That fits with what I know of early Karate in Japan and tallies with what I know of the different steps Funakoshi took in parallel with Kano. It is fascinating to compare the way Karate instructors from japan were treated here in the 50s and 60s compared with how Karate was still regarded in 1960s Japan. It is also very interesting looking at the parallels between dojo culture in Karate and Yakuza culture - but that's another thread and I'm not going to enter into it.
All applications of bunkai are defensive if the first principle of "do not get hit" is followed. Even a pre-emptive strike follow this principle if it prevents you from being hit. This principle is not seen easily in kata, however, because the movements in kata are, IMHO, generic in nature. Only through bunkai can specific applications from a kata be explored. The double block move is sometimes called the "universal block" and has many possible applications. In additions to those already mentioned, just to name a few more: - Stepping off the line of attack and blocking a low attack while striking the arm or head of the attacker. - Evading a two handed push or grab and striking down on one arm and striking up and to the side on the other arm. This usually is followed by a chop to the side of the head or a spear to the eyes. - Countering a bearhug from behind (with arms inside). This is followed by elbow to rear and punch to attacker's face to the behind. Only the first application above is likely what would go with Jion, but the movements from the kata are generic enough that they can be mapped to many different applications, IME.
And again, anacdotal, but do you know who was suposedly instrumental, in "easing" this Okinawan art into mainstream Japanese budo, along with his close connections with Kano and Ueshiba? Or so I have heard.
Picking a single name from the large list of helpers is pretty difficult. But we are going Off topic on the bunkai thread.
I agree, perhaps its because a lot of these Katas have been "sanitised" through modification to fit. Are you a student of Wado?
You are quite right, its my little brainy working overtime. BTW it may not surprise you that it was Otsuka, that I have heard was a sort of mediator in this area.
No I'm not a student of Wado, I studied Okinawan Goju-Ryu for years, but because of my nickname of Wado, you see I was interested in the martial art that shared the name I'm actually a student/teacher of Kajukenbo, but one thing I have found is that all martial arts are related in one way or another. The Goju kata all had bunkai learned as part of the belt system. The bunkai were more than what was shown in kata. These applications were more hidden in the kata than the bunkai. The Japanese kata that I have seen even more appear to hide the bunkai. Conversely, Chinese forms often do not hide application... it is actually through learning the application of Chinese forms that helped me to understand more of the possible application of Japanese forms. Not to say that there is just one possible application for each move. In fact, even during the time I was in Goju, the bunkai changed. It was made more "kid friendly" and simplified (pretty much eliminating the really "good" stuff). Of course the bunkai that I originally learned was still part of the system, but it was reserved for black belt training or special occasions, not for the general teachings.
In addition to the responses already listed... I heard/read one time (can't be bothered to look for the source, naturally) that many of the movements that are performed with fists now were originally done with open hands, and that when karate started to be taught to schoolchildren around 1900 or so in Okinawa, someone (Itosu?) altered the movements for "safety". So I was playing around with the movements one day, but used open hands, and if an attacker was rushing in from the front, the upper hand would be in a perfect possition for a collar tie-up, while the lower hand could be a deflection of an arm and the start of a "pummeling" motion for an underhook. Now the first movement is to step back, right? To me this might represent bracing oneself against a forward charge. You establish your clinch, holding on to the left side of his neck and start to secure the underhook, which leads straight into the next move - stepping forward and to the left to offbalance your opponent. Now both hands are at the same level, which would naturally happen once you finished securing your underhook. The front kick is aimed at the right knee, which at this point is bearing his weight due to the kuzushi. The series of punches may be to a now-downed opponent (ever had the side of your knee kicked with all your weight on it? not fun!) or perhaps just to a standing follow-up to the knee kick. Or, the step forward may be a kosoto-gari, and the kicks and punches are all to a downed opponent. Of course one of the main problems with this interpretation is that instead of redirecting the opponent's force in a direction it wants to go, you sort of have to fight his momentum, as you're of-balancing him to his right rear. Too much work for what I'm comfortable with. But hey, it was an idea.
I am a little out of my depth here as Jion is not really one of the Major Wado katas. There is a Wado version of it, but it is really viewed as "Henka Waza" or extra. Anyway, my take on it is that on one level (kaisetsu) the shift backward is training for good taisabaki whilst the migi soto uke chudan / hidari gedan barai is teaching us good co-ordinative skills by performing the two techniques simultaniuosly. From an application point of view, this move could possibly represent a backward shift with nagas uke (brushing block) with the right, whilst using the left to push and hold down (with an open hand) onto your opponents other (abdominal) guard arm - In effect to "Jam" any follow up strikes. Just off the top of my head.
if you twist your hips through it you can execute an uchi uke, presenting you with the attackers torso in a pretty good position. From there a liver shot woud certainly drop them to their back, there are also several points on the body to strike where you could make them deficate themselves, and various others. The blade need not be long, it need only be sharp
two i just thought for naihanchi/tekki using a few kakushi waza ("hidden techniques", ie stuff that could be there but isn't implicitly done in the formal "kihon" of the form). have no one to try it on at the moment, so i'd be interested if anyone finds it workable (if you do, film it please ) assuming a same side attack (with opponent attacking at a 45ยบ angle, not from the side). haishu, possibly as a follow through attack (pimp slap ftw!), disrupting with the face hit before bridging with the attacking arm and going to grab the head or shoulder for the mawashi empi. elbow as usual. (for this i think it'd be easier if you elbow the sternum or clavicles) koshi gamae as arm control and pull (lower hand pulling on forearm or elbow, upper hand pulling on shoulder or triceps, or smashing down on the cubital fossa for the shotokan guys). rooted hip motion for gedan barai to pull opponent to the left (can also hammerfist the ear or neck), knee (kakushi waza ftw). if the arm is controlled, the kagi zuki and accompanying hikite's motions can be used (particularly with the waist torque you can get in kiba, for the shoto peeps) to secure a lock or drive the opponent to faceplant. if not, just hook him in the kidneys. assuming opposite side attack haishu, elbow to the armpit (possibly with a fishhook, eye poke or throat grab instead of just pulling with the other hand. step forward (so you're inverted, to do the other side of the movement), root and throw over your thigh with the gedan barai. kagi zuki can be used as proxy for a leg lift or a groin punch if the opponent doesn't fall. thoughts?
If I may stick my nose in for a post. Almost all of the bunkai I saw (Enoida) shihan involved getting off line and blocking/deflecting and striking AT THE SAME MOMENT. Also the "other" hand was never retracted to add power to a strike as multiple attack was the norm. Another major principle was apparent in the bunkai and that was kuzushi, the angle of the block,strike always attacked a weak point of balance.(see Kanazawa photo) It is one of the great disapointments of my life that I was not allowed to film Chiba shihan (aikido) and Enoida shihan (shotokan) crosstraining. Last weak the Makotokai crosstrained with Shukokai karateka and demonstrated bunkai techniques. Below David is using gedan barai from the outside and explaining how retracting the hand leaves the head exposed. Behind him Gerry is showing a more effective manner of delivering a strike. Again this is my opinion..I think that many karateka (beginners) find it difficult to break away from the stances used in kata. Even in aikido which has no stances even in kata..the ara waza (bunkai) look different from "normal" training. Hope you don't mind me posting on a karate thread BUT I did begin my training in judo and shotokan. respects koyo
for your entertainment and viewing pleasure: [ame="http://www.youtube.com/watch?v=rZ5vKAWoO-U"]YouTube- bunkai fun![/ame] :evil: you are hereby authorized to laugh at me, but only a little
dam, if I had hair like that I would never do grabbing bunkai with my instructor, he loves twisting it the bald old man
first nice hair fish. second very enjoyable vid. and i hate doing grabbing bunkai with my sensei cos i'm affraid of catching his beard.
Nice bunkai. Looking very fluid! Was the other guy a green belt? The funniest thing about that vid is that guy is only 5' 5", yet fish makes him look like a giant
griffin, you flatterer, when i rule the world i'll give you a couple african countries in reward @llama: he has a weird training history (plus for some reason my current sensei made him skip a grade twice, although he has plenty more MA experience in other stuff, so he's no noob). he has around a year of karate training, iirc. and for the record, he's around two meters tall
quick and dirty kakushi waza (warning: severely unorthodox application) for bassai dai's shoto and ****o versions (possibly most others too) shotokan: when you do the first shuto of the sequence before the grab and kick, use the front leg of the kokutsu dachi to shin kick the opponent in the torso or face as you step forwards (for bonus points, using the last uchi uke as a defense, grab with that hand to use it as a pull-back on the shoulder, and the shuto as both a strike and pushing the head down. extra bonus if you kick him in the throat) ****o: same, but, since the shuto is gedan, use a rising hiza geri to the ribs from neko-ashi (possibly with subsequent gedan mae geri depending on the opponent's position).
www.dailymotion.com/video/xems82_tsw-kata-project-ideas_lifestyle clip i did with techniques i like, for theshotokanway's kata project
