This second DVD accompanies the Kata no Michi textbook and goes deeper into the concepts and theories within the text. Hanshi Juchnik explains mind, wind, and direction in detail, where mind represents the part of the anatomy free from bondage and able to initiate motion, wind represents inertia ...

This tape addresses the deeper purpose behind kata practice and why each movement should be examined as part of a longer discussion rather than treated as a sequence to memorize. Hanshi Juchnik explains the meaning of bunkai as discussion, introduces the concept of the warrior scholar as someone ...

This tape opens a discussion among the class on the meaning and purpose of kata, addressing how few practitioners, including some grandmasters, look in real depth at their own forms. Hanshi Juchnik defines kata broadly as any organized attempt to position and reposition the body against a would-b...

This tape steps back from any single form to address how kata should be approached as a practice. Hanshi Juchnik introduces the framework of mind, wind, direction, fluidity, triangulation, and the meeting of bone and flesh, drawing a parallel to the hierarchy of life: air, water, food. He discuss...

The Kusanku form, also known as Kanku, originated in Okinawa with a Chinese military attaché and entered the Kai through Bobby Lowe and Thomas Young. This tape presents both the Sho and Dai (short and long) versions, with bunkai that draws on otoko no atemi and the escaping arts. Hanshi Juchnik d...

In this second tape on bunkai, Hanshi Bruce Juchnik continues the discussion of why practitioners do form, addressing the tendency among martial artists to become nearsighted in their understanding of kata. He clarifies that bunkai cannot be fully explained on a single tape, or even three hundred...

Hanshi Bruce Juchnik introduces the application of the Pinan forms with a focus on timing and distancing rather than technique collection. The tape covers Hyoshi (timing), ma-ai (distancing), the Shochiku Bai of the Mitose family line, and the Octagon as a tool for understanding the relationship ...

This DVD presents forms from many of the related Kempo systems that evolved from James Mitose's teaching in Hawaii from 1942 to 1946. Hanshi Juchnik introduces the project of unifying these arts through respect and the search for similarities, with forms performed by senior practitioners represen...

The Juni Ippo kata, first forms of Kosho Ryu, were brought into the system by Robert Trias of Shuri Ryu and preserved within the Ryu at his request before his passing. Hanshi Juchnik walks through the subtleties of the form and explains that the way each kata is presented is meant to set up the u...

This tape continues the study of the Juni Ippo kata, the very first forms in Kosho Ryu, introduced to the system by Robert Trias of Shuri Ryu during his trips to Hawaii in the 1940s. Hanshi Juchnik works through Juni Ippo Shodan, Nidan, and Sandan, demonstrating the three different blocks and how...

This tape presents both Bassai Dai and Bassai Sho, meaning storming or penetrating the fortress, with their lineage from Okinawa through Mas Oyama, Bobby Lowe, and Thomas Young. The forms are used in Kosho Ryu to develop otoko no atemi, the male percussion striking that requires total alignment o...

Shudoso, also called the monk form, is presented in dedication to Robert Trias, the first man to open a martial arts school in this country and a major figure in the preservation of Kosho Ryu. The form was located on rare 16mm film at a garage sale by Art Keawe, one of Trias's chief instructors, ...

The Miyama no Kata was developed by Hanshi Juchnik to teach the practitioner more about hand positioning, routine, movement, and fluidity. This first section emphasizes the rolling hand movements and the principle that the body moves the hands, not the other way around. The tape covers the three ...

The second section of the Miyama Kata works with gliding movement, like a mountain range with climbs and plateaus, transitioning between long, intermediate, and close range. Hanshi Juchnik focuses on the shuto and how it functions as both a strike and a parry, and demonstrates timing and gliding ...

The third section of the Miyama Kata deals with rooted technique, peaks rather than rolling hills or plateaus, and incorporates work from the sanchin and otoko atemi along with movements drawn from the jo, sword, and bladed technique. Hanshi Juchnik emphasizes that the form is frozen but the tran...

This more advanced look at Miyama, primarily Miyama One, breaks through some of the barriers that arise when practitioners view the form through their existing assumptions about martial arts. Hanshi Juchnik emphasizes that kata and kumite are not separate, that any movement of the form should all...

The Nekobuto, or cat dance form, was passed from James Mitose to Robert Trias and named in respect for Yamaguchi, founder of Japanese Goju Ryu. This tape presents Nekobuto Shodan, Nidan (also called the Geri kata for its early high kicks), and Sandan, with attention to low stances, double strikin...

The Naihanchi kata, traced to the Chinese form Tamsui meaning springing leg set, is one of the oldest preserved forms in the Okinawan and Japanese arsenal. Hanshi Juchnik presents the Kosho Ryu interpretation with close-up attention to the centers and alignments between the third eye, the tanden,...

The Nai Han No, or Naihanchi kata, is presented as it was performed by James Mitose Sensei, distinct from most Naihanchi or Tekki katas seen in other systems. The tape explores the philosophical aspects of the form, in which the practitioner positions themselves so that no matter how an opponent ...

The Pinan kata, also known as Heian, came into Kosho Ryu through the Kyokushinkai system via Bobby Lowe and Thomas Young, with Mitose Sensei encouraging that they be preserved out of respect for Funakoshi and the founders of Okinawan and Japanese karate. This tape introduces the basic motions and...

This continuation of the Pinan series presents Pinan Shodan through Godan as Hanshi Juchnik now interprets them through his time with Mitose Sensei from 1977 until 1981. The tape works through gamae in motion, the relationship between hand manipulation and base manipulation, and a different way o...

The kata Gankaku, meaning crane on a rock, traces its lineage through Okinawa to Japan via Gichin Funakoshi, Mas Oyama, Bobby Lowe, and into Kosho Ryu. This tape places particular emphasis on the bunkai, drawing connections to the Fukien province movements and White Crane technique that preceded ...