Most of us as martial artists practice arts that come from east Asian countries. For the sake of performance, do you think that our diet should mirror as closely as possible the diets from the region of our respective art? Obviously, eating Sheppard’s pie before a training session might not end so well, but do you think diets deemed ‘healthy’ by Western standards really lend themselves to maximum performance in a discipline that is not?

~Nicholas

Here’s my take on it:

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I’ve always believed that the wider the understanding of an art the better a practitioner can express it. There are subtle factors that go into the growth of a traditional art that are built on generations of ritual and cultural subtext. It may seem that learning an art (say karate for example) shouldn’t involve much more than punching, kicking, kata, and fighting. Yet the expressions found in those kata, and the methods of movement, have foundational cues that are informed by the rest of the surrounding culture.

In karate, you’ll often hear terms like “low block” and “augmented block” for fundamental movements. However, if you look at the Japanese term for low block it is “gedan barai”, which is better translated as “lower level sweep”. True, Gedan Barai could be a block but it could also be much more. Understanding the language in this instance hints at the bigger picture for a seemingly open-and-shut case of technique execution. “Augmented block” is even more interesting. The Okinawans had a term for it known as “meotode”, meaning “husband and wife hand”. Without getting far off topic, let’s just say that meotode as a concept has little to do with augmenting a block, and somewhere along the line the real context got lost in translation.

Diet fits into this puzzle in a similar way.

In his book “My Journey with the Grandmaster”, Bill Hayes Sensei discusses dinner at Shimabukuro Eizo’s house (his instructor on Okinawa). After an evening of training Shimabukuro Sensei and Hayes Sensei would occassionally retire to the kitchen where they were greeted by Mrs. Shimabukuro, who would ask them what kind of training they had done that day. Depending on the intensity, method, and duration of the training Mrs. Shimabukuro would concoct different meals. The intent of her meals was to directly counteract negative effects of the day’s training.

Most people don’t think of diet as a direct part of their training program. They realize that eating healthy is good and eating fast food is bad, but don’t go too far beyond that. In an art like karate the body can be intentionally (or unintentionally) degraded in certain ways using vital point striking, joint locking, percussive striking, etc. Some of the old Okinawan masters had developed an attuned eye for the effects of herbs and natural pharmacopia on the body. They then used natural resources at hand to help aid the body in withstanding the specific rigors of karate training.

As you might imagine, practitioners like Bill Hayes gained a significant advantage by paying attention to these seemingly mundane details.

Hayes Sensei did something else important – he investigated dietary science even after leaving Okinawa. When he got back to the United States it became evident that the day-to-day diet of the Okinawans was going to be extremely difficult and expensive to maintain. Instead of reverting back to a standard American diet (a trap many of the American GI’s fell into) Hayes Sensei decided to study how he might use supplements and healthly local foods to replicate the specific effects of the strategic Okinawan meals as prepared by Mrs. Shimabukuro. He attempted to find Western equivalents of things like the Okinawan Goya, which was an extremely bitter vegetable that happened to be jam packed with antioxidants.

In Hayes Sensei’s story we see both sides of the answer to this particular question.

Should practitioners adopt the diet of the home country of their art? Potentially yes. The diet may have been specifically suited to enhance the art in question. Furthermore, countries like Okinawa and Japan naturally have more foods that are known to be extremely healthy – things like fish, vegetables, green tea, etc.

That being said, Eastern diet isn’t a unique and unreplicatable necessity for understanding a traditional art and can be replaced but smart Western eating. Science is starting to unlock some of the secrets of nutrition and a healthy, balanced diet can be established using more Western means.

I think perhaps the most important takeaway here is lining up training intent with dietary action. Going to GNC and loading up on Muscle Milk and Creotine may help a person achieve a bulky, muscular body that appeals to Western eyes but such body development is hardly ideal for classical martial arts training where flexibility, fast twitch muscles, and balanced physique is desireable. Furthermore, a one-size-fits-all diet plan for general health (lots of veggies, water, low sugars, etc) is a good starting place for any martial artist but doesn’t take into consideration the specific kinds of damage the body may go through in a particular art. In that way, observing that art’s classical diet may prove informative.

Lastly, looking at global blue zones like Okinawa, Sardinia, Icaria, and Loma Linda can help provide a basis of understanding for good longevity. Studying these places can provide ideas for integrating dietary decisions from different parts of the world with indigenous diet to form a personalized and effective wellness regiment.

Right now we are in between interviews and articles so I figured it was a great chance to gather a few fresh questions from members of the site.

So what have you been thinking about lately? Is there a specific question about style, philosophy, wellness, etc that you’d like to ask? Do you have a recommendation for an article topic?

Let me know! My response can come in the form of a new article or even video depending on the topic.

Ask Your Question or Make a Topic Recommendation:

Individuals asking questions can be kept anonymous if they feel self conscious or if asking might compromise their position with their dojo/organization. Conversely I can link to the question asker’s blog or dojo page if they’d like a little extra publicity. I’m happy to assist individuals who choose to participate here.

In this video Lindsey Sensei demonstrates a series of Matsumura Seito fighting concepts:

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Q&A

Q: You’ve seen Matsumura Seito spread out over the course of a generation. What do you think of the developments and changes or lack thereof?

What you have to understand is that Okinawan teachers and culture did not have a longing need to preserve a style 100% as it was. Instead they follow a principle known as suhari.

Suhari (su-ha-ri)….su means that the first time period (5 years, 10 years, time varies with the individual) you emulate your teacher and try to make everything exactly like him or her. Then the “ha” is another time period. During this time it is natural for you to make some changes according to what you need and can do as long as it doesn’t violate the principles of the ryu. The “ri” is when everything becomes automatic and it just “boom” happens. Really Suhari is the natural way of doing things.

This used to really bother me. I knew my kata were drifting from what I learned in Okinawa, which was natural since I was built different than an Okinawan. Over a period of time my kata became my kata although I try to keep them like Soken Sensei did, especially in principle the kata will change some what. Anybody who says they are doing Hohan Soken’s kata are not really telling the truth. They think they are, but kata drift according to what their body can do the best. This is not to mention the age factor which also alters the kata. When Hohan Soken died, his style died. The principles and how they can be applied are still alive, but my kata  became uniquely mine and so it is with all karateka.

Q: How did you come to meet Yuichi Kuda Sensei and did you train extensively with him?

Ronald Lindsey with Yuichi Kuda

I knew him in Okinawa and trained with him; but, I really started studying under him when I got directly involved with his organization (we were all Matsumura Seito). Kuda SEnsei blended Okinawa Kenpo with Shorin Ryu Matsumura Seito to found Shorin Ryu Matsumura Kenpo. I actually switched from Fusei Kise’s kata to Yuichi Kuda’s kata one afternoon; my senior student Charles Tatum and I switched once we saw how Kuda was teaching and performing his kata.

Fusei Kise is a brilliant tactician and his fighting techniques are very good. Kata-wise he does a bit of blending, and shortcuts, and his own “thing”. On the other hand Kuda Sensei was very precise and his teachings were very precise. He was not as flamboyant and flashy, but nevertheless he had really good fighting techniques too. Kuda Sensei was a bigger physical person than Sensei Kise which suited me well since I am also a big person.

It’s important to note that although there were differences between their methods, at a high level they were executing very similar concepts. When you hear these heated arguments about small details, this teacher did it such and such a way vs. the way of another teacher, it really misses the point of what the teachers were doing. They are merely executing Suhari.

One thing I think a lot of people are missing in their training is the experience of seeing the old masters train on their own. When teachers like Kuda Sensei and Kise Sensei trained on their own it was different then when they taught classes. They would ad lib and add different timings, alter techniques and other similar principles.

In the old days kata was a live thing, not meant to be set in concrete. It was a set of principles that could be tweaked and used to explore and teach and learn. In addition, using the concepts of the kata the teacher would optimize it to each individual. He would walk behind and around you and make mental drawings of your procedures and how you stand, etc. and how it could be optimized to you. Their methods would make you stronger just by correcting your kata.

Q: When you returned to the United States did you begin developing a school and association right away? If so, what were some difficulties you experienced at the time?

I noticed in the United States that there was a lot of focus on getting quick promotion. There was a big mindset (and still is) of wanting to get a one up on someone else. The problem with a lot of organizations is that they are not really organizations, they are cults. I did not do that.

We had a quality standard and I wanted people to meet that standard. Rank has a tendency to devalue over time and become worthless if there are no high standards being met. I tended to bring Okinawan Sensei over and we held a large camp to spread the cost and make it affordable for everyone involved. Not too many other people wanted to do that because they wanted extended personal time with the sensei instead of sharing that time. There was a lot of ego involved with spending time with the sensei. All of these ego trips made it difficult to teach traditional karate.

Q: Who were some of the other big players in the United States when you started your organization? Was this at the same time as men like Robert Trias and Ed Parker?

I did not know the people you mentioned. At first I only taught just a few people; I never got involved in sport karate. I did my organizational work in the late 1970’s through the mid 1980’s. My sole purpose was for education, which is why I started a newsletter at the same time based on what I learned on Okinawa  (history, technique, and kata). I believe this predated a lot of the important works done by men like George Alexander and John Sells.

We did not advertise a whole lot. We tried to select people and ask if they wanted to get involved and train with us. Although all of us in the organization did Matsumura Seito, we still invited other people because they could walk away with useful principles to add to their art.

Q: When did you meet and train with Odo Seikichi Sensei? Could you talk a bit about your experiences with him and what you were able to learn from him?

I met him when I was on Okinawa and trained with him for a while there. I got to the point where I was ready to test for Sho Dan in Nago (the location of Nakamura Shigeru’s dojo), but I was already a black belt so I couldn’t see the point in getting another one.

When I trained with Odo Sensei I wasn’t so concerned about emulating his physical technique specifically, but I liked his mental attitude and the way he treated his students. He would encourage you and would always be in good spirits. He said things like “don’t try TOO hard”, or “take it easy”. One thing he really liked to say was “kill him a little bit”, and that meant to slow down, learn the technique right, and focus on quality over raw speed or power. He was a true gentleman.

Q: Odo Sensei knew Kuda and Kise and the others as a result of the Okinawa Kenpo Renmei. Is that how you came to know him?

Toma Shian, Odo Seikichi, and Kise Fusei

No, I met Sensei Odo through a Military Police Sergeant name Fisher (who actually was an Okinawan named Higa whose step father was an American serviceman).

Kise, Kuda, Odo and others were all friends and contemporaries and at the same time they were rivals of one another. Of course at different times they were also all enemies depending on who was trying to woo students to make more money. If you got any one of them to yourself they would go ahead and express doubt/concern about the other guys, but then when they would get together they were the best of friends. It’s important to remember that the Okinawans were people, no different than anybody else. People want to better themselves financially and in terms of status. It’s important not to fault them too hard or hold them up too high. This attitude was more prevalent in Okinawa than some people would like to admit, and wasn’t unique to my teachers.

Q: How did training on Okinawa when you were there differ from what individuals might experience nowadays?

One very key difference is the military factor. If you were in the Army, Marine Corps and Navy in Okinawa you had to take, twice a year, a combat proficiency test. You trained continuously to get ready for that test which was of course getting ready for the act of combat. We started our work day way before dawn. We conducted the army ‘daily dozen’ and then finished that with a 4 mile run. After that we went to work for the US Military; at the end of our military work day, we repeated the Army Daily Dozen and the four mile run. Then we went to karate training for a number of hours. We did this five to six days a week. If you were in the Marine Recon you did a 20 mile run every day.

Going over to train in Okinawa now is less strenuous. Today visiting students don’t get up before dawn and undergo vigorous work outs before day light. Their training is different from what we did some 40 to 50 years ago. We lived a Spartan lifestyle.

Okinawan GIs (American Service men during the 1950’s, 1960’s and early 1970’s) were on the island at a special time. There were masters on the island who trained directly with older masters who were, in fact, Samurai (Shizoku). What was learned by them and initially passed down to us was the old art. That time is now gone. According to men like Kuda Yuichi and Nakaza Seiei there is more old karate now in the United States then there is in Okinawa, tucked away with the Okinawan GIs. Okinawa Sensei are now much more focused on business and sport karate. There are just a few teaching old karate and you’d be hard pressed to find them.

Q: In a lot of modern dojo we often hear the term “oss” or “osu” used. Did you detect a lot of that on Okinawa?

We never heard it on Okinawa. It was not said on Okinawa when I was there. I asked Kuda Sensei about it one time because we had a number of Shito Ryu people at one of our camps and they were doing a lot of oss-ing. Kuda Sensei said it was ok if they wanted to do it and that it just meant “hi”. I also asked Shimabukuro Zenpo, Tomoyose Ryuko, and several others all of whom said that it was not a term the Okinawan masters used.

Q: You recently released a book called “Okinawa no Bushi no Te”. Could you tell us a little bit about this work and what readers might gain from it?

The book started to be written shortly after I got back from Okinawa in 1970. I started gathering historic material while I was in Okinawa because I wanted to learn the history. I am somewhat of an amateur military historian. In my civilian job I was in the agricultural extension service, which meant I wrote thousands of newsletters and newspaper articles and pamphlets. I have written a lot of stuff over the years. Previously I had written a karate magazine for a while called “Maishin Shorinji” which was all educational. I tried to steer clear of politics and saying bad stuff about anybody because there is nothing to be gained by doing this. I tried to focus on history. Of course, there will be people who will disagree with my history and findings, and that’s totally fine. The thing about Okinawan history is that it greatly depends on who you get it from, depending on how they slant that history, and what they want you to know. All you can do is present the facts as best you can.

So I had all this material, boxes and boxes, some of it was no more than slips of paper or research notes. I got it all out and sorted into subject matter piles and reduced it down and organized it. Then I took that information and created something coherent. The book itself is divided into two main parts: first is history. I go into who the Bushi class were that developed karate and kobujutsu. Then I discuss the warriors themselves, including Matsumura Sokon and his lineage down to Hohan Soken.

The second half of the book is called “My Walk with Matsumura”. This involves more of my own personal history on Okinawa and in Matsumura Seito. I broke this second section down into four major strategies that in my opinion are essential to the learning of any martial art. These are:

* Kokoro no heiho – proper mental attitude and spirit.
* Minari no heiho – strategy of appearance. This is about what the kata is trying to teach us.
* Maai no heiho – strategy of combat distance.
* Chushin no heiho -  strategy of the center.

I include a lot of little stories about warfare and how these strategies have been used and how they relate to kata and martial arts.

I never like to get too bogged down when I’m writing. I kept the book simple and wrote it to be what it is: an old man telling stories in a way that you can read and understand and retain. It is user friendly.

Q: Where can people go to get this book?

They can get it on Amazon here, or on my home website oldfightingarts.com.

Generally I will autograph the book and write a little something in there. I try to get the book out the day after I receive an order.

Q: What could you tell the next generation of karateka to help them preserve the essence of Okinawan karate and kobudo as you have come to understand it?

In terms of passing the arts to the next generation…there are a lot of people who studied in Okinawa but have not contributed much after they left the island. They have not produced high quality students, or they have taken long extended breaks in training and then come back and want you to treat them with respect. Hell…they have moved back toward a beginner, not forward! Maintaining training and contributing to the next generation is key to becoming a true karate senior.

In terms of advice, I would have to say this – you cannot learn every kata invented, so don’t try. Find a school and learn the core curriculum. Knowing 25-30 kata does not mean you know 25-30 times more than a person who knows less kata. We (including myself) have made the mistake of trying to learn too many kata. Learn a few kata well instead of many halfway. Be stubborn and do not quit.

Thank you very much Lindsey Sensei for your great insights and stories!

I had a chance to discuss a wide variety of topics with Lindsey Sensei, ranging from his time with senior karateka to his efforts to bring karate back to the United States. We also discussed the nature of martial arts organizations and how Americans were viewed on Okinawa.

The interview below contains a mixture of video, historical photos, and q&a. Please enjoy!

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Q&A

Q: Could you provide us with a brief outline of when you decided to enlist in the military and where it took you geographically?

I actually did not enlist; I was commissioned from the Cadet Corps at Texas A&M University. I could have played professional football but I chose to serve Uncle Sam as an officer instead. I was in the U.S. Army Military Police and went to Okinawa, Korea, the Philippines and so forth. I also went TDY numerous times to South Vietnam. TDY means temporary duty.  The years that I served as active duty military were 1968-1969-1970  and for a number of years after as reserve officer. I was first stationed on Okinawa in 1968.

My main job was training military dogs. At one time I had over 300 German military police dogs. We were training sentries and scout dogs; I actually wrote the lesson plan and carried out the program to train the first drug detection dogs ever used in the military.

Q: According to your biography your study of martial arts began in 1963 in Shotokan. This would have been while you were still in the United States. Who did you study with and what prompted you to take it up?

I was from a little town called Hallettsville, Texas. We didn’t have any karate schools there. The summers when I was not at Texas A&M, I worked in Houston Texas. During this time I trained in Shotokan at Japan Ways in the Southern part of Houston. The karate training was good, but it was nothing compared to the football training I got during my college years. What we actually did at Texas A&M was probably the hardest football practices ever conducted in the game, and that was under Gene Stallings, a protégé of Bear Bryant. They made us fight against each other during the off season program. It was not Asian Fighting but it certainly was combat training. In the end there were less than 44 boys who did not quit Gene Stallings’s program out of about 140 athletes who were there when the program started. That was very rigorous training. You learned not to hesitate. This gave me an edge even when I went to Okinawa and participated in karate training, especially bogu sparring.

I don’t recall who was teaching at Japan Ways at that time, but I did pick up a number of kata including the Heian and Tekki forms, so I had some familiarity with karate training when I got to Okinawa in 1968.

Q: When you heard you were going to be stationed on Okinawa did you have karate in mind right away or were you entirely focused on military responsibilities?

The military aspect had to be the number one priority. Nevertheless, I looked for karate as soon as possible. There were two things I wanted right away when I got to Okinawa – I wanted to improve my karate and I wanted to find a Japanese Samurai sword. I was able to accomplish the former. Actually, I only saw four Japanese swords the whole time I was there. At that time on Okinawa you had to have written permission to even own one.

Q: You studied under a number of top tier masters, but who was your first teacher on the island? What drew you to him over other options?

Seiyu Shinjo Sensei

The very first style I studied was Uechi Ryu under Seiyu Shinjo. My wife and I lived in a little housing development called Morgan Manor near Kadena Village. To get there you had to go around the Kadena Village traffic circle. On that circle was Sensei Shinjo’s dojo. This is the father of the now famous Kiyohide Shinjo.

A short time after joining Sensei Shinjo’s Dojo I was on duty as the Armed Forces police duty officer in Okinawa (all company grade officers in the First MP Group were required to serve about once per week as duty officer). One of the Duty Officers “check points” was to check the MP Sub-station in Koza. While I was at the sub-station I told one of our interpreters about how I started karate. He said, “ohh, the person who owns the store next door also does karate”. So I went over there and ended up meeting Seizan Kinjo (alt. spelling: Seizen or Seisan), whose parents actually owned the store. Seizan Kinjo lived either on top or behind the store at that time and was a student of Shorin Ryu Matsumura Seito under Grandmaster Hohan Soken and Master Fusei Kise. Matsumura Seito was a direct Shorin style stemming from the famous Matsumura Sokon.

I started training with Kinjo Sensei. We would meet at that store and then go down a nearby alley to Sensei Kise’s dojo where we would work out. At that time I was the only American in the dojo. The training was about 50% kata and 50% bogu gear fighting.

Q: Could you tell us what Seizan Kinjo was like as an individual? Was he stern, fun loving, etc?

His personality was jovial and easy to get along with. He was really strong for his size. At that time in my martial arts career he was the type of teacher I needed. We did kata training but it was not very strict. What he wanted to do was teach both bogu gear fighting (fighting with kendo like armor) and then real fighting techniques. Much of what we did was called tuite but was different than the tuite you see nowadays.

The tuite we did on Okinawa , at least that I learned, was mostly pressure point hitting. The only major difference between our tuite and regular karate was instead of striking we used compression with our thumb or one of the knuckles of the fingers. Now it seems like a lot of modern tuite is almost like jujitsu; we didn’t really do that. Encounters in those days were over in a second or two…or half a second.

Q: How did your training with Seizan Kinjo Sensei eventually lead to your studying with Hohan Soken Sensei?

Well Soken Sensei was the head of the system, so everybody drifted toward him. Especially the summer of 1970 I would go with Seizan Kinjo and we would train in Soken’s dojo.

Q: Was Hohan Soken able to practice/demonstrate/conduct class himself or had old age relegated him to the sideline?

Hohan Soken performing Nukite

The thing about Hohan Soken is this – he, and people of that generation, did not have formal classes. You did not have classes where you lined up, bowed in, and things like that. They did not use formal terms for a lot of things, you were expected to watch and follow and they would correct. They didn’t focus on a lot of verbal bunkai discussion. Some people found him to be stern but I did not think that. He was very capable for his age and he would demonstrate, counter, and so forth.

Yuichi Kuda said Soken taught 50/50 kata and fighting techniques. I found him to do more fighting technique training than say Sensei Odo (Okinawa Kenpo), who focused more on kata.

Q: Did Soken Sensei have much of an issue with you as a foreigner?

No. That is the biggest falsehood that I hear about American karate is that the Okinawans didn’t like us or train us. Think about it this way – I was side by side with Okinawans training at the same time. When did these Okinawans supposedly learned ‘special techniques’ separate from what I learned…at 3 in the morning? We were there, they were there, it was all the same thing. Sometimes we had difficulty with understanding the language, but that was the only barrier.

Q: Do you feel as if the Okinawans would make character judgments on foreigners and restrict certain teachings as a result?

Not particularly. If a person came to the dojo regularly he received training. Now, there are certain levels of absorption that have to take place before you are able to learn certain things. Some things they tried to teach you and you may not have been capable of learning. Many Americans that studied on Okinawa returned to America shortly after their time there. Now they may have received a black belt rating while there, but they also may have quit practicing or may have never received another teacher.

Had they gone back and found a teacher, the second levels and third levels of learning may have gradually sunk in, but there is a time element involved that cannot be shortened due to the physical and mental level of absorption. On Okinawa, unless a person was a real “jerk”, they received training. In some cases senior students would show us advanced stuff when the senior sensei wasn’t looking.

Q: Could you describe some of the unique characteristics of Matsumura Seito? How much emphasis did Soken Sensei place on Hakutsuru forms and techniques over other methods?

Hohan Soken’s style compared to other Shorin Ryu styles is different. In Soken’s style there was not a lot of block-then-punch and there was no fighting or punching with the hand chambered on the hip; chambering the fist was mainly done only during kata. The hands were always out in front and techniques were done at one time, block and strike at the same moment. Tai sabaki, body change, was used at all times.

Soken’s karate was never associated with the karate that was brought into the Okinawan public schools systems. They (my Okinawan teachers) called Soken’s karate “straight karate”. They meant it was a straight line from Matsumura Soken, through Matsumura Nabe, to Hohan Soken. Other styles of karate that were being modified and put into the school systems they referred to as “school karate”. “Village Karate”, like Soken’s style, was considered by my teachers to be unaltered and different from the school styles.

In Soken’s style the hands were held open and the finger tips were used heavily. A lot of pressure points were used and low kicks. For example, Hohan Soken did not have a back kick. He would just change body 180 degrees and use a low front whipping kick. He did not bring his knee up, he would cock the heel backwards slightly and then whip the foot up from the ground, using the big toe as the impact point.

Hakutsuru was seeded throughout the whole style. A lot of the village karate kept many of the techniques that were discarded in school karate.

Hohan Soken performing Passai Sho, narrated by Ronald Lindsey:

Q: Did Soken Sensei have any anxiety about the changes going on in karate, especially in terms of modified techniques and kata in school karate?

I have a letter in my book where Chibana Choshin wrote to Hohan Soken, inviting him to the meeting in 1956 (where they started the first Okinawan Karate Renmei) to discuss these matters. Soken was troubled at times with the idea that karate was changing and so forth. He made very little changes in his own style from what he learned when he was younger. Some changes were made of course as he got older because he had to adjust what he was capable of doing and what he understood.

Q: There isn’t much known about Hohan Soken’s teacher, Matsumura Nabe, and the other direct students of Matsumura Sokon. Did Soken Sensei ever discuss his teacher or that generation?

It’s important to understand the Okinawan culture in regards to this, especially people of Grandmaster Soken’s generation. They were old and it was considered disrespectful to ask questions like that. They would offer some little things sometimes. One time Soken Sensei told a story of Matsumura Nabe doing his kata and Funakoshi Gichin (the founder of Japanese Karate) was caught watching Nabe Sensei’s kata through a hole in the fence. Besides such stories from time to time he didn’t say much. I know he looked for Matsumura Nabe when he returned to Okinawa  in 1952 from Argentina. It seems that Nabe died sometime around World War II or just prior to the War.

Matsumura Nabe

In regards to Matsumura Nabe – the “Nabe” was actually just a nickname. If you look at his name when you see it written in Japanese it is never written in kanji, it’s always in hiragana which means it is a pronunciation instead of “picture writing”. Yuichi Kuda said that Nabe was a “baby san” name. Nabe’s last name might not even have been Matsumura, it could have been something else. I have some more extensive research in my book, but off hand I recall that Matsumura Nabe may also have been called Nagahama Nabi no Tanmei and maybe even Ko Ishigawa (Okinawa no Bushi No Te pg.136-137).

The Okinawans often had multiple names throughout their lives. Sometimes they would use their wives maiden surnames. In the case of Nabe specifically, there was a period in his life when he was on the run from the Japanese. He supposedly hid out on Ishima for a while. He might have actively avoided the use of the name Matsumura.

There is little recorded history of Matsumura Nabe and karate in general, and even worse a lot of historic objects were destroyed during the Battle of Okinawa.

Q: How much focus did Soken Sensei place on bunkai during training?

Generally The Okinawans didn’t teach bunkai. The trick was to ask them leading questions. If they showed you something you would have to tell them that it wouldn’t work, then they might show you something a little more. Bunkai, as it appears today, is a non-Okinawan need. The real secret to Okinawan karate is not bunkai, it’s the coordination of trying to perfect kata. That, combined with the principles of shuhari, lead to exceptional coordination and understanding. When your coordination is really good you can do many things as a reflex action; this is the last step in shuhari.

Mr. Kuda would say “your bunkai good, his bunkai good, everybody’s bunkai good”.

A lot of time when asked about bunkai they showed a technique that didn’t resemble the kata. Sometimes information would only come after a bit of quiet discussion, or nudging, or coercing.

Q: Could you talk about when Fusei Kise began his study with Soken Sensei and what role he played in the dojo?

Fusei Kise was a senior in Soken’s dojo, although he was not the only senior. Soken Sensei had what we called the ‘big 5’ – Arakaki Seiki was his senior student. I believe Arakaki’s father and Soken were boyhood friends. They both grew up in Nishihara Village. Arakaki was #1. Mitsuo Inoue was second. In addition there was Kohama Jushin, Nishihira Kosei, and Nakazato Hideo. Those five guys were from the Nishihara village area and studied more with Soken than many others. That being said, there were others that studied too, including Kuda Yuichi, Fusei Kise, Nishimei, Takaya Yabiku, Ushiro, and Saha, etc. Many people also came to Soken Sensei for specialized training, say in the sai or bo or fighting techniques. Even Shinken Taira came to him on some occasions. He had a lot of students.

Seated from left to right – Mitsuo Inoue, Hohan Soken, Seiki Arakaki. Standing left to right – Kosei Nishihira, Hideo Nakazato, Jushin Kohama, unidentified.

There is often discussion regarding whether or not Kise was the direct successor to Soken Sensei, and if Kise received a Menkyo Kaiden (scroll of direct transmission). Let’s go ahead and look at that a bit. This should be read with the understanding that I studied with Kise; his skill and mastery of Matsumura Seito are not being called into question.

First of all, it would have been out of character for an Okinawan of Soken’s generation to issue a Menkyo Kaiden to anyone. That was not a widely used Okinawan method of the time; it was more based in Japanese arts and only came into practice later as Japanese influence gained momentum in Okinawa. As such, I do not believe Kise Sensei received a Menko Kaiden from Soken.

Hohan Soken died in 1982. At that time Kise Sensei claimed that he was the successor to Matsumura Seito. I wrote an article back then entitled “The Last Samurai” covering that issue. After extensive research I found no declared heir by Hohan Soken. Arakaki Sensei went directly to Kise and asked if he received a Menkyo Kaiden from Soken, and the answer was no.

Kuda Sensei also said no, that this transmission did not occur and that the successorship would go by age starting with Arakaki.

I have been told that in Kise’s dojo there was/is no Menko Kaiden from Grandmaster Soken.

Fusei Kise

Hohan Soken had a falling out with Kise in the late 1970s. I don’t know how well they mended those fences before Soken died.

I have been told that Soken Sensei denied Kise permission to use the name Shorin Ryu Matsumura Seito, which I think was the wrong thing to do. Certainly Fusei Kise was an expert in Soken’s art. I think that after a number of years went by and people started dying, including Arakaki, Kise took whatever legal action was needed to get permission to use that name. I also believe it was correct for Kise to use the name Matsumura Seito due to his hard work and dedication to the style.

Of course there is the matter of the Japanese Government recognizing Kise as a progenitor of Soken’s style. I don’t think the Japanese government can truly take a family art and give it to another person. They can provide permission to use the name, but can the government give the style over to someone? I think not.

I could be wrong on this topic…but my research has been thorough and I have spoken with a good many Okinawans on this subject, all of whom were close to the situation and tend to agree with me.

Read Part 2 with Ronald Lindsey Sensei!

Back in PA I had a very steady schedule of both teaching and learning at my instructor’s school. Of course, when you move across the country that week-to-week exposure is somewhat compromised. As a result, I had to be very proactive in not letting my training slip into a state of dormancy. I felt I had two good options for keeping myself engaged:

1. Find some students and start up an Okinawa Kenpo program.
2. Find opportunities to expand my experience.

In time I knew I could potentially do both, but trying to take on too much right away would have been an overwhelming mistake. After some careful consideration I decided on option #2. While exploring potential schools in my new area I stumbled across something very interesting. My county was advertising an auxiliary program connected to the Sheriff’s office known as the Community Safety Volunteers. Unlike a typical neighborhood watch, these “CSVs” were a much more integrated part of the law enforcement process and actively helped deputies out on patrol. I was intrigued, to say the least.

Motivation for Joining the CSVs

I’ve been an instructor of martial arts for 12 years (student for 18) and have always taught on a volunteer basis. Helping people grow and keep themselves safe is a potent reward in it’s own right. However, I’ve never been a soldier or policeman or bodyguard, jobs that empower a person to take an active role in populace protection. This CSV opportunity seemed like an ideal fit for someone like myself who operates a business outside of martial arts but still wants to contribute.

After reviewing the training and responsibilities for CSVs I knew it would be a great way for me to learn, grow, and give back.

The CSV Curriculum

Training for the CSV program is more intensive than I initially expected. Since my county is putting volunteers in marked cars and in uniform they must provide training to match that level of visibility. Of course, since CSVs are not full fledged officers they cannot carry deadly weapons and do not receive training with them. However, they do provide over 11 weeks (multiple days a week) of hands-on learning with officers regarding law enforcement, self defense, community safety practices, patrol, and more.

It’s important to distinguish that we as volunteers will not be kicking down any doors or busting any drug rings. In fact, “Dirty Harry” antics are one of the Sheriff’s biggest fears with the program, and why the selection process for CSV recruits took over a month. Our job is just as the program name suggests – help improve law enforcement visibility and do our best to enhance the well being of the community.

As of right now I am only about 1/4 of the way through the academy. However, we’ve already had some interesting classes on ethics, history, etc. Two of the most notable classes for me as a martial artist were verbal judo and basic law enforcement self defense. Verbal Judo sounds a little tongue-in-cheek but they actually provided some interesting concepts for argument deflection, deescalation, and compliance. The self defense portion involved techniques that would be very familiar to most martial artists, except they put a high emphasis on verbal commands in addition to physical technique. Powerful verbal commands really aid in compliance and, should anyone be filming the situation, clearly indicate the intentions of the officer or citizen who is attempting to defend themselves (remember, onlookers may not really know who the victim is and who the perpetrator is).

More to Come

In the midst of all my new learning I am making sure not to lose too much momentum in my Okinawa Kenpo Karate and Kobudo or my kenjutsu. However, I am thankful for the chance to expand my personal experience and grow as a martial artist.

Any valuable lessons I learn will be posted here on the blog, so please stay tuned and ride along with me!

Let’s lay down a baseline definition of what control is in the context of martial training:

Control Rule #1: Execute techniques accurately to the intended target with proper form.
Control Rule #2: Execute techniques while preserving the safety of your partner via force temperance.

Rule #1 explains that your technique must express the intended concept as being taught. As such you must be able to strike to the correct anatomical parts of the opponent or execute joint locks and throws while using proper fundamentals (like kuzushi).

Rule #2 suggests that in order to preserve the safety of your partner you must be able to strike, joint lock, or throw with appropriate distance and power. That means if you can do nothing but full power or wild techniques you lack the needed control to train at a high level. You can’t be trusted with effective techniques.

That’s it! Well…that’s it if you want to understand the basic, foundational aspects of control. Of course, as training and experience piles up practitioners can begin to explore deeper implications of how to use their body to maximum effect. To demonstrate these more advanced ideas, I think showing as well as telling would be appropriate.

Watch the following video for a higher level discussion of control in martial arts training:
(If desired, click the small gear in the lower right corner to select 720p, high quality video. If choppy, let it load all the way)

As the video explains, sharp techniques that are fast and well placed do not automatically qualify as “well controlled”. Once a practitioner gets passed the basics they need to learn how to execute techniques that are completely capable of doing damage, but by the choice of the practitioner, are withheld.

“The choice of the practitioner” – that’s a key thought. As you might imagine, certain training wheels and precautions have been put on classical styles of martial arts over the years so as to avoid placing extremely effective techniques in the wrong hands. When a practitioner learns to be more deadly it is only their character and mental control that stays their hand and guides them.

To understand control fully, the methods of the body cannot be separated from that of the mind and heart. Mental control allows a person to maintain perspective even in times of high stress, choosing the right level of force for the occasion. Emotional control prevents anger, resentment, and fear from overtaking better judgment.

A good classical art will build all of these things over time.

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When the Fight Goes to the Ground Paperback + DVD: $11.14 Kindle Edition: $9.99

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First, I’d like to explain how I approached this work. My primary background is in karate and kobudo, which means the ground is not my preferred fighting range. Luckily I’ve had a chance to train with some good jujitsu and aikijujitsu people over the years so I’ve graduated just slightly beyond “floundering fish” when taken down. Additionally, I’ve never been keen on sport competition; while I believe it can ingrain a strong fighting spirit and high level of performance I also believe it can instill bad muscle memory habits that the body will fall back on during moments of stress. When this book came to my attention I was particularly interested since it filled a tactical weakness of mine (ground game) while staying focused on real self defense (not sport fighting).

As you read the rest of my review, keep this perspective in mind and use it to inform your own opinion regarding what value this book might bring to you.

What You Get in the Book

They say never judge a book by it’s cover, but how else are you going to get a first impression? When I initially picked up “When the Fight Goes to the Ground” I was quite taken by the sheer quality of construction. The paper is very thick stock and features photo gloss finish which makes each page feel substantial and allows the images to pop with clarity. This may seem like a trivial matter, but when trying to understand techniques from a few action pictures every detail counts.

Once I was done ooh-ing and ahh-ing over paper quality I actually cracked into the content. There are 18 chapters in total, but they can be broken down into two major sections:

* Section 1: Information. Ms. O’Connell explores statistics about ground fighting, good and bad ideas when grappling, and overarching strategic objectives for her self defense methods.

*Section 2: Techniques. After laying down the groundwork (pun?) Ms. O’Connell provides detailed examples for some of the most common methods of getting attacked and makes recommendations for fighting back as well as escaping.

My Thoughts on the Book

Long time readers know I rarely slam books that I don’t like, but I’m also not afraid to make a critique now and then. That being said, I really liked this work. Right from the get-go Ms. O’Connell addressed almost every nagging concern I had stemming from previous “ground game” books I’ve read. For example, if an instructor starts a book or seminar by saying “80-90% of fights go to the ground” I am immediately suspicious of their ability to do basic research. Ms. O’Connell, despite being a ground game enthusiast, makes no such unsubstantiated claims. In fact she provides some of the real research on how many fights actually do go to the ground, and the context in which those studies were conducted (ie: law enforcement).

Her candid nature continues as she explains that going to the ground and staying their isn’t necessarily the best choice when it comes to self defense. Variables like dangerous environment, multiple assailants, and more play into her self defense methods. She is also keen on striking vital points whenever possible (which warms my karate heart).

One issue I did have while reading the book is that I couldn’t grasp the intricacies of some of the techniques being demonstrated. While the pictures were high quality they couldn’t quite capture how Ms. O’Connell was shifting her weight, manipulating the opponent, and sequencing her strikes. As a non-jujitsu-ace I felt informed, but not to the point where I could put her tactics into practice for myself.

Luckily for me there were visual aids, which takes us to the second component of the review…

What You Get in the DVD

The companion DVD is a step-by-step re-creation of the tactics described in the book. Ms. O’Connell provides a brief introductory explanation and then launches directly into body movements, methods, and scenarios.

Much like in the book, the topics discussed include:

* Breakfalls
*Positional Maneuvering
*Defense Against Standing Opponents
*Defense Against Mounted Opponents
*Applying Joint Locks
*Defense Against Joint Locks
*Defense Against Multiple Attackers
*And more

Here are a few words from the author on why she decided to create “When the Fight Goes to the Ground” and some clips from the DVD:

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My Thoughts on the DVD

Making videos isn’t easy but I think Ms. O’Connell and her assistants did an admirable job. First and foremost, I was happy to see the techniques put into action. Jujitsu can be very subtle at times and requires acute control of body weight, balance, and momentum…all of which can be tough to capture via static images alone. I also enjoyed Ms. O’Connell’s presentation and execution. Many self defense DVD’s feature 200 pound ripped ex-marines whom I have a hard time identifying with. Ms. O’Connell is very fit and very capable but also the size of a normal person (like myself), so I got a lot more out of seeing her execute techniques than I would…say…a pro-level UFC fighter.

One subtle thing I liked about the DVD was the use of one tall and lanky attacker and one stockier attacker. Ms. O’Connell discusses the importance of body type in the book and then carries that concept through to the video. Watching the different challenges presented by both attackers was valuable.

Final Verdict

“When the Fight Goes to the Ground” gets my endorsement. This is a work I intend to visit again in order to integrate some ideas and methods into my own training and teaching. If you’re looking for practical, repeatable self defense tactics for ground fighting that don’t require high level acrobatics then this might be the book for you too. When taking into consideration the extremely reasonable price point it’s tough to pass up.

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When the Fight Goes to the Ground Paperback + DVD: $11.14 Kindle Edition: $9.99

“ A long time ago, there was a karateka whose name was Machaa Buntoku or Kinjo Matsu in Itoman village, Okinawa. He was born in 1867. People said that he had been practicing karate in Fuzhou city, Fujian province, China and mastered the fighting arts in depth.

Hearing about Machaa Buntoku, Miyagi Sensei, the founder of Gojuryu, visited him together with Sensei’s disciples, Jin-an Shinzato and Seiko Higa. Miyagi Sensei asked him to show them his best Kata that he mastered in China. Then Machaa Buntoku put on Hachimaki (=headband) and performed a strange dance in front of them. He danced and danced. Seeing his strange dance, Seiko Higa thought this old man must be crazy or mad because of his old age. Jin-an Shinzato who was yet young at that time lost his temper to see his dance and told him “OK. Dance is enough! Show me your fighting technique! I will be your opponent.” Shinzato delivered a karate blow at him, but Shinzato was thrown down by the dancing old man and hurt his back. He lost face. Everyone there felt awkward about it, so they bowed to the old man and went home. On the way home no one spoke.” –  by Kiyohiko Higa, Translated by Sanzinsoo

Dance has always been an important part of Okinawan culture. Ranging from the famous Eisa Dance During Obon Festival to rarely seen village dances, the breadth of Okinawan musical expression is almost as diverse as it’s martial arts. What many people don’t realize is that martial arts and dance did not simply coexist throughout Ryukyuan history, but came together in very important ways so as to preserve the essence and spirit of Okinawa itself.

In this article we’ll explore how and why dance and karate intermingled. We’ll also discuss how the concepts preserved in dance are important to the understanding of karate as a complete life protection system.

Our study begins primarily in the 1600s. Before that time both dance and martial study existed, but we have very little information on how they might have influenced each other. However, in 1609 a cataclysmic shift in Okinawan culture and history occurred, bringing on a sharp need for secrecy and subterfuge.

The Shimazu Clan of Satsuma, Japan had a long standing claim on Okinawa, but their concerns on mainland Japan never allowed them to focus much on the small island chain. Unfortunately, as the Warring States Period dragged on and Tokugawa Ieyasu made his push for dominance over Japan, the Satsuma Samurai found themselves on the losing side of the Battle of Sekigahara and ultimately the war. Ieyasu, once comfortable in victory, realized the bubbling cauldron of potential trouble that the Shimazu represented. Instead of allowing them to fume away and scheme their eventual reprisal, Ieyasu suggested they set their sites on conquering the Ryukyu island chain to the south which had for years skirted their responsibilities and tributes ‘owed’ to the Japanese.

The Shimazu clan, seeing an opportunity to extend their influence and test their skills once again, agreed and set sail. The Okinawans, while fierce fighters and brave warriors, were under-equipped and under-manned. They stood little chance against the Satsuma fighting machine.

Going Underground and Adding Disguise

When the Satsuma conquered Okinawa they laid down a series of rules. First, they realized that Okinawan weaponry was already centralized around Shuri (the general populace was disarmed so as to avoid splintering factions on the island). The Satsuma decided to go one step further and remove all potential for a standing army on the island. The only individuals allowed to have weapons were the highest warrior and royal families, and most of that was just for ritual. In addition, the Japanese planted roaming informants known as metsuke to keep an eye on all Okinawan activity and either report misconduct or cut it down directly.

As a result of the Satsuma occupation the Okinawans had to be extremely cautious regarding the militaristic arts they demonstrated. Practicing tode (the predecessor to karate) and kobudo (weapons arts) became a dangerous proposition, even when training in private. As such, many teachers took their arts ‘underground’ and only studied at night or in locations away from prying eyes.

The royal court at Shuri became aware of their conundrum: they needed to continue developing their skills in order to protect the king but could not openly practice their most effective techniques. Being privileged members of Okinawan society, they still had rights to art forms like calligraphy, poetry, and dance. They decided upon an ingenious solution…bring the worlds of dance and martial arts together.

The Dancers with Dangerous Hands

“The te-waza in Tuiti are believed to arise from variations on three hand applied positions that correspond to those used in the Ryukyuan Court Classical Dances: oshi-te (forward push hands), ogami-te (supplication hands), and koneri-te (kneading hands). Positions appear in the earliest poetry collection of Ryukyu, Omorosaushi (1531-1623), and gestures seem to have been used in rituals and ceremony in ancient Okinawa. These gestures are said to have been incorporated into the court dances by Tamagusuku Chokun (born 1684), who was connected to the Motobu Udun.” – MotobuRyu.org

Tamagusuku Chokun may have been an important figure, but the overall integration of dance with martial arts cannot be traced back to a single individual. Most villages on Okinawa and the outlying islands had their own cultural dances serving varying purposes, including celebrations,  tributes, and commemorations. However, there are two specific ‘groups’ who did extensive work in building and preserving dance, and must be mentioned explicitly.

The first group is women. Ancient Okinawan culture placed women in positions of high regard when it came to spirituality, history, and cultural expression. As such, while dance was expressed by both genders it frequently fell to women to preserve and transfer forms. It was only natural then for the women to uphold dancing traditions even as the resident martial experts infused deadly concepts into the movements.

This example is the Hatuma Bushi dance executed by Chibana Kazuko:

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The second group that requires further mention is the Shuri court. The court eventually involved individuals like the great Matsumura Sokon, but was centralized around the Motobu family. For generations the Motobu’s were responsible for the protection of the king and served as his closest aids. They often traveled with him and were always present during court events. The Motobu’s also represent the longest discernible linear lineage in Okinawan karate history. They developed and preserved Motobu Udun Di, the Palace Hand.

The Motobu’s were an interesting group because not only did they have to protect the king, but also had to put on impressive demonstrations whenever Chinese Envoys came around. Even though Okinawa was dominated by Japan after 1609, trade with China still took place. This was unusual since economic and political relationships between China and Japan were extremely strained at this time. As a solution, the Japanese and Chinese played a clever game of look-the-other-way while on Okinawa so as to continue trading with each other through the Okinawans. As we’ll see, that continued connection to China was integral in the martial/dance development of Okinawa.

Flowing Fundamentals from Across the Sea

“There is a clear correlation between traditions of martial arts and the dances which are indigenous to regions in which those martial arts may be found. In Okinawa it is likely that Chinese martial arts and dances influenced the interpretation and performance of Okinawan martial arts and dance.” – Hakuda Ryu

Many of the connections between dance and tode seem to relate back to fundamental Chinese sources. The effects of Chinese chuanfa on tode is undeniable, and the flowing grace of Chinese techniques seem to have lent themselves naturally to dance. The Chinese families who settled on Okinawa (predominantly in Kumemura) were heavily involved with court life. Therefore, it is a likely possibility that dance and martial arts were simultaneously influenced by the respected Chinese residents.

One important aspect of integrating Chinese elements into dance and tode was the full range of effective damage those techniques allowed. The royal court and guard were responsible for a wide variety of activities, ranging from killing intruders and pirates, to subduing rabble-rousers, to performing for Chinese Sapposhi (dignitaries). As such, they needed a full arsenal of techniques that could quickly and effectively activate pain compliance, mechanical compliance, or lethal force (very much like modern day police officers). In fact, there was an element of honor in control specifically associated with the royal family’s martial practices:

“In addition to the hard techniques of strikes and kicks, Motobu Udundi had a system of joint locks and throws called Tuiti . Among the Ryukyuan Royalty, use of  Tuiti was passed down in secret only Udun among the Motobu. The aim of Tuiti  is to subdue an opponent without causing harm, in the spirit of royal benevolence.” – MotobuRyu.org

The Motobu traditions were certainly unique, but the concepts of preserving tode via dance manifested all across the island.

Modern Examples of Dance in Action

Thanks to the efforts of a few skilled martial artists and Okinawan culturalists we have examples passed down to us of Okinawan dance. Even more valuable are those individuals who have preserved some of the meaning behind the movements.

Our first modern example demonstrates that tode wasn’t the only beneficiary of dance preservation; kobudo was just as positively affected. In fact, in the days of the Satsuma occupation it may have been even more important to preserve weapon arts in a hidden manner.

Next is one of the most important karateka of our time, Uehara Seikichi. Uehara Sensei was the heir of the Motobu Udun Di line (the first none Motobu to claim that title). He worked diligently to explore the connections between his art and the popular dances of Okinawa. In the following video, a skilled dancer performs Hamachidori and Uehara Sensei explains some of the most basic tuiti joint locking concepts hidden within. Uehara Sensei also executes an important footwork concept known as Tachu Gwaa in which he walks around his opponent using a very natural posture:

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‘Dance techniques’ are not just relegated to graceful and slow demonstrations. When used in earnest they can express the most fundamentally effective aspects of karate. They also tend to excel at ‘chaining’, providing opportunities to strike/grab/kick/bend/push in a smooth series without pause.

Bill Hayes Sensei occasionally demonstrates a portion of technique based off the popular dance Kachashi. The intriguing thing about Kachashi is that it has fundamental movements similar to those expressed by Uehara Sensei in the video above. However, it is also considered a ‘freestyle’ dance form. Hayes Sensei uses this set of concepts to execute a string of techniques that combine striking, tuiti, kicking, and kyusho activation. Furthermore, he enters the ‘dance’ against full speed attacks.

Neglected but Important

Dance is not (and probably will never be) a well known part of karate’s history. It is not useful in tournaments and does not particularly appeal to Western sensibilities. Nevertheless, some of the most effective and important aspects of karate are contained within and understanding karate history is impossible without factoring in all of the cultural elements that were so crucial to survival on the island.

While dance is certainly not required to be a good karateka, being aware of it honors the efforts of prior generations of both men and women on Okinawa and helps modern practitioners grasp the full possibilities of the art.