Makiwara

striking board

The practice of ‘fresh air’ punching only, never gives one the true feeling of actually striking or punching and opponent. This type of training also encourages bad striking and punching habits as there is no measure between your technique and end-result. Our heads are made up of bones and cartilage and is mostly hard and solid, similar to a standing makiwara (tachi makiwara) – see illustration. Therefore it is imperative that one’s hands are conditioned to resist the impact otherwise the first strike to your opponents’ head could damage the bones in your hands or wrist. The makiwara not only aids in strengthening the hands and arms, but it also helps strengthen one’s stance and coordinating one’s breathing. Punching ‘fresh air’ does not cover all these aspects.

The are two types of makiwara, the tachi-makiwara and the age-makiwara. The most common version of the makiwara is the standing makiwara (tachi makiwara). However, there are also two types of standing makiwara:

Chishi

weighted lever

Sashi

weights

Sashi, hand held weights used during blocking and striking practice. Traditionally sashi is made of stone. A pair of 6-10 pound dumb-bells serve the same purpose. This exercise is very good for developing arm and shoulder strength.

Kami

gripping jar

Tetsu geta

iron clogs

These are iron clogs, used to strengthen kicking techniques.

The Tetsu-geta or iron sandals, for leg strength and kicking. (Much better for foot strength than modern ankle weights. The foot actually must grip the sandal, and the weight is at the far extremity of the limb, adding to the difficulty of the device. Because of this, fast kicking, which would be dangerous to the joints if using ankle weights, is not possible, and therefore the use of the tetsu-geta is preferred to the modern devices.)

Makiage kigu

wrist roller

This is a wrist roller, a wooden handle with a weight hung in the center on a rope. You twist the handle and wrap the rope onto it, raising and lowering the weight, and strengthening the wrists and grip.

Yari bako

Sources used:

The Southern African Okinawa Goju Ryu Karete-do Jundokan Kyokai - web site

Article – Supplementary Weight Training by sensei John Porta & Jack McCabe

nose smash with a fist

This is very basic karate technique. One should keep in mind that this punch is not same as punch in sport karate.In modern karate it is very often used for thrust to opponent trunk, however this is not very effective in self-defense. In old karate fist is aimed at opponents nose.

Tips: Grab opponent’s arm and pull it. This is called hiki-te. You will control your opponent and make your strike much more powerful.

Reference kata: Seisan

Pinnan katas

Source 1:
“Seibukan katas” by Kim Mitrunen & Tommi Prami

Itosu Anko, who was a sensei to schoolchildren, developed this series of kata. Itosu took elements from different kata, Kusanku for example, and incorporated them in the series of forms. It is interesting to note there is mention that elements of the old Channan kata located in the techniques of the Pinan series. In Okinawa, there are still some teachers who say that they still know how the kata Channan is performed, but the likelihood is that the kata does not exist in complete form anymore. The Pinan series contains many high stances like choku dachi and narrow stances like neko ashi dachi. There exist many basic foundation maneuvers in the Pinan kata, as well as many basic techniques, presented in an easier format than the complete traditional kata they came from. In many mainstream Japanese styles, Pinan is known as Heian. Funakoshi Gichin made this name change. His philosophy was to teach Pinan Nidan first because he felt it was an easier transition into the Pinan series.

The Pinan Katas (Ping ‘An in Chinese) are very important. The name Pinan means “Peaceful Mind.” This name seems to be inspired by the Bubishi. In article 1 on the History and Philosophy of White Crane. It says, “Immeasurable self-conquests are made possible through a peaceful mind and inner harmony. The strength and resiliency gained from martial art training fosters an inner force with which one can overcome any opponent and conquer worldly delusion and misery.” Pinan Shodan and Nidan were created by Bushi Matsumura, and were originally called Channan Sho and Dai. They were based on kata taught at Fukien Shaolin in the Five Elder style. The Chinese reading for this name is “Chiag Nan.” Chiag Nan was the name of a Chinese Diplomat who resided Shuri. It is possible that Bushi got the techniques from him. Itosu created Pinan Sandan, Yondan, and Godan and added them to his own system. Some sources say he took them from other Chinese kata also called Chiag Nan that he got from a Chinese master, who may have also been Chaig Nan himself. These three are not Matsumura kata, but were passed down other Shorin lines.

Source 2:

Also Known As: Heian, Heinan.
Meaning: Way of peace (literally, “Great Peace”, sometimes translated as “Calm Mind”, “Peaceful
Mind”, “Serenity”, or “Security.”)

History: The Pinan kata series was introduced into the Okinawan School District karate program as gym training from 1902 to 1907 by Ankoh Itosu. The history of this kata is somewhat controversial – Kobayashi Shorin-Ryu stylists claim that Itosu developed all five kata using either the kata Passai and Kusanku. The Matsumura Seito Shorin-Ryu tradition states that Itosu only developed Pinan 5 by himself. (It is curious to note that Chosin Chibana, Itosu’s senior disciple and Kobayashi founder, taught only Pinan 5 and Naihanchi 3 out of respect for Itosu’s authorship). Hohan Soken (family inheritor of Bushi Matsumura’s style) taught only Pinan 1 and 2; saying that Matsumura had devised these two and laid framework for Pinan 3 and 4.

Gichin Funikoshi revised the order of 1 and 2, changed the kata name to Heian, and initiated deeper stances and higher kicks. He also replaced front kicks with side kicks and altered other moves in the series. Funakoshi was so well known for teaching the Pinan series that he was often referred to as the “Pinan Sensei.” Interesting enough, he did not learn the Pinans from Itsou as he had already finished his training with the great mejin before they were developed.

According to several sources, Funikoshi was first introduced to the Pinans during a trip to Osaka where he received instruction from Kenwa Mabuni, the founder of Shito-Ryu.

During his subsequent visits he learned a number of the kata from Mabuni that would eventually be taught in the Shotokan system. Regardless of their origin or lineage, there is no doubt that today the Pinan Series is practiced world-wide by Okinawan, Japanese, as well as some Korean
styles.

Source 3:

Most historians believe that the Pinan kata were composed and introduced after 1902 by Anko Itosu(1813-1915). Itosu was one of the most accomplished student of Soken Matsumura. and a teacher to Chotoku Kyan and Choki Motobu, two of Grandmaster Nagamine’s most prominent instructors. Pinan kata clearly has many similar techniques and sequences as the Matsubayashi-shorin-ryu version of the kusanku kata. Therefore many believe Itoshu derived Pinan from this form. When Karate was first introduced publicly in the high school in okinawa. Itosu did not want to give the impression that Karate -do was about violence or aggression. Consequently, he introduced Pinan kata, which translated means “Peaceful Mind”. Pinan kata strives to develop a mental state in the practitioner similar to the state of awareness in Zen Buddhism. That is, where the mind is completely relaxed, yet completely alert at the same time. In Pinan kata, the practitioner is surrounded on all sides by several imaginary opponents, but does not know in which direction the first attack will be unable to react to an attack by multiple opponents. it is essential to clear your mind of all distractions in order to change direction and prepare for the next attack. All five Pinan kata begin with an imaginary opponent attacking from the left. In Matsubayashi shorin-ryu it was decided for the first move of each Pinan kata that the practitioner should move away from the attack by steppingback with the right foot and twisting into a cat stance. In other Shorin-ryu styles the practitioner, however, moves into the oncoming attack by moving the left foot first. Psychologically this is an enormous difference. The way this technique is performed can chang the entire nature and philosophy of the Pinan form. Pinan kata is about developing the skill to move out of the way of harm by stepping at an angle in the cat stance. The practitioner must land with the weight down so that the spring is already tightly compressed once the practitioner’s leg touches the ground. in Pinan, the practitioner learns to move away which is a basic for beginner and intermediate Level practitioners. In more advanced kata, the practitioner develops the skill to move in when being attacked. The first time in the Matsubayashi-shorin-ryu curriculum that this technique is used is at the begining of Wankan kata. In pinan, step at an angle, away from the attacker so that it is advantageous to deliver the counter attack. As soon as the toes of the right foot touch the ground, use the legs to snap the hips and generate power on the blocks, When the practitioner steps back to avoid the attack they must land with their weight already dropped, so that the coil is already compressed. This create greater speed and power on the subsequent counter attack. Before turning or changing direction in pinan, the practitioner must remember to look in the direction of the attack before moving their bodies.

Pasai kata

Passai kata bunkai – demonstrated by sensei M. Stanic

Source 1: “Katas of Shorin ryu Seibukan” by Kim Mitrunen & Tommi Prami

Passai is an age-old form, and one of the oldest versions of this kata is Seibukan’s Oyadomari Passai. Passai is often explained as a low light or night fighting kata, because of it’s many sagurite (searching hand) techniques. The name of the kata means to “break through the fortress.” It might have received the name from the beginning movement where the defender throws a strong forward movement combined with an augmented chudan-uke, meant to unbalance of attacker. After this powerful start, the kata changes characteristics by making fast blocks and strikes with open hands to vulnerable points of human body. There are many angular movement changes, all quickly executed and in varying degrees. In the last part of the kata there is combination technique where the attack is avoided by ducking the opponents attacking arm, while simultaneously blocking the opponents other arm and striking a key point in the stomach region. By bending the body one can add extra power to the strike. This technique has disappeared in many of the modern karate style’s version of Passai.

Source 2: