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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Ennogyo
This tape covers the Ennogyo forms of Kosho Ryu, including Ennogyo Shodan, Nidan, and Ennogyo San, with emphasis on the connection between the kata and the monkey form, along with elements of Bagua. Hanshi Juchnik discusses Mitose Sensei's affinity for monkey, or Saru, and explains how the form i...
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Dan Enn Sho
This tape presents the Dan Enn Sho form, brought into the Sei Kosho Shorei Kai through the late Robert Trias and traced back to its Chinese origins in the Hebei school of Xing Yi under master Li Cunyi. The kata reflects characteristics of several of the twelve animals of Xing Yi, including the cr...
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Shudoso
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, ...
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