New Bunkai - Eye Opening!

[Bill Mattocks]

We tested a new response to the typical right-hand haymaker punch in the dojo the other night. It was exciting, I have to tell you about it.

There are so many possible responses to the typical 'bully' punch that one might encounter in a self-defense situation, it's almost like one can just pick what one likes best and go with that; they all work. But for me, at least, they have all been variations on a theme; block the punch, apply a counter. Simple. And nothing wrong with that, either.

But imagine this one. Opponent throws the looping overhand 'haymaker' right fist at your head. Instead of applying an upper-body block, you slip the punch by stepping left and apply a 'pat-block' with your open left hand, which continues his fist on it's way; but you apply it gently, not with force. At the same time, you have dropped your right hand in a relaxed position to your right side, and after applying the pat-block, you immediately throw your right as if it were a limp noodle, whipping it with force right into the crook of his right elbow, reversing his direction of travel. Now instead of continuing his body motion to his left, he is suddenly and forcefully jerked to his right. You continue through with your right arm, dropping your left to your side as you do so, and then reverse your body motion, whipping your right fist in a tetsui (hammer fist) across his jaw, ribs, or whatever presents itself, followed an instant later by your haito (chop with the inside edge of the hand in a knife configuration) with the left hand to roughly the same location. If required, reverse direction and apply again.

This is basically the 'O-uchi, O-uchi' exercise that we do in Isshin-Ryu, but applied in a manner I never saw before. Normally, we block solid or we assist the attacker to continue their motion in a way which opens them to counter-attack; we seldom try to reverse their motion.

The reason this seems exciting to me is that it is utterly unexpected, the attack comes from the 'wrong side' that the opponent will most likely be looking/facing, and it consists of two blows to the head or ribs, etc in a staccato 'tha-thump' rather than a typical 'one-two punch' style.

I have always liked the O-uchi, O-uchi exercise, but I never really thought of this type of bunkai for it. Amazing stuff.

Thoughts?

The exercise itself is at 5:00 on this video - not exactly as we do it, but close enough for the purposes of discussion.

[video=youtube_share;a01tp-xdPGQ]http://youtu.be/a01tp-xdPGQ[/video]

 

[punisher73]

I have also seen this applied to a closer in distance. As you move in the hooks turn into elbow strikes and take out ribs.

It always amazes me how much information is codified in things, just layer after layer of things.

 

[Bill Mattocks]

I have also seen this applied to a closer in distance. As you move in the hooks turn into elbow strikes and take out ribs.

Oh, most definitely! And I'd say we practice that sort of bunkai quite often. The brush-double-hook-punch is quite versatile; much more so than I first thought when learning my basic exercises. But I never saw it used in this fashion before.

It always amazes me how much information is codified in things, just layer after layer of things.

One begins to think that there was a lot of thought and experimentation that went into the design of the various traditional martial arts.

 

[harlan]

Basic goju drill...love it. Favorite variation: right forearm to the chest/clavical or throat, followed up with a throw.

 

[dancingalone]

Basic goju drill...love it. Favorite variation: right forearm to the chest/clavical or throat, followed up with a throw.

Here is an aikido version. Shomen uchi irimi-nage

[yt]mIaPjY5LuT4[/yt]

 

[punisher73]

One begins to think that there was a lot of thought and experimentation that went into the design of the various traditional martial arts.

I agree. It's a shame that for many TMA's that type of bunkai and depth of application got lost in translation by many (going back to the Japanese first) and is now being rediscovered by many.

There are some modern arts that have been designed with the same depth also, like Isshin-Ryu and others.

 

[ralphmcpherson]

Thats very similar to how we do it in our tkd class. We also do one similar to the aikido one posted by dancing alone. I love this stuff.

 

[seasoned]

Oh, One begins to think that there was a lot of thought and experimentation that went into the design of the various traditional martial arts.

Most assuredly. I love the way moves blend and enhance each other, as we learn our most simplest techniques, only to find out that after many years of practice they lay the foundation for the advanced techniques. Thus, creating the "whole ball of wax". Great post, Bill, thanks for sharing.

 

[punisher73]

I agree. It's a shame that for many TMA's that type of bunkai and depth of application got lost in translation by many (going back to the Japanese first) and is now being rediscovered by many.

There are some modern arts that have been designed with the same depth also, like Isshin-Ryu and others.

Poor wording on my last sentence. Was trying to point out that to some TMA's Isshin-Ryu is new, but also by many is considered a TMA. Then there are newer arts that are based on the older TMA's that also have depth of application and not just surface bunkai. An interesting look at this is Mr. O'Neil's "Taeguk Cipher", he looks at the TKD patterns that were created and knowing their base from Shotokan looked at the similiar motions and found the old bunkai and applied it to them. It would be an interesting discussion (new thread maybe) to talk about whether or not we are "reverse engineering" many of our bunkai, or if that is what was really meant.

As a side note, in the newest issue of Classical Fighting Arts (issue #21) there is an interview with Sensei Pat Nakata, who was a student of Sensei Chosen Chibana. Sensei Chibana was a student of Itosu. The interview talks about why the creation of the pinans, but also the bunkai and it's three levels of application. The surface level was the block/punch/kick method that is very obvious. The next level was the grappling applications (throws, locks etc). The last level was the really devastating stuff on more lethal targeting, for example, the throw you learned is now learned where you grab the throat and ear on the attacker.

 

[JohnEdward]

What I find revealing, and it usually is not explained because it is assumed or never recognized the core to the roundhouse punches of Isshin ryu that are rooted in the internal Chinese arts. I think this is really important in understanding the Bunkai of the kata.

Some people may dismiss what I said as not important, missing the significant and overlook the expedient of the round house punches paired against itself. It is most effective, the arc, besides generating and delivering power, as the property of glancing. This easily over looked concept is demonstrated in the video starting at 5:00. It is the effectiveness of motion. A block and strike coming off an arc and not a straight line or another angle has the greatest impact. As demonstrated in the video Bill posted, an arc as it reaches its highest point and at the highest point it has the most deflection (block) and power(strike). The arc permeates the other mechanics of the kata. We tend just to focus when observing, unless otherwise told, the fists. That is because it is the point of damage. We overlook the mechanics, principles and mechanics of application of the strike or block. Not realizing one principle is exploited and used holistically for start to finish of the waza. That kata stresses the principle and application of arc. Therefore, it should be thought of not specifically to one application as demonstrated by the kata. The kata is a model of a principle that shouldn't be looked at as a paired response to a specific attack.

And if you watch the entire clip of the katas you will see arcs prevalent through out the katas, though out the body and it's movements as there are no straight lines. Again, this may not sound significant, but something so profound usually is. The arc is recognized and used effectively in Chinese martial arts, from which these kata are derived. In the Aikido clip the arch is used but only as a directional. If the waza was done more correctly the Shi/Tori would have universally applied the arc through out his movements, i.e. his hips would have moved in an arc in sync with his contacting arm. The arc is so significant that it prompted strong criticism from Bruce Lee who preached that the shortest distance between two points is a line. That in its self was a revolutionary idea against the norm.

The katas are nothing more then body making arcs as a response to an attack defining the Bunkai. I think the philosophical separation of the practice of Kata and that Bunkai in modern teaching approaches makes it difficult to have a student have a holistic and flexible philosophy to the open hand arts. But like in Bill's case when stepping outside that duel thought modality and its restricting frame work - for the sake of teaching- a light bulb goes off with endless possibilities of applications off one principle. Call it enlightenment, an eye opener. Way to go Bill, a satori!

 

[oftheherd1]

One Hapkido variation, starting about 23 seconds.

 

[oftheherd1]

JohnEdward - I found your last post interesting. In the Hapkido I learned, we understood what you were saying, but also used the arc sometimes for a option to gain more strength through speed, but also to provide a option to change the location of attack. That is, it is easier to change the direction than when using a straight line. Granted, the straight line was what we were taught in the TKD I studied under Jhoon Rhee, as the preferred attack when possible.

 

[JohnEdward]

JohnEdward - I found your last post interesting. In the Hapkido I learned, we understood what you were saying, but also used the arc sometimes for a option to gain more strength through speed, but also to provide a option to change the location of attack. That is, it is easier to change the direction than when using a straight line. Granted, the straight line was what we were taught in the TKD I studied under Jhoon Rhee, as the preferred attack when possible.

Yes, Hapkido, what I like about it too, I like all good martial arts btw, is just what you said, an arc changes the angle of attack. And is very deceptive and misleading. It is seen with the straight forward punches in the video. They look like they are traveling on a straight line but they aren't. They are traveling on an arc, as slight as it is. A straight line punch is faster with less recognizable telegraphing, i.e. in contrast here comes the ol' haymaker. You don't see straight punchings as readily coming at you. They haymaker has a drawback that it can't change it's path once committed; oh look here comes that ol' haymaker again. Unless, you employ it like Chuck Lindell did and make it an over the top haymaker. Like you said, a change of direction of a punch was highly effective, here again an arc. i agree.

*I use Mr. Lindell because so many people have see him use that punch in the UFC. And Chuck has a Kenpo background.

 

[JohnEdward]

 

[punisher73]

We use that technique/application with a ridgehand instead of the fist to prevent knuckle breakage. Lots of power generation on that (and ridgehands in general).

 

[clfsean]

We use our lower forearms for sweeping punches (Sow Choy). While it's not the "bubba haymaker" it is very much like the rest of the description of once turned loose, there's no pulling it back. But there's more to it than just flailing the arm about.