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夏合宿、神人武館本部道場、沖縄 − 2009年7月

Summer Gasshuku, Shinjinbukan Honbu Dōjō, Okinawa — July 2009

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In July 2009, I visited the Shinjinbukan Honbu Dōjō in Okinawa, Japan. I was accompanied by my deshi Satō Masaaki, who is a native from Nagano Prefecture, but trains with me in New York City. We had the opportunity to learn under my teacher Onaga Yoshimitsu Kaichō, as well as to train with other senior members of the Shinjinbukan School. 

Welcome Party

Morning Training

Tachikata — Concepts

Dai Ichi Kihon Gata — Concepts

Onaga no Ti — Concepts

Dai Ichi Kihon Gata — Applications

Neko Ashi — Multiple Variations

Neko Ashi — Applications for Iri Kumi

   

Welcome Party

July 12, 2009 — At the end of the first evening session, Onaga Kaichō formally welcomed us to Okinawa and for ten days of training at our Shinjinbukan Honbu Dōjō.  His message was clear: "Do your best and learn as much as you can... 

Other Shinjinbukan members also members present were: Arakaki Shunichi Sensei (Secretary of the Honbu Dōjō), Jonathon Hallberg, Takaesu Shōhei, Melanie Petrak and Jūmonji Yōsuke. 

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Morning Training

July 14, 2009 - Every morning, Masaaki started the day with some basic drills: Tsuki, Keri & Tenshin. 

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Tachikata — Concepts

July 16, 2009 —Tonight Masaaki and I were fortunate enough to have a class alone with Onaga Kaichō.  The setting at the Dōjō combined explanations regarding Onaga Kaichō's technical and philosophical concepts of Ti (ティー), followed by training drills, questions and answers and more detailed explanations.  All those were interjected with some ceremonial toasts, which followed the Shinjinbukan Martial Arts etiquette, known as Reigi Sahō

To start with, Onaga Kaichō explained Tachikata, including the basic structure of each stance and how the body transitions from one position to another.  For us, understanding Tachikata is essential in order to understand Tenshin

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Dai Ichi Kihon Gata — Concepts

Kaichō also explained the evolution of Dai Ichi Kihon Gata through several generations.  First, the basic Kihon was created by Chibana Chōshin Dai Sensei.  This Form went trough a process of adaptions made by Higa Yūchoku Dai Sensei, and was further refined by Onaga Yoshimitsu Kaichō

The opening moves of Dai Ichi Kihon Gata use a hand technique known as Kaki Di.  Many Karate styles use a hand technique that resembles our Kaki Di, but in fact they are not the same.  Onaga Kaichō demonstrated the application of Kaki Di with Satō Masaaki San.  Kaichō's hand motion, tenshin and counter attack were executed effortlessly, with flowing motion and almost no power.  However, he generated a tremendous amount of force from the center of his body, which pulled Satō San and threw him two meters.

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Onaga Kaichō sat down and smiled.  After finishing his glass of sake, he looked at us with his piercing eyes and said:
"This is Ti.  You can't just talk about it, you must do it (be able to demonstrate it)"...

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Onaga no Ti — Concepts

Onaga Kaichō finished his glass of Kentucky Bourbon.  As part of Reigi Sahō, Masaaki San filled the cup once more for Onaga Kaichō.  This setting provided an important learning experience for Masaaki San as a new Mago Deshi.  Kaichō continued explaining the philosophy and concepts of Onaga no Ti: "Who am I?  You must know yourself.  I am weak and you are strong, but I will not loose..."

Next, Onaga Kaichō demonstrated shokusokugi through contact with the outside of Masaaki's wrist.  (Image 1)

According to Onaga no Ti, by using different Kamae (Guarding Postures) we control our opponent and lead them into our counter attack.  In addition, the concept of Karada wo Wakeru Hōhō divides our body into smaller sections, which fall under two categories: In and .  Below, a few examples of how to divide the body:

Image 2 — The Horizontal Line: The lower half is In and the upper half is .

Image 3 — The Ha (ハ ) Form: The area in between the arms is In and the area outside the arms is .

Image 4 — The X Form divides the body into four parts.

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Tsuki wa Ue Kara hairimasu — In the photos below, Onaga Kaichō turns the aji uki into a counter attack as the tsuki enters from above.  For Onaga Kaichō these positions are not defense tactics, but instead a way of controlling the opponent. 

Each Kamae creates an opening that invites the opponent's attack.  By choosing a Kamae, I am creating an opening for my opponent (a trap for my opponent).  Therefore, I am in control and able to lead the counter attack.

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Dai Ichi Kihon Gata — Applications

In the Shinjinbukan School, our understanding of Kata (Form) is the study of shapes or templates of all basic techniques.  In the third part of Dai Ichi Kihon Gata, Aji Uki is used as a counter attack from above (a rising strike) and not a high block.  In other words, the arm's upward motion creates an opening and enters into the opponent's space.

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Another application of Dai Ichi Kihon Gata is nagashi tsuki, which is a hand strike with longer arm extension generated from the hip without unlocking the shoulder blade.

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Next, Onaga Kaichō demonstrated other applications of the third Section of Dai Ichi Kihon Gata, by using Aji Uki with 180 degree turns and switching hands.

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Neko Ashi — Multiple Variations

The term Neko Ashi is a short name for Neko Ashi Dachi, also know in English as Cat Stance.  In Okinawan Karate there are many types of neko ashi which do not have a specific name. 

In the pictures below, we can see examples of different types of neko ashi:
  — Takai Neko Ashi: High Neko Ashi
  — Hikui Neko Ashi: Low Neko Ashi
  — Neko Ashi with the front foot closed
  — Neko Ashi with the back foot closed

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Below, we can see a few transitions between different types of Neko Ashi

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Neko Ashi — Applications for Iri Kumi

Finally, Onaga Kaichō demonstrated variations of Iri Kumi using different types of Neko Ashi Dachi

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Shinjinbukan.com は、神人武館財団により無料で提供されております。このサイトの立場は、私個人では翁長良光会長のご指導について表現するものと理解しております。したがって、会長に代わって何かを主張するものではありません。もうひとつ、弟子の一人として是非付け加えたいですが、会長の人生や口述での伝統について掲載したいと望んでおります。ジミー・モラ

Shinjinbukan.com is a free resource sponsored by the Shinjinbukan Foundation. The statements on this site represent my own personal understanding of Onaga Yoshimitsu Kaichō's teachings. Therefore, I do not claim to speak on his behalf. As one more of his students, I am eager to share his living and oral traditions. Jimmy Mora

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