Karate

DEVELOPING THE POSTERIOR CHAIN

KANKU DAI / PART #3 In the opening movements of Kanku Dai Kata there are two Shuto-uke, today everyone places their hands very high, almost pointing straight up. This was not done this way originally as Funakoshi Sensei explained to me. This came about because Funakoshi Sensei is a very short man and he needed to put his hands this high to fit his body because everyone else was much taller then him in Japan. But he also told me that Itosu Sensei was very tall, and his hands ...were placed much lower. HIDETAKA NISHIYAMA Karate - The Endless Journey!

KANKU DAI / PART #2 Gichin Funakoshi published hIs second literary work in March of 1925 entitled RENTAN GOSHIN KARATE JUTSU which translates as To Polish Courage For Self Defense . In essence, the content and phrasing of this book is identical to RYUKYU KENPO KARATE, and should be considered a revision, completion, and enhancement of his 1922 work. ... The one significant difference separating the two books is the sketched illustration by Hoan Kosugi are replaced with over 200 photos of Funakoshi Sensei demonstrating the various Kata. This visual reference point along with the written description provides the enthusiast with substantial material to navigate their study of this early age of Shotokan. Karate - The Endless Journey!

KANKU DAI / PART #1 At the request of the famous artist Hoan Kosugi, Gichin Funakoshi released the first book on the Martial Art of Okinawa in November of 1922. The 284 book was reportedly written in just one month, and was titled RYUKYU KENPO TODE which translates as The Combat Techniques of the Ryukyu Islands. The book contained the first documented history of Karate, a description of the Makiwara, various techniques, and eight Kata with accompanying sketches by Hoan Kos...ugi. Important to note is that Funakoshi Sensei provides a list of 32 Kata commonly practiced at that time. Most interestingly named on that list is the DAI and SHO version of KOSOKUN. These are the Shotokan Kata’s contemporarily known as KANKU DAI and KANKU SHO. Often considered his literary masterpiece Gichin Funakoshi released KARATE-DO KYOHAN in 1935 and identified these form’s by a new name KWANKU and explains the reason for the change of names. The name of this Kata was originally derived from the official Chinese military KOSOKUN who introduced it in Okinawa. I changed the name with the present one KAWANKU, since I refer to the first movement of the Kata, when the hands are raised to the sky. Karate - The Endless Journey!

2021 WTKO Canada Invitational Spring Seminar

KEIO UNIVERSITY An enjoyable evening spent reviewing the various Idori of Keio University. Iwamoto Sensei & Mashimo Sensei interview provides a glimpse at the roots of Shotokan. Karate - The Endless Journey!

SAMURAI MAGAZINE NOVEMBER 1974

HEIAN GODAN - OBSERVATIONS To witness the surging ebb and flow of Kata from afar the wide eyed observer may become intoxicated by the obvious movements of the upper body. As the solo battle rages on there is a real risk that the observer would all together miss the subtleties and layers of depths of the lower body. As our training evolves the practitioner will become sensitive to the devastating potential of the lower body. Blocking, attacking, parries, off-settling techniqu...es, throwing, and strategies to create a mental gap in the adversary are all within Kata, and are executed with the legs. Using various areas of the foot, shin, the knee, and the inner and outer thighs can breath life into techniques that may seem superfluous. Using movement #13 in Heian Godan as an example there are two distinct methods that are commonly practiced, and endorsed by various Shotokan organizations. The first, is to simply hover the foot along the floor, and the second is to raise it up in preparation for Fumikomi. A number of years ago in Calgary, Alberta I attended a Kata class with Sensei Dave Hazard. The methods of hovering or raising the right foot in movement #5 of Gankaku was thoroughly detailed and Hazard Sensei’s opinion was delivered in a way that only he can. Following class I decided to approach Sensei and ask his opinion on eliminating the raising of the foot that seems to be a common practice in various Kata’s today. Those unfamiliar with Hazard Sensei can never truly appreciate how daunting a simple question could be. At best I hoped for a volatile telling off, and at worst I risked receiving physical injury. Regardless of the outcome I bravely pushed forward in the hopes of gaining insight. I will always remember Hazard Sensei’s reply, and the sincerity in which he gruffly said its criminal! In conclusion, whatever method one currently practices, the most important thing when studying Kata is to relentlessly pursue meaning behind the seemingly insignificant details. Karate - The Endless Journey!

BLACK BELT MAGAZINE / 1962 EDITION #2

BLACK BELT MAGAZINE / 1962 EDITION #4

SKM INTERVIEW / SCOTT MIDDLETON QUESTION & ANSWER / Part #3 Question #7 - That’s interesting Scott. As a ex-professional musician I can tell you that in the art of music, feeling totally out ways technique. The musician with a great feel for the music is infinitely preferred, rather than the musician with the superior technique.... Answer #7 - You raise an interesting point John. In Karate the practitioner struggles to acquire and ultimately express the feeling of a technique or the unique character of each Kata with nothing more then their own body. The various weapons, instruments and tools used in other Martial Ways is said to be an extension of their body, and has a spirit of its own. I assume that whatever musical instrument used by the musician in its own way has a spirit and that with time the musician will strive to uncover it. Question #8 - Is it possible to convey or teach a feeling for a technique / movement? Answer #8 - Effective, engaging, and inspiring instruction hinges on the ability of the instructor to relay the feelings of Kata, Kihon, and Kumite in an easily digestible way. Ultimately the goal is to assist students in processing the information more deeply allowing them to relate these feelings to existing ideas or experiences further advancing their Karate. For myself, the ability to teach or expose the feeling of a technique / movement is only a side effect of the hunger I have to take my Karate to the highest levels. The personal training, research, and my healthy introspective nature allows me to to understand the aspects of Karate on a deeper more intimate level. Any progress I make in advancing my Karate allows me to demonstrate and articulate the feeling and reasoning behind the technique I am attempting to express. Question #9 - It’s often said that Karate is more then just kicking and punching. How do you define the more? Answer #9 - I suspect the majority of practitioners have an exhaustingly long list on the benefits of Karate readily available if the same question was posed to them. The bullet points of their list would likely include generalities that have all been declared at some point before, and I am certain that the contents would be both valid and heartfelt. However to clearly articulate what Karate means on a personal level is deeply challenging, but I also feel that doing so can be profoundly valuable on many levels. So to answer your question the more for me is that Karate has been an important part of my life from a young age and it’s impossible to make a clear distinction of what my personality would be like with out it. I relish in the daily physical affirmations that come with practice and never tire of the seemingly endless monotony of training. Apart from the physical aspects of training, I find that who I am, the decisions I make, and the values and beliefs I adhere to have all been poured through the filter of Karate.

SAMURAI MAGAZINE MARCH 1975

HEIAN YONDAN - OBSERVATIONS In his role as the Chief Instructor of JKA / ISKF Manitoba, Sensei Phillip Dingman introduced many technical changes to Kata during the early years of the 1990’s. Ranging from small aesthetic nuances to significant details that threatened to water down the origins of these movements, I will only assume he was following the direction of his seniors. History has shown us that this was a historical period in the JKA with the emergence of a World Fede...ration that was conveniently introduced at the 1994 Shotocup in Philadelphia. With Okazaki Sensei being introduced as Chairman to the JKA / WF, and Sugiura Sensei being named Chief Instructor of the JKA in 1992 there was significant pressure to have a global standardization. The shape of the left arm in movement #3 in Heian Yondan was one of the changes we were required to make during that time. Karate - The Endless Journey!

SOCHIN MOVEMENT #1 / MUSO-GAMAE Photo Circa 1999

SKM INTERVIEW / SCOTT MIDDLETON QUESTION & ANSWER / Part #2 Question #4 - Are there any technical aspects you maybe do not agree with?...Continue reading

CHINTE MOVEMENT #14 / SUKUI UKE Photo Circa 1998

SKM INTERVIEW / SCOTT MIDDLETON QUESTION & ANSWER / Part #1 Question #1 - When you began Karate, did you envisage such a journey? Was it just the physical attraction or did you originally warm to the philosophy?...Continue reading