Bujutsu
Bujutsu
Bujutsu
1st Edition
All rights reserved. The right of Andy Paskin and Darren Westwood to be
identified as the authors of this work has been asserted in accordance
with the Copyright, Designs and Patents Act of 1988.
No part of this book may be reproduced by any means nor translated
into machine language without the written permission of the publishers.
Published by: BJR Publishing, PO Box 3887, Tipton DY4 8WP, UK.
Published in association with: Summersdale Publishers Ltd, 46 West
Street, Chichester, West Sussex PO19 1RP, United Kingdom.
www.summersdale.com.
Cover illustration by: Ian Turner 2002.
Photography by: Michelle Westwood 2004.
Typesetting and cover by: My Word!, 138 Railway Terrace, Rugby,
Warwickshire CV21 3HN.
Printed and bound in Great Britain by Bookcraft (Bath) Ltd, Midsomer
Norton, Somerset.
A CIP Catalogue record for this book is available from the British Library.
ISBN: 0 9547364 0 0
Important note:
The authors, publishers and distributors of this book accept no
responsibility for any prosecutions, proceedings or litigation brought or
instituted against any person or body as a result of the use or misuse of
the information or any techniques described in this book or any loss,
injury or damage caused thereby.
Some of the techniques described in this book require high levels of skill
and physical fitness.
The techniques described herein must only be practised by those in good
health and under qualified supervision.
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Warning
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Dedication
For my family for all their help and solid support over the last couple of
years – I don’t know what I would’ve done without you all.
God bless all of ya.
For my Brother who was also my best mate who sadly died in August
2000 at the young age of 37.
Last, but not least, for my Mother who, to me, was a fighter in her own
right – the bravest person I have ever known.
She fought for two years with no complaints.
If it wasn’t for her, I wouldn’t be the man I am today.
God bless ya Mom and God bless ya John.
Andy (December 2003)
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Foreword
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information and reintroduce it into our training. This is where this very
informative book by Andy Paskin and Darren Westwood will be of help.
This book is written in a warm and engaging matter that will make this
fascinating subject easily accessible to all. Not only do Andy and Darren
share their interpretation of the three of the ‘basic’ Katas, but they also
cover such subjects as effective power generation, kneeing, head-butting,
locks, chokes, strangles and some ways to realistically apply the ‘blocking’
techniques of the forms. It is this kind of knowledge that is needed if we
are to ensure that Karate is practised as a pragmatic and effective system.
As interest in the practical application of the forms (Bunkai) grows, it is
vitally important that we Karateka with a pragmatic-bias share our
information, views, opinions and preferences as widely as possible. This
will ensure that those who wish to practise the art of Karate, in its most
complete form, are free to do so in a way that works for them as
individuals. Darren and Andy are to be congratulated for making their
approach to the practical application of Kata techniques available to all in
what I’m sure will be the first of many books. I’m certain that this very
accessible book will be warmly welcomed by the thinking Karateka and
all those looking to find meaning in their Kata.
Iain Abernethy 2004
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Contents
Introduction 1
1 The Authors 3
2 Karate & Kata 4
3 Kata History and Style Genealogy 7
4 Bunkai-Jutsu 10
5 Kihon Kata 13
Oyo
Henka
Kakushi Waza
All Perpetuities
6 Uchinadi Pinan Shodan 25
Oyo
Henka
Kakushi Waza
All Perpetuities.
7 Uchinadi Pinan Nidan 48
Oyo
Henka
Kakushi Waza
All Perpetuities
8 Effective Punching 60
Theory and Practice
9 Effective Kicking 70
Theory and Practice
10 Effective Striking 73
Theory and Practice
11 When a Block is not a Block 84
12 Throws, Locks, Control, Takedowns and Groundwork Principles 87
An introduction 87
13 Scripted Human Behaviour 97
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14 Chokes 99
15 Stances 102
16 Closing comments 105
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Introduction
he decision to write this book was one which was taken following
T careful consideration.
A number of students have, in the near and distant past, requested a
book be written which covers all of the aspects of Kata Bunkai (or
Bunkai-Jutsu) as a ‘take-home sensei’ and this is the result of those
requests.
The reason for writing the book is another story entirely.
We have, as all good Karateka should, studied our art extensively, both
from a practical and academic point of view and, during the course of
those studies, have encountered a certain ‘Kata Mythology’.
This mythology is prevalent throughout modern Karate and this,
coupled with a number of other incidents, led us down this narrative
route.
A typical mindset of this type of thinking is below, in italics:
‘The Kata are a set of prearranged movements whereby the Karateka
engages in battle with imaginary opponents. Kata contains all of the
techniques and principles of Karate and, after practising each literally
thousands of times, the movements become automatic and instinctive.
This will enable the Karateka to defend against and attack many
opponents at once.
Kata is meant to train the mind, and is not intended only for conceptual
and intellectual self-defence. Its real purpose is to bring it in contact with
the real self. Kata, in the traditional sense, is a spiritual ritual. The essence
of the art of Karate is attaining a spiritual goal through the practice of the
Kata, so that the Karateka competes against himself and succeeds in
conquering himself.
The basis of Kata lies in the concept ‘Karate ni sente nashi’, which is
translated as ‘in Karate, one does not make the first move.’ All Kata begin
with defence and end with defence. The Kata teaches that the true
Karateka never strikes first, and never strikes in anger.
Now, we have been accused in the past of being too forthright in our
analysis of certain subjects, but we would ask, ‘Can you be TOO
forthright?’
We think not and, with this in mind, the example above, in its
fundamental analysis of Kata, is incorrect.
Visualisation is certainly as important an aspect of Karate as is posturing
and body shifting but is certainly not the basis of Kata.
Equally, Kata does contain techniques and principles within it but this,
alone cannot sufficiently define Kata.
Kata is the spirit, true meaning and purpose of Karate.
1
Bushi-Jutsu
2
1.0 – The Authors
3
2.0 – Karate & Kata
4
Karate & Kata
5
Bushi-Jutsu
6
3.0 – Kata History and Style
Genealogy
7
Bushi-Jutsu
Shuri, Naha and Tomari were villages, from which the style names were
derived.
We have not included the entirety of the styles within this matrix –
rather, we have attempted to give you an insight into the development of
some of the known styles you may have heard of.
All of the top-line styles (the originals) are collectively known as Koryu –
meaning ‘Old School’.
It may be interesting to you to note that the current Shotokan AND
Wado-Ryu styles were developed from the original Shotokan and that
Gichin Funakoshi Sensei had a direct influence on both!
It was during the 17th century that a law was introduced which
prevented any Okinawan using or even owning a weapon.
The contravention of this law would result in severe punishment.
The local farmers and fishermen, fearing for their families, developed,
predominantly in secret, their ‘empty hand’ fighting skills and the use of
the tools of their respective trades (Nunchaku, Kama, Manriki Gusari, etc)
for combat.
The Japanese Shogunate imposed further laws to completely eliminate
the practice and deployment of the original Okinawan fighting systems.
The effect of this upon the development of Karate at this time had a
profound consequence.
The practice and teaching of the art(s) was carried out in secret with
only certain chosen individuals having the privilege of being able to learn
this most secret fighting system.
The respective Kata, and particularly their application (Bunkai), were
shrouded in utmost secrecy.
Effects of this have been carried forward into the Karate we practice
today – many Sensei still do not know the original application of the
techniques within a Kata.
One thing is certain: the techniques were of a most violent and brutal
nature as their only purpose was to quickly, effectively and permanently
defeat an opponent in combat.
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Kata History and Style Genealogy
From that which we have seen (and some deeper study of the styles), it
is apparent that Karate as we know it today is a fusion of many different
local forms from this era of Okinawan history.
The Masters of the time would gather, again in secret, to share the most
effective application of their respective forms – a practice which is sadly
lacking in today’s society as secrecy and jealousy prevail unnecessarily.
Hachiman Symbol
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4.0 – Bunkai Jutsu
Bunkai
This is the explanation of the techniques within a kata most often given
and used for Kihon Ippons, Ippon Kumite and Kumite proper.
In Okinawa, this was known as Kumiti (the predecessor of Kumite and
now unrelated to Kata practice – sadly).
Kakushite
This means ‘Hidden Hand’ and represents the covert purpose, concealed
within the execution of the kata and not at once obvious in the physical
effecting of the technique.
Jutsu
The Science of the application (to provide devastating effect).
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Bunkai Jutsu
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Bushi-Jutsu
The above, obviously, relates to the performance of Kata and we're not
going there on this occasion.
To finalise, the unification of both the Inner and Outer doctrines is an
intensely idealistic, though comparatively indistinct, axiom, known, in
Japanese, as Shuhari.
Shu means precise consideration of detail and prescribed custom
(executing the Kata precisely as it was taught).
Ha means mastery of that custom.
Ri means to transcend the physical and be free from unnecessary
movement and a graceful, or apparently unstructured, execution,
unaffected by reticence.
It is to reach that which, articulated in old Okinawan, is:
Shimeijurasan
(A form of precision and exactitude that is the objective (although beyond
reach) of all Martial Scientists.
Shuhari then, is a process through which an individual evolves.
It is not an ‘immediate’ torrent of wisdom.
The same is true when discussing, studying and understanding Kata,
Bunkai Oyo, Bunkai Henka and Kakushite (Kakushi Waza).
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