of the confusion he had over the changes in some of the Kata he had shared with the JKA and he had worked on with its members. It is more than likely Itosu had been taught a version of Bassai that was different than Passai Dai and he took the form and altered it to suit his means and it is from there we have Bassai Sho. While Bassai Sho has a different feel than its counterpart, at points it is lighter and fast and other it is much like Bassai dai in its feeling of motion, pressure placed against the opponent and its great generation of power. Some historians feel that the original Passai Kata is related to lion and leopard boxing styles in China. Akio Kinjo believes that the original name in Chinese may actually mean 'leopard/lion'.

Another idea is that the original name is reference to a person or a specific fortress by name. Other historians also note a resemblance between parts of Passai and Wuxing Quan (five element fist boxing) Others point more recently to a kind of evolution of style and ideas of the older masters. Matsumura's Passai was very Chinese looking, circular and more loose in the stances, with deflections and powerful counters, Oyadomari taught a tighter more Okinawan version. Some think Oyadomari’s version was further refined to make Itosu’s Bassai Dai or even the origins of Bassai Sho. Oyadomari’s Kata was passed down from three generations and was originally taught to the family 'Ba' a Chinese person living in the Tomari village area. Possibly Anan, who used very light techniques in his movements hiding powerful moves, Matsumura also learned Chinese boxing form Anan and Iwah of Fuchou so it is possible it is his Kata after all. The one aspect that Bassai Sho has that Dai does not is the use of stick defense and the use of more natural and refined body dynamics to produce power where Dai is brutal strength and power, Sho is more about movement and subtle dynamic shifting.

End notes

Bassai Sho is a very intricate and complex Kata that is often over looked by senior students in their pursuit of the nature of Shotokan. The graceful and deceptively peaceful Kata has a hidden and powerful spirit. My favorite person to watch do this Kata was Enoeda Sensei. I often would watch him do this Kata in videos, as I have never met him. He was powerful and had a dignity to him during this Kata that brought out its regal nature.

Underneath the surface of the Kata, below the regal dignity and the slow and smooth techniques lies a very effective Kata that should be studied after one has mastered Bassai Dai. The Kata is an extension for a series that deal with the two more popular fighting situations in Okinawa at the time.... unarmed and with a staff. The Kata itself is filled with ideas on how to do some unique techniques both against and armed attacker and an unarmed attacker.

Practice of Bassai Sho should start to be looked into after Nidan as before Nidan one is simply trying to master the basic Kata and explore some new intermediate level Kata. At Nidan a student is ready to start to find out the nature of the style they study and this means learning and exploring the more advanced Kata.

Jutte: Ten hands

Jutte/Jitte

Jutte is often known as the other “temple” Kata when a student is introduced to the Kata. This Kata has not been the favorite of many of the old time Kata champions because it is not a very dynamic Kata. But, the Kata has a lot to offer students. This is an old Kata that has obvious applications for staff defense, one of the core and main weapons of ancient Okinawa and China. Often a student will see the Kata and think that it is only for staff defense but the applications are endlessly applicable to hand to hand fighting as well. Recently this Kata has started to be used more often by Kata champions and those looking for tournament success, the most recognizable of these was Shina Sensei and his using this Kata to win at major tournaments. Jutte is a very important and interesting Kata that can be a very important and informational Kata in any student’s studies.

History of Jutte

The spelling of 'Jutte' is often written 'Jite' or 'Jitte' as well, and the Kenji that reads "ten hands" is often changed for Kenji that reads "temple hand". The change to "temple hand" continues the theme of "temple" Kata in many of the Okinawan Karate families. The "temple" theme is associated with three Kata directly, Jion, Jutte and Jiin. This creates an idea that all three are directly related in some way, shape or form. Arhat Chun Fa (monks fist boxing) uses Kata such as Sochin, Seisan, Jutte and Sepai, Useishi and Peichirun and the style is related to White Crane Chun Fa. The lack of Jion and Jiin in the base style of Jutte may suggest that they originally were not related however, this would seem to state that the temple theme was created to make a false connection for these Kata. Some of the chief similarities in these three Kata (Jion, Jutte and Jiin) are the beginning hand positions relating back to the "shaolin salute" and the use of the Manji Kamae or "lantern carry pose" in the Kata. Manji Kamae is also a very Buddhist position to assume during combat, in that most styles related to the Buddhist practice and influence on martial arts have this posture in the forms and practice. Many feel it is related to fighting at night or practice at night and the use of hand held lanterns to illuminate the challenge area or practice area. Kanazawa Sensei has spoken about this Kata and says that it is obviously a Kata to defend against a staff or "bo" attack. Some feel it was originally a bo Kata from a Chinese weapon form and was changed to deal with the defense and not use of this weapon. Ironically, a weapon, the Jutte was often employed to defend against a bo or sword attack and the Kata is often performed using a Sai, a derivative of the Jutte. Another rationale for the name has to do with the Yama Kamae (mountain posture) and its resemblance to the sai and therefore to the Jutte. I do not share this opinion however. The name itself, in my thinking, means ten hands and it is simply a statement of the various techniques that were used in this Kata. Trying to add drama to the name is simply a tradition in old Martial Arts. Jutte also goes by the name Sip Soo in some Korean styles that have adopted the Kata from Japan. Many of the Korean styles took forms and techniques from the Japanese styles they came from. The Kata they acquired for their foundation were then altered to seem less Japanese and to promote a national feel for the newly formed style. Often the Kata had such minor changes that they were seen as being almost untouched with exception of those minor changes. Jutte or Sip Soo is one of these. If a Japanese stylist was to perform Jutte and a Korean stylist were to perform Jutte, you would only see minor stylistic differences in the performance. Many practitioners dispute the idea that the Kata was a bo defense form and point at the difficult bunkai and how the applications of said moves do not lend themselves to simple or effective self defense against a Bo. The Kata however, may in fact be a variation of Kobudo Kata that once had a following on the island. One suggestion I read is that a traditional Kung Fu style named Hung Gar is the origin of the roots of Jutte. Having studied Hung Gar briefly I can say it would not surprise me. The stance is very stable and reminds me of the rooted feeling Hung Gar presents, but I have yet to see a Jutte in any way in the forms of Hung Gar. One accepted history that is taught but probably not accurate is that of a Chinese Monk named Jion-Ji whom supposedly travelled to Okinawa in the 19th Century and taught Kamerei Sakugawa who in turn taught Matsumura who taught Itosu. Patrick McCarthy does point out a similar Kata does exist in China as part of the Arahat Tradition, but this does not mean a monk came to Okinawa to pass on the Kata. It is far more likely that this is one of the Kata that Sakugawa learned while travelling in China and he brought it back and taught it to Matsumura, who in turn spread it to his students. The history of Jutte seems to point back to Sakugawa’s introduction of many of the Chinese forms to Okinawa. I would suggest then that this is the origin of the Kata as we know it. The original name of 'Ten hands' is more than likely the correct translation. But, the attempt to change the name to 'Temple Hand" at sometime also reveals a movement to align the three "Ji" Katas together. This suggests to me that they are all of different origin but perhaps grouped together by well meaning instructors. And this grouping was taken to a different level by their students. Like many of the older Kata the history of the Kata itself has been long lost and new pseudo history put in its place. Most of the new histories are based on more interesting ideas of where the Kata came from over a more practical origin of the Kata. Perhaps we will never know where Sakugawa received training in this Kata, but the more we make of the psuedo-histories the more we miss out on the truth and forget about the importance of just learning the Kata and its applications.

Notes on Jutte, Jitte.

Some stories suggest that once a student has mastered the Kata that they will have the ability to defend themselves with the hands of ten men. Or worse that they will be able to defend themselves against ten men. This is not the intention of the name in my opinion. The Kata seems to be well suited for training to defend against sticks or staff attack. Most of the techniques are set up to absorb an attack, remove the weapon and then dispatch the attacker. The bold but controlled movements give a feel of power and grace that is build for those of powerful physique. The Kata is very popular with senior ranks but not often seen in tournaments. This Kata takes approximately 60 seconds to perform and is more based on execution of power and use of timing over speed and dynamic movement. While it is required for promotion from Shodan to Nidan, it is not often seen on the test for this new rank. The students that rank for Nidan are often requested to do more dynamic Kata to show their ability.

End Notes

Jutte is still going to be put in the category of being related to Jion and Jiin because of the starting hand positions. But that is fine. This does allow for better organization of the Kata and it also gives the students a mnemonic to remember the Kata in the first place. It is a challenging Kata that is far more difficult to master than one would think. The basic movements and the less than fancy moves are deceptively difficult and surprisingly effective against a staff. The Kata also has an alternative system in it for defending and damaging joints, such as the elbow and also for throwing opponents to the ground. Jutte will always be a mysterious Kata to me, one that is simple but very hard to master. I have read and been told that bigger people are built for Jutte, but I have seen some lean, small guys pull it off. One of the unique and interesting things about Jutte is the vast amount of open hand techniques that one has to master in doing this Kata. Steeped in misconceptions, Jutte is often not the first option that a student thinks of when learning a new Kata, but it will deliver a great deal of information and entertain any student that selects it as a Kata.

Empi Kata

Empi - An introduction

Empi is a Kata of dynamic movements and changing rhythms. The Kata is set up to teach a student how to be agile when moving and to use distance, unique movements and encourages a student to study movements that will confuse an attacker. The Kata is based on a theme that encourages the student to move like a Swallow, a bird that moves in a similar fashion to the style that is being encouraged. Its Chinese roots and many of the movement patterns from age-old Kung fu are still found in this Kata, which heavily influence Empi. I was encouraged by my instructor to practice this Kata along with its opposite, Hangetsu. I continue to suggest this to anyone I teach the Kata to. Empi is normally seen by students who are Shodan and above but it can be taught to brown belts in some organizations. Some say that the Kata is best performed by light students that are of slight build. The flamboyant and dynamic movements are best performed by smaller people that can make their movements mimic the Swallow, but I have seen many larger students pull off a nice Kata that shows a different more power-focused side to the Kata. Empi is a dynamic Kata but it does not have to be done as a quick and light Kata, it can be done as a dynamic and powerful Kata as well. My favorite performance of this Kata was during my instructor’s sixth Dan examination. His wife ushered me into the Office at the dojo and I got to watch my instructor do his Kata in front of his instructors. It was a very big honor and I will never forget the mastery my instructor did that Kata with. He was light on his feet and faster than I had ever seen anyone move. His techniques were sharp and he altered his directions faster and sharper than I had ever seen.

History of Empi

Empi was heavily influenced by Chinese boding and was originally known by the name "Wanshie" or "Wanshu". Gichin Funakoshi changed the name to Empi in the 1920's when he moved to Japan to teach Karate. The most accepted Origin of the kata is that the form was created by a Sappushi (diplomat) named Wang Ji and that he created this form while he served the Chinese government in Okinawa in and around 1683. Rumor had it that Wang Ji made a habit of throwing and jumping on opponents . Wang Ji was placed in Tomari because Tomari was a hub for Naha and a major Sea port. Many government officers would have been located here and this would have been a government hub for many foreign dignitaries. Two other ideas have surfaced about Empi and its creation. One is that the Kata was created during training interactions between the members of the ‘36 families’ that immigrated to Okinawa in the 1300's from China. The other is that the Kata is fashioned after the dynamic sword style of Sasaki Kajiro, a Kenjitsu instructor. The issue with the first is that the dates do not match, this would make it the oldest Kata ever in Okinawa and that simply is not so, and the sword story...while quaint is not historically accurate. Apparently Wang Ji (1621-1689) adapted this name when he went to Okinawa as a member of the ambassadorial mission. He was sent to Okinawa by the Qing government to the village of Tomari in 1685. As a poet, calligrapher and Diplomat he met many people in the Okinawan government, including the royal guards and diplomats. He was an expert in Shaolin Fujian White Crane and shared this art with the Okinawans he met. Wanshu is used in many Karate style such as Isshin ryu, Goju ryu, Shito ryu, as well as Shotokan and its derivatives.

Wanshu was either created directly from Wang Ji or by his students when he left for China as a way of remembering his teachings. Many styles use Wanshu or use variations, Ansu, Washo, Hansho, Oushu and Anshu, as the name for this Kata. One version of the word Wanshu is "dumping form". This interpretation clearly refers to the throwing movement in the Kata. Two specific versions have emerged as variations of the original Wanshu. Matsumura Wanshu and Itosu Wanshu. Despite the fact that Itosu studied with Matsumura, the two Kata vary from each other considerably. It is Itosu’s Kata that Gichin Funakoshi brought to Japan and renamed Empi. The Matsumura version has some similar movements, but lacks a jump, preferring to just throw the opponent. The Kata also uses very fast open hand moves, back fist strikes in place of the pressing palm techniques and even has a very different Embusen due to the variations in the movements. Tomari Te was not the only area that this Kata showed up in. Shuri te also has the Kata Wanshu in its syllabus. This suggests that Shuri stylists were training in Tomari village. This is very possible due to its close proximity to Tomari village.

One way of writing Wanshu in Kanji translates to ' oar in the water' which apparently refers to the first movement in the commonly used form where the person drops down and places a block to 45 degrees to the front. This is not a widely accepted translation but worth mentioning simply because it demonstrates the confusion over names and the use of different Kenji for the same Katas. This is not something that is unique to Empi. Gichin Funakoshi and Itosu made many alterations from the original Kata and its practice. One such alteration was the up and down movements in the Kata. The 'original' Kata was done with in and out movements and the alteration was to add the up and down movements to create more dynamic movements and differentiation in body position. The up and down movements have led to the suggestion that Funakoshi felt the Kata made a person look like they were a Swallow or small bird, darting about.

Wanshu/ Empi is often associated with the other Tomari te Kata. Wankan/ Matsukaze and Wandoh/ Wanduan are the other two kata that often are associated with Wanshu in other styles, and in most styles practicing Wanshu normally leads to training in these other two Kata. The original versions of each of these Kata look very much the same in principles and fundamentals. But over the years, with many changes, the Katas no longer really resemble each other. Wankan and Empi are both part of the Shotokan syllabus while Funakoshi never selected Wanduan to be part of Shotokan’s training regiment.

Notes on Empi

Shotokan’s Empi relies on fast, snapping movements, strong hips and sharp techniques. It should have a light and dynamic feel to it. One mistake to guard against is in running the Kata together to make it appear you have speed. This is not the correct way to show proper technique skills. One should make speed but focus on making appropriate timing for each move and remember pauses should be set and not rushed. A combination of slower techniques are added to provide instruction in merging the two timings. The translation from Kenji to Roman lettering is often confusing for Katas. In the case of Empi you may also see it printed as Enpi and on one occasion I read it spelt Enpy! The accepted anglicized versions are Enpi and Empi however. Most organizations teach this Kata after Shodan, but some do teach it to 2nd and 1st Kyu level students.

One of the more common issues with Empi is the over exaggeration of parts of the Kata during competition and by good intentioned students. One of my sempai had seen a demonstration by a high level instructor were he over emphasized a hand movement and then my senior adopted this as the way of doing the Kata. The hand movement was a gross over-exaggeration for teachings sake, but it became a part of my senior’s Kata very quickly. One of the harder techniques to master in Empi is the Jump. This in fact is a misnomer; it is in fact not a jump! I happened across an interview with Oshima Sensei were he describes the movement perfectly. "Tomikomi is sure and very effective!", "Remember that your hips do not go up, the knees go up, but the hips go down. And you hide your whole center section". The idea is to draw the knees up to the center of the body to protect yourself from a punch, at the same time you draw up your feet to avoid a stick attack, this is one bunkai. The other piece of advice that Oshima Sensei gave for those interested in Empi was to not perform this Kata too quickly. "In the 20 last years (1970-1990), everyone almost doubled the speed of this Kata, like to see young people make fast movements in this Kata, but you must take to your calm time"!

End notes

Empi is a hard Kata to master and has many unique movements. The rushing in and out, up and down and the hectic pace in which it is done is designed to make you feel like a Swallow, jutting in and out and changing directions as if you were engaged in an aerial dog fight with another bird of pray and you are using your dynamic mobility and flexibility to out fox the attacker and counter movements as the opponent is convinced that they have the upper hand you take that away from them. In the old days it was said that the Kata had an extraordinary amount of groin strikes and pain producing attacks, like a bird attacking vital points and over powering the attacker with many small pin point attacks. When I was learning this Kata I would watch Dingman Sensei do the Kata and I thought I would never be able to do that Kata like him. His movements were always powerful and always showed proper rhythm change and the jutting in and out like a Sparrow. The only other person I have ever seen personally, on tape mind you, that I thought was natural for this Kata was Asai Sensei. I can remember going out to a park with the JKA of Manitoba and Dingman Sensei had us all doing Empi with the jump uphill! It was a very interesting day in the park to say the least.

Gankaku: Crane on a Rock

GANKAKU KATA NOTES

Gankaku is a very difficult Kata to learn. Its turns and twisting motions make balance hard to maintain, and developing good body control is required to properly execute Gankaku. Gankaku is a very smooth and light Kata, using the recoil from the kicking leg to draw the student into the next movement. The movements are light and snappy, but also long and controlled. Gankaku’s name translates to ‘Crane on a rock’ and it truly should give the student the feeling of a Crane standing on one leg defending itself.

My favorite person to watch do this Kata is Brian Dingman Sensei, my instructor’s son. His long lines are perfect for this Kata, his snap and flexibility make the Kata look regal and accentuate the power and speed of the Kata perfectly. The only other person I have watched do this Kata and make it look very effective was Tanaka Sensei on a tape many years ago. In order to make the Kata look correct, a student must understand the tempo of the movements and be able to make their body change tempo and keep up with the long fast movements and then slow down and stretch out for the slower moves.

History of Gankaku

The original name of the Kata was Chinto, which was the name of a Chinese teacher by the name of Chin Tao/Chin Ji. The Kata is said to have originated in the 19th century when Matsumura befriended Chi Tao/ Chin Ji and learned his style of Gung fu. Some stories make Chin Tao out to be a typhoon victim and a ship wrecked sailor. Others as a pirate who lost his ship to a mutiny. Any details past basic info should be viewed as whimsical myths and stories passed on for entertainment sake only.

Both the Tomari te and shuri te styles use Chinto (fight to the east) as a Kata which suggests either chinto or Matsumura taught this to other people from Tomari as well as Matsumura brining this style/Kata to his home town. Many of the more modern systems of Karate use Chinto and a few have taken the Gankaku name. Shito ryu, Isshin ryu, Wado ryu, Shukokai, Shorin ry and Shotokan and its derivatives all use version of this Kata. Interestingly Shotokan does not place as great an emphasis on this Kata as the other styles do.

Gichin Funakoshi Successfully changed the name of this Kata to Gankaku to avoid anti-Chinese sentiment in Japan when he brought his Okinawan art to the mainland. At that time he also altered some of the techniques and the Embusen-path to a more linear lay out, to allow it to resemble other Shotokan Kata and also to meet his new criteria for Karate. Unlike what the Gankaku name suggests, this Kata is not really related to a 'bird' gung fu style like white crane. The style has its roots in the five ancestor Gung fu system, which Chin Tao seems to have known. Chentou or Chuto is also a kata in the Wu Sho Quan or 5 ancestors fist and is translated as 'sinking the head', and the Chinese ideogram refers to sinking the body to protect the head. Funakoshi wrote a famous article in 1914 to explain the ancestry of the kata and mentioned that Azato Sensei did bring up that Chin Tao did teach several people different version of this style, including Gusukuma and Kanagushuku (chinto), Matsumura and Oyadomi sensei,Yamasato and Nakasato all of Tomari, who also learned Chinto. One reason that is given for the variety of interpretations to the Chinto style/ Kata is that Chin Ji was in a hurry to get home to China after becoming stranded in Okinawa. From Matsumura, the Kata was passed on to his student Itosu, who modified the Kata to meet his ideas and practice. It was further modified by Funakoshi, then by the Japan Karate Association brain trust and senior members, with a lot of input by Gigo Funakoshi to include techniques that have longer lines and of course the Embusen change. The alterations that the JKA implemented were indicative of the changes that the JKA were placing on most of the Karate techniques while generating their new and more modern style.

One commonality between all of the Chinto Katas and Gankaku is the Embusen line is straight and the Kata is done while moving back and forth on this line. Also, all of the Kata have the one leg stance and a unique reinforcement of the leg with the hooked part of the foot behind the knee of the support leg.

The Kata is very dynamic and employs a great deal of unique stances that require a great deal of balance, speed and coordination. The unique single leg pivot is also a challenging aspect of the Kata despite the linear Embusen. Kata houses many turns and circular movements. Balance is very important along with Good hip control to make the turns fast and with balance. The attacks should feel overpowering, quick and smooth with a light feeling in the arms. Gankaku is not a favorite of the JKA tournaments because of the balance and coordination required to perform this Kata correctly and create the proper aesthetics. It is also not seen as a flashy Kata so it tends not to be a favorite with junior black belts and students of Shotokan. But the Kata’s many difficult movements and intricate techniques lead to many dynamic applications and can lead to a deaper understanding of Bunkai.

Notes on Gankaku

The Kata is often called Yabu Chinto when referring to the original Kata that was taught by Chin Tao and it appears in many of the original Okinawan styles. The definitive characteristic of Gankaku is the single leg stance. Because this stance occurs many times in the Kata, it requires a great deal of balance and body connection to properly perform this Kata. The Kata is also very dynamic and uses a number of unique techniques that gives Gankaku its distinctive characteristics.

The history of the Kata is a big questionable as it is rather sensational in its presentation. I highly doubt that Matsumura would have been sent out to confront a thief, seeing as he was a court officer and also security for the royals. That would have been left up to the military and or the police, and to send an individual to do that job is also strange. Then for a Noble retainer to train with a Chinese criminal would be very unique. It is more likely that Chin Tao was a sailor that crossed paths with Matsumura and the exchange occurred. Gankaku has not been the most popular Kata for Tournaments. The reason is the balance and body control required. with the single leg stance a single miss step or balance issue will make the whole Kata look sloppy or will bring attention to the issues that a student may have. It still remains dynamic but you do not see it used as a tournament Kata often. In order to guarantee a good performance of the Kata a student can not speed it up as is customary in many tournament performances.

End notes

Gankaku is a very regal Kata, the postures emulate that of a crane standing on a rock observing a threat! The Kata is filled with long lines, lots of single leg stances and a large number of turns and spins. The Nidan Geri is a difficult kick to perfect as well. Some say that Gankaku is built for taller people with long limbs, I would tend to disagree and say that Gankaku is built for people with long limbs and the ability to use their body sharply but with a light feel. The person I think has done this Kata the best that I have personally witnessed is Brian Dingman Sensei of Manitoba and his lines are near perfect and his technique about as sharp as it comes, but he is not a very tall person, so the idea that you have to be tall to do the Kata well, probably would not agree with that. The Kata is perfect for any student that has good balance or for those looking for a light Kata that has sharp techniques but showcases poise and agility.

Jion Kata: Power Kata of Shotokan

Jion

Jion is the first Kata a student normally encounters from the "temple Katas". It is normally at this point that they are told about the "temple" Katas and how they are related. In my research, this seems to be one of those false stories that is passed on from instructor/Senior to junior and then becomes Dogma. The truth is that all three Kata (Jion, Jutte and Jiin) may all be related and or from the same area of Okinawa, being the Tomori area, but they were not in fact created at some Temple. First off Jionji or Jion-Ji is a temple in Japan's Gujo Hachimon town in Yamagata prefecture....a fair way away from Okinawa! So, it is not likely that the Kata took its name from a Japanese temple when it was created in Okinawa years before Karate came to Japan! It is obvious that all three Kata are linked, and have similar opening movements. They surely could have been created by the same person or around the same person(s) teachings.

The first of the three Katas (meaning Jion in this case) teaches a student how to deal with rotational movements, and directional shifts. It is also a great Kata for more powerful students. The basic feel of the Kata is only overshadowed by the powerful movements and destructive nature of the Kata. The essence of the Kata is to meet the opposition straight on and honestly, with no hidden or secret movements. All three of the "temple" Kata have valuable lessons interwoven into the practice of them. But as I stated, there is a lot of suspicion as to the dubious history attached to the Katas’ past.

History of Jion

Jion is a very common Tomari Kata whose history is a bit fuzzy. It is accepted that it has roots in the Tomari style of Karate and has "family" roots with both Jiin and Jutte! Jion, or Gion as it is sometimes written, also has strong Buddhist flavors in it and as such also has links to the Shaolin Tradition and some connections to the Kata Passai / Bassai and Wanshu / Empi. The name for this Kata is thought to describe its roots and creation at the Buddhist temple Jion-Ji, but this is doubtful. The name may be translated as a direct reference to the Jion-ji temple or less commonly as "temple bells". At some point in the transportation of the Kata from Okinawa to Japan, Gichin Funakoshi felt that he should change the name of Jion and replace it with a more "suitable" name that described the feelings that he thought would bring meaning to the Kata for the students learning this Kata. He attempted to change the name to Shokyu or 'Elimination', a name meant to describe the feeling of total dominance and destruction of the opponent. The name did not stick and the old name came to be used again for this Kata. Funakoshi had tried to change many names to "Japan-ize" them and make them more acceptable to the Japanese, few stuck. Funakoshi learned Jion from his primary instructor Itosu sensei and Itosu learned this Kata from his instructor Matsumura. The Kata is a common Kata to the Tomari Region and the Shuri Region. Some literature I have found suggests the original name was more properly pronounced Jihon. The Chinese Ideogram from Jihon does appear more frequently in Chinese writing in reference to this Kata. Some Interpretations of the Kenji used for the Kata suggest a different meaning for the Kata name. One Kenji used for 'Ji' is to develop techniques and ability, and 'on' is to condition or forge the body. Granted this is not mainstream and is more than likely a descriptive from a old instructor to illustrate a feeling for the Kata. But, it does play into the feel of the kata when performed properly. The name could mean to "develop techniques to condition the body" and not "temple bells" and would fit the Kata almost better than the accepted name. Despite all of the mystery and issues with lack of information, what is known about Jion is it has roots in Chinese Gung fu, was taught by Sokon Matsumura to Itosu Sensei, modified by Hanashiro chomo and Itosu to be more like his Shuri style and it is practiced by styles with roots in both shuri and Tomari te. The date that the Kata was formalized in Okinawan Karate would be between 1663 and 1680, which is around the same time as Kusanku/Kwanku/ Kanku dai came to be practiced on the island nation.

Notes on Jion

Jion has grandeur to it that should show through with all the movements. This may be attributed to its strong Buddhist links or it may be because Jion is a powerful but very basic and honest Kata. Mistakes are very hard to hide in Jion due to its calm power and smooth transitions in the movements. Jion is often used for black belt testing because of its nature and the fact that a student must have good Kihon Waza to make the Kata run smoothly and with power. Jion is also one of the favorite forms of many Kumite champions simply because it is direct and works on basic ideas and techniques. This Kata should be done with the proper attitude and outlook or it will not produce an aesthetically correct form. Over the years many of the smaller details of the Kata have changed and it is important to note that some of the changes were seen as going back to the root of the Kata to bring backs its original JKA flavor. But the Kata has always been a stand out in the Shotokan Syllabus. The breathing of the Kata is Nogare or natural to movements and not forced or over controlled during practice. The movements should be crisp and direct with linear power being used. The techniques should be rooted and students should be well versed in stance and movements to be able to shift when required and not shift when the Kata is not calling for this.

End Notes

When practicing Jion, a student should have the proper spirit. It is a Kata that brings out a powerful spirit and has a noble feel to it. Nothing is hidden and all the movements should be performed with power and overpowering spirit. Jion is often forgotten when a student is being taught the junior Kata. Much is said about Kanku Dai and often when a student is looking at learning Jion the fact that it may have been used to create the Heian Kata is omitted. Jion is a very important Kata to practice to ground yourself in basic movement and principles when most students are looking to advanced Kata and more fancy movements. Jion is more than the myth that has sprouted up about it being a Buddhist Kata or a Kata created at a Temple. It is a Kata that works on improving a student’s power and dynamic use of the body in a very fundamental and basic way. One of my most memorable moments with the Kata Jion was being taught this Kata by Master Tanaka at a summer camp. Not only did he demonstrate a lot of the techniques that left us all knowing the potential of the Kata but he showed a great passion for the Kata and brought up many common sense ideas that most of us had over looked. I came away with a renewed appreciation for a Kata that I had been losing interest in. I can again see the beauty in the basic and powerful movements of this Kata.

Hangetsu

Hangetsu: Half Moon Kata

Hangetsu, an introduction Hangetsu comes from a system of training in Okinawa that focused on improving the physique. The Katas from this system of training generally come from the White Crane style of Kung fu and were transmitted with a different intent than pure combat training. They are practiced for development of internal energy and for training the body to be stronger. Hangetsu was altered by the JKA to be a different kind of Kata.

When I started learning Hangetsu, all I was told about the Kata was that it meant half moon and it was built for bigger guys because it was slow. This is obviously not the case. The Kata has so much more to offer the student who chooses to practice the Kata. Hangetsu is much more than I was originally taught, and yet such a simple training device. My favorite memory of this Kata was being taught it by Yaguchi Sensei. I knew this Kata from before, but Yaguchi Sensei had a special way of teaching this Kata and he had some unique terms. The cross over step was not referred to simply as a cross over step but as the “steeling step”. He also had a great way of teaching how to move in this Kata. But I still did not learn the true history of the Kata or any thing else. This is one of the reasons that I started digging into the histories and truth of the Katas.

History of Hangetsu The original name of this Kata was Seisan and it’s meaning was '13'. Some people feel it refers to the 13 hands used in the Kata or 13 steps used to perform the Kata. Seisan is taught in both Tomari and Naha Te styles, and is seen as being a very important Kata in some styles. Seisan is so important to some styles that it is the first Kata taught to new students, Isshin ryu is one of these. It is unknown who brought the Kata to Okinawa originally. However, several masters that travelled to China, after Seisan was already on the island, also brought back versions of Seisan that closely resemble the Okinawan version of the Kata. Aragaki Seisho demonstrated this Kata in front of the last Sappushi, Shao Xin and was supposed to not only be the biggest advocate for the Kata but is seen by many to be the original Okinawan to have been taught this Kata by the Chinese.

The lineage of Shotokan’s Seisan/ Hangetsu was not passed on through Itosu to Gichin Funakoshi, but rather it has been suggested that Gichin Funakoshi may have learned it when he was teaching at a school in Tomari village and he probably was taught it by Iha Kodatsu, a contemporary of Itosu whom Funakoshi is known to have trained with while away from his master working. Iha also had a lot of influence on other masters from the Tomari area and was seen as a master’s master. It must be noted that many instructors travelled to China and studied Kata independently and brought versions of Seisan back with them. There are also instructors that have passed on Seisan to their students who did not leave Okinawa to obtain this Kata for their syllabus. Many trained with other Okinawan masters and Chinese White Crane masters, and then altered their versions for their students.

Gichin Funakoshi changed the name from Seisan to Hangetsu, meaning Half Moon. Again it can be suggested that Funakoshi did this to make the Kata more "Japanese", and to distance the Kata from its Chinese origins. Funakoshi also changed some of the techniques that he saw as not flowing with his ideas of Karate. Some of the techniques were also removed outright to streamline the newer version of the Kata. This was done to "shotokanize" the Kata as well as to adjust the harder Tomari style with circular movements and replace them with more linear movements and more natural breathing to match up with Funakoshi’s ideas. Funakoshi lengthened the stances from an hour glass stance to the longer half moon stance and the cat stance to the back stance. He then lengthened the body movements and along the way the last half of the Kata was sped up to off set the slow powerful movements of the first half. Originally Seisan/ Hangetsu was a Tanren Kata focusing on conditioning and still has the stylized block-punch combinations that connect it to Sanchin and other Tanren Kata. The hard controlled breathing with complete focus was replaced with the more Shorei style of natural breathing. The slow dynamic tension movements make way for faster but very controlled movements with little tension as the Kata progresses. All of these changes made Hangetsu meet up with the new ideal that Funakoshi was creating for this new style of Karate. Changes in speed and rhythm are important as is control and focus. A unique step is also used in his Kata not often seen in other Katas, and not seen in any other Shotokan Kata. The 'steeling step' is used to gain distance and power for a front kick and can be used to fool the attacker into thinking they have better range for defence than they actually have. The Kata’s Chinese origins are well documented. In the Fijian White Crane style the Kata’s name is "Four Gate Hands", but the name 13 still poses a bit of a mystery. One theory on the name is that it was in reference to the 13 day cycle of the moon and knowing this Gichin Funakoshi renamed the Kata "half moon/month" for the 13 day cycle. While Gichin Funakoshi’s main teachers were Itosu and Azato, he also trained and studied under Soken Matsumura (Shurei Te), Kodatsu Iha (Tomari Te) and Shiho Aragaki (Naha Te) and all of these men knew and taught a form of Seisan. It is widely felt that Funakoshi took the best aspects of all the different studies from the different masters to create his Hangetsu. End notes

Hangetsu, or Seisan as it was once called, is an old training Kata that was converted into a combat Kata that still trains the body for strength and uses a unique dynamic tension to work on muscle strength and endurance. The Kata was altered to be more presentable to the new ideals of Shotokan and to not confuse students that were starting in the style with only the Heians as a background. Many great masters enjoy this Kata as their favourite and use it in demonstration to show the power that Shotokan has to offer.

Dingman Sensei would have me perform this Kata along with Empi over and over again to get the light active feel of Empi along with the solid stable fell of Hangetsu and I now advocate that students do this as well. The Kata seems very fundamental at first but its advanced ideas make it very hard to train in if you are simply dancing through the movements. Hangetsu has seen resurgence in the last several years as a tournament Kata in the senior division but still lacks explosiveness enough to make it popular in the junior’s divisions.

Hangetsu was a favourite training Kata of many masters and still has its place in the Dojo. I have seen that many students do not practice the Kata however and thus miss out on much of the training ideals that Hangetsu presents. It is a rare Kata and a Kata that should be looked at once a student gets their Shodan. It may be a hard Kata to understand, but once you do it is a Kata that is very appreciated in someone’s training tool box.