These two names are mentioned in the text next to the video:
Miyagi,Yagi
I looked up and found something interesting I would like to share with you:
http://en.wikipedia.org/wiki/Chojun_Miyagi
Kanchin...Kamei Uechi?
Moderator: Available
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Bill Glasheen
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Hi, Eva!
The late Chojun Miyagi is one of the founders of Goju Ryu - a style I studied up through nidan. He's a very famous practitioner.
However Miyagi is a very common name. I met and worked with an Okinawan Uechika by the name of Miyagi at one of George's camps. He was a very dear man, and I learned a lot from him.
The section you are referring to in the text is near the bottom of the video page. These are hyperlinks to other forms on the page. For example... This is the hyperlink to Yagi Sensei doing a very famous Goju kata called Seienchin.
八木明哲氏「征遠鎮」
This is the hyperlink to a Miyagi Sensei doing Unsu or "cloud hands."
宮城驍氏「雲手」
You did however give me a clue on how to find the name of the Kanchin practitioner. It is buried in this text, along with his title.
上運天 政孝氏
It isn't Uechi, by the way. Uechi (the name) looks like this.
上地
- Bill
The late Chojun Miyagi is one of the founders of Goju Ryu - a style I studied up through nidan. He's a very famous practitioner.
However Miyagi is a very common name. I met and worked with an Okinawan Uechika by the name of Miyagi at one of George's camps. He was a very dear man, and I learned a lot from him.
The section you are referring to in the text is near the bottom of the video page. These are hyperlinks to other forms on the page. For example... This is the hyperlink to Yagi Sensei doing a very famous Goju kata called Seienchin.
八木明哲氏「征遠鎮」
This is the hyperlink to a Miyagi Sensei doing Unsu or "cloud hands."
宮城驍氏「雲手」
You did however give me a clue on how to find the name of the Kanchin practitioner. It is buried in this text, along with his title.
上運天 政孝氏
It isn't Uechi, by the way. Uechi (the name) looks like this.
上地
- Bill
Bill Glasheen wrote: You did however give me a clue on how to find the name of the Kanchin practitioner. It is buried in this text, along with his title.
上運天 政孝氏
上運天 政孝氏 Kamiunten governmental filial piety person
Possible??:roll:
http://en.wikipedia.org/wiki/Akihito
Eva
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Bill Glasheen
- Posts: 17299
- Joined: Thu Mar 11, 1999 6:01 am
- Location: Richmond, VA --- Louisville, KY
You used Babelfish too? 
I don't know... These online translators have their limitation. Try putting 上地 into it and see what you get. It's the name "Uechi." Babelfish translates this as "upper area." It can't tell the difference between a name and prose.
We'll get someone who speaks the language online soon enough.
- Bill
I don't know... These online translators have their limitation. Try putting 上地 into it and see what you get. It's the name "Uechi." Babelfish translates this as "upper area." It can't tell the difference between a name and prose.
We'll get someone who speaks the language online soon enough.
- Bill
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Bill Glasheen
- Posts: 17299
- Joined: Thu Mar 11, 1999 6:01 am
- Location: Richmond, VA --- Louisville, KY
Sometimes students (and some teachers) will question the wisdom of coming up high like this for the kakushiken (Sanseiryu) or for a tetsui uchi (Seisan, Sanseiryu). They like to point out how "exposed" you are when bringing your arm up like this.Van wrote:
Notice the height of Toyama sensei's kakushiken before descending on target_ very Crane like.
Out of context, they are absolutely, 100% correct. Out of context...
But here's the thing. Everyone who sees kata movement as blocks, strikes, thrusts, chambers, etc., etc. often misses out on kata interpretation. I try very hard in my teaching to show people that pangainoon just might be interpreted as "sometimes this, sometimes that." For instance, a shoken is equally valuable as either a poking or a grabbing device. When you bend over in Seisan, you're either hitting the guy down below, or elbowing the guy who jumped your back (hence the multi-directional clearing motion after the THREE shoken techniques).
Sooo.... Anyone want to question the wisdom of bringing your arm high before executing either the kakushiken or the tetsui uchi? Hmm???
Always the teacher,
Bill
Just received this from MihoBill Glasheen wrote:You used Babelfish too?
I don't know... These online translators have their limitation. Try putting 上地 into it and see what you get. It's the name "Uechi." Babelfish translates this as "upper area." It can't tell the difference between a name and prose.
We'll get someone who speaks the language online soon enough.
- Bill
"the name can eather Kamiunten or Ueunten. There are both family name of Okinawan. There is a place name used same character in Okinawa."
[i/]
Léo
Bill> Originally posted by Van
Notice the height of Toyama sensei's kakushiken before descending on target_ very Crane like.
________________________________________
Sometimes students (and some teachers) will question the wisdom of coming up high like this for the kakushiken (Sanseiryu) or for a tetsui uchi (Seisan, Sanseiryu). They like to point out how "exposed" you are when bringing your arm up like this.
Sooo.... Anyone want to question the wisdom of bringing your arm high before executing either the kakushiken or the tetsui uchi? Hmm???<
Bill you make me smile. It is all about personal interpretation of the movement. And let’s not forget what Bob Campbell thinks about most kakushikens he sees performed. Reason why he recommends testing it against a water melon
Many senseis teach it to be thrown from a sanchin chambered arm position. Others feel that the strike needs falling from a height to carry any authority on the target for a number of other reasons.
One of my own personal interpretations of the strike is that as it rises high_ it serves to either intercept a strike with a ‘wrist block’ or block and ‘cover’ against a hook protecting the jaw or temple, while gaining height for a ‘pointed hammer’ to drive down.
So I don’t buy the ‘leaving unprotected’
Watching Kanei Uechi clips you see him raise his arm above the shoulder [not as high as the other masters] but not launch it from a sanchin position, as many advocate.
Then we see Nakahodo senseis at the end the clip below _ bring his arm way above his head_ in fact I picked up this ‘bad habit’ from him when he visited Boston years back.
Look at the clip then tell him he is exposing himself_
http://fileserver.uechi-ryu.com/videos/ ... nships.wmv
Next we can also write to Toyama sensei and ‘set him straight’ on this technique_ Or we could write him asking to explain his reasons.
Notice the height of Toyama sensei's kakushiken before descending on target_ very Crane like.
________________________________________
Sometimes students (and some teachers) will question the wisdom of coming up high like this for the kakushiken (Sanseiryu) or for a tetsui uchi (Seisan, Sanseiryu). They like to point out how "exposed" you are when bringing your arm up like this.
Sooo.... Anyone want to question the wisdom of bringing your arm high before executing either the kakushiken or the tetsui uchi? Hmm???<
Bill you make me smile. It is all about personal interpretation of the movement. And let’s not forget what Bob Campbell thinks about most kakushikens he sees performed. Reason why he recommends testing it against a water melon
Many senseis teach it to be thrown from a sanchin chambered arm position. Others feel that the strike needs falling from a height to carry any authority on the target for a number of other reasons.
One of my own personal interpretations of the strike is that as it rises high_ it serves to either intercept a strike with a ‘wrist block’ or block and ‘cover’ against a hook protecting the jaw or temple, while gaining height for a ‘pointed hammer’ to drive down.
So I don’t buy the ‘leaving unprotected’
Watching Kanei Uechi clips you see him raise his arm above the shoulder [not as high as the other masters] but not launch it from a sanchin position, as many advocate.
Then we see Nakahodo senseis at the end the clip below _ bring his arm way above his head_ in fact I picked up this ‘bad habit’ from him when he visited Boston years back.
Look at the clip then tell him he is exposing himself_
http://fileserver.uechi-ryu.com/videos/ ... nships.wmv
Next we can also write to Toyama sensei and ‘set him straight’ on this technique_ Or we could write him asking to explain his reasons.
Van
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Bill Glasheen
- Posts: 17299
- Joined: Thu Mar 11, 1999 6:01 am
- Location: Richmond, VA --- Louisville, KY
I'm 100% with you, Van. I'm just poking at people's brains a bit. This is something where I wish we had a bunch of people sitting around a dojo so we could show how this works.
I've found that the "windup" motion for this technique can be - and most probably is - a technique all of its own. It works on a principle used in aikido called "heaven and earth" (tenshi). Whether the person throws a left, a right, both, or neither technique, you can enter inside their defenses with the "windup." Once there, you are safely inside the eye of a flailing hurricane. The cocking attack becomes heaven, and the wauke becomes earth. In short, you throw the person off balance by lifting their left (from the inside) with your right, and vice versa. Even if they could counterattack, it's moot because you broke their center. Hidden in this setup (and the tetsui uchi of Seisan as well) is the right step forward. To use a phrase I like, it's the dragon's tail. Intercept the person's left front leg with that hooking right ever so slightly and the breaking of center becomes complete. From that point on, the bad guy is your you-know-what.
It works really well, and fits in perfectly with our style as in-your-face fighting.
- Bill
I've found that the "windup" motion for this technique can be - and most probably is - a technique all of its own. It works on a principle used in aikido called "heaven and earth" (tenshi). Whether the person throws a left, a right, both, or neither technique, you can enter inside their defenses with the "windup." Once there, you are safely inside the eye of a flailing hurricane. The cocking attack becomes heaven, and the wauke becomes earth. In short, you throw the person off balance by lifting their left (from the inside) with your right, and vice versa. Even if they could counterattack, it's moot because you broke their center. Hidden in this setup (and the tetsui uchi of Seisan as well) is the right step forward. To use a phrase I like, it's the dragon's tail. Intercept the person's left front leg with that hooking right ever so slightly and the breaking of center becomes complete. From that point on, the bad guy is your you-know-what.
It works really well, and fits in perfectly with our style as in-your-face fighting.
- Bill
Right on. But the people advocating the strike from a sanchin chamber may have a different view which I'd like to know.Whether the person throws a left, a right, both, or neither technique, you can enter inside their defenses with the "windup." Once there, you are safely inside the eye of a flailing hurricane.
And why even teach it from a chamber if the Uechi 'luminaries' teach it as we see it by Nakahodo sensei and Toyama sensei. Vinnie and Carlos, who have worked with Shinio sensei, report that he also raises his arm up.
In fact there is a video on this showing the 'pointed kakushiken' by Master Shinjo_
It is not a 'flop' of the wrist _ like some that I see that makes people 'wonder' about the striker
Baffling.
Van
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Bill Glasheen
- Posts: 17299
- Joined: Thu Mar 11, 1999 6:01 am
- Location: Richmond, VA --- Louisville, KY
Preferences aside...
Compare this motion to the right step, left circle, right hammerhand (tetsui) in Seisan. This is before the right hammerhand smash and subsequent left boshiken. Let's think about what you and I like about the way this is done.
If we consider the verticle direction of that right hand to be an important (significant) path, then how we hold that hand becomes important. As you well know in the fighting business, if you tempt fate, stuff happens. Murphy's law prevails. Thus the way you and I see this "windup", we have IMO an appropriate shape of the hand for both the kakushiken and the tetsui. If we "goof" a little bit (inprecision "happens" under stress) and accidentally hit something on the way up, our hands are in perfect orientations for both techniques, right? In Seisan we lead with a fist. A fist smashes things. In the final windup technique of Sanseiryu, we lead with the wrist bone, with vulnerable fingers trailing.
If you think of it this way, then it begins to make more sense. We could get at where we want to go in other ways. And frankly there's nothing wrong with a variation for application. Just cut to the chase if the target is there. But if we want the technique both to set up and to deliver, then the choices of how we hold the hand get to be pretty limited. On the way up, we lead with a strong wrist. On the way down, the fingers do their thing.
- Bill
Exactly!It is not a 'flop' of the wrist
Compare this motion to the right step, left circle, right hammerhand (tetsui) in Seisan. This is before the right hammerhand smash and subsequent left boshiken. Let's think about what you and I like about the way this is done.
If we consider the verticle direction of that right hand to be an important (significant) path, then how we hold that hand becomes important. As you well know in the fighting business, if you tempt fate, stuff happens. Murphy's law prevails. Thus the way you and I see this "windup", we have IMO an appropriate shape of the hand for both the kakushiken and the tetsui. If we "goof" a little bit (inprecision "happens" under stress) and accidentally hit something on the way up, our hands are in perfect orientations for both techniques, right? In Seisan we lead with a fist. A fist smashes things. In the final windup technique of Sanseiryu, we lead with the wrist bone, with vulnerable fingers trailing.
If you think of it this way, then it begins to make more sense. We could get at where we want to go in other ways. And frankly there's nothing wrong with a variation for application. Just cut to the chase if the target is there. But if we want the technique both to set up and to deliver, then the choices of how we hold the hand get to be pretty limited. On the way up, we lead with a strong wrist. On the way down, the fingers do their thing.
- Bill
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Bill Glasheen
- Posts: 17299
- Joined: Thu Mar 11, 1999 6:01 am
- Location: Richmond, VA --- Louisville, KY
What I like about this thinking, Van, is what I liked about some of the things Rory was teaching us at camp. There was one class he taught where he gave us 3 things he likes to do to enter - no matter what the BG is doing. They were brilliant, IMO. They happened to be moves that we can find right in our kata - moves that most people don't have a clue as to why we do them.
This is the same with this attitude about how to wind up. It's not a matter of ambivalence, IMO. It's a solution that works pretty much no matter what you do. You can choose to swing at me, or not. You can thrust straight, or flail. It doesn't matter. If I enter this way, the "stuff" gets deflected, I'm inside your space, and I break your center.
I love those kinds of techniques. You can almost close your eyes, and they still work.
- Bill
This is the same with this attitude about how to wind up. It's not a matter of ambivalence, IMO. It's a solution that works pretty much no matter what you do. You can choose to swing at me, or not. You can thrust straight, or flail. It doesn't matter. If I enter this way, the "stuff" gets deflected, I'm inside your space, and I break your center.
I love those kinds of techniques. You can almost close your eyes, and they still work.
- Bill
Agree 100% _ I also see and practice the sanser...You can thrust straight, or flail. It doesn't matter. If I enter this way, the "stuff" gets deflected, I'm inside your space, and I break your center.
opening movement the same_ conceptually, and from a variety of angles to 'burrow' and strike and take down.One variation especially from the 'dracula cape' is my favorite. Flying elbows galore.
Just don't get in front of me when I let that combination mess with you. Smile
Van
