Tag Archives: Frank Van Lenten

Time Modification Of Kata – Rhythmic Adaptation – Seisan Kata Example

8 Nov

This article is a continuation of my exploration of time as a fourth dimension of distance. For those unfamiliar with this concept there are several video and other resources in Endnote # 1. Simply put, most martial artists think of distance as a function of the three dimensions of length, width and height. To do so omits the all important fourth dimension of time.

Time as a fourth dimension of distance is easily appreciated when you practice your kata. Exploration of the time dimension is facilitated by expanding your kata bunkai (analysis) to include consideration of time. How does time affect kata and its application is a subject limited only by the imagination of the karate-ka (practitioner).

Kata bunkai is a continuing on-going process. It is limited only by your imagination. The within article is a good example of that process. I was practicing my Fuku and Gekisai Kata by modifying certain interim movements. Specifically, I was exploring the block, lunge punch block sequence (see Endnote # 2 for a full discussion of this concept). Traditionally, the three movements are performed with kime (focus). To facilitate my study, I found it helpful to perform the last block in the series not with kime, but, with breathing and dynamic tension as in Sanchin Kata. I was studying had the corollary effect of modifying the rhythm of the sequence.

In the past, I had briefly explored a modification of kata rhythm using the Seienchin Kata as an example. (See Endnote # 4 for a video of same). This exploration was but a fundamental step in my on going process. I began to utilize the opening of the Goshin-Do Karate Seisan Kata to explore how the concept of time as a fourth dimension of distance can result in a corollary rhythmic modification of a kata. (See Endnote # 5 for a video of the Seisan Kata and a bonus – historical footage of Hanshi Frank Van Lenten performing Seisan!). Using the opening of Seisan Kata, I began to understand the corollary rhythmic modification. To illustrate the concept, the abbreviation “K” will signify that the movement is performed with kime (focus- hard and fast). “S” will signify the movement is performed with Sanchin breathing and dynamic tension. Using the photos below you can see the time modification of combining the block and counter and the resulting corollary rhythmic modification.

Let’s look at the traditional sequence of Seisan Kata of Goshin-Do Karate. Due to time constraints, I had to take the photos during a break at work. But, a fortiori, the photos illustrate my concept that kata does not require a gi (uniform) or a dojo. Kata is anyplace and anytime. As I say “Life is a kata.” ©

Move # 1: Open hand ridge hand block (K);


Move # 2: Rotate hand and “grab” (S);


Move # 3: reverse punch (K)

As this series is repeated three times in the Kata, the resulting rhythm is:

K-S-K / K-S-K / K-S-K

In the time modified sequence, whereby the block and counter is combined into one move, we can see the corollary rhythmic change:

Move # 1 (move # 1 and # 3 combined) : Open hand ridge hand block with simultaneous reverse punch (K);

Move # 2: rotate hand and “grab” (S).

The corollary rhythmic change for the three move sequence is then:

K-S / K-S / K-S

Exploring how the change in rhythm affects not only the kata but your bunkai (analysis) is full of possibilities. For the inquisitive practitioner it affords the ability to see into the full range of bunkai available from not only a physical aspect but also a spiritual and environmental aspect. (See Endnote # 6 for a full discussion of the three aspects of bunkai).

Understanding the fourth dimension of time as a component part of your kata will provide you with a rich and more complete understanding of not only your kata, but, also yourself. It is fertile ground limited only by the boundaries of your own imagination.

Respectfully submitted,

Sensei John Szmitkowski

      For information on my “no-risk”, kata seminars, please visit the seminar page using this convenient link https://senseijohn.me/seminar-kata/
My seminars are the ONLY seminars that allow you to pay at the conclusion, thus insuring your complete satisfaction!
   For a refreshing and innovative discourse on kata and bunkai, please feel free to visit Sensei John’s Kata Laboratory and “THINK * SWEAT * EXPERIMENT” using this convenient link: https://senseijohn.me/kata-lab/

ENDNOTES:

1. To understand the basic concept of the three basic dimensions of lenght, width and height as they relate to the martial arts and the fourth dimension of time, please click this link:
https://senseijohn.me/2015/11/23/underground-bunkai-sneak-peak/

To view the first two articles in this series please use these two convenient links

Sequence Adaptation – Kanto Kata Example:

https://senseijohn.me/2017/10/11/time-modification-of-kata-kanto-example/

Interim Movements – Fuku/Gekisai Example:

https://senseijohn.me/2017/10/25/time-modification-of-kata-interim-movements-fukugekisai-kata-example/

2. Please use this link for my article on Time as a function of interim kata movemens: https://senseijohn.me/2017/10/25/time-modification-of-kata-interim-movements-fukugekisai-kata-example/

3. Reverse Seienchin video

4. Seisan Kata Video BONUS: This video features historical footage of Hanshi Frank Van Lenten

5. Please use this convenient link for a discussion of the three aspects of bunkai:
https://senseijohn.me/2013/05/20/kata-lab-101-three-states-of-bunkai/

© Copyright 2017 Issho Productions & John Szmitkowski, all rights reserved.
“Life is a kata.” separately copyrighted.

You may wish to view my other blogs –
 my fishing blog which includes my fishing journals and the interrelationship between martial arts protocol to fishing http://flyfishingdojo.com
and
 the Goshin-Do Karate blog at http://defeliceryu.com

2014 Summer Recap

8 Sep

With Summer 2014 in the history books, I hope you all enjoyed a great Summer filled with many memories. Here’s a recap of what you may have missed while on vacation and making those memories.

KATA LAB   Kata Labs:

TEXT-hand secret things   Life Is A Kata:

NEWS sanchin   That’s OK (Online Kata) sessions (Even though the dates for the group sessions have passed, you may desire to incorporate the theme of each session into your kata training)

dreams-seisan   My musings:

 

ME-SENSEI   From the official Goshin-Do Karate-Do (DeFelice-Ryu) blog:

As is tradition here on my blog, September marks a new “academic year.” I have many things planned and know you will enjoy and be challenged in the weeks and months that come. Also look for new kata videos which are in production right now.

Until then, I remain honored to share my insights with you, yours in kata,

HANKO-master

Sensei John Szmitkowski

   sunsu-2   For information on my “no-risk”, kata seminars, please visit the seminar page using this convenient link https://senseijohn.me/seminar-kata/

You may wish to view my other blogs –
LOGO-WEBSITE my fishing blog which includes my fishing journals and the interrelationship between martial arts protocol & ideology to fishing http://flyfishingdojo.com
and
DOJO STICKER-1 the Goshin-Do Karate blog at http://defeliceryu.com

© Copyright 2014 Issho Productions & John Szmitkowski, all rights reserved.

Problems Solved

14 Jul

From the verbal traditions of the Dojo, a martial myth,

There was once a monk who would carry a mirror where ever he went. A priest noticed this one day and thought to himself,  “This monk must be so preoccupied with the way he looks that he has to carry that mirror all the time. He should not worry about the way he looks on the outside, it’s what’s inside that counts.” 

So the priest went up to the monk and asked “Why do you always carry that mirror?” thinking for sure this would prove his guilt.

The monk pulled the mirror from his bag and pointed it at the priest. Then he said “I use it in times of trouble. I look into it and it shows me the source of my problems as well as the solution to my problems.”

Respectfully submitted

HANKO

Sensei John Szmitkowski

© Copyright 2014 Issho Productions & John Szmitkowski, all rights reserved.
Sensei John is now on Facebook, under – FLY FISHING DOJO, you are invited to send a Facebook friend request.

You may wish to view my other blogs –
LOGO-WEBSITE my fishing blog which includes my fishing journals and the interrelationship between martial arts protocol & ideology to fishing http://flyfishingdojo.com
and
DOJO STICKER-1 the Goshin-Do Karate blog at http://defeliceryu.com

Okinawa Karate Song

1 Sep

Submitted for your enjoyment and consideration, is the Karate-Do Sanka (Empty-hand way song) written by Shihan Shoshin Nagamine (founder of Matsubayashi-Ryu). The sanka was utilized during the memorial service for Hanshi Frank Van Lenten who passed away July 1st, 2010. (See Endnote # 1 for videos featuring Hanshi Van Lenten)

Scanned Image 110310000

English translation:  (Please see Endnote # 2 for the original Japanese version)

Ah, beautiful islands of sunlight,
And the color of the sea,
The proud fighting spirit of the islanders 
And the empty handed Sword of Justice,
Training spirit and training body,
Ah, This is Okinawa Karate-Do!
 

Oh, but if an enemy should happen to attack us,
And the method of courtesy proved to no avail
If he should cut our flesh with his iron weapon,
Even then will we punch through to his bones,
Courtesy and defense together,
This is Okinawa Karate-Do!
 

Oh, ever since the mythical ancestry of Japan,
The bell of peace has been ringing continually in Okinawa,
The way of courtesy and the five bodily weapons of Karate together,
To make a straight character and good etiquette,
This is Okinawa Karate-Do!
 

Respectfully submitted,

HANKO Sensei John Szmitkowski

For a refreshing and innovative discourse on kata and bunkai, please feel free to visit my Kata Laboratory and “THINK * SWEAT * EXPERIMENT” using this convenient link: https://senseijohn.me/category/kata-laboratory/

For details on how to “cyber-participate” in my most recent group Sanchin Kata session, please use this link: https://senseijohn.me/category/a-sanchin-pilgrimage/

ENDNOTES:

1. For several videos with archival footage of either Shihan Van Lenten, or members of his Goshin-Do Karate-Do Kyokai (Association), circa the late 1960’s to early 1970’s please visit the “Kata Syllabus” page tab above.

Here are two additional videos of Hanshi Van Lenten that are not included on the Kata Syllabus page:

2. The original Japanese version of the Karate-Do Sanka

Aa sanjento hi no hikari
Myo gunjorno umi no iro
Saekeki shima no tokonga
Saegigaumishi mute no ken.
Kokoro o Kitau, mi o kitau
Aa, Okinawa no, Karate-do!

Aa ware osou tekki araba
Shurei no kuni ni shingiari
Tetsu no kobushi wa kanzento
Niku o kirasete, hone no utsu
Kokoro o mamaru, Mi o mamaru.
Aa, Okinawa no, Karate-do!

Aa tensenshi kodai yori
Hewa no kane wa naritsutau
Semeru ni arazu fusegu waza
Gotai ga bukizo kono karate
Kokoro o tadasu, mi o tadasu
Aa Okinawa no Karate-do!

NOW AVAILABLE – SANCHIN VIDEO SERIES designed specifically for the NON-MARTIAL ARTIST who desires to learn & unlock the secret treasure of Sanchin. Here is a convenient link a promotional video about the Sanchin DVD filmed on location at various scenic locations throughout Arizona. LINK: http://www.youtube.com/watch?v=J-pC-tPUrYE

** If you experience any difficulty in purchasing online using the above links, please contact me via a “comment” on this blog & I will e-mail you instructions on how to purchase a Sanchin product using a check or money order ***

Sensei John is now on Facebook, under the user name – FLY FISHING DOJO, you are invited to send a Facebook friend request.

You may wish to view my blog dedicated to the interrelationship between martial arts protocol & ideology to fly-fishing and fishing in general by clicking WWW.FlyFishingDojo.Com

You may also wish to view the Goshin-Do Karate-Do blog at WWW.DeFeliceRyu.com

Hatsu Bon For Hanshi Frank Van Lenten

1 Jul

Today marks the three year anniversary of the passing of Hanshi Frank Van Lenten, the founder of the Goshin-Do Karate-Do Kyokai and style of karate-do. Today’s training and the following Hatsu Bon Poem are offered to his spirit. Should today’s readers so desire, please join us and perform a kata of your choice in his memory. May Hanshi’s spirit find our training and poem worthy.

Hanshi Van Lenten

I have reconstructed several of Hanshi Van Lenten’s Goshin-Do Karate-Do Kyokai kata which were lost after he disbanded the kyokai in 1983; links to these kata follow the poem.

Goshin-Do Karate Kyokai patch

HATSU BON POEM

Please don’t cry before my grave
That’s not where I am
Nor am I sleeping for eternity
SEE!!
I am already part of the breezes
numbering a thousand
I am part of the light
that brightens this world
Like a diamond glittering in the snow
Like the sun that coaxes seeds to sprout
And in the Fall I become the gentle rain
that nurtures all.
When you open the window in the morning
I am the breeze
That causes your hair to flutter;
And at night, I am the star
That watches over your sleep.
So, please . . . don’t cry before my grave
That’s not where I am.
I am not dead.
I have been born anew.
 

Here videos of several of Goshin-Do Karate-Do Kyokai kata unique to Hanshi Van Lenten.

 Kanto  Kanto Kata – created by Hanshi Van Lenten at the request of his various Okinawa Sensei to symbolize his Goshin-Do Karate-Do style. The kata and style were approved by Hanshi’s several Okinawa Sensei as being Okinawa-based.

The following are Goshin-Do Karate-Do Kyokai kata (abandoned when the kyokai was disbanded in 1983) which I recreated using archival text, notes, photos and film also featured in the videos: (See Endnote # 2)

  sunsu-2 Sunsu Kata; Not only does this video feature footage of Hanshi Van Lenten performing his version of this hallmark kata of Isshin-Ryu Krate-Do, it also shows Shimaboku, Tatsuo Sensei’s recognition of Hanshi Van Lenten as a Ju-Dan, 1oth degree black belt. (See Endnote # 1)

  Jion Jion Kata: A very rare version of the traditional kata recreated at Goldfield Ghost Town, Arizona

  Jitte Jitte Kata: A very rare version of the traditional kata recreated at Goldfield Ghost Town, Arizona

Respectfully submitted,

HANKO

Sensei John Szmitkowski

For a refreshing and innovative discourse on kata and bunkai, please feel free to visit Sensei John’s Kata Laboratory using this convenient link:https://senseijohn.me/category/kata-laboratory/

For details on how to “cyber-participate” in Sensei John’s most recent group Sanchin Kata session, please use this link: https://senseijohn.me/category/a-sanchin-pilgrimage/

ENDNOTES:

1. Copy of Shimaboku, Tatsuo-Sensei’s letter to Hanshi Van Lenten as featured in the Sunsu Kata video (link is above).

VL-SHIMABOKU LETTER

2. My sincerest thanks to Shihan Thomas DeFelice (Ku-Dan Goshin-Do Karate-Do) for providing the text and photographs of Jion and Jitte Kata, and Hanshi Jerry Thompson (Arts Of Self-Defense), Shihan Ed DiNardo (Hachi-dan, Arts Of Self-Defense, New Jersey and Arizona) and Kyoshi Tom Van Tassel (Nana-Dan, American Center For Martial Arts, New Jersey) for providing the films of Hanshi Van Lenten.

Kata Lab # 2130: Kata Deconstruction – An Introduction

9 Jun

KATA LAB

What did I know best that I had not written about and lost? What did I know about truly and care for the most? There was no choice at all. (See Endnote # 1)

CIMG3570

Welcome to the second installment in my Kata Laboratory Series, Kata Lab # 2130: “Introduction To Kata Deconstruction” ©

 

Preface:

I’ve come to identify several deficiencies with the commonly accepted method of kata training and bunkai (analysis) associated with kata. I do not use the word “deficiencies” as a criticism of the commonly accepted methodology utilized by my karate-do brethren. Rather, I use the word simply to describe areas of established training methods that were insufficient from my personal perspective.

One area of deficiency is the foundation upon which kata bunkai (analysis) is based. Often the first method of introducing a student to the application of kata (not bunkai, see Endnote # 2) is a scripted, choreographed practice of kata techniques with a partner. While this approach is extremely important for the student at beginner and intermediate levels. It is wholly inadequate for the advanced student. As such, it must ultimately be supplemented. This realization has led me to one of the maxims of my Kata Lab, namely,

“When Kata is lost, the nuances of kata begin to manifest.” 

 This installment of the Kata Lab sets forth my basic procedure to allow the advanced student can go beyond the commonly accepted choreographed kata applications. This procedure can then be built upon with more complicated kata and bunkai protocols.

Background:

The commonly accepted manner of introducing a student to the subject of application of kata usually involves three general procedures. I call these procedures the “drill procedure”, the “storyboard procedure” and the “kumite procedure”.

In the drill procedure students learn various choreographed drills in addition to and as a supplement to kata training. For purposes of this submission, I reject the drill procedure as a kata procedure. It does not rely upon kata and is taught in addition to and unrelated to the kata, thus it is a separate part of the overall karate-do curriculum. The storyboard procedure involves the use of partners who attack the kata performer as he performs the kata sequences within the established pattern of the kata. (See Endnote # 4) Within the Goshin-Do Karate-Do Dojo, this was a common approach.
In the kata storyboard, the performer would stand ready to perform the kata. A number of students, acting as attackers, would position themselves around the performer, in front, back and left and right sides. In turn, as determined by the pattern of the kata, each attacker would attack the performer with a pre-determined technique directed at the appropriate target. The performer would perform the normal kata sequences and pattern responding to each choreographed attack. The essence of this procedure is that the performer executes the kata sequences and PRESERVES the kata pattern.
The kumite procedure involves the performer executing the kata sequences but REJECTS the kata pattern in favor of a linear pattern. Thus the kumite procedure involves only two individuals, the kata performer and his partner (who serves as an attacker). For those readers familiar with a classical Goju-Ryu curriculum, examples of this procedure are the Gekisai-Dai-Ichi kumite set and the Gekisai-Dai-Ni kumite set. Within the former Goshin-Do Karate-Do Kyokai, such kumite procedures existed as the Fuku kumite and the Gekisai kumite (please see Endnote # 5 for the unique origin of Hanshi Van Lenten’s Gekisai Kata). Archival photographs of Hanshi Van Lenten and Sensei Wesley Evans performing the Fuku Kumite and HISTORIC video of them performing kumite drills may be found in Endnote # 6.

Scanned Image 110320000

Need for my method of Kata Deconstruction:

Once again, the above procedures are important for the beginner and intermediate student; however, due to various limitations, they are inadequate for advanced study. These limitations include, but are not limited to:

  • The attackers must “learn” the sequence and manner of attack, therefore, additional extraneous training is required. A failure to adequately memorize the attacker’s role results in a wholly non-functional and frustrating procedure and learning experience;
  • Though commonly referenced as such, neither of the above approaches should properly be termed “bunkai” (analysis of kata) as they do not require analysis, rather they require rote memorization;
  • Both approaches are limited by a lack of spontaneity in the methodology of attack and kata. As such, they are susceptible to predictable boredom with repeated practice over the long term.

For these reasons, and others, I developed the concept of kata deconstruction as a foundation upon which to build more advanced kata bunkai (analysis). My procedure is a very simple procedure for any student to utilize and subsequently build upon based upon individual needs.

Method of Kata Deconstruction: (Recommended Reader Experimentation)

While kata deconstruction can (and eventually must) be practiced with any and all kata, I suggest beginning with the kata you are most comfortable and familiar with. You deconstruct the kata as follows:

  • identify and be absolutely familiar with the sequences of the kata; that is to say those movements that are identifiably linked together and usually followed by a pause in the kata before proceeding to the next sequence; (an example is contained in the video below);
  • practice your kata as you normally would to familiarize yourself with the kata sequences and pattern;
  • now deconstruct your kata by performing the first sequence, when done, pause like you normally would
  • instead of performing the next sequence, turn in any direct and walk a few steps
  • stop walking and perform the next sequence of the kata, pause when this sequence is complete,
  • again, instead of performing the next sequence, turn in any direct and walk a few steps
  • stop walking and perform the next sequence of the kata, pause when this sequence is complete,
  • repeat until you have performed the entire kata. note: it does not matter that you neither end facing in the same direction that you started nor that positional coincidence (see Endnote # 7) is preserved.

NOTE: As you can see from the video below, while the pattern of the kata is ignored, it is of the utmost importance to pay attention to the accuracy of the kata sequences as if they were performed within the kata pattern. That is to say, one must follow from the other.

To assist you with the above, I have created a video of Gekisai Kata performed normally and as deconstructed with sequences identified. 

Benefits of my Kata Deconstruction:

I submit that there are many benefits to this simple, introductory deconstruction procedure which include the following (even with decades of practice, there are probably more I have not discovered – – yet):

  • First and foremost, more advanced procedures are built using this simple procedure. For one, simple, example, ippon kumite is inserted into the procedure in lieu of the walking seen in the video.
  • Deconstruction can be practiced individually as shown on the above video
  • Deconstruction can be supplemented with a partner;
  • The partner does not have to learn anything new, such as the sequence of a storyboard or the sequence of a kumite drill.
  • Deconstruction develops spontaneity in kata itself and subsequently in the execution of the technique of kata in combat
  • On a more advanced level, deconstruction allows the performer to begin to understand the spiritual underpinnings unique to each specific kata.

Closing: 

By supplementing routine kata practice and commonly accepted partner applications with my kata deconstruction – a simple exercise that preserves the kata’s sequences but ignores the kata pattern, – a foundation is established whereby more detailed bunkai (analysis) can be conducted. These more advanced procedures will be set forth and discussed in future submissions in the Kata Laboratory.

Please remember, the mandate of the kata laboratory is

☑ Think   –  read and reflect on the narrative of each kata experiment

☑  Sweat  – work, again and again, the protocol of the experiment as set forth. This aspect is crucial. I wholeheartedly invite commentary and yes, even criticism but please SWEAT FIRST, do not pontificate. Comments such as “That’s not the way we do it”, or, “That’s not traditional”, “That’s not pure in our system” and the like are not only egotistical and insulting, but will show the depth of your hubris, and laziness. 

☑  Experiment  – after sufficiently working the specific protocols, begin to experiment with your own thoughts and variations. Do not be afraid of failure – the only failure is not thinking and sweating for yourself but being a slave to dogma.

Cum superiorum privilegio veniaque (With the privilege & permission of the superiors)

HANKO

Sensei John Szmitkowski

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© Copyright 2006 and 2013 Issho Productions & John Szmitkowski, all rights reserved.

ENDNOTES:

1. Hemingway, Ernest, A Moveable Feast (Simon and Schuster, New York, NY, 1996) p. 76.

2. It is worth reiterating the misuse of the word “bunkai.” The word bunkai is commonly misused to mean “practical application of kata”, or simply “application” of kata. The correct translation of bunkai is actually “analysis” thus, “analysis of Kata.” For more, please use this link: https://senseijohn.me/2013/05/20/kata-lab-101-three-states-of-bunkai/

3. Extremely rare and unique archival photographs of Hanshi Van Lenten performing one such drill – “Kumite set number 2” – (please click on thumbnail to enlarge and use the “back browser” to return here).

kumite-1    kumite-2

4. The storyboard procedure was analyzed and critiqued in my work: Koryu Kata-jitsu: Ancient Style Art Of Kata (Issho Publications, East Rutherford, NJ 2001).

5. Sensei Van Lenten’s Gekisai Kata (which is preserved in the Goshin-Do Karate-Do style of Shihan DeFelice) is the unique Gekisai-Dai-San Kata of Sensei Seikichi Toguchi who, in addition to Sensei Masanobu Shinjo, taught Sensei Van Lenten Goju-Ryu Karate-Do.

6. Extremely rare and unique archival photographs of Hanshi Van Lenten performing Fuku Kumite: – (please click on thumbnail to enlarge and use the “back browser” to return here).

fuku kumite-1   fuku kumite-2

fuku kumite-3   fuku kumite-4

fuku-end

VIDEO:

7. Positional coincidence is a concept, found in “modern’ (post 1940) kata, that requires the kata to begin and end at the same point.

Filming the Kata Deconstructed video was bittersweet – it was a “first” on many fronts: the first in my Kata Laboratory category but also the first video without little Chloe (who passed away February 14th, 2013) as part of the video crew.

Little Chloe (R.I.P.) Issho Dojo, East Rutherford, NJ. Circa 2005

Little Chloe (R.I.P.) Issho Dojo, East Rutherford, NJ. Circa 2005

Sensei John is now on Facebook, under – FLY FISHING DOJO, you are invited to send a Facebook friend request.

You may enjoy the Goshin-Do Karate-Do blog using the following link: WWW.DeFeliceRyu.Com

You may wish to view my blog dedicated to the interrelationship between martial arts protocol & ideology to fly-fishing and fishing in general by clicking WWW.FlyFishingDojo.Com

Cape Cod – Seienchin DVD Update

16 Sep

That’s a wrap! 

Summer is over and that means I finished the last filming for the Seienchin DVD. The final video sequences were filmed in beautiful Cape Cod, Massachusetts. As with the Sanchin DVD, the Seienchin DVD will include the physical, spiritual and metaphysical aspects of Seienchin, all filmed within beautiful, natural environments. In addition to insightful teachings, the DVD will promise an aesthetically pleasing visual experience.

To heighten your anticipation for the Seienchin DVD, I will share with you a few photos and videos from the Cape Cod filming.

First, I would like to express my thanks to all at the Sandbars Inn in Truro, MA (WWW.Sandbars.Com) for their courtesy and hospitality during our stay. The Sandbars is so beautifully situated on Cape Cod bay that we were able to film a number of videos a few yards from our bedroom door. To see, hear and otherwise experience this wonderful location, here are a few short videos that I produced for the Dojo’s Karate-Do website (WWW.DeFeliceRyu.Com) Portions of these videos made use of this convenient and pleasing locale (See Endnote # 1). For now, these videos are ONLY available to reader’s of this blog using the following convenient links:

As an added bonus for martial artists, the videos feature rare footage of Shihan Frank Van Lenten, the founder of the Goshin-Do Karate Kyohai performing the above kata.

Here are a few photographs from bayside at the Sandbars, Inn:

       

Highland Lighthouse, Truro, MA:

       

Scenic view at the lighthouse:

       

Ocean side at Highland Lighthouse:

       

We all had a great time filming for the DVD and highly anticipate its release to you, the readers and followers of Jiriki Kata-Do (The Way Of Inner Salvation Through Kata). As in the translation of the kanji (Japanese calligraphy) for Seienchin which is, inter alia, “Calm in the storm, Storm in the calm”, we had our good (calm) moments and our “not quit as expected” (storm moments).

But, all of us on the film crew (Di, Chloe & Me) had a great experience filming the final scenes for the DVD.

       

Until my next submission, enjoy this last photo from our final night, bayside at the Cape:

 Sensei John Szmitkowski

ENDNOTES:

1. My deepest thanks to my friend and comrade, Kyoshi Thomas Van Tassel for providing my Sensei, Shihan Thomas DeFelice with the archival videos of Shihan Frank Van Lenten seen in the above Kata videos. You may visit Kyoshi Van Tassel’s website at WWW.AmericanCenterForMartialArts.Com

NOW AVAILABLE – SANCHIN VIDEO SERIES designed specifically for the NON-MARTIAL ARTIST who desires to learn & unlock the secret treasure of Sanchin. Here is a link to a FREE promotional video on You-Tube: http://www.youtube.com/watch?v=J-pC-tPUrYE

You can find information on how to purchase a Sanchin DVD & Book by clicking the following convenient link:http://www.dynamic-meditation.com/references.html

** If you experience any difficulty in purchasing online using the above links, please contact me via a “comment” on this blog & I will e-mail you instructions on how to purchase a Sanchin product using a check or money order ***

Sensei John is now on Facebook, under – FLY FISHING DOJO, you are invited to send a Facebook friend request.

You may wish to view my blog dedicated to the interrelationship between martial arts protocol & ideology to fly-fishing and fishing in general by clicking WWW.FlyFishingDojo.Com

One last glimpse at more from our “backyard” at the Sandbars, Inn (Ah, these memories should get me through Winter!):

      

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