Tag Archives: Shihan Wayne Norlander

Hatsu Bon For Shihan Wayne Norlander

9 May

May 18, 2011, Shihan Wayne Norlander was taken from us.
Please join me in dedicating our training on May 18th 2016 to his eternal spirit and the spirit of all those fallen comrades we wish to remember. May their spirit find our training and poem worthy.

Shihan Wayne Norlander with friend & comrade, Shihan Peter Urban, circa 1970's, West New York, NJ

Shihan Wayne Norlander with friend & comrade, Shihan Peter Urban, circa 1970’s, West New York, NJ

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.

With Shihan Norlander after a spirited workout.

With Shihan Norlander after a spirited workout.

My graveside Sanchin memorial to Shihan:

Sincerity in sweat, Sensei.
Sensei John Szmitkowski

HANKO-master

SHU, HA, RI – A Different Perspective

4 May

There is a concept from the martial arts that is applicable to any relationship whereby one individual relies upon another individual for education, instruction or guidance. That martial arts concept is known as “Shu-Ha-Ri.” It applies to any student-teacher, mentor-protege or other similar relationship.
Shu-Ha-Ri has been analyzed ad infinitum from the standpoint of the student. I myself have often engaged in such analysis. Here is a convenient link to an article I had posted a few years ago https://senseijohn.me/2010/06/20/the-martial-arts-learning-process-of-shu-ha-ri/ 
One night, while teaching at the USA Goshin-Ryu Dojo of my late friend, Shihan Wayne Norlander, I realized that this historical analysis is limited to one-half of the dynamic of transmitting karate-do from one person to another. In so far as the teaching of karate-do implies an obligation to accurately transmit the karate of one’s Sensei, I propose that the common trend to analyze Shu, Ha, Ri form the standpoint of the student must be overcome (See Endnote # 1).

In this submission, I would like to set forth an alternate perspective from which to consider the concept of Shu-Ha-Ri; namely the perspective of the teacher, or Sensei, of karate-do, who was by definition once a student him or her self.

By way of introduction, a review of the popular discourse on Shu, Ha, Ri is appropriate. There are three stages of the martial learning process which are generally accepted and a fourth, more esoteric stage. The three generally accepted stages are the stages of “Shu”, “Ha“, “R1“.

Kanji for Shu-Ha-Ri

Each particular stage is described as follows.

SHU(pronounced “Shoe”) means to correctly copy all of the techniques of one’s instructors;

HA (pronounced “Ha”) means the liberty allowed to a student to develop his own way of executing techniques based upon the demands of his own physical stature and his own individual understanding of Karate;

RI (pronounced “Rhee”) means “transcendence” or “mastery”. It is when a student can perform all of the techniques automatically and becomes a teacher himself (See Endnote # 2).

A fourth, more esoteric, stage of the process of learning the martial arts has come to be identified. This stage is called the “Ku” (pronounced “Cue”) stage. Kuis the stage of emptiness. It means everything is gone and no trace is left behind. The student has reached the highest level and no one can trace his movements or capture his techniques.

I submit that the concept of Shu-Ha-Ri transcends the bounds of the student’s perspective and can (and should) be extended to include an analysis from the perspective of the teacher. A natural consequence of learning the martial arts, as set forth in the description of the Ri stage above, is that the student becomes a teacher him or herself. Once the student becomes a teacher himself, the analysis and application of Shu, Ha, Ri historically ceases. I proffer the following analysis of Shu, Ha, Ri as applied to the teacher who was once, naturally, a student himself.

SHU means to correctly copy the technique, kata, method and manner of one’s Sensei as one teaches one’s students. While the technique and kata of one’s Sensei are easily governed by stylistic dictates (see Endnote # 3), the method and manner of one’s Sensei are unique to the Sensei under whom a student (now teacher) originally learned his or her art. Each individual instructor of a style of karate-do, while teaching the technique and kata of the style, combines these physical dictates with the non-physical traits of the style (philosophy, ideology, spirituality, etc) as set forth by the style’s founder and progenitor. While so teaching the “style”, the Sensei imbues and infuses the teaching with his or her own unique character and personality traits. These character and personality traits generally may be of a positive nature, but, as dictated by the frailty of the human condition, may also include the instructor’s character flaws; even those that may considered less than admirable (See Endnote # 4). It is the “style” of karate, as imbued and interpreted by a Sensei that is transmitted to the student (who is now the teacher).

HA means the liberality to be allowed an instructor (by his original Sensei) to develop his own way of teaching. I submit this development is influenced by two key factors. The first key factor is the teacher’s unique individual physical and psychological traits. These factors would have been accentuated or modified as necessary during the teacher’s tenure as a student. IF the teacher’s Sensei was a Sensei of merit, then his Sensei would have discovered and been aware of these individual traits during the time period wherein the teacher was a student of the Sensei. During this time, Sensei would have nurtured the student’s meritorious traits and modified or corrected the student’s character flaws. Thus, Sensei would have guided his student, now a teacher, so that these individual traits do not offend the tenor and tone of Sensei’s style of karate-do. The second key component is highly variable. Surely, Sensei is aware that his student will encounter this factor but cannot predict the specific character of same. This second trait that the student, now teacher, will encounter are the physical capabilities and mental attributes of his individual students.  The student turned teacher must be allowed the liberality to mold his instruction of karate-do on these two key factors. If this liberality is granted, the student-teacher, now Sensei, starts to represent the embodiment of the karate he learned from his Sensei.

RI means “transcendence.” Transcendence occurs when a Sensei becomes the living embodiment of the karate-do that he continues to practice and subsequently teach. This karate is no longer the karate that he learned from his Sensei; it is more than that. It is that learned karate as interpreted by the individual Sensei’s physical and spiritual traits AND as transformed by the mechanism of Sensei’s continued practice of karate-do and individual teaching methods and manner.

KU is the stage were the Sensei no longer affirmatively teaches. Rather, Sensei transmits karate-do by virtue of being an active Sensei. This is to say that Sensei has become his karate-do. Sensei has come to embody and represent his interpretation of karate-do in such a way that the students are capable of learning by Sensei’s example. This means that the student no longer learns by rote drilling, they learn by being in the presence of Sensei as Sensei lives in karate-do. This stage is the lifeblood extension of the observation of Shihan Peter Urban, Ju-dan, USA Goju-ryu, “A Karate man in training is in karate.” At this stage, “A Sensei who practices and teaches karate IS karate.” (See Endnote # 5).

I submit that understanding the various stages Shu, Ha, Ri from both the perspective of a student and a Sensei is necessary so as to fully understand the total dynamic within which the art of karate-do is transmitted from one person to another.

Respectfully submitted for your contemplation,

HANKO-master

 Sensei John Szmitkowski

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

KATA LAB  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/category/kata-laboratory/

ENDNOTES:

1. I use the word “implies” because there are those Sensei that are perhaps less than meritorious and simply teach without regard to a sense of duty or obligation to purely transmit the teachings of their Sensei.

2. The following symbolism has been ascribed to each stage. Such symbolism may assist you in further understanding the three stages of transmittal and learning.

SHU is symbolized by an egg. The first stage is hard, the form or shape of the technique must be mastered or protected, just like a mother protects her egg.

HA is symbolized by the breaking egg. The basic form is broken into its infinite applications. It means the fundamentals are now mastered and are applied in all situations.

RI is symbolized by the fully released chick that has matured and flies away from the nest. The student forgets all forms and masters the formless technique, leaving old ideas behind him. He has fully matured in his training.

3. This means simply that a student of Goshin-Do Karate will teach the technique and kata of the Goshin-Do Karate style. Similarly a student of Goju-ryu, Shorin-ryu, Isshin-ryu or any other style will teach the technique and kata of their particular style.

4.Since we are human, we are inevitably fallible. Thus, by human nature, a Sensei carries his personal flaws with him as he teaches karate. Such flaws may include, ego, jealousy, anger and the like. It is a direct consequence that the karate transmitted will be influenced by both the instructor’s positive and negative personality traits during the transmission process.

5. Urban, Peter, The Karate Dojo, (Charles E. Tuttle & Co., Tokyo, Japan 1967) p. 77.

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 2015 Issho Productions & John Szmitkowski, all rights reserved.

Group Kata In Bed . . . That’s OK

2 Feb

Because of my Shibumi Kata project I am privileged to meet many unique and brave people who fight an ongoing battle against debilitating illness. It is to them that I dedicate this week’s “. . . That’s OK” (Online Kata) session.

These valiant people sometimes find themselves confined to a wheel chair or are bed-ridden. This state is not a prohibition to their practicing the physical movements and psychological concepts of my Shibumi Kata (or Sanchin Kata for that matter).

I would like all of us to join in and experience first hand their valiant kata practice.

To this end we can practice any of the following kata while seated or bed-ridden:

  • Sanchin Kata,
  • Shibumi Kata,
  • or for karate-ka, any kata (the Kata Sommelier, has a challenging kata recommendation).

So, you are confined to a chair or bed-ridden, “. . . That’s OK.” (Online Kata)

Remember, the group dynamic is not fulfilled by all of us being geographically present, rather, it is fulfilled by each of us performing our Kata in the proscribed manner.

Session Parameters:

Date: starting Monday, February 3rd 2014

Time: anytime

Location: a bed or chair

Salient Points:

  • Perform your kata using mostly the hand movements of the kata;
  • If seated, not withstanding the above, you may shuffle one foot in front of the other to represent the stance called for in the kata;
  • Movements should be performed exactly as called for in the kata, using all applicable body tension, breathing, focus, et cetera;

Kata Sommelier: For karate-ka, I would recommend you perform the highest ranked, most difficult kata in your syllabus. In my kata syllabus, this would involve either the Hakutsuru or Suparunpei Kata. You are either in bed or seated anyway, so perform the most difficult kata – if you can. If you can’t then try a basic kata. With a bit of creativity, you can also perform kicks that may be within the kata.

The last requirement of this “. . . That’s OK” online kata session is to remain in a positive physical and mental state by way of the concept of Zanshin (the “remaining mind”). For information on the Zanshin state-of-mind, please use this LINK: https://senseijohn.me/2014/02/23/zanshin-remaining-mind-shibumi-project/

Once again, you may wish to not only perform this “. . . That’s OK” session as scheduled, but may also revisit it as part of your overall practice regime.

To illustrate the concept of seated kata, here is one example of a seated Sanchin Kata performed at the gravesite of my friend and comrade, Shihan Wayne Norlander (R.I.P. 05-18-11).

HANKO Sensei John Szmitkowski

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

KATA LAB  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/category/kata-laboratory/

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

Hatsu Bon For Shihan Wayne Norlander

18 May

Two years ago today, Shihan Wayne Norlander was taken from us. 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 memory of Shihan Norlander and a fallen comrade you may wish to remember. May Shihan’s spirit find our training and poem worthy.

Shihan Wayne Norlander with friend & comrade, Shihan Peter Urban, circa 1970's, West New York, NJ

Shihan Wayne Norlander with friend & comrade, Shihan Peter Urban, circa 1970’s, West New York, NJ

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.

With Shihan Wayne Norlander, R.I.P.

With Shihan Wayne Norlander, R.I.P.

To view my Sanchin Kata-Hatsu Bon at Sensei’s gravesite (August, 2012), please click the following link: http://www.youtube.com/watch?v=ASAVKhh-Hhs

HANKO Sensei John Szmitkowski

To view photographs of Shihan Norlander’s elevation to Ku-Dan (9th degree black belt), please click this convenient link:http://www.flickr.com/search/?q=wayne+norlander+promotion&f=hp

From 2000, Shihan’s promotion to Nana-Dan (7th degree black belt)  at the Kearny Martial Arts Dojo, Kearny, NJ, group photograph with the Goshin-Do Karate-Do Yudansha.

SENSEI WAYNE 7TH DAN

Kneeling (L-R): Shihan Thomas DeFelice,  Shihan Wayne Norlander,

Standing (L-R): Myself, Sensei James DiMicelli, Sensei Walter Byrne, Sensei Dave Crum, Sensei Bret Moore (R.I.P.), Sensei Gil Breit, Sensei Rich Sheilds, Sensei Kim Szmitkowski.

NJ REFLECTIONS – 2012

22 Apr

And so, another trip to the Garden State comes to an end.

As in the past, such a trip involves a wide range of interactions and emotions. As always, seeing and spending time with family is the greatest highlight. Spending time with my little grandson is an experience that can not be expressed by mere words.

At such times, words cannot do justice to the experiences of the past three and a half months.

So too with my Karate-Do interactions and relationships. Relative to the martial arts, here are a few of my Karate-Do reflections.

It was with great excitement that my Sensei, Shihan Thomas DeFelice, I and my Goshin-Do Karate brothers embarked upon a project chronicling the history and development of our branch of the Goshin-Do Karate tree. To experience this distinct historical and intuitive experience, simply click the following link: WWW.DeFeliceRyu.Wordpress.Com

In addition to the above project, training with my Karate-Do comrades provided satisfaction on a regular basis. Most Wednesday nights I found myself at the USA Goshin-Ryu Dojo of Sensei Pablo Peneque and Sensei Scott Zamora in Bogota, New Jersey. I say most Wednesday nights because, unfortunately, external factors dictated that my attendance was less than regular. While I always find it pleasurable to visit with Sensei Pablo and Sensei Scott, I found I was somewhat crestfallen. While the spirit of Shihan Wayne Norlander bountifully roams the Dojo, I miss his joie d’ vive. Every Wednesday, I dedicated a performance of his Kunchaba Kata (derived from the Uechi-ryu Kanshiwa Kata) to his spirit. During one training session at the Dojo I had the good fortune to meet Shihan Ken Zuck of Isshin-ryu Karate-Do (Left to right in the photo below are: Sensei Bob, Sensei Pablo, myself, Shihan Zuck & Sensei Scott).

The Wednesday night training sessions were a great lead-in to Sunday morning training sessions with Shihan DeFelice and the yudansha. These sessions were punctuated with in-depth analysis of Kata and the associated bunkai and provided not only satisfaction but imaginative insight was well.(Left to right in the photo below, Sensei Rudy, Shihan, myself, & Sensei Dave).

I was also once again fortunate to visit the Dojo of Shihan Thomas Van Tassel and Sensei Jack Kramer in Rockaway, New Jersey (http://www.americancenterformartialarts.com). During the visit, Shihan Van Tassel and Sensei Kramer debuted their new patch design as shown below.

With a heavy heart, I paid respects to the gravesite of Shihan Wayne Norlander. These gravesite visits marked a solemn time of reflection on the life of a true Karate-Ka.

And so once again I find myself geographically apart from family and training in the “dry” heat of the low desert of Arizona amidst the hummingbirds, coyote and lizards. More to follow.

HANKO

 Sensei John Szmitkowski

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 r Book by clicking the following convenient link:http://www.dynamic-meditation.com/references.html

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

JIRIKI KATA-DO, An epiphenomenon of Goshin-Do Karate

2 Oct

With the release of the Sanchin Kata For Everyone DVD, I thought I would take this opportunity to explain the derivation of the dynamic philosophy I call Jiriki Kata-Do and the integral role Sanchin plays in this methodology. For a link to a free online preview, please see the end of this article.

Sanchin DVD Jacket

Jiriki Kata-Do is derived from Goshin-Do Karate-Do. Its salient point; however, is that Jiriki Kata-Do is designed for the non-martial artist. Jiriki Kata-Do is a methodology that combines and distills martial arts physical protocol, Kata, philosophy and ideology into a program that gives the non-martial artist access to an otherwise secret means of attaining physical and spiritual well-being. Once the sole province of and jealously guarded by martial artists who have devoted decades to retaining these secrets, Jiriki Kata-Do unveils these secrets to everyone.

Jiriki Kata-Do translates as “Salvation from within through Kata.” In this context, salvation means physical and spiritual well being. Physical movement is combined with spiritual awareness to produce an active, or dynamic, meditation process. Jiriki is contrasted with the concept of Tairiki. In tairiki, one can achieve physical and spiritual balance; however, the means of such achievement is from a source outside of oneself. Thus, methods that employ tairiki concepts, such as, training facilities, personal trainers and even elevated pursuits such as yoga, require the intercession of a third party such as a coach, trainer and the like.

The impetus for my creation and evolution of Jiriki Kata-Do are certain, select, sophisticated Kata of Goshin-Do Karate-Do as taught by Shihan Thomas DeFelice, Ku-Dan, Karate-Do No Hanshi.

Shihan Thomas DeFelice’s Goshin-Do Karate-Do patch

The relationship between Jiriki Kata-Do and Goshin-Do Karate-Do may best be characterized by saying Jiriki Kata-Do is the epiphenomenon of Goshin-Do Karate-Do. Jiriki Kata-Do could not exist but for Goshin-Do Karate-Do, whereas Goshin-Do Karate-Do can, and has for over six decades, existed without Jiriki Kata-Do.

Issho-Dojo Patch Of Sensei John Szmitkowski

Issho-Dojo Patch Of Sensei John Szmitkowski

Prior to his untimely passing on May 18, 2011, I had a conversation about Jiriki Kata-Do as a dynamic meditative practice and the martial art of Goshin-Do Karate-Do with Shihan Wayne Norlander, Ku-Dan, Karate-Do No Hanshi, USA Goshin-Ryu Karate-Do.

With Shihan Wayne Norlander, R.I.P.

In that conversation, I ascribed the following symbolism to the interrelationship between these two arts. Goshin-Do Karate-Do is symbolized by a pot of boiling water. To the uninitiated cook, the water simply boils; however, to a culinary connoisseur, the boiling water must be studied, refined and specifically defined. The novice would simply describe the water as boiling; whereas the connoisseur would describe the boiling water as a hard-boil, or a rolling-boil or steady-boil.

With Shihan Thomas DeFelice, Ku-Dan, Karate-Do No Hanshi, Goshin-Do Karate-Do

In comparison, the novice simply describes Goshin-Do Karate-Do protocols as Kata to be learned, like a dance. The aesthete devotee of Goshin-Do Karate-Do seeks to clarify, refine and identify the Kata in a manner similar to the chef and the boiling water. That is to say, the aesthete desires to explore the minutest detail of the Kata within a specific self-defined genre. For me, this process of exploration viewed the Kata initially as a means unto themselves and eventually within the overall context of self-defense, called “bunkai.” This process led me to explore the full extent of the of utility learning Kata. As I looked into this symbolic pot of boiling water, I began to realize that clarifying and defining the water within the context of the martial arts, while fulfilling, was no longer personally sufficient.

I realized that my destiny was to explore the epiphenomenon of the boiling water. My predestined passion lay in exploring and seeking to clarify and define that amorphous by-product of the boiling water, the illusive steam. Thus, I was driven out past the traditional boundaries of the proverbial boiling pot of Goshin-Do Karate-Do Kata into the realm of the steaming Jiriki Kata-Do.

 

Jiriki Kata-Do, as the symbolic steam produced by the boiling water of Goshin-Do Karate-Do, is the resultant effect that is neither water nor its atomic component of hydrogen and oxygen. Jiriki Kata-Do is the preeminent result when a force (heat in the boiling analogy), physical effort, mental intuition & innovation in the case of Jiriki Kata-Do, is applied to the basic fundamental building blocks (such as H2O molecules in water) and Goshin-do Karate-Do Kata in the case of Jiriki Kata-Do.

Sanchin Book Front Cover Art

Sanchin is the “Gateway-Kata” to Jiriki Kata-Do. Sanchin provides a means of enlivening and enhancing the otherwise mundane aspects of life, to wit: breathing, bodily movement and state of mind and explores and enhances them. Thus, the three battles, or three aspects of human life are found in Sanchin. (See Endnote # 1).

SANCHIN – Three Battles – Three Aspects of Life

Sanchin further combines these otherwise mundane physical aspects and synchronizes them with an elevated spiritual aspect through the exploration of various states of mind and a misunderstood metaphysical aspect which explores one’s internal bio-energy (called Chi by the ancients) and its symbiotic relationship the the external energy of nature and the universe that surrounds us.

Thus, Sanchin explores the necessary elements for life itself. This exploration, when individually undertaken through a pure study of Sanchin, will produce an enhanced life experience for the practitioner.  Sanchin, as the gateway Kata to Jiriki Kata-Do is revealed to the non-martial artist in my new DVD and book. Now the treasure of Sanchin, once jealously guarded by the martial arts, is available to everyone.

Here is a convenient link a video preview of the Sanchin DVD filmed on location at various scenic locations throughout Arizona. LINK: http://www.youtube.com/watch?v=J-pC-tPUrYE

Until the next article, I remain, performing Sanchin and exploring the resultant steam of Jiriki Kata-Do.

HANKO-master

 

Sensei John Szmitkowski

ENDNOTE:

1. The definition of the Three Battles, or human aspects, of Sanchin as: breathing, bodily movement and state of mind is a fundamentally rudimentary definition. Through continued practice of Sanchin, a more elaborate, and even controversial, definition is to be found. Curious? An answer is contained in the Sanchin DVD.

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

A SENSEI’S PRAYER

5 Jun

In the interval of time since the passing of Shihan Wayne Norlander, I have struggled with an appropriate topic to submit for your consideration. Recently, during an afternoon Kata training session in the triple digit heat of the Arizona Desert known as the “Valley Of The Sun”, it occurred to me that the within is perhaps a most appropriate submission. The following is dedicated to all Sensei, past, present and future. It is also appropriate to all those who choose to lead rather than follow. (See Endnote #1)

A SENSEI’S PRAYER

DEAR LORD, PLEASE HELP ME –

TO accept human beings as they are – not yearn for perfect creatures;

TO recognize ability – and encourage it;

TO understand shortcomings – and make allowance for them;

TO work patiently for improvement – and not to expect too much too quickly;

TO appreciate what people do right – not just criticize what they do wrong;

TO be slow to anger and hard to discourage;

TO have the hide of an elephant and the patience of Job;

IN short Lord, please help me be a better Sensei!

Until the next submission, I remain, simultaneously honored and humbled to have earned the title, “Sensei”,

HANKO-master

 

Sensei John Szmitkowski, Jiriki Kata-Do

Here is a link for a promotional video about my Sanchin Kata & Jiriki Kata-Do DVD filmed in the Tonto National Forest. Arizona. Please see the “SANCHIN DVD & BOOK” page tab above for information on how to purchase the DVD.

LINK: http://www.youtube.com/watch?v=J-pC-tPUrYE

ENDNOTES:

1. The “Sensei’s Prayer” is taken from a plaque that hung in Shihan Thomas DeFelice’s Academy Of Goshin-Do Karate-Do Dojo.

For more on either Sanchin Kata as meditation or my new book on Sanchin Kata, please feel free to visit the “Sanchin Book” page of this weblog, or my website WWW.Dynamic-Meditation.Com.

You may wish to view my blog dedicated to fly-fishing by clicking WWW.FlyFishingDojo.Com

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