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o Ryu-Te w necie

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o Ryu-Te w necie
Autor Wiadomość
Yuda

Dołączył: 19 Lut 2003
Posty: 362
Skąd: Przemyśl

Wysłany: 3 Maj 2004, 16:36   o Ryu-Te w necie

HAi. jako ze z angielkiego jakimś masterem wielkim nie jestem to proponuje aby umieszczać tu znalezione w necie anglojezyczne publikacje, artykuly dot. Ryu-Te i Taiki a jakby ktoś bardziej wtajemniczony w angielski miał chwile czasu to mógłby to w miare mozliwosci przetłumaczyć.
ja znalazłem dwa moim zdaniem dosyć interesujące artykuły o Ryu-Te z tym że niestety strasznie długie ale mam andzieje ze jakos sobie poradzicie.

Belt Test
First Arrival
When notified that I would be stationed in Okinawa, I became very excited. Having the chance to study in the native land of karate, was the chance of a lifetime. Although my experience in karate was very limited up to this point, I realized the significance of such an opportunity.

After arriving in Okinawa, I began to search for a dojo convenient to where I lived. (I was living off base.) Having no transportation made it difficult to travel very far, not so much because of the distance, but for the expense and inconvenience involved. Since this was Okinawa, I thought that any dojo would suffice and I visited a few dojos within a 5-mile radius.

After searching about two weeks, I noticed a fellow serviceman practicing kata. I questioned him, thinking that perhaps we could share a ride. He explained that he walked to the dojo which was located approximately I mile from the barracks. After getting directions, I realized that this dojo was in the same neighborhood that I lived.

The first night I visited the dojo to watch a class, I was very impressed with what I saw and asked to join. The instructor didn't speak much English at the time, but he did welcome me into his class through a translator.

My first experience was learning blocks and stances from one of the Okinawan blackbelt students, who could not speak any English. Even though we could not communicate verbally, I understood what he was asking me to do.

After that first night, things in my life began to change. Classes were held 7 days a week for the sum of $6.00 per month and as it turned out, this was much more of a bargain than I ever imagined. I had stumbled into the dojo of one of Okinawa's best fighters and most knowledgeable karate Masters, Taika Seiyu Oyata.

As time passed, many people came and went in the dojo. My relationship with Taika Oyata began to grow from teacher/pupil to more of the father/son relationship. As it turned out, his knowledge of the English language was very good, although he used a translator most of the time until he was sure I could understand him.

The karate knowledge that I witnessed was overwhelming. Even practicing everyday, it was difficult to learn even the most basic concepts, yet he never gave up always encouraging freethinking and hard training. From my very first contact with Taika Oyata, I knew that he was a most unique individual, although it was not until much later that I realized what he represented.

I asked questions while I was in Okinawa and I always got answers. Due to my lack of experience and understanding, I didn't always grasp the full meaning of Taika Oyata's words. I am just now beginning to understand the meaning of those answers he gave to me over 20 years ago.

I am sure that out of the hundreds of dojo in Okinawa, most of them have a colorful and rich history, but I don't think that I could have learned what Taika Oyata has taught me or what I can learn in the future. Most of the schools emphasize the importance of kata and train hard, but not in the same realm as Taika Oyata. To them karate seems to be more of an exercise containing only basic information or worse merely a sport.

I have spent many years, not only trying to study the kata, weapons and fighting techniques, but the way in which Taika Oyata executes them. It's not just the techniques, but the way in which he moves and delivers the strength and power that makes Taika Oyata a true technician.

I feel very fortunate to have studied in Okinawa, not only because of the one-on-one training I received, but the manner in which I had to learn. A language barrier forced me to look at the techniques more closely, because it was often difficult to explain in words what was happening. Words, especially in translation, can be vague and void. Actions tell the truth and do not have to be translated. The old saying, "the truth hurts", takes on a new meaning. In order to learn the truth, you must experience the pain.

When I first witnessed Taika Oyata's techniques, I felt as if he were performing magic. Taika Oyata demonstrates the epitome of fluid movement and economy of motion. It seems as if all of his techniques take little energy and effort, yet the effectiveness of the techniques is so overwhelming, that it feels as if he is using 10,000 times as much force.


Those of us who realize the importance of Taika Oyata's teachings and execution of techniques are indeed fortunate. I am grateful to him and to whatever fate, luck or circumstance that caused our paths to cross. I crossed a continent and ocean by chance to stumble across Taika Oyata. I am grateful that he is able to share his knowledge with others and me so that we can learn the true meaning of technique and ultimately the meaning of life.

WHAT IS KATA?

After bowing, all thoughts of the days activities begin to disappear. Even the surroundings begin to drift out of focus and into silence. All that can be heard are the inner thoughts, as the narrow room becomes the center of the universe.

Turning the head to focus to the side, the legs are bent and weight is redistributed to gain balance and strength. Stepping to the side and quickly drawing all the energy possible, an open hand strike is made to the side. As the muscles in the abdomen begin to tighten, all the power that is possible is concentrated at the end point of the strike. Relying on trained instincts, the next move comes as quickly and strongly as the first. Pausing only for a brief moment to comprehend the situation, the kata continues.

The modern karate practitioner has many tools for the development of skills at his disposal today. There are modern approaches to weight training, new strides in nutrition, new developments in medicine and an overall increase in health consciousness. All of these can increase our strength, abilities and health.

Often, these "new" strides in health development have overshadowed traditional methods of training. Nautilus(r) equipment has replaced free weights and certainly has a definite benefit. Treadmills and stationary bicycles have replaced outdoor running and jogging. Certainly these also offer an improvement and convenience over running: however, it does take away the harmony that is provided by "natural" exercise.

The rise in popularity of sport karate has also incorporated modern training ideas and gives little need to look at traditional training methods. This can be a hindrance in the development of true self-defense techniques where abilities must be "natural" and not programmed.

Any exercise program, machine, diet and health development can enhance training methods in karate; however, none of these can help in learning technique. The traditional method of training that is overlooked the most often is kata.

Many of the eclectic karate practitioners discount kata completely and see no value what-so-ever in its practice. Others, of a more traditional background see some value in kata practice, but only from an aesthetic approach. That is, kata is changed or even invented giving no real value to the kata other than another means of competition.

What is kata and what is its purpose? Kata can be defined, in very basic terms, as a series of individual techniques performed in a set sequence that incorporate strikes, kicks, grappling techniques and footwork for self-defense. Kata is a form of physical and mental exercise. As a physical exercise, it can develop balance, proper breathing, cardiovascular strength, and muscular strength. As a mental exercise, it develops self-discipline, concentration, mental reflex and awareness; however, the importance of kata lies not in the value of physical and mental exercise, but in the movements themselves.

Karate was developed for self-defense and is the means by which the ancient masters left their techniques for future generations. There are no books or notes written that demonstrates the meaning of ancient karate; therefore, kata is the book containing the knowledge of the ancient masters.

Kata is first practiced to learn each movement in the proper sequence and then emphasis is shifted to the development of form and strength for each technique. Constant practice is necessary for the moves to become instinctive and fluid in both execution and application and there is no time limit to the development of strengths in the kata.

After becoming "fluent" in the kata, the most important concept of kata takes place; that is, the meaning or interpretation of movements within the kata must be understood. However, almost everyone that practices karate doesn't understand how to interpret these hidden meanings and sometimes eliminate kata practice because the movements do not fit sport technique or their way of thinking. Traditionalists often practice kata only for its physical and mental exercise value or new kata are made up for sporting contests.

Most interpretations of kata movements are simple kicking, punching and blocking techniques and usually are taught or studied step by stop exactly in the sequence as it occurs in the kata. This idea is too simple to have much practicality since it only lends itself to the development of basic punching and kicking techniques in an easily recognizable pattern. To do these types of techniques, kata is not needed and this is probably why many do not see any value in kata training after taking this approach to interpreting the movements.

The true meaning of kata is often clouded with unfounded and often exaggerated techniques. Kata is most often thought of as a fight with multiple opponents. While this may conjure visions of Bruce Lee single handily fighting off an army of thugs, it is not a very practical application. Kata is simply a string of individual techniques that can be easily remembered without having to memorize hundreds of individual movements. By remembering one pattern, hundreds of techniques can be accessed.

Although the meanings of the kata techniques seem to be lost of forgotten, they are not. To discover the techniques, each move of a kata must carefully studied. By analyzing all body positions, footwork and hand positions within the kata, the secrets of the art hidden within can be revealed.

A kata is a puzzle, to interpret the technique many factors must be considered when looking at the movements. The movement can be that of the opponent or it can be represented backward in the kata. A closed fist can mean grabbing or being grabbed and a block can be a strike or a strike can be a block. The meaning of a movement can be within the transition between movements instead of the ending position or the technique can be a combination of two or more steps.

A proper stance is one of the most important factors in the execution of any technique. A stance is like the foundation of any building. Without a strong foundation or the correct configuration, the building will topple. A good stance provides balance and foundation that accentuates the effectiveness of the power and speed in delivering the technique.

In kata, the stance or footwork must be followed exactly as dictated just as the hand techniques. The practice of footwork makes movements instinctive and fluid. Although this type of training may seem to make the techniques rigid, predictable and less mobile, they do not. It trains the body to have a natural feel for balance and power while building instincts that automatically adjust to any situation. This leaves the mind clear to interpret the situation.

There are hundreds of ways to think of kata technique and there is more than one answer for each movement. If the technique works on everyone, then the interpretation is correct.

Kata can be a versatile tool. Not only does it provide techniques for self-defense and/or physical exercise it also provides us with a means of escape from life's everyday stress. Kata is "walking meditation". To concentrate upon one single thought, relieves the stress associated with any other problems, because for a brief moment in time, they do not exist. In order to avoid the pitfalls of our modern life style, it is necessary to escape from life's everyday stress. Entering into the channels of the inner self, our problems can disappear and allow the mind to drift into the subconscious effort to expand this one thought.

The master who developed a kata did it so that his technique could live on. It took a lifetime to develop his technique, thus it took a lifetime to create his kata. It will take another lifetime to discover all the hidden meanings and perfect their use.

EVOLVING KARATE

Most of us involved in karate have a basic knowledge concerning different philosophies of karate or other martial arts through magazines, books, motion pictures of association with others. As dedicated martial artists, we are always seeking to further our knowledge concerning our own art as well as other related martial arts by researching the available information; however, from all of the sources that are available, there is much contradiction and confusion. Newcomers to the martial arts are at a special disadvantage because there is no way to sort out the confusion.

In the United States, karate started in a traditional manner; however, there have been many changes in the past 25 or 30 years that have led away from traditional teachings. Form the onset, most of the renown instructors of today, such as Chuck Norris, Joe Lewis, Bill Wallace, and etc. had initial exposure to traditional karate; however, they gained notoriety through sport fighting. Through the years, karate has adopted some modern ideas from boxing and various other means mainly to increase its viability as a sport.

Limited exposure to the full aspects of traditional martial arts, combined with a rise in popularity through tournaments and media coverage, make the traditional path less appealing today. A new path relating solely to tournament fighting, the potential for monetary gains and a lack of knowledge of the full aspects of traditional martial arts are major contributors to the shift from traditional karate. Being young and strong, the early karate pioneers were physically able to "practice" the basic principles of sport karate in a very short time but there was very little "study" into deeper philosophies and higher levels of knowledge because of limited time.

This limited "study" has spawned a whole new philosophy concerning karate technique. A few basic techniques were learned and the rest of the "facts and techniques" were extrapolated. Limited exposure has forced the belief that the sport type techniques are all that karate has to offer other than some ancient "dance" patterns in the form of kata. Even systems of karate that are considered traditional have adopted new ideas because they did not spend enough time in the study of the whole art. For this reason, many eclectic systems have been born and with them a new breed of karate.

For example, in an effort to explain a student's question, an instructor, based on his own experience, will make up an answer that seems reasonable to both he and his student. This is done for several reasons; limited knowledge and a need to justify practicing the concept forces the instructor to "invent" rational answers and the instructor doesn't want appear as if he does not know the answer. As an instructor, he doesn't want to lose credibility. This happens most often in the explanation of kata bunkai and spreads heavily into self-defense. The newly formed idea becomes like the seed of a wild vine that expands and multiplies eventually consuming the truth.

When karate began its boom in the late 50's and early 60's, the "stars" of this time began to spread the word of karate (as they saw it). Since they were the first, their ideas were accepted as the truth and they set the stage for us all, even though their exposure to traditional karate was limited to only a few years training in sports techniques.

The spread of karate has been like the game of "gossip", in which a story is verbally passed from one person to another. Each person relays his or her version of the story without consulting the originator. By the end of the line, the story is completely different from the original. Likewise, karate is changed each time it is passed down because very few have gone back to the source to seek further explanations and worse, those with limited knowledge were the first to start the game of "gossip".

There are now several generations that have been bred purely on a watered down version of karate. What they have been raised to believe is reinforced through books, magazines and other media written by their teachers. They do not try to seek further truths because they don't know that there is any other available or with some questions, they find only emptiness and abandon further research. In other words, there is limited information at the source and no need to look further. The truth is covered up or disregarded. For this reason, many systems of karate have given up kata practice or combined "the best" of various martial arts. Since they don't have a good explanation of kata bunkai, kata is overlooked as a source of information.

Even tournament karate, in a quest to gain new audiences, has changed its original concept. No longer are there the "non-contact" tournaments of the past, but limited contact and full contact. This was done in an effort to gain more realism into sport karate, for the benefit of the audience. Pulling punches has gone to a form of tag and from tag to contact using semi-boxing techniques. These techniques have lost any resemblance to karate technique.


A thousand years of development and study can not be learned in a few short years and even worse, it can not be taught with these few years of experience. In order to teach the first grade, a schoolteacher must have a minimum of 16 years of education. In karate, there are teachers with just a few years experience in the "practice" of karate. This leaves a very large gap of information, knowledge and understanding.

Since the boom of karate in the United States in the late 60's, the succession of instructors has spread through 4 or 5 generations and each generation has expanded in a mathematical progression. (If one instructor has 10 black belt instructors and each on of those has 10 black belts, the number soon becomes overwhelming, i.e. 1+10+100+1000+...)

Sport karate has its place, but it should not overshadow the real essence of karate as self-defense. Sport karate was born out of a need to practice self-defense techniques safely. Self-defense techniques had to be regulated and altered to eliminate some of the danger and to fit the rules of fair play for tournaments. Eventually, the original self-defense technique became lost and new "tournament only" techniques replaced them. These tournament techniques are in turn, taught as self-defense techniques.

We are all guilty of going only part way in our training. Not the physical portion, but rather the inner workings of karate technique. We "practice" very well, but we do not "study". We do not research deep enough into the roots of karate to find the truth in kata and have forgotten the original intention of karate. Physically, sport karate practitioners are top athletes, but they are not training their instincts correctly concerning self-defense.

Not everyone can develop the fast kicks of Bill Wallace or the power of a Joe Lewis kick. We are each built different, young and old, male and female, and are better suited to our own body style. We should not try to imitate others, but develop our own way to execute techniques.

Karate is a study of body mechanics, strengths and weaknesses, vital points and history. The warriors that first developed karate, developed it out of a need to preserve their lives. The techniques had to work in real situations, not the controlled atmosphere of the tournament. A loss meant the loss of life, not just the loss of a trophy. The mental attitude and the technical skills needed to dispatch an enemy who is trying to take your life are much greater than trying to win a tournament match.

There are no easy answers for those seeking to find the truth in martial arts. How can you know if you are seeking the right path? Study, practice, research and question, our lack of knowledge doesn't stem from a lack of information, it comes from not working hard enough to find the answers.

The world is full of misinformed and under-educated martial artists. Some of them brag about knowing all and that the old ways are no longer valid. Others have borrowed part of different systems and tried to combine this basic information into the limited knowledge they already have. There are others who steal true techniques and bastardize its use for their own monetary gains. They fabricate lies concerning its origin and their study of such arts. They are leading others astray and worse, they are leaving a legacy through books, magazines, and a new media, "video tapes" to poison future generations.

Is this a new problem? No, not really, it has been around many centuries. The following passage entitled "BE THOROUGH IN THE DISCIPLINED PRACTICE OF MARTIAL ARTS" from BUDOSHOSHINSHO, written in the late 1600's by Daidoji Yuzan, addresses this subject.

"...when a man abuses or practices amiss in the martial arts, he will be arrogant about the extent of his own ability, look down upon those around him, speak nothing but unreasonable and high-sounding theories, leading unpracticed youths astray and injuring their casts of mind. Although such people speak words that seem just and correct on the surface, their innermost feelings are largely covetous, and their real intentions founded on measuring what will be profitable for them and what will not. Thus, their character gradually grows worse, and later they lose sense of what it means to be a warrior. This is an error that comes from going only halfway in the discipline and practice of martial studies.

At any rate, if one is to study military matters, it is essential that in his practice he should not stop halfway, but by all means at one point or another, go as far as the secret principles of the martial arts, ... It would be extremely regrettable, however, for those of us who do study, to pass our days in going only halfway in military investigations, letting the deepest principles of the martial arts slip through our grasp and becoming confused in our own halfwayness, and finally leading not only ourselves but even others astray in an unavoidable sequence..."


What does this mean to us? As instructors, future instructors and practitioners of the martial arts, we must be careful in our study and explanations. If we do not know the answer to a question, we must seek the truth and not fabricate an answer. We must be steadfast in our training and quest for knowledge and become the best that we can. If we are not careful, we will lose the old ways of karate and karate's true essence.

There is no easy way to stop the spread of misinformation, but we can educate our students and fellow karate-ka to the true way of karate. We must write our own feelings and interact with others to give our point of view. We can show others, through our actions and attitudes, that our way is the true way. We must leave a legacy of our own. If we do not, then all our training will have been in vain.

What has been said above are my own observations and opinion. I am not trying to put down or offend anyone. There is no bad karate, only bad teachers. The concepts we learn and teach must be pure and we must insure the integrity of karate-do. What we as traditionalist have learned thus far is only a small portion of the whole, but this small portion is a mountain compared to what some others are learning and teaching. It is our fault for not asking the right questions or practicing what we are taught.

One last thought. When my sensei, Seiyu Oyata, showed me a different movement in a kata that I had practiced for 20 years, I asked, "why didn't you tell me this before?" His reply, "you never asked".

THE WORKOUT

Just before the evening sun disappears into the horizon of the East China Sea and the cool evening breeze begins to blow, practice begins. The air is still and muggy and sweat is already dripping from the short walk down the dusty road leading to the Ken Pu Kan Dojo of Taika Seiyu Oyata.

The rustic building, although surrounded by many other dwellings, stands as a solitary monument to those who have come before. The dimly lit room reveals eerie shadows cast from the evening sun as it shines through the slats in the windows. Weapons and Bogu gear line the walls as if this were some ancient military arsenal. In the front of the room sits a lone chair in which the Sensei sits to observe the class.

After removing the shoes and entering the dojo, a short bow is given. As the bare feet touch the floor that has been worn smooth from the enthusiastic workouts of previous students, one can't help but feel the presence of the warrior spirit. Facing the empty chair in the front of the room and knelling into seiza, again a bow is given to show respect to the Sensei and Masters of old. Before standing, a commitment to learn all that is possible and to always train hard is also silently given.

Rising from seiza, warm-ups began by approaching a rustic and strange device referred to by the American students as the "noose". Two white belts had been tied together, looped at one end and thrown over one of the rafters. (This somehow made new students uneasy.) This device was a primitive but very effective "stretching machine". Inserting one foot, the loose end was pulled until the limits of flexibility had been reached or the supporting foot had lost its grip on the floor and you found yourself hanging in mid-air by one foot.

After stretching, you approach the makiwara to begin punching. The makiwara was a 1/4 inch hard rubber pad that seemed to be mounted on a post as big as a giant redwood tree; however, upon closer examination, the post was only a 4X4 that had been planted in the ground below the dojo floor. After the first strike to the makiwara, you realized that your first observation was correct, it was indeed attached to a giant redwood tree.

No matter how hard the makiwara was punched, it didn't seem to affect the post as it stood tall and ridged. Only Taika Oyata could move this post the 4 or 5 inches to meet the wall behind. This could be attested to by many an unwitting student who was unbelieving enough to place his hand between the post and the wall.

Hanging in the center of the dojo near the main entrance was a 70lb kick bag. The kick bag was not only made of leather but also stuffed with leather shavings. The bag never seemed to hang still as someone was always punching or kicking it. Often there was a line of students, who took turns alternately kicking or punching the bag while others took turns on the "noose" or makiwara.

A favorite training method was to swing the bag away and step into it as it swung forward. Many students found themselves on the floor after such an attempt until they had learned the proper technique and skills. After the technique had been perfected, the students then tried to get two or three kicks into the bag for each swing or a combination of kicks and punches.

Sometimes during hot weather or crowded dojo conditions, the bag was suspended from an "At frame outside. This added another dimension to kicking as the bare feet dug into the corral dirt. This had a tendency to toughen up the bottoms of the feet more than the wooden dojo floor.

By this time everyone was adequately warmed up and ready to begin practice. As Taika Oyata entered the dojo, everyone stopped practice and turned toward him and bowed. The bow was returned and practice resumed as Taika Oyata summoned everyone to line up for kata practice and upcoming drills.

As we lined up on his command, we realized the seriousness and sincerity of the moment. After bowing and preparing for the first move, the dojo walls reverberated with "ICHI, NI, SAN..." and we began the practice of Exercise One and Nahanchin Shodan Kata. Suddenly, a student crashed to the floor as his stance was "corrected". Everyone tightened in anticipation that they would be next, but never wavering or looking around for all had experienced this "correction" at one time or another and looking around was even a more painful lesson.

As the cool evening breeze began to blow from the sea, it did little to cool down the students, as they remain fixed in a horse stance while the teacher lectured on the importance of proper posture and form. "Crash", another example of bad stance and Taika Oyata muttered something in Japanese that roughly translated into "Potato Head".

After kata practice, the students are directed to line up around the wall, using it as support for the upcoming drill. Already drained from a days work, an hour and a half of kata practice and warm-ups, everyone had to reach deep down inside to muster the energy required to perform the 200 side kicks as they are called out.

Winded and gasping for breath after the kicking drill, we are paired for BOGU KUMITE. The heat of the night and the exercises had everyone's gi soaked with sweat and likewise the Bogu gear was still clammy from the previous night's workout. There had been no time for it to dry and thus it contained the sweat from the first time it was worn, perhaps 5 years earlier.

Sparring was less formal in the dojo than in tournaments. No points were called and there were no time limits, although after a good point was landed, the fight was stopped so that the loser of the point could shake the cobwebs from his head. Already exhausted and drained of energy, you fought from the instinct of survival, knowing that win or lose, you had to fight again.

Although sparring was part of the routine each night, no one took it lightly. Each fight was as if it was a championship match and techniques were thrown with all the fury that could be mustered. Injuries, although never serious, did not stop a match. Jammed fingers and toes called for using the other limb. After one incident in which I split open a tee nail on a mask, Taika Oyata said, "What's the matter, don't you have two hands and two feet?"

After sparring, class normally ended. We all bowed to Taika Oyata and bid him a farewell until the next evening. All of the students left, however; I often stayed a little longer for special training even though I was already exhausted.

I was sometimes requested to fetch two Bo and commanded to "strike, any strike". As I did, I always found myself on the "loosing end of the stick." If we did not practice Bo/Bo kumite, then Taika Oyata would correct my kata further or I would work on weapons kata.

As practiced ended, I thanked Taika Oyata for his lessons and bowed. The short walk down the dusty road seemed like miles as I carried my bruised and tired body home, but my walk had a bounce of new found energy and knowledge for I had just worked out with a true TAIKA. The lessons that I learned will follow me the rest of my life.

BELT TEST

We all became anxious and excited when Taika Oyata announced that the belt test would be held on Sunday. Belt tests were normally held on Sundays and rotated from dojo to dojo. This particular Sunday we were to travel to Koza City to Shian Toma's Dojo just outside Kadena Air Base.

Master Toma's dojo was located just off the main road that led to the Kadena Air Base gate. The two-story structure had the dojo downstairs and living quarters upstairs. It was fairly modern and nicely constructed. Wooden floors, ample lighting and dressing rooms all added to the convenience. Although the dojo was small compared to American standards, it was well suited to the type of instruction that was offered.

Arriving early, we all met at Taika Oyata's dojo and traveled together to Koza. We were all a little nervous about the test, but even more so when we arrived. Besides Taika Oyata and Master Toma, Grandmaster Seikichi Uehara (10th Dan) was also in attendance. This increased the anxiety and nervousness about 10 fold. (At the time Taika Oyata and Master Toma were 7th Dan, so to meet a 10th Dan was an exceptional honor.)

We were all called to attention by one of Master Toma's black belts as the three masters enter the room. After bowing we were told to sit quietly against the far wall until it was our turn to test.

Kata was to be tested first. Either Taika Oyata or Master Toma called one of their students forward and requested them to perform a particular kata. Nothing was ever said as the three watched the kata through their steely eyes, never changing expressions. After performing the kata, the three would nod for the student to be seated and the next student was called.

The kata testing was perhaps the hardest because everyone in the dojo had their eyes on you and you began by looking directly into the eyes of Grandmaster Uehara, who seemed look right through you. Not only were you being tested for the next rank, it seemed as if you were representing your dojo and if you failed, not only was it personal, but you would have let down the honor of the dojo as well.

After kata was complete, bogu kumite took place. Students from each school were paired with each other according to rank with the lower belts fighting first. Usually, no points were called; however, one of the black belts controlled the match. The students were allowed to fight for 2 or 3 minutes and the three Masters just sat and watched the proceedings.

Kumite was not as trying as kata, because once the fight started everyone in the room disappeared and only the opponent seemed visible; however, the honor of the dojo was at stake and you felt as though you must prove that you and your dojo were the best.

Taika Oyata, Master Toma and Grandmaster Uehara signed the certificates of the Ryukyu Karate-do League. Half of the certificate was written in Japanese characters and the other half was English. After the belt tests were complete, no one was told if they had passed or not. The three Masters went upstairs to discuss each student's performance and to fill out the certificates.

Before the masters left the Dojo, we all stood and bowed and Taika Oyata called for me to follow them. My heart jumped into my throat for I thought that I must have made a terrible mistake and that they were going to "rake me over the coals".

Following the gentlemen upstairs, we all sat on the tatami mats and were served green tea by Master Toma's wife. I was still very concerned about being called upstairs until Taika Oyata explained that they wanted me to fill in the English portion of the certificates and help with the pronunciation of the English names. I was relieved and very honored to be in the company of these great gentlemen and to perform this small task.

I would like to interject my first experience at drinking green tea and Japanese etiquette. Never having drank green tea before, I found it difficult to swallow at first for two reasons. One, it was very hot and second, it looked as if it were "dirty" water. The taste was not like tea at all but slightly bitter. Not wanting to hurt any feelings or make Taika Oyata look bad, I drank all of my tea.

Master Toma's wife began to fill the cup again and I tried, in a polite manner, to refuse a second portion. I found out later, that if you leave some of the tea in the cup, they would assume that you have had enough and will not refill your cup unless you request; however, if you empty the cup, they are obligated to give you more.

Returning downstairs, I took my place among the students as we lined up for the presentation of the certificates. Taika Oyata read the certificates in Japanese as each named was called and Grandmaster Uehara presented them. Grandmaster Uehara's stature was small compared to most of the American's present; however, his strength is immense. As I reached forward to shake Grandmaster Uehara's hand, his strength was so overwhelming, my body jerked forward each time he pulled my hand downward.

Proud that we all had passed our tests and made a good showing, Taika Oyata was smiling. I left feeling good that I had passed my test, but feeling more honored that I had sat with these three great men and drank tea with them.

BOGU KUMITE

The Bogu hangs on the dojo wall resembling the armor of some ancient knight raveled and worn from a thousand battles, symbolizing the warriors from by-gone days. Its full utilization and impact remains a mystery to all that have not worn the armor as it silently waits to build the character and confidence of the next fighter. The Bogu, at first glance, seems inconsequential especially when compared to all the other aspects of RyuTe; however, its importance becomes apparent after the first fight.

An almost claustrophobic feeling emerges when the gear is tightened. Breathing becomes difficult, vision is impaired, all sounds are muffled, and the essence of the last fighter remains inside the mask, all adding to the challenge of the fight. Anxiety builds as the exchange of bows is given. Circling and cautious, no sudden movements are made because it is not known what to expect. The Bogu seems to be a hindrance or confining, keeping the full potential of the fight from developing and the limited field of vision and the muffled silence gives the impression of solitude.

Awkwardly, the first offensive movement is made as it barely makes contact. Little effect is seen upon the opponent and it appears as though the Bogu accomplished its job protecting the opponent. Confidence begins to expand and a second offensive technique is made. Again, a blow is landed and the feeling of accomplishment sets in and the usefulness of the Bogu starts to become apparent. The anxiety and claustrophobic feelings begin to melt away and are replaced by a feeling of confidence and security.

Suddenly, the opponent makes an offensive move, striking a blow to the facemask. As the strike comes, it seems to be in slow motion although there is nothing that can be done to stop it. Larger and larger the fist grows until it reaches the mask and suddenly turns it all turns into blackness. All thoughts of Bogu, fighting and even consciousness disappear. Just before the blackness, a loud, almost sickening crack is heard and then a constant ringing. Seconds seem to stretch into minutes and minutes into hours before consciousness returns. While it seemed an eternity, only seconds have passed and the fight resumes.

Feeling less confident about the security of the Bogu and even less concerning fighting ability, the anxiety returns, fearing every movement by the opponent. As the opponent attempts a second strike, the memory of the first blow comes to mind and both hands are brought up in desperation to block the strike. As quickly as the blow is blocked, a kick is thrown by the opponent that lifts and propels the whole body across the dojo as if shot from a cannon. Unlike the blow to the mask, the kick is so quick that it seems almost invisible. Although still conscious, breathing is very difficult and embarrassment sets in at such a poor showing.

After thoughts concerning the first Bogu fight began to melt away the feeling of security, thoughts of what would have happened had the gear not been worn begin to come to mind and a feeling of thankfulness sets in. The faint hearted and those of little character view the Bogu with apprehension, discounting any usefulness for the restriction, embarrassment and pain associated with its use.

There is often confusion concerning the use of the gear. While most understand that contact can be made, the extent of this contact is not known. To truly appreciate the use of the Bogu, the first experience should be a total humiliation, then the application of offensive and defensive techniques can be truly understood.

The concept of the Bogu is misleading. First thoughts are those of restriction while wearing the gear and others of the idea of how much contact is required to achieve a point. Merely touching the gear or a follow through from a pulled punch is not sufficient. The blow should be such that it could have caused damage or injury had the opponent not worn the Bogu.

When Kyoshi Albert Geraldi, Kyoshi Greg Lindquest and myself first began RyuTe, Bogu Kumite is the one difference that was prominent over other systems of karate. While RyuTe is certainly unique because of its approach to weapons, Tuite, and Kyusho Jitsu, Bogu Kumite adds to its uniqueness.

Occasionally, we each could talk others into trying the Bogu just once; however, the first experience is always a little embarrassing especially to those who consider themselves good fighters. So we each continued to teach our students in the ways we were taught and continued our vigilance to change the minds of others.


Bogu Kumite is just a sport; however, it provides several important concepts in our ultimate training. It takes a lot of character to be hit hard enough to lose consciousness or be knocked to the floor with a kick only to have it happen again. It is much easier to practice defensive techniques if the opponent is not going to hit, but this builds a false sense of security. This is the same false sense of security that comes to mind when the Bogu is first adorned; however, after a good match, it is realized that the Bogu doesn't protect from the impact or some of the pain of the blow, it protects against the result.

Bogu Kumite, while not actual combat, teaches confidence in ability and develops timing at real fighting speeds. A certain amount of anxiety and risk are also present because of the possibility of a knock out or pain and discomfort that can come with certain blows. Bogu Kumite is an important link to RyuTe's heritage. It must be kept in the tradition of the past and not allowed to mingle with modern change. We should be proud that we are different and encouraged knowing that we can test our techniques and skills in mock combat.

A Test of Spirit

Taika Oyata has always been enterprising, even in Okinawa. He has been part owner of a bar and restaurant or he always had some kind of business venture on going besides running his dojo. The Gulf Land Corporation, an an American based company, was such a venture.

The Gulf Land Corporation was a development company that offered free dinner and entertainment in exchange for listening to a presentation for a housing project in Florida. We always kidded about selling them "swamp land", but actually this was a legitimate business. Taika Oyata was not directly connected with the solicitation or the selling of land, rather he gave a karate demonstration as part of the presentation.

After karate class everyday for almost a month, Taika Oyata and I traveled to Koza City to give the demonstration. The demonstration was usually short but always exciting. I would attack and Taika Oyata would defend. Sometimes he would do a kata and sometimes I did a kata, but what everyone wanted to see was breaking and this is where the real story begins.

When you mention the word Karate, the average person will always ask, "how many boards can you break"? Most everyone usually associates karate with the smashing of countless boards and bricks. Being one of those "average" persons, I too expected to learn the secret of this fascinating part of karate and became very excited when Taika Oyata asked me to drive him to Naha to pickup some wood for breaking.

We arrived in the port area of Naha near a channel where large logs, imported from the Philippines, were floating as if this were some logging camp in Oregon. Towering over our heads were stacks of logs, 2 to 4 foot in diameter. Driving through the maze of logs, mud and water filled potholes, we managed to arrive safely at our destination.

We began to climb over several piles until we reached the sawmill. Taika Oyata talked to the manager and picked out several large pieces of lumber. They were about 8 to 10 feet long and about 2 foot square. The forklift brought the wood to the saw and they were cut into 2X2 inch squares, four foot in length. I was a bit puzzled for I thought that they would have had been cut into planks, but I never questioned the reason why they were cut into 2X2's.

The first few weeks of demonstrations, Taika Oyata did all of the breaking, either bricks or roofing tile, as I had never attempted to break and this was something we did not practice in the dojo. One night all of this changed, I was told to do the breaking.

Two bricks were supported above the floor ready to be smashed. Nervously, I approached the bricks as Taika Oyata coached me in the proper method for breaking the bricks with my forearm. After several corrections in stance and position, Taika Oyata gave me the signal to go ahead. WHACK! To my amazement, the bricks broke with ease.

The next night, Taika Oyata asked me to do the breaking again. This time however, I was to break only one brick as our supply was getting low. Feeling confident at breaking two bricks the night before, one brick should be a piece of cake. I lined my self up properly, took a breath and WHAM, I felt excruciating pain in my elbow. I had moved forward during my downward swing and the point of my elbow hit the brick instead of my forearm. Undaunted, Taika Oyata said, "Hit them again." I looked at him thinking that he had to be kidding, but his look told me that he was serious.

As I attempted to strike the second time, the pain of the first strike came to mind and I held back. Again the brick remained intact. Without so much as a word and with no preparation, Taika Oyata walked over to the brick and punched it with his fist. BOOM the brick broke into two pieces as if they were toothpicks.

Several nights had past and the brick supply had been exhausted. Taika 0yata brought out the 2X2's we had acquired in Naha and had me to kneel on one knee as he swung a 2X2 toward my outstretched arm. I first thought that Taika Oyata was going to beat me with the 2X2's as punishment for not breaking the brick earlier, but just as I let out a loud "kiai", the board snapped in two.

The first thing I did was to look at my arm and make sure that it wasn't the one that broke. Surprisingly, I felt no pain in my arm, in fact it hardly moved under the impact of the swing. This really boosted my confidence and for the rest of the week, I looked forward to the moment when he smashed the boards against my body. (Sometimes the boards were broken against the thigh, stomach and back.)


One particular night as Taika Oyata struck my outstretched right arm, one of the 2X2's became obstinate and did not break. Neither Taika Oyata nor myself flinched, but rather prepared for a second strike. Again the board was stubborn and remained firm and ridged. Now, both Taika Oyata and myself were a little embarrassed. I thought that Taika 0yata was sort of blaming me, thinking that I had moved at the last minute causing the board to deflect slightly.

Taika Oyata, although I could tell, didn't show any emotion as he requested me to stretch out my left arm. Again, the board did not break. Now Taika Oyata was showing a bit of impatience, although the audience still didn't know. I now stood as he struck across my thigh and "WHAM", I was knocked to the floor.

Taika Oyata stood and held the board for a moment, contemplating its obstinacy. He then placed the board against the wall and kicked with all his might, again the board was stubborn and pushed him back. Visibly upset this time, he picked up the board and left the room leaving my battered and bruised body in front of the open mouthed GIs.

Outside, you could hear Japanese swear words and a loud smash as the board crashed against the corner of the building. This time the board gave in somewhat, still not breaking completely, it broke into the shape of a "V". The swearing turned into laughter as Taika Oyata reentered the room. Holding the board above his head, he exclaimed, "petrified wood".

In his wisdom, Taika Oyata explained to the audience that it is not always the point to break to wood, but rather a test of spirit and confidence of the student. True to his word, this was indeed a much better test of spirit than if the boards had broken. It proved to me that it is best to not always expect the wood to break, but prepare to accept the impact of the blow. Although it wasn't planned for the boards to be so tough, it provided a lesson for me and an amusing story to remember about my days in Okinawa.


THE DEMONSTRATION

Public speaking takes a great amount of training and skill. It also takes some real incentives to conjure enough courage to stand before a large group of strangers to speak. My present job requires a certain amount of presentations in order to insure the smooth running of certain projects that I follow. This relates to job performance and incentives are provided in the form of raises and/or promotions. My first experience at public speaking, other than in a school classroom, was in Okinawa and Taika Oyata provided the incentive.

I had been training in Taika Oyata's dojo approximately one month and it seemed as if Taika Oyata had been somewhat distant mostly speaking to me through a translator. There were several black belts that had been translating for Taika Oyata and several more students that seemed more qualified to accept the request he was making of me.

The dojo was preparing to give a demonstration in the service club on the 2nd Logistic Command Post in the Machinate Service Area. Taika Oyata rehearsed each participant with his role in the demonstration which included, Group kata, empty hand kata, weapons kata, two man kata, two man weapons kata, self defense, and Bogu Kumite. There were also to be several special demonstrations by Taika Oyata.

Two days before the demonstration was to take place, Taika Oyata informed me through one of the Japanese/American Black Belts that I was to emcee the demonstration. It seemed sort of strange, because as mentioned before, Taika Oyata spoke to me mostly through a translator.

After I accepted the challenge, Taika Oyata began speaking to me as if we were old friends as he explained what he wanted me to say. He even told me to buy a brown belt to wear, because a white belt may not seem to look authoritative enough. I knew that I could not refuse his request to speak and thus my incentive.

The night of the demonstration, I was more concerned about making a mistake in front of Taika Oyata than being nervous in front of the crowd. As it turned out my job was quite easy, all I did was introduce what was about to happen and explain each portion of the demonstration.

The demonstration was just as amazing to me as it was to the audience. Starting out, all of the students lined up and bowed to the audience and then performed Nahihanchin Shodan in unison. The demonstration continued with students performing various empty hand kata, weapons kata and self-defense demonstrations. The bogu kumite, 2-man weapons kata and the breaking of wood across the body of one of the students were a very exciting part of the demonstration because it was the easiest for the audience to understand and the easiest to explain.

The highlight of the demonstration was Taika Oyata's performance. He had not openly practiced what he was to do during the demonstration; therefore, I did not know what he was going to do until he explained just before his performance. First, he performed Kusanku kata that had everyone spellbound even though the audience did not understand kata. His speed, power and smoothness were almost ballet like and there was no doubt in anyone's mind that he was a true technician.

Taika Oyata solicited a member of the audience for the next part of his demonstration. He picked the largest and strongest man he could find. The man stood over 6ft and weighed about 250 lbs. making Taika Oyata look like a midget beside him. He instructed the volunteer to grab his arm as tightly as he could. Within seconds the volunteer was screaming in pain as Taika Oyata demonstrated a hand technique on him. Although not injured, the volunteer did not wish to continue. Taika Oyata thanked him for his help and sent him back to his seat rubbing his arm.

Taika Oyata's next feat was astounding. He brought on stage a samurai sword that had been in his family for generations. Removing the sword from its sheath, he sliced several banana stalks and split a block of wood to prove its sharpness. Indeed it was very sharp as it sliced through these materials as if cutting through hot butter.

Taika Oyata again solicited a volunteer from the audience to help with the demonstration. Nervously the volunteer walked on stage to assist Taika Oyata not knowing what to expect especially after viewing the first volunteer. He must have assumed that Taika Oyata was going to use the sword on him.

Holding the sword in his right hand, Taika Oyata grasped the blade in his left hand just above the sword guard. Tightly squeezing his fist, he instructed the volunteer to bind his left hand so that he could not relax it. Sufficiently binding his hand the volunteer was satisfied that Taika Oyata could not relax his grip.

Standing before the crowd, Taika Oyata concentrated briefly and began to breathe very deeply. His body tightened rock hard and he was to trembling slightly. The blood vessels in his neck and arms begin to swell and his muscles began to expand. After several minutes, Taika Oyata began to pull the sword from his grip as the audience gasped. Slowly, the sword was drawn to its full length until he had pulled it completely through his grip.

The volunteer then untied the bindings and Taika Oyata revealed his uncut hand. The audience sat for a moment in silence and then stood giving Taika Oyata a standing ovation. Thus ended the demonstration and my first experience at public speaking.

NEW BREED OF KARATE

There are numerous styles of karate and the list grows daily. Combinations of boxing, wrestling, judo and you-name-it are springing up everywhere and all karate is being classified with these versions in the eyes of the general public.

Without going into details concerning karate history, I will summarize. An indigenous form of empty hand fighting developed in Okinawa and melded with versions of Chinese fighting into a system called "TE" (using the hand).

"TE" developed further within three regions of Okinawa that were separated by cultural differences and a few miles distance. These "TE" were distinctive enough to receive names from each region; Naha-te, Shuri-te and Tomari-te. From these 3 forms of "TE", most other styles of karate have developed; however, the focus of this article is not to explore the history or development of these styles or subsequent Okinawan styles, but the formation of a modern 4th "Te".

The 4th "Te" is gaining in popularity not only from the martial artist's viewpoint, but also from the general public as well. This is due mainly from media and word-of-mouth coverage. This new style is called by many names and can't be classed into one of the three original Te; however, careful study of techniques has revealed a name, "Haha-te".

Haha-Te is the sensationalism, flashiness and exaggeration of Karate's original concepts. The flamboyant style of Haha-te lends itself to influence even the non-martial artist. Movies, TV programs, books and magazines all portray Haha-te as a viable martial art. Many of the non-martial artists believe that this is a true depiction of all karate.

The questions that some people ask concerning karate are very amazing. Most of these questions come from hearsay and rumors. "I have a friend whose brother-in-law's cousin had to pull the heart out of a sheep in order to get his black belt, do you guys really do that?'

No matter how many legitimate systems of karate there are, the general public will associate all karate with Haha-te and with limited knowledge on their part, it is difficult to "educate" them as to the truth concerning karate.

So, what is Haha-te? Haha-te is that version of karate that is so elaborate and extraordinary that it is difficult to put into words. It is best to describe it with the questions and "facts" that come from viewing this "deadly" art.

The first requirement is a flashy uniform. It must be a bright color or multicolored, preferably satin. The uniform must have the practitioner's name is 3 inch letters on the back along with some kind of nickname embroidered on one leg. There must be numerous patches, a Coors(r) patch is usually a sign of significant ability.

Next is the name of the style. This must be a combination of various Japanese words that sound very important but when spoken to a Japanese would either have him rolling on the ground or scratching his head trying to figure out what it means, my favorite is "KaraKiDo", translated it means "empty spirit way".

Haha-te practitioners spend a lot of time in learning their art, usually 4 or 5 hours of instruction in one martial art. They then take several more forms of fighting and do the same. Through some magical formula, they take only the "best" from each and do away with the "worst".

What a relief not to have to study all of those useless techniques. I can't imagine what the ancient masters must have been thinking when they put those useless things in there. I am just glad that we have "modern sam-a-ryes" (they could be called "Rambo-ryes") that took the one or two years to decipher a 1000 years of development condensed it into the easy to attain program of "you can earn your black belt by mail in 6 months."

Haha-te can be a little complicated in that sometimes kata is used and sometimes it is not. If there are kata, they have very complicated names such as "Ka-da one or Ka-da two". The kata themselves must have been kept secret at least several months and it takes a lot of skill in break dancing to perform, especially since music is normally required to perform the kata.
Demonstrating abilities is where Haha-te has gained most of its popularity. These demonstrations exhibit the ultimate in self-defense especially if being attacked by a stack of flaming boards or a large block of ice. Frankly, the last time I was attacked by flaming boards, I was severely scorched.

There are accounts of Haha-te experts jumping fiat footed and kicking a basketball goal with both feet. When I last measured, I believe that was 10 feet, which should be a new Olympic high jump record. I even saw an expert on "That's Incredible" jumping over a speeding sports car. I have never started a fight with a sports car and don't intend to.


Being able to fend off the attack of 10 to 20 people at once is another attribute of Haha-te. All we need is about 100 of them and we won't need an army. The closest thing they ever came to a real battle was in a shoving match at the "Blue Light special" in Kmart.

Rank is very important in Haha-te. The sooner the rank is attained and the higher the rank, the better. I have heard of the existence of a "12th degree" black belt. Age seems to make no difference, there are 6 year old 2nd degree black belts. Boy, do they strike fear in my heart. I lie awake a night worrying that one of these 70lb fighting machines will attack me with a stack of flaming boards.

Then there's the black belt test. No way am I going to catch rattlesnakes while being blind fold or even catch blind fold rattlesnakes. The real test, however, is to pull the heart out of a sheep. In earlier days it used to be a requirement to kill another black belt by pulling out his heart and showing it to him before he died; however, being more civilized, it is now only proper to kill sheep.

So, what is Haha-te? Haha-te literally means "funny" karate. Although all of this is in jest, it does hit home with certain facts. Being traditionalists, we have to refute the misconceptions that have been drawn by the misinformed and presented as facts to the uninformed

It is very difficult to convert a Haha-te practitioner, they take the easy road to success, programmed development, little insight into the depth of karate technique and they only use techniques that work against their made up beliefs.
===============================================

Pressure Point
Pressure Point Fighting
Is it Okinawa's Answer to the Death Touch?
by Loren Franck



By using some simple vital points in the arm, Seiyu Oyata, founder of ryu-kyu kenpo, can easily dominate his opponent. When grabbing his attacker's right arm, Oyata makes him move against his will.
If there was a way to instantly bring your opponent to his knees - without hitting him - would you want to learn more about it? What if you were told that this new fighting system was more effective than karate, kung fu and other striking arts, yet was more refined and controlled? Many would say they found the perfect martial art - one too good to be true. However, for 57-yeanold Seiyu Oyata, a highly respected authority on Okinawan suite (grabbing) and vital-point techniques, his art gets the job done in the best possible way.
A Planted Seed

A veteran of World War II, Oyata fought for the Japanese because he lived on Okinawa when the war began. While in Japanese naval school, he was introduced to several martial arts, and upon returning to Okinawa after the war, he trained in judo, iaido, kendo and other fighting arts.
Oyata instantly drop his opponent by putting pressure on vital points in teh left arm.
Shortly after returning to Okinawa, he met a husky old man named Uhugushuku, a revered warrior-class martial artist. Although 93 years old, he began teaching the young Oyata the theories of Okinawan fighting. In fact, Oyata caught on so fast that within three years he learned more than 40 weapons forms. One day Oyata asked his instructor what suite was. Using a simple demonstration, Uhugushuku told Oyata to push him. But the next thing Oyata knew, he was on the ground, bewildered, staring glassy-eyed at his instructor. At another training session, Oyata tried to attack him in a different way, and again, his teacher effortlessly dropped him to the ground. "How can I learn this?" asked Oyata. Uhugushuku's reply was simple: Analyze the kata (forms). "The karate kata contain many secrets," Uhugushuku told his student, "but only those people who analyze them can see their value." They're like treasure maps. Uhugushuku had a friend named Wakinaguri. A man of Chinese descent who was raised on Okinawa, he taught Oyata about the body's vital points. Both instructors made it clear to their student that there's no easy way to learn suite and vital-point fighting. It's a long, painstaking process that involves a lot of experimentation. In 1951, Oyata began to study with Shigeru Nakamura, who called his fighting system Okinawan kempo - a generic name that refers to fist fighting. (Before the 1950s, says Greg Lindquist, one of Oyata's top students and his spokes- man, the Okinawan martial arts were simply called Okinawa-te.) Continuing to perfect vital-point and other Okina- wan fighting principles, Oyata formed his own system of ryu-kyu kempo after moving to the U.S. in the late 1960s.

What Are the Vital Points?

Everyone has hit the funny bone of their elbow and felt the numbing, yet shocking, sensation the bump causes. For a few seconds, you can't think or move. The pain overtakes your entire body. And it's this same phenomenon that pervades Okinawan vital-point fighting. Although Oyata hasn't surveyed the hu- man body and listed all of its vital points, there are dozens of them that can be struck or grabbed and used to subdue your opponent. The general public calls these pressure points, but more specifically, they're nerve points on the body that cause pain and shock when force is applied to them. However, for the sake of safety, Oyata chooses not to disclose where these points are.

Why Use Vital Points?

The answer is simple. With vital points you can defend yourself without being overly violent and without causing permanent injury. True, certain ~tal points can be struck or grabbed to cause death, but the moves Oyata teaches and most widely practices are only shocking and stunning techniques. "A martial art must work whether you're 18 or 80," Lindquist
 
 
Louis


Dołączył: 01 Mar 2002
Posty: 689
Skąd: Warszawa

Wysłany: 4 Maj 2004, 07:34   

Podaj pełne źródło - agodnie z dobrym obyczajem :D .
 
Ludwik Orthwein
Polska Federacja Ryu-te
www.kempo.org.pl
 
 
 
Yuda

Dołączył: 19 Lut 2003
Posty: 362
Skąd: Przemyśl

Wysłany: 4 Maj 2004, 11:36   

http://www.blackbeltmag.c...ssurepoint.html
http://www.richgar.com/Fo...te/BeltTest.htm
 
 
Louis


Dołączył: 01 Mar 2002
Posty: 689
Skąd: Warszawa

Wysłany: 4 Maj 2004, 12:11   

Dodam tylko że pierwsze atykuły są autorstwa Kyoshi Logue'a i są bardzo ważne dla rozumienia tego czym się zajmujemy zanim pojawią się tłumaczenia proszę o przesłanie ich na mojego maila ja je umieszcze po akceptacji Renshiego.
pozdrawiam
 
Ludwik Orthwein
Polska Federacja Ryu-te
www.kempo.org.pl
 
 
 
slooz

Dołączył: 20 Mar 2004
Posty: 4
Skąd: Wrocław

Wysłany: 6 Maj 2004, 11:46   

pracuje nad tlumaczeniem, o efektach pierwszy dowie sie ofcoz Louis :)
 
[ Dla pokreślenia wagi moich słów Siłacz walnie pięścią w stół ]
 
 
 
Yuda

Dołączył: 19 Lut 2003
Posty: 362
Skąd: Przemyśl

Wysłany: 6 Maj 2004, 12:59   

pierwsze tzn.? to o pressure point czy belt test?
bo chyba belt test. z tego co pisze to pressure point jest jakiegoś Lorena Francka. dobrze myśle?
 
 
Yuda

Dołączył: 19 Lut 2003
Posty: 362
Skąd: Przemyśl

Wysłany: 28 Sierpień 2004, 18:08   

i następny text:
adres: http://sezme.twistedpair...._ryu_te_ass.htm

I visited the International Ryu-Te Association school last night (they don't call themselves a school; just "Int. R-T Ass."--abbreviation choice is mine). Their ad had a Kyusho Jitsu/Tuite Jitsu symbol on it, so I ignored the "Taught in a Christian Atmosphere" comment and gave it a shot.

This involved driving to North Augusta, which is across the Savannah River, actually in South Carolina. Their ad boasts that they teach "Self Defense*Physical Fitness*Classical Okinawan Karate." So I called them up yesterday afternoon. A woman answered. She was happy to provide class times and directions, since I wasn't familiar with the area.

I asked her what the school's main focus was, and she said, "teaching street defense techniques from bits of kata." Naturally, I was excited, because this sounded like JUST the ticket. I said something about bunkai (that is, interpretations and applications for kata moves), and there was a pause before she said, "Bunkai from what?"

There was my first red warning flag, and if I'd just learn to pay attention to those damn flags, I'd waste considerably less time and effort, not to mention gasoline. If someone purports to be an Okinawan stylist and teach Kyusho/Tuite Jitsu, this is not a question that should pass his lips.

But I thought, perhaps I'm speaking to a student.

She went on to explain that their style concentrated on techniques that required skill, not strength. "We do a lot of pressure point work and joint locks. Not everyone is strong, so we focus on techniques that you don't have to be muscle-bound to apply effectively."

Let the record show that I'm writing more or less what she meant. She isn't as eloquently-spoken as I, so I'm giving her the benefit of the doubt in this transcription of events. She did, however, use the word "muscle-bound."

That word caught my ear, probably because it sounded a bit extreme for the situation, as though she had issues. It crossed my mind at that point that I was talking with a fat woman who was more interested in giving excuses for it than changing it (the standard state of affairs, come to think of it).

On a whim, I asked what the relative age and rank of the instructors was.

She said, "3rd degree black belt. 40. And 39. First."

There was a huge pause between each fact. I don't know what moved me to ask, because neither factor determines skill or teaching ability, but I did, and I found her answer somewhat interesting. I surmised (correctly) that I was speaking with the 39-year-old first dan, and found it amusing that she didn't say, "And I'm 39 and a first dan." Hmmm. This single comment also made me think, for some reason, that the main instructor was her husband, perhaps because she knew and offered his info first (I didn't verify this, but I'm quite certain that I was right on that count, too).

So. I thanked her for her time, and said I'd be by to check out classes.

I drove out that night and arrived just before the children's class dispersed. Apparently, the children had just finished a testing cycle and were being told who passed and who was still testing, etc.

Upon my arrival, I figured out within a couple of minutes what "taught in a Christian atmosphere" means. It means that the students are issued tee-shirts that promote the karate club, whose school symbol is not the Kyushu/Tuite Jitsu symbol I saw in the yellow pages, but a triangle with a cross in the middle; the triangle is ringed with the words "body--mind--spirit."

"Taught in a Christian atmosphere" also means that there is no yelling, no discipline whatsoever, no punishments for stupid mistakes, no learning the hard way. It means that the instructors only smile and gently correct, even if the students are gossiping and ignoring them altogether. No respect is fostered, which means humility is absent. How can anyone learn to fight in such an atmosphere? This is beyond my comprehension.

I thought perhaps that the instructor was lax only with the kids, but when the kids' class dispersed, the adults meandered onto the floor--some in gis, some in half-gis, belts or no belts, some in sweats and teeshirts when it was obvious--at least, from what they were EXPECTED to know--that they were not beginners.

Everyone was told to "stand strong," which I figured out meant go into a chumbee [basic ready] stance. Well...some of them went into a chumbee stance. Some just stood there. There was no formality AT ALL. No bow to the instructor, no warm-up, no stretching. Nada.

Everyone paired off to practice self-defense. Women practiced separate from the men. I believe it was a natural self-segregation, but the instructors should have stepped in and forced men and women to pair off together, if only to insure that the women take their training more seriously.

As it was, the main instructor seemed to be the only one who took his training seriously. His self-defense moves rang of Ed Parker, incidentally, although no one said as much. The head instructor himself was quite sharp and appeared to know what he was doing.

His students stank, though. I mean, they sucked HARD. That includes his 5-foot-nothing 180-pound 1st dan wife. Any one of [my] Shihan's green belts could take her apart so fast she'd never know what hit her. It was pathetic.

I saw no kata, so I don't know what moved her to say that kata was involved at all. Granted, I only saw one class, and not all of it, at that. I've watched many schools train over the years, and this is the first time I've left in utter disgust before it was over.

The main instructor had them "practice" a number of self-defense techniques against an "attacker," not one of which any of them--including the assistant instructor--could use effectively against an actual opponent. The only competent person in the whole place was the main instructor (not counting the woman seated at the back watching in utter disgust).

The women spent most of their time laughing and joking, which was just as well, I suppose. The head instructor moved them from one technique to the next before any of the students had figured out how to even coordinate hands and feet. Mastery of leverage and balance was a distance dream.

There were three or four brown belts in the class. They did no better on these techniques--which were sound, as far as I could tell--than the lower belts who spent most of their time lolling about blocking my view.

The "attackers" invariably "attacked" by placing their hands on the defender's shoulders. There was no spirit behind it whatsoever. It looked closer to a seduction than an attack. If you were to defend against such an "attack," you'd be executed for unnecessary force.

The knife attacks were standard over the head swings, which were invariably stopped with a high X-block. Right.

Oh, I'm so disgusted I could spit.

I'll probably have more tonight. I'm planning to visit a local school that teaches Chinese kempo. I already spoke with the instructor, who has already told me that they don't presume to interpret kata. He's proud of the fact that he teaches it in small chunks (instead of all at once, which seems to be the norm), and slowly, so the students can work up to "form speed" over a period of time. (Each movement in a form should be executed at the speed appropriate to the technique that that particular motion reflects. "Form speed," the way he used it, is an expression used by people who seem to believe that forms were created for performance in competition).

I asked what emphasis he puts on different areas of training, and he said that a basic kata is taught for the lower ranks up to green belt, then other kata from there on out. They practice point sparring, tournament (Olympic) sparring, and some grappling. The grappling interests me, but I already see far too much emphasis on sparring.
 
 
Atoml1

SW: Karate
Wiek: 43
Dołączył: 25 Kwi 2005
Posty: 111
Skąd: Warszawa

Wysłany: 21 Listopad 2005, 12:25   O Taice Ryu-te

http://www.moroha.net/blog/?p=15

Może gdzieś to było, nie wiem. Proponuję zobaczyc komentarze pod stroną.

pozdro
 
 
Yuda

Dołączył: 19 Lut 2003
Posty: 362
Skąd: Przemyśl

Wysłany: 5 Grudzień 2005, 14:52   

strona Kyoshiego uległa lekkiej modyfikacji oraz aktualizacji,
do menu dołączył dział multimedia gdzie oprócz 2 klipów...
sesja zdjęciowa z ostatniego obozu Polskiej federacji Ryu-Te
Polish Summer Camp 2005
 
 
Atoml1

SW: Karate
Wiek: 43
Dołączył: 25 Kwi 2005
Posty: 111
Skąd: Warszawa

Wysłany: 18 Październik 2006, 16:41   

Polecam link
http://www.karateforums.c...der=asc&start=0

jak tam ludzie przeżywają kontakt z Ryu-te

HEHE

każdy z nas miał tak samo
 
 
Yuda

Dołączył: 19 Lut 2003
Posty: 362
Skąd: Przemyśl

Wysłany: 5 Grudzień 2006, 00:01   

http://www.ryukyueastasia....com/stark.html

na stronie materiał video z osobą należącą do Shin Shu Ho.
z tego materiału rozumiem bardzo mało 90% jest widzę pierwszy raz w życiu
bardzo ciekawe całkiem nowe jak dla mnie kata, dużo technik/kata z bronią (Atoml Tan-Bo!!!!)
bardzo proszę albo sensei Grzesia albo sensei Ludwika o jakiś komentarz do tego materiału bo bardzo ciekawy a bardzo mało z niego rozumiem, znaczy czym są techniki ręczne jakie to kata? może jakie wersje?

ja widze tylko coś co przypomina pinan godan ale bardzo dużo nowych ruchów, czym są pozostałe kata/sekwencje?
 
 
Yuda

Dołączył: 19 Lut 2003
Posty: 362
Skąd: Przemyśl

Wysłany: 5 Grudzień 2006, 00:18   

8O 8O 8O 8O 8O 8O 8O 8O 8O 8O 8O 8O 8O 8O 8O 8O 8O 8O 8O 8O 8O 8O 8O
http://www.ryukyueastasia...om/gossett.html

jestem w szoku
 
 
Louis


Dołączył: 01 Mar 2002
Posty: 689
Skąd: Warszawa

Wysłany: 14 Grudzień 2006, 20:29   

Kyoshi Starks to jeden z weteranów Ryu-te obecnie 8 Dan jeden z dwóch.
To są zaawansowane kata. Myślę że są to takie pomieszane układy z różnych kata. Nie wiem czy są to układy pokazane przez Taikę czy też własna interpretacja i złożenie tych układów przez pokazujących. Wiem że takie rzeczy się robi i kiedyś w stanach robiliśmy takie połączenie pinan shodan z naihanch i Nidan i trzecim kihonem w którejś tam wersji. W tym jest sporo elementów z Shi Ho lub też ze zwykłych kata ale robionych tak jak w Shi Ho.

Bill Gosset jest specjalistą od broni - jak widać. Chyba ulubioną bronią jest Eku.
Ciekawostką jest dla mnie miecz - nie widziałem jeszcze nic z mieczem, a wiem że Taika kilka osób uczył katany.

No cóż - jeszcze lata świetlne treningu.
:)

Pozdrawiam
 
Ludwik Orthwein
Polska Federacja Ryu-te
www.kempo.org.pl
 
 
 
GrzegorzG

Dołączył: 10 Maj 2003
Posty: 273
Skąd: Warszawa

Wysłany: 15 Grudzień 2006, 03:52   

Kyoshi Stark wykonuje na filmie także formę Go Ju Shi Ho - czyli 54 kroki, ale z bardzo zaawansowanymi wstawkami (kake itp), wydaje mi się jednak, że to nie Taika jej uczył a Kyoshi sam do niej wplótł ruchy z Shi Ho. Formy tej naucza się chociażby w Shotokanie. Steven Stark jest uważany za jednego z najlepszych techników w Shin Shu Ho, a na seminariach gdzie nie było Tashi Logua, był prawą ręką Taiki, czyli prowadził trening, a Taika poprawiał :)

Bill Gosset jest największym specjalistą od Eku - tak mówią, i wogóle broni drzewcowej. Faktycznie jest jednym z niewielu, którzy byli uczeni, chyba na poczatku lat 80-tych katany. Jest t o styl rodzinny, którego Taika nauczył się będąc szkolonym na Kamikaze w wojsku od jednego z Japońskich oficerów, a że był pojętny to podobno nauczono Go całego przekazu. Widać charakterystyczny przeżut katany przed schowaniem do sayi (pochwy), oraz wiele technik w odwrotnym trzymaniu, czyli z głownią skierowana do ciała a także ruchy ósemkowe, bardzo ważne w zaawansowanych formach z bronią.

Faktycznie jeszcze lata świetlne przed nami :)
 
RyuTe teraz i zawsze. Prawdziwa Okinawa.
 
 
Yuda

Dołączył: 19 Lut 2003
Posty: 362
Skąd: Przemyśl

Wysłany: 6 Luty 2007, 11:07   








może ktoś ma więcej starych zdjęć Taiki?
 
 
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