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T H E O N LY M A G A Z I N E D E D I C A T E D T O A L L K A R A T E K A

TRADITIONAL

KARATE The Transitional aspects of Karate

Vol. Vol. 22 22 No. No. 03 03 December December 2008 2008

Are you appreciating only a small part of your technique

Sensei Mike O’Brien Cheif instructor of the Karate Union of Wales

Goshi Yamaguchi Profile of the Master

Ticky Donovan Retires from his position as national coach Visit the Traditional Karate magazine website at www.karatemag.co.uk

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Ticky takes a back seat The end of an era as Ticky Donovan retires

from his position as National Coach Ticky, you started Karate at the age of 18 years, what drew you to Karate?

You’ve had a glittering sporting career in Karate both competing and coaching, which of the two gave you the most pleasure?

A friend of mine who was training in Judo at the time bought me a magazine with some pictures inside it of Mr. Suzuki demonstrating Karate. So we both went along and had a look and decided to join.

That’s hard to say, I obviously enjoyed competing, however I don’t think I reached my goals due to an injury on my knee. I believe that made me so much stronger in my coaching career as I still wanted to be on the mat fighting myself.

Were you active in any other sports before Karate?

Yes, I was into boxing before I studied Karate.

You are rightfully regarded as one of the most successful Karate coaches, winning many medals at European and World level.

What’s your most memorable moment as a National coach?

When did the sporting aspects of Karate take hold?

Not straight away, we were just learning the basics and then one day we were told that we were entering a competition. I lost my first fight, I had no idea what the rules were and that was the start of Sport Karate.

Do you see a distinction between traditional and sport Karate or do think they fit hand in glove?

I think they fit hand in glove, I didn’t start Karate for competition, I started it as a martial art, and competition just grew from there.

I have many memorable moments as a coach, but the one that stands out was in 1996 in South Africa when we topped the medal table which included 5 gold medals, it was a wonderful achievement for the team and I was immensely proud to be their coach.

England was highly regarded as a force to be reckoned with in the 1980’s and 90’s but this decade has seen a decline in the achievements in the National squad. Do you think the turmoil that had embroiled Karate in England in recent years has been a major factor?

Firstly in the 1980’s we fought under the flag of Great Britain, not England. After that we fought as England.

We have been very close many times taking silver in the men’s team and silver and bronze in the women’s team, plus winning European team events. I don’t think it’s the turmoil in English Karate, you have to remember many countries videoed our team and studied the techniques that we were working on. It’s very difficult in Europe and the World to get what we used to call ‘an easy draw’, as all countries have improved immensely.

I see, GB/England set the standard and everyone else caught up.

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Do you feel the glory days for England have gone with things moving on or can you see England regaining its status as a dominant force once again?

I certainly don’t feel the glory days have gone, with the new English Karate Federation governing body, we have a strong male and female national team and are already getting invited to compete in Europe against teams from France and Spain.

Again I must stress this is the World Championships, we have world class fighters in the squad, admittedly, some are what I would call ‘ring rusty’ as a lot of them did not compete last year which can effect your performance on the mat.

You competed yourself in Japan, how do you think the athletes will feel about being in Tokyo and what advice will you be giving the squad?

The Senior World Championships are nearly upon us. How have preparations been going regarding the squad going to Tokyo?

Once you are in the stadium and on the mat, it doesn’t really matter what country you are in, it will be the same advice I will give no matter where we are competing.

The preparations have been good, I feel we have a strong squad but again I must stress this is the World Championships with over 100 different countries competing. It’s going to be a fantastic Championships and a wonderful experience for the team.

You competed at the British Championships winning several titles and competed in 1976 at the worlds yourself, how do you think things have changed since your competition days?

How do you think the squad will fare at these championships especially with all the upheaval in the last year or so?

A lot has changed, starting with the rules, with 3 minute fights and a maximum difference of 8 points a competitor now must be more athletic and have greater stamina than before.

You started Karate at 18 years of age, many start much earlier and are already on the Cadet/Junior squad. What advice would you give to up- and-coming athletes?

This is a difficult question to answer; it is a big problem these days with people starting so young. There are some very talented younger students in the sport that are giving up just when they reach the age that I myself started, which is when the serious years of their Karate life begin. My favorite saying is ‘there are those that make it happen, there are those that watch it happen, and there are those that say what the hell happened!’

You’ve trained with many famous Karateka including Mr Enoeda, Mr Suzuki, Mr Kanazawa, Mr Shiomitsu and Mr Arneil, who was your main inspiration?

Dominique Valera was and still is my inspiration. In his day he was he was No1 by far.

Where would you like to see English Karate in say...

5 years time?

I’d like to see Karate get the recognition from the IOC next year so it can be included in the 2016 Olympic games.

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You’ve decided to retire as National Coach, what made you decide the time was now right to step down?

I have had a feeling about retiring for the past six months, I think with the new rules and the new age group of 14-15 year olds it’s time for a younger coach.

14 and 15 year olds need a more active coach to impress them with their own ability to perform techniques, whereas with the senior squad, their aim is more tactical.

Any advice for the new coach Wayne?

Well the new coach has now been selected, Wayne Otto O.B.E. Wayne has worked alongside me over the past few years and has been very loyal and supportive and I now think the time is right for him to carry on with the working system and to input his own ideas. I would like to thank Wayne for all of the support he has given me along with Dave Hazard and Ian Cole, Juliette Toney and Greg Francis, not forgetting Jonathan Mottram who has worked with me as a competitor and a Junior Kata Coach.

As National Coach, we won 94 World titles, 78 individual Kumite titles and 16 Team titles plus 216 European titles, now it’s over to you Wayne ha-ha. Go Get Em! (I know Wayne likes a challenge)

Ishinryu...Where did the name for your association/style come from?

It started off from the name of my club, Ishinryu meaning “everybody one heart”, then my students opened their own clubs in different areas for example, Brentwood Ishinryu, Basildon Ishinryu, East Ham Ishinryu and from there it then developed into a style.

You started your Karate training with Professor Tatsuo Suzuki studying Wado Ryu. What compelled you to form not only your own association, but also to develop your own style?

After Wado Ryu, I trained in Shotokan, from there I went to Steve Arneil where I studied Kyokushinkai. I felt like I took the best from each of those styles and added my own ideas which became very successful.

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You’ve seen your association grow into a major player within England. Apart from yourself, who has helped guide and mould the development?

I have a great team of senior instructors around me, just to mention my 6th dans who are: Helen Pree, Moira Barber, Phil Francis, Pepe Suarez, Tony Hales (Australia) and Bruce Hyland (also Australia), these people are supported by a great team of 5th, 4th and 3rd dans.

You’re staying on as a Director of the EKF and obviously head of Ishinryu, do you have any plans for your association?

I am still a director of the EKF, I still have a great interest in the national team but, as I’m now retiring I will be able to place more time and energy into Ishinryu which many of my black belts are pleased about.

What are your future plans?

I have been asked about some open courses that I have booked, so I will be still teaching open courses on a regular basis. I will still be running my Open Summer Course on the 20th June-27th June 2009, this is an open summer course where everyone is welcome from all styles and Grades within the EKF, enquires please telephone 0208-532-1990.

Any last words?

I would like to finish by saying that I am proud to be part of the English Karate Federation which alongside the other directors have put in immense amount of time, work and energy to make it successful, as people can see who have attended the championships and squad sessions that continuously grow. A special thanks to Sensei Terry Wingrove for his input and his sponsorship that has put the English Karate Federation back on the map in England and the World.

Thank you Ticky good luck for Japan and best wishes for the future.

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Transitional

Aspects in Karate (Part 2 of 2) By Chris Denwood

Are you appreciating only a small portion of your technique? n part one of this article, we considered the performance aspects of kata and suggested that there may be more than one way to look at them.

We also highlighted the way in which our attention can usually be drawn to the most vibrant or visual aspects of a particular form, whereas categorically, the real ‘meat’ of the movements is found within the frequently subtle transitional motions between each ‘snap shot’ posture. Furthermore, we discussed ways in which you can practice kata in the dojo by isolating each of these transitional movements. In the second and final part of this piece, I’d like to explore the ways in which a more attentive study in the movements of kata can help towards the universal goal, to develop more pragmatism within our traditional arts.

Let’s say then that we’ve managed to alter the way we see our forms and through training in performance, now have much greater respect for the transitional movements contained within them. As far as the practical application of kata goes, how can concentrating on these transitional movements help us? Well, even on a superficial level, there are at least four important elements that when a focus on

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transitions are applied, really help to benefit more pragmatic skills in combat. These four elements are: 1. Appreciating the effects of bodyweight manipulation through stances.

2. Gaining a higher degree of body control.

3. Subconsciously choosing techniques that flow together.

4. Considering applications within the transitional movements themselves.

Appreciating the effects of bodyweight manipulation through stances The stances found in karate have only one main purpose - to manipulate the bodyweight in order to create advantage over your opponent in combat. How you use that body manipulation is entirely up to you.

For instance, as the kata may suggest, you have the option to use the energy derived from bodyweight manipulation to evade, block, receive, strike, lock, or even to throw over the stance itself.

As we progress through a transition, we naturally change our bodyweight orientation through movement and because we are moving means that we have the potential to use that energy. As long as we keep moving then we become

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almost like a large pendulum hanging from a large grandfather clock.

When performing the simple act of walking for instance, we are in fact doing nothing more than keeping bodyweight in motion by repeatedly catching ourselves just before we would usually fall. This can be illustrated quite graphically when we see people tumbling over nothing more than a slightly raised paving slab, or a sudden change in floor surface friction. If we can no longer control or catch our inevitable fall whilst walking then we will undoubtedly end up flat on our face! This is energy in motion and a perfect example of transitional movement.

It’s only when we stop altogether that the energy from the body is wasted. Ironic as it may seen, many karate-ka forget about the true potential behind these transitional movements and as I’ve briefly described above, they become far too fixated with the end position or posture. At this end position, there is no movement. If there is no movement, then there can be no bodyweight manipulation and therefore, there can be no potential.

Becoming deadlocked like this means that you are forced into ‘kick starting’ that pendulum again before any further energy can become available for use.

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Although bodyweight manipulation in stances can sound rather complicated, it can be more easily understood by performing the following simple exercise (Fig.1 and Fig.2). If you stand with your feet shoulder width apart, your legs completely straight, then as long as you don’t suffer from any sort of structural deficiency then your bodyweight will have a balanced 50/50 split between both legs. Bend the left leg and experience what happened to your body weight. You should find that your weight will shift downwards and across towards the bent left leg. If you bend the left leg only a little, the bodyweight will shift only a small amount. Bend the leg any further and the bodyweight will shift proportionally further to compensate. Next, observe what happens when you try something different such as bending the other leg, bending both legs, taking one leg in front of the other or since the knees should always be kept over the feet, altering the direction in which the feet are pointing?

The exercise described above provides the bedrock for all the rules associated with bodyweight manipulation throughout all the stances found in karate provides the key behind understanding the transitional movements found in kata. In respect to stances, the following rules should be deemed as true in the vast majority of cases: * The bodyweight will shift in proportion to the change in angle of the knees. * The bodyweight will alter according to the proportions of the end position of the stance. * The bodyweight will naturally be directed in respect to where the feet are pointing. * The velocity of the shift in bodyweight will be in proportion to the velocity to which the knees change their angle (i.e. the principles of collapsing and efficient relaxation).

This idea of bodyweight manipulation should always be considered when first analysing your forms. After all, it’s the body working in unity that provides the possible framework on which more pragmatic applications can be uncovered. The core of the

(Figs.1 and 2: A simple exercise to understand the fundamental effects of bodyweight manipulation)

body and the way in which it’s manoeuvred is by far the most important and pivotal aspect in karate.

Everything else merely represent ‘add-ons’ to the overall effectiveness.

Gaining a higher degree of body control The whole idea of physical self-protection is to project your intent physically against your opponent in order to help assure your safety. This process initially begins at the brain, where signals are sent to fire nerve impulses that contract the required muscle(s) to perform the intended action(s). Take a few minutes to think about this, I’m sure you’ll agree that the process of moving alone (let alone fighting) is rather impressive and hugely complicated indeed. In order to move effectively in karate, we have to be mindful of two elements to our training. Firstly, we have to aim to practice in the correct way so as not to build any bad habits. This is why so much emphasis is placed on correct technique in traditional schools. Secondly, we have to practice repeatedly over time, so we can develop what is commonly termed ‘muscle memory’.

Of course, it’s not the muscles that have the memory, but this is still a great label for repetitive subconscious learning nonetheless.

The more that we practice whilst becoming aware of ‘how’ we are moving, the better placed we’ll be to having a greater control over our

bodies. Many people who study karate move around with almost no appreciation as to how each of their legs are shifting into the correct (or in a lot of cases, incorrect) position.

If we concentrate on the transitional movements between every technique, we can learn to appreciate the subtleties that make these movements much more efficient. As a quick test, try to practice your form in ‘ura’ (the opposite way round) and see how much more active your mind has to become in order to complete the task well.

This is perhaps a perfect example of the effects of repetition, muscle memory and ‘learned’ body control.

The quickest way from point ‘x’ to point ‘y’ is always going to be in a straight line, but some transitional movements require different ‘flight paths’ in order to affect a particular outcome. Some movements for instance are inherently circular by nature and aim to nullify, embrace or accentuate an opponent’s energy in your own favour. You need to first understand the main aim(s) of the movements and then repeatedly develop the transitional movements so that they can be mindfully executed towards perfection. After a while, you’ll begin to find that the body will get used to what is deemed to be an ‘effective’ transition and you spontaneously and subconsciously choose strikes and techniques in a free flowing way that blend together.

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(Figs.3 to 6: Seamless transitions are vital in combat applications)

Subconsciously choosing techniques that flow together Increasing seamless transitions is very important for all things combative (Fig.3 to Fig.6). Some techniques just do not sit well when combined together. A four technique combination such as ‘jab-cross-lead hook-reverse uppercut’ displays sound transitions. Each strike naturally flows from its predecessor and correct sets the body up for the next. Conversely, a ‘lead hook-lead uppercut-reverse back fist-reverse hook’ combination feels completely un-natural to execute. If you consider that it is in fact your whole body (not your limbs) that actually ‘strikes’ then it becomes clear that with smooth transitions, the ‘spent’ position of one technique becomes the ‘reservoir’ for the next - or to put it in other words more akin to what was explained earlier in part 1; the termination of one, automatically becoming the origin of the other.

All of the benefits of karate training are useless if you’re not alive to experience them. Therefore, the art is first and foremost for assuring safety from harm. The body control that’s repeatedly trained therefore must have some practical value unless all your efforts are to be wasted. If we are to take practical advantages from the transitional movements found in kata, then one of these should surely be that the body and mind learns how to

choose and then execute a group of techniques smoothly and seamlessly. Without thoroughly understanding this principle, your smoothness will only be restricted to the confines of the kata itself.

Bunkai (analysis) allows us to take lessons from the kata to appreciate how the human body can move effectively so that how you apply karate can transcend the form itself and become an expression of your own mind.

Considering applications within the transitional movements themselves This can be, the greatest ‘eye opener’ in appreciating the significance of the transitional movements between the origin and termination of any technique and all boils down to the simple question of: ‘why should we only limit our applications of the form to the discrete number of ‘snap shot’ postures that they consist of?’ If a form has 30 techniques, then at least another 30 applications are possible for all ‘linking’ transitional movements before even looking at the shape of the techniques themselves. It’s no understatement to say that absolutely everything throughout the traditional forms of karate have some practical relevance to support you in physical combat.

A good place to start looking for applications within transitional movements is within the preparato-

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ry position of any basic ‘blocking/receiving’ technique.

Before the hand strikes down, it has to be brought up. Before the hand swings to the outside, it has to first be brought to the inside - we could go on and on. If you were to punch when sparring, your sensei would advise you that an excessive movement in the opposite direction would be visually telegraphing the strike.

Then why does almost every karate-ka perform exactly this kind of telegraphing before executing many of the traditional blocking techniques found within karate?

Obviously, the answer is that these preparatory movements have some greater significance and are in fact, only really preparatory in a ‘secondary’ sense of the word. Consider the applications for Gedan Barai (lower sweep) and Uchi Ude Uke (inside forearm response) as shown in Fig.7 to Fig.12.

As well as considering only the arm movements during transitions, we must also concentrate on how the rest of the body moves, such as the legs, trunk, head and even your ‘intention’, in order to gain a deeper understanding into the many applications associated with these. To get a good idea as to just how much information can be derived from these, I recommend that for one session, you choose only a single technique and dissect every part of that movement. Then

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search for ways in which you can positively apply your findings in a combat situation, you’ll be amazed at the results!

To conclude, I’d like to bring your attention back to the analogy I made in part one about kata being like one of those ‘magic eye’ puzzles from the 1990’s. Sometimes, what we initially see with our eyes can become quite misleading.

While strong and vibrant colours or shapes can be more pleasing to look at, it certainly pays to take a step back and look in a much wider sense and in different ways. Many people look, but don’t see the whole solution merely because their minds are already fixated on what seems to be the most significant part of the view.

The transitional movements of the forms often contribute to very little emphasis within the training regime of many karate-ka. I believe that this is because, more often than not, these subtleties are not even seen, let alone mindfully felt.

Techniques may feel wrong to the practitioner, however he or she may not even know why. Furthermore (and more worrying), it is entirely possible to experience a long and fruitful life in karate without ever dwelling in these subtle aspects, which in my own personal view, are wholly critical to understanding not just what you’re doing, but why?

Thanks for devoting your time to reading this article; I sincerely hope that you’ve found the content both useful and enjoyable.

Chris Denwood is Chief Instructor of the Eikoku Satori Karate-Do Kyokai (E.S.K.K) and is also a senior instructor with the British Karate-Do Chojinkai. His enthusiastic approach to karate has been driven by both a fanatical and genuine urge to uncover the core principles surrounding the art and his work is fast becoming increasingly popular with men and women of all martial backgrounds.

To find out more about Chris’s approach to karate or to enquire about upcoming seminars etc, either call the E.S.K.K direct on 07801 531 914 or visit www.eskk.co.uk, where you can also join our free mailing list, read other related articles and download useful media.

(Figs.7 to 8: An application for Gedan Barai utilising the transitional movement) (Figs.9 to 12: An application for Uchi Ude Uke utilising the transitional movement)

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Sensei Mike Chief Instructor of the Karate Union of Wales n 2007 I was sat in the Welsh Institute of Sport watching events unfold at the Welsh Closed Championship when I noticed something that brought a feeling of enormous pride and perhaps, just a little sadness to me. There were at least seven Shotokan organisations in attendance and of those seven, five of their Chief Instructors and in turn many of their students were former students of my dad, Mike O’Brien.

Of the other styles participating, particularly Wado Ryu and Kyokushin Kai, I know that my father had also coached and fought with many of their instructors in his role as Welsh team member and coach throughout the 1970’s and 80’s.

In recent years Mike’s interest in the sporting side of karate has diminished and he has lost touch with

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many of these former students and friends. I have known the high regard and respect that at least most other senior Karateka show my father as they always ask after him.

However, it was only at this moment looking around at the many familiar faces that I had grown up with and seen at various occasions, at my childhood home as well as the Dojo and tournaments to, that the full realisation of the true scale of his influence and massive impact on Karate in Wales fully dawned upon me.

It was this realisation that inspired me to honour the man widely regarded as the “Father of Welsh Karate”, my dad, in this his 70th year by documenting a remarkable 45 year plus, love affair with and continuing journey of learning and pedagogy in Shotokan Karate and the Martial Arts.

Phil Cooper, Kase & Mike

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A Son’s Tribute to ‘The Father of Welsh Karate’

By Andy O’Brien

Andy O’Brien: - Present Day It’s the Friday night session, my favourite of the week because it’s the one night of the week that my father still teaches and I get to train. I still get nervous, excited, apprehensive and expectant of the session to come because I know it’s going to be challenging technically, mentally and physically. After nearly five decades at the top of his game, Sensei (in dojo mode now) still manages to deliver something fresh and new in a lesson, which is the signature of the great Karate Instructors of our time.

As is the norm the pre-lesson chat is of the week gone by and the younger members of the class are in their worse playground behaviour running, jumping and shouting, and shouting, and SHOUTING! That is until Sensei walks through the door and a ripple of silence quickly spreads outwards through those present until you can hear a pin drop. A collective ‘Rei’ and ‘Oss’ are respectfully delivered to our Chief Instructor which, in time honoured fashion, he returns.

The effect my father’s presence has on others, even outside of the dojo environment, never ceases to amaze me. Even the newer members of the club who aren’t fully aware of ‘this old bloke’s’ significance, seem to succumb immediately to his undeniable charisma and aura. It also niggles me, just a tad as I have to practically issue death threats to the little sods to get them to listen when I take the class!

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O’Brien 8th Dan

Before Karate (very briefly) Mike’s obvious leadership qualities were recognised way back in his school days when he was made Captain of practically every school sports team including cricket which, at his own admittance, he was clueless at! Then, in the 1950’s during his national service with the army, his man management skills were quickly noticed and further honed and polished when he was made Corporal Michael O’Brien, Training, Drill and Weapons Instructor. These same qualities would stand him in good stead very early in his karate career.

So, where did it all start? How did the boy from Cardiff, a natural born athlete (except for Cricket!) and tough-nut, discover the then mysterious oriental art of Karate Do and how did he first start on his long voyage of discovery in ‘The Way’?

Mike O’Brien 1962 In 1962 I was twenty 23 years old and one evening I was watching one of my favourite TV shows, ‘Hawaiian Eye’, which was a show about a Private Detective Agency with luxury offices in a big hotel in Hawaii.

These are the days before independent television and adverts so every now and then there would be an interlude showing ‘items of interest’.

The interlude on this particular occasion showed a guy in his Los Angeles Dojo demonstrating a ‘Martial Art’ which turned out to be Karate, an interlude that changed the course of my life. Imagine if you can me copying the moves in the

(Part 1)

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Crystal Palace

front room, kicking the standard lamp over and my wife telling me to “grow up!” Suffice to say, interest and intrigue were sparked in me and I had to know more about this Martial Arts / Karate stuff.

After a lot of searching through libraries and shops I eventually came across a book called ‘The Manual of Karate’ by E J Harrison, a Judo 4th Dan who had lived and studied in Japan just before the turn of the 20th century. I studied the book avidly and tried to work out these incredible moves, which was frustrating as the diagrams only showed the beginning and end of the techniques so I had to sort of ‘ad- lib’ the complete movement as I saw fit.

It was to be another couple of years before I got the opportunity to be shown how to perform the moves Mountain Training

correctly by a real Karate Instructor and what an instructor that turned out to be!

Andy O’Brien: - Present Day I watch Mike instruct the lesson I can’t help thinking that he’s starting to look his age, that he’s slowing down and of course, he is, he’s seventy after all! We all start to slow down at some point and if that point for me is seventy, I’ll be well happy I can tell you. Then, as if he can read my mind he calls me out as his Uke and demonstrates his still blisteringly fast gyaku tsuki. I hardly see the technique but I can feel the pain in my jaw. With a rei and a knowing grin that dares me to voice my earlier thoughts he sends the class back to their lines.

If he’s still this quick now imagine what he was like in his prime. This incredible hand speed may also be attributed to and is also very reminiscent of his very first instructor.

MIKE O’BRIEN: - 1965 I couldn’t believe what I was reading, it was as if all my prayers have been answered and at long last good old E. J. Harrison’s dog-eared pages could have a well earned rest. In the classified section of the Western Mail was an advert for Shotokan Karate Lessons in St Mary’s Church Hall, Roath in Cardiff the following week! I didn’t have a clue what ‘Shotokan’ meant but if it was karate I was going to be the first in line.

On the night of my first real karate lesson, I was brimming with excitement and anticipation, my stomach 126 COMBAT WWW.COMBATMAG.CO.UK

was doing summersaults as I arrived at the advertised time and venue to find that I was far from first in line after all. There were at least sixty other people there and strangely, quite a number of them appeared to be, shall we say, ‘in their twilight years’. As I stood outside the hall wondering if Karate was actually meant for a young fit bloke like me, a surprisingly small, unshaven, unassuming guy in creased clothes (from sleeping in the car) appeared and called us into the hall in what appeared to be a Liverpool accent.

Waiting in the hall, which was decked out with tables set with cutlery, another guy was also waiting. The first chap then introduced himself as Andy Sherry and his companion was a guy called Alan Smith. Apologetically, Andy explained that the hall had been double-booked with a ‘Pensioner’s Dinner’ and the class would not be able to take place but they would be back down the following week.

Although I was disappointed at this anti-climax I couldn’t help feeling sorry for Andy and Alan who, having driven all the way down from Liverpool for nothing, now had to make the long return journey home!

Oh well E. J. Harrison, you’re off the book shelf for another week at least!

The following week about thirty guys (minus the pensioners) turned up at Roath Church Hall and Cardiff Karate Club was finally born.

Obviously the lesson was very, very basic karate with the focus being on pure fundamentals at this time and to be honest for many years to come which was why karateka of this period had such great technique. Andy and Alan, now in full karate regalia absolutely blew me away, particularly Andy with his incredible hand speed and power. I promised myself that one day I would be that good.

Andy O’Brien: - Present Day Dad walks up and down the lines of students who desperately try to avoid eye contact as he corrects posture, position of hikite, explaining kime and zanshin, when he arrives at the feet of a young student with a particularly lazy stance. Of all student traits that can annoy him, I believe that laziness is probably at the top of the list. With Dad, as long as you’re giving 100% he’ll overlook a technique that may not have been

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executed perfectly. As Funakoshi’s ‘Fifth Precept’ tells us; ‘Spirit Before Technique’.

Castigating the poor unfortunate, Dad tells him”If I’d have had a stance like that in Sensei Enoeda’s class, he would have swept my legs from under me and hit me to the floor!”

The completely blank look on the young lad’s face tells me that he doesn’t have the first clue who Sensei Enoeda was and probably doesn’t care that much either. What a shame that most of these kids will probably never get to feel the aweinspiring experience of being in the presence of these great Japanese Masters. I realise how lucky I have been, although I didn’t realise it at the time. These guys used to come and stay at our house when I was a child and I got to train with them every few months as a matter of course.

MIKE O’BRIEN: Andy Sherry and I had now become good friends and he had also started to bring a young and very talented brown belt down to Wales with him on his visits; a certain Bob Poynton, who, to my benefit, became my training partner on their frequent visits.

(One of my favourite stories of Andy and Bob happened a few years from now, so please excuse me for jumping the timeline as I’d like to tell it again; The guys were staying at my house for the weekend as gradings time had arrived. I was working shifts in the steel works at the time and was awakened from my much needed slumber by one hell of a ruckus coming from the bedroom next to mine and my wife’s. Thinking we had an intruder or something; I burst into the bedroom to find Andy and Bob sparring! Who was I to argue? I wanted to pass my grading so ‘politely’, I suggested that they could perhaps leave the Kumite for the Dojo or perhaps even wait until after daylight broke!)

Anyhow, in due course it was announced that we were to take our first grading, which was exciting enough but on top of that we were told that a Japanese instructor was to oversee proceedings! A wave of excitement washed over the entire class. A real Japanese ‘Master’ was coming to Wales, this was amazing!

As it turned out, the result of this grading was to be another turning point in my Karate career and by

Mike, Iain Abernethy & Andy

association, my life. It was also to be my introduction to one of the true legends and arguably the most influential Japanese Shotokan instructor, certainly in European Karate of the modern era. As it had been that first time I turned up at Andy’s inaugural lesson in Roath, my first grading was absolutely nerve-wracking and I really didn’t know what to expect.

18th December 1965.

The class waits silently in nervous anticipation for the arrival of Sensei Sherry and this mysterious Japanese Sensei. The nerves are nearly unbearable and I just want to get this over and done with as quickly as possible. When Andy did arrive he introduced the class to Sensei Keinosuke Enoeda. Talk about presence! As anyone who has had anything to do

Essen Euros

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Calling ALL

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SHOTOKAN HORIZON In a series of interviews shortly before his death, Vernon Bell, the founder of the British karate movement, described, in some detail, what he taught his earliest students, before his encounter with Master Tetsuji Murakami, in Paris, in August 1958. Shotokan Horizon, therefore, is concerned with the karate that Bell learned from Henri Plee and Hiroo Mochizuki, whilst under the auspices of the Yoseikan dojo, in Japan. The book thus concentrates on the period 1956-1958 and makes for a truly fascinating read.

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with Sensei Enoeda will tell you; Like him or not, this Japanese man exuded charisma and demanded respect without speaking a single word. He exceeded all my expectations and although we had difficulty understanding him, his karate breached any language barriers and spoke volumes to me. His kime, power, stances and shear aggression were absolutely unbelievable to behold, you couldn’t help but to be inspired (and terrified) and he encouraged me to ‘raise the bar’ of my personal goals to an even higher notch.

Unknown to me and the rest of the class the decision had been made by Sensei Sherry that he would only be coming down to South Wales once a month after the grading and that the highest grade would therefore take the class during the interim period. When the grades were announced I was the only student to go straight to 8th kyu and as a result I was to be Cardiff Karate Club’s Instructor from then on.

Between 1965 and 1969 it was our incredible honour and privilege to have Sensei’s Enoeda and the technically brilliant Sensei Kanazawa

as our grading examiners for our kyu grades as well as Andy, so they were regular visitors to South Wales and my family home.

August 1968 Holding these men in such esteem meant that accommodating them was a particularly stressful experience particularly for my wife at the time, Doreen, as she had to play hostess to these men of another culture and would worry herself to distraction about what to cook for them or how to speak to them.

Sensei Enoeda was staying at our home on the occasion of my 4th kyu grading. You may think that it had taken me a long time to get to 4th kyu but in those days we only graded once or twice a year. There was a lot of ‘debate’ with Doreen about what food to prepare as she didn’t know what to cook a Japanese man. As it turned out she need not have worried as Sensei Enoeda turned out to be a man of huge appetite and wide-ranging culinary tastes and enjoyed any food put in front of him.

However, a more embarrassing consequence of Sensei’s visit came

to light when, at the end of the school term my daughter, who was just seven years old at the time brought her terms work home with her. Doreen came across a story that my daughter had written entitled ‘What I Did on the Weekend’. The weekend in question just happened to be the one that Sensei Enoeda had stayed at our house. Now only being seven she hadn’t quite got the hang of her descriptions or English grammar structure and the opening line of the story, which, I believe and sincerely hope should have read ‘On the weekend a Japanese man slept at my mummy’s house’ actually read, ‘ On the weekend a Japanese man slept with my mummy!!’ As you can imagine Doreen was mortified and an explanatory phone call was made to the school ASAP! It has to be said that all the worry, stress and occasional embarrassment were a small price to pay for having the opportunity to be in the presence and under the tutelage of these incredible Karateka.

Read part two in this tribute next month.

Winning the World Invitational championships Bournemouth

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GOSHI YAMAGUCHI Profile of the Master Taken from an interview during the IKGA European Gasshuku Tell us a little about your early life and training.

I was born Showa 17 (1942) in Manchukuo (Manchuria) but I don’t remember too much about it. I was just 4 years old when my mother took us on the long rail journey back to Japan. I recall that my younger sister died during the journey back to Japan. We left when the

Goshi teaching at The Honbu Dojo, 1980’s

Russians invaded Manchuria, taking my father prisoner.

My father was sent to Siberia and did not return until I was 7 or 8 years old. My father took me to watch training and I didn’t like it! But I had no choice, of course. My father decided that I would train - so I did! When I was ten years old I started studying judo and kendo with my father and it was then I began to enjoy karate.

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At first, though, I trained with my brothers and the adults because there were no children’s classes then. There were only four or five students but training finished late at night when really I should have been in bed. I was usually so tired after training that the seniors would carry me home asleep on their backs.

Did being Gogen Yamaguchi’s son put pressure on you to be good?

Yes, of course! But I was the third son and already the first and second sons had done more training. So in my case it was a little different. I was lucky because many senior members supported me, and of course I was proud to be the son of Gogen Yamaguchi!

Where did you train?

Father would have liked to return to Kyoto where he graduated from and taught at Ritsumeikan University, but my mother had brought us back to Tokyo. The first dojo we trained in was just a small room and my father moved to the much larger Asakusa dojo in Showa 23 (1948), founding the Goju-kai there. Some of his old colleagues returned after the war and seniors like Ugita sensei (Wakayama) and Uchiage sensei came together with my father in the Goju-kai.

Other senior people training there included Tazaki sensei, Yamamoto sensei and Mayama sensei. Tazaki, Yamamoto, Yabe, Shimatoku and me made up the Gojukai team for the first and second All-Japan Tournament.

We won first prize at the 1963 tournament!

Then my father had a major disagreement with Ujita sensei and Uchiage sensei, so they left to form a separate group. Tazaki sensei joined Renmei Goju.

What was the training like in Asakusa?

My father had been teaching in Kyoto and in Manchuria for a long time before he came to Asakusa and what he taught back then was not much different from now: basics, kata and kumite. He preferred controlled kumite and good technique rather than heavy contact. I remember him sparring with the students.

I remember back then how people were coming to like more sparring and they would spar with different schools - not just Goju. Ritsumeikan University in Kyoto had had a good connection with Takushoku University, so we enjoyed a good connection with Kanazawa sensei and Nakayama sensei.

Also, my oldest brother went to Takushoku University.

Students from other clubs would visit Asakusa dojo for some often quite dangerous sparring. There was no karate competition at that time and broken arms etc were not uncommon!

What other famous karateka trained at the Asakusa dojo in Tokyo?

During the early 1950’s Oyama Masutatsu sensei became a student at the dojo and he received his 6th dan from my father. There’s a well known photograph of Gogen Yamaguchi and Oyama practising kumite in the dojo.

Oyama sensei began training in Goju under a Korean instructor named So Neichu sensei. So Neichu was kohai (junior) to my father at Ritsumeikan University.

That’s why Oyama sensei came to the Asakusa dojo.

Was his Goju technique very strong?

Yes - it was very powerful! I was just a little kid at that time but I was aware of how he liked to grab opponents and throw them down. He used big techniques and sometimes he’d practise kumite with me, though he was very gentle. To this day that’s a very nice memory for me.

Many times I saw Oyama sensei bend a coin and other strong techniques. I remember how he would wrap bamboo together and hit it with his fingers. He also showed us a lot of breaking techniques.

I recall his many discussions about karate with my father. They had quite different ideas about how it should be practised. My father liked controlled technique but Oyama sensei wanted to develop a body hardened through hard hitting. So eventually Oyama sensei formed his own group - the Kyoshushin. My father understood the reasons for this.

Oyama sensei kept teaching Goju kata Seiunchin and Saifa, and many senior Goju karateka visited his club, including my father’s 2nd dan Korean student, Yasuda sensei. Masashi Ishibashi was another of the early converts to Kyokushin from Goju, though he is still a member of our Goju-kai.

Apart from kata, can you think of any other similarities between Goju and Kyokushin?

Yes, early Kyokushin students also tended to use nekoashi when they practised ji yu kumite.

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The bunkai we do in Goju kai is mine. My father’s way of bunkai was more like traditional Okinawan in that it did not involve soft elements. It was very hard. Later he said that we needed to incorporate more softness into kata and from there, we developed bunkai from Gekisai through to Suparimpei.

Bunkai is very useful because it allows us to make a good connection with the partner we are responding to.

It’s good for developing harmony and it’s very important for understanding kata. It allows us to use and see the application of techniques other than just the punches and kicks of point-sparring!

Okinawan Goju focussed on kata, but your father introduced ji yu kumite to Japanese Goju.

Which was your father’s favourite kata?

My father liked Tensho kata - and I like it too. Some people say that in Goju-kai, Sanchin represents the ‘go’ (hard) and Tensho, the ‘ju’. My father always said Sanchin and Tensho are forms of kihon and this kihon must be balanced - soft and hard. My father said that Tensho must be practised together with Sanchin. So he practised Sanchin-Tensho; the two forms put together.

That was how he liked to show them: together. From the outside, Tensho and Sanchin look similar because of the strong breathing used - but there are internal differences between the two.

Okinawa was very traditional and Okinawa Goju karateka didn’t free spar. My father began ji yu kumite (free sparring) at Ritsumeikan University, Chojun Miyagi sensei understood. At that time - just after the war - we didn’t have a good connection with Okinawan Goju members because it was occupied by American forces. This meant that my father had no chance to go there. Fortunately we were able to maintain a good connection with Meitoku Yagi sensei. Yagi sensei was a senior student of Miyagi sensei. When we were finally able to go to Okinawa, we visited Yagi sensei, rather than Miyazato sensei.

My father didn’t like point-kumite, though he understood that the younger generation likes combat sport. We must remember that karate is not only for sport, so he also liked to teach the traditional way. That’s why our Goju-kai practises both point- and free sparring. It is during free sparring that we can use elements of the old style Goju ji yu kumite - elements such as neko-ashi and haito.

My father also liked Suparimpei, choosing to demonstrate it many times. As for me, my early favourite was Seisan. Now, I have no favourites!

I personally like haito and snapping techniques such as uraken and fura-uchi. My father preferred close-range techniques such as the elbow. He also used many open hand techniques like nukite (spear hand) and taisho. He used to put his hand on the opponent’s elbow or knee, so preventing them from doing anything. I remember how people always couldn’t understand why they were ineffective when sparring with my father. It was very funny! What they didn’t realise was how he was controlling them by maintaining the correct distance and putting pressure on their elbows or knees.

Both my father and I developed the Shihan kata, Gankaku and Chikkaku, before he died.

How did your free sparring measure up to the other styles at that time?

It is correct to say that Sanchin is more attack and Tensho more defence. It is for that reason Okinawans say that Tensho is heishu kata, while Sanchin is kihon kata. All the other kata - from Saifa to Suparimpei are kaishu kata.

Japanese Goju incorporates kata that are not in Okinawa karate. How did these come about?

The Taikyoku kata were developed for basic training because Gekisai kata can be difficult for beginners to learn. My father preferred to start beginners with the five Taikyokus because then it’s easier to move up to Gekisai.

My father started with Gekisai kata, and the techniques of the Taikyoku are all taken from Gekisai kata.

Did your father teach you kata bunkai or has most of the bunkai now been developed by you?

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The Shotokan and Wado people said we were difficult to fight because we preferred to fight from close range, using cat stance, haito and low kicks like groin and knee attacks. Our Shotokan partners preferred more dynamic, long kicks, but they could not use those kicks because we were too close. We also used throwing techniques and sometimes we stood on the opponent’s foot, so they couldn’t move.

My father taught us not to step backwards and forwards in a straight line. Instead we needed to make more subtle movement - tai sabaki - which is another soft part of

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our style applied in a practical way. The Shotokan people would block a punch with a lot of power and maybe damage the person’s arm but we in Goju had another way - we could also use the opponent’s power to divert the technique.

Now people all fight in the same way!

Though the fighting and the training were hard, we always ended up good friends with these other students.

Shotokan basics favour forearm blocks but in Goju-kai you also practise open-hand blocks from the beginning. Why is that?

Because Goju must be both hard and soft, and we needed to emphasise the soft elements of training. These included subtle techniques, rather than techniques that emphasise hardness. That’s why my father favoured neko-ashi (cat stance) - which he regarded as good for subtle movement. Traditional Goju ryu comes from Chinese kung fu, and kung fu contains many subtle movements, a tradition that we respect.

Right! That was his dream! At that time he had good relationships with Ohtsuka sensei (Wado ryu) and Nakayama sensei (Shotokan) and his idea was that karate should be altogether. That’s why he started the college. Many students from outside Japan had a chance to study different styles. It is easy to talk about, but very difficult to switch tracks between Goju kai, Shotokan and Wado ryu!

I remember Nakayama sensei once telling me that Shotokan and Goju are both karate, but they have different ideas. So he felt that their competitions should be separate, rather than combined. He used an analogy to explain this by saying that Shotokan is a palm tree and Goju is like bamboo - and bamboo and palm tree can’t mix together!

What did you think of Ohtsuka sensei?

I knew him very well and I respected him very much.

Ohtsuka sensei’s technique included soft applications because he studied jiu jitsu. He used techniques from that art and I recall that he had good ideas for movement.

Though Goju-kai also uses more kicks than traditional Okinawan Goju, it does not use as many high kicks as the other styles. Instead we use kicks below the belt - to the groin and knee joint - kansetsu geri. In Taikyoku kata we only use maegeri.

I also knew Mabuni-sensei from Shito ryu. Many of that style’s kata are similar to Goju ryu’s because Mabuni sensei studied Goju under Higaonna sensei and also karate from Itosu sensei. I can just about understand the Shito ryu kata - but Shotokan kata are very difficult for me!

During the 1970’s, your father set up the Japan Karatedo College to bring all the styles together.

Did you know your father’s early foreign students - like Peter Urban?

Kikuchi (L) & Goshi

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OKINAWAN GOJU RYU KARATE DO This is an invitation to sincere, honest people wishing to discover the many qualities of the noble art of Goju Ryu Karate Do. Direct from recipients of the Master’s teacher’s licence, Bubishi, handed down from Master to disciple within our school. ● ●

Do you struggle to connect Kata with kumite?

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Yes, I knew Peter Urban. He came training with Oyama sensei when I was there. Peter Urban was a serving officer in the army and Asakusa was off limits for the American Military. So theoretically he was not allowed to visit Asakusa. But he came anyway!

Peter Urban was the first instructor to teach Goju in the United States, though his ideas were a bit different.

Your father studied traditional weapons?

My father trained with the kusari (chain). I have my father’s kusari. He thought it was good to study traditional martial arts - not just karate. He learned how to use the kusari from a sensei in Japan. I don’t know his name. At the same time he also studied Jugen ryu kendo.

He taught me judo and kendo. Then I took up kyudo (archery) too. I enjoy kyudo because it teaches correct form and focuses the mind.

In his book your father said he did a lot of fighting when he was younger.

Yes - too much fighting when he was young! But then he stopped smoking and drinking alcohol. In his later years my father came to believe that martial arts should not just be about fighting. So he became more interested in mental development, taking up yoga and Shinto. I remember that he taught many students in the years before he died but he preferred to teach them meditation and mental training rather than plain karate. However, he never told them “You must study yoga!” They could always choose.

don’t understand it. Yoga is yoga, Shinto is a religion and karate is training. I don’t do yoga, and Shinto not too much, either.

Of course I respect my father’s study of yoga breathing because maybe he wanted to incorporate it into karate.

Did your father ever talk about his time in Manchuria?

He told me a little. I think his job there was very hard, though he made some good connections with Mongolian and Manchurian martial artists.

Later he brought a demonstration team of Manchurian martial artists to Japan.

My father never studied Chinese Kung fu, but he told me that I should study some if ever I had the chance. I did get to study some and found many similarities to Goju - the similar circular movements and the application of ki power.

Did your father ever talk about his training with Miyagi sensei?

My father believed that he wasn’t a good karateka when he first met Miyagi sensei and that he needed to change, so as to earn this great man’s respect. My father respected Miyagi sensei very much and he changed a great deal once he began training with him.

When did you become chief instructor?

That was after my father died in 1989. After two years I was made president of the All-Japan Goju-kai and also the International Goju-kai.

Did your father study yoga when he was in India?

Yes, he studied with some yoga instructors because it was his special idea to mix martial art with yoga and Shinto. But that was his idea and I’m sorry to say that I

Thank you, Yamaguchi sensei, for your invaluable insight into the early days of your style!

You are very welcome!

Goshi, front row 3rd from right with his father Gogen 5th from right

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