1. When striking with nukite it is highly likely that you will cause more damage to yourself than the opponent, depending on target area and how well you condition your finger tips. Even so, with all the conditioning in the world, I’m not sure how much faith I would place in my abilty to strike somebody with nukite. With this in mind I now view the opening three movements differently than the standard bunkai.
As the opponent punches, slip outside and parry with an open hand soto uke, next use the action of the hand drawing back to your side to jerk the opponent forward by grabbing his forearm and pulling as in the kata. This draws the opponents weight forward onto his toes, and creates a pre-determined response in that the opponents head will lean forward, exposing the neck and jaw.
The nukite is then used as normal by striking into the opponents jaw, however, rather than making contact with the fingertips, I make contact with the fleshy part of the thumb, near the palm heel. This fits perfectly into the target area by cupping the opponents jaw into this fleshy area of the palm. The strike causes the opponents head to jerk violently, which will result in either unconciousness or neck damage.
2. I was told by Kinjo Seikichi Sensei of the jundokan that the most important thing to be aware of in the armbar technique, is the fast withdrawal of the rear hand. This is often overlooked. Kinjo Sensei said that pulling with the rear hand as hard and fast as you can prevents the opponent from being able to bend his arm to escape the armbar.
3. Prior to the armbar technique we perform an open hand chudan soto uke in zenkutsu dachi, with the rear hand covering the groin. This exact same movement appears at the end of the kata, only this time the stance being used is neko ashi dachi. I wonder why there is the need to repeat the technique in two different stances, one with a forward emphasis, the other with an emphasis to the rear?
This also occurs in Seiunchin with the opening yama no kamae in shiko dachi, appearing again in the final technique but in Neko ashi dachi. Again, same technique but with different directional emphasis through two different stances.
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