“Sometimes you don’t know how to fit in until you break out.”

At 50 years old, Patrick McCarthy is a 5th generation student of Uchinadi¹ with an impeccable lineage of Okinawan instructors, starting with his teacher Kinjo Hiroshi ² and his teacher’s teacher, Hanashiro Chomo³, Itosu Ankoh⁴ who preceded him, and his master, Matsumura Sokon⁵, —historically the tradition’s most visible pioneer. A Canadian-born Australian migrant, McCarthy has studied the art of karate since childhood, and enjoyed an outstanding competitive background⁶ before embarking upon a lengthy journey as a field-researcher in Japan, where he ultimately resurfaced as a best-selling author⁷.

As someone who has made unraveling the mysteries of karate his life’s work⁸, Patrick McCarthy believes that Tigwa ⁹ evolved as a multi-faceted synthesis of no less than four individual disciplines¹⁰, but was ultimately simplified into a more pragmatic discipline of percussive impact to serve as a vehicle promoting physical fitness and social conformity¹¹.

Karate has, in many ways, became a microcosm of the austere society¹² in which it was forged, particularly due to its transformation into a recreational activity¹³ during a period of radical military escalation¹⁴ and profoundly influenced by Japanese budo culture¹⁵. Karate flourished as a ritualized and rule-bound practice in pre-war Japan, ascending to the apex of popularity in a University¹⁶ environment. Foreign interest in budo¹⁷ gradually increased during Japan’s post-war period until it became firmly entrenched in Western culture by the 1960’s.

A product of this extended legacy, it was during that period of popularization in the 1960’s that Patrick McCarthy started learning karate¹⁸ but after years of study¹⁹ he ultimately became dissatisfied with impractical application practices²⁰, and the convoluted²¹ teaching standards²² of 3K-training²³. In particular, he often questioned the value of teaching learners to respond to reverse punches, back fists and sidekicks when it is clearly not representative of violent encounters²⁴? More importantly, if karate was just about punching and kicking²⁵, as was pontificated from the highest sources²⁶, he speculated as to the need for kata²⁷ in the first place. With kata containing myriad techniques²⁸, other than just punching and kicking, he couldn’t help but ponder what tactical intentions²⁹ their creators originally set forth³⁰. Challenging the historical evolution and pedagogical veracity of this heritage has resulted in McCarthy Sensei becoming an excellent educator and inspirational bujin. < [see The Double Edged Sword>

Residing and studying in Japan for many years, his field research took him to Korea, Taiwan, Southeast Asia, and China where he came into contact with many of the most senior authorities of various martial art traditions³¹. Such studies not only improved his skill and understanding but also resulted in the publication of several important literary contributions³² along with a brilliant thesis he called the Habitual Acts of Physical Violence (HAPV³³) theory. Having walked in the footsteps of those who pioneered modern karate, McCarthy’s progressive efforts were recognised³⁴ in Japan. In fact, his teaching credentials come from the very same source, as did those of Funakoshi, Miyagi, Mabuni, Ohtsuka, Konishi, Sakagami, Yamaguchi, and Nagamine, to name a few of the most well-known luminaries³⁵.

Systematizing the collective results of his field studies into a cohesive body of teaching practices, McCarthy Sensei has recently pioneered a new and highly functional interpretation of kata without losing any of its fundamental structure or cultural significance. A progressive traditionalist who believes that kata are the original time capsules of karate; his formula is attracting remarkable attention in a tradition normally dominated by large Japanese groups and their associated international sporting bodies.

A recognized trailblazer in the application practices of traditional kata, McCarthy Sensei has been invited to teach his theories in more than twenty countries around the world including, Canada, the USA, Venezuela, Trinidad, Ireland, Scotland, England, Holland, Belgium, Germany, Austria, Norway, Sweden, Finland, Denmark, Russia, Israel, South Africa, Kenya, Japan, Australia, and New Zealand. The extent of his knowledge, quality of instruction, open-minded approach to teaching, and willingness to share, have all contributed to why this non-Japanese master-level instructor has become one of the most sought after teachers of traditional karate anywhere in the world today. When speaking about kata and application practices few instructors of traditional karate are better qualified to learn from than McCarthy Sensei.

Both Okinawan and Japanese masters³⁶ have maintained that kata is the soul of karatedo, and yet, in spite of this ubiquitous testimony, its original defensive intentions remain ambiguous and convoluted³⁷. Having made an art of extrapolation and reverse engineering³⁸ McCarthy Sensei has long employed these autodidactic techniques in conjunction with his HAPV-theory to discover how the underlying ideas and principles that govern application principles of kata work. In the book, “Karate Masters”, Nishiyama Hidetaka said, “Later on the student must connect the principle to the application. The old masters experienced these applications. Therefore, the practitioner has to study the outside form first, then understand the principle, and later connect the principle to the actual application³⁹.” An exhaustive study of karate’s early historical and technical publications, comparative analysis of style-curricula, the disassembly of traditional kata and linking them to the HAPV⁴⁰ have become the benchmark practices through which McCarthy Sensei has effectively reconstructed the tactical concepts of kata.

Ritualized model responses culminated in kata concern two principal issues, seizing and impacting, or combinations thereof. Excluding weapons⁴¹, being struck from behind⁴², and attacked by several opponents⁴³, physical confrontation can be catalogued into individual and collective study/learning modules. Although there will always be variables unique to every encounter, the commonalities can be categorized into, physical techniques have to do with seizing or impacting. Techniques of percussive impact include punching, kicking, elbowing, kneeing, striking, stomping, butting, and bumping. Seizing techniques include throwing, restraining, pressing, choking, wrestling, and the grabbing of an opponent to augment the effectiveness of impact trauma.

Patrick McCarthy’s far-reaching study has not only catalogued these obvious, but all too often overlooked truths, he has discovered their connection to kata and systematized them into simple learning modules. The informal presentation, below, outlines the substance and process of the seminars he teaches.

An Open Seminar

An open seminar is geared for introducing the historical research, theoretical concepts, and functional application practices as developed by Kyoshi Patrick McCarthy. Ranging from a single evening (3 hours), a day (6 hours), or an entire weekend course (12 hours), an open seminar is designed to benefit the multi-style traditional-based audience they usually attract and especially suites first-time participants, irrespective of style.

An open seminar usually consists of a lecture-style presentation on the history, philosophy and mechanical theory of karate, with special attention paid to kata. This is followed by the physical presentation of the theoretical concepts and includes a light warm-up consistent with the desired physical outcomes of the day’s training. Usually, a variety of two-person drills are taught, though the exact content is dependant upon the martial arts background of the participant (i.e. Shoto, Shito, Goju, Wado and Shorin etc.) and how much training time is available (3, 6 or 12 hours).
During the longer weekend presentations, where more time is available, Kyoshi McCarthy also details the origins, ethos & tactical strategies of modern Karate through its collective predecessors — The Hsing of Fujian quanfa (Toudi Kenpo kata), Ti-gwa (19th century South Eastern Boxing), Qinna (Seizing and controlling), Tegumi (Clinching/Grappling) & the profound influence pre-war Japanese Martial Arts culture (imposed by the DNBK) had on the original Okinawan-based practice .
The nature of McCarthy’s two-person drills can be broken into two general categories. First are conditioning-type practices, such as the Tegumi⁴⁴ & Muchimi-di⁴⁵. These are sensitivity-based exercises geared to condition the body through controlled seizing and percussive-impact. The very nature of these drills open up a completely new and fascinating perspective of what is otherwise often described as mundane kihon-training. Second are the Kakushite-based⁴⁶ kata application drills, which focus on pragmatic defensive practices, and help the participant better understand the relationship between the abstract composite techniques of kata and the corresponding HAPV-theory, to which they were originally developed to address.

McCarthy-related international publicity

Having attended many of these training sessions, and having met many foreign seminar participants⁴⁷, it’s not uncommon to hear how satisfied supporters are with this kind of training. It is even more reassuring to hear participants, especially those who have traveled hundreds of kilometers to learn these drills, express their willingness to return for more training, even though they may be from completely different styles⁴⁸. In this field Kyoshi McCarthy continues to set precedence.

Contrary to critics and cynics, McCarthy Sensei is not on a crusade to “improve” the world’s standard of karate training in his image, nor is he advocating that this training method is superior to anyone else’s or even that anyone will necessarily become a better fighter, warrior, competitive athlete or no-rules gladiator through his seminars. However, what he is doing will most assuredly provide the participant49 with a better understanding of the traditional art of karate, and specifically the rationale behind classical kata application practices.

Pressure Points

As presented in the Bubishi, the body of knowledge presented at this type of seminar was once a closely guarded secret of the ancient masters. It addresses those anatomically weak areas of the body susceptible to kinetic energy transfer based on the five principles:

1. Location (The precise anatomical structure to be attacked)
2. Tool (Which part of the body [fist, foot, elbow, knee, fingertips, etc.] used to attack with)
3. Angle (The angle of energy transfer)
4. Direction (The direction of energy transfer; i.e. back to front, perpendicular to location, etc.)
5. Intensity (The amount of energy transfer necessary to achieve the desired outcome)

The detailed presentations in this kind of seminar will not only improve one’s fundamental knowledge of anatomical structures it will also deepen and widen one’s understanding of pain withdrawal reflex (PWR) and pre-determined response (PDR), two valuable components behind mechanical exploitation supporting kata rationale. This fundamental knowledge of anatomical structures, and their basic function, allows the karateka to better understand the rationale behind its tactical strategies, as set forth in kata. When speaking of Funakoshi Gichin’s training methods, Okazaki Teruyuki Sensei wrote, “As he was an academic and scientifically-minded person, he liked to explain how the human body worked and how important it was to use the right technique to the attack the right body parts.” ⁵⁰ This kind of seminar also addresses the medical implication of karate-related techniques and is an absolute must for all serious karateka seeking more than just a cursory understanding of the art.

Kuzushi, Nage & Ukemi-waza

(Balance Displacement, Throwing, Tumbling & Falling/Landing)

It seems axiomatic that you cannot learn the art of self-defence, especially a percussive-impact discipline like karate, without ever learning how to protect yourself from falling, being knocked down or even thrown to the ground. Unfortunately, ending up on the ground, irrespective of how unwelcome the thought may be, is something that is more than likely to happen in an actual physical confrontation. Ukemi-waza is the Japanese term that identifies those skills associated with learning to protect one’s self from the dangers associated with hitting the ground under such circumstances. As a prelude to learning how to displace one’s balance for the purpose of throwing, a seminar with McCarthy Sensei in these related skills begins with an introduction to ukemi-waza; a mandatory practice for any and all karateka. This kind of training is not only fun and highly informative, it adds a vital component to an otherwise ignored part of karate as an art. Confirming that throwing was, in fact, a part of old-school karate training, Okazaki Teruyuki wrote, “Funakoshi explained that many of the kata applications were throwing techniques. But he always stressed that before you throw your opponent to the floor you must punch or kick first in order to finish them“.⁵¹

Once a learner has grasped the basic ukemi-waza drills Kyoshi McCarthy introduces the principles of Tsukamite,⁵² Chinkuchi, ⁵³ Nigirite, ⁵⁴ Kakete, ⁵⁵ Kuzushi, ⁵⁶ Hikite, ⁵⁷ and ashi/tai-sabaki ⁵⁸ for the purpose of understanding the mechanics behind takedowns and throws. Collectively, these principles are paramount to learning about balance displacement. McCarthy Sensei has reversed engineered no fewer than 55 takedowns and throws from classical kata culminated in a wonderful two-person drill.

Katame-waza

(Lessons in Restraint/Immobilization)

Why Katame-waza have continued to set precedence over so many generations is because they are such an effective tool in controlling aggressive/violent behaviour. Just look at any military force, law-enforcement agency, private/professional and or diplomatic security as well as officers at correctional facilities; they are all schooled in the arts of restraint and immobilization. Why? Because it’s simply the easiest and most effective way with which to gain control without mortal injuring an opponent. Collectively, these practices are paramount to learning self-defence. McCarthy Sensei has reverse engineered nearly 200 brutally effective practices from classical kata, which are culminated in three separate two-person drills.

As a rule there are three general classifications of restraint/immobilization:

1. Restraining/Immobilizing an opponent through choking/strangling.
2. Restraining/Immobilizing an opponent with bone/joint manipulation, enhanced by pressing cavities & seizing connective tissue.
3. Restraining/Immobilizing an opponent through ground control.

Shime-waza

(Strangulations-chokes/Sealing the Breath)

Perhaps one of the easiest to learn aspects of application practices is the art of rendering an opponent unconscious, through either sealing the air or restricting blood flow Learning how to choke an opponent to unconsciousness is a valuable skill in the overall art of self-defence and one that should not be ignored. Handed down via kata, shime-waza has, unfortunately, become a lost skill in the art of karate until recently revived through the efforts of McCarthy Sensei. Using assisted, unassisted and augmented chokes, McCarthy Sensei has gleaned a massive 36 individual practices from his study of classical kata into a remarkable two-person drill called Shime-waza futari-geiko. Seminars in choking and strangulation draw upon his work in this area along its medical implications and related techniques of resuscitation.

Kansetsu/Tuite-jutsu

(Joint Manipulation, Seizing Connective Tissue & Cavity Pressing)

Learning how to twist bones, lock joints, seize weak parts of the human body and dig into those cavities unprotected by the skeletal structure has long been regarded as the inner-teachings of karate, limited only to the senior most disciples of any master. Not only are these practices brutally effective as tools of self-defence, they are, in fact, what separates those who know from those who do not!

Applied Science:

Functional Anatomy & Physiology

A Kansetsu/Tuite-jutsu seminar taught by Kyoshi McCarthy begins by introducing the knowledge and application of simple physics. Even though at first glance this may look unrelated, it is, nonetheless, an integral element of effective defensive application. With knowledge of our common anatomical structures, and knowledge of simple physics, it becomes possible to employ simple defensive concepts, based on simple machines⁵⁹ to the limbs, neck and the torso, with brutal effectiveness. In order to effectively transfer kinetic energy to any given anatomical structure, during a defensive confrontation, McCarthy Sensei also presents the fundamental concepts of biomechanics; specifically, the most efficient way of kinetic force for the expressed purpose of impeding motor function. McCarthy Sensei has brought together some 72 individual practices from classical kata, which are culminated in this remarkable two-person drill.

Ne/Osae-waza

(Grappling & finishing holds)

A seminar in this area explores the forgotten heritage of karate — the plethora of tactical situations that go beyond punching and kicking. When Kyoshi McCarthy first introduced Tegumi-style drills more than ten years ago his detractors promptly criticized him as having fabricated such wrestling practices⁶⁰. However, a few years later, after readers discovered the historical evidence of Tegumi (Okinawa’s plebeian form of grappling) in Nagamine Shoshin’s book, entitled “Tales of Okinawa’s Great Masters“, critics and cynics quickly retreated back to the safety of their keyboard-laden armchairs, and many have now adopted the practice as their own. With the rise in fame and popularity of the Gracie family and their Brazilian jujutsu, the karate world has finally begun to recognize the importance of what McCarthy Sensei was openly criticized for and teaches regularly. McCarthy Sensei has brought together 72 of the most important finishing holds into a single two-person drill.

You can read the rest of this article at Patrick McCarthy’s website.

Endnotes

1. 1. Lit. Okinawa-hand (i.e. Okinawa-te) Popularized in the last decade, the local Okinawan term means karate.
2. 2. The editor of Japan’s first karate magazine (1957; Gekkan Karatedo) Kinjo Hiroshi (1919) is well published author, and highly regarded historian in Japan’s traditional karate community, and a 4th generation master of Uchinadi who studied directly under Hanashiro Chomo, Tokuda Anbun and Gusukuma Shimpan. Master Kinjo also studied Yamane-ryu kobudo directly under Oshiro Chojo, the principal disciple of Chinen Sanda (1882-1942).
3. 3. Hanashiro Chomo authored the first book on karate in 1905 entitled, “Karate Kumite” in which he used the ideogram to express karate as an empty-handed art; something Funakoshi Gichin is mistakenly accredited with. Kinjo Hiroshi also learned under Oshiro Chojo, Gusukuma Shinpan, Yabu Kentsu and Tokuda Anbun.
4. 4. Regarded as the grandfather of modern karate, it was Itosu Ankoh (1837-1915) who simplified Okinawa’s 19th century quanfa practices and introduced them into the public school system for the purpose of fostering physical fitness and moral conformity. He is best remembered for his Oct 1908 document entitled, “Ten Items.”
5. 5. Having studied quanfa in Fujian-China, swordsmanship in Satsuma-Japan, Bushi Matsumura Sokon (1809-1899) is regarded as the principal pioneer of the martial arts movement in and around the old castle capitol of Shuri.
6. 6. By the time he retired in the mid-1980’s, Patrick McCarthy had won more than two-hundred open championships in forms, weapons and fighting and was a nationally rated competitor.
7. 7. Amongst McCarthy’s several publications is the Bubishi, one of Charles E. Tuttle’s best selling martial arts titles.
8. 8. When asked who stood out as some of the most impressive karate men he’d ever met, fifty year veteran and pioneer of karate in America, William Dometrich, wrote, “As far as historians go, I’d have to say that Patrick McCarthy — he’s simply unbelievable.” Karate Masters by Jose M. Fraguas Unique publications 2001, p84
9. 9. Uchina-go (Hogan dialect): An old local term referring to the local eclectic-based martial arts.
10. 10. Okinawa’s interest in percussive-impact fighting with the fists and feet comes from an early appreciation of Siamese boxing (early Muay Thai) popularized throughout SE Asia during the 18th & 19th centuries; Tegumi reflects and ancient and local heritage of wrestling/grappling; Qin Na represents the art of seizing and controlling popular amongst local law enforcement, private security, royal body guards, and prison guards; The Hsing/kata of Fujian-Chinese quanfa (Toudi-kenpo).
11. 11. Itosu Ankoh pioneered a simplified version of quanfa that was introduced into Okinawa’s turn-of-the-century public school system as an adjunct to the athletics curriculum. Itosu Ankoh publicly declared the physical, moral and social ramifications of karate, in 1908, when he wrote to the Ministry of Education and the Department of War: “Karate does not only endeavor to discipline one’s body, if and when the necessity occurs to fight for just cause karate provides the fortitude in which to risk ones own life in support of that campaign. (1908; paragraph 1). The primary purpose of karate training is to strengthen one’s physique so that one can use the hands and feet like weapons Karate cultivates bravery and velour in children and it should be encouraged in our elementary schools. Don’t forget what the Duke of Wellington said after defeating Emperor Napoleon: “Today’s victory was first achieved from the discipline attained on the play-grounds of our elementary schools.” (Ibid; paragraph 2) After just three or four years of unremitting effort one’s body will undergo a great transformation revealing the very essence of karate. (Ibid; paragraph 3) Because karate training strengthens muscle and bone, improves the digestive organs and regulates blood circulation karateka usually enjoy a long and healthy life. Therefore, if karate were introduced into schools and practiced extensively we could more easily produce immeasurable defense capabilities. (Ibid; paragraph 10) Itosu Ankoh concluded that if, and when, karate was disseminated throughout the entire nation, not only would it benefit people in general but also be an enormous asset to our military forces.
12. 12. In many ways karate is miniature representation of the unique culture in which it unfolded. Reflecting ancient Confucian-based rituals, inflexible social and political ideology, and profound spiritual conviction karate was profoundly influenced by Meiji Kokutai no Hongi; Based on the Kojiki & Nihon Shoki (“Ancient Chronicles of Japan”) National Polity represented absolute obedience to the Emperor, prevention of democracy, individualism, and freedom of rights. It was revised by the Monbusho (Ministry of Education) and republished in 1937. Shushin; Educational expectation (est. 1880), Shushin was a principal subject demanding loyalty to the Emperor, obedience to one’s parents, lifelong dedication to the company. Nihonjinron: Theory of Japanese uniqueness as a race.
13. 13. Karate, as first taught by Funakoshi Gichin on the mainland, was limited to kata.
14. 14. Karate was first demonstrated on the mainland of Japan in 1917 (Kyoto Butokuden demonstration by Funakoshi Gichin & Matayoshi Shinko), and later introduced and taught by Motobu Choki in 1921, by Funakoshi Gichin in 1922, Miyagi Chojun & Mabuni Kenwa in 1928 and finally ratified as a Japanese budo in December of 1933. These years fell in the very midst of Japan’s era of miniaturization and there is one theory that karate was popularized to support Japan’s war machine.
15. 15. Largely through the efforts of Konishi Yasuhiro (1893-1983) karate was introduced to ultra conservative Dai Nippon Butoku Kai through its Judo department where it was compelled to conform to nationally recognized Japanese budo standards before being ratified as an official martial art; [1. Eliminate the (kara/Tou) prefix reflecting its Chinese origins and replace it with a term (“kara”), which would better identify its physical application. 2. Replace the antiquated term “jutsu”, which emphasized its combative application, with the “do/michi” suffix personifying its national and holistic outcomes. 3. Eliminate the informal training apparel and officially adopt the standard judo-like practice uniform. 4. Eliminate the Chinese sash worn around the waste and officially adopt the judo-like obi (belt). 5. Officially adopt the dan/kyu pedagogy. 6. Establish a competitive practice in order to test both the physical prowess and fighting spirit of those who study the tradition.
16. 16. Karate first became a popular practice amongst students at schools like Takashoku, Meiji, Keio and Waseda University.
17. 17. Ju-jutsu, Judo, Karate, Aikido and Kendo etc.
18. 18. Mr. McCarthy first took up karate in 1968 at age 13 under instructor Adrian Gomes in Saint John (New Brunswick), Canada.
19. 19. Before undertaking his studies with Kinjo Hiroshi in Japan, McCarthy Sensei studied karate under Masami Tsuruoka in 1970/71 (Toronto), Dave Chong in 1972/73 (London), Dan Pai in 1973 (Hartford), Wally Slocki from 1974-1977 (Toronto), and finally Richard Kim, of the Zen Bei Butokukai from 1977-1987.
20. 20. “Clapping your hands together above your head can cause your assailant to launch a sudden and uncoordinated kicking attack.” Nakayama Masatoshi, Best Karate series, (Unsu, Sochin and Nijushiho) p140. Ohtsuka Hironori wrote, “Naihanchi has three katas, Shodan, Ni-dan and San-dan, but the last two are almost useless.” Wado Ryu Karate” by Hironori Otsuka. English translation by Masters Publication, Ontario 1997, page 72
21. 21. When speaking about early teaching standards, Nishiyama Hidetaka’ s most senior foreign student, Ray Dalke, wrote, “I started teaching almost right away. What I learned the class before I would teach in the next class I taught.” Karate Masters by Jose M. Fraguas Unique publications 2001, p34
22. 22. Okazaki Teruyuki sensei wrote, “If I used the same teaching methods I did forty years ago, I wouldn’t have any students today”. “Karate Masters” by Jose M. Fraguas Unique publications 2001, p 291.
23. 23. Rule-bound practices based on kihon, kata & kumite with little or no relationship to the habitual acts of physical violence (HAPV).
24. 24. Overly ritualised and highly impractical attack scenarios plague modern karate instruction. In many cases the opponent is required to wait motionless after the reverse-punch thrown while the defender carries out the counterattack!
25. 25. When speaking to about kata Wado Ryu karate teacher, Mr. Sakai told Mike Clarke, “I think he (Ohtsuka Hironori) thought that Kumite was more important than kata. Also even in the old days, some teachers did not know why some actions were done in a Kata.” ‘Recollections of the Founder’ – an interview with Sakai Sensei, 8th Dan, Wado Ryu by Australasian Fighting Arts magazine columnist Mr. Mike Clarke. Australasian Fighting Arts Vol 18 No.4 (1996) pp 57-58.
26. 26. Having studied for fifty years, highly regarded Shotokan master, Okazaki Teruyuki sensei, wrote, in The Textbook of Modern Karate, that, “many of the kata techniques are not useful except in terms of exercise.” Speaking about who knew what about kata, during the late forties, Hidetaka Nishiyama, in an interview published in Fighting Arts International (FAI
27. 51), recalled that many of the seniors had forgotten their kata and often had to get together to pool their knowledge.
28. 27. Nakayama Masatoshi wrote in Best Karate Volume 5, p106, “Since these (naihanchi) kata are rather monotonous, turn the head briskly and strongly.”
29. 28. Punching and kicking are only two of myriad techniques that comprise the practice; Other techniques are for checking, trapping, and various alternative kinds of impacting, along with seizing, throwing, choking and joint manipulation, etc.
30. 29. In response to how the other 5 kata of Uechi Ryu were developed, Master Tomoyose told an enthusiastic crowd, “Following WWII they (Okinawans) were all so poor that it was often a struggle to find the money necessary to feed their families. One of the things they could do was hold karate demonstrations and charge spectators an entrance fee. Problem was, they could only do 3 kata, some breaking, some sparring and they’d be done … the spectators were miffed because they felt that they had not gotten their money’s worth. So Kanei Uechi, R. Tomoyose and their contemporaries got together to develop additional kata so their demos would be longer and people would be willing to pay money to see it! ” Posted by Bruce Hirabayashi to the Uechi-Ryu.com discussion forum at https://forums.uechi-ryu.com/viewtopic.php?p=43543&highlight=%2Atomoyose
31. 43543
32. 30. Ray Dalke Sensei wrote, “Sensei Nishiyama rarely ever taught bunkai – in fact I can’t remember when he did teach it.” Karate Masters by Jose M. Fraguas Unique publications 2001, p43
33. 31. The most recognizable Japanese/Okinawan instructors are Sakagami Ryusho, Kuniba Shiyogo, Inoue Motokatsu, Matayoshi Shinpo, Nagamine Shoshin, Miyazato Eiichi, Uechi Kanei (Uechi-ryu), Uechi Kanyei (Shito-ryu Kenpo), Higa Yuchoku, Higa Seikichi, Akamine Eisuke, Yagi Meitoku, Uehara Seikichi, Konishi Takehiro, Kinjo Hiroshi, Nakazato Joen, Nishihira Kosei, Tokashiki Iken, Murakami Katsumi, Kanzaki Shigekazu, Hisataka Masayuki, Shimabuku Eizo, Hokama Tetsuhiro, Nakamoto Masahiro, Matsushita Kyocho, Prof. Shinzato Katsuhiko and his teacher Kishaba Sensei and more.
34. 32. Mr. McCarthy’s publications include the “Bubishi”, Motobu Choki’s “My Karate”, Funakoshi Gichin’s “Tanpenshu”, “The Ancient Okinawan Martial Arts” (Koryu Uchinadi) in two volumes, Nagamine Shoshin’s “Tales of Okinawa’s Great Masters”, Classical Kata of Okinawan Karate”, and plethora of historical articles, technical papers and interviews and a series of educational video tapes.
35. 33. An acronym representing the Habitual Acts of Physical Violence, the HAPV-theory provides a contextual premise for how and why the composite technique of kata works. By identifying and cataloguing each HAPV into individual and ultimately collective learning modalities learners are provided with an opportunity of recreating each act of physical violence in a safe learning environment for the purpose of understanding the rationale behind those classical tactical strategies used in traditional kata. By removing the attacker in each of the two-person drills and then ritualizing the solo-re-enactment into a mnemonic-like template we discover the common element used in kata. When the “professional” martial arts school was born these templates were shaped into various geometrical configurations to establish teaching curriculum’s culminating the defensive lessons already learned.
36. 34. In addition to being a lineage-based student of Kinjo Hiroshi, and [ur] https://www.koryu-uchinadi.com/credentials.htm” target=”_blank”>ranked 8th dan, McCarthy received his Renshi license (1988), and Kyoshi license (1994) from the Kyoto-based Dai Nippon Butoku Kai, and his Hanshi license from the World Kobudo Federation in April 2004.
37. 35. Funakoshi Gichin (Shotokan), Miyagi Chojun (Goju Ryu), Mabuni Kenwa (Shito Ryu), Ohtsuka Hironori (Wado Ryu), Konishi Yasuhiro (Shindo Jinen Ryu/Ryobukai), Sakagami Ryusho (Itosu-ha Shito Ryu), Yamaguchi Gogen (Goju Kai), and Nagamine Shoshin (Matsubayashi Ryu), were amongst the most notable karate recipients of Dai Nippon Butoku Kai recognition.
38. 36. Pioneers such as Funakoshi, Mabuni and Miyagi etc have echoed this sentiment. “Kata is karate. All techniques are taken from kata. Let me put it this way: if you look at the history of karate, all the old masters developed certain kata based on their perception of combat. Original kata is very valuable.” Karate Masters by Jose M. Fraguas Unique publications 200, p280
39. 37. Kata is the symbol of karate so it never changes. Unfortunately, 95 percent of the people don’t understand kata – only the outside movements which are irrelevant without understanding. Each kata evolved out of the experience of the masters. Through it, they embody he principles of karate. Karate Masters by Jose M. Fraguas Unique publications 2001, p 283.
40. 38. Reverse Engineering is the art of analyzing what makes a product work. It means dismantling the whole to understand the parts. Reverse Engineering involves informed dissecting, testing, comparing and analyzing, as well as detailed documentation. With no historical documentation concerning the underlying mechanisms of kata presently available, and no qualified authorities to explain it, extrapolation and reverse engineering are two of the most pragmatic techniques employed and promoted by McCarthy Sensei.
41. 39. “Karate Masters”, by Jose M. Fraguas Unique publications 2001, p280.
42. 40. Using the governing rules of simplicity and brutality, McCarthy Sensei worked backwards from the habitual act of physical violence to arrive at pragmatic defensive application practices before contrasting them with existing model responses ritualized in existing traditional kata.
43. 41. Karate is an empty-handed tradition, which was originally developed as a civil defensive mechanism to be used against an empty-handed attacker; It was never developed to be used by warriors on the “battlefield” or by professional athletes in the arena.
44. 42. How can anyone defend himself or herself against something they cannot see?
45. 43. McCarthy Sensei concluded that the tactical strategies culminated in kata were developed to be used primarily in a one-on-one empty-handed attack scenario divided into three categories, #1. Mutual confrontation, #2. The clinch, and #3. HAPV: i.e. headlock, bear hug, lapel grab, full nelson, etc.
46. 44. Originally a plebeian form of grappling popular during Okinawa’s old Ryukyu Kingdom, McCarthy sensei assigned this defunct name to a collection of two-person trapping, checking and conditioning drills he’s brought together from a variety of sources in 1992.
47. 45. Muchimidi (moo chi me dee) is an Okinawan term describing the sticky or heavy hand conditioning drills used in old-style karate.
48. 46. From the verb “kakusu” to hide or conceal (“Te” = hand) Kakushi-te is term commonly used to describe that which cannot be readily seen; i.e. kakushi-tsuki, a hidden punch, and, those *hidden* aspects of kata, such as the distractions that are not shown but (should be) taken for granted.
49. 47. It’s remarkable to know just how many of McCarthy Sensei’s students are actually foreign-based seminar participants who’ve followed him to Australia to study under him.
50. 48. The standing myth maintains that a seminar participant can only reap benefit from those lessons imparted by an instructor of the same style. Reducing kata to its application practices based on the habitual acts of physical violence, Patrick McCarthy rationally destroys this fallacy, which allows every participant to discover the true secrets of kata.
51. 49. McCarthy Sensei has received a drawer full of accolades from instructors all around the world; notables also include Wally Jay, Richard Kim, Chuck Merriman, Terry O’Neill, Harry Cook, William Dometrich, Vince Morris, Joe Swift, Dr. Milorad Stricevic and more https://www.koryu-uchinadi.com/testimonials/
52. 50. “Karate Masters”, by Jose M. Fraguas Unique publications 2001, p 285/86.
53. 51. “Karate Masters” by Jose M. Fraguas Unique publications 2001, p 292/93.
54. 52. Tsukamite refers to grasping the body or a limb for the purpose of avoiding a strike, and displacing balance, before using the opponent’s power against him thus enhancing the effectiveness of defensive action. P48 English translation of Karate-jutsu by Kodansha International.
55. 53. The total summation of joint forces, combined with the breath to maximize one’s technique.
56. 54. Refers to grasping and shaking and opponent.
57. 55. Refers to hooking an opponent with your grip.
58. 56. Refers to breaking the balance of one’s opponent.
59. 57. Refers to the technique of pulling (a wrist, arm, someone’s garment) and twisting it in order to create an anatomical weakness with which to physically exploit. The twisting of one’s hand back to the hip, for example, in kata, is symbolic of this technique.
60. 58. Two terms referring to footwork and body movement.
61. 59. The wedge, common levers, the screw, pulley and wheel/axel.
62. 60. Amidst the first wave of foreign shoot-fighters in Japan, McCarthy Sensei fought as a shoot-boxer and also worked with the UWF in 1989-93 as a trainer/sparring partner with grapplers like Takada Nobuhiko, Tamura Kiyoshi, Gary Albright, and Billy Scott, etc.