Tag Archives: Sensei John

Do Away With Kata Formalities – Part 2: Not Quite

15 Mar

Here’s the conclusion of Sensei John’s two part series on the formalities of kata. Let’s see what he has to say:

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In Part One of this article, https://senseijohn.me/2019/02/20/do-away-with-kata-formalities-part-1/ I set forth my idea that in so far as after Sho-dan grade, one must practice both the spontaneity of kata and the phenomenon that kata reside within you twenty-four hours a day, seven days a week, one must do away with the formalities of kata. (see Endnote # 1 for a video example) These formalities, represented by the three step process of rei (bow), mukso (meditation) and ready posture inhibit the process of kata as a ritual that resides within you percolating under the surface until needed. Or, do they? Perhaps the formalities symbolize a higher meaning of kata. So now, here’s the conclusion of that article.

Do away with kata formalities – Part 2: Not Quite

As I began to advocate my concept of doing away with the formalities decades ago, my answer was yes, they should be done away with as a condition precedent to beginning and ending a kata. Just do the kata and be done. Now, as I get older (maybe wiser?) I have rethought the concept. I have once again incorporated the acts of preparation into my kata – just not as you may think.

To understand what I propose, one must appreciates the “Three Battles” of kata. Specifically all kata involve three aspects or battles. While they exist in all kata, they are emphasized and harmonized in the Sanchin Kata.

Kanji For Sanchin – Three Battles

By name, Sanchin, represents three battles. Throughout time and from karate style to karate style, Sensei have defined the three battles in various, sometimes euphemistic ways. For my part, I define the battles, on a fundamental level as breathing, bodily movement and state-of-mind. Once a kata-ka has trained kata from the standpoint of these battles, they are ready to appreciate my more advanced definition of the three battles, to wit: a physical battle (breathing and bodily movement), spiritual battle (psyche, mental states and emotions) and an environmental battle (the outside world wherein the kata is performed and how you interact with same). (For more on this topic, please see endnote # 2) You can readily see that whether you adopt the fundamental definition or the more advanced, the three battles, symbolized by Sanchin, are present in each and every kata.

By extension you should then acknowledge that the three battles are present in each and every moment of life itself. You must breath to live. Your body must move each and every second to live. Yes, you may be immobile during times of sleep or even unconsciousness, but your blood must flow, cells must metabolize, organs function and the like. Similarly as you live your life, you will interact with and be affected by the outside environment. Thus, I conclude and submit that “Life is a kata.” ™

Once I came to the understanding that “Life is a kata,” ™ I began to rethink my position on the formalities. Instead of doing away with the formalities, I now advocate that they should be performed before and after each kata. What, a complete reversal? Not quite. The issue is no longer whether to perform the formalities, but when does kata start and end. My conclusion is that my kata starts the moment I get out of bed, the new day, another day of life, is the beginning of my kata. I need not perform a kata as soon as my feet touch the floor. I do; however perform the three formalities. I look out my bedroom window and rei (bow), mukso (meditation) and assume a ready posture for a moment or two and then start my day – my kata, my life. Surely, before fully engaging my day, I perform my daily routine of Sanchin, Seienchin and Suparunpei Kata and my own personal kata, Yurei-Te Kata (Ghost Hand Kata). I go about my day, including training my other kata. At days end, I perform the three formalities in reverse order and settle in to bed. My Life is my kata.

To be sure, this is but the best I can do to symbolize my acceptance of my own life as a kata. Had I thought of my concept fifty-seven years ago, I would have had a much greater symbolism, but I lacked the training, knowledge and experience to do so. The greatest symbolism would have been to perform the formalities only twice in my life. The first immediately after exiting my mother’s womb. The second time I would the perform all three in reverse order at the moment immediately before my death – the ultimate symbol of my life, my kata. Perhaps, notwithstanding I did not start life in that way, I am still be able to perform the formalities (in reverse order) at the end of my life – my kata. But – that will only be half the symbol. Maybe once I enter what comes after death I will stand tall in the next world, and bow, mediate and be ready for the kata-yet-to-come.

Respectfully submitted,

Sensei John Szmitkowski

*** Teaser Alert ***

Here’s a few more screen shots from my forthcoming Yurei_Te (Ghost Hand) Kata Book and Video:

   

ENDNOTES:

1. In my forthcoming Kata Laboratory book I have set forth many unique training concepts to explore the esoteric aspects of kata including my assertion that kata resides within you twenty-four hours a day seven days away percolating util such a time it bursts forth. If are interested in this topic, you may see this introductory article and video. https://senseijohn.me/2018/01/31/kata-lab-3250-kata-within-you-intermediate/

2. For more on the three battles of kata, and by association, bunkai (the analysis of kata), you may refer to this article from my Kata Laboratory, https://senseijohn.me/2013/05/20/kata-lab-101-three-states-of-bunkai/

For information on my “no-risk”, kata seminars, please visit the seminar page using this convenient link http://senseijohn.me/seminar-kata/
My seminars are the ONLY seminars that allow you to pay at the conclusion, thus insuring your complete satisfaction!

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/kata-lab/

© Copyright 2019 Issho Productions & John Szmitkowski, all rights reserved.

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Goshin-Do Karate Kyokai Pinan Kata Reconstructed

19 Jan

We are pleased to announce that Sensei John has completed his project reconstructing the five Pinan Kata of the former Goshin-Do Karate-Do Kyokai under Hanshi Frank Van Lenten. Circumstances beyond his control forced Sensei to place the project on hold for almost a year. Eventually, Sensei was able to complete the reconstruction project.

We are honored to share Sensei John’s efforts with in the following five videos of this very rare version of the five kata. All videos feature notes, photos and vintage films of Hanshi Frank Van Lenten. Those readers and viewers familiar with Sensei John’s videos know that all kata re filmed in stunning natural environments. Enjoy Sensei John’s efforts.

Kyokai  Goshin-Do Karate Kyokai versions of

Pinan Sho-dan

Pinan Ni-dan

Pinan San-dan

Pinan Yon-dan

Pinan Go-dan

We trust you find Sensei’s preservation efforts educational and enjoyable.

Hanko-GDK-DEF-R

brush script  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/

CIMG5490  You can visit Sensei John’s personal blog at

http://senseijohn.me

LOGO-WEBSITE  You may also enjoy Sensei John’s martial-inspired fishing blog at http://flyfishingdojo.com

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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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2014 – Are You Ready?

29 Dec

The following is reproduced, with approval, courtesy of Sensei John’s weblog, link: http://senseijohn.me

– – – * * * * * * – – –

As 2014 approaches, We ask you, “Are you ready?”

What do I mean by this question? The answer may be found within the following which is borrowed from one of my favorite myths. (See Endnote # 1)

When Heaven is about to confer
A great office upon a man,
It first exercises his mind with suffering,
And his sinew and bones with toil;
It exposes him to poverty
And confounds his undertakings.
Then it is seen if he is ready.

Happy New Year! We hope you are ready for 2014.

Until the next submission, We remain . . . Ready,

Hanko-GDK-DEF-R

I’m ready for 2014 with “Sanchin Kata In The Snow (With Winter Poems)”

ENDNOTES:

1. The poem is attributed to “Moshi” and is from the preface to: Jennings, William Dale, The Ronin ( Charles E. Tuttle Co, Tokyo, Japan, 1968)

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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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2013 – The Year Of The White Belt

26 Dec

I suggest that in the days, hours, minutes and seconds that begin to unfold into the path that will be called “2013”, we need to walk that unwinding path with the “mind of a white belt.”

karate-belt-white

This concept is derived from a karate-do percept, “Observe with the mind of a white belt.” The while belt, worn by novice students, is said to symbolize purity and innocence in terms of preconceptions as to karate. When a karate-ka first enters the Dojo, the neophyte observes without preconceived thought or emotion. Thus, one observes every detail, even the most minute, with the pure eyes of a child. In doing so, one is able to capture the inner most aspect of a karate-do technique and incorporate it into one’s personal repertoire.

Prior to the advent of modern colored belts, a karate-ka would wear the same belt (a white belt) during his entire training. Although the karate uniform would be laundered  regularly, as a sign of respect, the karate-ka would not wash his belt. Over time, the white belt would become soiled. The belt would even be used to wipe the sweat from one’s brow after training. Thus, the belt would become discolored, eventually turning black from use, wear and tear. This is the humble birth of the all too coveted black belt.

In the final days that remain of the year 2012, we should shed our internal black belt. Our preconceptions, emotions and perhaps even thoughts have become “soiled” over time. In the first indicia of time that calls forth “2013!” let us all shed preconceptions – “internal and emotional baggage”. In the first millisecond of 2013, we should commit to don the belt of a novice and view the minutest details of the unfolding year with a pure and innocent heart and spirit. Let us all become the exalted white belt.

Happy New Year - 2013

Happy New Year – 2013

Respectfully submitted,

Hanko-GDK-DEF-R

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ARE YOU READY?

28 Nov

From one of my favorite tales (See Endnote # 1), a poem for your contemplation.

When Heaven is about to confer
A great office upon a man,
It first exercises his mind with suffering,
And his sinew and bones with toil;
It exposes him to poverty
And confounds his undertakings.
Then it is seen if he is ready.

Respectfully submitted,

Sensei John Szmitkowski

When Life decides to verify that I am “ready” for what lays ahead, I find that the Shobu variation of Sanchin Kata prepares me for Life’s tests. To view an EXCITING & UNIQUE short video filmed amongst a few Arizona vultures, please click this convenient link: http://www.youtube.com/watch?v=lf8dlXsBnoI

ENDNOTES:

1. The poem is attributed to “Moshi” and is from the preface to: Jennings, William Dale, The Ronin ( Charles E. Tuttle Co, Tokyo, Japan, 1968)

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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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KWAIDAN

15 Aug

There are many myths that have martial arts ideology as their raison d’etre. Like Aesop’s Fables, these myths bring to life what can be rather stale, but important, life lessons. In this article, I would like to submit a myth from a non-martial genre. I respectfully propose the within contains a lesson for all martial artists. The genre is that of “Kwaidan” (literally “strange stories” or “weird tales”).

Here is the ancient kwaidan. Can you extrapolate the martial lesson from this weird tale?

In ancient feudal Japan, the samurai was supreme amongst men. But, even amongst the samurai, the realm inhabited by spirits was not to be trifled with. During this long passed era, it was generally accepted and acknowledged that if any person be killed while feeling a strong resentment, the ghost of the person would seek vengeance. Even during a lawfully sanctioned execution, the samurai so conducting the execution tread carefully so as not to offend the one who would soon enter the spirit world. Sometimes; however, a prisoner’s resentment could never be appeased. At such times, it would seem that vengeance is inevitable. Such was the state that our samurai finds himself.

The prisoner was brought before the samurai executioner, bound and full of rancor. When the sun rose the day before, the prisoner’s day was full of hope and promise, by night’s end, due to his own foolish error of protocol, he was sentenced to death when the sun next shone upon the Earth. All night long, the prisoner cursed his foolishness; “What karma to have been born simple and foolish and die on account of it.” The night inevitably yielded to the rising sun and the prisoner was destined to meet his fate in the afterworld of spirits. As he knelt before the samurai, he bowed his head and addressed his executioner, “Honored executioner, I ask that your cut be swift and true so that I may be sped to the darkness of the ghost world. Once there, my spirit will again seek your earthly domain. You see, I have always been rather dimwitted. It was my karma that my lack of intellect would be my downfall. I am to be executed not for a crime that I intended, but rather for my own stupidity. This is a wrong and that wrong shall be repaid. So surely as you kill me, shall my resentment provoke my vengeance from the spirit world, and evil will be repaid with evil.” 

The samurai looked down upon the face of the bound prisoner and addressed him. “I will not allow either myself or these witnesses to your execution to be frightened by myth and the tales of wash-women.” “Will you show us a sign, after your head is removed, that your intention is valid?” The prisoner smiled and replied, “I most certainly will – what sign do you propose?” The samurai thought for a moment, “After I cut your head from your body, command your head to bite the corner of the paving stone in front of you.” “If your angry ghost can do that, then we must be frightened of your vengeance.” “Do you accept?”

“I will bite the stone, I will bite the stone”, cried the prisoner. “I will bite the stone” – as the prisoner screamed this again and again, the samurai’s blade made its cut. The prisoner’s head was severed and rolled to the corner where the paving stone was situated. Lo and behold, the mouth opened and the prisoner’s disembodied head bit the corner of the stone. While the court personnel and vassals cried out in terror, the samurai, wiped the prisoner’s blood from his blade and strangely smiled a comforting smile.

 For many weeks thereafter, the witnesses and members of the court were frightened. Each day they spoke in hushed whispers and each night they slept fretfully in anticipation of the spirit’s vengeance. One day, they addressed the samurai and inquired whether a Priest should be obtained to say the prayers and rituals to prevent such occurrence. The samurai laughed loudly and said, “This is not necessary, do not concern yourself with a matter that will never come to pass.” The members of the court and the vassals beseeched the samurai, “Please Lord, allow us to do this, do you not understand the desire of a resentful dying man for vengeance may be a cause of fear?” “I do”, replied the samurai. “But you have no cause for fear.” “Only the very last intention of the dying prisoner could give rise to dangerous vengeance.” “I diverted the intention of the prisoner from vengeance.” “The prisoner died with the sole intention of biting the corner of the paving stone and that purpose his disembodied head accomplished before our very eyes.” “The prisoner was able to accomplish this and nothing else; his quest for vengeance was forgotten by his desire to bite the stone.” “Thus, you have nothing to fear.” – – – And indeed, the spirit of the dead prisoner caused no ill. Nothing happened at all.

Now, can you extrapolate the hidden martial lesson?

Respectfully submitted,

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

Hanko-GDK-DEF-R

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

For a ghostly video of Seienchin in an evening thunderstorm, please click the following  Link:http://www.youtube.com/watch?v=G2ptj157tBg

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