SHO REI SHOBU KAN

In This Issue

Shihan’s Corner

Pacific Northwest

Lincoln Warriors

Seiko Higa

Tradition

Upcoming Events

Shihan’s Corner

Pretending To Be Strong.

By Seikichi Toguchi, submitted by John Roseberry Shihan

It's a simple thing to pretend you're

strong. Which is why there are so many braggarts and boasters in the world.

The desire to be strong, or rich, or fa-mous, or wise is very common. There is nothing wrong with the pursuit of excel-

lency. But the desire for excellence drives many men to pretend they have those qualities. Quite simply, they hope to fool enough other peo-ple into believing them.

To make this charade believable, however, one must have some sub-stance behind his pretense. So a man who has a little money is very ostentatious about it: wears fancy clothes, lives in a big house, and pretends to be wealthy. A karate man pretending in this fashion will show off a few techniques to make people think he has mastered many more. And thus the pretense gains believability, even though it has no substance.

There is another way to pursue excellence, however. This is to be modest, not to claim more than is your rightful due, even to humble yourself below your true ability. This sort of man pretends to be weak, rather than pretending to be strong.

Pretending to be weak is not easy. Others will perhaps despise or dis-regard you. Only a few will recognize your true worth. The world will not beat a path to your door.

But you will be true to yourself, not a fabrication of lies to fool others.

“Let it make sense”

John Roseberry Shihan

Sho Rei Shobu Kan - April 2018 Issue #5

Countdown to

Convention!

June 21-24

Lincoln

Nebraska.

“If you roll in the mud with the pigs, you’re going to get dirty.

Stay out of the mud and train.”

Pacific Northwest Resurgence On February 17th 2018 the KUMA KAN-DOJO of the SHO-REI-SHOBU-KAN organiza-

tion held its first promotional test. The style of Karate that is taught here is Okinawan

Goju-Ryu (hard / soft style).

This school recently reopened its doors in October of 2017 after a twenty year hiatus.

Prior to this, this school was originally named “The Olympic Martial-Arts Center,” headed

by my teacher Mike Dascenzo. This Karate organization has been in Kitsap County

since the late 70’s. Our dojo (school) is now located at the Poulsbo Parks and Recrea-

tion Center. I have decided to keep our style of Goju-Ryu alive and well in Kitsap County, under a new dojo name “KUMA

KAN DOJO-SRSK”. My hopes are to keep SRSK in Kitsap County for another 30 years.

David Chapman Sensei and I have decided to open a site on Facebook called “SHO-REI-SHOBU-KAN NORTHWEST”

Jeff Iller Sensei has returned to the dojo floor after a twenty year hiatus and assists me in running my class, when he is able

to.

Chapman Sensei keeps our style alive in Eastern Washington. He was my assistant instructor in The Cheney Dojo back in

the day.

SRSK is starting to grow strong again in the Pacific Northwest and my hope is it will continue to do so.

Charles Todd Sensei

Pacific Northwest

Pacific Northwest

K U M A K A N D O J O

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River City Classic Competitors from the Lincoln Martial Arts Center, Nikol Thau and Gerardo Soto competed in the 4th Annual Riv-er City Classic held on February 3rd, 2018 in Council Bluffs IA.

This was Gerardo’s first time competing in a martial arts tournament.

Nikol won first place and third place metals in Kumite, and a second place medal in Kata. Geraldo won a first place metal in Kumite.

Doug Miles Sensei

Lincoln Warriors

Lincoln Warriors

Tradition

Tradition - By Donna Ingold Sensei

Maintaining Our Tradition

Traditions are the boundaries within which a group of people strive to preserve a shared culture or heritage. Within

these limits some change is possible, and even necessary in order to prevent staleness and irrelevance, or lack of inter-

est. As with any art form; the martial artist's interests and passions are enlivened by the possibilities associated with their

martial pursuit as well as the perfection, personal expression, and application of their art. This creative force has been,

and will continue to be a catalyst behind both the micro and macro evolution of the martial arts.

Traditional Karate

Traditions evolve along with changes in society and culture. Traditional Okinawan Karate was not originally identified

by style, was passed down to the male relatives, and was usually identified by family name. Though these early styles

often had regional designations or boasted a lineage that could be traced back through several generations of teachers,

there were no strictly separate styles. People sought out teachers because they had a known reputation as a great fighter

and teacher of unarmed combat. They kept their techniques hidden from others out of necessity. If shared with outsiders,

they would in effect be handing their weapons and strategies over to their enemy, leaving them vulnerable in literal life and

death situations.

Though the systems that developed were strongly identified by lineage and family name, some teachers did accept

outside students of good character who came by recommendation of reputable citizens or family members. In fact, styles

were mostly the invention of the 1920s and 1930s, a result of Japan's annexation of Okinawa, and their desire to be ac-

cepted in Japanese society. During this time teachers not only collaborated with other styles locally, but often traveled in

order to study multiple styles, expanding their knowledge and experience in martial arts.

Other factors contributing to the development of traditional karate include the effects of World War II in Okinawa and

Japan, and the world-wide expansion of martial arts in the second half of the 20th century. Though martial arts will cer-

tainly continue to evolve, there are certain enduring characteristics that help to define traditional karate.

Self Defense:

Karate is above all a fighting art. The original practitioners had to learn to defend themselves against spear, sword or

staff. Today’s karateka must also learn to disarm a gunman, a concept their martial artist ancestors could not have antici-

pated.

Kata:

Sensei Kuroda Tesuzan of Shinbukan Kuroda Dojo says, “Soft kata will produce fast and disappearing movement.” The

notion of traditional karate without kata as a training tool is inconceivable.

Developing the Spirit:

Karate masters have always maintained that karate training is intended to develop the character of the practitioner. Traits

such as honor, courage, discipline, self-control, and humility are emphasized in the Kun of most traditional karate dojo.

Adaptation:

This is a notion foreign to some modern karate schools. Adaptation was the norm for traditional karate. As a fighting art,

often techniques could mean life or death for the warrior. They quickly learned to adapt and improvise in order to preserve

life and come out as the victor in a fight (1).

The truth is, very little of what we think of as traditional karate is accurate. Often we find ourselves wrapped in the courte-

sies of the style and miss the intent found in its roots. Karate is a fighting art and is intended to develop the strength, char-

acter and skill of the karateka in order to prepare them for battle and for life.

Tradition

Artistic Expression

There are multitudes of martial art expressions, and the practitioners of these martial arts are equally diverse in their reasons for

training. Though training purposes and passions may be as diverse as the artists themselves, all martial arts share the same origin.

Dan Inosanto, head instructor of the Inosanto Academy of Martial Arts in Marina Del Rey California and student of Bruce Lee says,

“Love is the highest art. In ancient times you trained so hard, not for the sake of killing people, but for the love of your family: for the

love of your mother, father, your children, your tribe, and your body. It is the love of life. That's why we train so you can preserve life."

Clearly the roots of all martial tradition can be found in the protection of self, loved ones, and one's way of life. History has consist-

ently shown that the powerful will often rise to threaten the lives of those who wish to live freely and at peace, and of course this

threat is a powerful motivator to practice the art of war. Often it can come as a shock to the peaceful that they are in need of these

martial skills. Though an imminent threat may motivate the warrior to rise for battle, it is during times of peace that a martial art is

truly cultivated and strengthened into a well defined system.

Aesthetics vs. Relevance

Some may train for the aesthetic value alone while others train primarily for the real life application of self defense and the preser-

vation of life. In truth, there is a balance between the two that should be maintained. One teacher uses the United States Marine

Corp as an illustration. He explains that while the Corp has their own unique traditions, they are not sustained or practiced at the ex-

pense of modern combat utility. Although their traditions and martial culture are deeply imbedded into their system, and necessarily

so, "they no longer go to war with muskets and sabers (3)." Instead they have continued in strengthening their skills, strategies and

tools of war during times of relative peace in order to maintain and defend that peace. Their weapons and strategies have continued

to evolve and change with the modernization of war.

Many traditional martial arts schools still seem to be in the musket and saber stage (3). While they religiously adhere to using

only the traditional tools and etiquette of their own style, they often fail to teach the practical application of those skills or even modify

them in order to keep their art relevant and fresh. Of course, this is not necessarily a negative thing. There is certainly value in pre-

serving the traditions of style for its aesthetic qualities alone. For some, it is only an art and not so much a system of self defense. So

long as the practitioner is aware that their technique and weapons may not be as effective in a modern combat situation, a martial art

observed simply for its traditions, etiquette and courtesies is perfectly valid.

On the other end of the spectrum are the schools that so dilute their system that not only is it unrecognizable as a traditional mar-

tial art, but the lack of substance often leaves their students unprepared to defend themselves. They may be armed only with a false

sense of safety and no truly effective weapons or techniques for self-defense. So, the greatest danger lies not in the loss of stylistic

identity, but rather in the student’s false sense of safety with which leaves them unprepared and frighteningly over confident in self-

defense situations (3).

Finding the Balance

While changes in tradition may not be inherently negative, often the value of adhering to and continuing to pass down tradition

has the potential to enhance the student's training. As in any culture, the traditions practiced serve to build camaraderie within the

group. People of like mind and common goals tend to form a bond of fellowship and familial relationship. In such an atmosphere,

learning, achievement, and overcoming obstacles are met as a common challenge. When one member is struggling, the community

works together to help the member succeed. When the stronger succeed, others are inspired to continue on through their challenges

with the hope that they not only can, but certainly will reach their goals with the support of their community. This powerful common

identity can be maintained, as can the core traditional values of any group, and still its members can grow though allowing creativity,

personal expression, and even some change in tradition.

Tradition

Tradition

Finding the Balance - Continued

"A man doesn't excel because of his style. It's only when a man can go outside the bounds set by his system that he excels (4)."

Natural human tendency is to seek and maintain comfort. Unless challenged, we tend to remain in our comfort zone and will proba-

bly never meet our full potential. In the same way, an organization whose mindset is so married to tradition that it excludes the possi-

bility of change, may be setting itself up to become stale, irrelevant, and lifeless. Further, they risk dwindling numbers of students and

the eventual death of their organization.

In contrast, creativity and personal expression can be a major catalyst for growth of both the students as well as the organization

itself. The key is to hold on to what strengthens the organization, and also allow healthy and relevant growth to occur. Clearly the

benefits of enabling students and teacher to reach their full potential come with risk, but the greatest risk lies in stifling the growth

process. The key to successful growth is to allow the process to happen and to hold on to those traditions that are most important.

They will help in stabilizing the chaos surrounding the process and provide a solid foundation on which to continue to build a strong,

relevant and traditional martial arts school.

Works Cited

1. Clarke, Chistopher M. Volume 1: Shuri-te and Shorin-ryu. Huntington: Clarke's Canyon Press, 2012. Print. Vol. 1

of Okinawan Karate: A History of Styles and Masters. 3 vols.

2. Clarke, Christopher M. Volume 2: Fujian Antecedents, Naha-te, Goju-ryu, and Other Styles. Huntington: Clarke's Canyon

Press, 2012. Print. Vol. 2 of Okinawan Karate: A History of Styles and Masters. 3 vols.

3. Poorman, Master Ronald. Personal interview. 10 Mar. 2014.

"Shihan Essence." Shihan Essence: Daily Martial Inspiration. April 28, 2014 https://www.facebook.com/shihanessence?ref=ts&fref=ts

Donna Ingold Sensei

Tradition

Convention Memories

Countdown to

Convention!

June 21-24

Lincoln

Nebraska.

Convention Memories

This one was taken in 2004 during a well deserved break in the activities.

Can’t wait top see what memories will be made in Lincoln this year!

See ya in June! Sensei Rod

The Influence of Seiko Higa on Sho-Rei-Shobu-Kan Goju Ryu - By Brian Gorman Sensei

As students of the Sho-Rei-Shobu-Kan Budo Organization, we are all familiar with our karate

lineage. John Roseberry Shihan studied under Seikichi Toguchi, who in turn trained under

Chojun Miyagi, the founder of Okinawan Goju Ryu. Most of us also probably know that Togu-

chi Sensei began his training under Seiko Higa before training with Chojun Miyagi.

Seiko Higa was born in 1898. He began his training in karate at the age of 14 directly under

Kanryo Higashionna. Chojun Miyagi was Higa’s sempai under Higashionna. When Higash-

ionna passed away, Higa continued studying Goju Ryu under his sempai, then Sensei, Cho-

jun Miyagi for nearly 40 years.

Toguchi Sensei trained with Seiko Higa for 33 years until

Higa’s passing in 1966. Toguchi Sensei also trained during

this time with Miyagi Sensei until his passing in 1953. For

those of you who have had the opportunity to train with oth-

er Goju practitioners outside the Toguchi lineage, you have

probably noticed small differences in kata, junbi undo, and

other aspects of training. Since all Goju ryu came from

Miyagi Sensei, I have sometimes wondered where these

differences came from, and the influence both Miyagi

Sensei and Higa Sensei had on Toguchi Sensei’s Goju

Ryu.

On my trip to Okinawa in September of 2017, organized by

Franco Sanguinetti Sensei, we had the opportunity to train

Goju Ryu one afternoon at the Shodokan dojo of Seiki Gibo Sensei. Gibo Sensei trained

under Siekichi Higa, the son and a senior student of Seiko Higa. Shinjo Tadaka Sensei was

our instructor. At 63 or 64 years old, I was very impressed with Tadaka Sensei’s youthful

appearance, speed and agility. He was also just a very nice person and very willing to share

his time, knowledge and conversation with us. But what made an even bigger impression

on me was how similar his training was to that of Shihan Roseberry. The junbi undo we

warmed up with, the drills we practiced, and even kata Sanchin were all identical or nearly

so to what Shihan has taught. This leads me to believe that Toguchi Sensei was heavily

influenced by his years of training with Higa Sensei given the differences we see for exam-

ple with the Morio Higaonna Goju Ryu that has a direct lineage to Miyagi Sensei but not to

Higa Sensei.

It is by no means my intention to imply that one lineage is better than another. But I think we

in the Sho-Rei-Shobu-Kan organization owe a lot of what we do and who we are to Seiko

Higa. If you ever have the opportunity to train in Okinawa, I would recommend training at

the Shodokan of Gibo Sensei. In fact, Sanguinetti Sensei is planning a trip back to Okinawa

this July to focus on karate training at the Shodokan among other karate dojo. Please con-

tact Sanguinetti Sensei if you are interested.

Brian Gorman Sensei

The Influence of Seiko Higa on Sho-Rei-Shobu-Kan Goju Ryu

The Influence of Seiko Higa on Sho-Rei-Shobu-Kan Goju Ryu

Contact Us

We need input from the

members of the organiza-

tion. Articles, stories,

calendar updates, photos,

etc.

If you know anyone who

wishes to be added to the

distribution list (or re-

moved) please let me

know.

Thanks again:

Rod Williams

rcwillia@cox.net

(402) 679-4592

Upcoming Events

2018 Sho Rei Shobu Kan International Convention

When: June 21st - 24th

Where: 1811 “N” St.

Lincoln, Nebraska 68508

PS. As in years past we will be doing Breakfast on Sunday.

PPS: Shihan will be signing his new book at the International Convention.

What’s happening in your Dojo? Got an upcoming event in your Dojo? Maybe something as simple as a

Kyu rank testing, a tournament, or maybe a visiting instructor? Let me

know and we’ll list it here. Thanks again… Rod

Big correction from the last edition! Last edition my fingers didn’t know when to stop doing the “cut & paste”

thing while putting together Sensei Bill’s article on the 20th Annual Mid-

west Matayoshi Kobudo Gasshuku. This resulted in the following correc-

tion on the testing results:

Erin Hansen was promoted to Ni Kyu instead of San Kyu. My humble apologies Erin.

Rod

Thanks… Thanks so much to Shihan Roseberry, Sensei Donna Ingold, Sensei

Charles Todd, and Sensei Brian Gorman for their time and contributions

to this newsletter. Please send me notes, thoughts, articles, events, and

especially photos. There is no such thing as too big or small, we can

make it fit. There is way too much talent out there that really needs to be

heard.

Rod

Hombu Dojo

John Roseberry - Shihan

SRSBK Family Martial Arts Center

13478 Naylors Blue Drive

Chester ,VA. 23836

402-890-9988

Sho Rei Shobu Kan - Okinawan Goju Ryu Karate Do

Upcoming Events

Please join me in contributing to our newsletter. As an organi-

zation we have too much knowledge to keep it to ourselves.

- John Roseberry Shihan