I didn't have an answer because I never focused on IkigaiWay specific products. The T-Shirt situation came about by chance. Of course I was pumped to hear that people were interested in sharing the concept of the website and would enjoy wearing something based on it.

Recently I teamed up with a company called Spreadshirt in order to make IkigaiWay apparel a reality. Spreadshirt is a professional T-Shirt creation company that prints shirts on demand. Through their technology I was able to design the shirts to my specifications and keep the cost relatively low. As a result, IkigaiWay gear is now available in multiple designs, colors, and products.

Browse the Apparel Shop

Thanks to Spreadshirt's imbedding technology, I have the storefront right here on the site. The actual store is hosted and encrypted via Spreadshirt, which means it's as easy and safe to use as Amazon. Ordering a shirt on the site comes with full capability of returns, refunds, and customer service.

To access the store, navigate to "ikigai shop" above and you'll notice it on the dropdown. Or just click here - GO TO THE SHOP.

Shirts Available May15th - June15th

This shirt shop is an experiment, so I intend to keep it open for a month. If people seem to enjoy it I will keep it open, otherwise I will close it down. If you'd like a shirt, please place your order within a month.

Get Your Picture Posted!

IkigaiWay has always been a community driven site, but now we get to see it in action! I've dedicated three pages specifically to showing off IkigaiWay members in action:

• ikiGuys
• ikiGals
• ikiGroups

Grab a shirt, take a picture, and send it to ikigai108@gmail.com. Imagine dozens of pictures from people all over sharing the same message of Budo Spirit!

While there I got to sample some well made traditional Japanese snacks and watch a little bit of Aikido. I also observed a classic Odori style dance, which is very reserved and controlled.

The highlight of the event for me was the Tamagawa Drum and Dance Troupe. Every year the coordinators and players come up with exciting new routines and ideas. This year they revealed what might be my favorite prop they've ever used. You may have heard of decorative Japanese parasols known as maigasa. They are beautiful and delicate and can be used to add a unique visual element to dance. The Tamagawa Troupe developed a hardier, eye-catching version that also featured chimes along the edges. They executed the routine with a level of precision that would make any kobudo practitioner cheer.

Check out a few select cuts from the event, including a bit of the maigasa performance:

I had to stop myself from stealing one of those umbrellas to try out my bo kata. It would be awesome!

Secrecy is a long standing tradition in the martial arts. When you analyze how most arts developed, it's easy to understand why.

Take kenjutsu (sword arts) of the Samurai for example. A kenjutsu headmaster was in charge of training his disciples with the deadliest skills he could. Those men would then take their techniques to the battlefield and fight for their daimyo. Unfortunately, during the Warring States Period, backstabbing and side switching was so common it was almost unremarkable. The daimyo changed allegiances depending on what elevated their status or saved them from annihilation. They also intermarried among clans, which shifted the power of alliances. The Samurai were often doomed to follow along, even fighting against clans they once considered allies.

These switches could happen in a hurry, even in the middle of a war. The outcome of one of the most famous battles in Japanese history, the Battle of Sekigahara, was significantly influenced by a few properly persuaded commanders right before the battle took place.

Imagine now if a skilled kenjutsu instructor was wide open with his teachings, sharing all he knew with anyone who came to him. How soon would that information be used against him?

This secretive behavior persisted even after the Samurai were less needed on the battlefield. Sword schools transitioned from focus on large battles to more individual development. It was at this time musha shugyo became more popular. Roaming Samurai desired to test their skills against headmasters and make a name for themselves. If a headmaster was loose with his knowledge and word of his tactics got out, it could mean an early demise.

Karate and kobudo also posses a history of secrecy. After the invasion of the Satsuma warriors, quite a bit of tode and kobujutsu training was conducted away from prying eyes. The Satsuma had roving metsuke (armed informants) who would be all too happy too report or outright extinguish suspicious behavior.

It wasn't just threat of death that kept the lips of instructor's tightly sealed. Both Japan and Okinawa developed under Confucian philosophy. In Confucianism, there is little tolerance for questioning of those in higher stations of respect than oneself. Further, it is expected of seniors to maintain a certain level of aloofness above those below them. The result was a lot of show with little tell.

Our modern era has it's own excuses for secrecy. Luckily the amount of "roving fighters" has gone down (but not disappeared thanks to the everpresence of ego), so it's not a particular need for tactical secrecy that keeps teachers quiet. More often than not, it is a need to retain students. If a modern teacher with limited skillset teaches everything they know, then students will inevitably grow tired of the training. Some may have the natural ability to surpass the teacher and go beyond their lessons, but then the instructor may become concerned about the student opening a school nearby and taking students away (or just becoming better, which hurts the ego). One safe bet to keep students interested and at a comparatively low skill level is to institute varying degrees of witholdance and secrecy.

The Wayward Student

There's one reason for concealment that we haven't discussed, and it's perhaps the most important. Whether in the early days of karate or today in a modern dojo, the possibility of "wayward students" exists. Despite a teacher's experience and intuition, some people are capable of hiding what's in their hearts. On the surface a student might seem dedicated and cautious and honorable, but deep down they could be manipulative and devious. Some of the most important martial artists in recorded history have fallen prey to charasmatic "disciples" who have siphoned power and influence from them.

One or two of these deep burns is enough to make any teacher pack his/her belt away for awhile.

Aside from the political aspects, teaching a wayward student the most debilitating, deadly, and effective aspects of an art is not only regrettable but dangerous to society as a whole.

Truly, wouldn't it be safer just to teach the bare basics and not risk it?

Giving the Bleeding Edge

The task of finding an honorable student and helping them to higher levels is a monumental task. After getting to a certain point, the instinct and tradition of letting things "coast" is very strong. After all, it's been done that way for generations.

However, in this modern era, it is appropriate (and even vital) for teachers to draw students to the edge of their own understanding^***.

Today, it is very unlikely that martial artists of the same school will ever appear on opposite sides of a battlefield. Nor is it likely they will face other martial artists who have received inside information about their tactics. Instead, students are probably going to encounter street violence. Technique foresight is not an issue; the training will work or not work based on quality, not on secrecy.

Therefore, it is the duty of an instructor to give all they can in order to help students protect themselves and their loved ones. After years of getting to know each pupil the instructor can make an educated decision about sharing deeper knowledge in the hopes the student will carry on the desired "way".

Teaching to the very edge of skill level is also critical for an instructor's growth. "Toping out" in regards to skill and knowledge while strategically keeping students at a lower level is a very effective way to never grow. If, however, a teacher actively pulls students up as far as he/she can, the teacher will then be challenged to improve even more in order to continue sharing and helping the students.

Personally speaking, a lot of new ideas and developments in my own training begin as feelings. I sense that something is coming within reach and manifesting into potential improvement. However, it isn't until I attempt to verbalize and demonstrate what I'm thinking that it takes ahold in my own skillset and becomes available to me in a more complete way.

This very blog post is part of that process. If I don't truly understand it, then I can't help others understand it. So in order for me to understand it, you have to understand it.

See, now you know all my secrets! (or do you??).

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***(please keep in mind I write this as an instructor with limited understanding and experience. Kyoshi and Hanshi level practitioners may possess a different perspective given their experience, but I do currently believe this advice applies forever in one's training).

The following DVD was sent to me for review and analysis from a martial perspective. I may technically be a "hard stylist" as a karateka, but I am frequently amazed at how much internal energy and technique is required to achieve higher levels of karate effectiveness. The history of karate itself is laden with Chinese influence. That's why I came to this video happily, looking forward to any insight it might be able to provide both in terms of healing and to the instrinsic aspects of training.

What is Qigong For Healing?

Qigong (chee-gung) is a Chinese healing art that focuses on the energy and breath circulations within the body. Much like Kyusho of Okinawa, Qigong operates using the Meridian Theory and TCM (traditional Chinese medicine).

This video, hosted by Lisa B. O'Shea, guides the viewer through some of the fundamental concepts and forms used in Qigong practice. O'Shea is a direct student of renowned Gongfu and Taijiquan practitioner Yang Jwing Ming.

What's In The Video?

This DVD provides a significant amount of content, and is broken up in the following manner:

• Introduction to Qigong and the idea of energy
• Sensing qi (chi, aka energy) in the body
• Utilizing breathing and visualization to promote healthy energy storage and flow
• Assessing qi blockage and removing flow interference
• Dantian meditation (siphoning energy into the core)
• Rising lotus meditative forms
• Self Healing practices
• Partner healing practices

With over three hours of instruction, the viewer gets a thorough explanation and demonstration of each concept. O'Shea gears her discussions toward the lay person, not becoming too wrapped up in the idea of meridian points and cycle details. She utilizes common metaphors and examples to explain what the body should be feeling as healing is promoted.

How Did The Video Stack Up?

All in all, I enjoyed the in-depth discussion of how energy can be used to heal the body. In the martial arts we spend a significant amount of time looking at the destruction of the body and can neglect building it back up. The result is often injury and early retirement.

That being said, there are a few caveats that you should be aware of before launching into this kind of video. First, the host takes her time with explanations. This is especially true in the introduction. If you are pumped to get to the meat of the matter, you'll find the pace a little slow. Of course, that's probably valuable since the introspective body analysis of Qigong requires quiet and patience.

Furthermore, you'll want to assess your level of comfort with the idea of "chi". I tend to frame my own martial study in the context of psychology and physics. When talking about energy transmission I generally refer to the kind of energy the body can produce and transmit into a target via mass and acceleration. However, O'Shea discusses a more universal kind of energy; the kind you can pull in from the air around you and sink into your tanden. She discusses ways you can use your hands, posture, and mind to move energy around the body, and even extract bad energy when it is stagnant.

To some of you, this will be old hat. To others, it may be the kind of Eastern thinking you're interested in. Yet others will be turned off by the esoterica. That's all fine; assess your likely compatibility with Qigong accordingly.

Final Verdict

Qigong for Healing is something I'm pleased to have in my library. It's a friendly and pleasant approach to the internal side of training. I think practitioners of all skill levels can approach this DVD and get value out of it. If you think it might be right for you, check it out here.

I'd like to extend a special thanks to everyone who was able to participate. Should any of the winners not respond I will redraw and select a new winner. If you were unable to participate in this giveaway, don't worry - I hope to offer many more in the future.

About the Winners

Two individuals will be drawn randomly from the pool of link submissions. One subscriber to the new Natural Karate project will also be drawn. These individuals will be contacted privately in order to protect their personal information.

Special Thanks to Fibers

This event was made possible by Fibers Custom T Shirts. They have been kind enough to work with me and provide the prize materials.

My experience with the Fibers process was very enjoyable. Their site demonstrates a focus on fun and quirky shirt ideas, and the business aspect of their company helps support small enterprises such as this one.

When designing the shirts, I felt completely at ease with the process. The technology in place to import personal images (jpeg, png, etc) was very intuitive, as was resizing and placement. They even had a ton of stock images and color options to help enhance the on-shirt creatives. Had I wanted to, I could have designed shirts right from their stock material.

Placing and arranging the visuals was done by drag and drop, allowing for quick maneuvering. This was useful in that I could get a sense for which placement I liked and which I didn't, and make adjustments accordingly. In addition, I was able to save each project for later review and easy access.

Quality End Result

Fibers was gracious enough to provide me with a sample shirt. I'm very pleased with the end result. As you can see, the fit and quality of the print is excellent (click to enlarge):

Should you need custom printing I would definitely suggest giving Fibers T Shirts some consideration. This positive review has been an honest opinion of my experience and was not required as part of the giveaway.

Throughout it's history Okinawa has been the stage for many conflicts and power plays, the two most notable being the Satsuma Invasion of 1609 and the Battle of Okinawa in 1945. During those times a great amount of combat went on, but what about the rest of Okinawa's history? What was it like day-to-day on the island?

For about as long as our records can tell, Okinawa has utilized a rudimentary class system. In it's early days the Ryukyu island chain (Okinawa being the largest of the islands) was split amongst a variety of chieftains. These small lords feuded in a constant tug of war for land and resources. Each ruler had a fighting class to battle for them and a working class to do the heavy lifting.

Eventually Okinawa conjealed into three main sects (known as the Sanzan period). A powerful ruler named Hashi (1422-1439) from middle Chuzan united all three territories after an extended military campaign. Years later, in the second Sho dynasty, Sho Shin (1477–1526) organized the local rulers in a unique way, pulling the leaders into a concentrated area in Shuri. He was also responsible for the first edict on the island banning the wearing and ownership of traditional weapons such as swords, firearms, spears, etc.

Weapons ban or not, the Okinawans had to deal with plenty of conflict in their normal lives. Territorial feudings persisted, rogue bandits known as wako scoured nearby islands (including Okinawa), and standard rabble-rousing was a stark reality.

What could be done?

Enter The Police

Sho Shin favored a Confucian method of societal order, and as such established very distinguished classes amongst his people. Along with the local lords (anji) who were now under his watchful eye in Shuri, Sho Shin designated multiple levels of Pechin. Pechin could range from the lofty Oyakata who were officials from important families, to the rather pedestrian Chikudun who came from non-noble and even common families.

Among the lower ranks sat the Shikusaji Pechin who were responsible for day-to-day law and order. These men of action were based out of an administrative building known as hirajo and operated within the Okumiza Bureau in Shuri itself¹. Branching out from this main department were lesser kogumiza organizations operating via hirajo found in each of the outlying provinces.

Rank Amongst the Police

Inside the Shikusaji Pechin class were even more delineations. The most important inspectors or police chiefs were referred to as Ufuchiku, while lesser inspectors held the title Wakichiku. Beneath the inspectors sat the "beat cops" who held the titles of Ufusaji (senior cop) and Wakisaji (junior cop)².

As you can see, the rank and file were well established and even resembled the organizational structure of modern law enforcement.

Luckily for lower class Okinawans, the order of society under Sho Shin was a mix of familial inheretence as well as meritocracy, meaning that individuals had some room to improve their station in life.These external motivations helped keep people deligent and operating at their maximum effort.

The Tools at Hand

Up until Sho Shin's time it wasn't unusual to see the fighting class walking around with swords or spears. With the weapons ban in place, things got a bit more complicated.

The first tool of the Shikusaji Pechin was authority. Sho Shin's class development wasn't just on paper - each class could be distinguished by the flair and color of their garb. For example, Pechin could wear yellow or red hachimaki³ (headgear) depending on their rank.

Of course, eye catching dress wasn't enough on it's own; Shikusaji Pechin realized they needed a wide variety of public deterrents. Their duties ranged from corralling local drunks to engaging deadly wako, which required a diverse arsenal.

The two main weapons the Shikusaji Pechin adopted, especially after the weapons ban, were the sai and bo. The sai offered an exceptional ability to trap, ensnare, and deflect weapons. Sai were frequently unsharpened which meant they could break and bludgeon without killing.

Bo on the other hand offered a distinct length advantage along with clubbing capability. This allowed Shikusaji to control and dissuade perpetrators without resorting to lethal force. When combined, the distance and prodding of the bos along with the pinning and striking of the sai made for an effective system.

The sai itself was constructed out of high quality metal, something rather rare on Okinawa (remember the island was never rich with natural ore). Therefore seeing a sturdy pair of sai on the hip of a policeman was akin to seeing a well polished badge.

Naturally, the Shikusaji Pechin also took interest in weapons that would always be available - fists and feet. As such, they became active players in the importation and integration of empty hand technique.

Direct Impact on Karate and Kobudo

The impact of Shikusaji Pechin on karate and kobudo is not theoretical; there are multiple examples of it's influence. One of the most important men in this realm was the police chief of Shuri itself. This powerful man went by multiple names (as was common at the time), including Kinjo Sanda, Kinjo Daichiku, Ufuchiku Kanegushiku, Masanra Kanagusuku, and Usumei Kani. Whatever he was called, he was to be feared and respected.

One of his more well known names, Ufuchiku Kanegushiku, offers insight into his rank. Ufuchiku was the title reserved for high inspectors, and being the high inspector in Shuri was a big deal. Ufuchiku Kanegushiku's duties varied from crowd control to specific guard duty to the king himself.

Kanegushiku was said to be a rather private man but in his later years chose to pass on some of his learning, even developing his own sai kata⁴.

Since Kanegushiku's time law enforcement on Okinawa has had a constant impact on the direction and mindset of karate and kobudo.

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1. McCarthy, Patrick. Bubishi. North Clarendon: Tuttle, 2008. pg. 83.

2. Swift, Joe. “The Roots of Ryukyu Kobujutsu.” Meibukan 10 July 2008: 2-4.

3. http://en.wikipedia.org/wiki/Pechin

4. Alexander, George. Okinawa: Island of Karate. Lake Worth: Yamazato, 1991. pg. 49.

First of all, the last T-Shirt Giveaway seemed to go over well. Happily another quality company has offered to sponsor a giveaway - Fibers.com. Fibers is a T-Shirt specific site that allows for easy and fun shirt design.  So today I get to present not one but TWO giveaways, the second being attached to my newest project.

Go on...Win Some Shiiiiirts.

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CONTEST #1: Link It Up

The rules of the first contest are very easy - link to ikigaiway from another part of the web. You can link to http://www.ikigaiway.com or any particular post you happened to like. The catch is, social media like Facebook and Twitter doesn't count. Your link has to appear on a blog, personal website, school site, etc (multiple entries for different links is allowed).

Here is a sample code snippet to help you along if you need it:

<a href="http://www.ikigaiway.com">IkigaiWay - Martial Arts Blog</a>

Once your link is live, click the following button to officially enter the contest:

Two email addresses will be drawn at random to choose a prize from the following shirt styles:

Click to Enlarge:

IkigaiWay Logo Front	7 Times Falling, 8 Getting Up
Budo is my Ikigai (spine)	Budo is my Ikigai (horizon)

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CONTEST #2: Discover Natural Karate

It's been quite some time since I've undertaken a book project, but I think you'll find this one very intriguing and useful to your studies. In fact, I'm opening up the project while it's still under development so people can provide input and gain insight into the book writing process. Check it out!

http://naturalkaratebook.com/

To be entered for this contest, simply go to naturalkaratebook.com and subscribe to the email list on that website (located right below the video in the sidebar), or use the orange RSS button at the very top of the page.

One email address from that subscription list will be selected at random to win this brand new design:

That's it! Simple and straightforward. Thanks again to Fibers Custom T-Shirts and to you for your participation! This contest will run for approximately two weeks.

Demura Sensei's impact has spanned multiple countries and genres. While establishing a strong martial federation in the Shito-ryu Karate-do Genbu-kai, he has also acted as an advisor, choreographer, and stunt double in many movies and TV shows.

Through decades of deligent study, Demura Sensei has amassed a truly exceptional resume' of experiences (too many to list, they can be viewed here). Some of his most noteworthy television/movie projects include The Karate Kid (I,II,III), Rising Sun, Mortal Kombat, Walker Texas Ranger, Warrior Within, and more.

Demura Sensei keeps a very busy schedule even to this day, but he was kind enough to answer a few questions regarding his background and projects. I will also fill in a few details regarding Demura Sensei's life as the Q&A progresses.

Please enjoy!

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Q&A

MA: Demura Sensei, Is it true that your first experience with martial arts was at 9 years old, studying the art of Kendo? If so, what inspired you to get involved so early?

FD: I started Kendo in 1948. At that time we finish the war and all house was broken. I don't have shoes so I walk by bare foot, and no food and no toy to play so we cut trees and made bokken to play Kendo. A little later someone open a karate dojo but I was too young to join so Kendo was ok. I sign up to do Kendo and later my sensei say ok, you do karate.

The dojo Demura Sensei began training at was run by an individual named Asano. Asano Sensei was skilled in both Kendo and karate, and in time chose to share both with Demura Sensei. Later Demura Sensei began training more formally under Nakamura Taisaburo in Kendo and Sakagami Ryusho in karate.

In the 1940s and 1950s Kendo and Jujitsu were more important arts in Japan than karate. I inquired as to what attracted Demura Sensei to the Okinawan born art:

MA: What was it about karate that caught your attention and inspired you to continue studying it?

FD: At that time Karate-do was mystery! I hear about but never yet seeing it, so I wanted to learn. In the dojo and life I was hard working day and night, so in time I got to see and do.

Demura Sensei trained under many martial luminaries, but in his kobudo adventures none were more impactful than Taira Shinken. Shinken has been known as one of the most influential kobudo artists of his generation, alongside individuals such as Matayoshi. I asked about Demura Sensei's time with Taira Sensei:

MA: When was your first introduction to kobudo? What made you choose to add that to your growing experiences in the martial arts?

FD: It started while at Sakagami Sensei's Itosu-Kai dojo. Mr.Taira was moving and leaving one or two years so I training every day with him in Bo, Sai, Kama, Nunchaku, Tonfa.

MA: Do you have any special memories of training with Shinken Taira Sensei? What was he like as an instructor?

FD: Mr. Taira always walked little funny (he broken leg long time ago) and he treat me every day a little different...but I found out he trained "old way" (no question, just do it). During training I adjusted myself, so he get mad at me when I do wrong. But he was very tender man and would forget what happened minutes later.

Demura Sensei combined that experience with more training from other skilled exponents, such as Motokatsu Inoue, Hyogo Kuniba, Teruo Hayashi.

In 1963 Demura Sensei was brought to the United States by his colleague Donn Draeger, and once there met an individual named Dan Ivan. Ivan Sensei was on the lookout for talented instructors to work with in his Southern California Dojo (pl), and Demura certainly fit the bill.

A few years later Demura Sensei agreed to participate in an international tournament, and that's where his love for movies and publication began.

MA: What inspired you to get involved with the Hong Kong Film industry and Hollywood in the mid-1970s? Was there something particularly attractive about making movies?

FD: It began when I did demo. At the International tournament Bruce Lee was watching and after he asked me how to use weapons. So I spent time and showed him. He used weapon for his films and I saw how he did it. After that I made Warrior Within and many other film and TV show for demo. One special was for NINJA from Nu Image Production. They use a lot of weapons and I coordinated the film.

MA: What was it like teaching Bruce Lee weapons?

FD: Bruce Lee is same like you and me, human. But he have strong ideas and he study lot. He was passionate guy so was easy to teach him.

In time Demura Sensei wrote a series of books which have since become staples of the kobudo world. In his series, each weapon receives it's own separate treatment, and in each he lays out history, basic techniques, and pictorial guidelines.

Books:

DVDs:

Out of curiosity, I inquired about which particular weapons were Demura Sensei's favorite. he answered simply that he considered bo and sai his main weapons.

Returning to the matter of teaching, especially in the modern era, I inquired about some of Demura Sensei's ideas for students and his federation:

MA: How soon do you begin teaching new students about things like honesty, honor, and good manners? Do you feel it is as important as the physical aspects?

FD: When start day one I make clean up dojo floor or flowers and I explain why you need bow and answer "Yes or Hai". I also tell why to move quickly, etc.... that is budo and traditional way...not too much technique.

MA: Could you discuss the current state of the Genbu-Kai, and how you would like to see it grow moving forward?

FD: Genbu-kai meaning is Gen(Original or professional) BU( Martial Arts) Kai (group). My point is that we teach budo. Budo is not to fight, but to make perfect person. Other meaning is that can you can become full person in society. That is Genbu-kai karate-do.

This answer can be likened to one of Demura Sensei's prior quotes: "In Genbu-Kai Karate our goal is for every one of our students to have a strong character and to have the successful life of a good person - this is the core of our way, our Samurai spirit."

I'd like to thank Demura Sensei for taking time out to answer these questions and give us some insight into how his career has developed. Be certain to keep an eye out for more projects from Demura Sensei as he is always on the move!