karateblogger.com » Kobudo

Weapons (kobudo)

tokugawa — Thu, 16 Apr 2009 23:20:21 +0000

This article (including pictures) is taken from Inoe-ha kobudo web site.

Bo (kon)

There are 4 kinds of Bo or Kon used in the system, San Shaku or Jo Bo, Roku Shaku, Kyu Shaku and Eiku or Suna Kake no Kon. The Bo is the main stay of Ryukyu Kobujutsu attributing 22 kata to the syllabus and its usage and posture is almost the same as the sword. The Roku Shaku Bo is the predominant kind of Bo used and attracts the main interest by practitioners. Its length is 6ft, or as is sometimes customary, cut to the height of the user. The wood used is usually Red Oak or White Oak and the Bo is tapered from the tip ends for better blocking and smoother usage. The weight is dependent on the wood used and is a critical factor for students, too heavy and the techniques become cumbersome, too light and there is not enough power. The weapon is classified as a synthetic one and attracts the greatest distance training between opponents. It magnifies the areas of development needed with empty hand and encourages Tai Sabaki/Yoko Sabaki at all times. The practitioner is taught to hold the weapon initially divisible by thirds and then openly encouraged to develop a more flexible holding style allowing full use of the weapons potential distance .

Sai

There are 2 types of Sai used in the system, Tsuujo no Sai and Manji Sai. This weapon is the supporting mainstay of Ryukyu Kobujutsu and attracts 8 kata to the syllabus. This weapon is not the result of agricultural creativity as commonly written. Records from China prove its original existence although in a much more elongated form. The weapon is metal and of the truncheon class with its length dependent upon the forearm of the user. When held it should be about 3cm longer than the forearm and generally Sai are used in pairs. Advanced Sai uses 3, with one held in the belt behind ready for, and used for throwing. The tang is of the Korean classification and the pommel is variant to round, square or multi angled types much dependant on the emphasis of the makers usage. The basic holding manner “Honte-Mochi” (Natural) and “Gyakute-Mochi” (Reverse) is prevalent with basic Sai whereupon the advancement to “Toku-Mochi” (special grip) is introduced. This brings the usage and actions of the Sai into the same family as Tonfa and Kama. The Manji Sai which was made by Shinken Taira has a half reversed tang looking much like a swastika and a pointed pommel end denoting Sensei Taira’s preference to a stabbing motion instead of the smashing techniques dominant with the Tsuujo Sai.

The efficient use of the weapon is much reliant on the dexterity of the practitioner with his thumbs, which the tang is balanced and rotated on along with the loosening and tightening of the grip from the small finger for striking and consolidating power. The early use of the weapon makes the user appear stiff and robotic but as the training advances the flow and unity with body movement becomes ever more apparent. Sai is the practice of “Shuto” in empty hand and emphasizes the need for “Koshi no Chikara” (Hip power) and “Suri Ashi” (sliding movement). The importance of body movement and good footwork is ever more apparent as the weapon is of a smaller classification than Bo. Advanced practitioners must learn to throw the Sai, a difficult requirement in view of the weight. The Sai explores the weakness of Bo, thus making Bo-jutsu stronger.

Tonfa

There is in principal only one kind of Tonfa although the shaft varies in shape from round to rectangular. History has also shown the butt ends to be pointed but this is extremely rare. The weapon attracts two kata in the Ryukyu Kobujutsu syllabus but because of its exposure with the police in the baton form it is a very popular weapon to practice with.

The weapon is used in pairs and is of wood, again red oak or white oak preferably in keeping with the Bo. The length of the weapon is also the same requirements as the Sai, about three centimeters past the elbow when gripped. The weight like the Bo is paramount to the efficient usage of the weapon. Too light and it lacks power in Kumite, too heavy and the techniques lack speed and become ponderous. Again like the Sai there are three grips, Honte-Mochi (Natural), Gyakute-Mochi (Reverse) and Tokushu-Mochi (Special grip). The latter is not commonly used but is very effective and relates strongly to the techniques of Kama.

The usage is prevalent in the kata Yaraguwa. Tonfa is the practice of Uraken (back fist) and Hiji waza (elbow techniques) in open hand fighting. Good body movement like the Sai can make this weapon formidable, combining the speed it needs and generates along with the skilful footwork for evasion and attack. Although there are stories of Rice millstone grinding implements and horses bridles etc. as being the origins of this weapon, these are merely coincidental. The weapons origins can clearly be traced back to China and be found in Indonesia and surrounding geographical locations.

Kama

The bladed weapon of the Ryukyu arsenal, this weapon brings to the practitioner the feel of steel and the hint of fear a live blade gives. Used, as a pair there is one style of Kama with varying sizes of blade length and shaft size. The corner of the blade to the shaft should have a groove cut into it for catching the Bo and other weapons without the blade digging into and getting stuck into the attacking weapon. The weight of the shaft is dependent upon the strength of the user and should be tapered to the butt end with increasing thickness. This allows for ease of catching and sliding when changing grip. The blade should add sufficient weight to ensure it is the heaviest point in the weapon. This also allows for ease of usage. The length of the weapon should extend to about 3cm passed the elbow when held in reverse grip. The handling of the weapon is the same as the Sai with the following grips, “Honte-Mochi” (Natural), “Gyakute-Mochi”(Reverse) and “Tokushu-Mochi”(Special grip). Kama is the practice of “Kuride” and “Kakede” (hooking and gripping) in open hand technique. The Ryukyu Kobujutsu syllabus has three kata of Kama, which emphasize body unity with the weapon to obtain power along with demanding footwork. The dexterity of the fingers is paramount to the changing grips the weapon affords and needs in kumite. Most students commence with wooded Kama to ensure safety and acclimatization before moving to the more demanding live blades. This weapon known as the sickle in the west has a derivative from the farming implements.

Tekko

Legally the most controversial of the Ryukyu weapons the Tekko is the smallest weapon, bringing the exponent closest to open hand techniques. The term “knuckle duster” creates images of darker methods of fighting but in actuality attacks clearly defined points vulnerable to the taste of metal. The Tekko should be made to the width of the hand with anything between one and three protruding points on the knuckle front with protruding points at the top and the bottom of the knuckle. They can be made of any hard material but are predominately found in aluminium, iron, steel, or wood. Due to the size of the Tekko the techniques are of the open hand family. The Ryukyu Kobujutsu syllabus has one kata, which is a combination of the “Naha”, “Shuri and Tomari” feeling combined. The kumite focus on attacking the bony areas of the body such as the wrist, elbow, collar bone, ribs, and ankle. On impact this slows done the opponent drastically and allows for the quick changes of angle and height so apparent when studying Tekko. Gripping techniques prior to and at the time of “Zanshin”teach the exponent the emphasis on pressure points, which the Tekko takes great advantage of due to its structure. Muscle and bone have to succumb to its efficient design and usage. This weapon is undoubtedly not a farming implement and was clearly design for the purposes of combat.

Nunchaku

The most controversial of the weapons of the Ryukyu but in essence the least properly explored. There are three types of this weapon taught in the Ryukyu Kobujutsu syllabus, the 2 section, 3 section and the 4 section. Made preferably of red or white oak, or a heavy wood, the sections are tapered from the chord end (2.5cm) to the predominant strike end (3.3cm). The shafts vary from octagonal to round in shape and the weight is dependent on the strength of the user. Again too light and there is no power, and too heavy and the movement is slow and ponderous. Traditionally this weapon is not used in pairs, as the actions of the one should be sufficient. The grips are similar to that of the Sai in name, Honte-Mochi” (Natural), “Gyakute-Mochi”(Reverse) and Tokushu-Mochi”(Special grip). The special grip falls into “Ippon-Tsuki” (single thrust) and “Tatami-Tsuki” (folding thrust). Nunchaku belongs to the family of Bo and is known as the “portable Bo”. History has not endowed this weapon with traditional kata as shown by the content of those handed down. They are by design training kata to enable better handling and combination work. The essence of the weapon is the kumite, exploring distance, angles and footwork. Impact should be on the tip of the weapon or it will bounce back on the user. Whilst it is noted that there is a farming implement of the Nunchaku design, it should be pointed out that again China was using this weapon concept long before it was recorded as a Ryukyu weapon.

Tinbe-Rochin

This weapon is the most glamorous of the Ryukyu system and exudes a feeling of history long gone. The usage however is more akin to a combination of Zulu fighting and European sword and small shield fighting. The Tinbe (Shield) can be made of various material but is commonly found in vine or cane, metal, or for presentation, in turtle shell. The shield size is generally about 45 cm long and 38 cm wide. The Rochin (Short spear) is cut with the length of the shaft being the same distance as the forearm to the elbow if it is being held in the hand. The spearhead then protrudes from the shaft and can be found in many differing designs. The favored style has an expanded middle section before the point, which is twisted upon insertion to make the wound larger. The weight of the blade is critical for the spear usage, which is swiveled between the fingers to use both ends, smashing with the butt end and stabbing with the blade end. The techniques are circular to avoid too much direct contact on the shield and the short spear is predominantly used in an upward stabbing motion, piercing armour under the rib cage, armpits, and throat. Good knees are essential for the kumite along with a proficient understanding of Ukemi. The Ryukyu Kobujutsu syllabus has one kata, which exuded posturing, speed with agility, and balance. The techniques of the Tinbe-Rochin are unique to shield and spear usage. Clearly the origins of design and usage bear little resemblance to agricultural needs.

Surujin

This weapon is taught as the last in the Ryukyu system of the classical eight weapons. Found in two kinds, Tan Surujin (short) and Naga Surujin (long) the lengths are about 150-152 cm and 230-240 cm respectively. It is a weapon with the essence of concealment prior to use, which can extract a substantial price from the victim. Traditionally found with a bladed instrument at one end and a weighted end at the other, the Surujin techniques are very akin to those of the Nunchaku. For kumite training the cord is usually made of leather allowing more speed and agility. Kata however tends to be demonstrated with a chain link Surujin to emphasize the potential in the weapon. The difficulty in usage is the control of the swing and the awareness of the length required in respect of the fighting distance. The hips need to be centrally fixed with a low center of gravity and the swing should be through the arm to the shoulder without moving the head. The recovery from the swing is dependent on the dexterity of the user, as it is critical to the final attack before the stab. Historically this weapon is very prevalent and can be found attached to a weapon or used separately. It is undoubtedly a weapon designed for warfare and not for agricultural usage.

The kata of okinawan Isshinryu

tokugawa — Tue, 06 Jan 2009 23:25:53 +0000

An Informal Discussion on their Possible Origins

c2000, Joe Swift, Kanazawa, Japan

Since its official announcement in 1956, Okinawa Isshinryu Karate Kobudo has spread throughout the world, with dojo in most continents. There have since been many books, articles, and videos published on the system in the English language. However, more often than not, these materials utilize the same sources for their research, with little, if anything written based upon research of primary materials, that is, Japanese language books on karatedo by Okinawan researchers.

This article will attempt to trace the origins of the Isshinryu kata utilizing mainly these types of primary materials, in the hopes that it will clear the air of some of the myths and misinformation that have plagued the English-speaking Isshinryu community for literally decades.

Seisan no Kata

Meaning 13, some people refer to it as 13 hands, 13 fists, or 13 steps. Customarily taught in both Shuri and Naha, this kata, following the tradition of Kyan Chotoku, is the first kata the Isshinryu student learns.

It is unclear exactly what the number 13 actually represents. Some think it was the number of techniques in the original kata; some think it represents 13 different types of “power” or “energy” found in the kata; some think it represents the number of different application principles; some think it represents defending against 13 specific attacks; and some think that it is the number if imaginary opponents one faces while performing the kata. Out of all these theories, this author must disagree with the last, as it is highly unrealistic that kata teaches one to handle such situations. On the contrary, kata was designed to teach the principles needed to survive more common self-defense situations, rather than a long, drawn out battle against several opponents (Iwai, 1992).

Kinjo Akio, noted Okinawan karate researcher and teacher who has traveled to China, Hong Kong and Taiwan well over 100 times for training and researching the roots of Okinawan martial arts, maintains that this kata originally had 13 techniques, but due to a long process of evolution, more techniques were added to it (Kinjo, 1999). He also maintains that the Okinawan Seisan kata derives from Yong Chun White Crane boxing from Fujian Province in Southern China.

It is unsure who brought this kata to Okinawa, but we do know that in 1867, Aragaki Seisho (1840-1920), a master of the Chinese-based fighting traditions (Toudi) demonstrated this kata (among others) in front of the last Sappushi, Zhao Xin (Tomoyori, 1992; McCarthy, 1995, 1999).

The main lineages that include Seisan include those passed down from Matsumura Sokon, Kyan Chotoku, Aragaki Seisho, Higaonna Kanryo, Uechi Kanbun, and Nakaima Norisato, among others. Shimabuku learned this kata from Kyan. Both the Kyan and the Shimabuku versions of this kata strongly resemble the Matsumura no Seisan (see Sakagami, 1978).

The “Master Seishan” theory, which claims that the kata was brought from China to Okinawa by a Chinese martial artist named Seishan (or Seisan) is uncorroborated myth at best, probably propagated by well-meaning, but not-so-well-researched American Isshinryu instructors. This legend cannot be found in any of the literature coming out of Okinawa or Japan.

Seiunchin no Kata

This kata seems to have been brought to Okinawa by Higaonna Kanryo, who is said to have learned it under the master Ruru Ko, or perhaps under Wai Xinxian, who is said to have taught at the old Kojo dojo at Fuzhou City in Fujian Province. Recent research has indicated that Ruru Ko was actually Xie Zhongxiang, founder of Whooping Crane boxing, but this kata is not included within that style, thus hinting that Higaonna had either learned it elsewhere, or else developed it himself. However, here we run into a problem, as Nakaima Norisato (founder of Ryueiryu) is also said to have learned this kata under Ruru Ko. Another theory is that Miyagi may have been responsible for creating this form or introducing it from other sources.

The word Seiunchin is written as “Control, Pull, Fight” by many Okinawa Gojuryu stylists, as well as Isshinryu teacher Uezu Angi (son in law of Shimabuku Tatsuo), perhaps hinting at the various grappling and grabbing techniques contained within. A good example is the “reinforced block” which can actually be applied as a wrist-crushing joint lock (Tokashiki, 1995), and the “archers block” which can be used as a throw (Higaonna, 1981; Kai, 1987).

Otsuka Tadahiko, a Gojuryu teacher who has spent considerable time in China and Taiwan researching the roots of his system, tells us that his research indicates Seiunchin may mean “Follow-Move-Power” which would be pronounced Sui Yun Jin in Mandarin Chinese (Otsuka, 1998). Kinjo Akio says that his research has revealed to him that Seiunchin may be from a Hawk style of Chinese boxing, and mean “Blue-Hawk-Fight” which is pronounced Qing Ying Zhan in Mandarin, or Chai In Chin in Fujian dialect (Kinjo, 1999).

This kata is preserved in many modern styles of karatedo, including Gojuryu, Shitoryu, Isshinryu, Shoreiryu, Kyokushin, Shimabuku Eizo lineage Shorinryu, Ryueiryu, etc.

Naihanchi no Kata

Naihanchi (a.k.a. Naifuanchi) is typical of in-fighting techniques, including grappling. There are three kata in modern (i.e. post 1900) karate, with the second and third being thought to have been created by Itosu Anko (Iwai, 1992; Kinjo, 1991a; Murakami, 1991). Another popular theory is that originally the three were one kata, but were broken up into three separate parts by Itosu (Aragaki, 2000; Iwai, 1992).

This kata was not originally developed to be used when fighting against a wall, but this does not preclude such interpretations. While the kata itself goes side to side, the applications are more often than not against an attacker who is in front of you, or grabbing at you from the sides or behind. Some say that the side-to-side movement is to build up the necessary balance and physique for quick footwork and body-shifting (Kinjo, 1991b).

Interestingly, most versions of Naihanchi start to the right side, including Itosu, Matsumura and Kyan’s versions. Isshinryu’s Naihanchi starts to the left. There are others that start to the left as well, including that of Kishimoto Soko lineage schools like Genseiryu and Bugeikan (Shukumine, 1966), the Tomari version of Matsumora Kosaku lineage schools like Gohakukai (Okinawa Board of Education, 1995), and Motobu Choki’s version (Motobu, 1997). This last may account for Shimabuku Tatsuo beginning his Naihanchi to the left.

Isshinryu Naihanchi is basically a re-working of the classical Naihanchi Shodan, in order to keep it in line with the principles around which Shimabuku built his style. The main reason Shimabuku did not retain Naihanchi Nidan and Sandan is probably because his primary teacher Kyan did not teach them (Okinawa Prefectural Board of Education, 1995).

Wansu no Kata

This kata is said by many to have been brought to Okinawa by the 1683 Sappushi Wang Ji (Jpn. Oshu, 1621-1689). It is possible that it is based upon or inspired by techniques that may have been taught by Wang Ji.

The problem with this theory is that why would such a high ranked government official teach his martial arts (assuming he even knew any) to the Okinawans? Also, Wang Ji was only in Okinawa for 6 months (Sakagami, 1978).

Wang Ji was originally from Xiuning in Anhui, and was an official for the Han Lin Yuan, an important government post (Kinjo, 1999). In order to become an official for the Han Lin Yuan, one had to be a high level scholar, and pass several national tests (Kinjo, 1999). Just preparing for such a task would all but rule out the practice of martial arts, just time-wise. However, assuming that Wang Ji was familiar with the
martial arts, the Quanfa of Anhui is classified as Northern boxing, while the techniques of the Okinawan Wansu kata are clearly Southern in nature (Kinjo, 1999).

So, if Wansu was not Wang Ji, just who was he? This is as yet unknown. However, in the Okinawan martial arts, kata named after their originators are not uncommon. Some examples include Kusanku, Chatan Yara no Sai, and Tokumine no Kon. It is entirely possible that this kata was introduced by a Chinese martial artists named Wang. As the reader probably already knows, in the Chinese martial arts, it is common to refer to a teacher as Shifu (let. Teacher-father). Could not the name Wansu be an Okinawan mispronunciation of Wang Shifu (Kinjo, 1999)?

Other schools of thought are that Wu Xianhui (Jpn. Go Kenki, 1886-1940) or Tang Daiji (Jpn. To Daiki, 1888-1937), two Chinese martial artists who immigrated to Okinawa in the early part of the 20th Century, may be responsible for the introduction of the Wansu kata (Gima, et al, 1986). As a side note, Wu was a Whooping Crane boxer and Tang was known for his Tiger boxing. They were both from Fujian.

Shimabuku is believed to have added on several techniques to this kata, such as the side kicks, evasive body movement into double punches, and elbow smash as these are not found in any other version of Wansu known in Okinawa karate.

Chinto no Kata

This kata is said to have been taught to Matsumura Sokon by a Chinese named Chinto, but this legend cannot be corroborated. According to a 1914 newspaper article by Funakoshi Gichin (1867-1957, founder of Shotokan karatedo), based upon the talks of his teacher Asato Anko (1827-1906), student of Matsumura Sokon):

“Those who received instruction from a castaway from Annan in Fuzhou, include: Gusukuma and Kanagusuku (Chinto), Matsumura and Oyadomari (Chinte), Yamasato (Jiin) and Nakasato (Jitte) all of Tomari, who learned the kata separately. The reason being that their teacher was in a hurry to return to his home country.” (sic, Shoto, 1914).

It is believed by this author that the “Matsumura” in the above excerpt is a misspelling of Matsumora Kosaku, of Tomari. The fact that Matsumora Kosaku, is evidence that Matsumora may have also been taught this kata as well (Kinjo, 1999).

Now, what exactly is Chinto? There appears a form called Chen Tou in Mandarin Chinese (Jpn. Chinto, lit. Sinking the Head) in Wu Zho Quan (a.k.a. Ngo Cho Kuen, Five Ancestors Fist), which was a style popular in the Quanzhou and Shamen (Amoy) districts of Fujian (Kinjo, 1999). Chen Tou refers to sinking the boy and protecting the head. In the Okinawan Chinto kata, this is the first technique, but in the Five Ancestors Fist it is the last (Kinjo, 1999). However, this being said, this author has yet to see the Chen Tou form to make a comparative analysis. It is, however, worthy of further investigation.

There are 3 distinct “families” of Chinto in modern Okinawan karate: Matsumura/Itosu lineage (performed front to back), Matsumora Kosaku lineage (performed side to side), and Kyan Chotoku lineage (performed on a 45 degree angle). Looking at technical content, we can see that the Matsumora and Kyan versions are nearly identical, which is only natural since Kyan learned this from Matsumora.

Sanchin no Kata

This kata has been described by many writers as the original exercise that odhidharma taught to the monks at the Shaolin Temple. However, this theory has no substantive proof either way, so this actually remains nothing more than speculation.

At any rate, the Okinawan versions of Sanchin have their origins in the Quanfa originating from Fujian Province, where many, if not most, Quanfa styles have a form of this name. In fact, the term Sanchin (written as “three battles” in kanji) seems to be found only in Fujian-based Quanfa systems, as forms of this name are not found in the martial arts of other areas (Kinjo, 1999).

Many researchers, especially from the Gojuryu tradition, credit Higashionna Kanryo with bringing back Sanchin from his studies in China (Higaonna, 1981; Kai, 1987). However, there is evidence that Sanchin had existed in Okinawa since before Higashionna’s voyage to Fujian and was passed on by Aragaki Seisho, who was Higashionna’s first teacher(Iwai, 1992; Okinawa Prefectural Board of Education, 1995)).

Higashionna’s teacher in Fujian is believed by many to be Xie Zhong Xiang, founder of Whooping Crane boxing (McCarthy, 1995; Okinawa Prefectural Board of education, 1995; Otsuka, 1998; Tokashiki, 1995), although there is opposition to this theory (Kinjo, 1999). Higashionna is believed to have learned the Happoren form from Xie, which is said to be the basis for the modern Gojuryu version of Sanchin (Otsuka, 1998). Higashionna probably integrated concepts from Happoren to the Sanchin he learned under Aragaki. When practicing Happoren alone, however, the breathing is silent (Otsuka, 1998).

In either case, Higashionna had his students spend several years on Sanchin alone before allowing them to move on to the other kata he taught. Higashionna apparently taught Sanchin as an open hand kata at first, with fast breathing, but later changed it to a slower, closed fist version (Higaonna, 1981; Murakami, 1991). Others give Miyagi Chojun credit for closing the fists and slowing down the breathing (Kinjo, 1999).

One provocative account survives about the importance of Sanchin in Higashionna Kanryo’s teachings:

“When I was still a child, I wanted to see the karate of the famous Higashionna Sensei, even if only once. So I went to the place he was teaching. However, no matter when I went, I never saw Higashionna Sensei perform karate. His students were practicing only Sanchin with all their might, and Higashionna Sensei was instructing them.” (sic, Murakami, 1991, pp. 133)

The three of Sanchin is often described in English as the battles between mind, body and breath. Other descriptions refer to attack and defense on the three levels, i.e. the upper, middle and lower levels (Kinjo, 1999; Otsuka, 1998; Tokashiki, 1995). The three important points of Sanchin have been described as the stance, the breathing method and the spirit, and if any one of these three are lacking, one will not be able to master Sanchin (Higaonna, 1981).

Higashionna Kanryo’s Sanchin features two turns, and only one step back. In order to remedy the lack of backward stepping, Miyagi Chojun created a shorter version of the kata, featuring no turns, and two steps backwards (Higaonna, 1981). It is this version that Shimabuku Tatsuo utilized in his Isshinryu system.

Kusanku no Kata

Often described in Isshinryu as a “night fighting kata,” this form was passed down from Kyan Chotoku to Shimabuku Tatsuo. Interestingly enough, no references to night fighting are found in the primary references coming out of Japan and Okinawa, leading this author to conclude that such interpretations were contrived to fit movements that are not very well understood.

In the year 1762, a tribute ship sent to Satsuma from Ryukyu was blown off course during a storm, and ended up landing at Tosa Province in Shikoku, where they remained for a month. The Confucian scholar of Tosa, Tobe Ryoen (1713-1795), was petitioned to collect testimony from the crew. The record of this testimony is known as the Oshima Hikki (literally “Note of Oshima”, the name of the area of Tosa where the ship had ran aground). In this book, there is some very provocative testimony by a certain Shionja Peichin, describing a man from China called Koshankin, who demostrated a grappling technique (McCarthy, 1995; Sakagami, 1978).

It is commonly accepted that this Koshankin was the originator of the Okinawan Kusanku kata, or at least inspired it. However, there are several unknowns in this equation. First of all, was Koshankin his name or a title, or even a term of affection towards him? Second, if it was a title or term of affection, what was his real name? Thirdly, what martial art(s) did he teach, and how do they differ from the modern
karate kata of Kusanku? Most of these questions are still being researched by this author and others.

For now, suffice it to say that Kusanku is a highly important kata in the Okinawan martial arts, and has spawned many versions over the years. Some of them include the Kusanku Dai/Sho Itosu Anko lineage styles, the Chibana no Kusanku of Shudokan, the Takemura no Kusanku of Bugeikan and Genseiryu, the Kanku Dai/Sho of Shotokan, the Shiho Kusanku of Shitoryu, and the Yara no Kusanku of Kyan Chotoku lineage styles, including Isshinryu. Of course, there are numerous others as well.

Kyan Chotoku is said to have learned Kusanku in Yomitan under a certain Yara Peichin (Nagamine, 1975; 1976). It is unknown at this time whether there is a familial relationship between this Yara Peichin and the Chatan Yara who is believed to have studied under Koshankin during his mid-18th century visit to Okinawa.

Sunsu no Kata

This kata was created by Shimabuku Tatsuo, although it is still unclear as to exactly when he created it. It is often described as a combination of techniques and principles from the other seven Isshinryu karate kata. However, there are elements of other kata as well, such as Useishi (Gojushiho) and Passai that Shimabuku is thought to have learned under Kyan.

There is also one sequence that appears as if it came out of Pinan Sandan. However, Shimabuku’s teachers appear not to have taught the Pinan kata, so we are faced with the problem of where he learned them. However, looking at the timeframe in which Shimabuku was active, it becomes clear that he could have learned the Pinan just about anywhere, or even just taken the technique via observing the Pinan kata being performed.

There seems to be some confusion as to what the name Sunsu means. It has been stated that it means either “strong man” (Uezu, et al, 1982) or “son of old man” (Advincula, 1998). However, a recent newspaper article from Okinawa tells us a different story:

“It is said that when Shimabuku performed Sanchin kata, he appeared so solid that even a great wave would not budge him, like the large salt rocks at the beach, and
his students nicknamed him “Shimabuku Sun nu Su” (Master of the Salt) out of respect.” (sic, Ryukyu Shinpo-sha, 1999, p.9)

Another possibility is that Sunsu may be named after a family dance of the Shimabuku family (Advincula, 1999).

No matter what the meaning, it is safe to say that Sunsu kata represents the culmination of Shimabuku’s understanding of the principles of the defensive traditions, and was, along with Isshinryu, his unique contribution to the classical art of Okinawa karatedo.

Table One: The Kata of Okinawa Isshinryu Karatedo

Table Two: The Lineage of Isshinryu Kata

SEISAN	Matumura Sokon – Kyan Chotoku – Shimabuku Tatsuo
SEIUNCHIN	Higashionna Kanryo(?) – Miyagi Chojun – Shimabuku Tatsuo
NAIHANCHI	Matsumura Sokon – Kyan Chotoku – Shimabuku Tatsuo Matsumora Kosaku – Motobu Choki – Shimabuku Tatsuo
WANSU	Maeda Peichin – Kyan Chotoku – Shimabuku Tatsuo
CHINTO	Matsumora Kosaku – Kyan Chotoku – Shimabuku Tatsuo
SANCHIN	Higashionna Kanryo – Miyagi Chojun – Shimabuku Tatsuo
KUSANKU	Yara Peichin – Kyan Chotoku – Shimabuku Tatsuo
SUNSU	Created by Shimabuku Tatsuo

Table Three: Alternative Kanji for Kata as Specified in the Text

Bibliography

Advincula, A.J. (1998) “Tatsuo Shimabuku: The Dragon Man of Isshinryu Karate.”

Advincula, A.J. (1999) Personal Communication.

Aragaki K. (2000) Okinawa Budo Karate no Gokui (The Secrets of Okinawa Budo Karate). Tokyo: Fukushodo.

Gima S. and Fujiwara R. (1986) Taidan: Kindai Karatedo no Rekishi wo Kataru (Talks on the History of Modern Karatedo). Tokyo: Baseball Magazine.

Higaonna M. (1981) Okinawa Gojuryu Karatedo I. Tokyo: Keibundo.

Iwai T. (1992) Koden Ryukyu Karatejutsu (Old Style Ryukyu Karatejutsu). Tokyo: Airyudo.

Kai K. (1987) Seiden Okinawa Gojuryu Karatedo Giho (Techniques of Orthodox Okinawa Gojuryu Karatedo). Miyazaki: Seibukan.

Kinjo A. (1999) Karate-den Shinroku (The True Record of Karate’s Transmission). Naha: Okinawa Tosho Center.

Kinjo H. (1991a) Yomigaeru Dento Karate: Kihon (A Return to Traditional Karate: Basics). Video Presentation. Tokyo: Quest Ltd.

Kinjo H. (1991b) Yomigaeru Dento Karate: Kata I, Naifuanchi 1-3, Pinan 1-5 (A Return to Traditional Karate: Kata I). Video Presentation. Tokyo: Quest Ltd.

McCarthy, P. (1995) Bubishi: The Bible of Karate. Tokyo: Charles E. Tuttle, Inc.

McCarthy, P. (1999) Ancient Okinawan Martial Arts Vol. 2. Boston: Charles E. Tuttle, Inc.

Murakami K. (1973) Karatedo & Ryukyu Kobudo. Tokyo: Seibido. Murakami K. (1991) Karate no Kokoro to Waza (The Heart and Techniques of Karate). Tokyo: Shin Jinbutsu Oraisha.

Nagamine S. (1975) Okinawa no Karatedo. Tokyo: Shin Jinbutsu Oraisha.

Nagamine S. (1986) Okinawa no Karate Sumo Meijin-den (Tales of Okinawa’s Karate and Sumo Masters). Tokyo: Shin Jinbutsu Oraisha.

Nakamoto M. (1983) Okinawa Dento Kobudo: Sono Rekishi to Tamashii (Traditional Okinawan Kobudo: Its History and Spirit). Okinawa: Bunbukan.

Okinawa Prefectural Board of Education (1994). Karatedo Kobudo Kihon Chosa Hokokusho (Report of Basic Research on Karatedo and Kobudo). Okinawa: Nansei.

Okinawa Prefectural Board of Education (1995). Karatedo Kobudo Kihon Chosa Hokokusho II (Report of Basic Research on Karatedo and Kobudo II). Okinawa: Nansei.

Otsuka T. (1998) Chugoku Ryukyu Bugeishi (Chronicle of Chinese and Okinawan Martial Arts). Tokyo: Baseball Magazine.

Ryukyu Shinpo-sha (1999) “Isshinryu Karate”. Ryukyu Shinpo, 22 July 1999, p. 9.

Sakagami R. (1978) Karatedo Kata Taikan (Encyclopedia of Karatedo Kata). Tokyo: Nichibosha.

Shoto (Funakoshi Gichin) (1914) “Okinawa no Bugi: Toudi ni Tsuite Chu (The Martial Arts of Okinawa: On Toudi, part 2)”. Ryukyu Shinpo, 18 January 1914.

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Tokashiki I. (1995) Okinawa Karate Hiden: Bubishi Shinshaku (Secrets of Okinawan Karate: A New Interpretation of the Bubishi). Naha: Gohakikai.

Tomoyori R. (1992) Karatedo no Kihon (Karatedo Basics). Osaka: Kansai University Publishing.

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About the Author – Joe Swift is a professional translator, martial artist and karate researcher based in Kanazawa, Japan.

The animal techniques of Uechi ryu (2)

tokugawa — Mon, 05 Jan 2009 01:23:59 +0000

KICKING TECHINQUES

Kicking in Uechi-ryu karate differs from many other styles. The front-leg snap kick is the only kick used in the katas brought from China. It is found in every kata of Uechi-ryu except Sanchin, which contains no kicks. The front-leg kick, like the lead hand punch, is the first line of defense, as it is the closest technique to the opponent. It can be executed quickly against an incoming attacker. This approach exemplifies the “defense only” philosophy of Uechi-ryu karate. The snapping of the kick is an important source of power since the hips cannot be used in the front-leg kick as effectively as with a rear-leg kick. Front kicks in traditional Okinawan kata are aimed at the middle (chudan) or lower (gedan) areas of the body. Kicks that are normally performed by most systems with the ball of the foot, sokutei, are executed in Uechi-ryu karate with the tip= of the big toe (sokusen). Kicks with the ball of the foot do not exist in this system. Sokusen geri is the only kick in the original three katas brought from China. Like the shoken fist, sokusen kicks emulate the destructive effect of a tiger’s teeth. These techniques deliver an enormous amount of power to a small area. Deeper body penetration and more damage to the area attacked are the results. Any part of the body is a potential target for sokusen. Newer students should practice kicking with the ball of the foot for their own safety. Preparing the toes for kicking is an arduous process. First the muscles in the toes must be developed so they can be flexed into the proper position. This can take several months. Second, the tip of the toe must be conditioned to take hard contact. This takes several years. To form sokusen, pull your toes back toward your foot, tightening all toes together. Here are six methods for strengthening sokusen technique:

Make a tight sokusen foot and walk on the tips of the toes.
Jump up and down on sokusen toes.
Kick in the air with a tight sokusen foot.
Kick the makiwara, tire, and sandbag with sokusen.
Keep a tight sokusen foot when you do Sanchin kata.
Use sokusen when practicing all kicks.

OPEN HAND TECHNIQUES

Nukite is an advanced technique that is very prevalent in the Uechi-ryu system. It is found in all eight katas. Like a shoken punch and sokusen kick, it delivers the primary point of impact to a very small area. Attacking pressure points and soft body parts with this specific strike allows you to inflict maximum damage using little movement. Therefore, body size and strength are not a major factor for effectiveness. When you form your hand for a nukite strike, tighten all four fingers together and place the thumb firmly against the ridge of the hand. When you tighten your fingers, they will naturally curve in slightly. It is important not to let the fingers bend backward on impact. The name of the striking weapon changes as the hand is bent to apply fingertip strikes from different angles, such as kakushiken and koken. To form kakushiken, bend all four fingers where they join the hand and support them by placing the thumb at the base of the forefinger. Kakushiken is executed with the fingertips, in a forceful downward strike, like the beak of a desperate bird defending its life. Snapping the elbow and wrist increase the power. The targets of the crane’s beak are the neck, throat, and soft area behind the collar bone. Kakushiken, an advanced and deadly technique, is found only in Sanseryu kata.

Koken is formed the same as the kakushiken strike but is applied differently. A large swinging motion is used to deliver this downward strike. To increase power in this technique, a scooping action is added at the point of contact. The targets of this strike are the groin and nerves in the pelvic area. This technique is effective against a grab from behind. Uechi Kanbun told a story to Shinjo Seiyu about a Chinese martial artist who visited him and discussed an interesting conditioning exercise emulating a crane. The man dumped a small bag of rice on the dojo floor. He picked the rice up, one grain at a time, with the fingertips, much in the way a bird would pick them up with its beak. As the grains of rice disappeared, the strength of the man’s developed fingertips became apparent. The visitor explained that in a fight he could apply his pecking and pinching techniques to the veins in the arms of his opponent, causing deadly internal bleeding.

Uechi became intrigued with this idea and stood up, directing the man to demonstrate the technique on him. Several attempts were made but none were successful because of the extreme development of Uechi’s arms. Arm conditioning (kote kitae) had rendered the crane technique ineffective. The degree of conditioning necessary to develop these advanced striking techniques are a major hindrance in modern use. Extensive use of the Okinawan conditioning device, makiwara, is not as prevalent in the West as it is in Okinawa. A well-conditioned and highly refined animal strike may be your only saving grace when you face a deadly opponent of greater strength or determination.

About the Author: Based on Secrets of Uechi Ryu Karate and the Mysteries of Okinawa (1996) by Alan Dollar and published by Cherokee Publishing.

Information: Alan Dollar, Cherokee Publishing, 1001 Fitzuren Rd., Antioch,CA 94509 510-778-4400, fx 510-778-4468 email: Cherokee@aol.com>

The big toe kick
(sokusen) of Uechi-ryu karate emulates the tiger’s bite. Sensei Shinjo
Kiyohide demonstrates the penetrating effects of this effective
technique on his son Shuichi, of Kadena, Okinawa.Developing the toes
for kicking is an arduous, painstaking task requiring years of
dedication. An old tire makes an ideal target.

To execute a nukite
strike, tighten all four fingers together and place the thumb firmly
against the ridge of the hand. Legend contends that ancient Okinawan
karate masters could penetrate the rib cage like a spear using a nukite
strike.

Kakushiken (left)
simulates the damage of a downward thrust of a crane’ beak. Targets of
the koken strike (right) are the groin and the nerves in the pelvic
area.

Chojun Miyagi on technique

tokugawa — Fri, 26 Dec 2008 21:02:35 +0000

Chojun Miyagi

April
25,1888-October 8th, 1953

‘Do not be struck by others’

‘Do not strike others’

‘The principle is the peace without incident’

Chojun Miyagi was born April 25th 1888 in Higashi-Machi (Naha-shi) Okinawa of a wealthy family who’s business was import/export primarily pharmaceuticals. Originally Chojun Miyagi was born as Miyagi Matsu however his name was changed to Chojun at the age of 5 by his uncle whom adopted him after the death of his father in 1893. His family owned two ships which made regular trips to mainland China, placing them among the wealthiest families in the area and enabled a young Chojun Miyagi Sensei to travel to China to study the style of his instructor and develop the style of Karatedo we call Gojuryu today. However his original Martial Arts training started with his neighbor Ryu Ko Aragaki (one of the very few fighters ever to beat the legendary Choki Motobu) at 11 years old. Ryu Ko ragaki Sensei, before moving his family to Taiwan, later introduced him to Kanryo Higaonna, and he began training at the age of 15 in the fall of 1902 after fulfilling a host of chores (the traditional way of being accepted by an instructor).

1888, April 25 – Chojun Miyagi is born in Higashi-Machi (Naha-shi) Okinawa. His original birth name was Miyagi Matsu
1893 – ChojunMiyagi Sensei’s father dies, he is 5 years old and is adopted by his uncle and his name changed to Chojun.
1899 – Chojun Miyagi Sensei begins his studies with Ryu Ko Aragaki Sensei.
1902, Chojun MiyagiSensei is introduced to Kanryo Higaonna Sensei by AragakiRyuKo Sensei who is Miyagi’s first teacher.
1902 – Both KenwaMabuni and Chojun Miyagi begin study with Kanryo Higaonna Sensei.
1915 – Chojun Miyagi Sensei, Eisho Nakamoto and Go Kenki (a Chinese tea merchant from Naha. Go Kenki was a Sifu (instructor) of White Crane and a very close friend of Miyagi, all traveled with Miyagi to China where Go Kenki also serves as their interpreter. This would be their first trip for research.
1917 – Kanryo Higaonna Sensei died in October at Nishiishin-Machi, 2-chome, Naha, Okinawa. Miyagi Sensei paid for his funeral. Chojun Miyagi Sensei returned to Okinawa at this time, due to the death of Higaonna Sensei.
1918 – Miyagi Sensei formed the Ryukyu Toudi Kenkyu-Kai (Toudi-which means China Hand) to ensure the preservation of Karatedo as an Okinawan treasure. The Club was established in Asahigoaka, Wakasa-cho, and Naha-Shi. The co-founders were Chojun Miyagi Sensei, Hanashiro Chomo, Motobu Choyo and Kenwa Mabuni.
1921 – March 6th, The Okinawan Department of Education, requests Chojun Miyagi Sensei and Funakoshi Sensei to demonstrate Toudi to oncoming Prince Hirohito.
1921, March 10th – Miyagi Sensei (Naha Te) and Funakoshi Sensei (Shuri Te) demonstrate Toudi to Prince Hirohito (who would later become Emperor of Japan – WWII),
1926 – Hanashiro Chomo Sensei reorganizes the Ryukyu Toudi Kenkyu-Kai (Toudi-which means China Hand) to ensure the preservation of Karatedo as an Okinawan treasure. The Club was established in Asahigoaka, Wakasa-cho, and Naha-Shi. The co-founders were Chojun Miyagi Sensei, Hanashiro Chomo, Motobu Choyo and Kenwa Mabuni.
1927 – Chojun Miyagi Sensei what had happened. After much thought, Miyagi Sensei named his system Gojuryu after a line from a poem in the book Bubishi, which reads “Ho Go Ju Donto”; the way of inhaling and exhaling is hardness and softness.
1929 – Meitoku Yagi Sensei begins training with Chojun Miyagi Sensei.
1929 – Gogen Yamaguchi Hanshi and friend Jitsuei Yogi wrote to Chojun Miyagi inviting him to Japan. Gogen Yamaguchi Hanshi later received introduced to Chojun Miyagi by Yogi Jitsuei (September 27, 1912 – November 1997) for direct study.
1929, April – Karatedo is adopted into the Okinawa Police Training school and Naha Municipal Commercial High School as taught by Chojun Miyagi Sensei.
1929 – Chojun Miyagi Sensei became a Karatedo instructor at Training Center of Okinawa Police Department and Naha Municipal Commercial High School.
1930 – Chojun Miyagi Sensei named Karatedo Division Chairman of the Okinawan Prefecture Athletic Association.
1930 – Chojun Miyagi Sensei received an invitation to demonstrate at the All Japan Martial Arts Demonstration (pre Gogen Yamaguchi) to be held on May 5, 1930.
1930 – (Official Recorded Date) Chojun Miyagi Sensei becomes the first to give his style of Karatedo a formal name, calling it Gojuryu (See also 1927!).
1931 – According to Gogen Yamaguchi in his autobiography, this is the year that Jitsuei Sensei introduced Yamaguchi Sensei to Miyagi (although he was first invited in 1929).
1933 – Chojun Miyagi Sensei officially registers Gojuryu with the Dai Nippon Butokukai as a Ryuha
1933 – Chojun Miyagi Sensei was appointed Chief of Karatedo for the Okinawan branch of the Butokukai. Butokukai awarded him the title of Kyoshigo [Shihan-Kyoshi], 2nd highest title.
1934, March 23rd – Chojun Miyagi Sensei writes his “Karatedo Gaisetsu” (Outling on Karatedo). He would later present it in Japan in 1936.
1934 – Chojun Miyagi Sensei becomes a permanent officer of the Dai Nippon Butokukai (Great Japan Martial Virtues Association).
1934 – Chojun Miyagi lectures and teaches Karatedo in Hawaii on the Invitation of Yokoku Jihosha. The trip is also supported by business-men Chinyei Kinjo, Seichu Yamashiro and Seisho Tokunaga.
1935, February – Chojun Miyagi Sensei returns to Okinawa from Hawaii.
1935, Miyagi Sensei gives his second demonstration in Japan (by invitation Gogen Yamaguchi), with Yogi Jitsuei Sensei as his assistant. While in Japan, Miyagi Sensei stayed in Jitsuei Sensei’s apartment.
1935 – Miyagi Sensei visits Ritsumeikan University in Kyoto. Current members included Jitsuei Yogi, Gogen Yamaguchi and Soh Nei Choo (who would later teach Masutatsu Oyama)
1936, January 28 – Chojun Miyagi Sensei gives a demonstration in Osaka, Japan. It is here that Miyagi Sensei presented his ‘Outline on Karatedo ‘ (Karatedo Gaisetsu) speech regarding Karatedo and its benefits.
1936 – Miyagi Sensei was awarded the Meiyo Shihan (Honorary Master Teacher) and Yogi Jitsuei and Gogen Yamaguchi were awarded Shihan-Dai (Assistant Master Instructors) by the Dai Nippon Butokukai.
1936, November 28 – Chojun Miyagi presented to club members his essay “Ryukyu Kenpo Karatedo Enkaku Gaiyo”, part of his ‘about Karatedo ‘ Lecture and demonstration at Meiji Shoten
1936 – Chojun Miyagi receives a medal for “Excellence in the Martial Arts” from the Japanese Ministry of Education.
1936 -Chojun Miyagi Sensei, Eisho Nakamoto and Go Kenki (a Chinese tea merchant from Naha. Go Kenki was a Sifu (instructor) of White Crane and a very close friend of Miyagi, all traveled with Miyagi to Shanghai China where Go Kenki also serves as their interpreter. This would be their 2nd trip for research and they would visit the Seibu Dai Iku Kai (Great Gymnastic Association, Pure Martial Arts Spirit) for research purposes.
1937, May 5 – Japanese Publishing company Takenori Kai sponsors the TakenoriFestival where Chojun Miyagi Sensei performes Kata at Butoku Sai under the auspices of Dai Nippon Butokukai and is was given the title Karatedo jutsu Kyoshi first time in this nation.
1937 – Chojun Miyagi Sensei receives a Kyoshi degree from the Dai Nippon Butokukai.
1937 – Chojun Miyagi, along with other stylists, forms the Dai Nippon Butokukai Karatedo Jukkyoshi (Great Japan Martial Arts Karatedo Teachers Association).
1938, April – Chojun Miyagi Sensei was appointed as a Karatedo instructor at Okinawa Teacher Training School.
1939 – Shozo Ujita Sensei visits Okinawa and trains with Chojun Miyagi Sensei.
1940 – Chojun Miyagi and Shoshin Nagamine (Founder of Matsubayashi Shorin Ryu) created the Gekisai Kata to standardize Karate, making it easier to learn the basics of Karate. Chojun Miyagi Sensei later adds a 2nd Kata, Gekisai Dai Ni.
1942 – Miyagi Sensei was invited to teach at Ritsumeikan University (not by Yamaguchi Sensei as he was still in China at this time however by Jitsuei Yogi Sensei and Shozo Ujita Sensei).
1942 – Chojun Miyagi Sensei visits Kyoto Japan for teaching Karatedo . This would be the last time Miyagi was ever to return to Kyoto
1945 – Chojun Miyagi Sensei is reappointed (With establishment of Okinawa Public Government) to an instructor at Police Academy.
1945 – Chojun Miyagi was made an official of the Okinawa Minsei Taiiku Kan (Okinawa Democratic Athletic Association).
1947 – Miyagi Sensei returned to Naha and began teaching at the Naha Police Academy.
1951 -Miyagi Sensei began accepting a few students again at his garden Dojo. Prior to this, the only two students who trained regularly at his Dojo were Miyagi An’ichi and Aragaki Suechi.
1952 – Some of Miyagi Sensei’s former students began to return from the war and resume training.
1953, October 8 – Miyagi Sensei dies, never having named a successor or given anyone an official Black Belt.

After years of training with Higaonna Sensei, Miyagi sailed to China in May of 1915 in search of his Higaonna’s teacher. This was one of three trips he made to China during his lifetime. Upon his quest he studied Chuguko Kempo (Chinese Fist) in Fouchow, Fukien Province, from 1915 to 1917. He returned to Okinawa due to the death of Higaonna Sensei. In early 1917, Kanryo Higaonna Sensei died (at Nishiishin-Machi, 2-chome, Naha Okinawa). Chojun Miyagi Sensei paid for his funeral.

When he returned to Okinawa, he began to teach his Karatedo at a number of places in and around Naha, and to lecture and demonstrate throughout Japan Miyagi-Sensei subjected the art of Naha-te, as received from Kanryo Higashionna, to scientific examination. He studied the basic Go (Sanchin) and the six rules and created the Ju (Tensho) form, combining soft and hard movements. He also organized the auxiliary movements to strengthen the body through calisthenics. He organized these exercises in preparation for practicing the classical Kata. It can be said, he formulated the theory for the practice of Karatedo and organized it as an educational subject, an art of self-defense, and as a spiritual exercise. From the old Chinese book Wu Pei Chih (Army account of Military Arts and Science) published in 1636, Miyagi took the expression Gojuryu for the name of his school as it appears in the sentence: The successful methods required both give and take (Go and Ju). Miyagi Sensei was the first instructor to officially give his style a name in 1927 apart from the city in which it was practiced (See Historical review of Gojuryu), and organize a school of Karate. Miyagi often used the slogan Nanji Kyokuden, meaning to “apply all Strength, be determined in everything that one does; defeat is not the end; losing is not the end of everything.” He was called the last great samurai warrior of Okinawa because of his legendary strength and skill as well as his intense dedication to the martial arts.

Although a somewhat quiet man he was noted for his very large and muscular hands (the Gojuryu Fist as sketched by Gogen Yamaguchi Sensei was a depiction of Chojun Miyagi Sensei’s fist) as well as being the senior most student of Kanryo Higaonna. On his pilgrimage to the Chinese mainland he studied not only the building blocks of his teachers art Hung Gar-Shaolin Chuan Chi-Chi, but also I-Chuan, Pa Kua Chang and Tai Chi Chuan. All softer however highly skilled and effective styles. It was at this time he learned the Kata or Quan Rokkishu which later became the building block on Kata Tensho. With this additional martial art training Okinawa-te, Naha-te and the Chinese arts Sensei Miyagi developed a refined form of empty hand, and even today its Whooping Crane Chinese Gung Fu roots can still be seen in its forms or Kata. A story is told that while visiting a temple in China, Chojun Miyagi noticed a crane sitting on a roof, which was made of tile. As he approached the huge bird, the crane became alarmed and flew away. As it was flying away, the frightened crane flapped its wings against the tile roof, breaking some of the tiles in the process. Miyagi was amazed that the soft feathers of the crane were able to break something as hard as tiles. With that as the beginning, he devised a whole new approach to Karate, mixing in with the hard techniques many soft ones to be used in countering hard blows and kicks.

In 1929 Gogen Yamaguchi invited Mr. Miyagi to visit Japan and he later named Mr. Yamaguchi the leader of the Gojuryu schools in mainland Japan. That same year 1929) he was named as Shihan of the Okinawan Police and of the Naha School of Commerce (The Municipal Commercial High School – the general education program of Okinawa). Chojun Miyagi was named Karatedo Division Chairman (Chief) of the Okinawan Prefecture Athletic Association in 1930 and became a permanent officer of the Dai Nippon Butokukai (Japan Martial Virtues Association).

Although, Jigoro Kano (founder of Judo and the Kokokan) began visiting Okinawa in 1927, he was so impressed with Miyagi Sensei, he invited him to Japan in 1930 and 1932 to demonstrate at several meetings. It was at one of these meetings that one of his senior students, Jin’an Shinzato was asked which school of karate he belonged to. Unable to answer (styles were only known by their geographical reference at that time), he approached Sensei Miyagi, who agreed that a name should be chosen for their unique style.

Chojun Miyagi Sensei worked hard to spread Karatedo throughout Okinawa and mainland Japan, and to earn Naha-te a status equal to that of the highly respected Japanese martial arts of Judo and Kendo. To achieve this he traveled frequently to mainland Japan where he was invited to teach Karatedo at Kyoto University and Ritsumei Kan University.

In 1933 Karatedo was registered at the Butokukai, the center for all martial arts in Japan. This was a milestone for Karatedo as it meant that it was recognized on a level with the highly respected martial arts of Japan.

On March 23, 1934, Chojun Miyagi wrote the document Toudijutsu Gaisetsu (‘An Outline of Karatedo’) very rare to find and very technical on the almost spiritual training associated with Karatedo.

One month later in April, 1934 – Yokoku Jihosha invited Chojun Miyagi Sensei to Hawaii to lecture and teach until February, 1935. Chojun Miyagi on Thursday, May 3, 1934 aboard the NYK steamship. The trip is also supported by business-men Chinyei Kinjo of the Yoen Jiho Sha on Kauai, Seichu Yamashiro and Seisho Tokunaga. Chinyei Kinjo was the son of Chinzen Kinjo, one of the first immigrants to arrive in 1900 on board the ‘SS City of China’ and a previous student of Chojun Miyagi.

During this time he also becomes a permanent officer of the Dai Nippon Butokukai (Great Japan Martial Virtues Association).By 1936 Mr. Chojun Miyagi is truly recognized by the Government of Japan with being awarded the medal for “Excellence in the Martial Arts” from the Japanese Ministry of Education. That same year he went to train at the Chinese martial arts in Shanghai at the Seibu Dai Iku Kai or Great Gymnastic Association – Pure Martial Spirit. On May 5th, 1937 – Chojun Miyagi Sensei performed Kata at the Butoku Sai for the Dai Nippon Butoku-kai. Following what is now known as the Meeting of the Masters, Mr. Miyagi along with others who attended formed the ‘Great Japan Martial Arts Karatedo Teachers Association’ or ‘Dai Nippon Butokukai Karatedo Jutsu-Kyoshi’(1937). The first ever awarded in Japan.

After returning to Okinawa Miyagi Sensei, now teaching in his Dojo again as well as teaching Okinawa school Children, creates the Kata Gekisai Dai Ichi (1) and Ni (2). Chojun Miyagi’s students primarily studied four Kata: Sanchin, Sesan, Seiunchin and Tensho. These Kata are called the Kaishu forms but the Kata Sesan and Seiunchin were actually considered the training Kata of Gojuryu. These are very important Kata and must be thoroughly studied to understand Gojuryu. As of April, 1938 – Chojun Miyagi Sensei was appointed to a Karatedo instructor at the Okinawa Teacher Training School. In 1940 Chojun Miyagi and Shoshin Nagamine (Founder of Matsubayashi Shorin Ryu) created the Gekisai Kata to standardize Karate, make it easier to learn and to prepare young Okinawa for National service. There is a theory that for this latter reason (Military service) Gekisai Dai Ichi ends with a forward step instead of a backward one as well as punches Jodan instead of Chudan.

Before the Second World War, Chojun Miyagi traveled widely and was involved in many projects to spread Karatedo throughout mainland Japan and the rest of the world. However, from 1948 until 1953 he remained in Okinawa. Before the war he had been dedicated to his own training and research, to further develop the art of Gojuryu Karate, but his purpose in life had now changed. He was intent on passing on Gojuryu, and the “gokui” (secret principles) of Gojuryu to the next generation.

For reasons mostly pointing to WWII, may students of Tsuboya-cho (a district of Naha) garden dojo returned for training in in 1951. As well, new students once more began to enroll.

Chojun Miyagi Sensei had four boys and five girls. Miyagi Tsuru was the oldest daughter and first born. Master Miyagi taught at his home, outside in his Garden Dojo. But he didn’t teach regularly outside his own personal students other than his municipal duties (Police and education). He would occasionally goto the Butoku-den in Naha (The Butoku-den was one of the few buildings that survived the World War II battles on Okinawa).

Naha’s Central Police buildings were rebuilt near the Butoku-den, which was torn down in the late l980′s. A bronze bust of Chojun Miyagi was put up in the Butoku-den and was moved to the Naha Police Headquarters in 1987.

Chojun Miyagi Sensei instruction was not limited to physical training. Miyagi Sensei also lectured his students on history, culture, society, human relations as many senior Sensei of today do. During these ‘sessions’ Chojun Miyagi Sensei would teach the kata (forms) in great detail and explain the “bunkai” (kata applications) thoroughly.

Chojun Miyagi dedicated his whole life to karate. He was responsible for structuring Naha-te (which he later named “Gojuryu”) into a systematized discipline which could be taught to society in general. This teaching system which he formulated enabled Karatedo to be taught in schools for the benefit of the young, and to reach vast numbers of people throughout the world. However, his private teaching at his home remained strictly in adherence to the principles of his teacher, Kanryo Higaonna, and his teacher before him, Ryuruko.

Miyagi never awarded anyone a Black Belt. He was in the process of formulating requirements for the Black Belt however he died before he completed this. He had not conceded a sucessor at the time of his death. Leaving an unprecedented mark in the world of Karatedo and from his famous Garden Dojo and enough legendary students to carry his name into the history books of Martial Arts as the ‘Master”.

Jin’an Shinzato Sensei (aka ‘Jiru’), an exceptional talent, was the probable successor to the Goju school in Okinawa, he was tragically killed during the Second World War. It is generally an excepted theory that Shinzato Jin’an Sensei would have been the obvious successor to Chojun Miyagi Sensei had not his death. Later, after the war, Meitoku Yagi Sensei was awarded the training uniform (Do Gi) and Belt (Obi) of Chojun Miyagi Sensei by his wife and daughter.

Chojun Miyagi passed away October 8th, 1953, leaving his family of 10 children, wife and a great legacy behind. He dedicated his entire life and fortune to Karate. He predicted that during the twentieth century Karatedo would spread throughout the world. Today we can see
that this prediction has been realized; Karatedo is not only practiced in Japan, but it can be found throughout the countries of the world. Karatedo can no longer be referred to as a solely
Okinawan or Japanese martial art, but it has become an art with no boundaries, an art for all nations and all peoples of the world.

Four of his students, Seiko Higa, Meitoku Yagi (Meibu-Kan Gojuryu Karatedo Do), Seikichi Toguchi (Shoreikan Gojuryu Karatedo ) and Ei’ichi Miyazato (Jundo-Kan Gojuryu Karatedo ) carried on with Miyagi Sensei’s original teachings. The four students formed an organization named the ALL Okinawa Gojukai, which was a reorganization of the old Goju Rui Shinko-Kai. They established a promotional ranking system for the art of Karatedo .

Sai jutsu

tokugawa — Fri, 26 Dec 2008 00:09:46 +0000

The Stories and Practice of the Okinawan Sai

by Saiby Toshihiro Oshiro and William H. Haff

Any penetrating review of Okinawan weapons history is a mixture of hyperbole and fact.

Most modern martial arts students have been taught that Okinawan kobudo developed as a result of the Okinawan samurai being stripped of their weapons at two different points in their history. But a review of these incidents shows that our current view of the roots of Okinawan kobudo might be based on misconceptions.

Oshiro Sensei poses in a kamae that demonstrates the concept of “kakushi buki” or concealment of the weapon. The idea behind it is that the opponent cannot
tell exactly what you are holding and how long the weapon is. This gives one the advantage of surprise. Keep in mind that in the old days the normal dress was a kimono that had very long and baggy sleeves that could conceal a short weapon much better than a standard karate gi worn today.

The first time that the Okinawan samurai’s weapons were supposedly confiscated was during the reign of King Shoshin (1477 – 1526). While it is documented that King Shoshin ordered his provincial lords, or aji, to live near his castle in Shuri, many historians no longer believe that he totally disarmed his ruling class. A famous stone monument, the Momo Urasoe Ran Kan No Mei, which is inscribed with the highlights of King Shoshin’s reign, talks about the King seizing the aji’s swords, and how he amassed a supply of weapons in a warehouse near Shuri castle. But some Okinawan historians now interpret that King Shoshin was actually building an armory to protect his ports and prepare for any potential invasion by wako, or pirates, not that he was stripping the Okinawan samurai or the general population of their weaponry.

The second time that the Okinawan samurai were purportedly disarmed was after the Satsuma invasion of 1609. But documents have been recovered that state that the Satsuma outlawed the ownership and sale of firearms, all the Okinawan samurai of the Pechin class and above were allowed to keep those muskets and pistols that were already in their family’s possession.

There is further documentation that in 1613 the Satsuma issued permits for the Okinawan samurai to travel with their personal swords (tachi and wakizashi) to the smiths and polishers in Kagushima, Japan for maintenance and repair. From the issuance of these permits, it is logical to infer that there were restrictions on the Okinawan samurai carrying their weapons in public, but it is also clear evidence that these weapons were not confiscated by the Satsuma.

Based on this misconception that the Okinawan samurai were stripped of their weapons by the Satsuma most modern martial arts students are taught that Okinawan kobudo developed because the Okinawans turned to farm implements for their self-defense and training. When we consider the sai specifically we can see that the plausibility of this common myth is significantly strained.

Sensei Toshihiro Oshiro, long time practitioner of Yamanni-Chinen Ryu Bojutsu and the Chief Instructor for the Ryukyu Bujutsu Kenkyu Doyukai – USA, says that he has never found any evidence in his own extensive research to support the theory that the sai was used as a farming tool. Nor has he been told that by any of his teachers. He asserts that the sai has always been a weapon. If this is true, then where and how did the sai originate?

Stories on the Origin of the Sai

One story suggests that the sai made its way into Ryukyuan history by following the path of Buddhism, migrating from India to China to Okinawan. The shape of the sai were designed in the image of the human body; after the monks who carried them for protection. While there is little way to ascertain the veracity of this story, it remains an interesting projection.

Another, more modern story that martial artists often hear is that the practice of the sai originated with the Okinawan police force who carried the sai as their personal “side-arm” to control crowds and apprehend criminals. This story gains credibility because one of Okinawa’s leading sai practitioners was Kanagushiku (Kinjo) Ufuchiku, a highly regarded police captain who lived from 1841-1926. But if the sai was the required weapon for the police, Sensei Oshiro believes that there would be some evidence in recorded laws or regulations from the previous century in Okinawan history. To date Sensei Oshiro says that he hasn’t been able to find any proof in his research that supports this story. He thinks that the sai had a much wider following in the Okinawan martial arts community.

“Kakushi Buki” The Use Of Concealed Weapons

As we mentioned above, while the Satsuma did not confiscate the personal weapons of the Okinawan samurai class, there were tight restrictions imposed on their rights to carry their weapons in public. The Okinawans increasingly relied on “kakushi buki” or the practice of concealed weapons for their self-defense and the defense of their family and property. Sensei Oshiro maintains that the sai were one of the prevalent weapons used for this purpose.

The Okinawan samurai would often carry as many as three sai concealed in the sleeves of their kimono and in their obi. These hidden sai were typically shorter than the modern sai used today, with straight wings rather than flared

so as not to snag on clothing when they were being drawn. When the Okinawans felt that they were in danger of imminent attack they would immediately strike with or throw their concealed weapon. Since throwing the sai was a common technique, the Okinawans routinely carried more than one sai.

A concealed technique to use for in-fighting, is the jab with the tip of the sai from the basic grip. This of course, only works when the Sai length extends past the elbow.

Many modern martial arts practitioners assert that because of their winged structure they were used to block bo. While these assertions might be technically feasible, the range and momentum generated by the longer weapon would make sai a risky defense. Sensei Oshiro believes that sai were generally used in a “first strike” or surprise movement. The winged shape of the sai increases it versatility and enables a wide variety of striking techniques.

There is also evidence that use of the sai was integrated more widely into the Okinawans’ martial arts practice and used to augment other disciplines. Many Okinawan martial arts reference books speak of the sai being used for “hojo undo” or endurance training. While it is possible that the native martial artists used these heavy sai for fighting, it is more probable that they were training tools used for developing arm and wrist strength. Similar to swinging a weighted bat in baseball batting practice, the benefits from this type of training would improve not only their sai strikes, but carry over into their karate and bo training as well.

In figure “A” Oshiro Sensei stands with the Sai at his side and low. In order not to telegraph when you are about to deliver a strike, you must begin from whatever position your hands happen to be at without any preparatory or wind-up movements. In this case following figures “B” though “E”. Notice how the Sai goes directly from the lower position to the target and immediately back to the recovery position, prepared for the next strike.

The Sai in Modern Martial Arts Practice

The sai have been practiced for many years in Okinawa, but it was very individual practice. Because the sai were used primarily for self defense, they were not systematically taught as a separate martial arts style. Each person would have their own places to carry and hide their sai and developed their own favored techniques. Thus we find that sai does not have as documented a tradition in Okinawan martial arts culture as either the bo or karate. The “traditional” sai kata practiced today are of relatively recent invention.

If the above comments are reasonably “accurate”, where does that leave modern martial artists as they consider their practice of the sai and its place in Okinawan kobudo tradition? While the sai do not have as long a kata’s history as the bo Sensei Oshiro feels that they are very beneficial for modern budoka to study.

Starting with basic techniques, today’s practitioners can study how to grip the sai, how to use their wrist in flipping the sai and developing a stronger strike. Modern students should spend long hours building up their striking speed and capabilities. As Sensei Oshiro constantly admonishes his own students, “when you swing the sai, you should always cut the air. Swing fast, but never let your arms move outside the scope of your body. Basically, you should always try to reach longer when you swing. In advanced forms you should recoil after your strike, hiding your sai and preparing for the next movement.

Many Sai practices today employ rigid karate-like punches and strikes. The Sai can be used more effectively by using slashing and cutting movements. For example the picture above shows a common upper level strike which ends in the position shown.

A more effective movement is to pass this point and execute the kime or focus at the end of the arc at the lower position (left). This movement creates a threat to your opponent that covers not only the head by the entire torso, hands, arms and finally the legs.

With kihon movements for the sai, it is perfectly appropriate for beginners to move each arm sequentially, first one side then the other. But in more advanced technique both the right and left sai should be used in tandem, flowing from one “waza” to the next. “Of course”, says Sensei Oshiro, “when you complete a certain combination or series of techniques, you must use kime, or focus”.

Consistent with the sai’s history as “kakushi buki”, modern practitioners should try to initiate their strikes right from where their hands are without too much setting or winding-up. Also they should not let the tine of the sai separate from their forearm as they prepare to strike, giving away the position of the sai and telegraphing their intended movement to their opponent.

Because of the sai’s short range, footwork is critical to the proper use of this weapon. Learning how to move in and out dynamically and how to change sides and angles will provide the modern sai student with many hours of challenging practice. Footwork, hip movement, and the upper body should all be integrated for maximum power and effect. Well founded sai kata should incorporate this elements. Look for a combination of basic and advanced technique in your katas.

The art and practice of the Okinawan sai has a long yet murky history. Inspite of the fact that our current understanding of the origins of the sai is not definitive, the practice of the sai can provide today’s martial artists with a chance to look back to the “old ways” and flavor their modern training with a taste of earlier Okinawa….

The research for this article is based on Sensei Oshiro’s own experience, the oral traditions passed along by his teachers, and from the following texts:

Okinawa No Rekishi by Eisho Miyagi (1968)

Okinawa Ken No Rekishi by Keiji Shinzato, Tomoaki Taminato, Seitaku Kinjo (1972)

Shijitsu To Dento O Kokoru Okinawa No Karate-Do by Shoshin Nagamine (1975)

Okinawa No Dento Kobudo by Masahiro Nakamoto (1983)

Taidan-Kindai Karate-Do No Rekishi O Kataru by Shinkin Gima, Ryozo Fujiwara (1986)

Karate No Rekishi by Tokumasa Miyagi (1987)

Ryukyu Ohkoku by Kurakichi Takara (1990)

Ryukyu Bojutsu by Katsumi Murakami (1992)

Ryukyu Oh-koku No Jidai by Okinawa Kokusai Daigaku Kokai Koza Iinkai (1994)

This article is taken from www.oshirodojo.com