Naihanchi Shodan Bunkai Exchange

[Sensei Mike]

Is anyone interested in an exchange of Naihanchi shodan bunkai. I have a bundle, but am interested in what others have. I have lots of takedowns, directly from the kata.

Naichanchi Shodan is pretty universal among Shorin Ryu systems. But one thing I really like is that the various versions practiced today are perhaps the most uniform of all the various Shorin Ryu kata practiced today.

So we can all benefit from contributions of others from other systems, without worrying whether the kata is done the same way. They are essentially all the same. (I am familiar with the versions found in the systems generated by Funakoshi, Chibana, Nakamura, Mabuni, Hohan Soken, Mabuni, Nagamine, Tatsua Shimabuku, Eizo Shimabukuro. They are all pretty similar.)

I have one suggestion. Let's start with a given movement, and go on from there. The beginning is as good a place as any. The hands are crossed, the left foot steps over the right towards the right, the right hand strikes out to the right. Then the left elbow strikes the right palm. The elbow movement includes a twist of the torso towards the right, but the feet remain stationary (pointed forward) and the pivot of the hips is very minimal.

I have a really effective interpretation to a person directly in front, with a great takedown taken from the next sequence, (left downward block, to the left, followed by a right crossing strike, followed by the right foot stepping across the left.)

If we get a quorum, I would be happy to document some of my ideas. But my bunkai is not trivial to document, so I wanted to see if there was any interest, or if others wanted to share as well.

-Sensei Mike

 

[chufeng]

I believe the beginning actually preceeds the movement you describe...

Even the opening of the form has application...

:asian:
chufeng

 

[RyuShiKan]

Originally posted by Sensei Mike

...................The beginning is as good a place as any. The hands are crossed, the left foot steps over the right towards the right, the right hand strikes out to the right. Then the left elbow strikes the right palm. The elbow movement includes a twist of the torso towards the right, but the feet remain stationary (pointed forward) and the pivot of the hips is very minimal.

-Sensei Mike

Though I don't normally comment or "teach" technique over the Internet, and I am not about to start, I will say the part you described as the beginning is actually not. You have left out several movements after the orginal bow that contain anywhere from 10 to 15 different applications.

 

[Sensei Mike]

The formal opening is the one major difference that many systems have. In many systems, this movement is common across many kata, and there are a variety of interpretations to this movement. If someone wants to include their formal opening in the "combination" of movements that goes off to the right, that would be great.

Some systems go from a formal stance with the feet together at the heels, and the hands by the sides, and bring the hands together, arms bent, in front, palms facing the body, and then rotate them down.

Some systems don't move that way. They start with the hands at the sides and move directly into the opening posture of the crossed hands without raising the hands at all. Some systems start in the opening position of hands crossed in front.

If the crossing movement of the hands in front of the solar plexus (or any other way they eventually wind up crossed in front of the groin) is intergral to the application that steps off to the right, then I would expect someone to include it. If the application begins with the hands straight down, that would be fine as well.

-Sensei Mike

 

[RyuShiKan]

Originally posted by Sensei Mike


Some systems go from a formal stance with the feet together at the heels, and the hands by the sides, and bring the hands together, arms bent, in front, palms facing the body, and then rotate them down.

Some systems don't move that way. They start with the hands at the sides and move directly into the opening posture of the crossed hands without raising the hands at all. Some systems start in the opening position of hands crossed in front.

Both methods have applications......that are extremly painful I might add.

 

[Sensei Mike]

Both methods have applications......that are extremly painful I might add.

Regarding moving my hands from my sides (or in Matsubayashi, on the fronts of my thighs) to the center in front of my groin, the Shito Ryu system I practice moves them less than 12 inches towards each other in a linear path. (I am 5' 8", and the length of movement would vary by height.)

Would you care to offer an application, using this specific movement.

 

[RyuShiKan]

Originally posted by Sensei Mike



Would you care to offer an application, using this specific movement.

Please take a look at my first post again.

 

[chufeng]

First, direction of aggression changes the bunkai significantly...

Are assuming a low attack, from the front, into your midline?
Or, is someone grabbing your wrist from one side or the other?
Perhaps you see an attack at your head from the centerline....
What are YOU seeing during this opening move?

What I SEE is irrelevant, if you don't see it the way I do; any discussion of bunkai is hypothetical. The other piece that needs to be included in this discussion is distance...how close is your opponent? What works at close range is useless at medium range, and vice versa...

If I, or anyone, were to say that this movement represents "xxx" technique, it is only in the context of distance and angle of attack that that practitioner sees...since no attack is ever the same, you must practice this at every angle and at every distance (many times) This is why even the most basic form takes years to develop within yourself...

Now, I don't want to discourage your discussion...in fact, I'm interested to see what other people come up with...but understand that bunkai is NOT static....

:asian:
chufeng

 

[Sensei Mike]

understand that bunkai is NOT static....

I am not sure of the point you are trying to make here. Of course bunkai is not static. This is abundantly obvious in the very purpose of the thread, an exchange of different bunkai for a particular kata. I indicated, in fact, that I have extensive bunkai for Naihanchi Shodan. I have. It includes perhaps 15 standing combinations all with takedowns directly from the sequential movements of the kata. I use the term "standing combinations" because I have also done extensive analysis of many movements for applications in ground fighting.

I fully recognize that there could be a hundred or more applications. I am familiar with the ideas of Oyata and Dillman, and concepts practiced in Matsubayashi Shorin Ryu, Shobayashi Shorin Ryu, Kobayashi Shorin Ryu, Shito Ryu and Shotokan. The ideas I teach are almost all my own, although I do provide attribution for those few in my repertoire that I did not develop myself.

I have developed nearly 200 bunkai combinations across a wide spectrum of Okinawan kata, all with takedowns directly from the sequential movements of the kata. The bulk of my efforts has been the development of a complete set of bunkai for the Pinans, Bassai dai, Naihanchi, Kuskanku Dai, Seinchin and Seipei. But I have interpretations for a large number of movements in the 50+ kata found in the Shito Ryu system. Again, they are all virtually all my own. Of course I draw extensively of grappling and locking techniques found in many systems. However what I teach are my combinations of blocking, countering, locking, takedowns and finishes which are based exclusively on kata movements.

My framework emphasizes the use of turns and pivots to develop power for blocks, counters, locks, and takedowns. The counters emphasize near simultaneous responses combined with initial evasions and blocks. Some of the combinations include several counters, which may be needed for defending against a large powerful opponent. For example in the sixth direction of the Pinan Shodan, I have a defense that includes: a snap of the neck for a takedown, a kick to the groin, a backfist to the temple, an elbow to the neck, a strike to the neck, a strike to the biceps, and a trap of the arm. Each technique sets up the next. The assumption is that some might miss, or some counter won't work for some reason or another. In combat nothing is certain.

For Pinan Shodan alone, I have developed well over 60 combinations, all with takedowns. Again, these are all directly from the sequential movement of the kata. The embusen of Pinan Shodan has nine directions. Obviously, the combinations in the kata must be effective against a variety of attacks in order for nine directions to translate into over 60 applications. Where I teach and train, we practice these movements against attackers coming from all directions, with a variety of attacks. (For hand attacks, we use boxing type jabs hooks and crosses, in addition to the traditional karate seiken and gyaku tsuki.)

I just today discovered this forum, and it looked like it might be a fruitful place to share some of the ideas I have developed. It seemed reasonable, based on the unstructured nature of an Internet thread, to initially direct the discussion a bit more, and therefore, for starters, I asked to discuss a limited, directional series of movements in the kata. I called it a combination. I believe the discussion of specific movements can be more beneficial than to have one person discuss one combination and someone else another.

In starting this thread, I merely asked did anyone want to offer an application.

For this, I received two interesting types of responses. First I am reminded that I have omitted a hand motion found in some systems, but not others, which may or may not be integral to the combination I have described. (The initial series of movements to the right). Another response makes the startling revelation that applications for this initial movement are many and painful. But of course not one is to be shared on the Internet.

My offer still stands.

I am seeking anyone who would like to engage in an exchange of bunkai for Naihanchi Shodan. Let me reclarify the "combination". I am interested, initially, in discussing combinations that include the first left step, the first big right hand movement to the right and the left elbow immediately following. It can include any number of preceding movements as well as any number of following movements. My preference is for limited oyo movements (added, and not found in the kata,) but of course, that is up to the contributor. The problem with oyo, is that there might not be a common reference point, since by definition, the follow-up movements are not found in the kata.

Here is a glimpse of what I can provide. My initial combination in Naihanchi shodan, is most likely my most "involved", in that it has a lot of counters and is not trivial to set up. Against a grab, or grab strike combination, (and from the direct sequential movements of the kata,) my combination includes: a stomp to the neck, a snap of the neck takedown, an elbow to the temple, a strike to the neck, a knee to the face, a lock, and an unbalancing sweep to the knee. As stated above, each technique sets up the following. One, or more, might not work, but the barrage is overwhelming. I trust in Yabu Kentsu's maxim "Karate begins and ends with Naihanchi". This kata allows a smaller defender to respond with overwhelming force.

I find it intriguing that perhaps millions of people have practiced this kata, including many reading this post right now, and have therefore practiced this remarkable combination.

However, for me, it would be a minimum half hour investment to document the details of this initial Naihanchi technique and all its complexities. And that is just the beginning of the kata. That is the purpose of the exchange. I would love to trade ideas. For those willing to engage in this exchange, I would be grateful if you would carefully describe the attack. (please be sure to include location, distance, feet position, movements, etc.) If someone would prefer a discussion in private, please feel free to email me.

-Sensei Mike

 

[chufeng]

Fair enough...

You see Mike, the history of this and many other boards has been contentious, at times...although my response may have seemed provoking, it was intended to make the original author think (that would be you). Many times the authors of questions on this forum have little experience and expect to be spoon fed technique...I've even seen someone ask for ideas on HOW he could develop his own system...And, since you obviously have put some thought into the bunkai I am willing to share SOME of the applications in Naihanchi Shodan...but, I can offer no such bunkai for the other katas, since I do not know them, nor have I practiced them...I practice Chinese martial arts...I have been exposed to Naihanchi Shodan, however, and am willing to share. I agree with RyuShiKan, though, that this is NOT a good way to learn technique...because words are too limiting and in most instances, the finer points can only be taught under direction...

:asian:
chufeng

 

[Matt Stone]

Originally posted by Sensei Mike

The ideas I teach are almost all my own, although I do provide attribution for those few in my repertoire that I did not develop myself.

Not to sound like a jerk, but if almost all of your ideas are your own (and by "almost all" I would interpret that to mean 75 - 80% or more), what did your teachers teach you? Either you have gone light years beyond what they knew, or they taught you precious little...

I have developed nearly 200 bunkai combinations across a wide spectrum of Okinawan kata... The bulk of my efforts has been the development of a complete set of bunkai for the Pinans, Bassai dai, Naihanchi, Kuskanku Dai, Seinchin and Seipei. But I have interpretations for a large number of movements in the 50+ kata found in the Shito Ryu system. Again, they are all virtually all my own.

Only 200 combinations for 56 or more forms? I guess either you are overestimating the number of forms, or you miscalculated the number of combinations... 200 divided by 56 only allows for less than 4 per form...

Of course I draw extensively of grappling and locking techniques found in many systems. However what I teach are my combinations of blocking, countering, locking, takedowns and finishes which are based exclusively on kata movements. My framework emphasizes the use of turns and pivots to develop power for blocks, counters, locks, and takedowns. The counters emphasize near simultaneous responses combined with initial evasions and blocks. Some of the combinations include several counters, which may be needed for defending against a large powerful opponent.

Again, not meaning to sound like a jerk, but this makes what you do significantly different from everyone else exactly how? All systems have grappling, locking, striking and kicking techniques and combinations that are similar in some fashion. You can only manipulate the human body so many ways, so inevitably you will "create" a combination that is common to someone else in another style. All styles use simultaneous blocking and striking/kicking/grappling techniques combined with turns and pivots to increase the power of the techniques. All styles use combinations that include several counters in order to ensure success against larger, more powerful opponents. So what you do is different in what particulars?

In combat nothing is certain.

AND

Another response makes the startling revelation that applications for this initial movement are many and painful.

You attempted to make a snide comment about RyuShiKan's comment (i.e. "startling revelation" about the many painful applications inherent in the form), but then proclaim the obvious yourself...? Thanks for the bulletin.

For Pinan Shodan alone, I have developed well over 60 combinations, all with takedowns.

So 60 combinations come from Pinan Shodan, and the other 140 are taken from 55+ other forms? Again, a recalculation is in order here...

I just today discovered this forum, and it looked like it might be a fruitful place to share some of the ideas I have developed. It seemed reasonable, based on the unstructured nature of an Internet thread, to initially direct the discussion a bit more, and therefore, for starters, I asked to discuss a limited, directional series of movements in the kata. I called it a combination. I believe the discussion of specific movements can be more beneficial than to have one person discuss one combination and someone else another... In starting this thread, I merely asked did anyone want to offer an application.

I agree wholeheartedly. However, there are some folks who prefer not to tutor those with little instruction to begin with via the internet. I would say that, in order to better prepare readers for responding to such an inquiry, that you first make a good faith offer of your own information, thus negating the possibility that you are stimied with your own progress and are instead trying to gain information from others to claim as your own... Just a thought.

For this, I received two interesting types of responses. First I am reminded that I have omitted a hand motion found in some systems, but not others, which may or may not be integral to the combination I have described. (The initial series of movements to the right).

I don't see where this is a problem. You solicited information, and the response given simply encouraged expanding the area of consideration as one application used makes use of the opening movements as a lead into the following techniques. Because this movement is not universal in its use as a part of this particular area for breakdown is no reason to imply that such a reminder is offhand... If you don't want it considered, make such limitations starkly clear in your request, or solicit only from those styles who do not make use of it in the series you wish to discuss...

Another response makes the startling revelation that applications for this initial movement are many and painful. But of course not one is to be shared on the Internet.

See comment above, and add the fact that since you are new, and unknown to the regulars, your solicitation may be viewed with caution... Unfortunately, we are all subject to potential sidewards glances until we have made ourselves as well known as possible... The MA community is rife with frauds and rip-offs, and I know that I am leery of being too open with folks I don't know. I have encountered people before who tried to take credit for things I or my teacher had taught them, and so now I keep technical details to myself until trust has been developed between myself and others... Hopefully you can see the validity of this feeling, and not take such behavior too personally.

It can include any number of preceding movements as well as any number of following movements.

So, since you seemed to take offense at the reminder of the opening movements to the kata, are you now open to their inclusion?

-Sensei Mike

I don't presume to speak for anyone here other than myself, but personally (having lived, learned and taught in Japan), those folks I mentioned above that I am leery of dealing with... typically they use (or mis-use) Japanese titles when referring to themselves... It is impolite and improper to refer to one's self by terms such as sensei, shihan, hanshi, renshi, kyoshi (all of which are only used in reference to a teacher in writing, not personal address) or soke (which is a made up title anyway, and not used in Japan to begin with). When I saw your sig, I was not inclined to be too forthcoming with info... Maybe you would want to reconsider your signature to avoid being categorized improperly with those who misunderstand what it is they do... There are folks here who have publicly stated that they don't care whether they use the Japanese language or titles incorrectly or not, but I think such a comment stands on its own as comment on their orientation toward martial arts study...

Gambarimasu.

:asian:

 

[RyuShiKan]

Originally posted by Sensei Mike


For this, I received two interesting types of responses. First I am reminded that I have omitted a hand motion found in some systems, but not others, which may or may not be integral to the combination I have described. (The initial series of movements to the right). Another response makes the startling revelation that applications for this initial movement are many and painful. But of course not one is to be shared on the Internet.

Your snide comments and attitude are precisely the reason why I don't share such information on the Internet.

First, I don't know you and you are not my student so quite frankly I am wondering what makes you think I or anyone else should share information with you that we had to pay for with hard work and sweat. Especially now since you have copped an attitude.

Second, I can't tell what kind of person you are (although I am beginning to get a good idea) or anyone else that may happen to read this thread. Karate techniques are basically weapons and I sure as hell would not stick a box full of loaded .45's out in front of my house and say "help yourself and have a good time".
I was taught to have a little more respect and responsibility for I do and who I teach.

Third, techniques should always be felt and the Internet does not make that possible.

 

[Sensei Mike]

Broken record,

Would anyone like to exchange bunkai for Naihanchi Shodan. I would like to start at the beginning of the kata and include movements for the first direction to the right. I have well over 15 combinations for this kata that I am willing to invest the time to share in.

I would entertain taking it offline via email. In fact, based on the initial feedback on this forum, it would likely be the best medium to correspond. Here, there are several people that have invested some extensive typing time, but not one iota of bunkai has been described, much less hinted at.

This is an open forum and therefore is open to anyone wanting to say anything. But the start of it remains the same. I am looking for people who are looking to exchange interpretations of a kata. If anyone knows of any other forums that are more geared to the actual exchange of information about the techniques in kata, rather than opinions regarding the difficulty of doing it, or whether a particular movement starts with this movement or that, or criticisms of the person offering to share information, I would be grateful if you would provide these forums to me.

As I noted above, I have an application, for starters, that includes from the direct sequential movements of the kata: a stomp to the neck/head, a snap of the neck takedown, an elbow to the temple, a strike to the neck, a knee to the face, a lock, and an unbalancing sweep to the knee. All against a single opponent launching an attack of a grab or grab strike. This combination is merely my interpretation of the sequence of movements. I have seen many others. My fairly extensive study of a variety of systems has not revealed any else doing this particular combination, nor many others that I have developed.

Again, for those interested in sharing, taking this exchange to email is probably preferable, so please feel free to email me.

-Sensei Mike

 

[Sensei Mike]

but, I can offer no such bunkai for the other katas, since I do not know them, nor have I practiced them...I practice Chinese martial arts...I have been exposed to Naihanchi Shodan, however, and am willing to share. I agree with RyuShiKan, though, that this is NOT a good way to learn technique...because words are too limiting and in most instances, the finer points can only be taught under direction...

Thank you for your thoughtful reply. I do not mean to minimize the difficulty of describing something complex in text. Nevertheless, I would like to try, and if you are interested in exchanging ideas on Naihanchi Shodan, I would be grateful. I believe that among experienced practicioners that text can be very useful. It would be very difficult to teach a beginner with text because they do not have the proper frame of reference. I teach my interpretations to beginners. I understand the issues.

Would you like to email me. I did see that your email was private. I absolutely commit to not putting you on any distribution lists, etc. as I imagine you, as everyone else, are trying to minimize spam.

Your call.

Interesting that a Chinese stylist practices Naihanchi Shodan. Is this a Chinese variant, or from one of the Okinawan systems.

Thanks again.

-Sensei Mike

 

[DKI Girl]

Hi Mike....

I would love to correspond with you on techniques from Naihanchi Shodan. It's very possible that we will end up taking this to private email because of all the bashing that we will receive, but here goes....


I start my Naihanchi with a right closed fist into an open palm then turn it downwards.

Opponent: Grabbing lapels and pulling in.

Options:

1. I am putting my left hand behind the opponents head and pulling in to meet my right fist or forearm. Strike can go to specific points or to a general area.

2. Strike in and down two inches below the belly button on the conception vessel. This will bring opponents head towards you for the strike.

Let's start there and move on after feedback from everyone.

dki girl

 

[Sensei Mike]

Not to sound like a jerk, but if almost all of your ideas are your own (and by "almost all" I would interpret that to mean 75 - 80% or more), what did your teachers teach you? Either you have gone light years beyond what they knew, or they taught you precious little

This thread is about the exchange of "interpretations" of kata. I don't know what system(s) of karate you have studied, but if it (they) did include extensive bunkai practice that contained takedowns from the movements in the kata, it (they) would be in the minority of karate systems today. We could go on and on why this is the case, or to what degree this is the case. Fortunately today, there is a wonderful resurgence of ideas coming from many communities.

One source is that many practicioners, myself included, have cross trained in grappling arts and applied common principles found in these arts to the movements in kata. To many of us, we are trying to restore to the kata some purpose other than for rank promotion, or to perform in a tournament. For many who have practiced kata in systems that spend little or no time on repetition and application, the resungence of interpretation is putting the "ti" back in karate.

I explained I have a combination in Pinan Shodan that, starting in the sixth direction, (shuto to a back corner) includes:
a snap of the neck for a takedown, a kick to the groin, a backfist to the temple, an elbow to the neck, a strike to the neck, a strike to the biceps, and a trap of the arm. Each technique sets up the next. In a sense, nobody showed me this. In reality, it comes from Itosu, or an earlier developer of the kata (the early history is not all that clear.) I can say "Itosu taught me" but he died long before I was born.

But I am curious, do you practice a system that includes Pinan Shodan, and if so, have Sensei taught you, or have you considered an application with these counter strikes and kicks? If yes, then perhaps you can appreciate that in the air, against a bag, against many partners, this one combination takes many thousands of repetitions to make useful. There are five counter strikes (and all but the backfist use pivots--tai sabaki--to develop power). There is also a kick (perhaps two), not to mention a block, (also using tai sabaki) as well as a trap. This is a comlicated series of movements, but one that perhaps millions have practiced. It is part of Pinan Shodan.

As Yabu Kentsu stated, you need 10,000 repetitions to make a kata your own. I would say that this combination requires more like 20,000 repetitions.

That is why I stopped creating new interpretations for kata I can never hope to master. Mabuni wanted to preserve all the art he learned in Okinawa and so included over 50 kata in his system. My goals are much more limited. I want to practice and teach a wonderfully effective art of self-defense that brings great benefits physical and psychological benefits along with great self-defense skills.

Out of curiousity, I have looked at some movements here and there for all but a few of the 50 Shito Ryu kata. But I long ago realized that such a large number of kata prohibited the key element of success in any physical activity, especially the martial arts. Repetition. Now I focus on just a few kata, massive repetitions and extensive partner work.

I have done a full analysis of the few kata that I practice and teach: a couple of Pinans, Bassai Dai, Naihanchi shodan and Kusanku Dai. For these kata, I would say that 90+ percent of the nearly 150 combinations I have developed are my own, or better yet, I like to think that they are Itosu's, Matsumura's or some other long dead Okinawan or Chinese master. Of course, the components of the combinations use common principles found in a wide-variety of systems. For what it is worth, it is the takedowns that have been the hardest to figure out. I only develop and teach combinations that have takedowns directly from the sequential movements of the kata (the exception is the groundfighting principles in Naihanchi Shodan. Once you are on the ground, there can be no takedown). To me, I have not fully analyzed a kata until I have combinations that include both responses to different kinds of attacks, as well as takedowns for every "direction" of a kata, again with nothing added outside the direct kata movements.

I am looking to further my knowledge of Naihanchi Shodan and at the same time share some ideas that might be both new and useful to some people. Care to exchange some ideas about Naihanchi Shodan? For example, have you looked at the movements for use in groundfighting?

I too am distrustful of these forums. I did expect to ask a simple question and get noise in response, so this was no big surprise. That is why I did not offer up an idea (a combination) to begin with.

But I am still hopeful that there may be some folks out there that would like to offer an interpretation in exchange for another. And, maybe, just maybe, we could get a bunch of contributors and discuss several aspects of a kata, in a way that lots of people could learn something.

-Sensei Mike

 

[Cthulhu]

Sensei Mike,

Please don't let the remarks of a few dissuade you from your desire to share your knowledge and learn from others. If these people do not wish to share what they have to offer, they should simply ignore your requests, and you should feel free to ignore their posts.

This board was designed as a vehicle for information to be shared among martial artists in a friendly manner. Some people have yet to fully appreciate that, and I hope you don't let them deter you from asking others questions on this board.

Cthulhu
-MT Admin.-

 

[DKI Girl]

Amen!!! I put out a bunkai for you in my last post....here's another.

From a push, single or double handed.....

Secure their hand onto your chest and turn 90 degrees with a wrist lock, then attack the back of the head with the backhand.

dki girl

 

[Sensei Mike]

DKI Girl,

You go girl. We're off. Again, I was kinda' hopin' that someone would offer up an interpretation for the movements to the right, but I am so happy you offered something, two ideas, no less. So it's my turn. Again, this is for the movements to the right. Long post follows.

Against a right handed grab of the right wrist, my interpretation is for a wrist lock, and a simultaneous sweep of the opponent's right knee with the left foot, followed by a right strike to the neck and an left elbow to the temple. This attack is a natural grab, with the thumb of the attacker on the outside (ulna side) of the wrist, and not on the inside.

Some of my many assumptions.

A person has to enter your "space" to initiate the attack. The entering of your "space" implies a step or a shuffle. (which is two steps.) Let's put ourselves in the role of the attacker for a moment. When closing a distance to grab a wrist with your right hand, it is more natural to step in with your right, and not with your left. Most importantly, your reach can be further when your same-side foot is forward, but also you tend to be a bit better balanced. This is not a slow movement. It is an attack. It has to close fast, or the assumption is that you are not going to be there. Therefore, this attack is with a right step in, and a right grab of the right wrist. (If there is no right step, it will work in some, but certainly not all cases.) What this means is that I don't practice this "eyeball to eyeball" with the opponent two feet away, with both of us feet parallel. He has to come at me, because I won't stay in the space if he enters it with both feet parallel.

One last assumption. Since he is coming at you it isn't walking, it is closing, which implies the forward leg will be slightly bent, providing the knee for a target. If the opponent is taller than you, pretty good probability, especially for a woman, then to grab your wrist at your side, the attacker will have to bend a bit to grab it. This all leads to the assumption that there is a target of a forward right leg, slight bent, so you can attack it with your foot.

If both of the defender's (that's your) feet are square to the front, then the attacker would be anywhere from directly ahead to close to 90 degrees to the right. That gives this interpretation a pretty large range of attack. It's a quarter of the potential directions for attack. The further to the right the attacker is, the more an initial clockwise spin would be needed by the defender. This also works well with two attackers in front (one or each to the sides). This defense is against the opponent on the right who closes and grabs your right wrist with his right hand. In the case of two attackers, thus positioned, this becomes a very potent attack. The initial attacker uses (90% probability) his strong hand to immobilize your strong hand (again 90% probability, as southpaws make up 10% or less of the population). This attack frees up the attacker not on your right, to launch an attack without much fear that you will have an effective response with your strong hand.

Now for the response. Again, the attacker's right foot is forward, and your right wrist is grabbed. The wrist lock is executed by grapping the opponent's fingers/hand with your left hand, pinning them to your wrist. We can go into fine points of the hand position later. The most important point is that your hand must keep the attacking hand immobile on your wrist. Don't release it or let it slide.

Your right hand circles to the outside of the opponent's arm wrist to grab. Against a very strong opponent you may need two extra movements, if he is resisting your attempted grab. First, your want to, if necessary, sink down a bit, so that his fingers are near or on your hara (perhaps an inch below the navel). Second, you want to pivot, ever so slightly, clockwise, so you can use the turning power of your body to get the proper leverage and reach. You use your body to grab, not your arms. Finally, and most difficult, is to "swipe" his knee with the arch of your foot. You probably don't have the proper angle for a good stomp. Rather, you just want to slightly weaken the stance because a good part of the attacker's strength is in has stance.

Doing all this together takes a lot of practice and I recommend a lot of partner work. The great aspect of this swipe it is that it can be done very gently with little risk to the knee. It just brushes across the top. Again, it is not designed to drive the knee into the floor. Rather, it is more of a quick smack to the knee to weaken the stance. In reality, you are focused on so much (the grab, the turn, the sweep, not getting hit) that you don't want to worry about generating the power and accuracy needed to make a stomp effective. Here the foot simply brushes through the knee (no more than three inches up the thigh above the kneecap), left to right, but not down, thereby moving it from the attacker's right to the attacker's left. It causes the opponent to turn slightly.

You may not have needed the sweep to begin the wrist lock which requires your right hand to grab his right wrist across the forearm. But if you did, now that you have turned the opponent with your "sweep" and turned yourself enough, so that you are in a position to grab the wrist. Up to now, this should have been one seamless movement.

The next key is to focus on ensuring the opponent's arm stays bent. Throughout the technique the goal is to try to keep the forearm as close to horizontal as possible, and to have the arm itself be bent beyond 90 degrees (an acute angle). The further the bend the better the technique. Just remember that there are a variety of similar wrist locks but that this one needs the elbow bent.

The step after the sweep brings you closer to the opponent, and if the sweep was effective, his center of gravity should have dropped a bit (a couple of inches, perhaps), as the right knee, though it is still supporting him, is now pointed more towards his left. At the exact moment your left foot touches the ground, you execute the lock as follows.

Focus on keeping his arm bent and raise your arms slightly. You have both of your palms down, but the inside of the wrists (the thumbs) are should now be a couple of inches above your hara. Pretend that there is a basketball protruding out in front of you and your hands are wresting on it, close to your abdomen. If you pushed your hands out, but kept them touching the ball, they would proceed away from you in an arc, initially slightly up, and then slightly down. That is the motion you will use. Part of your power comes from your body. Once the left foot plants, the body continues moving towards the center of the opponent, and here that forward movement as used for added leverage on the wrist lock. Again, keep the arm of the opponent bent. If you haven't done this lock before, please exercise caution, as it very painful.

While there are people who are relatively immune to joint locks, for those that are not immune, this is a good one, and it causes a spinal reflex to drop the weight. Because you have just destabilized the stance with the "sweep" to the knee, there is not a good support structure underneath to catch the body, and in many cases, you drive the body down and the right knee to the ground, just with this lock.

Now come the counters. In Shotokan, when the right leg steps out into the next stance, it is first brought high in front. That can be a knee to the head of the opponent. It buys time for the next technique. Perhaps a half second, maybe even up to a second. Many systems use a ridge hand in the following technique. Some others a technique that is more of a knife hand. Some others a back hand. There are plenty of targets, as the neck is now brought down to chest level or lower. With the right hand, find a good target (I use ridge hand to the neck.) Then bring the right hand outside the head, and the left elbow becomes a strike to the temple with the right hand, pushing the target towards the approaching elbow. Use as much pivot as possible on the elbow strike, while staying true to the kata (feet stay parallel). The hips stay pretty much forward, but the torso pivots fully.

Some issues. Once mastered, this technique can be used against the same attack coupled with a left strike after the grab is complete. It does not work for a near simultaneous combination. Rather the grab has to be fully engaged for close to a second. The faster you are, the shorter delay you can deal with. The key problem is that you are stepping, with your left foot, into his attack with his left hand. If you find the strike is too fast for you to complete the lock/sweep, then the left hand, which is right in front, rises for an inward block to deflect the strike. At that point you would be out of this combination, described above, and into another. For example, the ridge hand is next. Upon completing the block, the left hand, prior to pulling back to chamber, would be used to strike the grabbing wrist with a knife hand on the pressure point on the thumb side of the wrist. The right hand is pulling up and out to the right during this strike. This frees the right hand to perform a ridge hand to the neck, followed by a grab of the neck/gi/trapezius and an elbow to the solar plexus. Or you can use your right hand to grab the hair on the top of the head, (if long enough) and execute a supplemental (not found in the kata) right foot to the groin, so that the head will come down with the hair pull so that the elbow can be to the temple.

I will discuss the takedown and finish after someone offers an exchange. I would appreciate any feedback you would provide on this.

CAVEAT.

I put this together quickly and I know I am dyslexic, I generally confuse my right and left, my opponents right and left, and clockwise and counterclockwise. I did a brief check and think everything is okay, but I will check it later, and also field any questions if something doesn't make sense.

-Sensei Mike

 

[chufeng]

Wrist lock,
Leg bite,
Focused knuckle strike to XXX point...

End of story.

The specifics are not for public consumption.

:asian:
chufeng