Monday, February 9, 2026

Onga Choyu wrote this





 

 


Onga Choyu:
   If something ceases to be a shadow, it becomes a form.
    If something ceases to be hidden, it comes to the surface.
    Dealing with the indeterminate reveals the skill of the Bushi.
 
From Ryukyu Shimpo newspaper, January 9th 1913
 

:

Friday, February 6, 2026

Regarding when the School Board allowed Karate to be taught in the schools.

 




 

 

Reading further into Joe Swift’s book “Itosu Anko” about the cultural changes on Okinawa giving rise to taking toudi into the Okinawan school system, it brought many other  things I have been reading in the past half year from other sources on that same topic. Then this gave rise to some very interesting thoughts.

 

Back in the 1870s Okinawa was subjected to many changes by Japan. They were formally brought into Japan, their king was replaced, the gentry were de-classified as such making their need for te and toudi in their lives irrelevant as new Japanese controlled systems were set up.

 

The important thing to recognize were many of the same things were occurring in Japan, too.

 

The old social order was abandoned; meaning among other things the promotion of social equity meant there were no further need for a samurai class. The military was organized by the institution of training for all soldiers. They very quickly realized many of their citizens were unprepared for military training. A new education system was established and incorporated training ideas from the United State and France. Among them martial gymnastics and sport, in an attempt to indoctrinate the young into current Japanese social belief, to build stronger bodies, etc.

 

This was also done on Okinawa as schools were opened for many who did not have that access before.

 

 To show their patriotism 50 Okinawan’s attempted to enlist in the Japanese Army, however only 10 of them passed the physical. The doctors noticed all of them had trained in the Okinawan martial arts.

 

That might have been part of the reason behind Itosu writing to that school board that Toudi (pronounced in Japanese as Karate), abet with modifications, ought be incorporated into the schools. I also suspect he had more knowledge of what was going on in Japan (of course supposition on my part.).

 

The school board he was writing to was in Japan, as they controlled the content of the Japanese school system.

 

At that time they were considering how/why not include judo and/or karate throughout the new Japanese school system.

 

So that school board likely considered Itosu’s proposal as a way to test if this training would work As Okinawa was regarded pretty much as the back water of Japan, if it didn’t work out, only Okinawa would be affected.

 

No doubt a harsh reasoning as to why the Japanese School Board went along with Itosu’s proposal.

 

And an experiment that worked out and continued to influence the development of Karate in many different ways, both in Japan and on Okinawa.

 

So much so Japan 5 years later eventually included judo and kendo instruction in their own schools.

 

Joe then moves into a more in-depth discussion about the change from Te and Toudi into the Karate of the Schools.
 
 
 


How sword influenced the development of Te on Okinawa

 




Reading again Joe Swift’s book “Itosu Anko”, In the first section, The Te of Shuri, I am taken by his point there was a long tradition of Japanese sword on Okinawa. Much of it seems to be variations of Jingen Ryu (Ko-Jingen Ryu) and that those arts had an impact on the development of Te.

 
He goes into detail explaining the sword use on old Okinawa.

 
Among his contentions is that a Jingen Ryu principle (2) Have complete faith in your first attack; if you  need a second attack you have already lost.”  Then mentioning that principle might be behind the te saying of Ichigeki Hissatsu (one strike, certain kill) or perhaps Ikken Hissatsu (one fist, certain kill). My only point here is that could show an influence of the use and training of the sword on older Okinawa.

 
Then Joe mentions another possibility.

 
Tategi-uchi is the fundamental practice in Jigen-ryu. Practitioners repeatedly strike a hard wooden post embedded in the ground using a wooden sword. The target is approached from a distance of around 9 meters, and then struck repeatedly on the left and right sides while screaming “Ei!” Tategi-uchi teaches distance, timing, correct grip, use of the hips, and speed.

 
In the Edo period Jigen-ryu adepts were instructed to strike the tategi “3000 times in the morning, 8000 times at night.”

 
That could have influenced the development of the makiwara for striking practice.

 
Interesting things to consider. We have Joe Swift for writing about them?

 
Now I really know nothing about the Japanese Sword of the different styles that have developed.

 
Just for a bit of a personal reality check I sought out Jigen Ryu on You Tube.

 
Togo Jigen ryu in Kagoshima

 


 
A kendo class in 1957 and a short demonstration of Jigen Ryu Heiho

 

 
They are of course what they are, not proof but something to consider nevertheless

 
I could not find a video of Tategi-uchi, striking the post with a wooden sword. But I found  something similar.

 
Nodachi Jigen Ryu developed in Kyushu during the 16th century, one of the elements practiced in this traditional Kenjutsu school is to cut against a vertical pole.

 
Typical is also the high version of the Hasso-no-kamae (with the sword held vertically above the shoulder on the right side).

This is the closest a video of Nodachi striking today.  

 


I do suggest you will gain a great deal by acquiring and reading Joe Swift’s book “Itosu Anko”.

 

 

.pdf files from the University of Hawaii Scans

 


A long time ago I downloaded some .pdf files
from the University of Hawaii Scans donated by Charles Goodin.
These scans came from the .pdf file labeled Iguchi- Randori 1912
 
These are just a few of the opening pages of illustrations,
the entire work contains much more.
Remember the pages and illustrations are viewed Left to Right.
 















“Martial Arts Okinawan Karate Kata” Seienchin kata

 

I was browsing my ,pdf martial books fire and saw one in German titles “Martial Arts Okinawan Karate Kata”. It didn’t show the author or the date of publication, but it began to interest me. So I scrolled forward a bit and discovered a few kata applications that interest me. Spent about an hour translating that small section of the book

 
What is interested me most was the application of a movement from kata Senenchin (our Seiunchin). One I had never seen before.

 
Here is my translation of the ending of that section.

 

The Kata Seienchin is first of all a kata, which is practiced with some force. But it is just as all other kata, also executable to the opposite. Let me give you an example. Movements 26-32 mean: First, after dodging, I enter the movement of the attacker with force and destroy his posture to prevent another attack. If I'm not so strong to do this, I use my mind. I let him attack and, in a way, push myself out of his line on the strength of the opponent - in the end I have the same result.

The Kata must be executed as we can. But keep in mind this: we give ourselves too easily beaten and think that this far exceeds the skills we have, so I take the "first" easier way without knowing how deep my skills actually reach.

Women often think they are physically weak without knowing their real strength, or vice versa, men who often think they are strong without knowing that strong and weak cannot be pinned to our physical condition.

But everyone who fights, no matter which way, loses a part of himself!

This is what interested me. For the section of the augmented right block followed by a low strike to the groin with the left fist. It shows use of the step back to right low block, but instead shows that left low groin strike as an entry with that hand into a fireman’s throw.
 

 

Tuesday, February 3, 2026

SunNuSu (Sunsu) Kata – a derivative analysis

 This analysis is only what I see, not necessarily as other would see it.


I don’t see these videos as end points, rather glimpses of stages where they were at that time.

 

As kata SunNuSu (Sunsu) as the creation of Shimabuku Tatsuo
I am going to show kata which inspired sections of his creation.

Some are from his Isshinryu, meaning studies with Kyan and Motobu. As he was a senior to Nakazato Joen,  I am going to use the Shiornji Ryu kata for the Kyan example of Patsai For the Gojushiho I am going to show the Nakama Haruku version, his instructor was also a student of Kuan.

 

 

For the opening he began with his own version of Sanchin.

 


 

The next session came from the Kyan form Patsai.

Patsai Shorinji

 


 

Gojushiho

Haruku Nakama demonstrates the kata he learned from Okuhara Bunei student of Chotoku Kyan.
 
Useshi (Gojushiho) begins at 6:40 on the video.
 
 

 

 

Kusanku – I am using the Shimabuku 1958 video, which shows the section he used in SunNuSu

 


 

I am using the Hiagonna Morio Seisan Bunkai video

to show a likely source for the various kicking techniques in the Goju Seisan.



 

 
or he man have incorporated the elbow parry as in Itosu Pinyan San Das as in Matayoshi Ryu. 
 

 

 

Again IMO the rest of the kata represents the ideas of Shimabuku Tatsuo.
 
 

 

 1958

 

 early 1960s
 

1966

 
Charles Murray Sunsu in Agena
during his Chinkuchi training 1972


 

 

Charles Murray Sunsu 1980

 

 


Charles Murray Sunsu 2016

 


 

Andrew Ware 1980


 

 

Young Lee SunNuSu 2012


 


Kusanku Kata - a study in derivative variation




 


Nishime Kusanku

 


 

Kosokon Dai Shito Ryu

 


 

Shobayshi Kusanku Dai Kata

 


 

Nakazato Shūgorō 仲里 周五郎 - Kusanku  Dai kata
 



 

Zenpo Shimabukuro, Kusanku
 


 


Shorinji Kusanku

 




 

Toshiaki Gillespi Shorin Ryu Kusanku




 
 

 

Shimabuku Tatsuo Kusanku

 1958

 

 1964

 


Kusanku Kata Angi Uzeu

 


 

Kusanku kata from Kaneshi Eiko via Shimabuku Tatsuo Sensei



 

Charles Murray 1980

 



Charles Murray 2014

 

 


Michael Cassidy 1991


 


Young Lee Kusanku 1992

 


 

Young Lee Kusanku 2014
 

 
 


Young Lee and Charles Murray 2015