Reflections on Mutsu Mizuho’s Toudi Kenpo

In 1933 a Japanese karate-ka, originally trained by Funakoshi Ginchin, Mutsu Mizuho published ‘Toudi Kenpo’ or ‘Kenpo Karate’.  A large part of the material in the book reportedly was the result of a trip to Okinawa in 1930.

 

While the book is currently only available in Japanese it strikes me as one of the most interesting pre-WWII karate texts available. The book is quite large, with much detail on technique and information on his kata studies. But almost 2/5’s of the book is showing the use of karate technique.

 

Not a single use for a technique, but technique concepts grouped together with variations of technique being shown.  I think it may be one of the largest karate technique studies I’ve seen.

 

Now I don’t read Japanese, and I have to thank Joe Swift for all the information I’ve related above. But I can see what the drawings suggest and I’d like to share a lesson from 1933 for everyone.  Perhaps that will open a glimpse of older karate usage to consider.

 

The attack being demonstrated is where the attacker is moving their right foot forward and delivering a right blow. [VS – this could just as readily be an attacker trying to grab with their right hand.

 

[I would like to note that I don’t believe these demonstrations are complete techniques to finish an attacker, but are more opening techniques to score on them (create pain to allow them to move more readily). Thus they represent more of a demonstration where karate can and should go.]

 

The opening theme of this section is where the defender steps forward with their own right foot, on the outside of the attackers right foot [An exterior line of defense] and uses a middle level open back hand parry to deflect their strike to the right. After which they:

 

Alternative 1. It appears to me the defender jumps to replace their feet, right back and left in alongside the attackers right foot. As they do this their right hand turns over, grabs their arm before their elbow. They finish by releasing their right knee, dropping themselves down, and delivering a left reverse punch under their armpit into their ribs.

 

Alternative 2. It appears to me the defender jumps to replace their feet, right back and left in alongside the attackers right foot. As they do this their right hand turns over, grabs their arm before their elbow. They finish with a left reverse punch to the base of the attacker’s neck.

 

Alternative 3. It appears they step behind the attacker back, their right hand turns over and slides down to grab their wrist, and their left arm crosses the top of their left shoulder and grabs the right side of their uniform(clothing). Pressing the attackers arm across your chest would bow them as you pull your grabbing left hand back to the rear.  This also permits the side of their jacket/uniform to press into their carotid sinus. There exists a potential to black them out from this control.

 

Alternative 4.  It appears they step behind the attacker back, their right hand turns over and slides down to grab their wrist, and their left hand grabs their left shoulder. Their right hand is extending their locked arm out to the side as their left shoulder is jerked back, an opening for a takedown.

 

Alternative 5. It appears they step behind the attacker back, their right hand turns over and slides down to grab their wrist, and their left hand grabs their left ear.  Their right hand is pressed down as their ear is pulled back.

 

IMO, Mutsu’s demonstration of the range of karate response is greater than any other karate text I can recall.  And he wasn’t Okinawan, yet within 11 years of Fuankoshi first demonstrating his karate in Japan, Mutsu and other Japanese adepts traveling to Japan were suggesting a greater range of martial possibility, including ground work, than many accept was part of the Okinawan arts.

 

And sadly I do not believe a school continued with Mutsu’s direct tradition in Japan. All we are left with are the books he wrote and the suggestions they call forth.

The work is too extensive to suggest anyone try to obtain a copy in Japanese.  Its real value will come when it is translated into English (and other languages) and made available for general audiences.  Then we can see if his suggestions resonate still.

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Related post:

http://isshin-concentration.blogspot.com/2011/07/there-is-no-first-strike-in-karate.html

 

On Fractals

Often I’ve described how I may use fractals of a motion for its own application. I just found this analysis I did back in 6/20/2008 and it seems to calrify this a bit. My previous post regarding fractals is at http://isshin-concentration.blogspot.com/2014/08/fractals-101.html

 

This following demonstration by Dr. Yang Jwing Ming (YMAA White Crane and Yang Tai Chi Chaun)  helps make a visual example of fractals in usage. This form appears to be a demonstration form built from the larger Yang form and incorporates the use of his White Crane energy release with the tai chi technique.

The fractal of a motion occurs at 26 seconds you see him deliver an elbow strike and then complete the original technique at second 31. 

 

Fu Zhong wen shows the same movement without the focused use of the elbow strike at seconds 25 and 26.

 Fu Zhong wen Yang-style Form Part 1

 

 

 

I just find this a clear visual example of the concept. The use of fractals of a movement may be large or it may be a very small section of the actual movement.     

 

Of other interest is how Dr. Yang is using his energy release (I believe in Chinese – Fajing) fos his techniques. This is pretty unique at the level he is showing from other’s tai chi studies. It may well be a good example of the White Crane energy release he describes in his writings.

 

 

Seminar with John Kerker at Heron’s Budokai in Chicopee, Mass.

 

2011 Victor and John

Unfortunately I cannot attend this year’s seminar with John Kerker at Heron’s Budokai in Chicopee, Mass. Today. I am sure going to miss his sharing techniques like this.

Opening Seisan Kata

From 1991 we have my earliest explorations into the opening of Seisan Kata. My studies since that time have explored far more potential uses.
 
Any application is but a potential one until adequate training moves it from Application Potential to Application Realized.

Everything shown is done at an explanation pace.

Mabuni Kenwa on Karate introduced to Japan

Bubishi Puzzle, from 2001

 

 

from the Orsuka Tadihiko Ryukyu Bugishi page 14

 

  

Perhaps an interesting study can be found looking at one of the 48 Self Defense Techniques from the Bubishi.  The above scan is from a Mabuni Text on the Bubishi for Figure 9. 

 

In Tom Lewis Sensei’s Isshinryu Kihon practice, Lower Body Chart,  we practice Side kicks on the ground which somewhat resemble the drawings of this Bubishi figure.  One specific variation uses the lower leg to trap the heel and the upper leg to push into the knee area, very close to the above diagram.

 

To begin let me refer to three different Commentaries on the Bubishi, and in no particular order.

 

 

First, Pat McCarthy’s “Bubishi, The Bible of Karate” (Tuttle Publishing).

The Bubishi diagram he shows, neither person has hair (implying a monk perhaps?), The one on the ground is indicated as the Winning technique. The one standing and striking out is indicated as the Losing technique.   Where the shown illustration seems to indicate a double palm strike, in McCarthy’s ‘Bubishi’ the person has grasping (clawed as a Tiger’s) hands.

 

Page 171.        “Winning Technique – Scissors on ground, pretending to fall over.”

                        “Losing Technique – Using cymbals”

 

“If an attacker tries to grab you with both hands (right), drop to the ground, capture his leg (left) and take him down.”

  

Second, George Alexander and Ken Penland’s “Bubishi – Martial Art Spirit” (Yamazato Publishing).

Their Bubishi diagrams are almost identical to those published by Mabuni Kenwa in 1934 in Japan. They are re-drawn and cleaned up (and while strong diagrams they are slightly lesser in detail than the Mabuni direct copies). The biggest difference is the A&P ‘Bubishi’ attack shows a rising left hand (fingers slightly curled) and a different descending right hand (palm forward) with the index finger pointing straight down. I have no problem accepting this is a double palm strike.

 

Page 122.        “Attacker  - Like falling down forward on your hands, this man will win.”

                        “Defender – Like swinging a hoe down to ding in the ground, this man will lose.”

 

“Attacker comes in with both hands overhead and down to cause the opponent to fall down, this man will lose.   Defender drops down forward on his palms and using a scissoring technique on the attacker’s leading leg causing him to fall down, this man will win.”

 

Third,  R. Habersetzer’s “Encyclopedie des Arts Martiaux, Bubishi, a la Source des Karate-do” (Amphora)

 

Habersetzer’s drawing is less distinct yet reminiscent of the one I’m showing.  His book isn’t a translation of the Bubishi (directly ) but more a commentary on it. [The following translation by Victor Smith]

 

Figure 9 : Page 70

 

“If an assailant tries to grab you with two hands, you let go and go to the ground while capturing his foot to make him fall.”

 

With one page of the Bubishi drawing and his translation of the text, the following page shows drawings (and photographs) showing his interpretation as to what the text means.  The top of the page shows a very precise drawing of the leg trap we’ve been discussion.  It is followed by the following text :

 

 

“Photo 41: If this technique is applied by the side, uke can go up to attack the two legs of  Tori to bring (him)  to fall from his legs scissor: Kani-basami in Judo (‘pinch of the crayfish [crab]’).”

The following photograph demonstrates a flying scizzors takedown, legs around the waist.

Habersetzer then offers the following commentary on this technique.

”The illustrated drawing suggests the counterattack.”

 

“This form is very near that of  [Bubishi figure] 3, but Uke’s body is more turned, hands in support on the front. It is then that one of drawing 8, already represented as possible evolution of the figure 3. Ohtsuka Sensei thinks that it is possible here to be introducing a new variant technique: a lock to the ankle accompanied by a push of the heel under the knee Tori (24), who then is obliged to drop to the rear to escape from the painful grip [of the lock].”

 

But even more interesting is an actual Chinese interpretation of the Figure 9.

 

Last year (2000) while doing a clinic on the import of the Bubishi, in Pittsburgh at Ernie Rothrock’s Kung Fu Studio, he clearly went through the entire section of the Bubishi showing all of the techniques as beginners (not to imply that they’re not effective) Eagle Claw techniques. The implication of course is there are dozens of other Chinese systems where you could make the same demonstration.

 

Anyhow, when he dropped to the floor and applied the lock to the opponent’s leg he didn’t press and push them down, instead once locked, he began to roll over and over, the lock dropping them (away from his body), and as he rolled, he was also rolling them along with him, until he would choose to release them and use a finish off kick.

 

To my mind that (and many other demonstrations) showed the potential of this drawing may have little to do with one layer of possibilities (those discussed above).

From Kenkji Tokitsu "Historie du Karate-Do"

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Surujin of Okinawa

From "Kama, Tekko, Tinbe and Surujin – Ancient Martial Arts of Ryukyu" by Inoue Motokatsu. This is the 2^nd book in the series (the first was Bo, Sai and Tonfa) an English précis of Kobudo from the Japanese 3 volume set.

Sometimes I have no idea how much I've accumulated over the years, or what value I find in a good book. On the average it takes about 5 years before I can see and think about what is in a good book. It doesn't take me 5 years to read it, but value takes time to establish.

I find the introduction of each weapon in the series takes a small group of previous ideas and adds to them. You might find Inoue's comments of interest. From the last section on Surujin.

As the Surujin is rarely discusse I think you will find this interesting. It does parrallel flexible weapons found in Chinese Arts.

Be Careful about the following points in studying this book.

1. Dodge the opponent not by power but by your body and place yourself in the best position.
2. Continue to practice constantly through all your life.
3. Karate and Ryukyu Martial Arts are quite the same originally.
4. Study the spirit which comprises Rei, Zanshin, etc. in the process of studying Bujutsu.
5. You must be able to use weapons, but never depend on them.
6. To teach Bujutsu is easy, but there is nothing except your effort and practice to study it completely.
7. The technique of Bo is a synthetic one. The technique of Sai is one of the Shuto system. The technique of Tonfa is one of Uraken and Elbow strike systems.
8. Nunchaku belongs to the class of Bo and is so called "Portable Bo".
9. Kama is the technique of Kakate and Kurite if Karate. Each weapon of ryukyu Martial Arts is very useful for the way of studying the basic techniques of Karate.
10. Tekko jutsu is all the same as Karate jutsu except the special use of this weapon
11. Tinbe jutsu is the one that defend with "Tinbe" (Shield) and attack with "Rochin" (Short spear) and can be seen everywhere in the world.
12. Surujin is the best weapon for hiding the opponents eyes but it can't be used without the right how to use and enough training.

13. The above said weapons are called `Jyoteiken' which the length and the form is fixed, we usually practice with them, but the final most important purpose is that we can get to the ability which can use "Ranteiken" which is the length and the form is not fixed.