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 allow for block, parry, manipulation, throw, or strike, and that the form can be reordered without losing function. The tape covers the connection between upper and lower base in constant flux, how locked wrists and ankles create gaps a skilled opponent can fill, and the principle that any motion within the kata contains an escape, a strike, a throw, and a moment of decision.
Up Next in Kata Series
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Nekobuto
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...
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Naihanchi
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,...
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Naihanno
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 ...
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