Secrets of Shotokan Karate. Robin L. Rielly

Kata Development

       Understanding Kata

       Kanku-Dai

       Kanku-Dai: Explanation of Moves

      Illustrations

       Plate 1. Two studies of a Buddhist monk by Hokusai

       Plate 2. Calligraphy - Ken Zen Ichinyo

       Plate 3. The author assists Master Nakayama

       Plate 4. Practicing the roundhouse kick

       Plate 5. The application of speed

       Plate 6. The components of fighting ability

       Plate 7. Basic defensive movement

       Plate 8. The relationship between basics, drills, kata, and fighting ability

       Plate 9. Short-range technique

       Plate 10. Calligraphy - Karate Ni Sente Nashi

       Plate 11. The elements of winning strategy

       Plate 12. Risk factors of the various stances

       Plate 13. Roundhouse kick

       Plate 14. Risk factors of various types of kicks

       Plate 15. Short-range technique: palm-heel strike

       Plate 16. The author and Frank Woon-a-Tai practice with Master Nakayama

       Plate 17. Semifree-sparring

      Preface

      In the past two decades numerous karate training manuals have appeared in English, all attempting to achieve the same goal. That is, they strive to transmit to Western martial artists the principles so readily understood by their Eastern teachers. This is a difficult task. In past years, many of the Japanese instructors who came here found the language barrier a formidable obstacle as they attempted to spread their art to their American students. In many cases, students were lost as a result of this inability to communicate the essence of difficult physical and psychological principles.

      Since the first Japanese instructors migrated to the United States to spread their art, enough time has passed to overcome this problem. In their four decades of instruction here, they have produced students who have an understanding of the art that they are attempting to spread. This is fortunate for present-day students of karate, who will find it much easier to learn the techniques and the principles behind them.

      The genesis of this book springs from a desire on my part to assist my instructor in spreading the art of karate in the Western world. It has been my good fortune to have trained regularly with many top Japanese instructors over the last four decades. The most notable of them has been Master Teruyuki Okazaki, Chairman of the International Shotokan Karate Federation. It is primarily because of his teaching and influence that this work has been produced.

      There is an additional concern relative to martial arts in America. As we survey the development of karate in this country, it becomes obvious that it has gone off track. Many individuals claim to hold extremely high rank in relatively new organizations. A cursory examination of their credentials, background, and training indicates that many are marginally qualified to teach the arts in which they claim mastery. Countless thousands of students pay tuition at their schools and adhere to their teachings, and in the end these students suffer from their instructors’ lack of knowledge. The traditional karate schools, by comparison, produce students with a solid knowledge of the techniques and principles described in this manual. Since these organizations are basically closed systems, the knowledge that their students have remains with them. It is my hope that this situation will open up so that all Americans practicing karate will be able to improve their techniques, regardless of style, system, or organization. Only in that way can America’s karate develop to its maximum.

      Virtually all authors owe debts of gratitude for assistance in completing their work. I wish to thank my students and assistant instructors at the Kobukan Karate Club in Toms River, New Jersey, for their help in posing for the many photographs that illustrate this manual. Among them are: John Kandes, Tom Finnerty, Glenn Rosenthal, Joe Schoenig, Robert Todaro, and Ed Winters. Glenn Rosenthal and Clifford Day kindly consented to proofread the manuscript, and my wife, Lucille, assisted with the photography.

      I am also indebted to the Philadelphia Museum of Art for the work of art from their collection, appearing on page 4.

      In addition, Master Masatoshi Nakayama, Chief Instructor of the Japan Karate Association, kindly consented to allow the use of his calligraphy on pages 6 and 90.

      CHAPTER ONE

      Basic Physical-Psychological Principles

      Zen and the Martial Arts

      The long and secretive history of the Asian martial arts is replete with references to Zen Buddhism and Zen principles. The origins of these Zen influences can be traced back many centuries to the legendary travels of Bodhidharma, although many of the stories about him are questioned by historians.

      According to the legends, Bodhidharma (Daruma Taishi in Japanese) was an Indian monk who was born into the warrior caste (Kshatriya). In his youth he was trained in the warrior’s arts that were prevalent at the time. This included a weaponless form of fighting known as vajramushti. Eventually he began the study of Zen Buddhism under the Indian master Prajnatara. Later in his life he traveled to China to spread the Zen school of Buddhism. The date for this journey is also in dispute; however, most authorities assert that it took place around 520 A.D.

      Once in China, Bodhidharma traveled throughout the country, eventually settling at the Shaolin monastery in Sung Shan. The rigors of the Zen Buddhism that he taught proved excessive for the monks, and in order to strengthen them physically, he included martial arts training, similar to that which he had undergone in India. This training became the basis for the fighting systems developed at the monastery, systems that also enabled the monks to defend themselves against bandits. Since that time, karate and Zen have been inexorably intertwined, and no traditional karate school is without a Zen influence.

      Chinese-style karate eventually spread to Okinawa and Korea, where the Zen influence was transferred along with the physical art. Eventually, in the twentieth century, karate was spread to Japan proper by Okinawan masters such as Gichin Funakoshi, Chojun Miyagi, and Kenwa Mabuni. Once established there, it was influenced by the native fighting systems, notably jujitsu and kenjitsu.

      Plate 1 Two studies of a Buddhist monk by Hokusai. Photo courtesy of the Philadelphia Museum of Art: Purchased through the Taylor Fund.

      These Japanese combative systems already had a strong Zen influence, dating to the beginnings of Zen Buddhism in Japan in the twelfth century. This introduction of Zen into Japan took place roughly about the same time that the warrior caste (samurai) came into power.

      Within a century, the value system of the Zen Buddhists had influenced the samurai. Ultimately those who became top sword and spear masters were buoyed in their training by the ability to concentrate during combat, achieving a state of mind known as mushin (no-mind). This mental condition enabled the warrior to block out all thought of death and concentrate completely on his technique.

      As time