SEIYO SHORIN-RYU KARATE

What makes Seiyo Shorin-Ryu Karate different? When I was certified as the Sokeshodai of this art by whom I believe to be the greatest living martial artist – Dai-Soke R. Sacharnoski, it was a fulfillment of lifelong dream. Being given liscence to develop my own art based on traditional Shorin-Ryu, allowed me to develop the perfect martial art (for me and hopefully for most of my students).  Many of us remember Bruce Lee - one of the greatest martial artists of the 20th century. He developed his own martial art - it was perfect for him, but not for others. Many people will find Seiyo Shorin-Ryu to be exactly what they are looking for, others will not - it is a fact of life.

 

I've incorporated only the pragmatic aspects of karate into Seiyo Shorin-Ryu and removed what I consider to be useless.  As the Soke of Seiyo Shorin-Ryu, I have this right. For example, every technique in every kata has a pragmatic bunkai (self defense application). I found this to be very helpful to all of my students as I remember training under various sensei (instructors) who had no idea of what the bunkai were for kata, and when they did, most taught bunkai that had absolutely no practical application. So in Seiyo Shorin-Ryu, you will learn many kata. Seiyo Shorin-Ryu is a hybrid style, as are all styles in karate. I borrowed kata from many other styles, created several of my own, and then modified others that needed improvement. 

 

I began training in martial arts in 1964 in Kyokushinkai Karate at the Black Eagle Federation dojo in Sugarhouse in Salt Lake City. My Sensei included Rudi Sanchez, Ron Fox, John Bekker, and Tom Anguay. Kyokusinkai karate was tough. We ran on glass-covered asphalt in our bare feet, we trained until we could no longer walk, and we practiced full-contact kumite (sparring) at least once a week. In those days, there were no safety equipment (other than athletic cup) and we were encouraged to hit our uke (partner) full-force anywhere (including the face). Knockouts were common and I remember one evening when one of my friends (who was also my bass guitarist in a rock n' roll band - which is actually why I got started in Karate in the first place and a whole story in itself) was hit in the forehead by his uke who was wearing a ruby ring. We could actually measure the size and cut of the ruby in Steve's forehead for about 2 months. It didn't take long and our reflexes became lightning fast (actually too fast as periodically there were stories of various club members including myself who responded to nearby unthreatening movements without thinking, which resulted in our getting into trouble). When one trains like this, your body thinks faster than your mind, which is not good in society. I found many techniques from this time influenced Seiyo Shorin-Ryu, but one problem I found with the kumite was that it did develop good reflexes, but the focus of the strikes were not good. So in my art, I developed a method to improve focus.

 

When I graduated from high school, I was accepted in the University of Utah where I met another sensei who influence me - Toshio Osaka. Sensei Osaka came straight from Japan and taught Wado-Ryu karate. He was extraordinary at foot sweeps, but didn't speak English - but got his point acrossed. While at the U of U, I took classes from Sensei Osaka, became part of the U of U karate club, and one year was the club president.  During this time, I also trained under Tony Martinez in American Kempo karate. Both Osaka and Martinez have some influence on Seiyo Shorin-Ryu.

 

Later, I watched a demonstration of Shotokan karate. I really liked the kata and techniques and started training in Shotokan in Bountiful Utah under Sensei Tsutsui. This was a beautiful style that dramaticallly influence my martial arts training. I thank Tsutsui for his training. So I continued training in Shotokan until I met the person who has had the greatest influence on Seiyo Shorin-Ryu: Dai-Soke Sacharnoski. Sacharnoski introduced me to Seidokan Shorin-Ryu Karate and Kobudo as well as other styles of karate, jujutsu, kijutsu, and kobujutsu.  I became a member of JKI in about 1992 or 1993 and a personal student and Shihan (and still am) of Sacharnoski. I have seen many martial artists in the world, and in my opinion, he stands alone at the top.

 

It was his opinion that I should develop my own style and I did. In 1999, I was certified as the Soke Shodai (1st generation grandmaster) of Seiyo No Shorin-Ryu Karate Kobudo Kai by Dr. Sacharnoski through JKI and Zen Kokusai Soke Budo/Bugei Renmei and presented with Kudan (9th dan) from Dai-Soke Sacharnoski and Dai-Soke Shian Toma. In 2004, I was awarded Judan (10th dan) through JKI (Juko Kai International), the OMAU (Okinawa Martial Arts Union), WOMA (World Organizer of Martial Arts) and WSHC (World Soke Head Council of Japan). Another person who has influence my martial art is Sensei Tadashi Yamashita who I brought to the University of Wyoming in 2003. Sensei Yamashita is an extraordinary martial artist who has influenced many martial artists and even greatly influence Bruce Lee.

 

In the paragraphs above are some of my influcence through the years. When I developed Seiyo Shorin-Ryu, each sensei had their influence on Seiyo Shorin-Ryu and it was importnat to me that the art was:

 

(1) Dynamic and include modifications where needed when new ideas are developed. In other words, periodically we have experienced modifications in kata (in some cases major modifications - such as in Wankan-Dai). These are done to upgrade our art and make it more effective. There is no perfect martial art, but I like to work towards perfection.

 

(2) Power and focus should be extreme. When I initially trained in martial arts, I was taught Mas Oyama’s Kyokushinkai system of martial arts. This had a significant influence on me as I believe it is very important to learn to defend against an attacker using extreme power developing a one-punch knock out. In addition to Mas Oyama’s system, I have trained under the most powerful living Sensei in the world in my opinion – Dai-Soke Sacharnoski, which has greatly added to the architecture of our system.

 

(3) Kata and Bunkai (applications). As a youth, I was frustrated with kata. I recognized it’s incredible beauty but didn’t comprehend its applications – nor did most instructors (which continues to this day). Kata is the best possible training tool in karate. It is a method of zen that includes shadow boxing and traditions. Using with focus, balance and visualization of applications it becomes a powerful training tool and encyclopedia. Every single individual move in kata has application in defense and these must all be able to stand as individual defenses and should be visualized during practice of the kata.

 

(4) Traditions. This is one major aspect that separates martial art from street fighting. Traditions and respect should always be expressed in martial art. They are there to build positive personalities in all of us. Respect your martial art, your brothers and sisters in martial arts, your instructor, and your heritage and you will mature as a positive person. Practicing most types of street fighting, teaches aggression rather than humility. You will definitely see differences in personalities of street fighters vs traditional martial artists.

 

PHOTO GALLERY

 

                  

                 Soke Hausel & Dai-Soke Sacharnoski

 

 

 

                                                            

JKI Black Belt Clinic (Dai-Soke Sacharnoski in front center).                                   1996 Juko Kai Clinic at UW.

                                                            Soke Hausel sits in front with other Kudan and Judan members

                                                            two to the right of Dai-Soke.

 

Presentation of Soke Shodai certifications and Kudan diploma to

Soke Hausel by Dai-Soke Sacharnoski at the JKI Hombu in 1999.

 

 

Dai Soke Sacharnoski presents lineage chart to Soke Hausel at the 45th JKI Anniversary

Celebration held in Dallas, Texas in 2007.

 

 

45th JKI Annual Clinic, Dallas Texas. Dai Soke Sacharnoski sits in center. Soke Hausel is at the far left (second person from left) in second roll

next to his favorite Uke - Kyoshi Ron Smith.

 

 

Two other people of great influence to me include Sensei Yamashita

(two the the left of me) and Kyoshi Ron Smith (to my right)

 

 

 

 

 

 

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