From: Swift Joe <joe_333@...>
Date: Wed Feb 7, 2001 9:54 pm
A martial arts researcher in Japan, named Hiragami Nobuyuki, has been writing a series of articles on Ryukyu Kenpo (Toudi) in the "Gekkan Hiden" magazine. The first installment was on Nafadi.
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Thanks,
Joe
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-A Mysterious Empty Hand Martial Art
In the solitary island Kingdom of Ryukyu in the southern seas, a mysterious empty hand martial art with unique movement patterns was transmitted since ancient times.
This unique art is known as Ryukyu Kenpo. In mainland Japan, a systemized empty hand martial art called Jujutsu also existed since the Warring States Era, but Ryukyu Kenpo was a martial culture that differed greatly from that of Jujutsu. Such differences were probably born of various geographical and political considerations. The greatest difference lies in the fact that the basis for the transmission of Ryukyu Kenpo was solo kata. This differs quite a bit from Jujutsu, which was passed on mainly through two-man kata.
- Development
How was this mysterious martial art of Ryukyu Kenpo, which focused mainly on solo kata, developed? There are many theories, but the theory that is was developed mainly under the the influence of Chinese Boxing is quickly gaining wide acceptance. In this theory, there are two main sub-theories on the extent of this influence:
1. Chinese boxing was combined with the ancient Ryukyu martial art called TI to form TOUDI.
2. Chinese boxing was introduced to Ryukyu and developed into Toudi.
It is clear that Ryukyu was a relay station for south sea trade, and that it had exchange with China since olden times. It is also easy to imagine that cultural exchangewas also great. However, even though there may have been such exchange, there are still many points of contention that Chinese boxing evolved into Ryukyu Kenpo.
1. Specific styles and lineages are almost always impossible to trace with any certainty
2. The Kata of Ryukyu Kenpo are unique to that culture. There are none on Chinese boxing that have identical movement patterns. Even the names are different in most cases.
3. The names of each movement in the kata of Ryukyu Kenpo do not have specific names, like those of Chinese boxing.
4. The techniques of Ryukyu Kenpo are relatively unique, and we can see many uniquely Ryukyuan patterns and cultural gestures.
5. Even the core techniques of Ryukyu Kenpo are unique.
Of course, there are also several counter-arguments to the above points:
1. There are many oral traditions concerning styles and lineages.
2. It can be pointed out that the names of kata named after numbers are the same as those in Chinese boxing, and also hypotheses exist on other similar kata names.
3. It is not impossible to consider that the names of the techniques were considered as parts of the secret teachings, and that the Ryukyuans were not taught to that level.
4. It can be said that these differences are due to the constant Ryukyuanization of Chinese boxing after its introduction.
5. This important issue has not been looked into in great detail or satisfactorily solved until now.
However, except on point (5), there are yet even more counter-arguments to these counters, which bring up many new problems. Some of these problems have already been looked at by Kasao Kyoji Sensei and this author in Hiden Magazine.
However, these points have not been fully answered, and I think that there were probably many readers who were not quite satisfied with this. Therefore, this author would like to examine the historical materials in greater detail, from my own standpoint, in an effort to delve deeper into the history of Ryukyu Kenpo. This is an area that no other researcher has looked into, and there are sure to be some shocking facts that come to light... with that, let us now look at the main issues.
- Turning the Tables
When looking into the issues surrounding Ryukyu Kenpo and Chinese boxing, although there are still many unknowns, there is one thing that we can say for sure. Setting aside the direction of cultural flow, its depth or magnitude for now, we can still see that they are not mutually exclusive entities, but have some kind of connection.
Perhaps the only real evidence we have is the names of the kata of Nafadi. Many of the kata named after numbers, such as Sanchin (3), Seisan (13), Seipai (18), Niseishi (24), Sanseiru (36) and Suparinpei (108), can also be found in many Fujian Chinese boxing systems. With such identical DNA, they can be said to be martial arts culture from the
same stream, that are believed to be connected by a thin thread.
However, can this really be said to be concrete proof that Chinese boxing was introduced into Ryukyu? With only this information to go on, it is too early to say for sure. I want to point out that we cannot yet be sure of the direction of the flow of culture, going on only this information.
Looking at this issue from afar, only after looking deeply into the relationship between the two and knowing the essence of each, we can see that a third theory now comes to light, in addition to the previously mentioned two theories on the influence of Chinese boxing.
Some readers may be shocked to hear this, but this suprising third theory states: "Ryukyu Kenpo itself was the major boxing culture, and this was introduced to the Asian continent where it developed as Chinese Quanfa, or at least influenced its growth."
- A Galilean Theory
This is a very surprising, rare theory, but in fact it has been talked about before by a few researchers who are very deep into the history of Ryukyu Kenpo. However, because it is a very fantastic idea, no, make that a world-shaking "Galilean Theory", or perhaps even because it may hold the highest secret of Ryukyu Kenpo, this theory has never been publically presented, or even studied very deeply on an academic level. If you say that these are nothing more than fantasies with no real basis, I would like to point out that this hypothesis is one that naturally comes out if one cares to delve deeply into the history of Ryukyu Kenpo. However...
Well, I think I'll leave this suggestive introduction at that, and head into my investigations, while fearful of my own lack of materials and ability.
- Old-Style Nafadi
In order to understand the logical construct of this reverse theory, it is necessary to study the essence of old-style Nafadi.
Old-style Nafadi is the boxing culture that was transmitted in the Naha district of Okinawa since days of old. Its essence, however, is shrouded in mist and wrapped in mystery.
Nafadi is often described, along with Sui-di, as a powerful, secret form of Kenpo. What was it like during the old Ryukyu Kingdom era? Let us now examine this, based upon a few surviving martial arts records and the curricula of modern Nafadi-based systems.
1. The record of the martial arts demonstrated at the end
of the Edo Era.
2. The curriculum of Miyagi Chojun's Gojuryu Karate
3. The curriculum of Kyoda Juhatsu's Toonryu Karate
4. The curriculum of Uechiryu Karate
5. The Nafadi lineage kata in several modern styles.
6. The kata learned by Yoshimnura Jinzai.
The related Nafadi kata in each of these are:
1. Seisan, Suparinpei, Chishaukin
2. Sanchin, Seisan, Sanseiru, Suparinpei, Seipai, Shisochin, Saifa, Seiunchin, Kururunfa (Gojuryu also has Gekisai 1 & 2 and Tensho, but these are clearly the invention of Miyagi, so they will not be looked at here)
3. Sanchin, Seisan, Sanseiru, Pechurin
4. Sanchin, Seisan, Sanseiru, Suparinpei (however, this kata is not present in Uechiryu)
5. Seishan, Sochin, Niseishi, Unshu
6. Sanchin, Suparinpei
In the above kata, there are a few that have similar names but different content, but most of them are very similar in content as well, leading us to believe that they are originally from the same lineage. Let us take a look at some examples.
Same Name - Similar Content
Sanchin (2), Sanchin (3), Sanchin (4), Sanchin (6) Seisan (1), Seisan (2), Seisan (3), Seisan (4), Seishn (5) Suparinpei (1), Suparinpei (2), Pechurin (3), Suparinpei (4)
Explanation:
Sanchin (2), (3) and (6) are all from Higaonna, so it is only natural that they are the same. However, we must note that the Uechiryu Sanchin (4) is also the same.Even though Uechiryu is said to be directly from China, it is clear, after a comparative analysis, that its kata are old-style Nafadi. (A detailed comparison will be presented in the next installment).
Next, Seisan (aka Seishan). While there are some differences, it is clear after a comparative analysis that they are all from the same family. On Seisan (1) and Seishan (5), it is almost certain that it is from Aragaki Tsuji, so we can infer that they are the same kata.
Next is the issue of Suparinpei. The fact that Suparinpei (2), Pechurin (3) and Suparinpei (6) are all from the same person, it is natural to assume that they are the same, but without more than anecdotal evidence, we cannot necessarily state that they are all the same kata.
However, since Uechiryu is from the old Nafadi lineage, we can probably infer that they are all from the old-style Nafadi. Carrying this through from this point of view, we reach the old Nafadi Suparinpei. In other words, the oral tradition in Uechiryu that "the original Kenpo style had Suparinpei, but due to time and other factors, Uechi Kanbun was unable to learn it" points to the conclusion that each of these Suparinpei are from the same lineage.
However, this is a very delicate point of discussion, and these issues of the "origins of Uechiryu" shall be looked at in detail in the next installment.
Similar Name - Different Kata
Sanseiru (2), Sanseiru (3), Sanseiru (4) Shisochin (2), Sochin (5)
Explanation:
From a comparison of Sanseiru (2) and (4) it is clear to see that they are different. This author has not seen Sanseiru (3) but written accounts by Toonryu experts state that it is rather different from Sanseiru (2). However, as the author is unfamiliar with Sanseiru (3) a comparison with Sanseiru (4) is unattainable.
The kata names Shisochin and Sochin are similar, but looking at the contents of the kata, they appear to be different lineages. However, it is not impossible that transmission over the generations has changed the essence of kata. Therefore, their relationship with Chishaukin (1) is also unknown.
In order to further clarify the curriculum of old-style Nafadi, the next installment shall look into the mystery of the development of Uechiryu.
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