Okinawan Shuri-te:



Contents TOC \o "1-3" \h \z \u ACKNOWLEDGEMENTS PAGEREF _Toc508626943 \h 5PREFACE PAGEREF _Toc508626944 \h 6CHAPTER 1: THE QUEST FOR THE TRUTH PAGEREF _Toc508626945 \h 13Matsumura "Bushi" Sokon PAGEREF _Toc508626946 \h 13Itosu Yasutsune (Shiju Yasutsune or Itosu Anko) PAGEREF _Toc508626947 \h 14The Pinan Kata PAGEREF _Toc508626948 \h 15Some Historical Context PAGEREF _Toc508626949 \h 16Shuri Castle PAGEREF _Toc508626950 \h 16Life Events Forge a Learning Curve PAGEREF _Toc508626951 \h 19Out with the Old, In with the New PAGEREF _Toc508626952 \h 19Funakoshi Gichin PAGEREF _Toc508626953 \h 20Moving Towards the Modern PAGEREF _Toc508626954 \h 21Conclusion PAGEREF _Toc508626955 \h 24CHAPTER 2: CONSIDERATIONS FOR KATA ANALYSIS PAGEREF _Toc508626956 \h 26Basic Necessities For Kata Analysis PAGEREF _Toc508626957 \h 26A Flexible Attitude When "Looking at Kata" PAGEREF _Toc508626958 \h 34Determining the Principles of a Kata PAGEREF _Toc508626959 \h 35CHAPTER 3: THE KATA BASED CURRICULUM PAGEREF _Toc508626960 \h 37Introduction PAGEREF _Toc508626961 \h 37Basic Training PAGEREF _Toc508626962 \h 37Vital Points PAGEREF _Toc508626963 \h 39The Kata PAGEREF _Toc508626964 \h 39Kata Practice PAGEREF _Toc508626965 \h 40Beginning Kata Applications PAGEREF _Toc508626966 \h 41Basic Principles For Application Practice PAGEREF _Toc508626967 \h 41Starting To Introduce Applications PAGEREF _Toc508626968 \h 42Practising Applications PAGEREF _Toc508626969 \h 43Kata Applications - Intermediate Practice PAGEREF _Toc508626970 \h 44Resistive Combat Drills PAGEREF _Toc508626971 \h 45Kata Applications - Advanced Practice PAGEREF _Toc508626972 \h 46Free Form Combat Drills PAGEREF _Toc508626973 \h 46Training Attitude PAGEREF _Toc508626974 \h 46A Slight Aside - One Way Humans Learn PAGEREF _Toc508626975 \h 49CHAPTER 4: HEIAN SHODAN BUNKAI PAGEREF _Toc508626976 \h 51Sequence No.1 (Positions 1-2) PAGEREF _Toc508626977 \h 53Sequence No.2 (Positions 2-3) PAGEREF _Toc508626978 \h 55Sequence No.3 (Positions 3-5) PAGEREF _Toc508626979 \h 56Sequence No.4 (Positions 6-8) PAGEREF _Toc508626980 \h 57Sequence No. 5 (Positions 9-11) PAGEREF _Toc508626981 \h 58Sequence No. 6 (Positions 14-16) PAGEREF _Toc508626982 \h 58Sequence No. 7 (Positions 17-18) PAGEREF _Toc508626983 \h 59Sequence No. 8 (Positions 18-19 & 20-21) PAGEREF _Toc508626984 \h 59Principles of the Kata PAGEREF _Toc508626985 \h 60Techniques PAGEREF _Toc508626986 \h 63Conclusion PAGEREF _Toc508626987 \h 64CHAPTER 5: HEIAN NIDAN BUNKAI PAGEREF _Toc508626988 \h 65Sequence No.1 (Positions 1-3 & 4-6) PAGEREF _Toc508626989 \h 67Sequence No. 2 (Positions 7a-7b) PAGEREF _Toc508626990 \h 68Sequence No.3 (Positions 9-10) PAGEREF _Toc508626991 \h 68Sequence No.4 (Positions 11-12) PAGEREF _Toc508626992 \h 68Sequence No.5 (Positions 16-18 & 19-21) PAGEREF _Toc508626993 \h 69Sequence No.6 (Position 22) PAGEREF _Toc508626994 \h 70Sequence No.7 (Position 22-23) PAGEREF _Toc508626995 \h 71Sequence No.8 (Positions 23-24 & 25-26) PAGEREF _Toc508626996 \h 71Principles PAGEREF _Toc508626997 \h 72Techniques PAGEREF _Toc508626998 \h 73Conclusion PAGEREF _Toc508626999 \h 74CHAPTER 6: HEIAN SANDAN BUNKAI PAGEREF _Toc508627000 \h 75Sequence No.1 (Positions 1-7) PAGEREF _Toc508627001 \h 77Sequence No.2 (Positions 8-10) PAGEREF _Toc508627002 \h 78Sequence No.3 (Positions 11-12) PAGEREF _Toc508627003 \h 79Sequence No.4 (Positions 11-15) PAGEREF _Toc508627004 \h 80Sequence No.5 (Positions 17-18) PAGEREF _Toc508627005 \h 81Sequence No.6 (Positions 18-19) PAGEREF _Toc508627006 \h 82Sequence No. 7 (Positions 19-20) PAGEREF _Toc508627007 \h 82Kata Discussion PAGEREF _Toc508627008 \h 82Principles PAGEREF _Toc508627009 \h 83Conclusion PAGEREF _Toc508627010 \h 84CHAPTER 7: HEIAN YONDAN BUNKAI PAGEREF _Toc508627011 \h 85Firstly, Some Common Hindrances to Understanding Shotokan/Shuri-te Karate PAGEREF _Toc508627012 \h 87Sequence No.1 (Positions 1-2) PAGEREF _Toc508627013 \h 88Sequence No.2 (Positions 2-4) PAGEREF _Toc508627014 \h 89Sequence No.3 (Positions 4-7 & 8-10) PAGEREF _Toc508627015 \h 90Sequence No.4 (Positions 10-13) PAGEREF _Toc508627016 \h 90Sequence No.5 (Positions 14-21) PAGEREF _Toc508627017 \h 91Sequence No.6 (Positions 22-23) PAGEREF _Toc508627018 \h 92Sequence No.7 (Positions 24-26) PAGEREF _Toc508627019 \h 92Historical Context PAGEREF _Toc508627020 \h 92Principles PAGEREF _Toc508627021 \h 93Conclusion PAGEREF _Toc508627022 \h 94CHAPTER 8: HEIAN GODAN BUNKAI PAGEREF _Toc508627023 \h 96Kata Discussion PAGEREF _Toc508627024 \h 98Kata Principles PAGEREF _Toc508627025 \h 98First Examination - Disarming Techniques: PAGEREF _Toc508627026 \h 99Sequence No1: Wrist Lock & Arm Bar (Positions 1-3 & 4-6) PAGEREF _Toc508627027 \h 99Sequence No.2: Uchi uke; Ikkajo (first control) to Nikkajo (2nd control) – (Positions 1-3 & 4-7) PAGEREF _Toc508627028 \h 100Sequence No.3: Gedan Juji Uke; Jodan Juji Uke; Oizuki (Positions 8-13) PAGEREF _Toc508627029 \h 100Bayonet & Rifle Disarming Techniques: PAGEREF _Toc508627030 \h 101Sequence No.4: Kake Tate-Shuto Uke; Mikazuki geri; Hiji Ate (Positions 14-19) PAGEREF _Toc508627031 \h 101Sequence No.5: Te Nagashi Uke; Teisho Gedan; Manji Gamae (Positions 20-22) PAGEREF _Toc508627032 \h 101Second Examination - Empty-Handed Techniques: PAGEREF _Toc508627033 \h 102Sequence No.1: Uchi ude-uke; Kage Zuki; Stand up &Nami Gaeshi (Positions 1-3 & 4-6) PAGEREF _Toc508627034 \h 102Sequence No.2: Morote Uke (in Kokutsu-dachi); Gedan Jujiuke; Jodan jujiuke (both zenkutsu-dachi); Rotate hands and hiki-te to the right hip. (Positions 7-11) PAGEREF _Toc508627035 \h 103Sequence No.3: Tate Shuto Uke; Kake-te/Hike-te; Oizuki; Koshi Guruma (Positions 11-13) PAGEREF _Toc508627036 \h 103Sequence No.4: Turn (180 degrees); Gedan Barai (Positions 12-13) PAGEREF _Toc508627037 \h 104Sequence No.5: Tate Shuto-uke; Kake-te/Hike-te; Mikazuki-geri; Mawashi Empi (Positions 14-16) PAGEREF _Toc508627038 \h 104Sequence No.6: Morote-uke; Ippon Seionage; Gedan Juji-uke; Morote-uke. (Positions 17-20) PAGEREF _Toc508627039 \h 105Sequence No.7: Rotate & Sukui-uke/Gedan Kake-uke (Combined) - (Positions 20-21) PAGEREF _Toc508627040 \h 105Sequence No.8: Kake-te; Te-Mawashi-uke; Manji-gamae (Positions 22-23) PAGEREF _Toc508627041 \h 105Conclusion PAGEREF _Toc508627042 \h 106CHAPTER 9: THE HEIAN MYSTERY EXPLAINED PAGEREF _Toc508627043 \h 107A Bodyguard System PAGEREF _Toc508627044 \h 108Effect Release From Wrist and Clothing Grabs. PAGEREF _Toc508627045 \h 108The Potential Enemies PAGEREF _Toc508627046 \h 109Effect Release from Body & Hair Restraints/Grabs. PAGEREF _Toc508627047 \h 109Effect Release From Chokes. PAGEREF _Toc508627048 \h 110Fast & Lethal Striking Techniques. PAGEREF _Toc508627049 \h 110Fast & Destructive Attacks to Joints. PAGEREF _Toc508627050 \h 110Rapid Body Shifting (Against Multiple Opponents). PAGEREF _Toc508627051 \h 110Use of Opponents Body as Shield or Similar. PAGEREF _Toc508627052 \h 110Disarming Techniques. PAGEREF _Toc508627053 \h 110Use of Weapons Snatched From Opponents. PAGEREF _Toc508627054 \h 111Heian Overview PAGEREF _Toc508627055 \h 112Heian Kata Summaries PAGEREF _Toc508627056 \h 112The Older Kata PAGEREF _Toc508627057 \h 114The Old & the New PAGEREF _Toc508627058 \h 116The Heian Kata Revealed PAGEREF _Toc508627059 \h 118Conclusion PAGEREF _Toc508627060 \h 118GLOSSARY OF TERMS PAGEREF _Toc508627061 \h 120APPENDIX 1: Vital Point Striking (Jintai Kyusho) PAGEREF _Toc508627062 \h 124Bibliography PAGEREF _Toc508627063 \h 130If you would like to download a copy of this book to print yourself, then please go to: Link Address: offer this option as a courtesy to those who have purchased this book. Please do not make any additional copies nor alter the contents in any way. Thanks you.ACKNOWLEDGEMENTSFirst of all I would like to thank all the teachers who have shared their work with me. There have been many, some of whom are so far back in time that I do not remember their names. I started my martial arts experience at the age of 18 whilst in the Royal Air Force, which meant quite a bit of changing styles, training where I could. After a serious road traffic accident which kept me out of training for 2 years, I managed to get back into it for a few more years, before married life, family and I have to admit lethargy got the better of me.In 2000, at the age of 40, I took up the challenge once more. It was very hard as I was desperately unfit. I started at the bottom, but fairly soon realised that my previous training hadn't totally deserted me.In the following years there have been some significant people, who have inspired, assisted and "discussed" issues in ways which have been largely honest and thought provoking (hopefully for all concerned). There have been others who encouraged and supported, while yet others taught.Without singling anyone out for the specific help they have given (so as not to cause any offence) I would just like to thank the following people:Rob Howells Shiomitzu MasafumiBob CarruthersSimon KeeganJohn LovattDave WaringJohn FoxBill BurgarIain AbernethyVince MorrisRick ClarkBruce ClaytonPatrick McCarthyThe kata diagrams in this book are not my own. I have been unable to verify individual copyright. They are widely available on the internet and so I must presume they are public domain. Should anyone wish to claim ownership of said diagrams then please contact me.PREFACEFrom the title of this book, you would be right in assuming that it was all about the Karate. But that is only partially true. This book is also about something of my own road to discovery.I do not profess to have any new insight into things historical. I have never been to Japan or Okinawa and do not speak Japanese, although I keep trying! What I do bring to the study of Karate is an enquiring mind with a passion for getting to the bottom of a mystery.Karate is indeed a mystery, with many of the clues and answers having died with the masters perhaps a century ago. We are left with the legacy of those men and times, with more questions than answers. There is something wonderfully satisfying for me in the many revelations that have come to pass, as I look at my Karate in depth. There is so much more contained in kata than I ever thought possible. From undertaking this study, I can now appreciate how the archeologists must have felt, walking into the tombs of the Egyptian Pharos. The only difference for me is that I can never really know whether what I have discovered is what was in the minds of the pioneers of Karate all those years ago. Like the archeologist, who breaks into an anti-chamber to the tomb, I can be at least fairly certain of what the kata contains. But nothing prepared me for the discovery of the treasures that lay hidden within.This book is a study of a set of kata that are not what they seem. They have spawned activity all around the world based on a set of very basic criteria, which have up until very recent years, had little impact as tools for self defence. Because their creators decided not to pass on their true meanings (note 1) the kata of Shotokan have become sidelined by most and scorned as useless by many.On closer examination, it would appear that these kata are quite basic in their approach to self-defense, but that is only superficially true. Under even closer scrutiny, the movements they contain are highly efficient in their use of movement. Defence and counter attack are often found in the same movement, and to be able to perform these movements correctly requires a great deal of skill. But never-the-less, they also provide the student with straight-forward, no nonsense, highly effective fighting techniques, which can have simple applications which are useful in their own right. As I began writing this work in July of 2004, I wondered how the concepts, ideas and applications I have discovered, will change as time goes on. As I look back I find that indeed I have been able to refine, change and discard some of my discoveries. I have studied the interpretations of others and some of this I have encompassed in my re-appraisal of these kata.Since 2004, I have re-evaluated these kata several times, until I have come to a place where I feel comfortable with the understanding I have of how these kata present themselves. This does not mean that I consider my ideas to be “the right way”, but rather given my own understanding of martial arts from my own training experience, they seem to make a great deal of sense to me. It may well be that others will not like what they see in these pages, feeling that their own applications and principles are more valid. I fully understand and appreciate that you may feel this way. I merely offer my own interpretations and views as an alternative approach, from which you may gain some insight to add to your own understanding.For the sake of making the task of communication easier and more fluid, I would like to firstly refer to the Pinan/Heian kata simply as either "Pinan" or "Heian", depending on the context. Secondly, where there are instances of reference to male or female gender, I will use the term "he, him or his" rather than use "him/her". I find it useful in narrative of this sort to refer to "the student" and "the teacher", "attacker" and "defender". Doing this helps enormously in cutting out superfluous wordage and hopefully aids the flow of the writing. As you look throughout this book at a glance you will see that there are many references made to Japanese martial arts terminology. As a martial artist of many years, the use of the Japanese language to describe the techniques becomes a standard language for all Karate practitioners, and so for many readers this may not present a problem.For those not so familiar with the Japanese terms, I have endeavoured to give English translations or meaning next to the Japanese terms. In addition, I have provided a glossary which should aid in any of the translations. Where to Find the Kata PicturesFinally an apology. I did originally begin this book by providing photographic sequences for each application. While this would have made the reading and understanding of this book easier, it was a mammoth undertaking and would have resulted in a book much larger than I could accommodate.Instead of my own photos, I decided to use some readily available kata sequence drawings (found as public domain). However, on publishing this book, Amazon refused to publish my book with those pictures. So I have no choice but to provide the kata pictures separately.Please go to :(Short Link address: )…where you will find a printable copy of this book with pictures already inserted and also the individual kata drawings, which you can download and print (.docx MS Word format)You may find it useful to have a printed kata picture to hand while working through applications.Therefore, I am sorry if omitting pictures of photos makes reading this book more difficult, but I mitigate that by saying the following:One of the hardest things to do in training in martial arts is to visualise your opponent as you practise. By following my descriptions of applications, you will need to begin that process of visualisation. Practising with a partner is very useful in many ways and should never be neglected. Practising without a partner is the only way to truly learn.I learned a great deal as I researched, visualized, practiced, revised, revisited and corrected. I hope you do too.(Note 1: Reasons as to why Matsumura Sokon, Itosu Yasutsune (Anko) and Funakoshi Gichin did not pass on the applications to their students are speculative. However one author researching Karate history (Bruce Clayton) has reasoned that this may have been because of allegiances to the Okinawan King in the first instance, and a recognition that the devastating effectiveness of Shuri-te as a close quarter protection system had no place being taught in full to a much wider general public.There is another view for the above master’s reticence to pass on the kata applications, which I favour as being a contributory factor.At the turn of the 20th century, Japan was heavily involved in empire building. The government had retained and actively promoted all the aspects of superior samurai culture and the concept of Bushido (samurai code of honour). However, they used these facets as a means to manipulate a heavily conditioned Japanese population, who had spent several hundred years being shackled and trapped in a totalitarian military dictatorship.In such a culture, strength and a sense of self justification similar to the Nazi attitude of being a “superior race”, it was unsurprising that demonstrations of Okinawan “Te” to the military would be hailed with great enthusiasm.While Karate had been recognized as a superior fighting system, the military soon found to their dismay that it took a considerable time to teach their recruits to a high standard and in the end, they abandoned Karate as an endorsed method of training for the military.If we consider these facts in conjunction with Anko Itosu’s teaching of children in Okinawan schools at very start of the 20th century, we could conclude that the major benefits of Karate practice could be retained (those of greater health and longevity) while the more complex and more lethal aspects were eliminated from the teaching. This would be more in keeping with teaching to children, and also reduces the time taken to become proficient.If we examine Shotokan in particular; the level of basic proficiency is the level of Shodan. But on close examination, what we see is that the 1st level Black belt has merely become adept at performing the basics of the art. There is little if any, understanding of kata and their application in combat).INTRODUCTIONI think I first learned the first two Pinan Kata way back in 1982 in Wado Ryu. As I look back, the kata was an enigma to me. I had no understanding of what it was for, and as I had only reached the dizzy heights of 6th kyu by then, my seniors weren't being very helpful, or so it seemed at the time.I've had many years to forget them and relearn them anew, adding to my repertoire one or two more kata along the way for good measure. Along the way, I chanced upon a book which sounded interesting and after reading it I decided I wanted to see first-hand what the author was talking about. So I decided to visit him (Iain Abernethy) and after that session up in Cumbria, the scales began to lift from my eyes.I began to read more, study, investigate and seek from as many sources as I could. I wanted to understand what the kata of Karate had hidden inside them. My training took me to Aiki-jujutsu, Aikido, Kenjutsu, Ju-jutsu, Iaijutsu and Judo. I learned some of the rudiments of those arts, which helped me to gradually learn something of how the body moves is the differing arts. All this filtered in, and in fact still does to some degree.Whilst on that particular learning curve, if someone had asked me what on earth I was doing, I don't think I could give a comprehensive answer. I was "searching" for an answer to a question which I had not fully formulated in my mind. Even with all these new experiences, I still felt that there was still something missing. I read another book, this time by Bill Burgar (Five Years, One Kata). As I read Bill's book of his own findings about kata after a five year study, something finally started to formulate in my head. I now realised that I had gradually gathered together most of the tools necessary to begin to understand how to discover what was in my Karate kata. From my extra-curricular training, I had gained a variety of skills and understanding about the many ways that the body can be utilised in combat. From Iain, I had learned that kata was indeed a formidable fighting tool, but required keys to unlock its secrets. I got some of those keys from Iain's work. From Bill, I got a systematic approach to begin to really understand my kata.But there was still more that was needed. Historical reading about Karate was needed to try and fathom out some of the origins of the Kata, where they came from and who might have developed or changed them over time. This task began to take on larger proportions, but that did not really matter, because I had no idea at the time, where all this was leading.Another of those special moments occurred while reading yet another book. I was recommended a book by a friend and I decided to take the chance and ordered it. I began reading Bruce Clayton's “Shotokan’s Secret (1st Ed.)” with great anticipation. Somehow, even before reading it, I just knew that it was going to be an important book (or maybe I just hoped it would be).I was not disappointed. Working through this highly readable yet scientific approach to the study of Karate history was the next stage in my development. As I read, it was as if I had been lifted up and was floating ten feet in the air. Everything started to become clear; the kata, the applications, and so much more. What this book had helped me to begin to realise was where my Karate actually came from, how and why it was developed and most importantly, I could now see the relevance of all the studies of bunkai I had done so far. I also suddenly recognised that academic study of this fighting system was just as important as the work in the dojo.I have found that another fundamental step in my development and hence my understanding of these kata, has been to set myself the onerous task of working through the Pinan kata bit by bit. I learned to practice them until I could do them in my sleep (no, not really in my sleep!). Then I began the study. During this process, I found that I was dissatisfied with much of even modern (informed) interpretations of these kata applications. I began to see something else in these kata. Call it "another level" if you will. Perhaps others have already discovered this for themselves. I don't know. What I do know is that it was imperative to have to hand the work of the authors I have mentioned, in order for me to be able to look at these kata. As I worked through the kata I continued to get that "wow" factor when I discovered something new. I've had quite a few of them so far, usually in the middle of an aikijujutsu or jujutsu lesson, when something fundamental about my Karate landed in my head like a howitzer shell!It feels deeply fulfilling to experience such an intense sense of discovery. I cannot share that feeling with you directly, but I hope that what is presented in the rest of this book will enable you to have some sense of elation as you read it.This book is my own humble attempt to bring that material together. The purposes in doing so are multi-fold. Firstly so that I might find a way of getting it all a bit more clear in my own mind. I have a tendency to over analyse information, which I find hinders further development. Trying to put my learning on paper is a really good way of forcing myself to segregate, categorise and clarify my thinking. Naturally there will be changes and development, but my hope is that much of that will occur during the actual process of constructing this book.Secondly, when I look at the plethora of martial arts books out there, I find that there are very few that I would go out and buy. For me, a book must be thorough, well researched and most of all useful as a tool in the development of the reader in their chosen field. I intend that this book should meet that criterion. Only you will be able to decide whether I have truly achieved that goal.Thirdly, having being wholly dissatisfied with the Karate training that I have experienced (for the most part) over the years, I decided that rather than just complain about it, I would set out to do something about it. This book can be seen as a basic technical manual for "Steve Chriscole Karate". I have no intention of setting up an association and trying to convert others to my own way of thinking. This book represents a tangible record of my own development and experience to date. This is something that I can pass on to others, but only if they wish to learn it.Fourthly, I see Karate kata as a part of history. I am of the belief that we can and should learn from history. There are hundreds of thousands of karateka around the world who practice karate without any real understanding of what it is that they do. This book is my own small attempt to try and apply myself to uncovering some of that history, so that it may add to the understanding of this fascinating fighting art. Lastly, I enjoy writing and creating. The many forms of study that have gone in to the production of this book have given me great pleasure. Not only that, I have been able to utilise myself to the full in applying myself to the whole process. This has been very fulfilling.Now comes the hard part...actually trying to understand just what is contained in these quite popular and I feel, much misunderstood kata; the Pinan/Heian.A WARNING - I know it is tempting to head for the applications first, but please make sure that you read the preceding chapters as well. Without them, much of the reasoning and the criteria for the applications will be missed. You may gain something from the applications, but the whole point is to make sure that the kata are placed in historical context. In other words, if you were to dig up an earthenware pot in your garden, it would seem only useful as a pot, which you might discard because it was old, cracked and dirty.However, if you knew that your back garden was actually part of an old Roman habitat, would you be able to more fully appreciate just what you had in your possession? It is still a pot, but who drank from it and why? Does it hold the key to a bit of lost history? Can it inform us for today? ANOTHER WARNING - SAFETYI must point out that everything depicted in this book has the potential to be severely damaging or physically lethal.During the course of this book, I do not offer an in depth course in training that is required in order to gain proficiency in training safely. It should be noted that anyone attempting to train in the ways depicted here, need to acquire certain skills from arts other than is usually found in Karate Dojo.Break-falling is of paramount importance. This skill alone will prevent broken bones and other quite severe injuries. It may seem unnecessary to learn how to fall, but if you have ever been on the business end of a Judo throw having just done a bad break-fall (as I have on many occasions) then you soon learn the need for a good break-fall! So a Judo or Aikido club would be a good place to start, for at least a few months basic practice.As there are a great deal of joint manipulations discussed in this book I must urge further caution. If you are not used to applying joint locks and throws, it is highly likely that injuries could easily occur. The only sure way of reducing the risk of such injury is to obtain training from a specialist in the field (a good Aikido or Aiki-jutsu teacher). If this is not possible, then please ensure that joint specific warm ups are performed and all techniques are performed smoothly and slowly, with as little resistance to movements as possible. Only take joints to the point of pain and no further, otherwise severe damage can occur.I ask that should you practice these techniques, you practice them very slowly and with the greatest respect for your training partner. Generally, the Karate practitioner performs his movements in a fast and decisive manner. If you do that with the techniques in this book, you will severely injure your partner. I do not wish to sound patronising, but I feel I must urge readers to experiment with great care.There are some techniques which require quicker movements, in order that the desired effect is gained. Where this is the case, I will make a note in the text relevant to those techniques, warning of this issue.Besides the safety aspect of training in other areas as I have suggested, the experience gained in applying locks, and throws is invaluable to your continuing study of Karate. Having gained a basic grounding, you may come back to your Karate with a totally different outlook. I know I did!The author cannot be held responsible for any physical injury occurring as a result of practicing the techniques from this book.Steve Chriscole 2018CHAPTER 1: THE QUEST FOR THE TRUTHThe quest for the truth about Karate may seem a bit like looking for a needle in a hay stack to some. I have come to liken it more to trying to find the right needles (deliberately plural) in a haystack full of different needles!But don't worry, I'm not going to try and pick up every needle I find and examine it in infinite detail. To do that would take up far too much time, and from my point of view isn't necessary. In this first chapter, I would like to take a look at the development of Karate, but rather than look at the broad canvas of the whole of Karate, I want to focus in on certain individuals and other relevant points, which bear close relation to the introduction, development and alteration of the Pinan/Heian kata.The first salient point about Karate is that throughout its history, rarely has brush been put to paper in order to record techniques and philosophies. This has only really happened as a result of the changes brought about since the 1940's.Karate has always been about people. People practiced the art. People passed on the art, from generation to generation. Changes naturally occur as the transmission takes place, but this is inevitable.In our examination of this topic, it would seem prudent to take some time to look at the prominent individuals who have shaped this fascinating and deadly fighting system, which has become a world-wide phenomenon. During our lifetimes, we all learn certain truths which come as the result of long and sometimes bitter experiences. In this way I have discovered the simple fact that the sum of our knowledge is directly proportional to our experiences. So if part of our lifetimes experience is that we are told that "this is what Karate is", we naturally assume that our teachers know what they are talking about. After all they are teaching with some conviction, or so it seems to us at the time.We are all conditioned very early on in life to accept the word of teachers, because they are the holders and communicators of knowledge. But what if our teachers have got it wrong? But more than that, what if our teachers' teachers got it wrong (or at least only taught what they felt was prudent)? Would we know any different? The only way we will ever know is if we attempt to acquire the knowledge the hard way, which means finding out for ourselves.Matsumura "Bushi" SokonIf we are now on a quest to discover for ourselves, let us firstly acknowledge the teacher responsible for the introduction of the line of teaching (lineage) originally known as Shuri-te, which went on to produce Shotokan, Wado Ryu and Shito Ryu Karate (among many other styles); Matsumura Sokon. He was born around 1809 and lived until 1901 in Okinawa and was taught Okinawan Ti early on in his life. This form of martial art was reserved for the Okinawan royal family and nobility, the latter of which Matsumura was born into.An educated and well placed man, Matsumura was employed as bodyguard to the last three Ryukyuan kings, a career which spanned some 50 years. On occasion he travelled to China and took it upon himself to seek out various Chinese combat systems, which it seems he learned and brought back with him to Okinawa. He is also known to have travelled to mainland Japan, where he learned the sword art of Jigen Ryu.As regards our particular kata of interest, there is much confusion as to whether Matsumura discovered or invented the Pinan kata. Some sources have it that one of his students, one Itosu Yasutsune (Anko) made up the kata. There is no way of knowing exactly how they came into being, as there are no specific records anywhere, and the tendency for Japanese to embellish the truth only serves to provide a plethora of conflicting verbal accounts.In order to find a path through this myriad of paths, we must either be prepared to take a leap of faith and align ourselves with one particular version, or be content with certain generalisations.If we acknowledge these limitations, then we can continue by taking a consensus opinion that Matsumura is said to have taught Pinan Shodan and Nidan (among others) over many years of his later life. Bishop in his work "Okinawan Karate" records some confusion about this even among Matsumura's ancestry. It seems to be generally accepted that he taught the first two of the Pinan to his grandson Nabe Matsumura, and so to other of his students.Given the level of conflicting information it would seem that the truth of the origin of the Pinan will never be known.Itosu Yasutsune (Shiju Yasutsune or Itosu Anko)A close friend, colleague and student of Matsumura was one Itosu Anko, the man destined to be the one to bring Shuri-Te into the public awareness; at least initially into the Okinawan public awareness. Itosu worked as an official to the Okinawan King, working within the confines of Shuri castle. Like Matsumura, he was Keimochi class, that being of noble birth and worked as an interpreter and scribe to the King from his youth until the King was deported in 1878.He is said to have learned the first two Pinan kata from Matsumura and was obviously quite impressed with them. So much so that he is said to have devised a further three kata to be used in conjunction with the original two. There is some evidence from at least one student who was actually there at the time, who stated that Itosu never enthusiastically taught the latter three kata, but waxed lyrical about the first two.There is another story regarding Itosu and the Pinan kata. It is said that he had learned the kata Chaing Nan from a Chinese man living on Okinawa. It is believed that he took this kata, simplified it and broke it down into the Pinan kata. There is some corroboration for this particular story from a quote from another famous practitioner of the time, one Kenwa Mabuni.Whichever story you choose to believe is somewhat academic to our discussion. The whole of the Shorin based karate is of Chinese origin, as indeed are all the Karate styles, as well as having some influence from samurai fighting systems over the many centuries of their occupation of the Ryu Kyu's.There have been influences over many centuries from the Chinese mainland, but very little evidence is available to have any real clarity of what and by whom.Getting back to Itosu, another factor to consider is his own personal belief that Karate would be really good for the physical development of the day's youth. One has to wonder whether he was acting in accordance with the growing political ethos coming from Japan at the time; the intense ultra nationalistic attitude and utilisation (and distortion) of the old samurai code of Bushido. Whatever his beliefs on this issue, he petitioned the local official education chiefs to have his Karate become an officially accepted part of the curriculum of study within the Okinawan school system. He achieved this in 1902 and was helped in significant part by one of his own long time students, and himself a school teacher, one Funakoshi Gichin.If we accept that Itosu was the creator of at least the latter three of the Pinan series, then we should consider what his motivation for their formulation could have been.It would seem that Itosu wanted a well rounded set of kata that provided applications which were taken from various higher kata. It could be speculated that he wished to produce a "Super set" which would provide the best of Karate. It is generally believed that Itosu regarded the Pinan series as sufficient in their own right to enable the combatant to amply handle any situation that might present itself. The Pinan KataLet us take a slight diversion for a moment and look directly at the Pinan themselves.I will assume the reader is familiar with all five kata. If we look at the movements from the latter three kata, the vast majority of them can be found in any of Kanku Dai (Kushanku or Kosukun in Okinawan), Bassai Dai (Passai), Jion and Tekki Shodan (Naihanchi). But if you notice, certain of the moves from Pinans Shodan and Nidan cannot easilly be found anywhere else.If we work from the basis that Pinans 1 & 2 only were taken from the Chaing Nan Kata, then these had a particular Chinese flavour, most likely coming directly from a Chinese source. We have little knowledge of how much Matsumura or Itosu changed these kata to suit themselves, with the exception of some anecdotal comment that Pinan Nidan (the one that starts with gedan barai) was actually performed in cat stance and not long or walking stance (zenkutsu dachi).The secretive nature of the Okinawans regarding their developing fighting systems came as a direct result of centuries of samurai rule. This tended to make them learn their fighting skills after dark, or in closed gardens or rooms. The reason for this level of clandestine behaviour was simply to avoid punishment from the occupying force, who would not take kindly to the average Okinawan learning how to fight, which would be seen as deeply threatening to the Satsuma regime. But more on that shortly.Of course Itosu did not just rely on the Pinan series in his teaching but they were certainly quite prominent in his teaching. Itosu followed his own teachers thinking and taught Naihanchi Shodan, Nidan & Sandan (Tekki series) first, then taught them the Pinan series. It is suggested that Itosu created Tekkis two and three himself, but once again, this cannot be proved one way or the other. The Tekkis were taught first in order to convey the importance of low centre of gravity and gripping the floor with the feet to ensure strong and rooted posture and attitude. The Pinans would then follow on, enabling the teaching of fluidity of movement, among other things.Some Historical ContextIf we are trying to fully understand these kata in their original form, then we must seriously consider the historical perspective, as seen from Matsumura’s and Itosu's time. Throughout their lifetimes they would have grown up within a samurai culture. In their later and middle years (respectively), they would experience the demise of the samurai and the big changes that this meant to the Japanese nation as a whole.Shuri CastleIt is only in very recent times that any researcher has had the good sense to take a detailed look at the specifics of the life and times of our two most influential Karateka (B. Clayton, Shotokan’s Secret”). His process was one of taking all the fragmentary information currently known, and threading them together, using common sense as the binding. By looking at the development of Karate from the perspective of those who had devised it, he has revealed a snapshot image of the time and the people.Thanks to this excellent piece of work, we can for the first time, start to see just what Shuri-te Karate is all about. What follows is just an overview of that study, which I feel is necessary here, so that we may have in our minds eye an appreciation of the formative years of the original Shuri-te system. I also include it here as I view Clayton’s work to be so ground-breaking that what he has revealed forms the foundation of much of my analysis of the kata, later in this book.The time in question is within the lifetime of Bushi Matsumura and his long (50 year) service as bodyguard to three successive Okinawan Kings and their court (c. 1820 to 1876).Apart from the huge influences of this great Okinawan, the political times of the 19th century played a great part in the development of Karate. To fully understand the people of the time, it is also necessary to understand something of the politics.Perhaps the first salient factor to consider was the edict of the new Japanese Shogun (military leader) Tokugawa Ieyasu. He stipulated that all of Japan would be shut off from the outside world. Although local trading continued much as it had done in the past, trading and other contacts with the “barbarian foreigners” or “gaijin” were banned, on pain of death. The next factor to consider is the invasion of Okinawa (known at the time as “Ryu Kyu”). The Japanese Satsuma clan came ashore in 1609. There was a spirited defense of the islands by the local warriors, but they were highly outnumbered and outclassed. They were slaughtered on a ratio of about 10 to 1. Such a dismal performance on the part of the Okinawan defenders should not make them seem weak. Their own King had decreed many years before, that the islanders were not allowed to carry or use weapons of any kind. The fact that they were able to put up any kind of resistance to an invading army under such circumstances is testimony to their bravery.After they had taken possession of the Ryu Kyu Islands, the samurai then proceeded to reinstall the Okinawan King and his ministers to rule the "Kingdom". They were in all things, answerable to their new local governors. However, it seemed that the samurai were acting somewhat coyly. Over the ensuing years, they went to great pains to hide their presence on the Islands. Whenever a foreign ship docked in the main port of Naha, they would send Okinawan officials to fend them off, with instructions that on no account were the gaijin to be given food or trade. They were to leave immediately. The shogun’s edict about segregation of Japan also included its newly acquired province of Ryu Kyu.This quite obviously made it very awkward for the officials who were sent to get rid of the foreign visitors. Unarmed, they had to face all manner of visitors such as pirates, whalers, explorers and traders. These ships would come more frequently as the 19th century wore on.It was the responsibility of Matsumura and his employees to enforce the safety of the King and his ministers in these perilous situations. Hardly surprising then that Matsumura was instrumental in devising the most ruthless and devastating fighting system seen outside of military training. He had to be able to confront expert Japanese swordsmen, inexperienced yet dangerous Western swordsmen, as well as the flintlock pistol and rifle. Pirates would also use anything that came to hand such as coshes, daggers, sticks etc. He would also need to be able to outfight anyone in empty handed combat, especially when he was heavily outnumbered.This would be no mean feat. Yet Matsumura had at his disposal a huge amount of information from studies in Chinese and Japanese fighting systems, and he was very, very good at them.Let us turn our attention for a while to more internal matters. The King, his family and court were all housed in the Castle complex at the town of Shuri, just a couple of miles inland from the port of Naha. Working at the castle were the appointed ministers, but also the officials who assisted the ministers in matters of state. It is in this level of nobility that Matsumura and Itosu came. But they were not on their own. There were quite a number of officials working within the castle. Over the years, people came and went, but working alongside our two Karateka, were people like Azato Yasutsune, Kyan Chofu, Oyadomari Kokan, Peichin Yara, Kinjo Sando & Arakaki Seisho. Each had a different job as an official, but coincidentally, all these men became renowned as masters of Karate and Kobujutsu.We have already acknowledged that Matsumura was an important official. He was essentially in charge of internal (island) security, which put him in charge of the local law enforcement teams. He was also widely known to be the head bodyguard to the King himself. This was not a man to be trifled with. It is thought that the samurai even afforded him some respect, as he was allowed to travel. At one time, he traveled back to the Japanese mainland, studied Jigen Ryu swordsmanship and became menkyo (licensed teacher) in that art.With such a man in charge of royal security, and so many adept martial artists all under one roof on a daily basis, it does not take a huge leap of intellect to realise that Matsumura would organise an effective internal bodyguard system for the ministers and the King. After all, Matsumura’s wife Tsuru Yonamine was a great adept at wrestling and thought nothing of facing off against any man she wished to! The choice of a wife such as this says a great deal about the mind set of Matsumura.Working daily within the confines of the castle, going about their usual business, all would seem fairly idyllic to the overseeing samurai. They also “worked” from the castle buildings, and as such were always on hand to ensure “local stability” in the manner of any typical occupation force. The internal security would have to have been very low key, so as not to arouse the suspicion of the samurai. Round the clock rotas would have been used and plans made secretly for personal protection and extraction of the dignitaries from danger.Never forget that at all times the bodyguards had to be unarmed. Whatever they did to protect their charges had to be achieved using their hands and feet. To be caught carrying a weapon meant death at the hands of a samurai’s sword.All this would have been in place probably even before Matsumura came into his position at the castle. His predecessor Tode Sakugawa, was a highly respected man and also a widely recognized master of “Chinese Hand” (hence his nick-name of Tode, which simply means “Chinese Hand”). It was Matsumura however, who is known for his development of the linear punching method, which is at the root of the Karate we know today.During his long years of service, Matsumura is known to have taken existing Chinese kata, and altered them to his own purposes. His inclusion of the linear punch in many kata showed how important he gauged it to be. Working in the special circumstances of the castle, with the duties of close quarter personal protection meant that he needed to be as highly efficient and ruthless as any professionally trained bodyguard of today. In fact more so in his case, as he had no weapons to rely upon, just his hands and feet, and those of this team.Matsumura traveled widely on official business, but wherever he went, he was also studying martial arts. In China he practiced Chinese boxing (Shaolin) and in Japan it was swordsmanship and jujutsu. Back home he studied the Chinese forms of White Crane. And all the time he was developing and learning. Ultimately, all this work had to have a purpose. During 1853, things were about to change. The American government had decided that the enforced isolation of the Japans was to be broken, by force if necessary. They wanted trade and after many years of being turned away, they were determined to break down the walls of silence. They dispatched one Commodore Matthew Perry in charge of 15 warships to force the point home.Perry’s first port of call was the Island of Okinawa. He landed and proceeded to take 200 armed marines, 2 cannon and 50 officers right up to the main gates of Shuri castle. The Okinawans were dumb-founded. Eventually a lesser contingent of Americans were led into the reception hall, where they insisted to see the King. The King was in fact only a young boy, and it was the Regent, Sho Taimu who faced them.Imagine the scene from the Okinawan bodyguard’s point of view. An invasion of over 250 fully armed foreigners march up to the front door, insisting to come in. They come in, still armed to the teeth, blustering about, not being understood. Matsumura and his bodyguard team would have been sorely tested that day.Fortunately for all, no one stepped over the line, and the day ended without violent incident. But it would be the most important and memorable day in the lives of those at Shuri castle of their lives.Imagine then the effect of what Matsumura and Itosu saw that day. They must have realised that they were up against a new threat. One which included 6 foot foreigners, bearing musket, fixed bayonet, pistols and sabers everywhere. All these people were in one room. How could you defend against such a thing? Well Matsumura and Itosu had over 20 years more service within the walls of the castle to think about that. It is my contention that what they developed was a specific fighting system designed to do their job in the most ruthless and efficient way they could, while taking into account the new threat of the armed Western invaders. This is the birth of what we have come to understand as Shuri-te.(*1)*1 For the full story on this important event, read Shotokan’s Secret, B. Clayton, 2005Life Events Forge a Learning CurveIf we take into account the historical context, circumstances and events surrounding Shuri castle, then this should propel us forward with new understanding. The kata we have come to know as Heian (Pinan) are part of a system of combat devised, forged or formulated as a result of a very specific set of circumstances, by a very special group of people.Those circumstances require a fast moving, ruthlessly efficient system for killing or maiming an enemy, while being able to shift direction to deal with multiple opponents. All of the opponents are armed, but not necessarily in a way that was culturally acceptable to the Okinawans and Japanese of the day. Their enemies are not possessed of martial skill in the say way as the Okinawans. Their gait is slow, awkward and generally unbalanced. Their use of weapons is generally poor, relying on either brute strength or the overwhelming odds of numbers in firepower. Neither of these is particularly useful in a close quarter battle.If we just cast a mental glance at even the basics of Karate, we should begin to see that the Shuri-te method begins to fulfil the criteria. But our view of it at the moment falls short. How do we defend against the rifle and bayonet or the sword or the pistol? Hopefully, by the time you reach the end of this book you will see just how to do those things, and they are all contained within the Pinan kata system.As you should now begin to appreciate, the Okinawan bodyguards had a very tough job indeed. But they were up to the task. They had a wealth of experience in Matsumura and all the others in the group. They had the local knowledge of Chinese based fighting systems which had gradually seeped in from mainland China over the last few centuries. They also had their own indigenous fighting system of “Te” which was a separate entity. Then finally there were the fighting systems of the occupying Japanese. They had a very long history and reputation for fighting skills.It is hardly surprising then, that the bodyguards to the King and court devised Shuri-te. It would have taken years of experimentation and adapting of other ideas and kata, but they had a job to do, and as sworn protectors to the King, it was their duty to do it well.Out with the Old, In with the NewWith the advent of the move towards a modern Japan, the samurai was disbanded by Imperial decree in 1876. The new "Imperial" Japanese society had moved out of the many centuries of Shogun and samurai rule and was heading for democracy. Although the sword was still revered as the national symbol, those who had wielded it had become anachronistic. In the eyes of the average Japanese, the samurai was a ghost of the past, something to be left in the cupboard, and only brought out for history lessons. This attitude was promulgated by the new government, who wanted a new, modern and highly nationalistic unified Japan. The old ways were dead.Promoting the "new" martial arts had to be done in accordance with the ideological concept of "new" Japan. The first of the ancient arts to receive this special treatment was Kenjutsu. Simply put, the ancient art of swordsmanship was turned into a sport, one which bore very little relation to the art from which it came. Individual competition and personal development were encouraged to be the goals of practitioners, rather than learning of the deadly techniques of using a three and a half foot razor sharp knife! A similar work was done to Jujutsu, which was developed into Judo by one Jigoro Kano. It was in the shadow of these changes that Karate emerged from the islands of Okinawa. But which Karate was it? Was it the inherently Chinese based Naha-te, which had been developed separately, or was it the newer more dynamic Shuri-te which stemmed from the King’s bodyguards? As it was a friend and student of Itosu who went to Tokyo and popularised Karate, then the answer is Shuri-te.No sooner had Karate arrived in Japan, it began to change. It had to change in order to fit in with the "new" Japan. Gradually, with the introduction of uniforms, grading systems, belts and so on, Japanese Karate was born. Gradually as it changed to meet the demands of a newly emerging superpower, this new "style" of Karate became widely accepted as the essence of Karate throughout the 20th century. Perhaps surprisingly, it was Itosu who made the first changes to Shuri-te. He had successfully petitioned for the inclusion of Karate in the Okinawan education system, and soon realised that this deadly combat system could not be taught to children. It is thought that he altered the kata to make the actual intentions of the movements less obvious. Looking at practitioners from other styles, we can see that the kata were not fundamentally altered, but just toned down.One highly significant change that Itosu made was that he never passed on his understanding of the applications to his students. This one omission has had major implications for the entire system, and for us practicing today.The old Shuri-te had been left behind, abandoned just as had the Sho dynasty of the Okinawan Kings. It was no longer needed to protect lives in earnest. As its purpose changed so did its form.Funakoshi GichinWhen we look in detail at Funakoshi’s teachings and practice over his lifetime, we seem to get some mixed messages about Itosu's methodology and ideology. In Funakoshi's own early writings (circa 1925) he advocated two specific methods of training, namely the kata and the makiwara. He went on to stipulate that the kata must be practiced and dissected so that every facet of its applications were understood. In this, he mentions the various grappling, trapping and throwing aspects as well as the obvious striking methods. In saying these things, he intimates and describes these things as they are known to him, yet the Karate he taught was not known for its grappling or joint locking.This leads to the possible conclusion that his long time teacher had indeed taught him the applications to all the kata, but like his teacher before him, Funakoshi acknowledged that they existed, but chose not to teach them.In those early writings, he went on to talk of how to develop correct striking technique with the use of the makiwara. He did not detail further about the applications, but set about documenting in photographs the Pinan kata and various others as well. His obvious intent was to produce (the first) manual of Karate for the general public (albeit in Japanese) and in doing so, placed the understanding and knowledge of kata as primary in any training regime, as far as he was concerned at that time.When Funakoshi published his first book "Rentan Goshin Karate Jutsu" in 1925, he was already in his forties, having studied Karate all his adult life, and some of his childhood too.I feel it is a fair assumption that given Funakoshi's desire to spread the art of Karate further a-field than its origin in Okinawa that he would, in the first instance, remain true to the training methods he had experienced for so many years under his old teacher. Only exceptional circumstances would change his view on those methods, as we shall see.I make this assumption simply based on some understanding of the character of the man. In his later life, we wrote quite extensively, and even wrote his auto-biography "Karate - My Way of Life". With the publication of this book he left a significant record of his attitudes, beliefs and personality.If we combine with his now revealed personality, the moral values he held dear and the purveying strong attitudes of his own culture with regard to loyalty to their seniors, and he had a strong motivation to follow his teaching.Some of you reading this may be aware that Funakoshi did in fact change quite a number of things about the practice of Karate over the years. What we should always be mindful of in such cases, is the contextual political climate of the times, which have a habit of changing as the years roll on. As a result, the times have a habit of having an effect on the ways people go about their business.Moving Towards the ModernIn the case of Japanese history, the first half of the 20th century saw the country box itself into almost total extinction in the Second World War. The subsequent American occupation rules forbade martial skills to be practiced, which meant some quick thinking was required if their arts were to survive. Gradually, Karate re-emerged. In the mid 1930's, Karate had acquired a new name. After the war, when the Americans had been persuaded that Japanese martial arts were now not "war like", there was new purpose and direction.The misunderstood concept of "character development" became championed as paramount and later the introduction of Karate as a sport for competition took hold, especially as more Westerners became interested.Karate had to have a purpose after all. It was not viable within the realms of post war Japan to cultivate violent and aggressive activities and the Western world brought with it a totally different culture. Certainly the non-oriental had a totally different way of approaching fighting arts, and very gradually, as Karate spread throughout the world, the sporting aspect took firm hold. Competition was the new battleground. Self-defence was a phrase used in the advertising, but Karate had subtly changed. New techniques started to creep into the syllabuses. Round-house kicks for example, which had no place in the Okinawan art, suddenly came into existence. New moves were introduced into kata, or altering the striking level of punches and kicks for effect. As the focus of Karate governing bodies had shifted to competitive fighting, the training followed suit. The basic training now seemed to emphasize high kicking and athletic ability, fast highly ineffective punching and free sparring to develop distance appreciation. In fact, so many changes have been introduced in so many different areas, that it is now a very arduous task indeed, to try an determine the actual shape of a particular kata, or just what was the preferred original method of training for the student.To see how all these changes could come to pass, we need to go back to earlier times. Around the 1920's, Funakoshi was already coming across certain difficulties. He found that as his Karate was gaining significant popularity on the Japanese mainland, the attempts of the military to adopt Karate into their training programs faltered. They discovered that the effects of increased physical prowess and building of individual confidence in ability took far longer than they had realised. Indeed, the study of Karate required enormous focus and dedication in terms of time and effort if the standards of Matsumura, Itosu and Funakoshi were to be attained. The military abandoned Karate as a contributor to basic training.The popularity that Karate was gaining in the civilian world had a lot to do with Funakoshi's desire to bring it to the masses. In retrospect, it is easier to see how that popularity would in itself be a factor for change in the delivery of Karate in the dojo. Trying to cater for larger and larger numbers of students gradually changed the manner in which Karate was taught, from the very individual way of Itosu's time, to the regimented and militarized classes we still see today.But other changes gradually began to take place. A former highly placed student of Funakoshi, one Hinori Otsukha had certain issues with what he had been taught. He began to teach in a different manner, introducing such ideas as 3 and 1 step sparring as well as free sparring. Certainly he was not the first to champion the concept of free sparring. Many years previously, a counter-part to Funakoshi, a man called Motubo Chokki went to great lengths to develop this area. It should be said that Motubo's concept of free sparring was very much oriented towards the use of Karate in as realistic a manner (and some would say ruthless) as possible. This was a far cry from the sport oriented sparring that has become the norm today. Motubo is on record as having some disregard for Funakoshi. He accused him of being an “impostor” and “not having the full system”. Quite obviously there was a significant difference in the attitudes of the two men.Otshuka's previous experience of Ju-jutsu also played a part in his thinking. He eventually founded his own style of Karate, Wado Ryu, incorporating certain of his Jujutsu concepts. The Wado Ryu style became the generally accepted alternative to Shotokan, but in reality there was little fundamental difference between them. Both styles had already shifted away from Itosu & Funakoshi's ideals.Up to this point, Funakoshi had been continuing to use the teaching methods of his old master, but it became quite obvious to him from seeing the changes that people like Otshuka were making, that he needed to follow suit. His own style of Karate, now called Shotokan, began to change and very gradually, small changes in the training curriculum would appear. Given Funakoshi's extreme age, his influence in the latter years passed to much younger men. It is during the 1950's that modern Karate was really formulated. It is recorded that Master Funakoshi was fully aware of the introduction and growing interest in his Karate becoming more sport oriented. He was known to show his displeasure towards the modern development of free sparring, by taking no interest in any sessions where it took place. He would apparently gaze out of a window instead! By the time of his death in 1956, Shotokan had gained an altogether different feel. It had a new breed of practitioner at the helm, who while greatly proficient in their field, had something of a different focus than Funakoshi. After all, Shotokan Karate had become Japanese, and as any Okinawan will tell you, that is a far cry from being Okinawan!Part of that new focus was interest shown by the rest of the world, who had never seen anything like Karate before. There was much the same kind of reaction to Karate as there had been by the Japanese public when they were first introduced to it many years before.Missionaries were sent from Japan to "spread the word" and as a result, the rest of the world assumes that when they think about the word Karate, they have in their mind's eye, a picture of the movements associated with modern Karate such as Shotokan or Wado Ryu.To be fair however, there were certain individuals who attempted to remain true to the original Shuri-te ideology. Kenwa Mabuni began the Shito Ryu with this in mind. Chotoku Kyan made certain attemtps, as did later students of Funakoshi, such as Harada Mitsusuke who began the Shotokai.Unfortunately, as with any widespread activity, there will always be almost as many variations as there are individuals practicing. So it is hardly surprising that the original concepts of Shuri-te as taught by Matsumura, had changed even before it had reached mainland Japan in the 1920's.By the the 1970's, Karate was fast becoming a household word. With the boom popularity of Bruce Lee in that decade, martial arts of all kinds gained a massive boost. But for many years, Karate had not been what it's creators had developed. It had fundamentally changed from a deadly efficient fighting system based on one to one training, using the kata as the main tool for practice, to a highly mechanized machine designed to teach basic techniques to as many people in one session as possible. Of course modern Karate does more than this, but what I comment on only here is the shift in emphasis of the fundamental core of the art from one direction to another. Karate had become commercialized, a packaged commodity, with a central governing body in Japan. With the subsequent death of its successive leader, Nakamura Masatoshi, the rending apart of that body followed very quickly afterwards, followed by the legal fight over the right to use the name “Japanese Karate Association”. All this, a far cry from the humble beginnings in Okinawa.Over the many decades, many off-shoot organizations formed. Many practitioners had their own unique view of Karate. There were quarrels and general dissatisfaction, as well as the usual political situations causing disaffection. The net result today is that there is a minority of practitioners around the world who continue to practice Karate is a way which has loyalty to the original teachings. By far and away the majority of practitioners follow the way of "New Karate". Based on my own experiences and many conversations over the years with many martial artists, it seems that most have little or no knowledge of the background to what they subject themselves to on a twice or three times weekly basis. ConclusionWe have taken a look at the changes that have taken place over the last couple of centuries. We might be of the opinion that the greatest changes came to Karate during the latter half of that time. But we have little to go on when it comes to understanding the original kata. We have no idea how the kata "Quian Nan” or “Channan" differed from Pinans Shodan & Nidan. We have no idea just how much Itosu changed the kata to suit his own purposes.We are left with what we are left with, and all the discussion in the world will not straighten out the facts. The line of transmission has been muddied by time and the actions of men and war.In the studies that go to make up this book, I make no attempt to re-create ancient kata. After all, how is it possible, and if I did succeed, who is to say that I am correct?Better to have an appreciation of all that came before and leave the past firmly where it is. But history does have its uses. It can help with our appreciation of many things in our martial arts studies. We can know something of the character of the people themselves, their culture and way of life. The rest is down to our own abilities and a large dose of common sense.If we are to get as true a picture of Karate as possible under these circumstances, then we must bring many attributes to bear on the subject. Without doubt, Karate kata are a small piece of history, from a very small part of the world. Even so, in order to learn more about that specific history, we must have both an general knowledge of the regions’ history, as well as a way of attempting to interpret or decipher what we have left to us about the local Okinawan history.To this end, I find myself describing such activities as "living archaeology". The archaeologist must learn the history of the area of his dig. He will often have some visual evidence on which to base exactly where to begin the dig, but often such evidence must be sought after using technical means.Having decided on a place to dig, he must then uncover some ancient remains. Of course the problem then becomes one of identification of the artefact. But much can be learned from the place in which the artefact is found, what other items are found nearby and a thorough knowledge of the subject matter in the first place.The job of the archaeologist is to come up with a factually based "best guess" of everything about his dig and assessing how that fits in with known history. If the findings are conclusive enough, then a small bit of history may be changed.I hope the parallel can be seen with our analysis of Karate kata. All the archaeologists "tools" must be used and the same principles applied if we are to come up with our "best guess".Now that we have discussed something of that background, history, and analytical methodology, hopefully it puts Karate into clearer perspective. I am not trying to give you answers in this narrative, merely some information for you to consider. Is it possible to put all this various information together in some way that will help us in our understanding of the Pinan katas? Let me try to contextualise and summarize what we have covered so far:The five Pinan kata have Chinese martial arts at their core. Each movement contains within it both defensive and offensive aspects. The first two kata form the basis for the following three. Certain changes have undoubtedly been made from the original Chinese derivatives, but the essence of an effective fighting art must have been retained otherwise they would be useless. Shuri-te developed out of a very specialised set of circumstances at a time in Okinawan history when monumental political shifts were taking place. The art moved away from the Buddhist impregnated attitudes prevalent in the Chinese systems, to one which had an extremely hard and ruthless purpose, that being, kill or be killed.With the end of the Sho dynasty in Okinawa and the massive changes in Japans political leanings, the end of militaristic rule meant the opening of Japans’ ports and borders to the rest of the world. New imperialistic attitudes meant that Japan was wanting to move in to the modern world. Riding on the back of such nationalistic fervour, Karate gained in popularity virtually overnight. However, it was a changed “animal”.We've also looked at the changes that have occurred to Karate, firstly as a result of the natural growth of the art and the means of attempting to contain that growth, and secondly, as a result of the diverse beliefs of many individuals. Thirdly, there have been changes brought about by the traumatic world events of the 20th century. Fourthly there are the internal political changes brought about for all manner of internal reasoning. Lastly, there have been the changes wrought in the shift in focus of the activity as a whole, to one more acceptable to the greater public.Having attempted to draw this material together, it might be possible to begin to see the high value that the old ways represent. We have seen the original core of the art largely sidelined and relegated to anachronistic practice, with little true understanding. Given the origins and the quality of the past masters involved in the development of these kata, it strikes me as somewhat bizarre to have such a valuable resource left to gather dust.In what follows of this book, we will use the ideas we have discussed here as the basis of our understanding of these kata. But I hasten to add, only from the point of view of historical and developmental context. In other words, the technical bit comes next!CHAPTER 2: CONSIDERATIONS FOR KATA ANALYSISIn the world of scientific research and development it is the established norm that new innovations are created upon those of other people. In order that we might attempt to determine the original intentions of the creator of the Heian kata, after so many generations of misunderstanding, requires that the cumulative efforts of many people must be applied if we are to come closer to the goals we seek. After all, the process is one of reverse-engineering a set of movements in order to determine the self defence or combatative actions of kata, which by now are about 150 years old. The roots of these kata may go back yet many more hundreds of years.I do not wish to attempt to recreate the work of others, and I do not take any credit for the work they have done, but in order that this book makes some sort of sense, something of their work needs to be presented here, or at least my own interpretation of it in light of the studies I have done so far. This provides for completeness and hopefully reduces the amount of other reading required in the first instance.What follows is a basic sketch of those criteria I have used in my own analysis of the Pinan kata. Basic Necessities For Kata AnalysisThe following subject headings form the foundations of my analysis. To leave them out would be quite remiss, leaving the reader wondering how certain conclusions could possibly be arrived at.If you wish to read more detail on these basic necessities, then I would highly recommend reading the texts listed in the Bibliography.1) Consider Firstly Habitual Acts of Physical Violence, Secondly Trained Fighting Attacks, Thirdly, Weapon Attacks.The phrase "Habitual Acts of Physical Violence" (HAOPV) is one which is coming somewhat more into general use in certain areas of martial arts practice.The term refers to the common ways an untrained assailant might attack another person. There are some 36 of these attacks, but as you can imagine, some of these will be more widely used than others.When we say "attacks" we are referring to the spontaneous (and variable) ways in which a person will use their limbs (or other body parts) to subject physical injury or restraint upon another person. Some examples of the most common would be; swinging punch to the head; jab to the face; swinging punch to the chest/body; swinging kick to the legs; head butt. The list is quite long, but I'm sure that you get the idea.I make the distinction between trained and untrained assailants for a particular reason. As we will hopefully see when we get to look at the kata and their applications, it has been put forward by some that "Old” or Okinawan Karate was designed to be used against the untrained person. It is widely held that in Okinawa, the inhabitants were not allowed to use weapons. The supposition is that there were few people on the islands who had any formal martial training and as such, Okinawan fighting methods were designed to be primarily to deal with the typical brawl in the street. I do not feel that this does any justice to the intelligence of those people, and certainly ignores the presence of the weapon wielding samurai, who ruled the islands in occupation.Karate fighting methods as used by the adept practitioner would be flexible enough to encompass fighting a seasoned opponent.Hopefully, as a more detailed study will reveal, there is huge variety in the application of the techniques employed.As the above sub heading indicates, we must firstly consider HAOV's when analysing for kata applications. When it becomes obvious that the HAOV type of attack causes some apprehension or discomfort, then look to the martial arts type of attacks. There is no written rule that says that even the untrained individual is incapable of a front lunge punch or more!In all deliberations about what applications from kata are actually for, we should always remember the weapon type attacks.As we discussed in the first chapter, there is every reason to assume that at least some of the movements in karate are for defense against any of the samurai, or indeed other weapons. However, in order to do this, it is firstly necessary to understand something of the way in which such weapons are wielded. This is a very large subject on its own, and is not within the scope of this work to go into great detail. (Note 1)Let me just say that when you consider your assailant is using a lunge or swinging attack with the arms, imagine him also with either a long sword, or katana, (held in either a one or two handed grip), a short sword, or wakazashi, (held generally in a single handed grip, possibly left handed) or a single edged dagger, or tanto.But these are only the weapons wielded by the population of the Ryu Kyu islands. If you recall from the previous chapter, the main island of the Ryu Kyu's had a port that was visited by a great many nationalities. More and more throughout the 19th century, Westerners of many nations put in to port. They were always looking for trade and when the Okinawans were not in a position to give it, then they were after trouble.Their weapons would be quite various, but would mainly be cutlass, axe, flintlock pistol, cartridge pistol (latter 19th century), flintlock and cartridge rifles with bayonets, cosh, knuckle dusters and daggers.Note 1: For more information about basic Japanese sword handling skills, see Dave Lowry’s book “Bokken: Art of the Japanese Sword2) Each Kata Contains Fundamental Principles upon Which the Techniques RelyIn this study, we are considering a group of five kata which are at the very least linked by name. We might then be forgiven for assuming that they have some worth as a complete group. Individually, they offer certain principles to be able to move the body to defend or attack in response to certain attacks. As we will see, all five kata must be learned and more importantly understood from an application point of view, before a well rounded fighting system is revealed. In other words, each kata in the Pinan series is merely a part of the "whole".Each kata demonstrates a set of applications. If we temporarily constrain ourselves to the consideration of a singular application that each move teaches us (rather than delve off into flights of "what ifs"), then that application has within it a particular principle.It may be something as simple as "dropping your body weight in this direction causes this effect or "turning in this particular way has that effect".Invariably, those principles will reoccur within that and subsequent kata, and as you might expect they can be built upon for use in other ways.What we then find is that the kata has within it a collection of movements which emphasise that particular principle. It may be that there are more than one principle per kata. Each of the Pinan kata has between two and four per kata.3) All Parts of the Kata Are SignificantSo often in the past I have been shown little bits of "bunkai" from kata. They represent just a little bit of thought, about a particular move that may have registered with the practitioner from within the narrow confines of the usual Karate training. That "bunkai" looked impressive, but in reality it was the chance meeting of limited applications, limited thinking and limited knowledge.In our analysis of the Pinan kata, we will consider every single bodily movement as being relevant. Only by a full appreciation of every such movement, is it possible to gain some truly insightful understanding of the kata. The tendency has been to focus on the "big movements" in kata and ignore the "in between" parts. This is usually done because those parts do not fit in to the conventional thinking of modern day Karate practice. However, it is only by considering every single movement that we can gain real insight into the movements and what they are all about.4) Kata Contains Several Layers of UnderstandingWe could re-title the above sub heading to read "Each kata technique can have many applications". However true that statement may be, I do not think it does justice to the kata and how it works.Suffice it to say that we can begin our understanding of kata at the level of "basic training" in stances, blocks and punches. We can go to a further level, which offers us the basic principles we discussed earlier. A deeper level still reveals itself as the first two have been accomplished. This level allows the practitioner to recognise applications within the kata that they could never have seen without having gone through the first two stages.After that comes a level of understanding which promotes action which is intuitive in response, so that movements are made in a seemingly automatic yet fluid way. This is when the movements begin to vary from the true format of the kata, but inform the student in the many variations which occur as a result of circumstance.This is truly the level of advanced Karate.My own experiences of kata training lead me to the conclusion that I feel that I have some understanding now of what Master Funakoshi (and others) have said about kata training. I will paraphrase: "Practice kata often and with great intent. As you train, the kata reveals itself to you". When I first read these kinds of things, I thought that it was, to quote an American word "baloney"! Now having experienced it for myself, I am of a very different opinion.Now of course this is not an overnight revelation. It requires dedication and hard work. And, I feel, it works really well, because I have found that the revelations about kata only seem to come when you are ready for them.5) The Overall Applications within a Kata may tend towards a specific purpose.This needs a little explanation. I have written this guide for kata analysis as part of a study of the Heian kata. There are of course many other kata that the same guide could be used for. Looking across all five Heian (which I recommend you do) you will find that there is a good balance in the applications, dealing with a wide variety of possible attacks. It is highly likely that this was deliberate on the part of the kata creator. So in effect the heading of this section is not particularly relevant to the Heian/Pinan simply because it was devised as a set to be used as a progressive teaching tool for a new generation of karateka. It was to give these new students a broad understanding of karate principles. That in itself would be the “specific purpose” of Heian/Pinan.Other kata however will have a leaning towards dealing with specific types of attacks. Examples would be Tekki Shodan, which predominantly deals with short range hand attacks and joint manipulation. Another would be Bassai Dai, which I have found is predominantly methods for dealing with various grabs to the clothing from different positions.There is no room here for discussion about these other kata, so unfortunately I cannot qualify my comments about them here. I think that there is enough material in Tekki Shodan & Bassai Dai for chapters entirely of their own!If we confine ourselves to Heian, then this particular section may not apply. But please keep an open mind when studying other kata.6) Strikes Are Made Towards Vulnerable AreasMake no mistake Okinawan Karate is a deadly fighting system. Like its Chinese forebear, it makes use of the vulnerable points of the human body. If you look at any technical manual of Karate (any style) you will usually find a diagram or at the very least reference to vital points. To have any chance at all of trying to work out just what an application might be all about, then the study of the vital points is an absolute must. The problem with this of course, is that Jintai Kyusho Jutsu (Art of study of Human Vital Points) is rarely taught as part of the usual Karate syllabus. Of course we will all know a few points, but study in this area is quite vital (sorry, yet another pun). I'm afraid that medical training doesn't count either, unless you happen to be something of a sadist doctor or nurse who goes around hitting your patients, to see what sort of reaction you get?!Joking aside, the point is that the knowledge of Jintai Kyusho has been gained from many people being involved in combat over many generations. In fact, the Okinawans had something of a helping hand from their (mainly) Chinese teachers. A document commonly known today as the Bubishi was one of the few documents left to us from history which help in retracing Okinawan martial arts.In this document is a highly detailed commentary on Jintai Kyusho and a copy of this document was discovered in Okinawan possession several hundred years ago.With such information to hand, it would make a great deal of sense to use the areas of the body which are most vulnerable to attack.We should always be reminded that a great deal of Karate was inspired by and borrowed from a great many Chinese fighting systems. Those systems had been using vital point striking for centuries. It should come as no surprise at all to realise that Pinan kata use the same vital points. Footnote: It is known that the intricacies of Chinese fighting systems were handed on to the Okinawans in great detail. See "The Bubishi" in the bibliography. 7) Kata Techniques Are Designed To Quickly End Any Conflict.I am sure everyone has seen movie fight scenes, where the hero bashes the villain, once, twice, three or even more times. He gets up, wipes the dust off and launches into a counter attack!Well Karate (and real life) is nothing like that. The most dedicated practitioners spend their waking hours training to condition their hands and feet, fitness training and then of course, Karate training itself. This is done day in and day out. When someone like that hits you in a vital point (and often in other places too) the chances of you getting up for another go are virtually nil.Us lesser mortals, who don't have the time in our daily routine thanks to jobs, families etc., still have the ability to utilise the skills of Karate in almost as sure a way as if we were the superman I just described. The reason for this is that the techniques in kata are designed in such a way as to stop the fight, dead (yet another pun!)We will see much more of how this is achieved when we get to look at the applications themselves. For now, I will just point out these three salient features of virtually all Pinan (and probably all other) kata:In dealing with an attacker, the application should:-Have an initial defensive capability.Follow very quickly with some means of shifting the advantage towards the defender.Have a decisive means of ending the conflict, by ensuring that the attacker is incapable of continuing the attack.Now of course, there are many possibilities when it comes to combat. The above points are a general guide for basic training and attempting to understand the kata. Sometimes the lines between these three points can become so blurred, that they merge into one.8) Every Application Should Be Workable In A Real Situation.I thought about using some photos here to show how the time honoured applications of "Modern" Karate would never work in a real situation. That is unless of course, your attacker kindly falls into a nice stance and performs a perfect oizuke! Hardly likely.I decided against the photos to save any embarrassment.As you look at the applications in this book, ask yourself the same question, "If I were to do that technique under the same circumstances, would it work in a real situation?"In studying the kata, I have asked myself the very same question, for every single application. As you look, you may disagree as is your right. After all, we all have differing opinions. But please also consider, what may work for one person may not work for another. This could be down to a number of factors...skill, agility, flexibility, size or height.So, rather than dismiss a technique completely out of hand, consider how you might alter a certain technique so that it would in fact work for you, hopefully without compromising the principle which forms the basis for the technique.The watch-word here is practicability. Our kata was designed by very practical and experienced fighters. They used the kata as the main tool in their training. So even if at first glance, you haven't got a clue what is going on, rest assured that somewhere in all that movement, there is a practical and useful application which you will be able to learn, but only in good time.9) Consider Varying Attacker DistancesSometimes the distance our attacker may be starting from could have some bearing on the type of attack he may attempt. This in turn, has bearing on the type of defence we may use. This is most relevant in the case of weapon attacks, where the attacker who uses a long sword will be at a considerably further distance than one wielding a knife or short weapon.10) Determine the Type of Movement That Kata is Applying in Response to a Specific Attack.Of course, in order to determine the type of move the kata is using, firstly we need to know exactly what the attack is. So we will need to work very closely with a number of the items in this chapter, but especially point number 1, the HAOPV's and the weapon attacks.If our training experience were to only cover a narrow band of technique types (e.g.: kick, block & punch) then it is unlikely that we would be able to recognise the wrist or arm lock within our kata very easily.If we accept the idea that the Heian/Pinan kata were created to be performed in such a way that they deliberately excluded or disguised such techniques, then it is hardly surprising that we have had little success in understanding these kata from a self-defence perspective.If the techniques within the kata are disguised, then it makes it all the more difficult to be able to recognise exactly what attack is being dealt with by any particular kata technique.In order to gain some understanding of any particular kata movement, we must first work through all the possible attacks that we could reasonably expect. Unfortunately, at the same time, we must also be considering the possibility that our kata movement could be much more than just a block or a strike. Just to add further burden to our mental capacity, it is also necessary to consider weapon attacks, particularly bladed weapons. A good understanding of these weapons and how they were used in old Okinawa would be very useful. General knowledge of today’s knife fighting techniques would also be helpful.11) The Angles at Which Techniques Are Performed Are Highly RelevantLet us pick a technique from kata as an example. In our Pinan kata, we have quite a number of straight or angled knife hand blocks/strikes. The angles at which they are performed have relevance because they tell us which way to turn in relation to our opponent.So, the two sets of Shuto uki's at 45 degrees in Pinan Shodan allow us to block or strike the round head punch by turning into it, then turn 45 degrees the other way to strike the attacker in the neck area.Thinking in this way opens up so many possibilities for so many moves.Incidentally, consider the same attack, only this time, the attacker is using a sword in a one handed swinging attack. This application allows you to disarm him and disable him just as effectively as if he were unarmed. All that is needed is speed and nerve!12) On Stances & Movement between Stances.Firstly let me say something about stances. In The Pinan kata, there are not that many to be concerned with, so we don't have highly complex movements to learn.The first point to realise is that they have an extremely important role to play in applications. Next, stances are the end of something. They have no real value once the body has reached a particular stance. This will become much more apparent when we start looking at the kata properly. Now let us look at another important point to understand, which is that the movement to a stance is only half the story. The movement of the body needed to actually reach the stance is the working part of any stance. The function of a stance is simply to facilitate the necessary body movement in order that the desired effect of the application may be applied.Tai-sabaki (body movement) in fundamental to ALL martial arts, but is rarely discussed in Karate. This is a huge mistake (which we will remedy in this work).Having begun to look at body movement in this way, we now need to pay attention to some of the larger body movements found in these kata, that being the turns.I would like us to imagine for a moment what any other martial art would be like if we were able to say "I'm sorry, but all turning movements in your art are now banned!" I know this sounds ludicrous, but just imagine how it would be possible to perform an Aikido throw or a judo throw, without being able to turn. The answer is, it would be incredibly hard work and you would need to be incredibly strong, in fact stronger than any opponent you might meet, because your entire technique would depend upon it.I know, I can hear you thinking, "But this is Karate...it's a striking art, not a throwing art!" OK, so if that is the case, why on earth are there just as many turns (of various sorts) in kata, as there are other techniques? If they were not important, then surely a kata could have been devised in straight lines couldn't it?I cannot emphasise this enough:-THE TURNS IN KATA ARE A FUNDAMENTAL PRINCIPLE IN YOUR MARTIAL ARTS TRAINING. THEY MUST BE FULLY UNDERSTOOD IN ORDER TO APPLY THE TECHNIQUES WITHIN KATA.This means that instead of thinking of the turns as a means of facing the other way, think of them as an effective technique in their own right. Consider your whole body position prior to a turn and then immediately after it. Ask yourself the question..."What did I do to my opponent by turning this way?" There will be MUCH more on this later.13) When Considering An Application, Are There Other Aspects Which May Cause Pain Or Injury, Should The Technique Fail?As long as the subtitle above is, I don't think even that describes the full picture. I would add to it the following: "...Or does the technique at the very least put you in a more advantageous position than you were before, so that you might attempt a different technique?"A word used by others to describe this concept is "Redundancy". When considering what our kata and their applications are all about, it would be quite dangerous if the techniques we came up with were such that if we were to mess it up, we would find ourselves wide open, or in a vulnerable position ourselves.Of course, it will always be necessary to apply some practice in order for our techniques to work. This is natural as we are attempting to learn a new set of skills. But if the technique we are attempting requires a huge amount of practice, and even then, it would only work if the wind was blowing the right way, then a big re-think is necessary.We must be practically minded in trying to recognise applications within the kata.14) A Block Is A Punch Is A Strike Is A Parry Is A Lock Is A Throw.We've mentioned stances, so now it’s time to mention the upper body movements which complement them.Just because you have been practicing the kata for the last 20 years, and during that time, for you and your club, a gedan barai was a block or a groin strike at best, does not mean that it has to be anything of the kind. As we will see later, the complementing arm movements can be softened. Take out the "Urgh!" from your punch and the movement can easily be something as simple as slipping your arm into an advantageous position.Virtually every arm movement or combination of movements has several totally different applications. What you will recognise will depend upon how broad your experience of martial arts has been. Don't forget, the kata were changed to try and develop stamina and muscle power, as well as make them less complex and safer for children to use. We are trying to put back the complexity and the more dangerous aspects. So when looking at the kata, you need to try and see beyond the obvious, use the knowledge gained from your studies of other arts and you will see that the title for this sub-heading is very true indeed.A Flexible Attitude When "Looking at Kata"There is a tendency by many, to view a kata and the exact form as sacrosanct. There is sometimes an abject refusal to consider any variation, no matter how small, when looking at kata applications.As we will be delving head-long into this very area in this book, it is necessary to discuss this particular "demon".I suspect that if you are reading this book, then you are more than likely to be of a more flexible attitude towards this subject, so forgive me if it seems that I am preaching to the converted! As we have already seen in earlier chapters, the more we understand the historical context for these kata, the more able we are to see more of what the original intent for the movements actually were. Also, I hope that we can agree, that these kata (and just about every other kata in existence) has been changed from the originators intent. Even if you have practiced Heian Shodan the same way for the last forty years, the fact remains that changes were made to this kata before your grandfather was born! So with no-one to tell you differently, you would naturally assume that what your sensei taught you is how it is, and that's that.Now we need to move more into the realms of a more flexible approach to these kata. We must view every movement with care and suspicion. For example, what was taught as oizuke (lunging punch) may have been nothing more than a stepping forward and reaching with the arm. Who is to say one idea is right and the other wrong? Try to look at each kata movement as merely movement. Temporarily forget the name and type of each move and just view it as a body movement in a particular direction, which has certain characteristics. It is so easy to follow the well-worn path of doing what we are taught. After all, The military teaching methods that are employed in virtually every dojo around the world, were designed specifically to get everyone doing the same thing, without question. I suspect that this may have something to do with why we now struggle with kata. But I digress.Hopefully now, you are performing a kata just as a set of physical movements, with no names. Perform it very slowly, Tai Chi style. Take all the power out and make the movements flow in slow motion. Practice like this for a while, and you will iron out those jerky Karate style movements. When you can do this, you should start to feel the movements take on a new life. If you can feel this, then you are on your way to beginning to appreciate that every single movement in kata has a purpose.Looking at kata this way on its own without the benefit of the details in Chapter 2 will not reveal a great deal. It is only when we start to consider the different types of attack that we could be faced with (realistic ones, that is) that a few pennies start to drop.Is it possible to shorten stances, perhaps move backwards instead of forwards? Can we use the first hand movement as a parry and the second as a locator? These are some of the questions we must ask in order to get closer to the truth.Naturally, the essence of the kata must remain intact, otherwise we are just making it up as we go along. In my own analysis for this book, I have striven to remain as faithful to the kata as I possibly can. I have rejected a great many ideas, simply becasue they ask that certain principles of the kata be sacrificed.Determining the Principles of a KataIn the case of the Pinan, determining principles is not such an easy task. First of all, I experienced some pressure to come up with a defining principle for each Pinan. I went that route at the beginning, and I have since revised my thinking.We must remember that this set of kata have a dubious history, in that they were not all created by the same person, and they were very likely created possibly a century, or even more, apart.To try and make the kata fit nice and neatly into a convenient box is tempting, but in the end does not fit with the development of the kata themselves. Initially, it might be a good idea to start by explaining what is meant by the term "principles". I use the term to denote something which is key or fundamental to the practice of Karate. It is possible that in contemporary or modern Karate, we might consider stances as a principle. To my way of thinking, a principle would not be the practice of the stance itself, but what action is being performed whereby the body is directed to end in a particular stance. In other words, it is not the stance which is important, but rather how you got there.This is a nice easy example of a principle, or so it seems. We will discuss the relevant principles later in the relevant chapters containing the detailed analysis of each kata.As you will see later on, these principles may seem quite unfamiliar if you have only studied modern Karate. But I hasten to add, that these principles are very familiar to different types of martial arts, such as Aikido or Iai-jutsu or Kenjutsu.One might be forgiven for thinking that all I have done is to study other arts and then made the kata fit those other arts. I would like to dispel that idea right away. It is only by the study of other possibilities (beyond the narrow field of vision that has been permitted the average karateka) that the information which was hidden in plain sight, can be identified for what it actually is!To emphasise the point, how would Neanderthal man deal with a modern motor car? Once we had stopped him from trying to bash it with his spear, you explain that the door opens, you sit inside and this contraption allows you to travel great distances. Prior to the explanation, the car was still a car. It could still be driven, but the caveman could not see it for what it was, simply because he had no experience of such a thing as "car".The same is true of the kata, only we are looking at a training tool for which the true meaning of its purpose and function has been lost. Once we have learned that there is more to it that we have been told, then we can move on to discovering the keys to making it divulge its true purpose. The principles I refer to are those keys. A number of martial artists use the following phrase, "The human body can only move in so many ways, and can only perform certain functions in a limited number of ways."How true that is. So then, once we have accepted the possibility that there is more to be had, and then we become aware of other possibilities for movement, then it is not long before the dawning of awareness comes, that these new ideas seem very familiar somehow. Only a very small leap is then required before we begin to see that our kata are a great deal more than we have been led to believe.After much study and deliberation on these things, the principles I spoke of start to become quite obvious.This is the true basis of the Heian/Pinan kata of Shuri-te.CHAPTER 3: THE KATA BASED CURRICULUMIntroductionCritics of kata say, among other things, that it has little use in today’s dojo. Those that do continue to practice their kata mainly do so simply because it is in the syllabus and they have to do it for their gradings.Others use kata practice for competitions. Many karateka now either do not practice it at all, or at the very least have no interest.What we are about to look at in this chapter is the full use of kata. Only a tiny minority of karateka train in this manner, and they are not easy people to find.Let me say from the outset that a kata based curriculum is in no way an easy option. In my own teaching and training, I attempt to gradually introduce the concept of kata based sparring, which takes the place of the free sparring (ji yu kumite) found in most karate systems. Where ji-yu kumite is generally competition oriented, kata based sparring is wholly reality based. It is designed to gradually introduce the student to the dirty business of the "live" fight. Naturally, we cannot simulate the real fight exactly, but we can go a long way towards that goal. Certainly a great deal further than ji-yu kumite. It is hoped that by the time the student has trained sufficiently to attempt taking their shodan grade, he will be a well rounded practitioner with significant ability in basic Karate, just as in any other system. In addition to this, he will have practiced sufficiently to gain automatic responses to common attacks in real situations.The humble kata is the catalyst for this whole process. It is the beginning and the end of Karate.Basic TrainingNo matter what applications we find within kata, Karate is firstly and fore mostly regarded as a striking system. We must always remember that this system was developed by a people who were largely forced to use their own bodies as weapons, and as such, body conditioning would play a large part in their training.For the modern practitioner, such body conditioning is impractical, largely due to the pressures of modern day life. Time is of the essence, and conditioning the hands, arms feet and legs sufficiently to prevent injury to oneself is not a realistic option. A certain amount of conditioning can be built into the modern training regime, but this is only likely to cover certain parts of the hand and possibly forearms.What must not be neglected however, is the basic training of the various striking and blocking methods which have become the mainstay of all Karate training today.For the purposes of training using a kata based curriculum, we must add quite a bit of training to the usual Karate basics we are all used to. Basic training (starting from novices) should include break-falls, various locks and controls (both standing and in ground work), throws and various aiki based jujutsu principles.If the teacher is not familiar with these types of basics, then as mentioned in the introductory chapter, he must acquire these skills first, before attempting to use a kata based curriculum as described in this book. There is no substitute for hands on experience, and to attempt to teach even the basic concepts outlined above, is both foolhardy and dangerous, to both student and teacher, without the relevant experience.The kata provide the student with the opportunity to practice the various basic blocking and punching methods. If we take those punches, blocks and kicks out of the kata and practice them rigorously on their own, we then have what has become known as "kihon" or "basics".As has been done now for many decades, kihon has been the mainstay of Karate training around the world. I cannot stress enough just how vital such training is and should be part of every students training regime.Having said that, I must now temper my comments with a word of caution. Kihon practice is merely a training method, and is used in the development of certain essential body movements, which are:Hip rotationHip vibrationLowering centre of gravityCorrect muscle tensionPower delivery by gripping the floor with the feet.Co-ordination of all bodily movementsBreathing techniqueTarget visualisationAdd to basic training the kick bag and further benefits can be gained, which are:Cardio vascular work outTarget appreciationFocus of powerDistance appreciationSpeedTimingAll of these points are vital to the Karateka in their understanding of how to develop the devastating power that the human body can develop using the techniques above. But they are not Karate, merely a small part of the whole. They are necessary practice for the beginner and the advanced practitioner alike, because they are skills which must be kept sharpened. If one thinks of a parallel to this process, one could use the carpenter. He requires sharp tools in order to allow his skills to be used to create the table, chair or sculpture. He must constantly sharpen the chisels and saws, otherwise his workmanship will falter, his task becomes harder and the quality of his finished work is dubious. This is also true of the practice of Karate basics.Unfortunately, modern Karate seems to consist of mostly only basics, with more basics on top of it, added to free sparring. This training is NOT the whole of Karate, in fact it only scratches the surface. In itself, this training is only useful for one thing...the development of competition skills. It has little to do with the business of self defence. Vital PointsWhereas basic training is concerned with educating the student in how to strike and the rudiments of body movement, teaching of vital points shows the student where to strike for optimum effect.Vital point striking is a much overlooked subject in today's Karate. The human body has a great number of areas of particular vulnerability. I stress the word "particular" because any area of the body can be damaged with sufficient force. Vital point striking allows the one striking to utilise certain areas which, by virtue of anatomical weakness, gives a significant advantage to the striker.Smaller but focused movements can be used to create significant pain or worse, which can be used either as distraction or finishing techniques, depending upon the particular choice of application.It is not the purpose of this book to provide in depth information on the locations of such vital points. This information can be gained by seeking out the necessary training, and through reference to reading material in the bibliography section.During the course of subsequent chapters, and as we look at specific applications, I will point out the intended vital point for a specific technique. Reference can be made to the appendix for a short description of the major vital points and the effects of their being attacked.The KataNow we come to the heart of Karate. I suspect it has become blatantly obvious to the reader by now, that I have a belief that kata has in fact, a pivotal part to play in the fighting system which is Karate. Let us examine what is meant by "Kata".A kata is a collection of techniques joined together into a dance like performance. But one may ask "Why are those techniques in this particular kata?" Simply, they were devised to be a record of techniques, which would be passed on from generation to generation, hopefully without alteration. The techniques contained within them would be highly effective movements, used within individual combat against either an armed or unarmed opponent. They were devised at some distant point, usually by one man, in order to record techniques he had either found himself, as a result of actual combat situations, or had assimilated from teachings from various sources, into a system of his own.Unfortunately, over the years, certain people have altered kata which were passed down, for their own purposes. This has caused much of the original creation to have been either lost or hidden.Despite the fact that much of the technical detail has been removed from our kata, there are still a number of benefits to be gained from practicing the kata as a whole.Continued practice (and by continued, I mean many hundreds of repetitions) give the student experience of movement in very specific ways. Without delving into the detail at this point, suffice it to say that balance, weight shifting, changing direction, speed, power, concentration, focus (mind) and much more is instilled and gradually becomes automatic.As time passes, and the student learns more and more applications (NOTE: not variations on one movement, but applications throughout the kata) then the actual performance of the WHOLE kata as a set piece, gains a great deal of life.Now the student is performing it, and recognising the applications as he performs, so he is able to place the correct emphasis in the right places.After a time, the kata takes on a new life and vigour, which was never there before.Kata PracticeSo now to move on to some considerations for kata practice. Choose the kata to be performed, and learn it through from start to finish, exactly as it is taught to you. Here are some important points to consider while learning the kata:Every movement is important, so make sure that you have it all. Variance in pace and speed is important, just as much as the perfecting of each stance and technique.Perform the kata many times. Then do it again and again!Change the emphasis of the kata occasionally from quick and strong to soft and slow. This allows development of technique.Maintain flowing movements whenever possible. Attempt to attain a performance that never really stops at any point, but depicts precise techniques which flow nicely to the next.Concentrate on breathing. Generally speaking inhalation is done during the parry or block and exhalation is done during the strike or finishing technique.Kiai - or shout. Kata is usually taught with this loud shout at certain points within the kata. I personally have no interest in kiai in this fashion. It is my contention that kiai is valid at every single finishing technique there is. Kiai should be practiced during application training and basics, not during kata. Of course, that is just my opinion.Kiai has many explanations. Mine is simply that a shout comes as a natural expression when great effort is put into an action, as a result of the correct use of breathing and abdominal muscle tension.It adds power and spirit into a technique. It has a psychological effect on an opponent too. Kiai is important, but it is important not to use it merely as an inclusion during performance of kata, but as a necessity in combat.Beginning Kata ApplicationsThe most basic level of kata analysis (bunkai) can be quite firmly fixed around the "kick, block & punch". This means that applications are at their most obvious and basic. Of course, the problem has been in recent decades, that some of the movements in the Pinan/Heian kata do not translate well at all, into this regime of analysis. As a result, some very outlandish and downright comical scenarios were dreamed up in order to accommodate the exact movements of kata in these instances.I would like to apply some common sense to these movements, and as will be seen, applications (oyo) at this level are intended to be as practical and realistic as possible.Basic Principles For Application PracticeThis subject was briefly discussed in Chapter 2. Discussion here gives us the opportunity to discuss the meaning of "principles" in more detail. Please bear in mind that in the later chapters, covering the actual applications, where principles are demonstrated by a technique, then it will be discussed in detail at that time.Our purpose here is to gain something of a deeper understanding of what kind of principles kata can show us and how we might best utilise our understanding of them.The main focus of beginning to examine kata applications is not so much to concentrate on the applications themselves, but certain intrinsic principles that the kata contain. The Heian kata set have within them a kind of natural progression. The first two kata, Shodan and Nidan (which-ever you may practice first) both contain the basic material upon most kihon practice is based. Training in these kata also provide other necessary and fundamental techniques.The Karate teacher would be wise to identify within these two first kata, the following basic principles:(NOTE: The following are IN ADDITION TO basic striking techniques and kihon techniques discussed above.)Basic stances.Movement between stances.Turning principles (for throws - Nage waza).Entering (Irimi-waza) principles.Developing an advantage over an opponent.Introduction to basic arm locks and releases (Kanstesu waza)Introduction to how certain basic techniques work in ground fighting (Katame waza).Effects of raising and dropping body weight.Introduction to vital point striking (Jintai Kyusho)The use of "Heavy Hands"All of these principles are apparent in the first two Heian kata. The big question is, "How on earth do I get this information out of the kata and into the heads of my students?"This particular task can be as varied in number as there are teachers. My own preferred method is to identify the basic principles concerned and utilise various training techniques from other arts to get the message across.Despite what you might think, it is not necessary to become highly experienced in other arts to be able to do this. Of course some experience is necessary in say, Aikido and Jujutsu (even Judo at a push). Your many years of Karate training should stand you in good stead, simply because without being aware of it, you actually have been training in these other methods all along. With a few adjustments in posture and allowances for stylistic differences, you can perform throws & locks quite easily. You just need know before you start that your Karate training (mainly kata) has all you need in order to perform these new movements. It does help if your Aikido teacher knows something about Karate though!While you are reading this, please remember that we are still discussing basics of Karate. I do not advocate trying to pass ones-self off as an "expert" in areas where only minimal training has been received. Be mindful of your limitations. Having learned the basics of another system, you are evaluating those basics in light of many years of Karate experience. It is hoped that when those ideas are fully integrated into your practice, you will continue to work on your own skill levels in these newer areas.Even though I have some training in the areas we have discussed, I would never describe myself as an expert in any style, particularly Karate. I think it should be fairly obvious by now, that there is a great deal of work to do in covering "the basics". In recognition of the breadth of study in the early stages, my own syllabus (see appendix) has the student training in these "basics" for the first 15 months (up to purple belt). I am sure each teacher of Karate will have his own ideas about what he will teach and when. I personally recognise some shortcomings in the Heian kata. Not that there is anything wrong with them, just that no one kata has the depth of training to cover all the possibilities, even when discussing basic principles. In order to supplement the Heian and to attempt to fill the gap that the Heian kata leaves in basic training, I also include the learning of another kata for beginners, that being Tekki Shodan. In modern day Karate this particular kata is usually only taught when the student has reached brown belt. There is some historical evidence to support the idea that this kata was taught to beginners, alongside the Heian/Pinan kata.This particular kata has much to offer in terms of familiarisation with a particular type of body movement that is not really apparent in the Heian kata, and so is good to learn in parallel. Teaching of applications from this kata would not be necessary until much later.Starting To Introduce ApplicationsI wish it were possible to devise a syllabus where the segregation and demonstration of techniques and principles, could be performed in as orderly a fashion as the chapters and sub-sections of a book. As any teacher will know, it is often the case that elements of one subject are often found overlapping with another, and so it can be something of a dilemma to decide just what to teach first!This is certainly a situation I have come across in the teaching of Karate in the ways I am discussing here.In the previous section I suggested that the first two kata required the instruction of certain inherent basics. The problem is that in order to teach those basics, it may be necessary to show the full applications themselves. But if you don’t particularly want a student to focus on an application as such, but on a particular principle, then it could get a little confusing.The measure of a good teacher is that they are able to use one tool (in this case a particular kata) to be able to teach at different levels.In the previous sub-section above, we discussed the need for the understanding of different teaching methods in order to demonstrate the various basic principles. But now we are concerned with the teaching of specific applications to particular segments of kata. What will now be required is the integration of the principle(s) directly into the kata application. To do this, decide on a segment of the kata and teach the full application. While doing this, make reference to the principle(s) inherent in that particular segment, which should have already been covered earlier.This may seem obvious, so please forgive the emphasis of this idea. Hopefully this demonstrates a significant distinction between basic training and application training, which can be different in certain respects. Certainly one must come before the other, and it would be helpful to the student if the two were kept as separate entities. As mentioned earlier, this may not always be possible.So far in our discussion about applications, we have been referring to the type of application which includes a great deal of new concepts (listed above). But what about the good old fashioned kick, block and punch applications that have done the rounds over the years. Is there any merit in looking at these?The answer to that can be quite subjective. If I were to offer my own thoughts, I would say that with the use of common sense, some of the old applications can be used. For example, good old gedan barai could still block a kick at a push, but I wouldn't stake my life on it!I can only suggest that each application must be examined on its own merits. I should also say, that I rarely now advocate these type of applications as my analysis of kata has revealed such effective alternatives, I have discarded the "old ways"Practising ApplicationsNow that the student has been given some grounding in our modified kihon and a small number of basic applications, it would seem prudent to practice them.Unless great care is taken, it is at this point that injuries will occur. Let us remind ourselves that so far, our student has only minimal training and will likely have a rudimentary grasp of the basics recently introduced.If you have already had a look at some of the applications in later chapters, you will have probably noticed that they all have one thing in common...to severely injure ones opponent (or worse) with the use of great force and in a minimal time scale.To prevent any accidental injury, I have a number of fundamental suggestions:Teach students about offering zero resistance in partner work.Teach students to apply techniques slowly, to the point of pain (in locking techniques), slow throwing techniques and sandome (punching to touch the skin only).Teach students to break fall in all directions.Providing the student has been educated in these methods, the applications become much safer to practice. The only problem is, they are now practiced in a way which takes away a good deal of the effectiveness of the applications. This might seem to defeat the object.This cannot be helped, and in fact is quite immaterial in reality simply because the focus of teaching the beginner is not to be highly effective with their techniques at this stage. Rather, they should be concentrating on familiarisation with these new movements.A method I employ for beginners is to treat certain kata segments more like soft, highly repetitive partner work. Some people call these "Flow drills". The Chinese have used this method for many centuries. You may have heard the phrase "Pushing or push hands". This is a Chinese flow drill found in Tai Chi Chuan and is designed to practice a number of things, such as maintaining contact with the opponent; learning to anticipate movement by feel etc.By using segments of kata done in this way with a partner, the student is being drilled in a number of specific areas, particularly in "educating" the body in these new movements, so that they become natural and instinctive. Once this is achieved, much later on, and with the benefit of much more experience, the student can start to tighten up the movements and apply pressure, speed and strength as necessary.Kata Applications - Intermediate PracticeBy the time a student has reached a level I would determine as "intermediate", I would expect him to have learned a moderate amount of Karate basics (kihon) as well as a reasonable amount of the modified basics referred to earlier. He should have knowledge of and have completed an application study of katas Taikyoku, Heian Shodan and Nidan. He should also be able to perform Tekki Shodan reasonably well.He should be well versed in training safely with a partner as well as being able to fall and be thrown without injury.I would also expect the student to have a good grasp of the principles of the Heian kata already studied, and be able to discuss them in a verbal way, as well as by demonstration.In the modern Karate system of grading, I would expect the student to have attained purple belt (4th Kyu) and be looking at 1st Brown belt soon (3rd kyu) with around 18 months of training time behind him.I felt the need to describe the level a student would be at by a certain time for a couple of reasons. Firstly we have a much clearer picture of our hypothetical student, how much he knows and what his experiences are likely to be by this stage of this training.Secondly, it helps to highlight that the student has thus far, only learned less than half of the basic syllabus up to Shodan level. In modern Karate, by the time the student has trained for this amount of time, he would have learned most of the Karate techniques in the syllabus and would be likely to spend the next couple of years working to merely polish what he already knows. Of course, the exception to this would be the kata he must learn, but emphasis on kata in modern Karate is very low, and most of the work around kata resorts to largely looking good, but little else.Resistive Combat DrillsThe intermediate student should be capable at this point, of working through kata applications in safety, using a training partner. In order to begin to get something of a feel for a more realistic combat situation, it is important that there is the inclusion of partner practice in which goes beyond having a passive opponent.It is time for the training partner to react more like a real opponent. This must be done with care, as accidents can happen easily. The following points should be implemented:Partner should initiate a nominated attack with some vigour (only from the repertoire already practiced).Both participants must demonstrate speed and power in the attack and defence, as well as a high degree of control.Defender must effectively receive the attack and counter attack, using the repertoire of applications learned from kata.Partner should attempt to resist the counter attack in as realistic a manner as possible.The defender should attempt to recover from the resistance and try to improvise to gain victory. Try to remain within the techniques already taught from kata application practice.Note 1: Please realise that this is merely an exercise and not a competition. The resistance should be performed in such a manner so that a further random element is introduced into practice.Note 2: It will immediately become obvious that these types of sessions have a greatly increased risk of injury. Therefore it is vitally important that substantial protective equipment is used:Grappling mittsForearm protectorsHead guardGum shieldGroin guardShin & instep protectorsKnee protectorsNaturally, these sessions must be highly supervised. It needs to be stressed to the participants that this is an exercise and a learning process, not an excuse to "batter" ones partner into submission.Keeping to a strictly controlled format as outlined above will make these intermediate combat drills a hard but safe practice.One final point about the types of techniques to use. There are quite a number of joint destruction techniques in the kata. It might seem an obvious comment to make, but attempting to destroy your training partners' joints is not a good idea. With this in mind, attempting these types of techniques require the use of a great deal of common sense.For example, if the defender has been able to place a good arm lock, then there is little point in the partner trying to resist it. Another is to attempt a striking technique to a joint. Under these circumstances, there have to be very clear agreements between participants. It might be for example, that any clear (and no contact) joint striking attack is the finish of the confrontation. Or perhaps banning their use altogether might be better.These kinds of decisions must be made by the teacher, and will be based on his assessment of the abilities of all concerned. I feel it would be a mistake to have "blanket rules" which affect everyone, regardless of skill level and aptitude.Kata Applications - Advanced PracticeOnce the student has progressed up to around shodan level, he should now move practice up a notch, to a level which is as near to real combat as it is safe to get.If we consider other styles of martial arts practice, and Karate schools in particular, we will see them practicing "free sparring" as we have already mentioned.Advanced kata application practice should be seen to be the equivalent of such activity. It is the culmination of everything that a student has been training for. It requires a great deal of courage, determination and self belief to be able to willingly face a trained opponent in fully fledged combat where there are very few rules and only a very few techniques that are banned (eye gouging and joint destruction would be high on the list!).Free Form Combat DrillsThere are few differences between free form and the resistive drills. All the other components described in the last section apply. The following are the extra considerations:Partner will launch a random attack.Defender or Partner must aim to gain either a submission or be deemed to have executed a lethal or damaging blow.As you can see, this opens up the scope immensely. Any technique from as many as seven (or more) kata may be used, and of course, by now, students will be used to working with variations of applications, as they should have developed the ability to improvise according to the threat and circumstances.It also opens up the potential for competitive attitudes as well as a heightened risk of injury. The competitive element is natural, as there is no predetermined "winner" of the session. There is the necessity for determination to overcome ones' opponent, and this can often easily be turned into a competition. This should be resisted at all costs. Free form combat practice is the ultimate practice for a life or death struggle, the culmination of all training. To treat such an activity as a sport is highly demeaning to the whole activity. Its purpose is for the practice of skills, for continual learning and advancement, not the short lived and egotistical pleasure gained from being the victor.Training AttitudeThis is a very good point to discuss the subject of training attitude. The section above began to say something about guarding against allowing the competitive element room within training. Let us back track a little and try to identify what we mean by this term and then hopefully we can learn how we can apply it within training.Before we begin our exposition, it is possible you might be asking "Is this relevant to the Kata based type curriculum?".I would answer that by asking a question in return...."Would you hand a loaded Colt Python .357 magnum handgun to a five year old?" I sincerely hope that your answer would be "Not likely...under any circumstances!" That being the case, what safeguards should be in place before you would hand such a weapon to that same person?I think there needs to be some radical changes. First the child needs to be allowed to get a lot older! After that, he would need to be taught a deep appreciation of the dangers involved. Next would be an understanding of exactly how to use the weapon in a safe environment, with a recognition of certain rules about its use on a public firing range, i.e. Where to point it, when to load it, when to put it down and so on.Karate is as dangerous as such a handgun. In the wrong hands, one shot will kill every time. However, if we are considering Karate from the standpoint of the modern sports type free-sparring (ji yu kumite) then the dangers are significantly reduced, simply by virtue of the great limitations on the use of techniques to kick, block and punch to the torso and head. In our parallel example, this is like only allowing the gun to be fired at arms and legs. Still dangerous of course, but there is much less chance of a fatality.With kata based sparring, there are few such limitations. Techniques are to almost every part of the body and must aslo be delivered with intent. The defence and counter-attacks will also be with the same intent. Hopefully it is possible to begin to realise that the practitioners must be exhibiting a great deal of restraint and control (and more, which we will discuss below) during such activities.Now that we have some of an idea of why we need a distinct "Training attitude" let us attempt to define what it actually means. Before we do, let us have a look at an example of what it is not.Karate training has for the most part, gravitated into large scale classes, with one teacher and anything from 20 to 50 people per class. This is seen as the norm in many of today’s classes. In such an environment, it is much easier for the individual to become lost within the group. One teacher cannot extend his attention to be able to give a great deal of individual attention. More and more, the Japanese methods of group or peer pressure is used to ensure students comply with dojo rules. This sounds good, but often the methods employed in such dojos are vicious and violent.This type of behaviour actually encourages bullying and aggressive behaviour, and has absolutely no place in a Karate dojo, yet it is an attitude which is actively encouraged in some of the most prestigious organisations in Japan.If we were to adopt these types of training attitudes within kata based curriculum, individual egos become inflated, respect for others is minimal and as a result, severe injuries would be commonplace. So now, not only do we have an example of poor dojo behaviour, but also some hints at what we would expect as a positive attitude. Perhaps then, a useful training attitude is one where there is a deeply instilled respect for fellow students. Also there should be an understanding of just how dangerous the techniques are and the need for very high levels of restraint in their application. There is the need for swift and powerful application of technique, performed within the spirit of all the considerations above.This describes what it is we wish to foster within our students. These attributes do not come along of their own volition. Unfortunately there is a pervading myth that merely training in Karate embodies such attitudes and more. I say unfortunately, because like most myths, it has come about through mis-information or half-truths passed on as fact.There are certain attributes that can be gained by training in Karate, irrespective of the myriad of other factors that could be influential in the adoption of training attitude. Indomitable spirit, discipline, self-confidence are a few of these. But even though these attributes come as part of the Karate package (over long term study) each of them can still be part of the make-up of an aggressive and violent person.What is also required is basic humanistic input. Even though each student comes from differing backgrounds, and may bring individual qualities to the dojo, it is the responsibility of the teacher to both embody and instil high levels of humanistic and moralistic attitudes in his students. Without this fundamental aspect to teaching, the training attitude becomes as variable as the direction of the wind.This understanding comes from a lifetime of observation of many "teachers". I am thankful that all the teachers I have had have been of such a quality which varied from the passive to slightly less than passive in their ability to teach such attitudes. This may not sound very flattering, but I do not blame them for their lack of abilities in this area. They are all the product of the recent generation, which is at least two generations removed from the founders of Karate.One primary figure who embodied such positive attitudes was Gichin Funakoshi, though those of his generation of Karateka were not all like him. Funakoshi held high ideals about behaviour and the circumstances for the use of his art. Even though his direct students gained greatly from his influence, the difficulties come when the teachers' students become teachers themselves. Does the student who turns teacher have the same strength of belief and character as the master? Is their ability to teach and pass on the ideals as rigorous as the master? Ultimately, the more people who get involved in Karate, the greater the weakening of the "spirit" of the art as it was in times gone by.As I indicated earlier, that spirit has in many cases, become warped and twisted, so what purports to be Karate is nothing but a name masquerading as an excuse to bully.A Karate that has a kata based curriculum by necessity must have few students. The small group would be much like children to the parent who is the teacher. The student would need to adopt a subservient (but not servantile) attitude towards the teacher. This is something that the youth of today seem to have almost lost. It requires an in-built respect for ones elders. The ability to listen and perform according to instructions is also prerequisite of the student. I could go on at length.I think we can begin to see that the training attitude needed is a multi-faceted thing. The ideal student would need to come to training with many of these attributes already instilled as part of their cultural upbringing. If not, as is the case in many of the students who come to the Karate dojo for the first time, then the motivation of the teacher will determine what happens next. And ultimately, that motivation will have a knock on effect down the years, should the dubious student be taught to a level that they are allowed to start their own club. What kind of training attitudes will he pass on?If we go back to the Colt Python .357magnum; we train an individual to be competent in the technique of shooting, the rules of the range. He engages in gentlemanly competition and friendly banter in the club. He then goes out and shoots a bunch of kids in their classrooms. Why does this happen? Simply because the teacher had no interest in the character of the student. His interest was more in his ability as a shooter, his club funds or something equally material.As a teacher of karateka, we have a huge responsibility to teach "training attitude" which is befitting the activity. This is a very hard thing to do.A Slight Aside - One Way Humans LearnIn the Kata based curriculum, our student has still a great deal to learn, which will be entirely new to him. In fact in all probability, he is very likely to continue to learn new things about his karate, many years after having attained Shodan! This is the nature of the gradual revelation of information from having a Kata based curriculum.To emphasise this point, I have found the astonishing fact that in personal study, new data is revealed to me only when I seem to be ready to receive it. I do not believe there to be some mystical force at work here. Rather it is a testament to the wisdom of the ancestors who devised these movements and put them into kata form. Closely related to that fact is the way human beings learn, which has been researched to death in the study of Human Psychology. Our ancestral kata makers must have had some recognition of human learning processes.This learning process can be explained by looking at something closer to home and more familiar. All of us have been to school (even if it was a great deal of time past, as in my case). Mathematics is unlikely to be everyone’s favourite subject, but it can serve us here.If we can stretch our minds back to early maths lessons to a thing called algebra, hopefully memories will remind us that we were first introduced to the concept of alphabetical letters being used to represent "something", which would be explained at a later time!This idea could be deemed to be a basic principle of algebra.The next batch of lessons then introduces how letters and numbers can be combined. Not only that but it was possible to work out the value of the illogically termed "x" or "y" (variables).Next on the agenda, it is revealed that there are certain mathematical rules that are universally applied to the manipulation of the "equation" (string of numbers and variables). Now great things can be done to the equations. They can be used for all manner of applications. This type of mathematics is built upon and expanded to be used in higher mathematical equations in any number of applied situations. I am used to seeing it in electronics myself, but it could equally be quantum physics or engineering.Hopefully the parallel used here reveals the nature of both something of human learning and the nature of the kata. We need the basic building blocks put in place first of all. We then need to "play" with those blocks and get familiar with them. That done we can then recognise that they can be used to form part of something bigger and more useful.Finally, we have a group of useful self defence applications, mathematical equations or even houses!Each individual kata represents a collection of useful tools for the purpose of self defence. However, if we have never been given the basic understanding of the building blocks, and further, if we have no idea that there is even a need to know any basic building blocks, then trying to understand the kata is like Neanderthal man (who was not very clever, so I believe) trying to work out how to get into a modern motor car! More to the point, would he even know that he could get into a modern motor car?This has been something of an aside, as the sub-section heading indicates, but it is as good a place as any to make the point. And I must emphasise that the point made explains the inner workings of the kata. Having understood this idea, which has taken a great deal of time to come to fruition, then the student can begin to move on to understand something of the nature of the studies he is embarked upon.CHAPTER 4: HEIAN SHODAN BUNKAI-293370-381000Heian Shodan: Bunkai (Applications)Please refer to the preceding kata diagram page and the corresponding “Position Numbers”.Sequence No.1 (Positions 1-2)Despite the fact that this is the first sequence of the first form, there is much that can be gleaned from it. To see the hidden applications, it is necessary to look beyond the basic movements. Identifying the various possibilities of the types of attack are a key feature in coming to understand the movements.In sequence 1, I have described six possibilities. The first five deal with grabs to the forearms or wrists. In terms of a live attack situation, a grab in this way is unlikely to happen. However, what we must realise is that these movements were designed for the use of men in a special situation. They were expected to be passive and non-aggressive, and would only react when they were attacked or severely provoked. As well as that, their attackers would invariably be untrained brawlers, or possibly others whose intention was to restrain them.For modern day self-defence purposes this can help us a great deal, especially for women’s self-defence. As in this sequence, these relatively simple techniques don’t require any particular strength to perform, nor do they require great skill and dexterity. They are simple and effective, requiring only understanding of the principles and then drilling of the techniques.App. No.1 - Cross wrist grab (grabs defenders' right wrist with right hand)Attacker is facing and cross grabs right wrist.Defender performs a circular motion (or circular cutting motion similar to applying aikido's nikkajo) with the right hand so as to end up grabbing his wrist. Step to right (or diagonal) with right leg to overbalance.Step through with left and lunge punch to exposed and lowered side of head using the left hand.Maintain grasp on his wrist, performing hikite. This allows you to maintain control.App No.2 - Same side wrist grab (grabs left wrist)Attacker is facing and grabs defender's left wrist. Defender rotates left wrist inwards, performing a circular motion so as to end up grabbing his wrist. Step out to the left (or diagonal left) to overbalance him.Step through with right leg and strike with lunge punch to lowered head.App No.3 - Double wrist grab (front)Attacker is facing and grabs both wrists.Bend left arm at elbow, palm upwards to reach and grab his hand (the one grabbing your right wrist.) Grab it by the fleshy part of the thumb.Keeping hold, now complete the gedan barai movement, stepping out to the left as required.This causes severe rotational tension on his thumb, wrist and elbow, causing severe damage, overbalance and throw.Application No.4 - Double wrist grab.Attacker is facing and grabs both wrists.Defender steps sharply to the left, as in kata, perform full movements of gedan barai exactly. Release is affected by going against the thumb index finger gaps in the grips.Performed with fast movements, this effectively pops your hands out of his grasp.Application No.5 - Double wrist grab.Exactly as in No.4 above, except that on the down part of the "block" you smash down on the wrist grabbing the other arm.This variation is just in case your initial movements fail to affect a release. The good thing about this one is that you use his own arm to smash onto his other arm!Application No. 6 – Upper-cut to abdomenApplication No.6 is a different matter. This application requires significant abilities of timing and a greater understanding of a variety of techniques which will only become apparent after a significant amount of training.The fact that such an application can be drawn from this sequence is testimony to the fact that much of kata is multi-layered, as discussed in chapter 2. I only saw this application after a great deal of practice or the other applications. It occurred to me that such a sequence as this should have a response to a more direct and violent type physical assault. Taking into consideration certain principles gained from looking at other kata (sometimes from other styles of Karate) this application presented itself.The following description deals with an attack from a left punch, which seems to be a less obvious initial attack, however it should be realised that this sequence occurs often in this kata, in both left and right forms. I have followed the sequence of the kata and described a left handed attack to try and avoid any confusion.Attacker is at close quarters and attacks with his left hand, using a swinging upper-cut to the abdomen or solar plexus.Defender is standing square on in ready stance. The next movements are simultaneous:Pivot to the left on the right foot (stance becomes neko-ashi dachi) finishing facing left of shomen.Right hand (open palm or forearm deflection) moves right to left across the body to deflect the attackers punch.Left hand is brought sharply up towards the right shoulder/ear (as in the standard gedan barai movement).Immediately after these movements are completed, the defender brings his left hand down with kake-te (grabbing hand) onto the attacking wrist, and uses pressure to extend and straighten the attacker’s arm.Defender withdraws his right arm and step forwards (towards the left, to overbalance) and then extends the right arm again (using a punching type style) with the intention of either striking the side of the attackers elbow, or use the striking forearm to push upwards on the elbow and causing it to break.All movements in this sequence must be smooth and flowing.Sequence No.2 (Positions 2-3)App. No.1 - From a clinch holdThis sequence appears to only be a turn followed by a downward block. Of course there is always the need to turn quickly with balance, and deflect an attack from the rear. However when the kata has been broken down into the various sequences which follow the rules of kata analysis, the turn and block in this sequence is left out as a stand-alone movement.That being the case, if we continue to use the “rules”, then there must be enough in this movement alone to deal with an attack, which prevents the attacker from fighting back. After training in Judo and Jujutsu, it soon becomes very clear that there is more to this sequence than meets the eye. The use of the right kind of throw can achieve this.It may seem a very strange thing to suggest that there are throws in Karate, but it is nothing new. If we use Gichin Funakoshi’s publication from 1926 (Rentan Goshin Karate Jutsu) as a reference, then he shows throws to be an integral part of Karate. The problem is that this information has been lost by not being transmitted to subsequent generations of Karateka.It needs to be said then, that in ANY fight situation, the very worst place to be is on the floor, especially if your opponent is still standing. So it stands to reason that throwing someone hard and causing damage as you do, so is an effective method of dispatching an opponent. This information would have been so obvious to our kata creators that they would not need to show a follow up movement to make sure the opponent is sufficiently dealt with.The throw concerned is almost the same as Judo’s Tai otoshi throw. This throw is a standard one in Judo, and there is already much information available elsewhere about it. In Judo, this throw is made safe for the person being thrown simply by keeping hold of the others’ gi. This causes the throwee to be turned so that he lands more on his back. Originally this throw was designed to cause significant overbalance and a subsequent awkward fall onto the face. If we remove the safety elements and revert back to a more Jujutsu methodology, then in one quite simple move, our opponent is out of the picture.Just one final point to make here is that the throw requires that the defender have a grip on his attacker. As in any grappling situation, it is very likely that there will be some instances when the throw will be the obvious thing to do.Sequence No.3 (Positions 3-5)The next sequence from the kata significantly has all the hallmarks of a grappling technique. As will be seen, it easily fulfils the basic criteria for an effective application. It is simple and effective, utilising movements in opposing directions, overbalancing the opponent and striking using vital point techniques. It requires relatively low levels of skill to perform, which makes it an ideal technique for inclusion in a basic kata.App. No.1 - Cross wrist grab.Attacker is facing and cross grabs the right wrist.Rotate you wrist inwards to perform nikkyo on grabbing wrist, while pulling your body back into the cat stance.Straight after the rotation, grab hold of wrist (this makes him lower) hikite the arm and step through with lunge punch to head with your left.App. No.2 - Same side wrist grab.Attacker performs same side wrist grab to right wrist.Rotate arm inwards quickly, stepping back slightly (to release the grip) and back fist (Note 2) strike his bicep (this could also be a strike to the face, depending on circumstances). The pulling to the rear forces him forwards and off balance.Grab same arm and step in and lunge punch with left hand, performing hikite on the arm you grabbed.App. No.3 - Cross wrist grab.Perform the same technique as in No.2 above. The only difference is your back fist strike is more likely to be either the triceps (arm) or the temple.I have described here this technique as being used against wrist grabs, which is fine as far as it goes. Now try the exact same technique, but have your opponent grab your arm by the clothing at various different places with either left or right hands. You should see that the technique works just as well, perhaps even better than against a wrist grab. (Note 1)An alternative to consider in the latter application is the use of the elbow strike instead of the back fist. It just requires a shift in thinking away from the use of the hand as the striking weapon. The elbow could justifiably be used in the form otoshi-empi (overhead elbow strike). This would be quite effective if the opponent has retained his grip on your clothing. Your target then (especially in App. No.3) would be his upturned elbow. This variation is entirely in keeping with the movements of the kata. It just requires a little lateral thinking.Note 1: This rotational arm movement is used to affect a release I see as a typical response to a clothing grab to any part of the arm. Bear in mind the long bellowing arms of the haori coat worn by the keimochi. Imagine you are wearing this and then try these techniques.Note 2: You will notice that I refer to a back fist strike in App. No. 2. I find that this small change is insignificant to the overall performance of the kata but much more effective at finding a vital point on the upper arm or face. Of course, there's no need to alter your kata performance, just remember what you are doing in bunkai!Sequence No.4 (Positions 6-8)Traditionally in various Karate schools over the last century, the next movement has mostly been taught as Jodan age uke (rising block). On further study of more advanced kata, we see that jodan age uke has been largely misinterpreted as a block and nothing more. This does not do justice to the movement, nor to those who created it.What you will see here is that this movement is a very important part of the Karate arsenal and is highly deadly when applied correctly. It provides fast defensive and offensive movements in one and can be used in a variety of situations. All in all, one of the most useful techniques in the system, but it requires a complete rethink for those used to doing things the “other” way.App. No.1 - Straight or round punch to the head (with right arm). Attacker performs straight or round punch to head with right hand.Standing in a natural parallel stance, raise left arm to parry with forearm, while bringing right arm up to left ear. Point fingers towards his eyes to feint an eye jab.Quickly hook the left hand over the parried arm and hikite down to waist while stepping forward with the right and striking to the neck with right forearm (Jodan age uke).As can be seen in the App. No.1 above, the actual blocking is done by the opposite arm to what has been taught. Quick shifting to a grabbing or hooking hand (kake-te) and then pulling back (hiki-te) while stepping forward and striking with what used to be the blocking arm.While the movements are still exactly the same as in the kata, the whole emphasis and feel of the technique has changed from merely defensive to defensive and decisive. The attack is neutralised and countered almost simultaneously. There are various ways in which this technique can be used. We’ll just look at one more in the next application.App. No.2 - Lapel grabAttacker grabs your left lapel with his right hand (from the front).Place your left hand on top of his grabbing hand (to secure it). Step back with left and strike down with right forearm on his forearm, then using same arm (hentai) strike upwards with forearm into neck (Jodan age uke).Although this technique is performed 3 times in the kata, I prefer to follow Iain Abernethys' thinking when he says "If a technique is performed more than once, then the author is probably trying to tell you how important it is!" Sequence No. 5 (Positions 9-11)App.No.1 - Straight or round punch to the head (with right arm) OR Lapel grabThe last of the three forward moving jodan age uke movements is followed by a turn through 270 degrees. Combining these movements provides the option to take the attacker to the ground by use of the Tai-otoshi throw (described in Sequence No.2, App. No.1 above).It could be said that the lunge punch which follows this sequence has no point. Well certainly, it has no use in this particular sequence, but it is perfectly placed in combination with the 180 degree turn which follows, to produce the tai-otoshi throw once more.I feel the repetition of these movements serves to remind us of just how useful this movement is, and also to be wary of the various attacks that this movement can be used to defend against (See Positions 11-13).Sequence No. 6 (Positions 14-16)App. No.1 - Reach or front punch with the right hand.Attacker aggressively reaches out towards defender.Defender steps right leg forward and parries using left hand, grabs and hikite the arm, while stepping through with left and lunge punch to exposed side chest or lowered head.Note: Although no parry seems to exist in the kata, we do in fact reach the left hand forward before executing a right hand oizuke. Working with the idea that Itosu left quite a bit out, this could originally have been a simple intercepting thrust type parry to the front. If you break down the movements of a forward Shuto uke or Jodan age uke, you will see the same thing. We will see this movement used to great effect in later kata.Sequence No. 7 (Positions 17-18)App. No.1 - Straight/round punch, threatening gesture or frontal grab.This is really a follow on from sequence 5, (S15 to 17) App. No.1.Having already dealt with the attack, grab his clothing or arm with your left and also grab his body with your right. Now turn through 180 degrees to the left to perform Uki-goshi throw (Floating hip throw in Judo).Sequence No. 8 (Positions 18-19 & 20-21)App. No.1 - Round head punchAttacker is facing and throws a round punch to the head with his right hand.As the punch begins, turn diagonally to 45 degrees to face the direction of the punch. Perform shuto-uchi by using right as parry and then quickly strike incoming inner forearm with left shuto. Hook and grab that arm.Hikite grabbed arm and turn 45 degrees back towards attacker and shuto-uchi to neck with right, striking either with forearm or knife-hand strikes.(Note: this latter defence in sequence no.8 is another signature move of the Heian system of fighting. Its practical use is that of a fast, flowing set of movements that co-ordinates changing body directions and parry/grab/pull and strike a vulnerable point (carotid in the neck). It needs a lot of practise but once mastered is highly effective.Kata DiscussionThis kata is the first in the Heian series. It looks fairly straight-forward at first glance, as there are no complicated movements and the directions of travel are also very well defined.This kata should not be overlooked in its importance however, as it forms the very basis of the Shuri-te method of combat skills.In this discussion, I will take some time to explain principles which not only feature in this kata, but throughout the Shuri-te system. It seems appropriate to describe these issues in detail as they appear within the system, rather than ad-hoc or later.It should be noted that when appraising the principles of subsequent kata (in later discussions) similar sub-headings will be used as seen below. However, the content will change as each kata serves to introduce the practitioner to new aspects of a particular principle.In the discussion of any kata it may be beneficial to recognise certain common themes which serve to provide recognisable areas of study. These are:PrinciplesTechniquesApplicationsPrinciples of the KataAs the Heian kata are regarded as basic and necessary to the Shuri-te system, it should come as no surprise to learn that each of the 5 kata in the series has certain lessons to teach the student.We must be aware that the concept of principles is not to be thought of as techniques as such. Rather we must be able to see beyond the specific techniques in terms of self-defence, and concentrate on those fundamentally new movements which are expected of the body. Such movements will provide certain effects, and these must be fully understood and internalised. By doing so, the principles can then be carried forward into other parts of the Shuri-te system.Here are the principles from Heian Shodan:Use of MomentumShuri-te is based on the use of momentum for virtually all of its techniques. This is the biggest lesson to learn from this kata. Most movements are performed in such a way that individual techniques end in the “zenkutsudachi” or front leaning stance. This stance provides the perfect delivery platform for a large number of momentum based techniques for which Shuri-te is famous. Only a few of these techniques appear in this first kata.Let us briefly look at this idea of the use of momentum. Let me make a comparison to something which should easily be related to. Imagine a bowman. His task is to use his arrow (which has a sharp metal point) to penetrate the armour of a soldier who stands about 30 metres away. He takes his bow and pulls it half way back, then releases the arrow at the armour. When it hits, it leaves a sharp dent in the armour, but does not go through. The next time, the bow is drawn to its full length and then released. This time, the arrow fully penetrates the armour, and would kill the soldier.The faster the arrow travels in a straight line, the more momentum it has, and so the hardened tip of the arrow is able to focus all of the energy into one tiny area on the armour and penetrates it. Use the same circumstances again only this time use a flat headed (metal) arrow with no sharp point. The best result one could expect is a large dent in the armour.The use of momentum in Shuri-te requires the delivery of a hardened and sharp tool (two knuckes or “seiken”) to be delivered in a straight line with a high velocity and momentum. It must be realised though, that speed (velocity) on its own in unimportant for an effective strike. It is the intrinsic weight in and behind the weapon being delivered which provides the impetus for penetration. And for Shuri-te, the focus of the whole art is that of producing the most destructive effect from every strike. Therefore a strike is delivered with penetrating force, with the focus of power inside or behind the surface of the target.One more point to note about momentum. As was said earlier, speed is a component of momentum, and the higher the delivery speed, the better. But imagine being able to hurl a feather at a thousand miles an hour towards the soldiers’ armour. Would it have any effect? Hardly! It is the combination of speed, mass and focus of energy which makes for an effective strike.With a strike such as this, the need for accuracy and pin-pointing very small vital points is reduced (not eliminated) as a correctly delivered strike (as described here) will cause massive damage to whatever area it is may be targeted.RigidityIt might seem peculiar to speak of rigidity in such circumstances, but without it there would be no effect whatever. When delivering such a penetrative strike as described above, at the point of impact there must be rigidity in the weapon being used. Structural integrity is of the highest importance within a great deal of construction in the world. Without it, buildings would collapse in the slightest wind, or by leaning on a wall! Think of a modern jet aircraft. The modern airliner cruises at around 350 to 450 knots. Imagine how such a craft would disintegrate when travelling at speed should it hit a solid object (like a mountain). It would be akin to firing a rubber arrow at the soldiers’ armour. The effect would be to crumple on the surface.In terms of the delivery of a Shuri-te strike, it is of huge importance to make the weapon rigid at the point of impact with the surface (and beyond) to enable the delivery of the momentum gained in the delivery phase. It is accomplished by use of the timing (see below) of muscle contraction at the point of impact. Much could be said on how this is accomplished, but in actuality it is a subject which is extremely difficult to convey in written form, and therefore is best left to the teacher in the dojo.TimingThis is a principle which is far from unique to Shuri-te. It can be found in every existing martial art. It is perhaps the use and application of timing which could be seen to be one of the significant factors which differentiate the various arts.Two major facets of timing are introduced in Heian Shodan. Firstly the timing of muscle contraction at the impact phase of any strike (as described above). Secondly is the timing (or co-ordination) of virtually any technique with general body movement. For example, a front lunge punch would be delivered to strike just as the foot planted itself on the floor. To punch either before or after it lands would mean a much reduced impact effect. This occurs simply because the body has either not generated enough momentum (punch before the foot lands) or the momentum has dissipated (punch after the foot lands). To strike as the foot lands makes full use of the momentum generated by the forward movement of the body.In Shuri-te, this is fundamental because the system specialises in the use of this type of strike, and hence the use of timing in the development of such strikes (and other techniques) is paramount.Low Centre of GravityThe larger part of this kata emphasises use of a strong, stable and low platform for certain techniques. As mentioned earlier, the particular use of the front leaning stance is of significant importance in this system. Its use here is to enable both the smooth delivery of mechanical power of the strikes/techniques. This closely ties in with the use of momentum (discussed above). In moving forward in such a way, it is necessary for the knees to bend, which results in lower hips. This effectively lowers the centre of gravity of the body which provides for greater stability. By comparison this effect can be seen on modern day racing cars. By constructing a car which sits closer to the ground, the car has significantly more grip on the road and much better handling (assuming all other design features are adapted accordingly).Upright PostureAnother fundamental concept of the Shuri-te system is introduced in this kata. In order to deliver the necessary high concentration of energy in a strike, the body must be positioned in such a way that it can sustain the impact of delivery. Over many centuries, the Okinawans (and the Chinese before them) as well as the Japanese have all recognised that for the type of techniques we are discussing here to be highly effective, then the posture must be upright.This means in reality, that the back (and neck) should be straight. This has a number of advantages. Perhaps the two most important are that firstly it enables the body to better withstand the force necessary to deliver such high impact strikes, and secondly it allows a much more effective way for the practitioner to use changes in centre of gravity and other body movement (see below).Body Movement (Taisabaki)Having already discussed the other fundamental principles, it might seem superfluous to mention body movement, but there are still aspects of body movement which must be considered. As regards striking, then body movement has already been covered. To reiterate, movement in the direction of a strike will increase momentum and thus enhance the penetrative power of the strike.But there are other movements of the body which need to be examined. The practitioner can move up and down; step left and right; pivot through 360 degrees if necessary; any combination of these movements if it is physically possible to do so.As discussed in the section above on “Timing”, body movement type is another of those defining principles for each particular martial art. The same could be said for dance. The “Jive” and the “Viennese Waltz” are as different as “Chalk & Cheese” yet they are both dances. What makes them different is the way in which the body is used to move.In Shuri-te, there is an emphasis on producing enough energy for penetrative strikes, which requires a particular body movement type. However there are other distinctive movements in addition, which cannot easily be defined as exclusive to Shuri-te, simply because they have their roots in the original Chinese fighting arts. Never-the-less, when combined they serve to make this particular style of combat art.Within Heian Shodan, these movements are limited to the introduction of simple turns to left and right quarters (90 degrees); turns through 180 degrees; turns through 270 degrees; and turns to half facing (45 degrees off centre). When evaluated in terms of the compass rose (degrees) then it should be fairly apparent that Heian Shodan covers turning fairly comprehensively.TechniquesHeian Shodan provides a selection of the most basic and fundamental techniques in the Shuri-te system. These techniques are described below as isolated techniques, and should be viewed as the building blocks or basics (Kihon) for the kata. They are NOT described in the context of applications, simply because to think in terms of applications would mean looking at much more advanced Karate practice. Oizuki (Lunge Punch) - Looking at the techniques contained in the kata, the predominant striking technique is the lunge punch (oizuki). This is the most powerful strike in the Karate arsenal, and so it makes great sense to start learning how to deliver it from the very start.This strike is repeated throughout the kata, and this emphasises its importance. It should be practiced endlessly, and preferably on free-standing bags or makiwara (if possible).Lower Parry (Gedan Barai) - There are three blocking or parrying techniques in Heian Shodan, but they are certainly not all they seem. The lower block (gedan barai) has been usually been taught as a defence against a front kick, or indeed a kick from the side. The impracticality of this idea is immense. Only the most hardened and adept Karateka would be successful in using such a defensive tactic, so please do not think I discount the idea out of hand, because I do not.Rather, this theory about its use in this manner neglects the movements of the hands and body prior to the actual block itself. When carefully examined using the correct tools, this technique reveals a huge number of possibilities, such as parrying punches, wrist grab releases and striking techniques.Rising Block (Jodan Age Uke) - A similar story surrounds the use of the upper block. It is rarely taught as anything but a block to a straight punch to the head from the front. It should be considered as much more than this. It has perhaps fewer uses than the lower block, but even so, it is a formidable strike which will stop an attacker instantly.Double Knife Hand Block (Shuto Uke) - The third major "block" is the double handed knife hand block (shuto uke).This technique recurs over and over in Shuri-based Karate. This should be taken as a sure sign that it is of great importance. As with all techniques in any kata, the technique should always be examined within the confines of the full set of body movements required to execute it. These will change from kata to kata, and must be heeded in order to gain further insight into the use of the techniques.Shuto uke is no exception to this rule. In Heian Shodan we have the technique presented in two pairs, performed at angles. This is not a coincidence! The kata author was emphasising these angles as imperative to the use of these techniques.There are some lesser techniques in the kata, which add some variety, but in themselves do not add significantly to the kata as a whole.ConclusionHeian Shodan forms the basis of the Shuri-te system. As such it should be practiced diligently as a whole piece. There are many benefits in doing so, not least of which are the learnings which are pointed out in this discussion. It is important that the student go to great lengths to be able to reproduce the movements of this kata accurately (but not necessarily with great power or speed) before progressing on to look at the applications for the kata.Considerable effort must be made in gaining a thorough understanding of ALL the principles outlined in this discussion. To cut corners here means that further learning will be built on weak foundations. This is quite a foolish approach and is likely to lead to misplaced confidence in ability, and ultimately defeat in situations where survival is of the utmost importance.Always realise that the Heian kata as a group is a progressive learning tool. Only when ALL 5 have been covered and learned in depth will an all-round fighting system have been learned. Even then, the Heian is a basic tool and one which must be augmented by further training and learning from other kata.CHAPTER 5: HEIAN NIDAN BUNKAI-156312-502920Heian Nidan: BunkaiHeian Nidan: Bunkai (Applications)Please refer to the preceding kata diagram page and the corresponding “Position Numbers”.Sequence No.1 (Positions 1-3 & 4-6)App No.1: Overhead hand or weapon strike; or lunge punch to face.Attacker is facing front. He performs front lunge punch to the face or overhead strike with his right hand.Defender quickly steps forward into kokutsu dachi, dropping low towards and slightly to the left of the attacker. At the same time, raising right arm to parry the blow from underneath and striking (ippon ken or nakadaka ken) to side rib kyusho point (or into tricep muscle).With right hand, hook over his forearm, and grab wrist. (Wait here for next point).At the same time as 3. above, locate the underside of his elbow with your left hand. His elbow must be bent.Simultaneously - push your right hand forwards (causing his own hand to move towards his own face) while rotating his elbow upwards with the left hand. (Note 1)Once his elbow is up high, begin to turn to the right; pull your right hand back (while holding his wrist) and with the other hand (your left) push down on his elbow. He will also bend forwards significantly at this point. (Note 2)All the above movements from 4. Onwards should be one smooth flowing motion.The result should be total destruction of the elbow by in the manner of twisting the joint in the manner of a chicken leg or wing. Note 1: if attacker uses a weapon such as a knife, this technique can use his own weapon to injure his face.Note 2: The turning of the body should be vigorous, so that it adds significantly to the joint destruction.App. No.2: Front lunge or round punch to the head.Attacker is facing front. He performs front lunge or round punch to the face with right hand.Defender quickly turns sideways to the left, stepping forward into kokutsu dachi, dropping low towards and central to the attacker.At the same time, the left hand is raised to parry the attack, while the right hand strikes in upper cut fashion to the sternum.Hook with left hand to grab the wrist.Hikite grabbed wrist and strike with back-fist to temple (or forearm to neck, depending upon the distance).Sequence No. 2 (Positions 7a-7b)App. No. 1: Right sleeve or wrist grabAttacker is facing and grabs your right sleeve or wrist with his left hand. Using your left hand, reach and place it over his grabbing hand and secure it.Pivot body to the left and bring both your hands to your left hip (hikite) causing his arm to straighten and twisting his wrist so that he bends forward to relieve the pressure.You can now release his grip, keeping hold of his arm with your left hand.Perform side kick to his exposed knee, followed very quickly by back fist or hammer fist to side of head (temple).Sequence No.3 (Positions 9-10)App No.1: Front Punch, lunge or threaten.Attacker is facing and attempts either to lunge, threaten or punch (straight) the face with his right hand.Shoot left arm straight forward to intercept his attack, reaching to the inside of his arm.At the same time, bring right hand around towards left ear (palm facing). This is the preparatory movement for shuto uke.Quickly hook left hand/arm over the top of his and pull towards your left hip (hikite).At the same time as 4. above, step forward (with right leg) into kokutsu dachi and strike to side of neck with right knife hand or forearmThis sequence is repeated as a mirror image for the same attack with the other hand.Sequence No.4 (Positions 11-12)App No.1: Lapel grab, lunge or punch to chest level or throat.Attacker is facing and attempts to grab front clothing at lapel height with his right hand.Begin movement to step straight forward with right leg to end up in zenkutsu dachiAs you begin to move forward, use pressing block with left hand to deflect and control his attack.Strike with spear hand to centre of throat, while pushing forward deeply to overbalance him to the rear.App. No.2: Cross Lapel grabAttacker is facing and cross grabs front clothing at lapel height with his right hand.Begin movement straight forward with right leeg to end up in zenkutsu dachi.Reach left hand up and over the top of his hand to secure it.Continue forward and strike spear hand to throat.Immediately turn a full 270 degrees to your left, adding pressure to the grabbed wrist (kote gaeshi).Right hand may come in to play to secure his arm.(Note: Positions 12-15 are previously covered in Heian Shodan Sequence No.8)Sequence No.5 (Positions 16-18 & 19-21)App. No.1: Lunge punch or grab attempt to upper body/faceAttacker is facing and attempts to grab or punch the upper torso, throat or face with his right hand.Defender is initially standing naturally, and begins to step to the diagonal left front as the attack begins.While the step is being executed, the defender will also perform a circular parry with the left hand, followed very quickly by the right arm performing what appears to be a circular block using the right arm (parries to "safe or outside" position). This movement we will call "Mawashi -uke" or "round parry".With the right arm now in place, the right hand hooks over the forearm and grabs the arm at the wrist. This is then secured and used to pull the attacker of balance to the front.At the same time that the arm is pulled, the attackers' front leg is kicked (right front snap kick) so as to destroy the knee.The final movement is to strike with a reverse punch to the temple or other exposed side of head striking point.Further notes on this technique: This entire sequence should be concluded at lightning speed. As with all Shuri-te techniques, the effect is final and highly damaging.The apparent double block is known as "Mawashi uke" and should be practiced for speed and accuracy. It is not designed to damage, but is the "set up" for the rest of the technique. App. No.2: Lunge punch or grab attempt to upper body/faceAgainst the right punch parried to the inside.Technique is essentially the same as in app. No.1. The only difference is that defender parries and blocks the attack to the "unsafe or inside".Obviously, this is the least preferred method, as it leaves the defender open to further attack from the opponent's free hand.This requires that defender use the opposite mawashi uke to that described above, to deal with the same attack.Defender will this time remain standing centrally while performing left mawashi uke, so that the attacking arm is deflected, hooked and grabbed by the left hand.Defender now attacks any exposed vital point on the legs, followed by punch with right hand to head (which is now dropped down because of the kick to the leg).Note: Wherever possible, always block and parry to the outside or "safe" side.Sequence No.6 (Position 22)App. No.1: Alternate ending to sequence No.5 (App. No.1)Against the right punch parried to the outside.Having just completed the punch to the head, you should still have hold of his right wrist with your right hand.Bring your left hand over and swap your grasp on his wrist for your left hand.Step strongly to the front, while rotating his arm in the same direction by exerting rotating pressure using the left arm. Push the right hand (located at his elbow) inwards towards the centre of your body.This combination of movements will cause severe elbow damage and shoulder dislocation, as well as overbalance and a possible throw on his back.App. No.2: Alternate ending to sequence 5 (App. No. 2)Against a right punch parried to the inside (unsafe side).The attack is parried to the left side using the left mawashi uke as described above. Having just completed the punch to the head, you should still have hold of his right wrist with your left hand.Bring your right hand over and swap your grasp on his wrist for your right hand.Step strongly to the front, while rotating his arm in the same direction by exerting rotating pressure using the right arm. Push the left hand (located at his elbow) inwards towards the centre of your body.This combination of movements will cause severe elbow damage and shoulder dislocation, as well as overbalance and a possible throw on his back.Sequence No.7 (Position 22-23)App. No.1: Another alternate ending to sequence No.5 (App. No. 1 only).Having just performed S22 (wrenching his arm) maintain a grip on his wrist with your left hand.Now turn quickly and fully through 270 degrees to your left finishing in the gedan barai movement.This action will cause even more arm damage and a powerful throw onto his back.Sequence No.8 (Positions 23-24 & 25-26)For the description that follows, we are only really interested in the movements of S25 & 26. The duplication of movements simply indicates that the same movements may be done using either arm.App. No.1: Hooking punch to the side abdomen or ribs with the left hand.Step diagonally to the front right while executing the lower block in the crook of his arm (strike to pressure point on upper forearm).Maintain contact with his arm and step to the left diagonal, executing a strong forearm strike to the upper jaw or neck.Kata DiscussionPrior to Funakoshi, this kata was the first of the Pinan that would have been learned. Given the increased complexity found in this form, placing the kata as the first to be learned hardly seems the logical teaching method. No doubt this occurred to Funakoshi also, hence the change around.What is indicated from this however is that Matsumura probably taught these two kata in the order that they were adapted from their original (single) kata, known as Quian Nan (Chang nan).It is believed that the kata Chang Nan (or Channan) dates back to at least the 16th century (Note 1: Sells, p256) where it is chronicled in the book “Kikoshinsho” (Chi Hsiao Shin Shu) in its original form. It seems that Matsumura took the form as his inspiration in his formation of the original first & possibly second Pinan kata.Although Chang Nan kata has been lost to us today, it is clear that it was still in use by a very few at the turn of the 20th century, as Choki Motubo is recorded as having known the kata and compared Itosu’s version of the newer Pinan version in discussion with Itosu himself (In Sells p257, from Motubo 1934 and subsequently Murakami 1990).It is unfortunate to note that Motubo also stated that the newly named Pinan kata underwent significant changes throughout Itosu’s lifetime. Invariably this means that Pinan probably underwent a form of “sanitation” and possible conformity with other kata known to him. This is mere conjecture, but would explain why it is possible to see elements of kata such as Kushanku (Kankudai) and Jion in the Heian kata.Despite all the changes, the kata under discussion in this chapter (and also the previous chapter) are a derivative of a kata that has been in existence since at least the 16th century.As a reminder, for the purposes of analysis of the existent kata, we are looking to discover the function of the kata as used by the men who created the Shuri-te system, which is known today by various names but popularised as Shotokan.PrinciplesSeeing Double If Heian Nidan has a main theme, it would be about doing more than one thing at once.The opening movements have double arm movements, followed by a sequence with simultaneous arm and leg strikes. Other double movements in the kata are less obvious, but they are there even so, right the way through each sequence to the very end.Introducing this concept is a very important development in the understanding of Karate for the student. In the heat of the moment when a split second decides your fate, it is desirable to be able to develop the skill of both defending and counter-attacking in the same instant. Right at the very start of this kata, we see this idea. If you follow through the applications shown for this movement, you will quickly see just how much sense it makes.The first move is simple yet highly effective. As it is defending against an overhead attack, it is very likely that the assailant would have some sort of weapon in their hand (knife, club etc.) The ability to move out of the way, block or parry the attack, and cause the attacker extreme pain all at the same time would be very useful. As we see in the opening of H. Nidan, all these actions can be achieved with relative ease.Parry & StrikeTied closely to the idea of the simultaneous attack & defence idea is the notion of parry and strike in the same movement. The kata is introducing us to the idea of highly efficient fighting. This means that the interception time is vastly reduced. Pain is induced, causing a severe handicap which then creates an opening for a finishing strike.Nidan gives us perfect examples of these types of techniques, (e.g. shuto uke & mawashi uke). Although immediately apparent to the novice student, the double knife hand “block” (shuto uke) has a multitude of uses in defence of a higher punch to the head. In all cases the first movement of shuto-uke (the hand that thrusts forward) is in fact the initial strike or parry, possibly turning to a grab, then the second arm movement strikes at the exposed vulnerable areas.The round block (mawashi uke – see below) is tucked away quite subtly in the kata, but essentially the principle described above is the same, only directed as a defensive movement against strikes to the middle area of the body (chest & neck).Naturally the development of speed of execution is a very important facet of the implementation of such movements, as is the development of good co-ordination. Introducing these movements now gives the student early exposure to a vital tool in their arsenal.TimingAlthough timing was introduced in the first kata, now it really starts to become more apparent. To be able to parry and strike quickly and effectively, timing is of the utmost importance. There are a lot of movements in this kata to practice timing. This is why it is vitally important, firstly to be aware of the applications for all the kata moves, and secondly, to be able to practice those moves with a partner. Only then can you begin to grasp the concepts inherent in the kata.But what do we actually mean by “timing”? The answer is quite simple to write on paper, but quite a difficult concept to master in practice. It is perhaps the singular most difficult part of learning to be a martial artist, of whatever discipline. It is the method of making body weight and strike or parry act in unison. It is also the method of making the body move in such a way that it develops power (muscular or momentive) and does so in a way which significantly adds to the striking force of arms or legs (or other bodily weapons) also in unison.So the one fundamental principle in timing is about doing things at the same time. This is only something that can come from good teaching and a great deal of practice.Body positioningWhere your own body moves to in relation to the attacker is of fundamental interest. In Heian Shodan, most of the techniques showed body movements which were quite large and obvious. In Heian Nidan, the movements are much more subtle, but just as important.The techniques used in this kata are more advanced than in the previous kata. They require advancement of skill in many areas, not the least of which is that of body movement and positioning.Learning these new body movements should be seen as a progression from the previous kata. They require a deeper understanding of how body movement and hence relational positioning is fundamentally important to effective technique.TechniquesOpening SequenceA highly significant opening to the kata. It introduces the concepts principles described above, right from the outset. Fast and unexpected movements, causing severe pain and shock, leading to severe and total disablement....all in about a second and a half.Straight Shuto UkeIntroducing a variation on a theme. With this technique we can slip straight past the attack and counter before he even knows what hit him!NukiteA parry and finger-tip strike all in one. Again, one more way to slip past the attack and use deadly force in ending the confrontation very quickly.Mawashi uke, maegeri & gyakazukiThe term “Mawashi Uke” may not be familiar to most practitioners of Shotokan (and possibly other styles of Karate). It refers to an enhanced version of the commonly known “Uchi-ude-uke” block. Mawate-uke uses the initial sweeping movement, an open palm, to parry the incoming frontal hand attack. The second arm movement (usually used as the “block” in Uchi-ude-uke) sweps quickly across the front of the body to either contact the attackers’ arm to perform a grab, then hikite, or to strike the attackers’ arm and force an opening. For more clarity on how this action is performed, please see the technique described later in applications section of this chapter.As will be seen later, this particular combination is highly effective and certainly fulfils all the criteria for a system which dispatches an assailant quickly and effectively, causing maximum damage.ConclusionThe first two kata in this series provide the basic elements upon which to build. Indeed, there is a great deal more to learn before the system could be said to be well rounded. Even so, with the basics of technique and the next level of understanding of the kata being in the most obvious applications for each move, there is much room to return to these kata at a later time in the training to tease out variations in technique.Heians Shodan and Nidan give the essence of the Shuri-te system….providing room for development of good and solid understanding of basic body movement and technique, while giving scope for the examination of the momentive striking and simultaneous movements described earlier.But bear in mind that there is still much more to learn in later kata. Shodan and Nidan merely prepare the ground for what is to come.Note 1: Unante: The Secrets of Karate by John Sells (2nd Ed.) 2000CHAPTER 6: HEIAN SANDAN BUNKAIHeian Sandan: Bunkai (Applications)Firstly, there are a number of what seem to be pre-emptive attacks in this kata. Never assume that what is presented in the kata is the whole story. Shuri-te fighting required fast and lethal techniques to cover many situations. The kata does not have the luxury of educating us about how we got ourselves into the situation...just how to get out of it.Secondly, this kata seems to be concerned with very close quarter fighting and grappling. This is a theme which runs throughout its short length. To attempt to interpret it in any other way makes no sense whatever.Please refer to the preceding kata diagram page and the corresponding “Position Numbers”.Sequence No.1 (Positions 1-7)App. No.1: Left handed threat/grab attempt/straight punch to upper chest or throatAttacker is standing facing defender.As attack is made, perform mawashi uke (fast parry with right hand, followed by left arm performing ude uke) while turning to left in back stance (Position 1).Maintain contact with attackers' arm by hooking your left hand over his wrist (kake-te, and step forward while strongly your right arm under his elbow so that the crook of your arm is under his elbow. Ensure that his elbow is pointing down and straighten his arm.Simultaneously, push his wrist downwards (with your left) while lifting your right arm upwards sharply. This will cause his elbow to be forced beyond its natural extension and break the joint. You must shift to stand upright at this point - as per the kata (Position 2).Keeping firmly hold of his wrist with your left hand, maintain the position under his elbow (with your right) but now circle your right arm to the left and fold your arm down across his forearm, maintaining a downwards pressure. This has the effect of locking both yours and his arms together (Position 3).Now sharply turn to your left in back stance, while locked in this position. This will further damage the elbow, but will also now fully dislocate his shoulder (Position 7).Note: the final movement in this sequence is Position 7 in the diagram. It is placed here because the kata uses Positions 4 to 6 to repeat this technique as a mirror image. The final movement (Position 7) applies to both sides. You merely need to perform Position 7 to the opposite side.Sequence No.1 - DiscussionHere we see a set of movements which seemed to have baffled karateka for many years. The reason for that has been that they had always been taught (based on their teachers' teachings etc.) that Karate was merely a striking combat art. If we follow such reasoning then the movements make absolutely no sense whatever.We can see that the initial parry movements can either be as a result a striking or grabbing attack. The movements easily accommodate both possibilities. What follows is the apparent non-sensical double "block", which we can now see works perfectly with the body movements described by the kata. As an arm lock (as described above) the moving to a standing and raised position is completely necessary if pressure is to be applied to the elbow joint.We could just leave the sequence at that point, as it seems to accomplish what we need to achieve....which is to neutralise the threat. The problem with the technique thus far, is that it leaves the defender in something of a vulnerable position, despite him having acquired a painful arm lock or joint destruction technique. All techniques should have some form of redundancy built in, just in case things don't do exactly as planned (and they rarely do).Having been shown how to exactly the same movement as a mirror image, there is a simple 90 degree turn with a "morote-uke" or reinforced block. Here is our safety factor. By turning in the manner described above, we quickly move out of the way of any further attack, but also effect a secondary injury to our attacker.As you can see, in this entire sequence, we have not actually struck our opponent once, yet we have broken his elbow joint and dislocated his shoulder! Besides that we have evaded an initial attack and possibly thrown him on the ground in such a way as to place his body between us and any other attackers. Not only have we accomplished all this, but we have also adhered to the form of the kata almost without deviation.Sequence No.2 (Positions 8-10)App. No.1: Opponent grabs your extended armYou have attempted to either reach for your opponent or strike him with your right hand. He has intercepted your attack and now holds your wrist securely at the wrist, most likely with his right hand.Follow the movements exactly as per the kata. Turn around to face the rear (anti-clockwise) and step backwards. This extends the distance between you both, and foils any attempt at an arm lock. You are now in a gyaku-zenkutsu-dachi (reverse facing stance).Now complete the turn (anti-clockwise) but now step forwards to make up the distance between you both as you whip around to perform hammer fist to the side of his head, using your free (left) hand.Your right hand is wrapped around your body, but he will either have released as you turned, or will do so as you strike.The sequence ends by stepping forward and striking with a lunge punch to an available target (chest or head).Sequence No.2 - DiscussionI have seen people come up with some quite convoluted applications for this sequence, when in actual fact, the most obvious seems to be the best answer. So why is it that for so long, so many people seem totally unable to come up with sensible interpretations for a relatively simple sequence?In order for me to try and give an answer to that question, just let me move off on a tangent for a moment. Perhaps one of the greatest bits of mis-information in Karate over the last 50 to 100 years has been the notion that "There is no first strike in Karate". This notion was popularised by Gichin Funikoshi, the so called "Father of modern Karate", as part of his Twenty Precepts of Karate. Whether he had some deeper meaning for the phrase other that its obvious surface meaning, I cannot say. What is certain is that the obvious surface meaning has been taken seriously by generations of karateka ever since.The problem with it initially is that the obvious surface meaning is a huge distortion of the truth, and this misunderstanding has led to a certain belief about Karate. If that belief is that the karateka never strikes first, how then do you rationalise a kata sequence which obviously shows the karateka to have initiated a first strike?!Of course there is first strike in Karate. For a bodyguard to a king to be taught never to initiate a strike is totally ridiculous. The bodyguard is constantly scanning for potential threats, and is trained to act instantly the moment a threat is perceived. Otherwise, what is the point of having a bodyguard?This sequence shows a method for regaining control of a situation where a pre-emptive strike has been intercepted. It utilises some the basic principles of this kata (see "Principles" below). It is strong, decisive and fast which is in keeping with the Shuri-te methodology.Sequence No.3 (Positions 11-12)App. No.1: You apply a head lockNote: This next sequence really follows on from sequence no. 2. I have listed it separately because there are many situations when a defender may find themselves in the position to apply this technique. It can only be applied from very close quarters (a clinch).Position shown in 10 on the diagram shows a completed right lunge punch. From here it is very simple to loop the right arm around the neck of your attacker.Trapping his neck, pivot throught 180 degrees finishing with your right fist on your right hip (performing a side head-lock) and then bringing the left foot back to meet your right (feet together as in Position 11)Step forward strongly into straddle stance (body facing left) turning the torso and arms strongly so as to snap the attackers' neck.Sequence No.3 - DiscussionThere's not a great deal more to say about this particular sequence. Certainly, the interpretation I have shown above is perhaps the most obvious. There other trains of thought which head along the lines of the sequence being a throw. In particular the cross buttocks throw. On the face of it, this seems quite plausible. The use of a wide stable stance in necessary, and the use of turning the body aligns itself with the principles of the kata. Some people advocate the use of the “Cross Buttocks Throw” at this point. Where I have a difficulty with this notion is that the cross buttocks throw requires a very deep forward bend in the body to allow the opponent to be pulled over the hips and lower back.The kata gives no indication of this whatever, and if it did, then I would have to re-think the underlying principles of the whole kata! Remember that my belief is that the techniques of the Heian kata are meant to be destructive and deadly, so fairly benign throwing techniques would not feature here.The wide stances give stability to perform techniques with a straight and upright back. It is this posture which is imperative to making the techniques work. To suddenly break this posture totally would be completely alien to the whole kata.Sequence No.4 (Positions 11-15)App. No.1 Knee attack - "Cut through a crowd"Note 1: There is some apparent cross-over with the previous sequence. Treat this sequence as an entirely different circumstance.Note 2: The purpose of the technique is to disable a large number of people in as quick a time as possible, so as to affect an escape.Attacker can be either stood facing the defender or with his back to the defender. He could also be at any position within the 180 degree frontal plane.Place the fists on the hips.Quickly raise the right foot to perform a sweeping motion to the outside of your opponents' left knee. This is done in the manner of a low knee level mikazuki geri. Angle the attack so that as your foot stamps downwards, he goes down on his knee and you stamp on the back of his knee joint.As the sweep is performed, your body drops into straddle stance.As your body comes around, use your right arm as a "body barge" to ensure that he is off balance.Use your right fist to back-fist strike his temple or other target of opportunity around the head.Note 3: In this sequence, the above technique is unusually performed 3 times one after the other. The first example is primarily used to describe the technique shown in Sequence No. 3 above. The next two repetitions show both right and left presentations of the same technique. There is further cross over between the sequences as this sequence can either be performed with a starting position standing upright or in straddle stance.Sequence No.4 - DiscussionPracticing this technique on a free hanging kick back shows the power involved in the technique. Naturally accuracy is required, but this is not a cumbersome to the experienced karateka.The follow through with the round elbow is more akin to a barge and seems to work well on the bag. How effective it is on a person may be more subjective.Even so, the whole technique flows well and overall seems to be highly effective at following the principles of neutralising a threat and quickly finishing a confrontation.Sequence No.5 (Positions 17-18)App. No.1: Upper arm clothing grab:Begin this application standing upright in a natural standing position and your opponent is standing on your right side, facing you. He has grabbed your clothing at the upper arm with his left handArm movements - circle your right arm in a clockwork direction (towards you and then out towards his arm).Leg/body movement - (in conjunction with the arm movement above) depending on the distance he is stood from you will determine whether you step away from him, or towards him, in straddle stance. The purpose is to aid the arm movements in bringing him forward and off balance.As you circle your arm, your intention is to momentarily straighten his arm. Bring your arm around and over the top of his arm, as you simultaneously step back into straddle stance. This will overbalance him forward.Make sure you locate your hand on his arm at his bicep, with a little downward pressure.At this point, he will probably not have had time to disengage the grab, which works to your advantage, as the arm movements are designed to trap his arm.Maintaining the holding/locking pressure, step fully through with your left leg to perform the finishing lunge punch with your left hand.Sequence No.5 - DiscussionAs you can appreciate, written descriptions of sequences can sometimes be a little confusing. Hopefully you can see that the arm and body movements seek to locate his grabbing arm in position, while dropping backwards causing the low stance to break his balance, by using his own grab against him. This sets him up nicely for a finishing strike.The kata performs the arm movements slowly. This seems to be a feature of the Heian kata at the very least. The slow arm movements all seem to coincide with the type of movement described here. In other kata, we will see this idea repeated often. It describes a form of arm location and locking prior to a finishing strike. If we wished, we could view it as a kind of code for this particular type of movement.Sequence No.6 (Positions 18-19)App. No.1: One handed shoulder clothing grab from right/rear position (using left or right arm)Grab would be either on top of the shoulder or at the top/side of the arm.Stand upright with your opponent grabbing you with either arm as described above.Pivot strongly on the right leg, through 270 degrees, as you drop your height into straddle stance. In doing so, execute a turning elbow strike to his ribs with your left elbow, and a hooking punch to his face with your right.Sequence No.6 - DiscussionModern thinkers seem to like the idea that it is a throw. I can see the logic of the throw idea. The large turning movement seems to lend credence to the idea. Also the unusual arm configuration and movement is suggestive of throwing.For the same reasons I expressed in the discussion for sequence no. 4, I prefer to believe that the kata indicates a striking technique. Not only is my belief in keeping with the integrity of the kata as a whole, it also fits in with the theory of the Shuri Crucible (Bruce Clayton - Shotokan's Secret). Part of that theory is that kata were modified and created in order to drill the practitioners for quite specific scenarios. In this case, you are in a crowded room full of adversaries and they are generally untrained in highly technical unarmed combat, they are Westerners and they want to restrain you rather than kill you. This application works perfectly to fulfil an escape from just such a situation, so as to be able to move quickly on to the next adversary in the room.Sequence No. 7 (Positions 19-20)App. No.1: One handed upper arm/shoulder clothing grab from the right side.Opponent is stood on the right side, facing you, making a grab to the upper arm or shoulder. You can be standing upright and in a natural stance.Quickly step to the right, dropping into straddle stance and striking with right elbow to the ribs and left hooking punch to the face.Kata DiscussionWith this and subsequent kata in the series, there is significant disagreement over origins. There is no evidence to suggest that Heian (Pinan) Sandan was ever practiced by Sokon Matsumura. The kata is still very much in the Shuri-te mould, and many reports have it that Itosu taught it in his later years, although it seems he had a preference for teaching Shodan and Nidan.Looking at the katas' form, it has definite leanings towards grappling techniques, and the use of the straddle stance (kiba dachi or originally fudo dachi) in particular. If we consider that Itosu was also teaching the Tekki kata series, then it should be noted that none of the techniques from those kata appear in Heian Sandan, yet there is the significant influence of the main (basic) feature of the Tekki series, that being the use of Kiba dachi (straddle stance).It seems quite reasonable to assume then, that Itosu realised that he needed to incorporate the important combat tactics found in Tekki but simplifying the techniques for practicing specific scenarios.These inferences are not so hard to understand when we consider that Matsumura and others of the Shuri-te lineage often taught novice students at least Tekki Shodan, along with Heian Shodan and Nidan.Novice students tend to find Tekki quite difficult to grasp, and so Heian Sandan is a great compromise, allowing the student to gravitate to learning Tekki later on, which eventually became the tradition of teaching in most schools of Shotokan.Being a very short kata is another clue to its origins (Tekki). After analysing the kata, it becomes fairly clear that it's creator (Itosu to my mind) utilised his own experiences and significant life learnings. A main feature of this kata are the unusual low level foot sweeps/strikes in the middle of the form. It is quite probable that he is the instigator of a technique that found some notoriety with one Chokuto Kyan, who received training from just about every senior katarteka who worked at Shuri Castle.Kyan is renowned for his ruthless and some would say "warped" attitudes towards the use of his skills. This particular technique was used as a means of clearing a path quickly through a large group of adversaries. It has to be said, that those adversaries would not necessarily be trained fighters, just people who happened to be in the way.PrinciplesDropping the Centre of GravityTo achieve some understanding of how versatile this idea can be, Heian Sandan introduces the use of the straddle stance (kiba dachi). The techniques of the kata extensively promote the shift from a standing position to this strong, stable and relatively low stance.Raising the Centre of GravityThe opening sequence of the kata shows us the opposite to lowering, and of course that is raising the centre of gravity. It should be noted that in the realm of close quarter standing grappling, these simple principles are of the utmost importance.As we discussed earlier, the grappling techniques revealed in this kata are fairly simple, but do not underestimate the power of the underlying principle. In the Tekki series especially, those complexities are explored in equally as much detail as would the samurai in their studies of battlefield grappling (kumiuchi or yawara - eventually to become jujutsu).The Power of the TurnObviously, we have not explored Tekki Shodan in this book so far and so making reference to it with regards to turning may seem superfluous, especially as the embusen (floor pattern) of Tekki is a straight line. However my own studies of Tekki Shodan reveal it to contain the use of pivoting as a fundamental principle. When combined with grappling techniques and the straddle stance (kiba-dachi) Karate takes on a whole new look. Suddenly it becomes much more like aiki-jujutsu.The type of turning shown in Heian Sandan is such that having secured a part of your opponents' body in some way, you use the low centre of gravity of the straddle stance and your ability to pivot the entire body about a central axis, in order to effect some damage to your opponent. In doing so, you remain balanced and in control.As you look at the kata, you will notice that this type of turning is not just confined to the use of the straddle stance, such as the opening sequence for example. However, the straddle stance provides a typical stance with which to experiment with the main concepts of the kata.It should be noted at this point, that turning type movements have been present in the previous two Heian kata. What should be apparent is the fundamental difference of the way in which the body is used within Heian Sandan, to effect damage in a way specific to this kata. The kata is short but the applications are devastatingly effective. This kata must not be underestimated as it has a great deal to offer in terms of adding to the growing repertoire of the Shuri-te practitioner. ConclusionThis is the third part to the Pinan kata and introduces some new concepts and features with regard to some quite specific scenarios, related to close quarter grappling, which is significantly different from the techniques already introduced earlier.As we have seen, the predominant features of the kata are raising and dropping the centre of gravity, as well as pivoting and turning. Drawing from the Shorei ryu methods and Chin Na Chinese grappling, Heian Sandan acknowledges the close quarter aspect that so is so often a large part of combat, and very often ignored (or not understood) by Karate practitioners.Gaining a sound understanding of the techniques and principles in this kata go a long way towards developing a well rounded martial arts syllabus and hence a more well rounded student of the art.CHAPTER 7: HEIAN YONDAN BUNKAIHEIAN YONDAN: BUNKAI (APPLICATIONS)(Please refer to the preceding kata diagram page and the corresponding “Position Numbers”)Firstly, Some Common Hindrances to Understanding Shotokan/Shuri-te KarateThere are some common mistakes that many people make about Karate in general. The first is to assume that Karate is in fact a Japanese martial art. This is only true if we consider Karate from around 1902 onwards, as that was when some of the masters from Okinawa decided to expand their sphere of influence and travelled to mainland Japan. Before that, it was wholly a fighting system of the Ryu Kyu islands, some 300 miles off the coast of Japan, specifically the island of Okinawa.Although it is true that there were some very early combining of the indigenous and underdeveloped fighting systems on the islands (around the turn of the 17th century), the Okinawan system of "Te" remained a wholly separate art, only practiced by the Okinawan nobility, and then only in secret, hidden from their Samurai overlords.It is important to realise these facts, so that we can recognise that the development of Karate up until 1902 had a path quite separate from the mainland Japanese martial arts. To all intents and purposes, Chinese arts provided the major catalyst for the development of the two schisms of Karate that are Naha-te and Shuri-te. We also know that samurai martial arts were learned by at least one (or more) influential people among the Shuri castle staff. Sokon Matsumura is documented as travelling to the Satsuma province on the Japanese mainland and attaining Menkyo Kaiden (highest level possible) in Jigen Ryu swordsmanship.Knowing this, it seems ridiculous to ignore the fact that all the knowledge he had of the samurai fighting arts would have had some influence on his development of the fighting systems he employed back home in Shuri castle.What we must realise is that what Matsumura developed was in fact a synergy of the fighting arts of the Chinese and the Japanese, with his own personal lifetime discoveries thrown into the mix. If we bring ourselves back to Heian Yodan, we should now see that the techniques are unique to this art, in as much as the movements of the aikijujutsu of the Yamabushi monks were unique to their own needs. Or indeed the warriors of the Wu Dang on mainland China used similar principles in their own arts.Matsumura drew upon his vast experience of a variety of fighting styles to create something entirely unique. This is what was to become known as Shuri-te, Tou-de, and finally….Shotokan Karate.This kata provides an introduction to the more advanced techniques of dealing with an armed assailant. As you work through this kata, you need to realise that it was filled with techniques designed to deal with particular enemies, armed in a particular way.In creating a bodyguard system, its creator would take into account any and all possible weapons that it may be required to face. Matsumura would be well versed in all the weapons of the day, both Eastern and just as importantly, American, Portuguese, Spanish and British. We need to remind ourselves that the Okinawans were under strict instructions (from the Japanese) to repel all visitors to their shores on pain of death. This meant they would have to stand toe to toe with a wide variety of visitors from around the world wanting resupplying or just rest and recuperation. Of course, being told to “go way” would not sit well with ships crews intent on entertainment.The officials sent to send them away would be highly trained martial artists, either part of the local police force (set up and controlled by Bushi Matsumura) or officials from the palace, who as we know by now, were also highly trained bodyguards.After many years of enduring these highly dangerous encounters, it would be sensible to assume that the Okinawans would have learned much about the wide variety of weapons used by other nations as well as pirates.So with all this in mind, we can turn to look at the first of the Heian kata that deal with disarming assailants with a variety of different weapons.Sequence No.1 (Positions 1-2)App. No.1: Overhead attack with striking or cutting weapon (Sabre, katana, rifle & bayonet, bo staff). May also be used against an empty handed attack from overhead.Note 1: The following description relates to a striking weapon (including rifle and bayonet). See note 2 below for more detail on using this technique against a bladed weapon.Attacker has the weapon in his right hand. In the case of katana, it could equally be a single handed or double handed strike. (If the weapon is a rifle, attacker uses overhead slashing attack, left to right from attackers’ respective).As the attacker is raising their weapon up over their head, defender should step towards the attacker and slightly to the left (from defender's point of view), in kokutsu-dachi (back stance).As defender moves into this position, he must raise his arms in order to catch the weapon as it is propelled towards his head. The right hand comes up to catch the weapon at head height, while the left hand reaches forward and catches it nearer to the attackerAt the instant the weapon is intercepted, defender pivots on the spot to face the opposite direction, while quickly rotating the weapon downwards by causing his hands to end up low and to the left of the body.This should be done in a "whip-lash" manner, co-ordinating body and hand/arm movements so that the weapon is wrenched from his grasp. Note 2: Making this technique work for the assailant armed with an edged sword requires some adjustments to distance and timing.In this instance, as the weapon is being raised up, the defender must shift slightly closer to the attacker, and reach up and catch his arm(s) in a similar manner as before. The right hand must catch his forearm, while the left arm must catch his upper arm. The subsequent turn and "whip-lash" will be applied to the arm, thus causing the attacker to be bent forward violently, with the possibility of some damage to the elbow and shoulder. The emphasis is on disarming for this technique. From this position it is relatively easy to gain control of the weapon.Sequence No.2 (Positions 2-4)App. No.1: Overhead attack with rifle and fixed bayonetAttacker is holding rifle in the standard two handed manner and attempts to strike downwards with bayonet in an overhead slashing type strike. (right to left from attackers’ perspective).Defender steps forward in kokutsu-dachi, slightly to the right of the attacker (from the defenders perspective).At the same time as stepping in, the defender raises his left arm to protect his head and catch the rifle on the upper wooden furniture. The right hand catches his left arm (above the elbow).Defender now quickly steps to his left in zenkutsu-dachi (front stance). While doing so, he keeps hold of the rifle with his left hand and rotates the attackers left arm so that his elbow raises up. He then completes the movement by pushing downwards to the front. This has the effect of severe overbalancing the attacker (to the point he is likely to fall over) as well as disarming him. The rifle is retained by the defender.App. No.2: Overhead attack (kirioroshi) with katanaAttacker has drawn his sword and raises the sword to the overhead position (two handed).Defender steps forward in kokutsu-dachi, slightly to the right of the attacker (from the defenders perspective).At the same time, defender raises both hands to reach for the sword handle (tsuka) as the attacker brings down the sword for the attack. Left hand catches just behind the sword guard (tsuba) and the right hand at the end of the sword handle (tsuka gashira).When secured, defender then pivots to the left, while rotating the sword sending the sword tip (kissaki) back towards the opponents’ groin. This is achieved by rotating the tsuka gashira forwards (using the start of the juji uke movement).Having overbalanced the attacker, the defender maintains his grip on the tsuka, and rotates back to his right, bringing the sword edge up either under the attackers arm or across the neck, whichever is exposed.Sequence No.3 (Positions 4-7 & 8-10)App. No.1: Lunging attack to chest with fist or weapon.Note 1: This application works equally as well against an empty handed attack or a rifle and bayonet. The weapon of choice could vary; possibly bo staff or even yari, although the latter would be very unlikely due to its length and the manner in which the samurai use it.I will assume the weapon the attacker is using is a rifle and bayonet. For reasons of authenticity, the rifle would be of the type used in the mid to late 19th century by US marines. Very long barrel stock and long bayonet, making the entire weapon around 6 feet long. The typical lunging stance is right hand on the stock, left hand holding barrel furniture and lunging with the left leg forward.You are facing your attacker, who lunges his bayonet towards your chest as described above.Using the re-enforced block (right arm) step forward and sweep the weapon aside to the right.Grab the weapon with the sweeping arm (right) and pull it downwards towards your right hip, as you grab the rear stock of the rifle with your left hand and side kick (yoko-geri) to the knee.Now having gained control of the rifle, rotate right to left to strike attacker with a sweeping strike/slash (probably to the head), as in position 7.App. No.2: Single Hand Lapel Grab (right hand) – unarmed attackAttacker is facing and applies a lapel grab using his right handGrasp his attached hand (securing it to your clothing) and pivot to the right.As you turn, turn his arm over so his elbow faces upwards, and apply downward pressure on his elbow using your left elbow. You are moving your hands in the direction of performing koshi gamae at your right hip.He is forced to bend forward severely. Now, while maintaining a grasp on his right hand, strike with hammer fist to temple and knife edge kick to side of knee.Sequence No.4 (Positions 10-13)App. No.1: Lunging attack to abdomen, with a bo staff or rifle and bayonet (from front or an angle)Attacker is facing you holding the weapon as described in the previous two sequences. He steps forward with the left leg and thrusts the weapon to your abdomen.Step to the right front diagonal with right leg, while performing a downward parry in front of the body, sweeping the weapon off to the left side.Maintain left hand contact with the weapon (grab). Lift the weapon upwards while reaching forward with your right hand to grab the weapon further towards the stock.Snatch the weapon from his grasp and perform a snap kick to his abdomen, to bend him forward.Step forward into kosa dachi and simultaneously rotate the rifle to strike his lowered head with the rifle butt. (taking care to ensure that the bayonet does not rotate to your direction).Note: This is a very gutsy move when faced with a stabbing weapon such as a rifle and bayonet. However, practicing with dummy weapons proves that this sequence is not only possible, but is highly effective in dealing with this type of attack. The kata gives us very specific movements and using every one, as per the kata, is highly appropriate in disarming an attacker with such a weapon.App. No. 2: Punching or lunging to the upper body – unarmed attackAttacker is facing you and attempts a lunge punch with his right hand to your chest.Shift stance to reverse zenkutsu achi while performing a low sweeping parry with your left arm (sweep comes from high to low, inside to outside).At the same time raise your right hand to prepare for shuto uchi strike.Next, simultaneously grab the attacker’s right wrist (or whatever is available after the parry) with your left hand, and strike with shuto uchi with your right. Shift stance to mae zenkutsu dachi.Maintain grip on his wrist and kick mae geri with right leg to stomach.Opponent will now bend forwards. Continue forward momentum and pull him with hikite and perform otoshi empi to the exposed back of neck and spine area.Note: This particular sequence works equally well against either the armed or unarmed assailant. Naturally there will be distance considerations depending on whether the attacker is armed or not. Bear this in mind when practicing.Sequence No.5 (Positions 14-21)App. No.1: Two handed lapel grab or strangle from the front.While you step forward towards the attacker, quickly draw the hands back to the hips and strike up between his arms, towards his face. Note 1Assuming that his grip is still intact, now push both arms down and outwards (sharply) so as to place outward and downward pressure on the arms.Now secure his arms and perform a front kick to the abdomen, followed by two punches to the lowered head.Note 1: This technique is both a counter to his grab and an attack to his face.Note 2: This technique reverses the fortunes of the attacker. Taking control by striking and then grabbing to secure. Finishing strikes are delivered on a secured and subdued opponent.Sequence No.6 (Positions 22-23)App. 1: Upper arm clothing grab with left hand.Attacker is likely to be standing diagonally in front and to the left.Defender performs a sweeping reinforced block with his left arm (reinforced with the right) while stepping forward using a back stance.Reach for his grabbing hand using your right hand and perform an overhand grasp.Reach down to his elbow using your left hand, and then step forward (in back stance) performing another movement similar to the first reinforced block.This will cause a wrist lock (kote gaeshi) and throw.Sequence No.7 (Positions 24-26)App. No.1: Upper arm clothing grab with right hand.Attacker is standing facing you, having either just grabbed your upper arm or lapel area clothing.Perform strong left arm reinforced strike (morote uchi) to his forearm, while stepping forward with the left leg, in back stance (kokutsu-dachi).Reach forwards with both arms to grab his head. As you do this, shift your stance to forward walking stance (zenkutsu-dachi).Step through with a right knee strike, as you bring his head down to meet your knee.Keep hold of his head and turn to your right, performing a neck wrench.Historical ContextBefore embarking on our analysis of this kata, it is important to try and recognise something of the historical context in which it finds itself.Yasutsuni (Ankoh) Itosu is most often credited with the creation of this kata. Chronologically this makes a great deal of sense as we shall see in a moment. His mentor (Matsumura) had been the instigator of Heians 1 & 2, which had been in constant use throughout the best part of the early 19th century. After the 1853 visit by Commodore Perry, the Shuri bodyguards would have been significantly influenced by the sight of the tall American "gaijin" and would have been severely remiss if they did not devise new methods to deal with this new threat in the future. As the Americans finally left, the bodyguards would have breathed a very heavy sigh of relief, knowing as they must have, that it would have taken one wrong word or action, and some 50 sabre wielding officers and their accompanying marines in the room at the time, with their bayoneted rifles, would have cut them to ribbons.However, we should also consider the fact that for over 200 years, the samurai from mainland Japan had been the rulers on the islands. We must also recognise that these people were the daily threat to the people in the castle designated as protectors and bodyguards to the royal family.They carried their swords everywhere, so it seems quite natural to assume that if the team of royal bodyguards were to be able to perform their sworn duties effectively, then they must be ready to face the sword of the samurai….empty handed.Kata DiscussionIt is often said that Itosu developed this kata to introduce the student to moves from the central kata of Kanku Dai. I would not dispute this theory, but we must realise that it is in fact, just a theory.Indeed the larger part of the centre section follows Kanku Dai reasonably well. But after this section, the kata then moves on to encompass areas of kata Jion.It might be fairer to say that Heian Yodan, and as we shall see, Heian Godan, take parts of many of the advanced kata and fuse them together in somewhat less complex ways than they exist in their root kata.PrinciplesOne might wonder then what, if any, could be the underlying principle(s) of this kata. If we look back over the applications described above, we can see a basic split between defences against weapon attacks and grabbing type attacks. I have described these applications in these two groups, but please remember that most of the applications can also work against striking techniques.The previous kata of the series have covered most of the basic body movements of the system. Given this kata is the 4th in the series, it stands to reason that it should introduce some slightly more advanced ideas. It incorporates the ideas that the preceding kata have introduced, and then requires the practitioner to consider their use in close quarter and fast paced grappling and weapon attacks.Weapon Attack and DisarmingThe first half of Heian Yondan deals exclusively with weapon disarming (although the techniques can be adapted for unarmed attacks.)It should be noted that the types of weapons used against the defender in this kata are different from those of previous Heian kata. Here, all the weapons used are of the two handed variety (exception is the sabre). They may also be used one handed at times, but most of the weapon disarming techniques here work against the attacker using both hands to hold his weapon.It is quite likely that the kata were devised primarily to contend with the Japanese katana, especially as that particular weapon was the most commonly seen in the Ryu Kyu’s. It would also have been viewed as the weapon that posed the greatest threat on a daily basis. Therefore it is no great leap of imagination to assume that at least some of the techniques in the Heian kata would be to deal with that particular weapon.Multiple AttackersThe second half of this kata introduces techniques which deal with multiple attackers. Previous kata in this series have been almost completely focused on just one attacker. The difference in Heian Yondan is that the end of one particular application completes that engagement, but the transition to the next attacker requires that the attacker must come from the rear. Previous kata have always assumed the attacker to be either coming from the front or the side. This kata now puts the defender squarely in the middle of a group of armed attackers.Until a complete analysis of the WHOLE of the Heian kata series is completed, it is almost impossible to recognise this idea. The assumption from previous kata is one of multiple attackers, but analysis reveals a different story.Any teacher knows that the student needs to have a graded learning experience, which means that they will learn simpler tasks to begin, gradually increasing in difficulty as their skill and understanding improves. So it makes complete sense to only introduce the idea of multiple attackers once the student has gained experience of dealing with the many ways to deal with just one attacker in the first instance.AnticipationIn the previous kata, attacks were largely met as an interception just before the strike was made.A significant feature of all the techniques in this kata, is that they require an increased level of awareness. Some anticipation of the attackers' intention is required, as advancing quickly towards the attacker to intercept the attack is needed, as the attack is begun, rather than waiting for it to be delivered. This is a principle known extremely well within Japanese sword fighting systems. It is known as “Sen no sen”.Pressing the AttackAs this kata demonstrates some specific and in some cases sophisticated applications, it is in Yodan where a combination of the anticipation and aggressive advancing play a major role in defeating the attacker.Taking the initiative is a paramount prerequisite for any physical confrontation. The techniques of this kata do just this. They take the fight to the opponent, giving him little or no chance to counter-react. ConclusionYondan has the feel of aikijujutsu in how it deals with an opponent. This can only be understood if you have actually studied such an art. The development of aikijujutsu came from studies in samurai sword arts as well as battlefield yawara and kumiuchi (grappling in armour). It should be no surprise to see that Matsomura and Itosu would use this type of experience to influence their own fighting system.Suffice it to say that aikijujutsu uses the momentum of the attacker against him. The art is fast, smooth and utterly deadly.Another similarity to aikijujutsu is weapon defence. The samurai soldier was not only taught to fight against weapons with his own weapons. He had to be skilled in using lesser or broken weapons and empty hands to defeat an armed opponent. Naturally then, any techniques developed to deal with such a situation would look quite similar, even if they occurred in separate groups.With this in mind it is worth exploring how people misinterpret Karate as having other arts within it. If we just take a moment to consider the following hypothetical situation, then hopefully we can gain some clarity. Imagine that our ancient British forebears found they needed to construct a device to cross a river. At the same time, some 15 thousand miles away, a Japanese village found a desperate need to cross a causeway, perhaps to investigate the land they could see on the nearby bank. What would they build? Eventually both groups would finish their construction. It turned out that both groups built a boat....not because they have collaborated (how could they possibly do that?) but out of a common necessity.... both needed to cross a stretch of water. Another point to ponder about this is that both groups had a choice of what device they would come up with to cross their respective stretches of water. They could have made either a boat or a bridge. They both opted for the boat, simply because their resources and level of technology meant that they had no alternative but to go for the boat option.Hopefully this illustrates how the development of any tool (in our case a method of fighting) can end up looking very similar, even though it had two entirely different and segregated evolutions.CHAPTER 8: HEIAN GODAN BUNKAIHEIAN GODAN: BUNKAI (APPLICATIONS)(Please refer to the preceding kata diagram page and the corresponding “Position Numbers”.)Kata DiscussionHeian Godan is the last and most complex of the five kata in this series. It has the ability to be fully two separate entities. Firstly it has the properties of weapon disarming, geared specifically to weapons used by the “modern” soldier.By modern, we are of course referring to the soldier of the late 1800’s. If his rank was “foot-soldier” or “Marine”, he would be armed with the long musket and bayonet. If his rank was that of an officer, then he would be armed with sabre and side-arm.This kata provides a continuation from the previous kata with a thorough examination of disarming techniques for all these types of weapons.The major aspect of this kata is a complete lesson in rifle & bayonet disarming. If you wish, you can substitute a spear for the rifle & bayonet, as the techniques for both are identical.The use of the rifle and bayonet was the mainstay of the modern army at that time. The Americans, and the European armies all used them extensively, and in only a few years on from around 1876, the newly formed and conscripted “Imperial Japanese Army” also did the same.Bayonet fighting was so prevalent in the thinking of the Shuri bodyguards, that one of the major Karateka (Azato) became quite obsessed with this weapon and became an adept at “Jukendo” as it came to be known. This was the art of fighting with bayonets.I must give credit to Bruce Clayton for his work (Shotokan’s Secret: 2nd edition) on identifying much of the weapon disarming section of this kata. But I make no apologies for including it here, as his work was a collaborative approach, taking opinions and advice from many martial artists from around the world (myself included!).The second incarnation of this kata describes many techniques that double as very effective empty hand defences. Naturally, there is an increase in the skill requirements, but the practitioner has already worked through the techniques of the previous four kata, and so this should present no real difficulty.Because of the dual nature of the techniques in Heian Godan, we will examine the kata fully twice. The first time we will describe the weapon defence techniques, and second time around, the empty handed techniques.Kata PrinciplesBefore we begin with the applications, let’s take a look at the overall kata to see what principles apply.Dynamic Movement – the feeling of this kata is one of “non-stop action”. Movement and use of momentum is the corner-stone of the Shuri-te method of Karate and it appears here in full swing.All Inclusive – simply all the principles from the first four kata are here.The expectation in this kata is that the student demonstrates and hones the skills already learned. For example, the use of Mikazuki-geri features prominently and is used in a variety of ways that require a higher level of skill than in previous kata.So as we can see, there are no new principles to learn now, only the application of what has been learned previously.It should be noted that facing an armed attacker is no small thing. The level of skill required is very high, so it is imperative that the practice of principles and applications from the previous kata are mastered before moving on to those below.First Examination - Disarming Techniques:Sequence No1: Wrist Lock & Arm Bar (Positions 1-3 & 4-6)HAPV: Sabre/knife typical slash attack (right hand, right to left) & defenceApp. 1: - Ude Osae DoriUchi uke with left arm to the inside to block the slashKake-te with right hand to attacking forearm and right punch to sternum.Punching hand reaches over to grip the hand holding the sword/knife.Pivot to the right & stand up, turning the weapon hand over to a wrist lock and disarm with the other hand.Use the free elbow to perform an arm bar on his locked arm.HAPV: Sabre/knife typical slash attack (right hand, right to left) & defenceApp. 2: - Ude MakikomiUchi uke with left arm to the inside to block the slashKake-te with right hand to attacking forearm and right punch to sternum.Blocking arm reaches in under the armpit, up the back to the shoulder.Other arm reaches to grasp your own hand.Rotate your body and press down so as to cause him to bend forwards (Judo – Ude gatame – straight arm lock).Apply a wrist lock and disarm.Sequence No.2: Uchi uke; Ikkajo (first control) to Nikkajo (2nd control) – (Positions 1-3 & 4-7)This application is a follow on from Sequence No.1, App No.1 (above) and is used when the attacker resists by bending his elbow.HAPV: Sabre/knife typical slash attack (right hand, right to left) & defence (opponent resists ikkajo)App: - Ikkajo – Hijimochi NikkajoBlock to inside with Uchi ude uke with left handPunch to stun with right handApply arm bar (Ikkajo) – as in Sequence No.1, App No.1Ensure grip to weapon hand is with both handsOpponent resists by keeping elbow bent.Quickly sense to movement and use upper arm to release the grip and apply the point of the elbow to his forearm to introduce the Nikkajo (second control) principle.Disarm should occur as Nikkajo is applied. Sequence No.3: Gedan Juji Uke; Jodan Juji Uke; Oizuki (Positions 8-13)HAPV: Thrusting Knife Attack (right hand)App. 1: - Tebuki Shime WazaParry attacking arm downwards with open palm of left hand (Osae uke)At bottom of parry with the left hand, grab the attacker’s hand holding the knife (over the fleshy part of the thumb).Use the right hand to complete Juji-uke, which can be used to further secure the attacker’s forearm if required. Maintain firm grip with the left hand as you raise up for the upper juji-uke position.At the top, maintain the left hand grip and release any grip with the right hand. Rotate the right hand around your own left wrist and now apply pistol type grip over the knife hand (with your right hand).Having now a firm grip with both hands, bring his arm down to your right hip and perform arm bar (ikkajo).Having disarmed the knife, continue to hold his wrist with your left hand. As you step forward to strike oizuke, strongly rotate his arm right to left so as to lift his torso up and present his face/chest as a target for the strike.HAPV: Continuation from previous App.App. 2: - Jinzo Zuki – Kidney StabFrom the arm bar, bend his elbow in and reach for SANKAJO with your left hand.Apply SANKAJO and disarm.Stab knife into kidneyHAPV: Continuation from previous App.App. 3: - Gakun Nage – Effective Grip ThrowLet go of the knife in his back!Use your right hand to apply YONKAJO to his right arm.Maintain pressure and pivot anti-clockwise to put him on his back.Bayonet & Rifle Disarming Techniques:Sequence No.4: Kake Tate-Shuto Uke; Mikazuki geri; Hiji Ate (Positions 14-19)HAPV: Rifle with Bayonet ThrustApp. 1: - Bayonet Disarm – Dead Side (Outside)Attacker thrusts with bayonet to throat.Step to the right and perform left hand Kake Tate-Shuto Uke (in kibadachi).Grab rifle with Kake-te and hold/pull while performing mikazuki geri to break his plete the step in and grab rifle stock with other hand (use elbow to provide arm bar if required).Disarm weapon.App. 2: - Continuation of App 1.From the last position in App 1., force the butt of the rifle up under his chin.App. 3: - Continuation of App. 2. – Naka Mae Nage – Disarming Throw.He continues to hold the rifle.Turn and face the rear (pivot).Bend forward to throw opponent over your shoulder.You now have the rifle. Stab opponent on the floor (kneel on one knee if necessary)Remove the bayonet by standing and moving forwards.Sequence No.5: Te Nagashi Uke; Teisho Gedan; Manji Gamae (Positions 20-22)HAPV: Rifle with Bayonet ThrustApp. 1: - Bayonet Disarm – Live Side (Inside)Attacker thrusts with bayonet to chestPerform Te Nagashi Uke with left hand to parry the bayonet. At the same time perform Teisho Gedan to reach down for the stock of the rifle.Yank the stock back and up, disarming while finishing pointing the bayonet at the opponent.Stab opponent.App. 2: - Continuation of App. 1 – Butt Strike to Head.Instead of stabbing in previous App., Reverse the rifle butt to strike the head.App. 3: - Mirror Image – This whole application can be performed as a mirror image.Second Examination - Empty-Handed Techniques:One of the great things about these techniques is that they work equally well whether the attacker has a weapon or not. Naturally, the variance in approach is always the consideration of distance and timing.Sequence No.1: Uchi ude-uke; Kage Zuki; Stand up &Nami Gaeshi (Positions 1-3 & 4-6)HAPV: Lunge Punch/Reach/Grab to Chudan (Left Hand)App.1:-Step forward in Kokutsu dachi and block uchi ude-uke to outside of the attack.Perform Kake-te and grab the wrist with the blocking hand.Quickly, reach for the elbow with the other hand.While stepping upright (towards him) rotate his arm over towards your right, guiding the elbow, to throw on his back.HAPV: Lunge Punch/Reach/Grab to Chudan (Right Hand)App.2:-Step forward in Kokutsu dachi and block uchi ude-uke to outside of the attack.Perform Kake-te and grab the wrist with the blocking hand.Quickly, reach for the elbow with the other hand.While stepping upright (towards him) rotate his arm over towards your left, guiding the elbow, to throw on his back.(Note: This is a mirror image to App. 1).HAPV: Lunge Punch/Reach/Grab to Chudan (Left or Right Hand)App.3:-Step forward in Kokutsu dachi and block uhci ude-uke to outside of the attack.Perform Kake-te and grab the wrist with the blocking hand.Strike to solar plexus with Kagezuki.Reach for head with both hands and perform Neck Crank, while stepping towards him.Sequence No.2: Morote Uke (in Kokutsu-dachi); Gedan Jujiuke; Jodan jujiuke (both zenkutsu-dachi); Rotate hands and hiki-te to the right hip. (Positions 7-11)HAPV: Round or lunge punch to the head or chestApp. 1:- Step forward strongly in kokutsu-dachi to meet the attack, blocking to the inside.Step forward and fast double punch to the abdomen (gedan juji-uke).Fast cross hands strike to the neck (open hands) causing severe neck trauma (jodan juji-uke).Rotate hands so as to grasp the head, pulling back to your hip to cause fatal neck injury.HAPV: Lunge Punch, then Front Kick App. 2:-Step forward strongly in kokutsu-dachi to meet the attack, blocking to the inside.Step forward and use lower X-block to prevent front kick.Use Upper X-block to block punch to the face. Rotate and grasp attacker’s wrist and hike-te to the hip (overbalance by pulling forwards, then release).Step forward and lunge punch to the head.Sequence No.3: Tate Shuto Uke; Kake-te/Hike-te; Oizuki; Koshi Guruma (Positions 11-13)HAPV: Round or straight punch to headApp. 1:-Parry punch with sweeping knife hand block (to the inside) Kake-te (hooking hand) using blocking hand and hike-te (pulling-hand) to overbalance forward.Step forward and strike with oizuki.Reach arm around his neck and step forward to perform Hip Wheel Throw (Koshi guruma). In reality this throw would be replaced with a fatal neck crank.HAPV: No attack. Opponent is standing to the rearApp. 2:-Turn quickly and kick the side of his knee and stamp down.Use Tetsui (hammer fist) to exposed temple or facial target.HAPV: Opponent is standing to the rear. Front Kick.App. 3:-Turn quickly and use Mikazuki-geri to the inside.Tetsui (hammer fist) to exposed head/face, or any appropriate available target.Sequence No.4: Turn (180 degrees); Gedan Barai (Positions 12-13)HAPV: Grab to the wrist; Any situation where you can grasp his wrist.App. 1: Shiho-nageTo perform Shiho-nage you MUST turn CLOCKWISE (See note below).App. 2: Gakun (“Effective Grip”) NageTo perform Gakun-nage you must turn ANTI-CLOCKWISEGrasp the back of opponent’s right wrist with your right hand, using Yonkajo grip.Bring your left foot up next to your right.Rotate anti-clockwise pushing his arm ahead of you.Step strongly to the south (through 180 degrees) with your right leg, driving the Yonkajo grip to the south and downwards.Opponent fall on his back.(Note: Details about performing shiho nage and sorrect use of Yonkajo can be found in any Aikido class. Also see “Aikido and the Dynamic Sphere” page 206 and page 198 respectively, by Westbrook & Ratti)Sequence No.5: Tate Shuto-uke; Kake-te/Hike-te; Mikazuki-geri; Mawashi Empi (Positions 14-16)HAPV: Front round/straight punch or sleeve grab (probably from the side)App.:-Perform Tate Shuto-uke and grab wrist and pull.Instantly, perform Mikazui-geri attacking the top of arm/shoulder (outside).Perform elbow strike to headSequence No.6: Morote-uke; Ippon Seionage; Gedan Juji-uke; Morote-uke. (Positions 17-20)HAPV: Punch/grab to the chest.App.:-Strongly step forward in Kosa-dachi and block with Morote-uke.Slip arm under his armpit and throw with Ippon Seio nage. (See note below).Keeping a grasp on his arm, jump across his body, turning him over onto his belly.Kneel down and apply elbow lock (or stand and perform Morote-uke again to break elbow & shoulder to incapacitate).(Note: Ippon Seio nage is a standard Judo throw, details of which may be found in Jigoro Kano’s “Kodokan Judo: The Essential Guide to Judo” or any Judo class).Sequence No.7: Rotate & Sukui-uke/Gedan Kake-uke (Combined) - (Positions 20-21)HAPV: Front Kick (from the rear)App.:-Extend hand to the rear in a sweeping motion (Sukui-uke) to use forearm to deflect the kick. Briefly hold his leg up using the scooping action.Quickly turn and use other hand to perform Gedan Kake-uke.Hooking the leg, step sharply to the rear in Manji-Gamae, striking with tetsui (hammer fist) to the chest.Sequence No.8: Kake-te; Te-Mawashi-uke; Manji-gamae (Positions 22-23)HAPV: Same side wrist grab from side.App.:-Rotate your body towards opponent. While doing this, reverse the wrist grip and elevate his elbow as you turn.Also while turning, use other hand to locate his upturned elbow. Push his elbow across and his wrist down.Now push his elbow down and pull his wrist up (to Manji-gamae position).This effectively causes severe dislocation of the elbow.ConclusionThis final kata in the series provides the student with a whole new dimension of possibilities. When learning a martial art of any kind, the overall goal is to provide the student with a set of principles which must be learned and drilled. But in the final analysis, the student must then be able to draw from those principles (not necessarily regimented techniques) to be able to apply them to any given situation.As we can see from the huge amount of applications that are possible, Heian Godan provides just such an environment, one in which the student finds himself using the principles from the previous kata, but now in a ‘live’ situation with a variety of possible weapon attacks.Disarming is the best way forward and then using the weapons gained to end the confrontation quickly and decisively. Having mastered all the preceding principles and applications, the student now has an arsenal at his disposal enabling him for a wide range of scenarios. All that’s left is development and honing of skills, which comes with years of practise.CHAPTER 9: THE HEIAN MYSTERY EXPLAINEDIf you are like me, you have been practicing the Heian kata for a number of years, progressing through the kyu grades. As you have trained over the years, I wonder if you have ever considered the relevance of this group of five kata with respect to each other and their construction. Have you ever wondered if there was a relationship between them, and if there is, then what is it?I suspect that most students will have merely studied the kata from the point of view that each kata is a requirement for your next grading, and that's about all. Hopefully by following through the material in the preceding chapters, you will by now have at least realised that there is a great deal more to any kata than you possibly ever imagined.This series of kata was developed and placed into a curriculum of study some 100 years ago, by Itosu Anko. Itosu was a highly educated and fearless man. He had many years of professional duty in service with the Okinawan king, alongside a great many other Shuri-te masters.Employed as King Sho Tai's personal secretary, Itosu was a close aid and worked in this position for some 30 years. He was trained in fighting systems directly by Matsumura Sokon, the head bodyguard to the King and chief of military affairs (the latter being his official appointment). The two were firm friends and colleagues and worked alongside a group of other "officials" all of whom were regarded then and since as masters of Karate. With the information available to us today, it doesn't take a genius to work out that these men formed a cohesive team of bodyguards with the remit to protect the King, his family and the ministers. Itosu was a central figure in this group and became highly regarded by his students as being incredibly strong (for his size) and able to withstand extreme physical punishment.After the King was deposed and sent to the Japanese mainland in exile, Itosu had a further 20 years to develop the Heian kata, from the Meiji restoration in 1876 (if not before) to his introduction of Karate teaching in the schools of Okinawa in 1902.It would seem ludicrous in light of these facts if the culmination of his life's work (the Heian/Pinan kata) were relegated to the ranks of the anachronistic.Despite the fact that Itosu himself changed (simplified) these kata for use in schools, he must have planned them meticulously, and in doing so, would have included within them vast amounts of understanding and development.If this is in fact true, then it should be possible to see technical patterns and principles within the kata, and across all five kata. What we should see would also reflect the continuing training needs of the bodyguard. Further than that, we should see techniques which are designed to have the ability to deal with all the perceived enemies of the day, and they were many. The kata should be full of techniques which are flexible enough to be applied without any real changes in the principles of their execution, in dealing with both empty handed and armed assailants. Let us then explore these ideas and see if indeed they hold true.After the deposition of the Okinawan King Sho Tai and his relegation to the status of guest of the Emperor in Tokyo (some say prisoner), Itosu, Matsumura and friends were still involved in secretive Karate training until Sho Tai's death in 1901. This is no coincidence. They may have been stripped of their land and money, but it is believed that these high ranking officials maintained their training and state of readiness as they were bound by their code of duty and service to their King. The level and intensity of their training until 1901 was maintained at the same high standard and with the same urgency and purpose.If we accept this situation, then the Heian/Pinan kata are the product and representative of this highly lethal fighting system. As such, we should find within the kata a plethora of techniques and principles which are both devastatingly fast and lethal.A Bodyguard SystemLet us now define exactly what is required of such as system. When we have done so, then we can take a look at whether our kata actually fulfil the criteria we have stipulated.In order that we might have better insight as to the requirements of a bodyguard combat system, it might be useful for us to consider the job of the "Close Quarters Personal Protection Agent". We need to recognise that the responsibility of such a person whose task is to protect such an important person as a King, would have the remit to use whatever force was necessary to protect the Principals' life.In a modern day scenario, such as protection of a National principal, the danger usually would be from a lone individual or very small group of attackers. In 19th century Okinawa, the situation was entirely different. These bodyguard/officials were operating in a hostile environment where they would be totally outnumbered and surrounded by potential attackers, and would not have any weapons (at least initially) with which to defend themselves.Under such circumstances, their training would have to be centred around high speed, generally one strike attacks, quickly shifting position and direction, using pre-emptive strikes as the norm, with absolutely no concern for human life.I will not expand on these ideas as they have been covered in detail by another author (Shotokan’s Secrets – Bruce Clayton).Hopefully now we have some understanding of what these men faced, we can now examine in more detail the types of techniques we might expect such individuals would need to employ.Effect Release From Wrist and Clothing Grabs.Self defence experts today seem to negate the wrist grab as a valid type of attack, which is a shame, and is entirely wrong. Ask any woman who has been accosted by a man in a sexual attack and they will tell you something like "....and he held my arms/wrists tightly and I felt totally helpless..."The wrist grab is usually a pre-cursor type attack to immobilise certain victims, especially when you are not expecting that victim to launch any sort of practiced counter attack. Naturally the attackers' motives will define the type of assault they will use.The Okinawan bodyguards kept their fighting skills very quiet. They were practiced at looking demure and harmless, with quiet and servile attitudes in the presence of all. The occupying samurai would have some inkling of their skills, and no doubt did not antagonise these very quiet purposeful men.Also it is necessary to pay great attention to the day to day clothing of the Shuri castle officials. They wore long sleeved jackets called "haori", which were the attire of the keimochi class of the Okinawan Kingdom. Such sleeves are an open invitation to a potential attacker, especially if their primary purpose was one of restraint rather than causing physical injury.When we examine our Heian kata as we have done in preceding chapters, we have seen that there are specific sections of kata dedicated to such types of attack (e.g. last 2 movements in H. Sandan; early section in H. Shodan; all kake-te techniques). If we were to examine other kata beyond the Heian series, we would see the same. These types of techniques are integrated into the thinking of the late 19th century karateka simply because they were highly necessary.The Potential EnemiesAt this point let us take a small detour. What we haven't done so far is to identify just who were the potential threats to our Okinawan bodyguards. Strangely enough, throughout the 19th century and increasingly as time passed, the greatest threat came from the Westerner. Whalers, pirates, traders, Portuguese military ships and on one very famous occasion, an invasion by the United States of America.It is relevant to discuss this now simply because it is always important to recognise the capabilities of your potential opponent. The Okinawan officials would be highly aware of the capabilities of their adversaries. They would be very clear that these Westerners were mere brawlers and had little or no real technical skill as hand to hand fighters. They relied heavily on their brawn and various weapons, and thus the Okinawans would develop their techniques accordingly.Having described the Westerner as a typical threat, I do not wish to forget the resident samurai. They would always be a threat to the Okinawans. The skills of the royal bodyguards should not therefore be underestimated. There is documented evidence of unarmed Okinawans besting a sword wielding samurai, although the risks of such an enterprise would be much higher, given the high degree of skill of the trained samurai soldier.Effect Release from Body & Hair Restraints/Grabs.Now we have discussed something of the nature of the expected assailants the Okinawans were likely to face, it seems sensible to assume that such Western methods of restraint would be very likely to include bear hugs either pinning the arms or not. The Okinawans are small in stature in comparison to the burly Westerners, and no doubt would be a favoured method of restraint given their apparent advantage in height and strength.Hair grabs would also be a favourite. Under the hachimaki hats worn by all Okinawan officials, the hair was neatly combed and tied into the "top knot", a status symbol borrowed from the Japanese. With the hat knocked off, this makes for an effective purchase point for any would be attacker. Effect Release From Chokes.In a desperate situation, the choke (from the front or the rear) is easily applied and is quite deadly. Escape from such an attack must be fast and decisive. A crushed windpipe means certain death, very quickly.Fast & Lethal Striking Techniques.The ability to inflict the maximum damage in the minimum of time is prerequisite for the bodyguard in any situation. For the Okinawan bodyguard, he must be able to dispatch an adversary in split second time, then move on to the next and the next in quick succession. This means that his attacks must also have a defensive element built in. So the attack would need to parry or deflect an attack while he launches his own attack.Another facet of such attacks is the target chosen for striking. In order to obtain maximum destruction (and the surety that the opponent will not get up again) the attacks would need to be directed strongly towards vulnerable areas of the body. These areas would need to generally follow a central line down the body from the head downwards.Fast & Destructive Attacks to Joints.In any fight, the arms and legs will always be presented as targets of opportunity, and our bodyguards must be able to take advantage of the elbows and knees, and inflict total joint destruction. This would be at least as good as a lethal blow, as the pain inflicted by such an attack would be completely overwhelming, and render the attacker effectively out of the fight.Rapid Body Shifting (Against Multiple Opponents).Being outnumbered, the Okinawan bodyguard would need to have highly developed skills in moving very quickly in differing directions, with the greatest of efficiency. In doing so, they must be able to deliver their attacks in these various directions.Use of Opponents Body as Shield or Similar.Part of the arsenal of the bodyguard would need to be the ability to dispatch the opponent to the ground via some sort of throw. The opponents' body would be at his mercy, and so throwing a dead or damaged opponent in the direction of a second threat is a good tactic. Our bodyguard system should have methods to shift from a strike or joint manipulation into a throw in this manner.Disarming Techniques.All manner of weapons could be used against our unarmed Okinawans bodyguards. They could expect to be attacked by cutlass, sabre, katana & wakasashi (swords); dagger, hatchet or tanto (knifes); flintlock or rim fire pistol; flintlock rifle with bayonet; various length sticks from clubs to staffs.This is quite an array of weaponry, which would require some very skilled and brave men to face with bare hands.As I said earlier, the greatest risk of a weapon attack would invariably come from the local samurai, as they would be the most highly trained with their weapons. Going up against a skilled samurai swordsman with nothing but a small metal tessen (disguised to look like a fan) would seem like suicide. Our bodyguards would need to have developed ways to deal with such an assailant.Use of Weapons Snatched From Opponents.Having disarmed one attacker, then the bodyguard would then need to be fully conversant with how to use such a weapon. Naturally this would not be within the scope of the Heian kata, but we should expect to see some instance of disarming and at least being in a position to use the acquired weapon, even if the kata doesn't show us how to use it.It should be noted that the list developed above is not exhaustive. The training needs of such a bodyguard would be even more varied than I have outlined here. Never-the-less, what I have covered here I feel adequately covers the major needs that could be expected of an individual in such an unenviable position.We should also remember that the Heian/Pinan kata would never have been the sole training tool. They would be accompanied by training in more "goal" specific kata based training. This subject is beyond the scope of this discussion, but I must point out that Tekki (Naifanchi), Bassai (Passai), Gankaku (Chinto), Kanku Dai (Kushanku) to name some, all have particular uses, which comes to light when a thorough and informed analysis of these kata is conducted.Also, an integral part of Karate training of the day was the study of a wide range of local weaponry (kobudo). So these men were no strangers to using weapons. Matsumura himself is recorded as being highly skilled in Jigen Ryu Kenjutsu.What we find then, is that the Heian kata fulfil all the criteria required of the bodyguard. We can see a progressive training regime which is concise and packed full of some of the most devastating techniques I have ever seen. The whole range of needs is covered. But let us not be confused. Heian was developed for use in 19th century Okinawa against a wide ranging, but clearly defined set of enemies and their weaponry. We can use the Heian today for self-defence purposes, but in trying to understand the meaning of the movements, it is all too easy to try and make the movements fit with concepts, ideas and modern Western culture, when in fact the movements of Heian will only have limited relevance today. We do not have the “luxury” of having no consequences for our actions, and so we look for softer applications in kata to fit in with the societal rules of today. Fighting to the modern Westerner is depicted to us via the media mostly in the form of highly regulated sports (Boxing, Judo, Wrestling etc.). Perceptions of fighting today are skewed and sanitised so that there is little understanding of what happens in a real fight. The result of kata analysis is often unrealistic, “tidy” and relatively safe.The Heian were a development for a different time and different circumstances. Perhaps the only acceptable (and I use the word cautiously) in today’s society for use of such force is within military special forces, and even then only in times of dire need, such as wartime.Heian OverviewHaving had a brief look at these particular kata, It’s only when we see them in context with the Heian kata that something of a picture begins to form.To fully verify what I am about to discuss, it will be necessary to go back over all the applications I have provided for each of the Heian Kata. Rather than embark on such an arduous task, I will provide a simple summary of the general APPLICATIONS (NOT the actual techniques) from each kata. I will group similar types of applications under one heading, so the listings below do not show each individual section of a kata, but just the trend of particular types of applications.Heian Kata SummariesPlease follow through the next section and pay particular conclusion to the short summary for each kata:Heian Shodan1. Wrist release & strikes2. Parry & strikes (upper) 3. Diagonal Parry & strikes (mid/upper)4. Strong strikes5. Basic leg throw; basic hip throwShodan provides for basic techniques which are presented in multiples. They are techniques which will be repeated throughout this series of kata.Heian Nidan1. Intercept attack (hand or blade) to destroy joints (both elbows & knees).2. Forward parry & strikes.3. Parry, strike (spear hand) & hip throw4. Diagonal parries & strike.5. Parry, strikes to body & knee & elbow/wrist destruction.6. More parries and strikes (low & high).Nidan provides some nice variations of attack interceptions and how to deal with them quickly. They are relatively simple but high quality and incredibly versatile as they can be used against both empty hand attacks or with weapons… a great introduction into the high speed requirements of the fighting technique of Shuri-te.Heian Sandan1. Intercept hand (or knife) attack & destroy joints.2. Grab, release, turn and strike.3. Neck break.4. Shoulder throw5. Knee joint destruction (pre-emptive) or parry kick with sweeping foot6. Striking to affect clothing grab release.The whole ethos of Heian Sandan seems to be close quarter grappling. Maintaining low centre of gravity and high lateral stability, while being able to turn and move across the floor quickly.Heian Yodan1. Intercept (hand or blade attack) & disarm.2. Parry, grab & strike.3. Various grabs, release & strikeHeian Yodan has a totally different feel to anything covered so far. It seems to be highly oriented towards disarming an attacker and being ready to use any weapon acquired. As we can see from the above and the full study of the kata, the kata doubles up with some pretty devastating grab release techniques.Heian GodanWeapon Disarming:Sabre/knifeRifle with bayonetEmpty Handed:1. Parry & strike (or elbow destruction).2. Grab release & strike.3. Knee destruction.4. Throws & ground control5. Rear grab & strikeHeian Godan is a systematic lesson in weapon disarming in the first instance. It expertly covers defence against common weapons. It also doubles as the final instalment for empty handed techniques, adding some ground control techniques to the mix. Also we can see the use of rapid changes of direction in this kata.The Older KataNow we have had the chance to look at the newer kata, I would like to look now at the advanced (older) kata. There are a huge number of kata available in Okinawa during the 19th century. The Okinawan masters had the kata of White Crane Chuan Fa, and various other kata of Naha-te origin, plus Monk Fist & Tiger Claw Chuan Fa to choose from.The questions we need to answer are, “Where did our Heian/Pinan kata come from?” and “How can we identify which (if any) kata were known and used by the fore-fathers of Shuri-te?”By studying other works and commentaries, we have a fairly good idea which kata were practiced by Matsumura and Itosu et al. But what I am attempting to do here is to identify the feeder kata, not from historical commentary and research, but merely by the examination of the kata themselves. But we must have a place to start. So let us look at those other commentaries and see which kata we know (or at least have good authority) were practiced by the employees in the castle at Shuri:-Naihanchi (Tekki Shodan)Pinan Shodan (Heian Nidan)Passai (Bassai Dai/Sho)Kusanku (Kosokun or Kanku Dai/Sho)Jion & JitteChinto (Gankaku)Wanshu (Empi)Of course this list is not definitive. You would need to embark on your own reading and research to check out the veracity of the above list. This list comes from my own reading on the subject and can only be, a best guess on my part.Rather than launch into a long drawn out analysis of each of these Kata, what follows is a brief description of some of these kata and their possible origins. It is this group of these kata which are of particular interest to this discussion.I should point out that this selection process is not just a random pick, but is based on information which will become clear later.Naihanchi/TekkiNaihanchi is of particular interest to us because the techniques contained within it are generally very close quarters fighting techniques, which have an emphasis on standing grappling.There are two more Tekki forms which utilise the same principles. It is thought however that these latter Tekki were created by Itosu sometime during the latter part of the 19th century.The origins of this kata are unknown, but it is said that Sokon Matsumura brought the original version back from one of his trips to China as a royal envoy. Most certainly, this kata has been modified from its original Chinese kata and used specifically within the confines of the Shuri Castle bodyguard team.While investigating this kata, I have seen the possibilities for this kata as a twin Chinese broad sword kata. However it should be noted that this is just a mere possibility and stems from the buried applications of the original form. Passai/Bassai DaiBassai Dai Is a very fast moving and powerful kata, often mistaken as being a predominantly blocking kata. Proper analysis shows that the large proportion of this kata is dedicated to powerful release techniques from various body and clothing grabs. It heavily utilises the "block is a strike" philosophy, aiming at vulnerable points on both arms and body.The kata is believed to have been created by Matsumura Sokon, Itosu's friend, colleague and teacher.Kushanku/Kanku DaiThis kata is largely the product of a man we have not mentioned so far, namely Sakugawa Satunushi Peichin, more commonly known as "Tode" Sakugawa. He was also a bodyguard to the Okinawan Kings and was "Bushi" Mastsumura Sokon's teacher.Sakugawa reputedly learned a great deal from a visiting Chinese dignitary called Kong Su Kung, from whom he learned White Crane Chuan fa. In honour of this teacher, Sakugawa created the Kosokun/Kushanku/ Kanku kata. The original version of this kata was very definitely a rendition of Chinese fighting arts, particularly beneficial to fighting in the dark!The kata has gone through a number of changes over the centuries, but we can be reasonably sure that the version passed on to us by Funakoshi is as close as possible to the one used by the Okinawan bodyguards during the mid to late 1800's.There is a fairly wide range of techniques contained within the kata, including grab releases, fast parry/strikes, disarming, multiple attacker techniques and close quarter grapling (standing). The longest kata in the Shuri-te arsenal, it is jam packed with usefulness and forms the basis for the Shuri-te system.JionAlong with its cousin, Jitte, Jion is known as a "Temple Kata". Its origin is most certainly Chinese and invariably Shaolin, although there is no direct proof of this.It is a multi-directional kata, with varying pace, but generally on the slower side. Very strong and full of tension then shifting to fast and light movement. Its contents are generally defensive, with use of counter striking to central vulnerable points (causing anything up to death) and defence and disarming against certain weapons. It also has significant grab release techniques.There is some doubt as to the origins of this kata. Some say that Funakoshi created them. But it is very likely that these kata have been significantly altered from their original incarnation.Gankaku"Bushi" Matsumura is credited with the creation of this kata, reputedly after an encounter with a shipwrecked Chinese sailor in the village of Tomari.This kata has very individual and unique movements mixed in with some seen elsewhere. Of particular interest are movements which seem to deal with attacks from different heights, and also the inclusion of close quarter grappling using significant body rotation and direction changes.Pinan Shodan/Heian Nidan/Chiang NanThe inclusion of this kata in this section may seem a little strange at first, until we understand that it was believed to have originated from a now lost Chinese kata called Chiang Nan. This puts it firmly in the "old" category.The kata was taught by Matsumura, although it should be recognised that what we see today as Heian Shodan was in fact originally Pinan Nidan. It was Funakoshi Gichin who made the switch around. He believed that Pinan Nidan was easier for the novice to learn first, and so he changed the sequence and named it Heian Shodan. Matsumura is once again credited with the creation (or modification) of Pinan Shodan. It provides a study of the basic elements of the Shuri-te system and the introduction of "block is strike" ideas and much more.The Old & the NewSo far in this discussion we have spent some time trying to get to know some of the older kata. We have highlighted the major focus of some of the old kata, identifying how the specific uses that training in each of them would benefit the practitioner.We have spent the whole focus of previous discussions taking a long hard look at the applications within the Heian kata. Here we have brought the broad outlines of those studies along and have made a summary of the focus of each in the same way as the older kata.If it has not become apparent already, we should now see the correlation between the old and the new kata. We should be able to see that the orchestrator of the Heian/Pinan took various sections of selected older kata and wove them together so as to create a five part kata system which covered all the needs of the bodyguard.Let me now put the various kata side by side, so you can see the correlation more clearly. In each of the Heian, we can clearly identify elements taken directly from the older kata as seen in table No.1:Heian Kata (New Kata)Contains…Elements of Old Kata….Heian Shodan-------------Kanku Dai; Chiang Nan; JionHeian Nidan-------------Kanku Dai; Chiang Nan (lost kata); Heian Sandan-------------Tekki; Jion; Kanku DaiHeian Yodan-------------Kanku Dai; Jion; GankakuHeian Godan-------------Gankaku; Bassai Dai; EmpiTable No.1Now let us summarise in table No 2. the old kata in simplistic terms:Kata (Old)EmphasisTekki-------------GrapplingKanku Dai-------------Multi-purpose (inc. Disarming)Bassai-------------Multi-direction release & attackGankaku-------------Multi-level/directional workJion-------------DisarmingTable No.2The following table now shows the results. What we can identify by examining the overall emphasis of each kata is the connections between old and new kata. Hopefully in this discussion you will notice that I have not simply grouped them together based on the fact that I recognise certain moves from older kata. This analysis is based on the perceived general emphasis of application type:Kata EmphasisShodan (plus elements of various kata)-------------FundamentalsNidan/ Kanku Dai; Chiang Nan (lost kata)-------------CombinationsSandan/Tekki-------------GrapplingYodan/ Kanku Dai; Jion-------------Disarming/releasesGodan/Bassai Dai/Gankaku-------------Attack/defence from multi-directions. Rapid changes in directionTable No.3The Heian Kata RevealedAssuming the creator of the Heian kata group was Itosu, we can now see that he created a system of training kata which covered the full range of applications necessary for the situations needed by the Okinawan bodyguard.Let us now take a brief look at each kata in light of the correlations I have suggested:Heian Shodan - Shodan provides the most fundamental techniques in the arsenal which is straightforward defence and counter-attack. It emphasises momentive striking techniques and direction change. We can identify techniques from many kata within the Shuri-te system.Heian Nidan - origins are very clouded, but the kata builds on the first kata by introducing the concept of fast combination & simultaneous defence/attack techniques and continuing directional change. Linked kata are the lost kata of Chiang Nan and Kanku Dai.Heian Sandan - this kata changes the pace and also the emphasis. It brings in emphasis that is taken from the Naha-te systems and modified to suit the needs of the bodyguard. Close quarters grappling and joint destruction are emphasised. Main influences are Tekki (any or all three), Jion and Kanku Dai.Heian Yodan - the major elements in Yodan are focused around weapon disarming (katana is of primary concern here) and grab releases. Once again there is heavy influence from Kanku Dai as regards the disarming, with significant input from Jion for much of the anti-grab techniques.Heian Godan - this kata has the feel of being fast moving, shifting directions quickly, escaping grabs and launching attacks both at close quarters and at a distance. Disarming of bladed weapons and rifle and bayonet feature heavily here. This kata seems to be depicting the epitome of this fighting system....hence its status as the final kata in the Heian system.It draws from Kanku Dai, Gankaku, Bassai Dai and has variations of its own.ConclusionIn this study I have attempted to dissect the Heian kata in an attempt to reveal the underlying principles that each kata has to offer. What we should also see is that each of these five kata provides a progressive teaching tool, each building on the work of the previous kata. Another facet of this "building block" system is that each kata seems to have one or specific focus points, providing as a whole a well-rounded arsenal to fulfil the criteria of our bodyguards' combat system.A thorough study of these five kata alone (i.e. in depth application study) should leave a student well prepared to face most situations. But the great thing is that because they draw on higher kata, there is further insight to be gained in working on the "feeder" kata too.What all this boils down to is that the Heian creator was deeply knowledgeable of existing (1900's) kata in use in the Shuri town & Castle area. He was meticulous in designing a system of kata which provided a well-rounded mix of techniques, quite obviously designed to provide the best of everything he knew, which utilised all of the principles found in Shuri karate, and some from the Naha styles too.This brings me to the end of this extensive study of the Heian kata and an examination of the use of kata as a means of training in Karate. But don't think that this is the end. Hopefully we have all gained some greater understanding of how to use the kata to best effect. Now that hopefully we have gained some new skills, it is time to get up and try it out for yourself. I urge you to explore the Heian as I have done. Using the tools I have suggested, see if you concur with my findings. Can you see more than I have? I hope you do.Have a look at some of the other kata in the Shotokan syllabus. See if you can discover more about them. It can only help you to enjoy your Karate more. Be open minded, but please, don't change the kata! By all means make up your own, but these kata need to remain as they are. They are a small piece of history that should remain untouched. This is in line with concept of “Koryu”. It is classical and very typically Japanese. Although the Okinawan bodyguards would undoubtedly have continued to develop their system should circumstances have prevailed, like all things, their time came to an end and with it the need to develop Shuri-te.My purpose in writing this book has been to try to understand just what it was that Matsumura and Itosu created. If I have in some part achieved that, then I feel quite gratified. My hope is that you, the reader, have gained from it as much as I have in writing it.I am fully aware that many people want to make their Karate more applicable to the society of today, and I agree that if Karate is to continue to flourish, then this must happen. But not at the expense of losing where their art came from.The great thing about these classical kata is that we have an insight into the mind-set of the originators of this fantastic fighting system. These were tough courageous men, single-minded to the point of obsession about their training and skills. Well we can acquire some of those qualities, without the threat that those men had to endure. We have it easy by comparison. All we have to do is to correctly understand the artefacts they left us, then train hard, but train with intelligence, diligence and honour.GLOSSARY OF TERMSAge uke-rising blockAiki-jujutsu-a Japanese grappling artAshi-footAtemi-strikingBunkai-kata analysisChoku zuki-straight punchChudan -mid (chest) levelDachi-stanceDe ashi barai-advancing foot sweepEmbusen- pattern on floor (kata)Empi-elbowFumikiri- cutting kickFumikomi-stamping kickFudo dachi-rooted stanceGedan-lower levelGedan barai-lower level block/parryGodan-5th levelGyaku-reverseGyaku-zuki-reverse punchHachiji dachi-open leg stanceHadaka jime-naked chokeHaito-ridge handHaisoku-instepHamni-half front facing positionHeiko dachi-parallel stanceHeisoku dachi-informal attention stanceHentai-same armHidari-leftHikite-pulling handHira ken-fore-knuckle fistHiza-kneeHiza geri-knee kickIaijutsu-Japanese sword drawing artIkkajo (Ikkyo)-first controlIppon ken-one knuckle fistIppon seoi nage-single arm throwIrimi-enterIrimi nage-entering throwJintai Kyusho-Art of vital point strikingJi yu kumite-free sparringJodan-upper (head) level)Juji uke-X blockJujutsu-A form of Japanese grapplingKage zuki-hook punchKakato-heelKaki waki uke-reverse wedge blockKake-te-hooking/grabbing handKakuto-bent wristKansetsu-joint locksKarateka-a practitioner of karateKata-formKatame waza-ground workKazamazuki-jab punchKeage-snap (kick)Kekomi-thrust (kick)Kenjutsu-Japanese sword fencingKiba dachi-straddle leg stanceKihon-basicsKime-decision (focus)Kirioroshi-overhead cut (with sword)Kissaki-tip of the swordKokutsu dachi-back stanceKosa dachi-entwined leg stanceKoshi-ball of the footKoshi gamae-hand returns to hipKoshi guruma-hip wheel throwKote gaeshi-outward turning wristKumite-sparringKyu-grade (adult)Kyusho-vital pointsMa ai-distancingMae-forwardMaegeri-front kickMakiwara-punching boardManji gamae-“swastika” stanceMawashi geri-round kickMawashi uke-round block/parryMigi-rightMikazuki geri-inner round kick to earMon-grade (child)Morote gari-two hand reapMorote seoi nage-two arm shoulder throwMorote seoi otoshi-shoulder drop throwMorote uke-augmented block/parryMorote uchi-augmented strikeMusubi dachi-informal attention stance (feet turned out)Nage-throwNagashi uke-sweeping blockNagashizuki-flowing punchNakadaka ken-middle finger knuckle fistNeko ashi dachi-cat (foot) stanceNidan-second levelNikkajo (Nikkyo)-2nd controlNukite-spear handO goshi-greater hip throwOkinawa-Island in Ryu Kyu Islands, JapanOizuki-lunge punchOsae uke-pressing block/parryOtoshi-downward/from overheadOtoshi empi-overhead elbow strikeOtoshi uraken-overhead back-fist strikeOyo-applicationRenraku-combinationSandan-third levelSankajo (Sankyo)- third controlSeiken-fore-fistShikko dachi-square stanceShime-strangleShizen tai-informalShodan-first level Shomen-front facingShotokan-Shoto’s Training HallShuto uchi-knife-hand strikeShuto uke-knife-hand block/parrySokuto-knife edge kickSoto uchi-outward strikeSoto uke-outward block/parrySukui nage-scooping throwSukui uke-scooping blockSurikomi-step throughTai otoshi-body drop throwTai-sabaki-body movementTanden-navelTe nagashi uke-hand sweeping blockTeisho-palm heelTekki-enemyTe-mawashi uke-sweeping palm blockTenshin nage-heaven & earth throwTetsui-hammer fistTobi geri-jumping kickTsuka gashira-handle of the swordTsukami uke-two-handed grasping blockTsuki-punch/thrustUchi-strikeUde gatame-straight arm lockUde uchi-forearm strikeUde uke-forearm blockUke-blockUkemi-break fallUki goshi-floating hip throwUra ken-back fistUshiro-backwardUshiro geri-back kickWan-armWaza-techniquesYamazuki-mountain strikeYodan-fourth levelYoko geri-side kickYori ashi-sliding the footZenkutsudachi-forward stanceAPPENDIX 1: Vital Point Striking (Jintai Kyusho)Bibliography BIBLIOGRAPHY 1. Sells, John. Unante: The Secrets of Karate (2nd Ed.). 2000.2. Funakoshi, Gichin. Rentan Goshin Karate Jutsu. s.l.?: Kodansha, 1922.3. Clayton, Bruce. Shotokan's Secret (2nd Ed.). 4. Nakayama, Masatoshi. Dynamic Karate. 5. Bishop, Mark. Okinawan Karate: Teachers, Styles and Secret Techniques. 6. Abernethy, Iain. Bunkai-Jutsu: The Practical Application of Karate Kata. 7. Kano, Jigoro. Kodokan Judo: The Essential Guide to Judo. 8. Burgar, Bill. Five Years One Kata. 9. McCarthy, Patrick. Bubishi: The Bible of Karate. s.l.?: Tuttle Publishing Co., 1995.10. Banks, Andrew. Karate: The Guiding Principles of Gichin Funakoshi sensei. s.l.?: Andrew Banks Self Publishing, 2012.11. Nakayama, Masatoshi. Best Karate: Heian, Tekki. New York?: Kodansha USA Inc, 1979.12. —. Best Karate: Bassai, Kanku. New York?: Kodansha USA Inc, 1979.13. —. Best Karate: Gankaku, Jion. New York?: Kodansha USA Inc, 1981.14. Ratti, Westbrook &. Aikido and the Dynamic Sphere. s.l.?: Tuttle Publishing, 2004.15. Lowry, Dave. Bokken: Art of the Japanese Sword. s.l.?: Ohara Publications Inc, 1986. ................
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