Western New York Karate Center

Shihan Bill

September 23, 2016

Kyushojitsu

Pressure point techniques, or kyushojitsu (key-you-show-jeet-sew), are an essential field of study in martial arts. Rather than rely on brute force, multiple strikes, and luck to neutralize an aggressor, specific vulnerable points on the human body can be utilized with no more force than what is needed to clap two hands together in polite applause.  By striking specific pressure points, one can better choose the desired outcome of the encounter, rather than leave it to luck, and a hostile engagement could be concluded with as little as a single blow.  Utilization of pressure points as a conscious component of one’s martial arts will not only allow one to be highly effective and efficient, but  in so doing, the decreased need for significant exertion will also extend one’s endurance allowing longer engagements prior to succumbing to fatigue.

Kyushojitsu finds its origins in Indian as well as Chinese medicine and relates to the study of the relationship of vital points to health. In martial arts the focus is on how these vital points can be engaged not to heal but to generate pain or other effects that would lead to defeating an aggressor.  Varma adi, or pressure point striking, is possibly one of the oldest martial arts systems, reportedly older than 500 BCE, that focuses on striking vital points with empty hands or a staff to affect nerves, veins, tendons, joints, and organs. Varma adi identifies 107 vital points with 64 of those points being considered as associated with lethal effects. 

While most people will think of pain points and death points as the totality of pressure points, there are multiple types of pressure points.  While we will not address the 107 vital points here, we will examine each type of pressure point:

Pain

Pain points produce an intense sensory signal when struck, pressed, or rubbed and can cause mental distraction, physical immobilization, or a rapid “pain withdrawal” reflex. Pain points represent a large portion of the vital points.  The activation of pain points can be accomplished with minimal effort.

Example:

Under the jaw – directly under and behind the point of the jaw is a “V” shaped area. Place one’s thumb in the inside of the V area and one’s fingers on the outside surface of the jaw and then squeeze and push up with one’s thumb against the bone.

Break

Break points are the specific points on joints, bones, and tendons that if activated effectively will dislocate the joint, break the bone, or rip a tendon in half. In some cases, pain points are break points that generate pain when minimal force is applied to them; pain serving as a warning that if greater force is applied, a dislocation, break, or rip will occur.  Break points are only activated with a significant degree of force.

Examples:

Floating ribs, collar bone, side of knee

Communication

Communication points are involved with nervous system communication. Activation of communication points can cause specific involuntary actions, or reflexes, such as causing hand grip to weaken, a joint to relax, knees to buckle, an arm to straighten, etc.  Triggering of these reflexes is often done strategically as part of a combination of strikes where activation of a communication point makes the aggressor more vulnerable to the technique that follows. When communication points are activated in this manner, they are often referred to as “reflex” points. The activation of reflex points can be accomplished with minimal effort.

Examples:

Gag reflex – strike to base of the throat can cause a sensation of choking

Tendon reflex – a strike along a muscle tendon in a limb will cause the limb to extend such as with the knee-jerk reflex commonly used in Western medicine physical exams.

Golgi tendon organ reflex – a strike at the Golgi tendon organ, located at the junction between a tendon and muscle, will cause the tendon to essentially relax its current tension on a tendon so as to avoid tearing. This would allow for a hyperextension of the joint and make is significant vulnerable to over-extension and dislocation of the joint.

Protective reflex – a strike to any part of the body will usually result in the aggressor’s hands moving automatically to cover the part of the body that was just struck. In addition, the body will attempt to curl so that the struck section moves away from the perceived source of force which often results in previously distal regions of the body moving toward the source of the force.  For example, if one strikes an aggressor in the face, the aggressor’s hands will likely move to cover their face. And while the head moves backward, the waist and groin will move forward.

Fencing reflex – following a strike to the side of the head, the arm on that side of the head will flex and the fist will cock and move toward being just under the jaw; the arm on the opposite side of the strike will extend.  This can be less dramatically triggered by turning the head of the aggressor to face a side of the body.

Tenodesis Effect – By flexing or extending a tendon over two joints, the associated muscle(s) become weakest as any muscle and tendon that goes across two joints is maximally strong when flexed at one joint but extended at the other.  This effect can be used against a weapon hand for disarming purposes.  Pushing on the back of the hand will cause the hand’s grip to become its weakest.  The tenodesis effect is also why a support leg for a kick will be strongest when it is bent instead of being straight.

Activation of communication points can also be done so as to block communication. This will result in either numbness or paralysis in specific areas of the body depending on the communication point that is engaged. When communication points are activated in this manner, they are referred to as “paralysis” points.

Unconsciousness

Unconsciousness points generate a response of the body to induce unconsciousness. This could be due to loss of blood flow or due to overstimulation of the CNS. The activation of unconsciousness points can be accomplished with minimal to significant force.

In addition, while correct activation of a single unconsciousness point will result in unconsciousness, it is important to note that striking three or more pressure points of any type will overstimulate the CNS and precipitate unconsciousness.  Care must be taken as while activation of three points can result in unconsciousness, chaining pressure point activations beyond three points could be lethal.

Death

It is undisputable that there are several vulnerable points on the human body that when sufficient force is applied would have lethal consequences for an aggressor.  But the existence of true death points, specific points where minimal force can be applied and death will result, is controversial.  For the purposes of this article, death points should be thought of as referring to vulnerable points on the body that can cause death when significant force is applied.  Also, similar to the precipitation of unconsciousness, activation of multiple pressure points of any type, five or more, can potentially overstimulate the body to the point where death occurs.

In closing, due to the potential for traumatic injury and even lethal consequences, caution must be taken in the exploration of the activation of pressure points and such exploration should be conducted under the supervision of an identified expert instructor who also holds some knowledge of qigong techniques. If you note or your training partner complains of dizziness, nausea, or other suddenly present physical complaints, stop training immediately and either utilize qigong techniques yourself or seek assistance from your instructor.

Western New York Karate Center
Shihan Bill
September 16, 2016

Randori

How we train is how we will perform.  As one trains in Isshin-ryu, one should keep this martial arts maxim in one’s mind.  This maxim is true at all times one is on the training floor but most definitely during the practice of kihon, kata, and kumite.  Generally, we think of this maxim in terms of developing so-called “muscle memory;” that we are attempting to create specific reflexes so as to remove thought from our practice of martial arts and therefore make our engagement with an opponent, offensively and defensively, faster.  But, this maxim also includes one’s intended practice setting. The techniques we employ, the targets we choose, the outcomes we desire will be influenced by where we imagine we will usually demonstrate our training.

For most, training will only be demonstrated in the dojo and thus the choice of techniques, targets, and desired outcomes is highly abstract.  These students may never fully feel that they should even be making such choices. In their training, these students will follow what they are told to do but with little understanding as to the potential reasons associated with those actions. They will follow rules without even being aware that they are following rules and therefore being unknowingly restricted by those rules.

For some, training will be demonstrated in competition and then the choice of techniques, targets, and desired outcomes will be made with respect to tournament rules of engagement and evaluation. Following and being restricted by rules is a conscious choice by these students made for secondary gain: to win in a competition. These students will develop kata with the idea of engaging an audience and thrilling a judge.  These students will engage in kumite to the exact letter of the rules of engagement so as to avoid disqualification and seek to score points in a match so as to win. Kihon, the basics, for these students, will be viewed as drills that develop muscle memory but otherwise are treated as “ideal” or even “stylized” versions of the techniques they will actually employ when in competition. Indeed, how such students spar will often look significantly different from how they perform kihon and kata.

For a few, training is predicted to be demonstrated in “practical” settings as a part of their work or in instances of self-defense. Training takes on a practical aspect for these students where kumite reflects the practice of kihon and kata. In this case, the martial artist is training at all times as if they could be demonstrating their training in a situation for which martial arts were originally developed, where life will be at risk. In order to do so, this martial artist cannot be restricted to tournament-style kumite or sparring. Given that kihon and kata reflect the application of force in ways that could result in grievous injury and even death, there will still be a set of rules of engagement so as to safeguard against death, but these students’ conscious choice to be restricted is solely for the safety of their partner. Kumite performed under these conditions is known as randori (rahn-doh-ree).

Randori is a term used in Japanese martial arts to describe a form of free-style practice. The term denotes kumite where participants are expected to apply techniques to a random succession of attacks in a form of “mock-combat.” The two karateka engaging in randori will move at “street” speed, moving very fast, parrying and attempting acts of extreme violence with potentially all possible tools: hands and feet but also elbows, knees, forearms, shins, and even martial weapons. And, unlike tournament-style or sport karate, all techniques can be considered potentially available: not only strikes and kicks but also grappling techniques such as submission holds, strangleholds, and throws. The exact classes of tools and techniques that will be considered “fair play” should be verbally agreed upon between the two karateka before starting the randori round.  Also unlike tournament-style or sport karate sparring where protective equipment is required, karateka engaging in randori can elect to use only some or no protective equipment so as to make as many techniques as possible available for use as well as to increase the experience of a more genuine threat to their wellbeing as a part of the round.

Total control of one’s body is necessary in randori due to the potentially lethal nature of martial arts. Despite moving at street speed with potentially brutal techniques, only “light” contact should occur during a round of randori. The only lasting evidence of a randori round should at most be bruising of the skin.  Given that such control usually takes years of training to attain, only students holding a Brown Belt or higher are usually considered as being potentially capable of the safest possible use of randori. Furthermore, students must ask permission of their instructors before engaging in randori.  And, randori should only occur between two students who have obtained such approval and then consent with one another that they will be engaging in a round of randori, rather than “standard” sparring, and agree to the classes of tools and techniques that can be employed in the randori round. Instructors can use their observations of a student in their demonstration of self-defense techniques to evaluate the level of control a student is capable of demonstrating. But, more controlled types of kumite, such as ippon kumite, will not only provide a more reliable method of evaluation but also an effective method for developing the level of control needed for the safest possible use of randori.

The only remaining distinction between a standard round of kumite and a randori round is the rhythm of engagement.  As a reflection of tournament-style sparring, action can be interrupted as soon as a successful technique has been applied. The two karateka can then “reset” before once again engaging with one another.  In a round of randori, the action is uninterrupted when a successful technique is applied. Action in a randori round continues until the full time of the round is completed.

Randori is dangerous and should only be attempted with permission from one’s instructors and then only with another consenting randori practitioner. But, in order to train to use martial arts as they were intended, randori is indispensable.

Western New York Karate Center

Shihan Bill

September 9, 2016

Respect

The command, “rei” (ray), is most commonly translated in karate schools as “bow.”  However, depending on the kanji associate with this sound, it has a variety of meanings.  But, for the purposes of martial arts, the meaning that is more accurate than “bow” is “respect.” When the command, rei, is spoken, while the physical action is to bow, the intent is that respect is being demonstrated by that act. When Isshin-ryu was developed, while intending in many ways to break with traditions whose origins could be argued to have started in China and influenced by the Japanese, there are still aspects of showing respect in the Isshin-ryu bow that are in line with many Asian traditions.  And these traditions proscribe a variety of characteristics to the bow that are felt to demonstrate respect.

First, a bow occurs at the waist, back straight, with no arching of the spine.  A bow is NOT performed with one’s neck.  A tilt of the head forward using one’s neck alone is not considered respectful at all. One does use different declinations of one’s upper body to denote the amount of respect given, but this is accomplished at the waist. The standard amount of declination for a bow is approximately 30-degrees.  This is the bow that one provides to students of similar rank; a slighter bow could be given to students of significantly lesser rank but, again, this is accomplished by bowing at the waist and not with one’s neck.  When bowing toward an instructor, a student should bow approximately 45-degrees and when bowing either to an honored official or in a circumstance where one is conveying an intense sense of humility, a bow can go as deep as 90-degrees declination.  It should not go deeper than 90 degrees.

Second, hands are placed lightly on the sides of one’s legs if one is bowing from a standing position; if wearing gi pants, one’s fingers would be along the seam of the pants legs.  The Isshin-ryu tradition is to not slap one’s thighs when placing one’s hands in order to bow.  While some traditions will have one place one’s hands on top of the thighs, that is not the Isshin-ryu tradition while standing. 

On that note, while one can kneel in an Isshin-ryu dojo, it has not been the tradition to bow from that position in Western New York dojos.  But, if one were to follow traditions of bowing from a kneeling position, the hands would start resting on top of the thighs and then move forward simultaneously to touch the floor in front of one’s self with the hands separated by about 5 inches.  The hands are moved closer together to show increasing amounts of respect, but the hands generally don’t touch each other unless one is bowing to a person of high government rank such as a president. One’s elbows should remain in line with the sides of the body and not flare away from the body.  One’s elbows should never end up touching the floor and if they did that would indicate too deep of a bow.

Third, eye-to-eye contact is broken.  While breaking eye contact does make a martial artist vulnerable to attack, that’s really the point. While in truth, a good martial artist is either watching the lower body of the person they are bowing to, for signs of imminent movement, or at the least will maintain awareness of their environment to detect if the other person is closing distance, bowing definitely makes them more vulnerable to attack.  As one bows progressively deeper, the ability to monitor the other person or the environment becomes increasingly limited; the 90-degree bow that makes one significantly vulnerable and also why it is rarely performed except in situations where one is expected to make one’s self that vulnerable. Bowing display of respect and trust, as if to say, “I put my life at your disposal.”  And the deeper one bows, the greater that sentiment such that a 90-degree bow is a manner of conveying that one is putting one’s life completely at the disposal of the person one is bowing to.

There are commands and phrases that are associated with bowing, some are common and some are rare if ever used, in Isshin-ryu dojos:

Kiotsuke – attention. Take the attention stance.

Yasume – at ease. Take the at ease stance.

Seiza (say-zah) – kneel.  This will be accomplished starting with the left knee.

Mokuso (mawk-sew) – mediate. Center one’s thoughts only on the training to be done; disconnect from the thoughts and concerns outside the dojo.

Shomen ni rei – bow, showing respect to the shomen (the founders)

Sensei ni rei – bow, showing respect to the instructor

Rei – bow, showing respect

Onegai shimasu (oh-nee-guy she-mass) – “may I be of service” or “please grant me this favor.” This can be said at the beginning of class by the instructor and students together to conclude the showing of respect and before starting the lesson

Domo arigato gozaimashita (doh-moh ah-ree-gah-toh goh-zai-mash-ta) –“thank you very much (for what I have just received)”.  This can be said at the end of class by the instructor and students together to conclude the showing of respect and ending class.

Western New York Karate Center
Shihan Bill
September 2, 2016

Grappling Techniques

While joint locks, chokes, breakfalls, and throws are most associated with the practice of Judo, they are also a part of several martial arts including Isshin-ryu and are known universally as grappling.  With regard to the Isshin-ryu curriculum, we will first examine submission holds in the form of joint locks and strangleholds and then throws including breakfalls.  As there are far more grappling techniques in martial arts than what is taught in the Isshin-ryu curriculum, Judo terms will be provided when possible to identify the specific technique. Also the Judo terms tori (toh-ree) and uke (oo-kay) will be used; a tori is the person executing the technique and an uke (oo-kay) is the person who experiences the technique.

Submission Holds
JOINT LOCKS

In Judo, joint locking techniques are known as kansetsuwaza (kan-set-sue-wah-zah).  These techniques seek to isolate a specific joint and leverage it to move it past its normal range of motion.  This will result in pain and, if applied forcefully, injury such as muscle, tendon, or ligament damage and can even result in joint dislocation or a bone fracture.  Joint locks can be divided into five categories: spinal locks, arm locks, leg locks, wristlocks, and small joint manipulation.  Isshin-ryu teaches one arm lock, several wristlocks, and one small joint manipulation.

ARM BAR (Ude hishigi juji gatame)

The arm bar or ude hishigi juji-gatame (oo-day hih-she-gee jew-jee gah-tah-may) is an arm lock that refers to the uke’s arm being fully extended. The sound “juji” refers to the technique’s resemblance to the kanji for “ten” which looks like a cross.  The technique involves the tori securing an arm of the uke at the wrist.  The tori then steps to the outside of the uke and rotates their orientation to the uke, while applying their other arm’s forearm just above the uke’s secured arm’s elbow; this should cause the uke to face downward with the secured arm moving posteriorly. The tori then steps forward into a seisan stance to increase pressure downward on the uke with the intent of further grounding their body weight.

WRISTLOCKS

A wristlock is a joint lock primarily affecting the wrist and possibly the forearm through rotation of the hand.  A wrist lock is typically applied by grabbing the uke’s hand and bending or twisting it. Isshin-ryu teaches four wristlocks.

Common Wrist Lock (Kote gaeshi)

The common wrist lock, kote gaeshi (koh-tay gay-she), is also known as the forearm return or supinating wristlock.  It involves rotating the hand so that it becomes maximally supinated, fingers pointing up with the thumb going ahead of them toward the outside of the body with the elbow pointing down. Properly executed, this lock does not focus torque on the wrist but instead upon the forearm and eventually the shoulder.

Reverse Wrist Lock (Kote mawashi)

The reverse wrist lock, kote mawashi (koh-tay mah-wah-she), is also known as the forearm turn or pronating wristlock. It is similar to the common wrist lock but performed in the reverse direction; internally rotating the wrist instead of rotating it externally.  The hand is rotated so that is becomes maximally pronated, fingers pointing upward and going ahead of the thumb toward the inside of the body with the elbow point somewhat upward. This typically results in the arm moving posteriorly and allows for complementary techniques such as the arm bar.

S-curve (kote hono gaeshi)

The S-curve, kote hono gaeshi (koh-tay hoh-noh gay-shee), which is also known as a “goose neck,” Z-lock, partial forearm return or adductive wristlock.  It is typically applied by twisting the uke’s arm part way through a reverse wrist lock so that the uke’s palm points laterally and the elbow is slightly bent and the whole arm forms an “S” or “Z” shape. The hand being manipulated is then forced, using one or both hands, such that the focus is on the wrist being moved downward. To avoid damage, the uke must drop down to the ground.

Figure Four (Ude garami)

The final wrist lock that is taught in the Isshin-ryu curriculum but considered more advanced is called the “Figure Four” or ude garami (oo-day gah-rah-me) also known as the top wrist lock. This is a grappling keylock technique in which both of the tori’s arms isolate and cause flexion to the shoulder, elbow, and, to a lesser extent, the wrist of the uke. The technique is generally set in motion by the tori, using their same side hand, (i.e. to target the right hand he uses his own right hand) grabbing the uke’s arm at the wrist, so that the elbow falls at a right angle with the palm facing the tori.  Subsequently, the tori will thread his opposite hand under the uke’s biceps, reach through and grasp his own wrist, doing so creates the signature “figure four,” from which one name for this technique was derived. To finish this submission hold, the tori slides the wrist of the uke toward the lower body, while simultaneously elevating the elbow and forearm, in a motion resembling using a paintbrush, creating opposition to the joints and causing the necessary flexion in the shoulder and elbow to cause significant pain, and damage if the uke fails to submit.

SMALL JOINT MANIPULATION: PISTOL GRIP

The one small joint manipulation taught as part of the Isshin-ryu curriculum is referred to as the “pistol grip.”  This technique is a variation on the wrist lock where the tori’s hand that is manipulating the uke’s hand slides forward to capture the uke’s thumb with the tori’s thumb and simultaneously grasp the uke’s wrist with tori’s fingers. The tori then closes their grasp such that the uke’s thumb is hyperextended backwards to their own wrist.

STRANGLEHOLDS

Shimewaza (she-may-wah-zah) is the Judo term for chokeholds.  While the term “chokehold” or “choke” is used for all types of grappling holds to the neck,  this can be misleading as most holds aim to strangle a person; choking in martial arts means to cause severe difficulty in breathing because of a constricted or obstructed throat. When the aim of a technique is to cut off blood supply to the brain, or a “blood choke,” this is more accurately referred to as a “stranglehold” or “strangle.”  Almost without exception, while referred to as chokes, the Isshin-ryu choking techniques are taught as blood chokes and are thus strangleholds.  There are two major types: gi and naked.  Gi strangleholds use the uke’s gi to conduct the stranglehold.  Naked strangleholds refer to the fact that the gi is not used and therefore need not even be present in order for the stranglehold to be completed.

Gi Strangleholds
Cross hand stranglehold

There are three cross hand strangleholds. There is the normal cross hand stranglehold or nami juji jime (nah-mee jew-jee jee-may), the reverse cross hand stranglehold or gyaku juji jime (gee-yak-oo jew-jee jee-may), and the half cross hand stranglehold or kata juji jime (kah-tah jew-jee jee-may).  For the normal cross hand stranglehold, the tori crosses his arms as he reaches high on the opposite collar areas on either side of the uke’s neck.  The tori’s palms face toward the uke’s chest. The tori then pulls their hands laterally so as the blades of the hands press into both carotid sinuses. The reverse cross hand stranglehold differs only in that the tori’s palms are up, away from the uke’s chest, and thus the ridge of the hands press into both carotid sinuses. The half cross hand strangehold is a hybrid of the normal cross hand and the reverse cross hand in that one palm faces the uke’s chest and one faces away.  Whether one performs normal, reverse, or half depends on preference and circumstances.

Two-handed lapel stranglehold (Ryote jime)

The two-handed lapel stranglehold or ryote jime (ree-oh-tay jee-may) uses the gi collar as leverage to press a fist in each carotid sinus. This technique is initiated by the tori grabbing the collar on either side of the uke’s neck, the tori’s right hand to the uke’s left side and the tori’s left hand to the uke’s right side. The tori pulls the collar tight against the back of the uke’s neck and then turns the fists into the respective carotid sinuses to apply equal pressure to both sides of the neck at once.

Thrust stranglehold (Tsukkomi jime)

The thrust stranglehold or tsukkomi jime (sue-koh-me jee-may) is a cross hand stranglehold that uses the lapel and collar to effect the strangle. The tori takes his right hand, palm down to the uke’s chest, and grab’s uke’s left lapel and pulls it toward the uke’s right ear. With the left hand, the tori grasps the uke’s right lapel and pulls it downward to take up slack in the collar.  The strangle is accomplished with the gi itself.

Rear collar stranglehold (Okuri eri jime)

The rear collar stranglehold, okuri eri jime (oh-koo-ree air-ee jee-may), is also known as the sliding lapel choke.  The tori comes from behind the uke and starts by looping one arm around the neck to grasp the collar of the uke’s gi on the opposite side. The ridge of the hand is placed against the carotid sinus of the neck on that side.  The other hand goes under the uke’s armpit and goes across the chest to grasp middle part of the lapel on the opposite side. A lever motion is applied, helped by the underhand grasping the lapel, such that the ridge of the hand presses into the carotid sinus. It is faster to apply and requires less strength than other gi techniques from the rear.

Naked Strangleholds
Sleeper Hold (Hadaka jime)

There is really only one naked choke in the Isshin-ryu curriculum, hadaka jime (hah-dah-kah jee-may) or rear naked choke, but two variants are taught.  The most popular and common variant is known as the “sleeper hold.” The sleeper hold is applied from behind the uke, starting by looping one arm around the neck so that the crook of the elbow is under the uke’s chin, then placing the hand of that arm on the opposite biceps. The other hand is then placed on the back of the uke’s head and pushes the uke’s head and neck forward into the crook of the flexed arm. Additional pressure may be applied if the technique is done on the ground by pinioning the uke’s lower body by locking the legs around the uke’s waist (referred to as “hooks”) and arching the back to place more force against the neck.

Clasped hands variant (Hadaka jime)

The other rear naked choke is the “clasped hands” variant.  The clasped hands variant is also applied from behind the uke, starting by looping one arm around the neck so that the crook of the elbow is under the uke’s chin.  But then the tori places the hand of that arm into the tori’s other hand. The hip of the tori facing the back of the uke is pushed into the uke as the tori shuffle steps backward.  This variant, while having less control of the head and slower to effect unconsciousness, is ideal for moving the uke into a more private area while performing the stranglehold.

Throws
BREAKFALLS

Before examining throws, a martial artist must be trained in performing breakfalls or ukemi (oo-kay-me). Correct breakfalls allow the uke to suffer the least amount of damage possible from a technique; the force of hitting the ground will be spread out along non-critical areas.  There are four breakfalls that are part of the Isshin-ryu curriculum.

Forward breakfall (Mae ukemi)

The forward breakfall, mae ukemi (may oo-kay-me) consists of falling forward, chest toward the ground, turning one’s head to either side and keeping the legs straight. Prior to contact with the ground, the uke splays out both arms so as to land on forearms versus landing on the wrists or elbows. The ground is slapped by the hands and forearms as part of this technique.

Backward breakfall (Ushiro ukemi)

The backward breakfall, ushiro ukemi (you-she-roh oo-kay-me) consists of falling backward. Practiced from standing, the left foot can be placed forward with hips and shoulders square to the front.  Bending the left knee and reaching forward with the right foot, the uke lowers their buttocks squarely to the ground and sits gently behind the left foot. The uke then rolls backward keeping the chin tucked into the chest. Before the roll can progress to the shoulders, the uke throws both arms down to either side of their body and slaps the ground to either side with their forearms and palms.

Backward side breakfall (Ushiro yoko ukemi)

The backward side fall, ushiro yoko ukemi (you-she-roh yoh-koh oo-kay-me) is a variant of the backward breakfall where instead of landing eventually on one’s back, one ends up on one’s side.  This breakfall can be performed to either the left or right side of the body but for this article we will describe a backward right side fall; the body parts would be opposite side for the left side fall. Practiced from standing, the right foot can be placed forward with hips and shoulders square to the front.  Bending the left knee and reaching forward with the right foot. Lowering one’s self to the ground, biasing to the land on one’s right buttocks cheek and then rolling back behind the right foot. Throwing down the right arm before the roll can progress to the shoulders and slapping the ground to one’s right side with the forearm and palm of the right hand.

Shoulder roll (mae mawari ukemi)

The last breakfall is a forward shoulder roll or mae mawari ukemi (may mah-wah-ree oo-kay-me).  This is performed by diving forward with the lead side’s arm making a semicircular form.  Tucking one’s head, the roll starts on the leading side’s shoulder and travels across the back to the hip on the opposite side of the uke’s body. It then can either end with a side breakfall or the uke can continue with the momentum and regain their footing.

THROWS

Known as nagewaza (nah-gay-wah-zah) in Judo, throws are grappling techniques that focus either upon unbalancing an opponent or facilitating an opponent moving, usually forcefully, to the ground. In Isshin-ryu, training in throws includes two leg reaps, a hip throw, a shoulder throw, and circle throw.

In a leg reap, the tori uses one of their legs to reap one of their uke’s legs off the ground. A reap is performed as one smooth action versus hooking or lifting the opponent’s leg.  Prior to the reap, the uke’s weight is shifted by the tori to be placed on the leg of the uke that is to be reaped away. This coupled with the tori controlling the uke’s body with their hands causes the uke to fall over. The major inner reap and the major outer reap are part of the Isshin-ryu curriculum.

Inner reap (Ouchi gari)

The major inner reap is known in Judo as an ouchi gari (oh-oo-chee ghair-ree). In right-handed ouchi gari, the tori steps into the uke in a crane-on-the-rock stance with his left foot, placing his right shoulder into the chest of the uke. The tori then uses his right leg to reap the uke’s left leg from the inside while pulling the uke down.

Outer reap (Osoto gari)

The large outer reap is known in Judo as an osoto gari (oh-soh-toh ghair-ree). In a right-handed osoto gari, the tori steps into a seisan stance next to the uke with his left leg forward, being right hip to right hip, and then reaps the uke’s right leg (at the back of the thigh) with his own right leg.

Hip throw (O goshi)

There are three throws in the Isshin-ryu curriculum: hip, shoulder, and circle. A hip throw involves using the tori’s hip as a pivot point, by placing the hip in a lower position than the uke’s center of gravity. The Isshin-ryu curriculum teaches a full hip throw or “o goshi” (oh goh-she). In this technique, the balance break is to the uke’s front. Turning involves the tori turning his hips, moving them in front and below the uke’s hips, with the tori’s lifting (lapel-side) hand passing behind the uke’s back, usually under the uke’s arm, while minimizing the amount of space between the tori’s back and the uke’s chest. The tori’s pulling (sleeve-side) hand pulls the uke’s arm to the front, maintaining the balance break. The execution of the throw involves the tori lifting with the hips and bending forward while continuing the pull to the front and down, bringing the uke onto the mat at the tori’s feet

Shoulder throw (Ippon seoi nage)

A shoulder throw involves throwing an opponent over the shoulder. A shoulder throw lifts the opponent from the ground and is one of the most used throws in judo; one study indicated that approximately 56% of judokas implemented this technique in competition.  The shoulder throw taught in the Isshin-ryu curriculum is ippon seoi nage (ee-pohn see-oy nahg-gay) or “single back throw. In this shoulder throw, the tori grips the uke with only one hand while the other slides under the uke’s armpit. The tori then throws the opponent over their shoulder such that the uke lands in a side breakfall in front of the tori.

Circle throw (Tomoe nage)

The final throw in the Isshin-ryu curriculum is tomoe nage (toh-moh nah-gay) or circle throw.  Tomoe nage is performed by the tori gripping the uke on the upper body and then falling backward as in a backward roll. Once the uke is off balance and has begun falling forward, the tori plants a foot around the uke’s waist level, usually on a hip and applies strong pressure as the tori rolls onto his back bringing the uke above him. The uke then flies over the tori into a front roll, as the tori releases the uke, and the uke lands on his back, head to head with the tori.

Western New York Karate Center
Shihan Bill
August 19, 2016

Bao Quan

Bao Quan, or “fist wrapping” is a common martial arts salute performed with one’s hands. It has its origin in China but is also used by some other martial arts.  It is performed by clenching the right fist, straightening the left palm to have the four fingers in a plane, and then wrapping the left four fingers together around the right fist.

Bao Quan goes by a variety of names other than “fist wrapping. Some described it as the “velvet glove” covering the “iron fist” and reportedly refers to the fall of the Ming Dynasty. Ming means “sun and moon.” Since this hand formation could, with the hand over the fist, look like a crescent moon over the sun, some refer to it as the “sun and moon” salute.

The martial arts symbolism behind Bao Quan is intriguing and something that should be meditated upon from time to time. The left palm symbolizes the spirit of martial arts with the four fingers representing the four nurturing elements: Virtue, Wisdom, Health, and Art. The left thumb, rather than being held straight is slightly bent to acknowledge that one should never be arrogant or self-centered. The right fist symbolizes rigorous practice and, since the right hand is clenched in a fist, it also symbolizes power and the potential for action.  When brought together, the left hand, the spirit of martial arts, checks the right hand, power and action, symbolizing self-discipline and restraint.  Through the spirit of martial arts and its nurturing elements we can channel our practice and use our power responsibly and even choose not to use it at all.

Bao Quan can also be a reflection of the fact that most people are right handed and how that fact would impact training. In ancient China, it reportedly was common for Chinese masters to practice conditioning methods, such as “Iron Palm,” with their left hand. Such conditioning would enable the left hand to readily execute lethal strikes.  But as martial artists were less likely to use their left hand and instinctively use their right, their training would bias them to use incapacitating techniques rather than lethal ones. A martial artist who trained in this manner would have to purposely decide to use a lethal technique. Thus, the Bao Quan salute represents this choice between lethal or incapacitating techniques.

There are other interpretations that get more into Chinese philosophy and medicine.  The left hand is seen to represent yin and the right hand represents yang.  The joining of the hands in Bao Quan therefore symbolizes yin yang and would be a manner for a martial artist to express the desire to be in balance.  It is also said that Bao Quan connects the meridians from a specific point in the open left hand to a specific point in the knuckle of the right hand and thus closes an energetic loop in the body.

In Isshin-Ryu, the four fingers are left in a plane position and are not wrapped over the fist.  I believe that this is still consistent with the underlying symbolism of Bao Quan but adds a slight twist. With the hand remaining in a plane it suggests a connection with the universe around the martial artist versus turning the connection strictly inward.  It also could be seen as a manner of expressing a desire to always improving in one’s martial arts spirit.  But, regardless, as with perhaps the more traditional Bao Quan salute, the left hand is still shown as keeping the right hand in check.  While we strive to improve our martial spirit, our virtuousness, our health, our wisdom, and our sense of art in our practice of Isshin-Ryu, we will remain disciplined and our use of our power will be purposely deployed.

Western New York Karate Center
Shihan Bill
August 12, 2016

Advancement of the Yudansha

A black belt is the common way to denote a person who has demonstrated sufficient competence in a martial arts system’s basic techniques, forms, and principles.  Since the start of the 20th century, martial arts schools have used a system of colored belts or stripes and specific testing criteria to guide a student’s training and mark progress to earning a black belt. When a student moves through all the kyu ranks and earns his or her first black belt, that student joins the “yudansha” or those who hold a dan rank.  Having earned the rank of a “1st Degree Black Belt, or “shodan,” literally meaning to have taken the “first step,” the martial artist can continue in their training and advance in dan and be awarded higher ranks within the yudansha.

But, while martial arts systems will make it clear how one can advance through the student or kyu ranks, advancement in the Black Belt or dan ranks becomes increasingly subjective.  In Isshin-Ryu, first through third dan Black Belts are considered to be assistant instructors, referred to as “shidoin” (versus “sensei”). Shidoin advance in the yudansha by demonstrating competence in advanced techniques, such as weapons use and weapons forms, as well as demonstrating competence in principles from other martial arts systems. But, once a shidoin is promoted to 4th degree Black Belt and attains full instructor status, addressed as “sensei,” there are no specific testing criteria for further advancement.

In Isshin-Ryu, the following ranks and honorific titles are observed after 3rd degree:

4th degree – Sensei or “instructor”
5th degree – Shihan or “chief instructor”
6th degree – Renshi or “expert instructor”
7th degree – Kyoshi or “master instructor” or “master”
8th degree – Hanshi or “grand master instructor” or “grand master”

Without specific training criteria, it is the duty of an advanced Black Belt to determine if a karateka is eligible for advancement.  Generally, such a “nomination” for advancement can only be made by a martial artist who is two ranks higher than the grade to which the candidate is to be promoted.  For example, a karateka of 7th degree or higher is considered qualified to determine if a karateka is eligible for promotion to 5th degree. Most typically, it is the master of a dojo who is charged with making all such evaluations for a given school.

Up to this point in training, advancement was simply a matter of competency in skills.  But, to advance further, past 3rd degree, other aspects must be considered. A higher dan should have an ever increasing depth of understanding of the system and a corresponding improvement in the ability to teach others. Moveover, if a Black Belt is to advance in the yudansha, that person should be seen as contributing to the promotion and/or growth of the martial arts. Finally, the ability of the candidate to provide leadership and/or serve as a role model will also be a significant consideration for promotion. While some have suggested that there are certain ages or numbers of years associated with promotions to advanced ranks in the yudansha, I feel this is an over simplification and generally misguided.  Certainly greater depth of understanding and the opportunities to contribute are greater with the passage of time, but talent and dedication can accomplish in less than a decade what some never will in a lifetime.

Finally, what must a candidate do in order to earn a promotion to an advanced rank?  While some schools use written exams or have the candidate provide some sort of demonstration, ultimately this is a means only to mark the occasion of promotion. Once nominated, all the karateka need do is to accept the nomination.  For the purpose of this article what I have called a nomination is actually an acknowledgement; seeing a karateka for the rank they truly hold. What is often the challenge in promotion to an advance dan is not the ability of others to recognize the advance rank of a karateka, but for a karateka to be able to perceive it for oneself.