Tag Archives: Goshin-Kai

Lost & Found – Fatuous Kata

3 May

In May, 1945, General George S. Patton, Jr. arrived at the Imperial Spanish Riding Academy. Modern equitation at the Academy emphasized the form of horsemanship over the practical military applications of the movements of rider ad horse. The General reflected upon the idea of preserving the aesthetics of the movements over their military applications.

. . . it is probably wrong to permit any highly developed art, no matter how fatuous, to perish from the earth – and which arts are fatuous depends on the point of view. To me the high-schooling of horses is certainly more interesting than either painting or music. (See Endnote # 1)

I have had occasion to reflect on the fatuous nature of the arts. For several decades now I have held the point of view that the art of kata (Kata-jitsu) is certainly more interesting than any other art, including “the high schooling of horses, painting or music.”
Much like any art, specific kata within an overall karate-do curriculum can be judged as fatuous. The arbiter of the viability of the kata is the senior ranking black belt of either a specific karate-do system or association. Invariably, once this arbiter adjudges a kata as fatuous, he or she stops practicing the kata. As a result, the kata is no longer taught to the lower ranks. Inevitably, the kata ceases to be a “required” kata within the system. In the end, the kata has perished from the system or association solely due to the personal penchant of one practitioner.
My devotion to and love of kata has compelled me to attempt to recreate certain lost kata of the Goshin-Do Karate-Do (GDK-D) Kyokai established by Hanshi Frank Van Lenten. It is the tree trunk upon which not only our own branch of Goshin-Do Karate-Do had grown, but also several other branches of karate styles. To set the Kyokai apart from other Okinawa-based styles of karate-do, traditional kata were modified by Hanshi Van Lenten and incorporated into his GDK-D Kyokai. Hanshi Van Lenten engaged in a period of protracted adjustment as to which kata would be included within the Kyokai. This resulted in many kata being added and removed.

Kyokai

Additionally, as members divorced themselves from the GDK-D Kyokai, they were no longer subject to kata being imposed upon them by Kyokai (and Hanshi Van Lenten’s) requirements. Being freed of this imposition, their personal inclinations, emotions and predilections determined the kata to be required of their students. Kata that they deemed fatuous were abandoned. Others, were added. In this manner, new branches were created from the original Kyokai tree trunk.
The death bell tolled in 1983 when Hanshi Van Lenten disbanded the Goshin-Do Karate-Do Kyokai. Even he once and for all abandoned the kata he created. In essence, these unique adaptations of the traditional kata “perished from the earth” — until now.
I have been extremely fortunate to have come into possession of the means of recreating these lost kata. The basis for my recreation included notes, text, instructional photographs, and video of Hanshi Van Lenten. (See Endnote # 2) Over the past few years, I have scrutinized these archival sources and practiced the kata to the best of my ability and interpretation. It is my honor and privilege to share my recreation of these abandoned kata with you. Please note that each video below contains all archival material utilized.
Why bother taking over two years to resurrect these abandoned kata? To modify the General’s observation, it is probably wrong to permit any highly developed KATA, no matter how fatuous, to perish from the earth.

Sunsu Kata; Not only does this video feature footage of Hanshi Van Lenten performing his version of this hallmark kata of Isshin-Ryu Karate-Do, it also shows Shimaboku, Tatsuo Sensei’s recognition of Hanshi Van Lenten as a Ju-Dan, 1oth degree black belt.

Jion Kata: A very rare version of the traditional kata recreated in a pleasing aesthetic environment.

Jitte Kata: A very rare version of the traditional kata recreated in a pleasing aesthetic environment.

Kanto Kata – created by Hanshi Van Lenten at the request of his various Okinawa Sensei to symbolize his GDK-D style. The kata and style were approved by Hanshi’s several Okinawa Sensei as being Okinawa-based. While Kanto Kata remains within our kata syllabus, it is “The” defining kata of Hanshi Van Lenten’s GDKD style and is therefore a “rare” kata.


Respectfully submitted,

   szmitowski_print_small    HANKO-DEF-R-reverse

Sensei John Szmitkowski

  lab collage-3  For a refreshing and innovative discourse on kata and bunkai, please feel free to visit Sensei John’s Kata Laboratory using this convenient link: http://senseijohn.me/category/kata-laboratory/
NEWS sanchin  For details on how to “cyber-participate” in Sensei John’s most recent group Sanchin Kata session, please use this link: http://senseijohn.me/category/a-sanchin-pilgrimage/

ENDNOTES:
1. General George S. Patton., Jr., War As I Knew It: The Battle Memoirs of “Blood ‘N Guts”, (Bantam Books, 1980), p. 311.
2. My sincerest “Thank-you” to Shihan Thomas DeFelice (Ku-Dan, Karate-Do No Hanshi, Goshin-Do Karate-Do) for providing the text and photographs of Jion and Jitte Kata, Hanshi Jerry Thompson (Arts Of Self-Defense), Shihan Ed DiNardo (Hachi-dan, Arts Of Self-Defense, New Jersey and Arizona) and Kyoshi Tom Van Tassel (Nana-Dan, American Center For Martial Arts, New Jersey) for providing the vast wealth of vintage films of Hanshi Van Lenten.

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What Say You, Dog-Faced Foe?

18 Jul

It was once said that all good myths are, to some extent, based upon reality. I do not know whether the following actually occurred or is similar to Aesop’s famous fables, a story that relates a lesson.

A great battle between two warring Daimyo was drawing to a close. Both sides had suffered extreme losses. On a remote section of plateau, away from the core of the battle, two opposing Samurai encountered each other from a distance of about one hundred feet. The one samurai had his sword drawn, the other had an arrow set in his bow ready for the killing flight. Surely, the sword-bearing samurai, having a great distance to cover in order to reach his opponent, was about to die. Now, the myth ensues:

 The Archer called out to his opponent:
“What say you dog-faced foe?”
To which the Samurai replied:
“Whose only thoughts are of his Ancient Mother.”
After hearing this reply the archer returned his arrow to its quiver and spared the life of the samurai.

 Why did this occur and what is its significance?

First, it must be remembered that samurai of old were not only skilled in the martial arts, but were also skilled in other arts, including poetry and calligraphy. The preferred form of poetry was Haiku. Haiku has a rigid set of rules concerning structure. It is generally a short poem that is intended to convey an emotion or vision to the reader without specifically detailing the emotion or vision. A favorite activity was for one person to start a Haiku and for another to finish it. Such was the exchange above.

The encounter illustrates that the Samurai facing death still retained his composure and calmness and was able to furnish a reply that deeply touched his adversary. To face death and think not of oneself, but of one’s “ancient mother” is indeed profound.

Second, the story also illustrates the concept of Bushi No Nasake – “The tenderness of a warrior”. Many mistakenly believe that killing for a samurai was automatic once a battle commenced. In actuality, a warrior could spare the life of his adversary. However, mercy could not stem from a blind impulse. It must be rendered with due regard to justice and backed with the power to save or kill. Remember that it was a Samurai’s honor and duty to die in battle, thus, if his life was spared, it must be for a noble reason, less the life would be one of disgrace for both warriors.

Today, sadly it appears that such a concept of Bushi No Nasake is the exception and not the rule. At its heart, the concept recognizes the characteristics of honor, respect and the value of human life. Given today’s headlines reporting stories on domestic abuse, child neglect and such new phrases as “road rage” and “thrill-killing”, it is clear that humans no longer respect each other. People no longer cloak themselves in that blanket known as a sense of honor. If one cannot comprehend honor and respect, one cannot understand true mercy and the strength of character required to outwardly manifest same. The only response becomes one of aggression.

As karate-ka, we have the ability to self-govern ourselves to avoid such aggressive behavior. We test ourselves routinely through our training (particularly kata training) and as such, no longer have to prove anything to ourselves, or others. Thus, we can act with compassion in situations that others would meet with aggression.

When training, please remember to bear in mind the concepts of Bushi No Nasaki, compassion, tenderness, honor and a sense of justice within one’s own actions. Justice can and should never be compromised. The qualities are difficult to grasp, but through the enlightenment of karate training in general and kata training in particular, are never lost. The end result of any human encounter can ultimately involve devastating results, one must have the strength of character to properly access the encounter, to then apply the appropriate response and finally, to live peacefully with the result. Please remember too that this applies to all human encounters, work-related, social, economic, fleeting, etc., not only martial encounters.

In closing I remain, a dog-faced foe, embracing Bushi-No Nasake

   szmitowski_print_small   HANKO-DEF-R-reverse

Sensei John Szmitkowski

lab collage-3   For a refreshing and innovative discourse on kata and bunkai, please feel free to visit Sensei John’s Kata Laboratory and “THINK * SWEAT * EXPERIMENT” using this convenient link: http://senseijohn.me/category/kata-laboratory/

seiza - ringwoodFor details on how to “cyber-participate” in Sensei John’s most recent group Sanchin Kata session, please use this link: http://senseijohn.me/category/a-sanchin-pilgrimage/

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A Matter Of Perception

12 Jun

Perception affects not only the manner in which we practice karate-do, it also affects our daily lives. The ancient masters, sages and storytellers knew the power of perception. In fact, oral traditions and myths told of the ramifications of how perception shapes our world.

Here is but one mythical tale from the oral traditions of Goshin-Do Karate Do that illustrates how perception can alter the manner in which you perceive your karate-do and world around you. It is called the Daimyo and the Samurai

In feudal Japan there was a powerful daimyo, a warlord. Amongst his many retainers, the daimyo had an extremely loyal Samurai whom he favored. The samurai had accompanied the Daimyo to the Shogun’s Court in far off Edo, many days journey from their home. One day the samurai received an urgent message advising that his father, also a very distinguished samurai loyal to the daimyo’s family, had fallen gravely ill. Being in a hurry to attend to his dying father, the samurai desired to mount his horse and rush home. The samurai found that his horse had become lame and could not make the long journey home. Worried about seeing his ill father, the samurai made use of the daimyo’s favorite horse. This was a serious crime punishable by beheading.

When the daimyo heard of the samurai’s use of his horse, he declared, “The samurai and his father are loyal retainers of my family, what a devout samurai to be so concerned with the welfare of his father that he risked his own life so as to attend to his ill father.”

Business at the Shogun’s Court had concluded and the daimyo returned home to his castle. The samurai went to see his master and they walked in the daimyo’s gardens. The samurai saw the most lovely cherry blossom. He picked it and offered it to his master as a token of his appreciation, saying, “Amongst flowers, the cherry blossom; amongst men, you, my Lord and master.” The other samurai that were in attendance were shocked that he dared to pick a cherry blossom from the daimyo’s favorite tree. The daimyo took the proffered cherry blossom and praised the samurai for his generosity.

As happens in all human relationships, the daimyo and the samurai eventually had a falling out. The daimyo angrily and publicly chastised the samurai, “You impudent servant, you disgraced me by making use of my horse.” “You insulted me by picking my own cherry blossom and giving it to me as a present.” In the presence of the daimyo’s court, the samurai was ordered to commit seppuku (ritual suicide). (See Endnote #1).

seppuku

I hope you enjoyed the tale. Respectfully submitted,

   szmitowski_print_small   HANKO-DEF-R-reverse

Sensei John Szmitkowski

  lab collage-3 For a refreshing and innovative discourse on kata and bunkai, please feel free to visit Sensei John’s Kata Laboratory and “THINK * SWEAT * EXPERIMENT” using this convenient link: http://senseijohn.me/category/kata-laboratory/

  seiza - ringwood For details on how to “cyber-participate” in Sensei John’s most recent group Sanchin Kata session, please use this link: http://senseijohn.me/category/a-sanchin-pilgrimage/

ENDNOTES:

1. I had heard this fable several times in the Dojo. I was able to locate a similar tale, which you may also enjoy reading. It is called “The Thief Of The Peach” and may be found in: Furuya, Kensho, Kodo: Ancient Ways (Lessons In The Spiritual Life Of The Warrior/Martial Artist (O’Hara Publications, Inc., 1996)   p. 48.

For a refreshing and innovative discourse on kata and bunkai, please feel free to visit Sensei John’s Kata Laboratory using this convenient link: http://senseijohn.me/category/kata-laboratory/

For details on how to “cyber-participate” in Sensei John’s most recent group Sanchin Kata session, please use this link: http://senseijohn.me/category/a-sanchin-pilgrimage/

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Thoughts On Self-Confidence: “Look on my works, Ye mighty & despair”

7 Feb

climb mountains

When a new student enters the Dojo, I ask the initiate what he or she hopes to achieve by undertaking the study of karate-do. The answers I receive from such potential initiates are as varied as the individuals themselves. There are, however, certain general themes that emerge. One such theme is the attainment of self-confidence. I would like to explore the effect of attaining self-confidence in this article.

Initially, I note that I will not address the mechanics of how and why karate-do and other martial arts build self-confidence. I submit that it is axiomatic that self-confidence is discovered and nurtured through karate-do. In fact any endeavor that mandates periods of introspection by the practitioner will foster self-confidence as a consequence of self-discovery. Having said that, there is a crucial turning point in the evolutionary process of self-discovery that leads to the attainment of self-confidence. The turning point is at the event horizon when one’s self is discovered, realized and  defined. It is at this event horizon that one’s awareness of self breeds a sense of self-confidence. Once self-confidence is attained, the event horizon dictates that one can undertake two possible future paths.

The first path is the path that recognizes that the concept of self and the associated self-confidence is transitory and subject to continuing definition and evolution. This path is defined by the idea that while one is awakened to and confident in the person that one is, such a psychological state is merely momentary and subject to the continuum of the life experiences to be had. One’s deeds, ideas and actions are viewed as evolving. By this I mean that continued deeds, ideas and actions incubate and give birth to continued knowledge. Continued knowledge gives rise to new theories, concepts and innovations. Thus, one is confident within the boundary of acknowledging that such confidence extends to one’s ability to continue to embark on the unknown journey of life as it unfolds. If one lacked this confidence, the future unknown journey would stagnate one’s personal quest for knowledge and growth out of fear. On this path, the self-confident journeyman continues the quest in anticipation of unknown knowledge for the purpose of perpetually rediscovering oneself.

The second path is the path that views one’s achievement in the chosen field of endeavor as the pinnacle of the discovery process, to wit: has become the “best” one can be (The slogan, “Be all you can be” comes to mind). This means that one’s self-confidence is finite in place, time and achievement. This path is defined by ego. The path of ego mandates that one sees the continuum of life not as a process of continued discovery, but as a conclusion to be ratified by the remarkable person that one has become. One’s deeds, ideas, and actions are internally viewed and to be perceived by others as omnipotent and mighty. This means that one’s past deeds (emphasis added) are to be glorified in and of themselves. One’s deeds, ideas and actions are to be viewed as a historical event and as supreme and final. Of course, this is a fiction. Such self-confidence has fallen prey to the Siren’s call of ego. The paradox of this psychological path is that it results in a stagnation of personal growth to be attained by future knowledge. The result is similar to the stagnation experienced by an utter lack of self-confidence. In the former case the stagnation is caused by ego and in the latter case it is caused by fear. Thus, the fulfillment of the paradox.

Everyone is susceptible to falling prey to the draw of one’s ego. So as to be able to fend off the attraction of succumbing to the mythical Siren‘s call of ego, one needs to always bear in mind the transitory nature of life. As much as one cannot rest on one’s laurels, one must always understand that accomplishment is but a portal to future achievement. This is not to say that one need be forever humble. One can, and should, enjoy the successful feeling that comes from accomplishment. One need simply remember that accomplishment, which breeds self-confidence, should be perpetually challenged and redefined within oneself.

Again, there are many introspective endeavors wherein one can obtain a sense of self-definition and self-confidence. For myself, and others, the mechanism is the continuous study of was karate-do and specifically, the study of Kata. The principle characteristic of any introspective endeavor is that it will eventually lead the practitioner to the event horizon of choosing the path of either continuing self-discovery through knowledge or to the path of finite ego.

Since ego is self-propagated, the accomplishment that formed ego is finite and dissipates with time. History is replete with examples of the dilatory effect of ego as a factor of time. There are many examples contained in mythology, history and literature. One such example is the following poem, Ozymandias, by Percy Bysshe Shelley. It is a favorite of mine. I keep the poem in my psychological database as a reminder that the journey for knowledge never terminates. One’s momentary achievements, should be acknowledged but never glorified.


I met a traveler from an ancient land
Who said: Two vast and trunkless legs of stone
Stand in the desert. Near them, on the sand,
Half sunk, a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on those lifeless things,
The hand that mocked them and the heart that fed;
And on the pedestal these words appear:
“my name is Ozymandias, king of kings:
Look on my works, ye Mighty, and despair!”
Nothing beside them remains. Round the decay
Of that colossal wreck, boundless and bare
The lone and level sands stretch far and away.
(See Endnotes # 1)

In closing, I remain eager to continue to tread upon “the lone and level sands (of knowledge) that stretch far and away”,

Sensei John Szmitkowski  szmitowski_print_small HANKO-DEF-R-reverse

For a refreshing and innovative discourse on kata and bunkai, please feel free to visit Sensei John’s Kata Laboratory using this convenient link: http://senseijohn.me/2013/05/20/kata-lab-101-three-states-of-bunkai/

For details on how to “cyber-participate” in Sensei John’s most recent group Sanchin Kata session, please use this link: http://senseijohn.me/2013/04/28/sine-quo-non-sanchin-pilgrimage/

ENDNOTES:

1. Williams, Oscar, Immortal Poems Of The English Language (An Anthology), (Washington Square Press , NY, 1952) p. 295

Please enjoy our newest videos:

1. This rare video features Shihan Frank Van Lenten engaged in kumite is available by clicking the following link: http://www.youtube.com/watch?v=3hIFOV8Ge-Y

2. While archiving old video, we stumbled upon two minutes of the historic kumite with Shihan Don Nagle and Shihan Peter Urban circa 1966. I believe it may be the most footage of this kumite. You may view the footage with this convenient link: http://www.youtube.com/watch?v=YHo3I5cn8-s

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Okinawa Karate-Do Sanka

9 Jan

Submitted for your enjoyment and consideration, is the Karate-Do Sanka (Empty-hand way song) written by Shihan Shoshin Nagamine (founder of Matsubayashi-Ryu). The sanka was utilized during the memorial service for Shihan Frank Van Lenten who passed away July 1st, 2010.

USE-v.l. memorial-karate song

English translation:  (Please see Endnote # 1 for the original Japanese version)

Ah, beautiful islands of sunlight,
And the color of the sea,
The proud fighting spirit of the islanders 
And the empty handed Sword of Justice,
Training spirit and training body,
Ah, This is Okinawa Karate-Do!

Oh, but if an enemy should happen to attack us,
And the method of courtesy proved to no avail
If he should cut our flesh with his iron weapon,
Even then will we punch through to his bones,
Courtesy and defense together,
This is Okinawa Karate-Do!

Oh, ever since the mythical ancestry of Japan,
The bell of peace has been ringing continually in Okinawa,
The way of courtesy and the five bodily weapons of Karate together,
To make a straight character and good etiquette,
This is Okinawa Karate-Do!

Respectfully submitted,

Hanko-GDK-DEF-R

For a refreshing and innovative discourse on kata and bunkai, please feel free to visit Sensei John’s Kata Laboratory and “THINK * SWEAT * EXPERIMENT” using this convenient link: http://senseijohn.me/category/kata-laboratory/

For details on how to “cyber-participate” in Sensei John’s most recent group Sanchin Kata session, please use this link: http://senseijohn.me/category/a-sanchin-pilgrimage/

For several videos with archival footage of either Shihan Van Lenten, or members of his Goshin-Do Karate-Do Kyokai (Association), circa the late 1960’s to early 1970’s please click on any of the following links

Training Drills with Shihan Van Lenten & Sensei Wesley Evans, also featuring Sensei Jack Porta and Shihan Thomas DeFelice – link: http://www.youtube.com/watch?v=DLD5fMSvDI8

Ananku Kata – link: http://www.youtube.com/watch?v=nfHc_hBXTUE

Chinto Kata – link: http://www.youtube.com/watch?v=KOyVXeqthd0

Gekisai Kata – link: http://www.youtube.com/watch?v=xH4E_4_2U08

Kunchaba Kata – link:http://www.youtube.com/watch?v=df-OTqrsOd0

Seisan Kata – link: http://www.youtube.com/watch?v=0p5-TfBufW0

Wansu Kata – link: http://www.youtube.com/watch?v=JzFyFa9cM5Q

ENDNOTES:

1. The original Japanese version of the Karate-Do Sanka

Aa sanjento hi no hikari
Myo gunjorno umi no iro
Saekeki shima no tokonga
Saegigaumishi mute no ken.
Kokoro o Kitau, mi o kitau
Aa, Okinawa no, Karate-do!

Aa ware osou tekki araba
Shurei no kuni ni shingiari
Tetsu no kobushi wa kanzento
Niku o kirasete, hone no utsu
Kokoro o mamaru, Mi o mamaru.
Aa, Okinawa no, Karate-do!

Aa tensenshi kodai yori
Hewa no kane wa naritsutau
Semeru ni arazu fusegu waza
Gotai ga bukizo kono karate
Kokoro o tadasu, mi o tadasu
Aa Okinawa no Karate-do!

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SURPRISE: Are You “Trained” or “Educated”?

14 Nov

Many years ago my friend, Shihan Wayne Norlander (R.I.P.), had presented the Issho-Dojo with a gift of a plaque bearing a quotation from Ray Bradbury. The subject of the quotation is the need for astronauts to continuously train to avoid surprise in the void of space.

If you don’t rehearse over and over –
Your going to be surprised in space –
And, the surprised man out there is the dead one.
We get ready then, by trying to surprise
Ourselves.

Looking at the plaque has brought the concepts of karate-do practice and surprise to the forefront of my thoughts.

As martial artists in general and karate-ka in particular, we often think about, discuss, theorize and debate the impact of practice on the element of surprise as it applies to actual combat. (See Endnote # 1) In my experience, such discussions, while highly enjoyable, are less than conclusive. There simply is no consensus amongst karate-ka as to the practice of karate-do and it’s impact on surprise.

In this article, I would like to stimulate your thoughts as to karate-do practice and surprise. To this end, I ask the question,

“As karate-ka, when it comes to the element of surprise, are you “trained” or are you “educated” as to this eventuality?” 

In order to answer the question, you need to understand the difference between being “trained” as contrasted with being “educated.”

In his book, Finite and Infinite Games, James P. Carse (See Endnote # 2) defines the terms as follows:

To be trained is to be prepared against surprise. (The opponent) must appear to be something he isn’t. All (his) moves must be deceptive: feints, distractions, falsifications, misdirections and mystifications.” To be trained is to avoid surprise caused by such deception. The trained person desires to anticipate every potential scenario so as to hope to control the future (surprise) in an effort to prevent it from altering the present (the fight).

To be educated is to be prepared for and expect (the inevitability) of surprise. The educated man does not avoid surprise but accepts and expects it. The educated man conducts himself so as to expect surprise. Thus, surprise is the natural expression of the future upon the present.

Now, I again ask, “In practicing karate-do are you a trained man or an educated man?”

Respectfully submitted,

Sensei John Szmitkowski

Hanko-GDK-DEF-R

ENDNOTES:

1. I intentionally use the term “theorize” because the vast majority of modern karate-ka simply have not engaged in actual combat. Naturally, the highest aim of karate-do is to avoid physical confrontation. Having said that, I submit that when one who has not engaged in actual combat states what will or will not occur in combat, such statements are merely hypothetical. It is rather spurious for them to state as fact that which in reality is theory. And, “No” tournament kumite is not actual combat.

2. Carse, James P., Finite and Infinite Games: A Vision Of Life As Play And Possibility (Ballantine Books, New York, NY 1986) pp. 22-23.

FEATURED VIDEO: Ananku Kata featuring archival footage of Shihan Frank Van Lenten may be viewed by clicking this link: http://www.youtube.com/watch?v=nfHc_hBXTUE

Still image from the Ananku Kata video

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SHU, HA, RI: A Different Perspective

7 Oct

ANNOUNCEMENT:

New videos have been made available:

1. Kunchaba Kata (Featuring Shihan Frank Van Lenten archival footage)

link:http://www.youtube.com/watch?v=df-OTqrsOd0

———————-

 CURRENT ARTICLE:

The martial arts concept of Shu-Ha-Ri has been analyzed ad infinitum from the standpoint of the student – teacher relationship. The analysis; however, has always been from the perspective of the student. I submit that such an analysis is limited. To analyze  Shu, Ha, Ri only from the student’s perspective is to limit the examination to only one-half of the dynamic of transmitting karate-do from one person to another. In so far as the teaching of karate-do implies an obligation to accurately transmit the karate of one’s Sensei, I propose that the common trend to analyze Shu, Ha, Ri form the standpoint of the student must be overcome (See Endnote # 1).

In this submission, I would like to set forth an alternate perspective from which to consider the concept of Shu-Ha-Ri; namely the perspective of the teacher, or Sensei, of karate-do, who was by definition once a student him or her self.

By way of introduction, a review of the popular discourse on Shu, Ha, Ri is appropriate. There are three stages of the martial learning process which are generally accepted and a fourth, more esoteric stage. The three generally accepted stages are the stages of “Shu”, “Ha“, “R1“.

Kanji for Shu-Ha-Ri

Each particular stage is described as follows.

SHU(pronounced “Shoe”) means to correctly copy all of the techniques of one’s instructors;

HA (pronounced “Ha”) means the liberty allowed to a student to develop his own way of executing techniques based upon the demands of his own physical stature and his own individual understanding of Karate;

RI (pronounced “Rhee”) means “transcendence” or “mastery”. It is when a student can perform all of the techniques automatically and becomes a teacher himself (See Endnote # 2).

A fourth, more esoteric, stage of the process of learning the martial arts has come to be identified. This stage is called the “Ku” (pronounced “Cue”) stage. Kuis the stage of emptiness. It means everything is gone and no trace is left behind. The student has reached the highest level and no one can trace his movements or capture his techniques.

I submit that the concept of Shu-Ha-Ri transcends the bounds of the student’s perspective and can (and should) be extended to include an analysis from the perspective of the teacher. A natural consequence of learning the martial arts, as set forth in the description of the Ri stage above, is that the student becomes a teacher him or herself. Once the student becomes a teacher himself, the analysis and application of Shu, Ha, Ri historically ceases. I proffer the following analysis of Shu, Ha, Ri as applied to the teacher who was once, naturally, a student himself.

SHU means to correctly copy the technique, kata, method and manner of one’s Sensei as one teaches one’s students. While the technique and kata of one’s Sensei are easily governed by stylistic dictates (see Endnote # 3), the method and manner of one’s Sensei are unique to the Sensei under whom a student (now teacher) originally learned his or her art. Each individual instructor of a style of karate-do, while teaching the technique and kata of the style, combines these physical dictates with the non-physical traits of the style (philosophy, ideology, spirituality, etc) as set forth by the style’s founder and progenitor. While so teaching the “style”, the Sensei imbues and infuses the teaching with his or her own unique character and personality traits. These character and personality traits generally may be of a positive nature, but, as dictated by the frailty of the human condition, may also include the instructor’s character flaws; even those that may considered less than admirable (See Endnote # 4). It is the “style” of karate, as imbued and interpreted by a Sensei that is transmitted to the student (who is now the teacher).

 HA means the liberality to be allowed an instructor (by his original Sensei) to develop his own way of teaching. I submit this development is influenced by two key factors. The first key factor is the teacher’s unique individual physical and psychological traits. These factors would have been accentuated or modified as necessary during the teacher’s tenure as a student. IF the teacher’s Sensei was a Sensei of merit, then his Sensei would have discovered and been aware of these individual traits during the time period wherein the teacher was a student of the Sensei. During this time, Sensei would have nurtured the student’s meritorious traits and modified or corrected the student’s character flaws. Thus, Sensei would have guided his student, now a teacher, so that these individual traits do not offend the tenor and tone of Sensei’s style of karate-do. The second key component is highly variable. Surely, Sensei is aware that his student will encounter this factor but cannot predict the specific character of same. This second trait that the student, now teacher, will encounter are the physical capabilities and mental attributes of his individual students.  The student turned teacher must be allowed the liberality to mold his instruction of karate-do on these two key factors. If this liberality is granted, the student-teacher, now Sensei, starts to represent the embodiment of the karate he learned from his Sensei.

RI means “transcendence.” Transcendence occurs when a Sensei becomes the living embodiment of the karate-do that he continues to practice and subsequently teach. This karate is no longer the karate that he learned from his Sensei; it is more than that. It is that learned karate as interpreted by the individual Sensei’s physical and spiritual traits AND as transformed by the mechanism of Sensei’s continued practice of karate-do and individual teaching methods and manner.

KU is the stage were the Sensei no longer affirmatively teaches. Rather, Sensei transmits karate-do by virtue of being an active Sensei. This is to say that Sensei has become his karate-do. Sensei has come to embody and represent his interpretation of karate-do in such a way that the students are capable of learning by Sensei’s example. This means that the student no longer learns by rote drilling, they learn by being in the presence of Sensei as Sensei lives in karate-do. This stage is the lifeblood extension of the observation of Shihan Peter Urban, Ju-dan, USA Goju-ryu, “A Karate man in training is in karate.” At this stage, “A Sensei who practices and teaches karate IS karate.” (See Endnote # 5).

I submit that understanding the various stages Shu, Ha, Ri from both the perspective of a student and a Sensei is necessary so as to fully understand the total dynamic within which the art of karate-do is transmitted from one person to another.

Respectfully submitted for your contemplation,

Sensei John Szmitkowski

Hanko-GDK-DEF-R

ENDNOTES:

1. I use the word “implies” because there are those Sensei that are perhaps less than meritorious and simply teach without regard to a sense of duty or obligation to purely transmit the teachings of their Sensei.

2. The following symbolism has been ascribed to each stage. Such symbolism may assist you in further understanding the three stages of transmittal and learning.

SHU is symbolized by an egg. The first stage is hard, the form or shape of the technique must be mastered or protected, just like a mother protects her egg.

HA is symbolized by the breaking egg. The basic form is broken into its infinite applications. It means the fundamentals are now mastered and are applied in all situations.

RI is symbolized by the fully released chick that has matured and flies away from the nest. The student forgets all forms and masters the formless technique, leaving old ideas behind him. He has fully matured in his training.

3. This means simply that a student of Goshin-Do Karate will teach the technique and kata of the Goshin-Do Karate style. Similarly a student of Goju-ryu, Shorin-ryu, Isshin-ryu or any other style will teach the technique and kata of their particular style.

4.Since we are human, we are inevitably fallible. Thus, by human nature, a Sensei carries his personal flaws with him as he teaches karate. Such flaws may include, ego, jealousy, anger and the like. It is a direct consequence that the karate transmitted will be influenced by both the instructor’s positive and negative personality traits during the transmission process.

5. Urban, Peter, The Karate Dojo, (Charles E. Tuttle & Co., Tokyo, Japan 1967) p. 77.

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Goshin-Do E-Museum – Coming Soon

14 Jun

It gives me great pleasure to announce that work has begun on creating a vast digital archive containing all manner of Goshin-Do memorabilia, including, but not limited to archival documents, photographs and video of Shihan Frank Van Lenten and the earliest days of the Goshin-Do Karate-Do Association and the later Goshin-Do Karate-Do Kyokai.

            

In addition, the subsequent years of Goshin-Do Karate-Do under the leadership of Shihan Thomas DeFelice and the contemporaneous familial branches under various Goshin-Do / Ryu family trees will be included.

This vast digital project, an electronic museum (E-Museum) available on DVD, will take several months to complete. During this process, we will keep readers up to date and offer a look at tantalizing bits of karate-do family history. This E-museum should be of interest to any karate-ka that traces their lineage back to Shihan Fran Van Lenten, including practitioners of Goshin-Do Karate, Goshin-Ryu Karate, Goshin-Kai, Kanzen Goju-ryu and similar styles.

Video of Shihan Frank Van Lenten circa 1960:

To peak your interest, I thought I would provide you with a brief clip of footage digitalized from old 16 mm film of Shihan Frank Van Lenten from the mid to late 1960’s. To view a video with archival training footage of Shihan Van Lenten, circa 1960’s, featuring Sensei Wesley Evans, Sensei Jack Porta and Shihan Thomas DeFelice, please click the following link: http://www.youtube.com/watch?v=DLD5fMSvDI8

I hope you enjoy.

Sensei John Szmitkowski
Karate-Do No Renshi
Goshin-Do Karate-Do

Hanko-GDK-DEF-R

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About This Weblog

1 Apr

It is my honor and privilege to acquaint you with this weblog which showcases not only Goshin-Do Karate-Do history, lineage and Kata, but also the unique insights of Shihan Thomas DeFelice, Ku-dan, Karate-Do No Hanshi.

Filled with heretofore unseen, and thus secretive, documents and archival memoranda, this weblog is a “must-view” for any Karate-Ka and particularly those with roots to the Goshin-Do/Goshin-ryu genre.

If you enjoy this weblog and would like to receive notification as to future submissions, please feel free to subscribe using the subscription tool shown in the right column. Subscription is risk-free; it is FREE and may be cancelled at any time you desire.

Here is a brief synopsis of the above page tabs:

  • Lineage Of DeFelice-Ryu: This page provides a narrative timeline with historic and heretofore never-before-seen documents that trace the earliest days of the Goshin-Do Karate-Do Kyokai of Shihan Frank Van Lenten and the Goshin-Do Karate-Do style through today wherein the integrity of the style rests with Shihan Thomas DeFelice (referred to as Goshin-Do Karate DeFelice-ryu, or “Self-defense empty hand way, DeFelice style” by his students);
  • Kata Curriculum: This page uses rare archival documentation from Shihan Van Lenten to trace the Kata Curriculum, as it developed over the decades and sets forth the curriculum that as been codified into the Goshin-Do Karate-Do style by Shihan DeFelice;
  • Yudansha Roster: This page provides the official roster of the Yudansha of Goshin-Do Karate-Do as codified by Shihan DeFelice;
  • In Memorium: This page remembers the departed yudansha of Goshin-Do Karate DeFelice-Ryu.

I hope you enjoy this historic journey through the decades of Goshin-Do Karate-Do.

Hanko-GDK-DEF-R

Sensei John Szmitkowski

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