After reading this discussion chain on Nijushiho I’d like to explain my comments further.
I would agree that Mr. Brennan’s kata performance is a JKA performance, no doubt as his instructor Nishiyama Sensei teaches. On the other hand the JKA is not the sole arbriter of Funakoshi Sensei’ art.
If you compare his Nijushiho performance http://www.youtube.com/watch?v=5rqhlBsliFo
to the Old JKA Nijushiho performance http://www.youtube.com/watch?v=4B2niRHnqQU
you can see there is some difference in some of the movements dynamics.
Of course Mr. Brennan’s kata is a competition performance, but I accept it’s very good JKA standard. I just don’t feel right with the ‘pause’ in that kata no matter the source or the original instructor. On the other hand I will no longer stand in judgment of others choices , no longer attending tournaments or judging in them either. I can only give my personal preference.
The Nijushiho I practice and teach, from my study with Tristan Sutrisno over a quarter a century ago, has a vastly different body dynamics in execution. And until my participation in the internet age, roughly in the last 10 years, I never paid much attention to JKA versions as there was not much public JKA to be seen in my area of the USA.
When I saw the difference, I had no reason to consider anything but what I had been taught.
In the case of my instructor and friend, Tristan Sutrisno, he practices Shotokan as his father taught him, and his father trained in Japan, with Funakoshi Ginchin in the 1930’s, and returned to Indonesia prior to the onset of WWII. I have no idea which is right, more original, whatever, I only know what I’ve seen, and Tristan does incredible things. He was sharing what is likely his families ‘bunaki’ of Shotokan long before any school I knew of in Penna was even mentioning the term. His ‘bunkai’ is much closer to the old description of ‘kakushite – hidden hand’ given by Demura Fumio back in the early 70’s, than the useage most commonly described today. Simplest they’re private ways to break an opponent (or whatever) that you cannot intuit from the kata.
I’m sure Minarik Sensei’s application studies are more than on that video, but they are also techniques and if it works………..
I have studied a little bit of the Sutrisno ‘bunkai’, but not from focused study, rather sharing in friendship. My own study of fractals of movement as a weapon, as well as the movement, or the method of stepping and/or turning as a weapon in their own right is a different answer. (Which I’ve gone into a little detail at FA.com over the years, and occasionally share outside of my own school at friends schools too.)
I think the closest comparison I can make is to have you watch Tristan Sutrisno’s performance of Gojushiho at http://www.youtube.com/watch?v=iyVT5pkJqf4
and allow you to compare the dynamics of his kata to anyone else’s in the JKA. I don’t care if you like it or not, it just makes my point about the dynamics I’ve studied and why I feel as I do. The effort choice is yours.
BTW that isn’t his best performance, just a given day he decided to enter that division for fun. His art also teaches Gojushiho, Gojushiho-Dai and Gojushiho-Sho – the last two closer to the JKA versions, but again with his dynamics.