Let’s have some
fun and engage in a bit of logical speculation, back before there was karate.
The term might have been Toudi or something else. That is not so important so I
will keep to Toudi. There is not a great deal written about that time, I am
going to refer to the book “The Secret Royal Martial Arts of Ryukyu” by Matsuo
as my source for most of this speculation.
What we do know
is that it was not called karate. The practitioners did not wear specific
uniforms. There was not rank and for certain none of us was qualified to study
those arts.
The arts being
referred to were only for qualified members of specific Okinawan bushi
families. They were not learning karate to make a living teaching it. Their
sole reason for the study was their family function required use of that
training, part of the time in their family function. Not the art for the art,
rather the art to allow them to do their role.The instructor was old having
successfully survived in that role himself and then undertook the family obligation
to prepare other generations of the family.
Each family knew
the instructor, having worked with him for decades, and that meant they trusted
his ability to prepare the new generations of the family.
As Okinawa was a
very small place, those who became instructors likely knew and even shared with
each other on occasion, but their primary focus was to prepare each new
generation for their role.
We man never
know exactly what those lessons were but I believe we can make some shrews
assumptions.
For one thing
everyone knew exactly what they were training for. They learned that from their
fathers, what their role would entail. Already understanding what they needed
to become, they had added incentive to
learn. Then their father would
not be training them, it is pretty clear that the families understood that
their toudi lessons were better taught by someone else, and that someone was a
trusted family member who had done the job for decades already. A proven expert, who was also bound by the
same family ties.
Of course they
began lessons having to prove their worth, by performing menial tasks for a
long time. But they also understood that their father had done the same
and worked to prove they were just as
focused. And that was the idea, getting the students attention.
We may never
understand the exact training they received. Kata certainly, but I suspect kata
to train the body never kata as a quiz to unlock. I see their training after
their body was developed with kata practice as being specific training for
their actual roles. It was not theoretical training after all, it was reality
that they were thrust in the middle of.
When sufficiently trained, they would assume their role alongside others
in their family who would shepard/guide them forward.
And what where
those roles, I got a glimpse of them in the book “The Secret Martial Arts of
Ryukyu”. This is what I found.
“ The martial
artists (bushi) of the Ryukyu can be divided into five distinct groups.
First of all,
the Shuri bushi, who were in charge of
protecting Shuri Castle. Next, the Tomari bushi, who were in charge of domestic law enforcement.
Third ,the Naha bushi, who were in chages of protecting the Chineese envoys (Suppushi) as well as the tribute ships sent from Ryukyu to China.
Next were the Udun bushi, who were involved in the politics of the Ryukyu Kingdom.
Finally, the bushi of Naha’s Kume Village, who were in the service of Chinese imigrants.”
While all would
require some of the same skills, each family would also have to address
different issues in their use of Toudi too. It would be logical to assume each
version of their toudi would be tuned toward their different responsibilities.
And they were locked in their roles, they could not expect to change their roll
either.
So logically
their arts would be focused on different responsibilities.
“For example,
the Shuri bushi, who worked under the scribes,
and treasurers, and justice officers, also worked as castle guards, tax
collectors, finance officers, or agricultural and forestry officers and studied
a martial art which was characterized by the horse riding stance, and light, fast
techniques. This area was called Shuri-di.
The Tomari bushi, who worked in domestic law enforcement.
Public welfare, construction as well as guarding the Chinese Sappushi, Satusuma
envoys and Satusuma Admistrative office in Ryukyu, studied an art that stressed
the ability to stand on the boats that traveled the two rivers (Asato River and
Kumochi River) that spanned between Shuri Castle, Naha Port and Tomari Port.
This art was called Tomari-di.”
… The guards on
the ships traveling to China….”These guards were the Naha
bushi and in order to deliver an effective technique on a rocking boat,
their training stressed such methods as Sanchin stance and heavy movements.
Their art was known as Naha-di.”
…….“Expecially
Naha-di was influenced by the Chinese Arts, and more specifically Fuijan boxing
styles, and was just called Toudi (Chinese
Hand).”
No uniforms for
training, no rank just their role responsibility. And perhaps a few of them
would become instructors for their families.
I can imagine those
seniors would also form friendships with other seniors from other families. At
times sharing some aspect of their own arts. And after a lifetime most likely
continuing their own study into what their karate would be. At the same time
most unlikely that such uses would be passed along to their students who were
preparing for their own family roles.
Then in 1870
Japan upset the applecart, taking over in Okinawa. Removing the king, then
ending the stipend for those bushi families.
New uses to be
found for toudi, not to teach it to outsiders, but to preserve a sense of
family fellowship.
Then one day
Itosu had a different idea and something new was born.
The dance can be done with empty or hands,
Or the same movements can be done with weapons.
“Bu No Mai”
contains punches, kicks, throws, grappling and weaponry.
The point of
origin of this secret technique is Tuidijutsu.Tuidijutsu techniques compound on one another,
Making the possibilities virtually endless.
The structure of his art is as follows:
If the art of
not injuring somebody is tuidijutsu,
Then there is
that of tuidi-gaeshi
(tuidi
reversals)And even higher is ura-gaeshi (reversal techniques).
Still higher ist the pinnacle, is Ajikata Nu Mekata,
Or the dance of the feudal lords.
“In other words,
fully developed martial arts
Do not have
corners or rough edges,And look even smooth or weak to the eye.
But for those who have experience with Udondi,
There are frighteningly effective techniques,
that one’s hair stands on end.
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