Honbu cancellations for 2012

Riverhead Village Hall cancellations for 2012.  
There will be no training in the dojo on the following dates:

Friday 6 April 2012  (Good Friday)
Sunday 8 April 2012  (Easter Sunday)

Friday 13 April 2012  (Riverhead Parish Council AGM)

Tuesday 31 July 2012  (service to heating system)

Tuesday 7 August 2012 (hall decorating)

Tuesday 14 August 2012  (floor renovation and sealing)

If you want to train on any of these these sessions, please let me know so that I can assess if it is a viable proposition to hire an alternative venue or choose to train outdoors.

More kata and tornado hands

What we did on Sunday 25 March 2012

Group 1:  Standing, getting onto floor and up again, walking, squats, knee raises.

Group 2:  Kata Shinzen

Group 3:  Review of kata repertoire.  Discussion of tornado hands status.

More tornado hands and kata review

What we did on Friday 23 March 2012

Review of current state of tornado hand techniques.  

Questions and answers session.  

Review of the four basic kata: Shinzen, Tenzen, Tenshu and Channan.

Kata review

What we did on Tuesday 20 March 2012

Group 1:  Hand circles, figure eight loops forwards and backwards.  Steps 1-14 of Tenzen

Group 2:  Review of basic five kata (Shinzen, Tenzen, Tenshu, Channan and Naihanchi).  Videoing same.  Very pleasing situation with these kata, shown well with good understanding.

The Dissemination of Shinseido

What we did on Sunday 18 March 2012

Group 1: (our member with cerebral palsy)  Standing with an erect posture, ‘stacking’ the spinal column, analogy with balancing children’s bricks, one on another to the point where it is no longer possible to maintain balance. Tilting the inferior aspect of the hip girdle forwards, not allowing the knees to collapse (maintaining straight but not locked legs).  Step forwards trying to maintain balance throughout. Immediately the step has been taken, re-establishing perfect balance and poise if they have been compromised. 

Group 2:  Practise of kata repertoire.

Subsequent discussion of teaching methodology.

Avoidance of fixed values and frameworks of reference, or rather having a framework of reference that defines what Shinseido is, and that has therefore, a level of flexibility.  How to reconcile frameworks of reference for beginners with the urgent need to move them on to a system with no fixed points of reference and onto a continuum cum non-dualistic mindset.  Acknowledging the likely very pragmatic nature of the 19^th Century Okinawans as a seafaring nation.  Taking into account the member’s reasons for training on balance with the reasons why Shinseido exists.  Analysing how physical movements within Shinseido represent physical metaphors for a mental process.  Thus the importance of the ‘kinesiological’ tornado hand process.  Movements that demand independence of the two halves of the brain in relation to a continuum realisation of all movement.  How this can be good for beginners and bad at the same time.  Careful balance and introduction of these principles gradually depending upon the ability of the student to adopt the new mindset.  Taking the student out of his or her comfort zone in a way that is not debilitating or destructive but rather empowering.  Recognising the difficulty levels of hands working in unison, following, contrary motion and then through complex lassijous curves spontaneously without thought.  Recognising the very real and significant responsibility of being a Shinseido teacher in respect of looking at an individual and using our skill and knowledge to help him or her move towards a mutually agreed goal that falls within the confines of that which defines Shinseido and also meets the perceived and real needs of the student.


Looking at ways of loosening the tight framework of a kata.  Being comfortable with departing from the line of embusen when realising our practical self-defensive visualisations and with maintaining it when working the kata as a process of kinetic no mind (mushin) meditation.  In practical terms, the importance of movements matched to good, accurate visualisations over ‘mandatory form’.  The process of ‘shuhari’ learning kata according to prescribed form but eventually making the kata your own, an expression of your true and absolute self and not some attempt to reflect the nature of another person.  

Tornado hands and the Taijitu

What we did on Friday 16 March 2012

Another review of tornado hands.  Some might believe that such an analysis is pointless, however, only deeper understanding can come from such exploration.  Sometimes new discoveries occur as has happened for me through this analytical process.  This session involved identifying the relationship of the Taijitu and  lissajous curve in respect of the process of forming tornado hands on the vertical, longitudinal and lateral planes.  Recognising the difference between the Taijitu (two adjoining circles contained within the one) and lissajous curve (two separated circles or tear drops joined point to point) and how they relate to tornado hands.  Recognising how one can change and reverse direction by use of the taijitu loop and also by changing from one axis to another before returning to the original axis in reverse without ever pausing.  Acknowledging that a straight trajectory is almost impossible to achieve and that therefore all movement is curved.  Further analysis becomes somewhat pointless once one realises that an infinite number of trajectories can be formed based upon triangulation with the three axis.  Nevertheless, a basic understanding of this process really helps the more advanced practitioner to recognise one fundamental truth – everything is the same, there is only one hand technique in our art. 

Another look at takedowns in Channan gata.  1^st to 4^th steps.  Recognising the open ended nature of moves within a kata, that is implied continuation moves not shown even within the individual elements of a movement.  

An Elemental Approach to Sparring

What we did on Tuesday 13 March 2012

Basic tornado hands workout.

Subsequent organisation into easy, intermediate and advanced modes of working.

Wakai gumite:  Taking elements out of a hat.  The five Shinseido elements of: Earth Horse, Water snake, Fire Tiger, Air Crane and Aether Dragon.  Partner does not know element other person is working in.  The game is to feel the quality of movement, strategy etc. and to identify elemental mode of partner.  Identifying personal strengths and weaknesses in each mode.

Looking at response modes and strategies; pre-emptive attitudes; awareness and understanding of situational aspects; personal modus operandi.

Some Differences Between Matsumura Seito and Shinseido

Notes by Roger Sheldon 8 June 2007

Matsumura Seito


Shorin Ryu Matsumura Seito Karate Kobudo (formerly Machimura Suidi or Matsumura Shurite) evolved as a policing and civil self-defence system for the noble shizoku class of Ruykyu society.  It reached the zenith of its development during the nineteenth century in the hands of the most prominent exponent, a senior bodyguard to the last three kings of Ryukyu, Matsumura Sokon Bushi (1797-1889).   The primary purpose of Shurite was as a protective system of body-guarding the Ryukyuan royal family and while this required the practitioner to be expert in self-defence, the self-defence aspect would have been regarded as of secondary importance to the protection of the royal family.

On Matsumura Sokon’s death the system passed down to his grandson Matsumura Nabe (c,1850-c,1930).  Matsumura Nabe, in his turn, passed it down to his nephew Soken Hohan (1889-1982) who passed it down to his nephew Nishihira Kosei (1942?-2008).  Mr Nishihira was the last of his family line to disseminate the old system. 

Thereafter the system was perpetuated by those of Nishihira sensei’s external students who had learned the system.  The most prominent of those, in terms of having an ability and willingness to teach the system being, Rick Rose of the USA, Ted Lange of Australia and Giuseppe Meloni of Italy.  It was from these sensei among others such as Ronald Lindsey of Texas that Roger Sheldon was able to gain an appreciation of the true style.

Shinseido is Roger Sheldon’s personal life-skill system born of his quest to find the old Matsumura system and also as a result of having pursued a career in teaching professionals in the police, prison, health care and social services sectors how to manage real violence on a day to day basis.  It compliments the old classical system and draws on many of its principles but is oriented specifically to functional use in contemporary society.  There are a number of fundamental technical differences between the Matsumura Seito and Shinseido systems.

Shinseido

1.       Shinseido, while still being definable as Okinawan Shorin Ryu Karate, has a contemporary orientation rooted in the classical methods of Suidi (Shurite) that aims to establish peace, calm and amity whenever possible.  It seeks to prevent conflict before the event through appropriate attitude, awareness of preventive strategies, and an understanding and tolerance of humankind’s enormous perceptual diversity.

2.       The system teaches an understanding of duality the elemental model and the continuum principle along with the concept of non-duality so that practitioners develop a good understanding of how human inter-personal relationships can work harmoniously.

3.       Embraces personal symbolism as a means to understanding the esoteric aspects of the system.

4.       Aims to be totally natural for each practitioner.

5.       Avoids where at all possible the use of large, fast, or hard movements,  preferring to utilise minimalist economic actions that for the most part, have a low key calming effect.  These are small, soft, mostly circular, unhurried looking movements equating with the practitioners deep sense of confidence.

6.       Movements have a natural fluidity, smoothness and continuity.

7.       Avoidance where possible, of the use of fists, open hands being regarded as more superior, versatile and having the appearance of calmness.

8.       Predominantly makes use of the palm and backhand / palm and backhand side of the arm.

9.       Avoids where possible the use of kicks and knee strikes, these imparting a sense of reactiveness rather than responsiveness.

10.     Avoids going to ground; that is, deliberately putting oneself on the ground to defend against or control an attacker.

11.     Can be an extremely close quarters method.

12.     The passive hand is held in a cover position in front of the sternum.

13.     Employs many simultaneous receptive actions coupled with counter  responsive actions to minimise response time.

14.     Emphasises breakaway before counter restraint holds and locks.

15.     Emphasises skill in changing communication and response dynamics to unbalance both mentally and physically.

16.     Employs fast, hard and debilitating counters as a last resort.

The Essence of Shinseido and Walking

What we did on Sunday 11 March 2012

An inspirational session and one from which everyone who attended gained a great deal. 

Group 1:  Consolidation and statement of components that make Shinseido special and somewhat unique.  How every movement within Shinseido represents a physical metaphor for everyday life; the significance of symbolism; how the continuum principle leads to an understanding of non-dualism; the true nature of tornado hands; therapeutics; philosophy.

Current state of tornado hands:


1)    The four elements:  High in hands; Low out hands; Low in hands; High out hands.

2)    Regular hands and Reversed hands

3)    Bow hands lateral, oblique and vertical. 

4)    Forward and backward hand rolls in unison. 

5)    Forward and backward hand rolls following. 

6)    Forward and backward hand rolls contrary motion. 

7)    Horizontal hand circles counter-clockwise and clockwise. 

8)    Horizontal hand circles counter-clockwise and clockwise following.

9)    Horizontal hand circles contrary motion inwards then outwards matching.
10)   Horizontal hand circles contrary motion in wards then outwards following.

11)  Horizontal figure of eight hands led by thumb side then little finger side of hand.

12)  Longitudinal figure eight hands regular and reversed.

13)  Vertical figure of eight hands led by thumb side then little finger side of hand.

14)  Vertical figure of eight hands, palm led then backhand led.

15)  Vertical figure of eight hands palm and backhand simultaneously then in reverse.

16)  Holding single energy ball and holding an energy ball in both hands.

Group 2:   Note: One of our long term members has cerebral palsy and is undergoing a difficult period.  He is moving towards mobilising himself again so that he can get back into the art proper and begin to take part in class activities.  This involves specific strengthening and mobility exercises. The Art of Walking:  Using ten mats initially for safety and then as stepping ‘stones’ to encourage confidence in elevating the feet to walk on and off the mats.  Learning about posture, poise, balance.  Dispensing with the stick and standing unaided.  Posture correction.  Walking with minimum support (seisei’s hand), checking posture, balance and ability to remain standing unaided after each foot placement.  Rules established: straighten legs, rock hip girdle forwards, stretch up, draw shoulders back over hips.  Walking from one end of the dojo and back again.  Placing self on floor supine and resting.  Turning into prone position and pushing up into kneeling position, then standing with minimal aid.  Expressing importance of doing exercises at home every day, reserving dojo sessions in future for functional emphasis as in walking, standing, getting down onto floor and up again, being able to stand unaided in order to execute hand and arm movements of Shinseido.  Statement of home exercises to do week to week.  This activity linked powerfully with the first, emphasising the broad therapeutic nature of Shinseido for each individual student.

Tornado hand techniques

What we did on Friday 9 March 2012

Tornado Hands:  Bringing logical order and completion to a seemingly complex set of hand movements. Identifying logical sequence of movement.  Establishing logical nomenclature. Identifying functionality of each successive variation.  Recognising the powerful nature of the movements in terms of coordination and development of strength.  

Take-downs in the Channan Gata

What we did on Tuesday 6 March 2012


Kata Channan:  Looking at the most efficient and economical way of taking each of the fifteen oyo to a take-down.  Recognising that each oyo is open ended and implies a continuation of response through the process of worm-holing where necessary.  Understanding that the requirement is functionality not to seek fifteen different take-downs if a fewer number would suffice.  Examining the problems of and solutions to significant height differences.  

Karate-do Taikan

My friend Angel Lemus writes:


"I have had this book since 1993 from our trip to Okinawa. I bought it at a typical book store in Naha when I saw the cover, I had to buy it.  Lots of cool old photos but I could not read one word of course.  The book cost my $150 in 1993 dollars.  Over the years I have heard that it is the most comprehensive karate book ever done, and it is the one book to have and I have been pissed for 19 years cause I could not read anything on it.  

Well I recently purchased a translation in English and I am so happy I did, the information in here is awesome, timeless, and just solidifies so much of the history and information of old school Karate. So much of what has been written post WWII is kinda hard to know if it is real or misinterpreted.  This book was done during the time, Kyan, Chibana, Hanashiro, Miyagi, Mabuni, Gusukuma were all alive and it is SO GOOD to finally be able to understand what is in these pages.

Genwa Nakasone’s 1938 book "Karate-do Taikan"

HARD COVER  $75

http://www.lulu.com/product/hardcover/an-overview-of-karate-dó/5949358

SOFT COVER  $63

http://www.lulu.com/product/paperback/karatedo---an-overview/6071785?productTrackingContext=search_results/search_shelf/center/3

Here is an extract from an article Graham Noble wrote about early karate books:

http://seinenkai.com/articles/noble/noble-books1.html

Kata Channan and the Training Mindset

What we did on Sunday 4 March 2012

Group 1: Transcending Kihon Kata.  The three kamae of Channan: seigamae, nidan gamae, juji gamae.  Examination of seito oyo for moves 1-5 of Channan.  Directional considerations, dynamics, changing the dynamics, purpose of the practise, playing with continuums.  Numerology and its relationship with old kata.  Symbolism for cardinal numbers.  Recognising symbolism for what it really is, a tool that may or may not be rooted in truth and reality that helps us understand the otherwise unexplainable.  Historical considerations: Nature of old practices.  Aims and purpose of training.  The three part continuum of learning Shuhari.

Shu (守) "protect", "obey" — traditional wisdom, the seito (orthodox) system — learning fundamentals, techniques, self discovery, maxims, rules and procedures.

Ha (破) "detach", "digress" — breaking with tradition, the seito model — detachment from the illusions of self.

Ri (離) "leave", "separate" — transcendence — techniques and maxims are left behind, all moves are natural, becoming one with mind and spirit alone without clinging to physical forms; transcending the physical.

The important need to carry Shu, the seito system throughout as a means to teach one’s followers.  Engendering the creative spirit, free thinking, inspiration, the enquiring, analytical and questioning mind.  Ability to see all, having an open mind, not having to protect one’s standpoint.  Learning how to let go of proven erroneous concepts, frameworks of convenient reference.  Recognition that everything in existence is in a state of change and being comfortable with that notion.  The problem of seeing things as black or white, right or wrong, good or bad. 

Group 2: Note: One of our long term members has cerebral palsy and is undergoing a difficult period.  He is moving towards mobilising himself again so that he can get back into the art proper and begin to take part in class activities.  This involves specific strengthening and mobility exercises.  Getting down from standing into supine position, rolling side to side and into prone position.  Trying to push up into kneeling position.  Elevating the right foot and stepping onto a mat.  108 half squats.  Walking.  Break-fall from half squat.  Lying supine, elevating knees.

Takedowns

What we did on Friday 2 March 2012

For those unfamiliar with Shinseido’s approach to training, things might seem as if we are a research group finding our way. Of course there is no end to learning, however we are always happy in that we know precisely what we are doing but prefer the members themselves to make discoveries about their art.  Thus, this evening we conducted a  review of our takedown methods, identifying the ‘basic’ and more ‘advanced’ methods from within the second half of our formal kumite procedure.  Removing the formality of a seven step pre-arranged set to a more informal and random and spontaneous process.  Identification of takedown types: 

1.    Head and body: Chokes, leverage, barging, vital points

2.    Hands and arms:  Shutting down, locks, twists, vital points

3.    Legs and feet:  Sweeps, trips, foot pins, vital points

4.    Combinations of above.

A working definition for ‘takedown’:  Any action that results in the assailant lying on the ground.  This can include knockdown, tripping, sweeping, throwing, etc.

Conclusions:  Takedowns 1, 2, 3, 6 and 7 are basic.  4 and 5 are more ‘advanced’ than the others.  Takedowns coming from distracting or weakening techniques.

2.   Outside takedowns:  0.61 

      Step, lead active hand arm bar across front of neck

3.   Outside takedowns:  0.66

      Step through behind attacker’s arm doing arm bar across his chest

4.   Outside takedowns:  1.00

      Lead hand loop under arm and around neck

5.   Inside takedowns: 1.07

      Loop around back of neck into reversed choke hold

6.   Inside takedowns: 1.11

      Step through inside attacker’s arm, doing arm bar across his chest

1.   Outside takedowns:  0.47 

      Trailing active hand neck choke from behind with a single knuckle thrust to back

7.   Inside takedowns: 1.14

      Switch to outside for collar or hair pull.  Add any pulling lever, choke, arm bar,
      ears, eyes etc.  Work as a principle coming from a switch to the outside and shut                                                                                                                down.

Add: 

Arm Drag Takedown

Arm Bar takedown

Step through leg sweep (backward chop)

Moving to outside – kicking lead foot forwards

From side doing Naihanchi geri to supporting leg

Review to be concluded.

Subsequent discussion about emotions, adrenaline and their effect upon response ability, time etc.  Expected and unexpected assaults, verbal prelude, effects of the adrenaline dump, gross motor movement.  Emotion: fear and anger.  Types of anger, passive, aggressive, righteous anger.  Ability to self generate an emotion, to change the dynamic in the moment.   

Lecture by Charles Goodin sensei and Nakata sensei

My good friend Angel Lemus posted the following to me:

The following link is to a fantastic lecture by Charles Goodin Sensei and Nakata Sensei at the Hawaii University Okinawan Studies dept on February 9th 2012. There is a lot of historical information  here never before published, this is a must if you are into Karate.

Enjoy.

It is in five parts.  Please help to spread it to anyone you may think will be interested.

http://www.youtube.com/user/HawaiiKarateMuseum

Learn about the origins of Karate (Tudi, "Tang or China" Hand) among members of the highest levels of Ryukyuan society. Karate was part of the upbringing of selected sons of noble and samurai families who were trained to become bushi, cultured gentlemen. Based largely on Chinese martial arts and values, Karate was usually taught secretly or in private. After the Ryukyu Kingdom was abolished and Okinawa became a prefecture (1879), Karate became a part of the public school curriculum. Taught publicly and to a large number of students for the first time, Karate had to adapt to Japanese values and objectives.

Karate came to Hawaii with the very first Okinawan immigrants starting in 1900. Through Karate training, students are provided an opportunity to learn about Okinawan history and culture.