Lots there, that's for sure.
You can tell which ones are doing some of the traditional training behind the scenes. The movement shows it. The prime example is Asao Nakasone. Those hands have definitely done some jar work. If you've done it yourself, then you know it when you see it.
With all the Shohei kata, there's one thing I've noted that consistently is different from what I do. I do not do my "hawk chases sparrow" (sukui age uke
along with harai sukui uke
) the same way most of them do it. Funny... I went to look back at a reference point. See 018:-020 of this very old video.SANSEIRYU (front view)- UECHI Kanei
Nope... don't do it quite like that either! Oy!
Please don't turn in your grave, Master Uechi.
But seriously, the way I do it is a little closer to that.
What I see a lot of people doing is starting it with both forearms practically parallel to the floor. It gets you a great wind-up for the circular motion I suppose. But I've been able to get many more applications out of it by having a more "vanilla" set-up for it in kata. I do have drills for the motion where I vary this movement 7 ways to Sunday (and drive my students nuts...). But when I do the kata... by starting from the finish of the double thrust position of Sanchin kata, I'm starting with a simple, recycled posture. IMO that just works better for the brain. Less is more. Getting many applications out of fewer root positions IMO makes it more likely your body will be able spontaneously to create a customized application at a moment of stress. Anyhow, that's my theory.
It's at least interesting to ponder the variations.
P.S. In my latter years, I've begun to model my shomen geri
mechanics after Uechi Kanei's, as is demonstrated from 0:13-015. Again... classic whole-body mechanics. Back in the day when I copied the robot style of others, I used to think it was sloppy. Now I marvel at the core involvement.