# Teaching Bunkai...



## Makalakumu (Apr 26, 2006)

How does your art do this?

Is it up to the students to find for themselves?
Are there standardized bunkai that are taught?  How are these taught?
Does your instructor use "one steps" to teach bunkai?

What do your art do to teach applications in the forms?


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## Eternal Beginner (Apr 26, 2006)

There is a basic bunkai that is explained to beginners for the kata.  As the practitioner advances he/she is encouraged to look for other applications and then tests them out with other students to see if they actually work.

Most of the initial bunkai comes in when the student is first learning the form.  For some people it is very hard to just memorize a series of moves but when they are explained as to what they are and how they fit together, learning kata becomes much more sensible to them.  There is nothing more discouraging then having a senior say "follow me" and then proceed to blast through 20 or 30 moves that seem unrelated, and to a beginner, not even recognizable in some cases.

It is much easier (for some, not all) to be given a few moves, explain how one block flows into the next punch, understanding where your assailant is coming from, etc.  Therefore, that is how bunkai is assimilated into kata training...gradually, along the way and eventually becomes up to the student to see how they would use those moves and what makes sense to them.


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## stone_dragone (May 31, 2006)

At my instructor's school, the bunkai is fairly limited to the basic description of targets and attacks being blocked.  In preparation for my Black belt test, I finally asked the question (to myself) "What is this again?" and "That doesn't make sense..."  Thats when I began exploring much deeper into the bunkai of forms.  

I generally teach principles of how to analyze the techniques with a basic demonstration of an application for the kata being taught (but I make sure that the students know that it isn't the only answer.)


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## Henderson (May 31, 2006)

stone_dragone said:
			
		

> I generally teach principles of how to analyze the techniques with a basic demonstration of an application for the kata being taught (*but I make sure that the students know that it isn't the only answer*.)


 
Exactly, AC!  There comes a certain point where the student should be finding applications on their own (even if they're wrong).  At least it shows they're thinking.


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## Brandon Fisher (Jun 1, 2006)

I will be using Yakusoku Kata (promise sparring) to teach bunkai of each kata once I get my black belts up to speed on it.


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## Grenadier (Jun 1, 2006)

In the systems where we did use the bunkai / oyo, we'd simply start by having them learn the kata.  After they had learned the sequence, and demonstrated the ability to perform the kata with good proficiency, we'd have them visualize attackers by telling them what would be coming their way.  

Once they understood this, then we'd have them work with partners, where the kata performer would tell the partner / attacker what to do.  This way, everyone is involved with learning the kata from an attacker's point of view as well as the performer's point of view.  

Once they were proficient at this, then we'd have the attackers come in and attack without anyone saying anything.


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## Nomad (Jun 1, 2006)

I'm giving a seminar on Bunkai (using Iain Abernethy's excellent books as a starting point) for a group of our students this summer with our head instructor's permission.  The emphasis will be to look deeper into the kata and not just accept some of the "standard" explanations as they are often far from ideal.  Combination of written seminar and hands on physical class to practice a few of the techniques that get the main points across.

It should be loads of fun.


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## Wes Tasker (Jun 1, 2006)

One thing, in my opinion, that needs to be done is to make sure the bunkai does not become a "fixed" set of techniques.  Bunkai are "examples" of what a move in a Kata can be.  Oyo is the application of that move.  You could conceivably come up with many bunkai / oyo for one move in a kata, but that would not be the essence of what Kata is teaching.  The idea is to get at the "genri" or principle that the Kata or the part of the Kata is teaching.  Once you have the "genri" then bunkai and oyo waza will manifest when you need them.  To get to that point requires one to examine the hell out of a kata, take the bunkai and oyo and drill them in kumite both fixed (ippon, sanbon, etc.) and free (jiyu).  The kata really teach genri (principles), ritsudo (rhythm), nagare (flow), and kotsu (essence).  All these are tempered through hard training and eventually it is they that generate waza in application.  So it is important to come up with bunkai/oyo for kata, but there's much further to go.  My .02 worth anyway.....

-wes tasker


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## Brandon Fisher (Jun 1, 2006)

Thats right I showed some bunkai for Pinan Sandan last night that people never even thought of because they were forgetting the way the arm and hand moves with chambering.


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## Explorer (Jun 3, 2006)

We include bunkai in our tests.  In the early tests we give the students specific bunkai they must master.  In the middle stages there are required bunkai and a couple the student must wrestle from the assigned kata.  In the upper ranks the karateka must break down a kata to the satisfaction of several judges who are allowed to challenge their interpretation.  If thier bunkai doesn't pass this test, it's back to the drawing board.

We also make sure to regularly expose students to striking, grappling, throwing, pressure point, etc techniques, that relate to the kata in our system, to prime the pump a bit.


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## Brandon Fisher (Jun 3, 2006)

Thats a interesting way to do it.  I to teach bunkai and relate it to self defense techniques and many of my upper ranks are starting to recognize it I may work out something like what you are talking about.  Thats a really good idea.


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## Explorer (Jun 4, 2006)

> Brandon Fisher said:
> 
> 
> 
> > Thats a interesting way to do it.  I to teach bunkai and relate it to self defense techniques and many of my upper ranks are starting to recognize it I may work out something like what you are talking about.  Thats a really good idea.



If it works for your students, great.  If not, feel free to ignore me completely!


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## Brandon Fisher (Jun 4, 2006)

Nope your not worth ignoring.  Thats a good idea.


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## Robert Lee (Jun 15, 2006)

When I trained karate. Kata was the one man form Bunki the two man form being taught both offence and defence motion. Of the kata training to show application. We had kiso kumite prearranged self defence sets.  Then the regular open training. Plus jyu kumite  Free style spar. Bunki was taught after a person learned the kata well enough to have the application moves down well enough to have smoothed it out. All kata was taught in steps And bunki the same way But so was kiso kumite.  Mostly 3 steps to be showed the complete Kata, bunki, and kiskumite.  Good thing about Bunki it did show application. As when you do Kata Some of the applications are well hidden that show better when you are taught the bunki.  Kata is the key bunki helps unlock the door and jyu kumite opens the door Thats if you train more traditional and want to learn your art well. Now TKD it has 1 step 2 step 3 step spars They are more like kiso kumite rather then Bunki.


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## fnorfurfoot (Jun 15, 2006)

When I was with my original instructor, I went through eleven years of instruction without even hearing the word bunkai.  It was only two years ago when I started taking Goju that I learned what that meant.  

Anyway, he never really spent much time teaching bunkai.  At the most, he would explain what you were doing with a single move.  In fact, I remember learning 2 kata and I asked him why I was punching down to the ground at the end.  I asked him where this person came from that I have to hit.  His answer was a simple, "I don't know."  That helped show me that he didn't understand some of what he was teaching.  Since then, having taught the form for many years, I have come to understand a number of possibilities within each move in the forms.  But I've had to do this on my own.


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## Brandon Fisher (Jun 15, 2006)

fnorfurfoot said:
			
		

> When I was with my original instructor, I went through eleven years of instruction without even hearing the word bunkai. It was only two years ago when I started taking Goju that I learned what that meant.
> 
> Anyway, he never really spent much time teaching bunkai. At the most, he would explain what you were doing with a single move. In fact, I remember learning 2 kata and I asked him why I was punching down to the ground at the end. I asked him where this person came from that I have to hit. His answer was a simple, "I don't know." That helped show me that he didn't understand some of what he was teaching. Since then, having taught the form for many years, I have come to understand a number of possibilities within each move in the forms. But I've had to do this on my own.


 
That sounds very familar.


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## Dark (Jun 15, 2006)

My old shotokan sensei was big on bunkai, never called that but he would explain where shoulder dislocations and arm breaks were hidden in the kihon kata, then tell use to find 3 more "secret techniques" in the kata. I loved it, but at some point I out grew him.

I still visit and train with him, but now he's learning things from me. It's kinda funny...


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## Robert Lee (Jun 15, 2006)

fnorfurfoot said:
			
		

> When I was with my original instructor, I went through eleven years of instruction without even hearing the word bunkai. It was only two years ago when I started taking Goju that I learned what that meant.
> 
> Anyway, he never really spent much time teaching bunkai. At the most, he would explain what you were doing with a single move. In fact, I remember learning 2 kata and I asked him why I was punching down to the ground at the end. I asked him where this person came from that I have to hit. His answer was a simple, "I don't know." That helped show me that he didn't understand some of what he was teaching. Since then, having taught the form for many years, I have come to understand a number of possibilities within each move in the forms. But I've had to do this on my own.


 Yes each move can work in different aspects You are the one that has to find that out. Each move is a seperate application. Bunki you are showed some of those aspects. And yes some instructors learned moves that they did not have tha application. They did not learn the bunki or was not told more about there kata. What kata in go ju was you punching low in. I know seishochin You do a sweep  while you have stoped and controled a kicking leg then punch low While the person is on the ground If  I remember right Its a doble punch urekan fist strike to the solar plex and throat. Its been a few years since I worked kata so I could be wrong Thats 1 Go ju kata that you low ground punch in. There are others where you do groin strikes  hammer strikes  What was the kata  or kata bunki named. Because like sifa kata thers a leg sweep arm bar low head strike while you hold the armbar in its bunki also. Hidden well in the kata.


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## chinto (May 27, 2007)

upnorthkyosa said:


> How does your art do this?
> 
> Is it up to the students to find for themselves?
> Are there standardized bunkai that are taught? How are these taught?
> ...


 

the basic or kihon bunkai is tought to the student along with the kata, but then we are encorreged to find more,and told there are at least 5 more to find for almost every move. ( we do the old kata that have not been changed for sport or any thing. same as tought by kyan )


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## Chizikunbo (May 27, 2007)

upnorthkyosa said:


> How does your art do this?
> 
> Is it up to the students to find for themselves?
> Are there standardized bunkai that are taught?  How are these taught?
> ...




Hi John,
I will try to keep this as short as possible, as it is possible in giving even a very simple answer to expound many pages on the particular topic at hand.
The process of teaching and learning bunkai (or as you may know it better bunseok) is a process that spans a students entire career in the art. A unique aspect of the martial arts, bunkai takes on new levels of meaning and interpretation in of itself as a student progresses, practices, and studies.
To the beginner student, a form is a form as it appears to be, a series of strikes, and blocks. However as the student progresses and expands their mind to be able to accept, process, and understand more advanced concepts bunkai is introduced. 
Due to the fact that their are numerous applications for anyone movement in the kata, there are few "standard" techniques taught; the technique shown is usually dependent on the student, and his/her needs and understanding, as well as technical ability. There are some base techniques for certain movements, but they are not necessarily standard. For instance in Naihanchi Shodan, Te hiri getami is usually the technique used to demonstrate how bunkai is found in forms.

In my personal teaching methodology  (give it credence as you may) I use the old adage that "It is better to teach a man how to fish, rather than simply giving him a fish" because as you know "if you give a man a fish he will eat for a day, if you teach him how to fish he will never go hungry..."
Teachers are simply guides, and cannot show a student how to apply every movement. You can show a technique but it does not really give the student understanding. When a student learns how to see the inner contents of forms he can pull out his/her own interpretations of the movements, and those applications are those students. No two people's technique will ever be the same...we have different life experience, and minds. Technique is expressed through the body, dictated by the mind, which is in turn guided by the heart, which is led by the spirit. Technique is an expression of minbodyspirit togetherness. When bunkai is properly taught it allows a student to let technique flow from his/her body when they are in need of protection techniques., this is known as mushinas state of mind in which you do not go through the thought process okay here is attack B, I know that defense A will work, but defense C, and counter B would be more effective there is simply no time for this in a real situation. You have no more than 3 seconds to respond to an attack, after that it is a down hill roll if you do not begin or fully overcome your opponent. Mushin is thus an exponent of bunkai and kata training. Why?
I believe that martial arts forms (kata, hyung, poomse, hsing-i, tul etc) were created by masters as conceptual works. Not exacting. For instance I dont believe that a true master would sit down and say okay this movement means this technique and this technique only. Rather I believe that the master would design a form in such a way that there were no definite applications, but rather definite concepts. Forms would thus be designed as exercises that allow students to expand there minds, and develop and open mind to receive and deal with any situation, without conscious effort. The practice of kata, and the study of bunsok grafts the concepts to the body, when a concept is understood fully it works subconsciously and allows technique to flow freely. Instead of knowing only how to perform an arm bar from a standing , prearranged sequence, you can maybe perform it on the ground, knowing that the concept is an arm does not bend in such a fashion in such a joint, if it does, the opponent will experience painwith this truly understood, you can apply it in ways to numerous to contain in even a book form. A concept is the best technique(s), and a technique is expressed through a concept. This is really hard to express in words LOL 
In short, a student must know how to fish, but to do this they have to 1.) know what a fish is (experience a few examples of what true technique is) and two they then must know the methods for catching a fish, how to cast, use the rod, snag etc. (in others words how to see technique in the kata, and not simply an interpretation to put in nicely, so in some ways finding techniques or practicing bunkai is also a concept LMAO). When you catch a fish, or find a technique it is yours, and  its expression will be in your memory, not simply a static execution (copy) of something youve been shown. When something is yours it can be freely expressed, remembering that we never actually forget anything, but it is rather pushed to the subconscious, it is always there, and this is how the techniques can flow out.

After all of this is accomplished we move to your one steps (il soo shik dae ryun) questionsany technique we practice, true technique or not could be construed as one steps i.e. attack, response/neutralization. This practice helps the student further understand  the basics of attack and defense, how to respond to see an opening/weakness and go for itthis is committed to the memory as a concept that can be applied universallystanding, on the ground, where ever. It can also be applied to every day situations, on a different level, how to deal with stress, how to deal with challenges, and how to find answers to perplexing problems. These concepts are universalwe must keep in mind in this regards that martial arts are first a way to protect life, and secondly a way to enhance life (on all levels)

I hope this helps,
Take care,
--Josh

p.s. GREAT thread


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## Victor Smith (May 28, 2007)

There are teachers who can explain dozens of applications for every kata movement. I have experienced them in Chinese, Okinawan, Japanese and Indonesian arts.

Their students do not spend any time trying to figure anything out. Instead they spend their time working to get the applications down, and the part that's up to them is to learn how to select responses and make them work.

Other instructors may show how each movement can handle 99% of attacks, and the student then learns how to just take a techinque and stop the attacker.

Part of the reason a lot of applications are not shown until a student is extremely advanced is simple, they can't do it. Without total faith in their ablity to make a technique work, they will invariably turn to a technique they believe in more strongly. For raw self defense that is fine, but the inability to acutally use their art is why long term instructors share information very slowly. It's not because they want to hold anything back, its because you can't share what the student is not ready to do.

Then again, if you can stop an attack, is it pertinate whether you have 100 different ways to do so, unless you really want the challenge to address your art in fullness.

That is a personal question, and really the one that defines where your art will go. Not where a qualified instructor can lead, but whether you have the determination to go beyond what you want.


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## chinto (Oct 11, 2007)

Victor Smith said:


> There are teachers who can explain dozens of applications for every kata movement. I have experienced them in Chinese, Okinawan, Japanese and Indonesian arts.
> 
> Their students do not spend any time trying to figure anything out. Instead they spend their time working to get the applications down, and the part that's up to them is to learn how to select responses and make them work.
> 
> ...


 

yes, but only to a point. Each person has their own way of aproching things and find some methods more comfortable then others.  I agree that soem bunkai/ aplicatons and techniques are harder to aply and take more background then others. 
I think that good instructors will over time interduce diferent bunkai and also teach students to look for and figure out how to aply diferent bunkai for meany reasons.  One of the big ones is that  that allows the student to controle to an extent where they go once they have acheaved dan rank...   By this I mean that if they know how to analize bunkai and aply; them they have the ability to take their art and what they have been tought to the next level and make the art their own, both in the dojo and fi nessesary in any altercation.


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## Victor Smith (Oct 11, 2007)

Bunkai presents an interesting topic.

In the Okinawan arts there is no word for bunkai, but then there was no word for punch, block or many other terms we use today. Karate developed as a non-verbal form of instruction. Generic terms such as place the arm here were used for almost everything and the instruction came from the instructor showing you what to do, or helping you feel what it was to do.

The use of the term &#8216;bunkai&#8217; and all of the formal understanding of how it is taught is a Japanese invention and a modern one. It is not universal across all Japanese systems. A few year ago I had a Japanese English teacher who trained in Shorinji Kempo in college not understand what I was talking about and it took me 15 minutes to get him to understand the point. He then explained to me the usage of the term &#8216;bunkai&#8217; was something that was developed within certain groups and the average Japanese not using that training would not understand what was being said.

He explained in Japan bunkai was used in the form &#8216;you took your car to a mechanic and he would bunkai (take it apart) to discover the problem that needed to be fixed&#8217;. 

The &#8216;take it apart&#8217; in order to fix it probably became the &#8216;take it apart&#8217; to use it, study it in Japanese karate usage, but that was not of Okinawan origin.

In turn it was in America that bunkai began to be discussed in the magazines and then American&#8217;s returned to Okinawa and started asking questions about &#8216;bunkai&#8217; and in turn some Okinawan&#8217;s choose to answer them. But that was something new too.

Personally I like to use the term application potential to explain how a technique might be used. There are no restrictions, there is just potential and if you can use that potential to drop someone, regardless of whether others use it or if it is official or not, it is then application realized.

The problem with &#8216;bunkai&#8217; is it seems to show that is the answer to how kata can be used, and the truth is very far from that. When you have taken a tool out of the tool chest you then need to acquire the skills to use it.

Any one technique can have many uses. 
The skill to use them can have many variations of fitting into a range of attacks.
And you have to move from beginning pre-planned attacks to unstructured attacks with no restrictions to fully understand its use and your capability.

Too far, IMO, the discussion on &#8216;bunaki&#8217; that it is important for you to look for your own bunkai is a mis-focused  discussion.

When you study kata technique application potential there are more than just the thousands of potential applications, you begin to see the underlying principles that make the applications work and when you begin doing that you can see how other techniques can be applied in the future.

No one really needs thousands of techniques. That study is useful for senior instructors to provide choices for individual students needs.

What is more important is that the students really learn to apply a range of applications that really neutralize the entire range of attacks.  If they reach that small step, then variation after variation can be studied to develop more skills, to allow one to keep learning adding new answers and perhaps dropping some old ones to keep one&#8217;s study alive and not just a fixed answer.

A specific example of what I am talking about would be Faan Tzi Ying Jow Pai &#8211; Northern Eagle Claw. Following Northern Shaolin traditions there is only one application taught per movement, but the Northern forms are so long and there are so many of them the practitioner ends up with thousands of applications. The spend their time on sparring practices making them work, not looking for other answers for the first movement (or any other one).

The Shotokan I studied with Tristan Sutrisno, an Indonesian whose father trained in multiple systems such as Shotokan under Funakoshi, Aikido under one of Usheiba&#8217;s students both in the 30&#8217;s and his family Siliat Tjimande tradition, does not teach any &#8216;bunkai&#8217; until after black belt, but then at each movement point in a kata, learns an completely different technique series for each of their levels of black belt.  Again thousands of technique. The student never studies the forms application potential, instead working on how to make those application studies work and how to choose the correct answer against an attack more effectively.

In the manner in which I teach Isshinryu formal application studies do not begin until black belt and then you start with a 6 month study making part of the opening technique of our first Isshinryu kata Seisan work. This involves dozens of applications till you can take that one technique series and stop any attack, and the key isn&#8217;t knowing a movement can be done, but focusing on making it work.  And of course that is only the opening, but that study begins work on the underlying principles that will be the core of advanced study.

There are many right answers besides these ones. I only offer them to show different ways to go.

In the end it&#8217;s not the words, the names or the choices, it&#8217;s the sweat equity that makes it work.


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## SK101 (May 10, 2008)

Exactly, AC! There comes a certain point where the student should be finding applications on their own (even if they're wrong). At least it shows they're thinking.

I will 2nd that. Students playing with application without being taught forces them to work through principles and theory rather than just knowing material. Although knowing material is important generally.


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## Ray B (May 13, 2008)

This is my understanding of bunkai and ohyo.

Okuden = Secret or Hidden transmission
Ohyo = Application
Bunkai = Analysis
Omote = Conspicuous, Obvious
Ura = Inconspicuous, Not so obvious
Henka = Variation
Waza = Technique
Kihon = Basic

Okuden Ohyo Waza = Secret application techniques
Ohyo Omote Waza = Conspicuous application technique
Ohyo Ura Waza = Inconspicuous application technique
Ohyo Henka Waza = Alternate application technique

It is my opinion that every school has it's Ohyo Omote Waza.
It can be seen in the variation of kata. This should not be changed. It retains the shape
of the kata and teaches the basic defense of the system (Ryuha). This waza is
somtimes referred to as Kihon Bunkai or just Bunkai depending on the Ryuha.

The Ohyo Ura Waza can change per person to adapt to size, height or ability.
This is sometimes referred to as Bunkai Ohyo or just Ohyo, again, depending
on the Ryuha. I also believe in teaching people how to fish.

Any waza can be Ohyo Henka Waza.

I do not advocate knowing many Ohyo Waza, I rather prefer to learn and drill
a few good ones.

My opinion was based on my readings from Kane and Wilder's book, "The Way of Kata"
and discussions with persons who are versed in the Japanese language.


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## Explorer (May 13, 2008)

Hi Ray,

I've seen the same sort of language breakdown.  For simplicity's sake we use it this way:

Bunkai - strict interpretation of the kata  ... interpretations that adhere precisely to the moves in the form.

Oyo - a more 'creative' interpretation of the form ... moves may be interchanged, rearranged or left out.

Short Hand - one move implies several

I know this doesn't hold exactly to the Japanese concepts but it is very functional for us.


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## Ray B (May 14, 2008)

I posted the terms for reference. I agree, Ohyo Omote Waza is too
demanding to say. I like Primary and Secondary Ohyo myself but, the
concept is the same. One is taught strictly to maintain the shape of the
kata and the other varies.

The practice of one move as many is a model of efficiency. Why practice
a high block and a throat strike seperately when one movement will
cover them both? Those old guys were pretty smart back then.


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## SageGhost83 (May 16, 2008)

Ray B said:


> The practice of one move as many is a model of efficiency. Why practice a high block and a throat strike seperately when one movement will cover them both? Those old guys were pretty smart back then.


 
Therein lies the beauty of it, IMHO. The basic form is simple to learn, yet it is so deep that you can find many good apps within them. My old Sensei taught me that there were layers to a technique, and the deeper you dug, the deadlier the applications become.


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