One of my friends taught this one night I trained at his Shorin Ryu dojo.

  

It was throwing front kicks from Seiza Dachi,

First to strengthen the quads,

 Second because that was one of their ways.

  I always found it an interesting drill, 

 and this photo shows what it looks like when executed.

 

My Thoughts on Shigeru Egami

  

 

Back in 1975 when I was a new Isshinry student, one weekend we went to Red Lion, PA. to visit my parents. In near by York they had a great bookstore and Paid it a visit. That was where I found a new book on the martial arts. It was Shigeru Egami’s  “ The Way of Karate Beyond Technique” (later to be republished as “The Heart of Karate-Do”)

I realized the book was about Shotokan, of a sorts. As I read it I found Egami nad been a student of Funakoshi Ginchin. He trained ferociously in how he  was trained for decades. Then when he took ill, so as to be unable to train for years, he began to investigate how Funakoshi technique was beyond fhat of his students. He took a trip to Okinawa and there found a fist more effective to what  he trained int.

After years of research Egami in the 1950’s  found an efficient way of striking by executing the movement in a relaxed state of mind and body. This is the basis of Shotokai. It focuses on suppleness and relaxation, as opposed to tenseness that generates force. Elaborating this basic idea, he suggested new forms of techniques and a new way of practicing.

At that time I had some knowledge of Shotokan, yet at the same time I was starting my study of Isshinryu I did not know there were differences between Okinawan karate and its Japanese derivations of which Shotokan was one.

I found the book very interesting, but it had nothing to do with the Isshinryu I was studying. It became a book that I read and put away.

Years later re-reading that  book I found his development of the Middle knuckle strike over the Shotokan flat fist interesting. Of course he went much deeper into fist striking too.

Now finding my original copy on my bookstand, reading it again, I am struck that the process Egami went through developing his Shotlkai was very similar to the process I wean through to strengthen my own Ishinryu Studies.

Of course there are differences, I was never trying to strengthen my Shotokan.  Instead of the pain caused when striking with the middle knuckle fist, I found similar power from striking with Sherman Harrill’s ridge of knuckles in the Isshinryu fist. Then again I worked out the necessity for more flow in movement, my own use of the crescent stance in power development and other developments.

What I found most intesting was the journey Egami made and see it reflected (abet  differently) in my own journey.

 

I have been unable to find if his group, the Shoto-kai, exists today.

The following photographs show  some of the use of the single point fist he developed in the Shoto-kai.

 

  

 

Maître Shigeru Egami (Shotokai) - Stage au Japon

https://www.youtube.com/watch?v=tf0jGNjX5bk

 

https://www.youtube.com/watch?v=ad6bdqsFG5M&t=70s

 

Training on the Dojo Floor in the Agena Dojo

 

Training on the Dojo Floor in the Agena Dojo

 

Lt. Jim Vodar leads the class Te no bu (Upper Exercises)

while Shimabuku Tatsuo Sensei observes. Circa 1969/70.

 

At the time, Walt Van Gilson and Bob Bremer were on Okinawa.

 Most likely they were teaching for Tatsuo Sensei up north that day

 

Bob Bremer leading class. Circa 1969

Walt Van Gilson and Lou Preiditsch were training at the dojo this time period.

 

 

I've always wondered why we put our hand on our chest when doing shuto –

 

 

This video of John Kerker shows an excellent example application!

Note the check of the punch at the very beginning - it is easy to miss

John Kerker Ideally in a real situation the hand pulling to the sternum and the hand striking happen at the same time if you watch Dan's chin you see how the left hand pulls him and accelerates his chin down and forward, for that split second he has no control and that's when he would get hit.....for safety and demonstration purposes the striking hand delays

 

On Dropping your Center and thereby increasing your Power

 

Bruno Ballardini‎ to Karate di Okinawa

Another basic principle that Okinawan karate shares in common with the Chinese martial arts is “to “sink”, in order to receive the push from the ground and to put this energy into the technique.

Victor Donald Smith – more plainly this means releasing the knee, to drop your weight, allowing the power generated to move into the technique execution.

 It was in the book by Aragaki Sensei, years ago, where I first learned of the knee release. I have found it is a major player in generation of force from movement.

Russ Smith "Releasing the knee" is an important and powerful movement concept, particularly when attempting to move under contact with an opponent.

Timothy Rodgers This is very much true in that, if the legs were straight or locked the ability to push, and project movement would almost be non existent.. Also the term Shimuzu is another reference to the (internal sinking),starting with relaxation of the body by the rounding of the shoulders and allowing energy to descend, or (sink) to the hara. This would be a prelude to all movement. I believe these two, are intertwined,,,and a basic foundation of the Chinese contribution.

Jim Keenan - one place isshinryu suffers - across the board - is legs. isshinryu practitioners (most Okinawan style practitioners, really) have weak legs. I forget how long ago it was (but it was at least from my time in Israel), I started working on ways to increase leg power in Isshinryu without completely breaking the style. Using the leg in the way you pictured is one of the ways I came up with.

 

Victor Smith

Very astute analysis, Decades ago Ron Martin (Goju) pointed out to me how weak my stances were, I then noticed how strong all his students stances were, Then looked at my original instructor, Tom Lewis, and how strong his stances were. Then i began my own crusade to strengthen my own stances. Stance development became a real mission with my own students. That continued for decades.

Personally, they did not know how to focus on stance development, and perhaps just did not teach it, even when they had it themselves. I noted while Sensei had great strength, it was not taught that way. A year after Ron's comment, I saw Charles and he commented how strong my stances had become

 

"Naifanch (the body) and the SanChin are the same"

 

 

When I read this in my recent translation from the Motobu Ryu blog, old memories came flooding back.

 

We uploaded an article of "About an article of Monthly Magazine Hiden".
https://ameblo.jp/motoburyu/entry-12344423527.html

 

Monthly Secret Articles

 

When the feature article of Nai Hanch and the San Chin is organized in the latest issue [monthly secret], I learned in the blog of the Tang-san, I also bought and read.

Monthly Secret edition Feb. 2018

In that article they said.

Well, Ken Soke said that "Naifanch (the body) and the SanChin are the same", and it was taught that it was important "tighten Up" (page 33). In a word, it was said that it was Nai Hanch of had to have knees both so to speak at the same time as "Naha hand making of the Shuri hand" and "the Shuri Hand of Naha hand" were done by incorporating Nai Hanch.

 

That is what triggered this memory. I am not implying I fully understand what they are saying. But for things like this  I use these translations.

 

When I was training with Charles Murray he would often reminisce about his time on Okinawa in 1972.

 

One of the memories I remember best was him talking about the Okinawans practicing Naifanchi kata there.

 

He remarked how powerful their Naifanchi dachi was.

 

How their lower body used great tension in their stance, and at the same time there was almost no tension in their upper body. Allowing freedom of movement within the kata.

 

The total stance was both hard and soft to him.

 

That was very different from what he saw in the states.

 

That stuck with me, and perhaps guided me a bit.

The Okinawan Times on Shimabuku Tatsuo teaching the Marines

 

53 years ago today, this article was published in the Okinawan Times. Many talk about fighting, but what Shimabuku said about wishing his beloved homeland is better understood through karatedo, is the true essence. Okinawa=Karatedo. Article translated below.

 Translated by Joe Swift, originally posted Arcenio Advincula Sensei.

"From: OKINAWA TIMES, Saturday, April 30, 1960

 

Karate Boom among Soldiers -Several Already Have Dan-Ranking -Dream is to Open Dojo in Own Country
(Photo Caption: Foreigners learning Bojutsu from Shimabuku Shihan) [Note: See Historical Photo Folder

Gushikawa - There is a karate boom among the soldiers stationed in the central region [of Okinawa - JS]. There are 70-80 foreigners studying under Mr. Shimabuku Tatsuo, the instructor of the International Karatedo Headquarters, training hard with yells of "EI" and "YA". Some foreigners strike the makiwara until their fists bleed. Some jump up in the air and kick with their feet. Some wield the 6-foot staff skillfully. Some swing sai around. They train enthusiastically in the 330 square meter dojo.

According to Shimabuku Shihan, several foreigners received their teaching licenses from this dojo and opened their own dojo upon returning to their homeland. There are apparently over 30 karate dojo in the USA.

Sergeant Jake of the Marines is a military newspaper reporter originally from Hawaii, but his dream was to learn karate if he ever came to Okinawa. Now, he holds a Shodan rank, and plans to open a dojo upon his return to Hawaii. Sergeant Armstrong from the Kawasaki Camp holds a Nidan in Judo, and joined the karate dojo 10 months ago. He is presently studying the use of the bo and the sai.

Mr. Shimabuku, who is the founder of Isshinryu, evaluates his foreign students as follows:
"Their bodies are large and they are not as skillful as Okinawans, and their kata is not very good, but they are much more enthusiastic about the training than their Okinawan counterparts.

Perhaps due to the popularity of boxing in their country, their eyes and speed is very good, which helps to cover their weakness in kata. They are physically strong, and train an average of 2 hours a day, soaked in sweat."

Sergeant Frank, who comes every other day from Camp Hansen in Kin, has only been studying for 4 months now, but his future dream is to "receive my teaching license and open a dojo in my country. However, I would still like to
continue receiving instruction as a student of Sensei."

The foreigners affectionately call Mr. Shimabuku "Shensei."

Perhaps as a reflection of the karate boom among the Marines stationed in central Okinawa, several officers are also training at Mr. Shimabuku's dojo.

"Even if we cannot promote friendship between Okinawa and America through karate, my true hope is that if karate becomes popular in the USA and Hawaii, then Okinawa would also become more well understood," said Mr. Shimabuku."

Why do you study and practice weapons kata.

 

 

‎Albert Mady‎ to Kata Exchange

 I do because: it is part of the Isshinryu system as I've been taught.

: I enjoy it

: I like learning more about and developing further in my system

: it's a challenge

 

But I have done it and do it because of how I think about martial arts, from my weapons training I can take the lessons from these traditional weapons skills and pick up almost anything around me, which I have, and use to fight with. Practical.

 

Victor Donald Smith Of course I do it because I do Isshinryu. But over the decades I saw there was far more value than learing ancient weapons. I saw how the study was also a force enhancer to develop karate skills, and once the decades moved by those developed skills could replace some of what age withers. I also observed the same from a friend in the Chinese Arts who also did a huge number of weapons form. It did make a difference.

 

Todd Olson Weapons training also deepens and reinforces all the principles that apply to open hand as well. Many Okinawan schools taught the weapons first and then open hand.

 

Victor Donald Smith And while each weapon develop different forces, that does not mean you must study dozens of different weapons. For all practical purposes a few are enough to add force enhacement. More does offer value, but realistically few have the time to make such study. Time and effort count more than numbers with not enough time for deep practice.

 

Albert Mady For me, Bo, Sai, Tomfa, Baton ASP, Katana (Toyama Ryu Iaido). A few others at seminars, I like knives.

 

Michael Demeter Bo, Nunti Bo, Eku, Sansetsu Kon, Yari, Sai, Nunti Sai, Tuifa, Tekko, Tichu, Tinbe, Gusan, Kama, Chizi Kon, jifa.

Robert Welch I do it for the reasons above, but mainly just because i enjoy it.

 

Victor Donald Smith For my efforts, I taught Bo, Sai, Tonfa, Bando staff & short stick. For instructors I taught Kama and tanto, For private practice I worked with short hand held sticks, Tai Chi Sword.

 

Dojo TokyoMushinkan as I really don't need karate/kobudo for "fighting" per se, to me weapons training allows a connection to the warriors of the past, allowing them to live on through our Kata, whilst imbibing us with their understanding of proper combative biomechanics, just in case we do ever need to "fight."

 

Bruce Johnson I think we all have the same philosophy on weapons. I enjoyed learning them in the beginning of my Okinawan Kempo training but as I progress I realized that the weapons were actually giving me a better understanding of my Katas and an even greater understanding of my body and movements. Weapons training has honestly made me so much more sharper and enhanced my techniques.

Bottom of Form 1

 

Richard William Morgan

When I look at a kata and I start to consider applications within the kata, I focus on motion or movement more than the techniques themselves. When i define a technique, I define it as motion applied to a target. What this does is allow me to broaden my horizon and not be confined. Example being Gedan Barai, I can use this motion in a number of different ways. But by only changing my target I get a different outcome each time. Something to think about and play with.

Bret Gordon Exactly. Bunkai is the analysis of kata and it's movement. Things are not always what they seem, and oyo has many layers.

 

Victor Donald Smith Before the term was being used in the states by no one I associated with in any karate system in the northeast, I learned the word through an Indonesian Shotokan instructor, following his own families Shotokan tradition. His use of the term bunkai followed a very different paradigm than anyone else uses, but that was what it came to me, very powerful bunkai thei are, As the term came into use I realized that what other were doing had nothing to do with the way I was shown, I was not in that tradition but those teachings influenced my karate. Personally as later I spent the rest of my life on this study, I adopted the term application analysis, for bukai had a very different, quite clear meaning to me. Along the way I realized application analysis was only part of the picture, There were other layers to this to reach application realization.

 

Charles B. Stanley The word Bunkai means different things to different people. What some people call the Bunkai from their kata is to me nothing close to what I think of as Bunkai. The word is over used and often misunderstood.

 

Victor Donald Smith A Japanese English teacher and author of English/Japanese dictionaries in Japan (for students) explained to me in Japan most people would not know what you were talking about, as the term is most used in the context of a mechanic would bunkai a car to determine what was wrong. Using bunkai in a very different context. I had to explain the term to him, and while he studied Shorinji Ryu in college, they did not do 'bukai'. He further explained it was a specialized term used by specific karate systems.

 

Originally Mabuni Sensei shared the concept of bunkai in his first work on Karate in the 1930. When Mabuni expressed the idea of bunkai for his book containing his kata Seiunchin he used the term ‘bunkai’ to mean

Both I and McKenna Sensei have done translations. Mine from a French edition, and his from the Mabuni original. I questioned Mario McKenna Sensei about the use of the term ‘bunkai’ in ‘Goshin Karate Kempo’ and he described it’a use as "breakdown/apart and explanation" from his translation efforts on Mabuni’s book.

Mura-bo, or "village bojutsu".

 

Andreas Quast‎

Discovered by my colleague Thomas Feldmann (from Düsseldorf, Germany), maker of the "Hoploblog", this is thought to be a scene from an undated, prewar "school arts festival".

Of course, this is a demonstration of Mura-bo, or "village bojutsu".

                                                                                        
Today Mura-bo is sometimes used as a pejorative term, even by Okinawans. However, it appears that the Mura-bo is more Okinawan than the Bujutsu-st

yle Bojutsu of probably early 20th century Japanese influence, i.e. what we see today.

For example, long before there were "cultural asset holders" in the field of Okinawan Karate and Kobudo, there were first the "cultural assets" of Mura-bo. For this reason alone, without further consideration, the term "Mura-bo" should not be used in a pejorative sense.

BTW, the 1867 martial arts demonstration at the Uchaya-udun (royal tea residence) of Kume villagers was the same kind of "school arts festival".

 

Practice Kata Correctly

 

byKenwa Mabuni

Translation by Mark Tankosich, MA

 

This translation originally appeared in Vol. 29, No. 1 of the Hiroshima University of Economics Journal of Humanities, Social and Natural Sciences.

Translator's Introduction

          Over the course of the relatively short history of karate in the West, one of the most debated and discussed aspects of this martial art has been that of kata training. Practitioners have both solicited and put forth opinions on such things as whether or not practicing kata is an effective way to learn to defend oneself, how prominent a role kata practice should play in one's karate training, the number of kata that one should "know," and whether or not the practice of kata is even necessary.

 

          One voice that can speak with some authority with regard to this topic is that of Kenwa Mabuni, the founder of the Shito-ryu school of karate and one of four Okinawans typically given credit for introducing karate to the Japanese mainland (Iwao 187-211). Mabuni learned from such legendary figures as Anko Itosu, Kanryo Higashionna, Go Kenki, Seisho Aragaki and Chomo Hanashiro (McCarthy 1-37), and reportedly knew nearly every kata in existence in Okinawa (McCarthy 11; Iwai 207, 210) (1). Not only that, but venerated karate sensei (and Mabuni contemporary) Hiroshi Kinjo told McCarthy that, whenever someone - including the famed Gichin Funakoshi - wanted to learn, to have corrected, or to better understand the applications of, a kata, it was to Mabuni that the person went (McCarthy 25). Clearly, the Shito-ryu founder was an expert (if not the expert) when it came to kata.

 

          In addition to his expertise with what some might term the "theoretical" side of karate (i.e., forms practice and analysis), Kenwa Mabuni apparently also had some experience with the more "practical" side of the art: McCarthy states that one of Mabuni's leading students, Ryusho Sakagami, described his teacher as someone who had had his share of street encounters while working as a police officer. McCarthy also goes on to note that Mabuni's son, Kenei, "said that his father often told him how his karate-do had helped him as a street cop" (McCarthy 24) (2). In a similar vein, Noble reports that Kenei wrote:

 

In his younger days many people would challenge my father to 'kake-dameshi' (challenge match or exchange of techniques)... He accepted these challenges... Each contestant would bring a second. There were no special dojo like there are today; we used to train and fight on open ground. There was no street lighting so after dark we used to fight the challenge matches by the light of lanterns. In this dim light the contestants fought, and then after a period the seconds would intervene and stop the fight... Such challenges were often made to my father... (Noble) (3)

Thus, Mabuni could hardly be considered a "paper tiger" who excelled only at kata: Given the accounts noted above, the Shito-ryu founder would seem to have also known the nature of "real fighting" and self-defense situations. Clearly, his thoughts on the role of kata in karate training are worthy of examination.

 

The Context of "Practice Kata Correctly": Karate kenkyu

 

          Mabuni's short essay being translated here, "Kata wa tadashiku renshu seyo" ("Practice Kata Correctly"), appeared in the book Karate kenkyu ("Karate Research"), which was first published in 1934, and then later republished in 2003. The book is a collection of essays and other writing by a variety of authors. In addition to "Practice Kata Correctly," Mabuni also contributed his two-page "Kumite no kenkyu" (4) ("Research on Kumite") to the publication. Some of the other titles found in Karate kenkyu include: Gichin Funakoshi's "Seikan wo ronjite do-sei itchi ni yobu" ("Discussing the Concept of Calm Observation: Action and Stillness Together") (5), Choki Motobu's "Karate isseki-tan" ("An Evening of Talking About Karate") (6), Kanken Toyama's (7) "Chibana-shi no Kusanku" ("Chibana's Kusanku") and Hoan Kosugi's "Karate-den" ("Karate Stories") (8). Among the other pieces in the book are such varied titles as "The Fist and Virtue," "The Effects of Karate-jutsu on Blood Pressure and Urine," "Zen and Kendo," "Foot and Hip Issues," "A Girl Karate-ka" and "The Current State of the Karate World." In total (and excluding the mention of the opening four pages of photos), the table of contents of the 135-page Karate kenkyu lists 36 essays and other items (9).

 

          The editor of Karate kenkyu was a man named Genwa Nakasone. Though perhaps not very familiar to today's practitioners, Nakasone was involved with various karate-related publications in an editing, writing and/or publishing capacity during his lifetime. The 1938 Karate-do taikan, for which he served as editor, was, according to McKenna, "out of all the early works on Karate-do published during the 1930s, one of the most comprehensive and important..." (McKenna 28). Kobo kempo karate-do nyumon, which Nakasone co-authored with Kenwa Mabuni, has been described (again, by McKenna) as, "... one of the most detailed texts on Karate-do ever written" (McKenna 28). On a somewhat different note, McCarthy states that Nakasone is remembered for organizing the so-called "Meeting of the Masters" in 1936 (McCarthy 30) (10).

 

          It is interesting to note that, although Karate kenkyu has thus far been referred to here as a "book," it would more accurately be described as the first issue of a journal or a magazine of sorts. In an editor's postscript at the very end of the publication, Nakasone writes: "I am at last able to present the first issue of Karate kenkyu" (11). He then goes on to explain that, "At first, I wanted it to be a monthly publication, but upon looking into this in various ways, I came to see that it is still too soon for that.... For the time being, I'd like to make it a quarterly..." (Nakasone 135) Unfortunately, it would seem that no subsequent issues of Karate kenkyu were ever released, but the original intention to publish such issues regularly provides a more understandable context for the aims spelled out for the publication on one of its first pages:

1.     To be a mechanism for comprehensive research for the purpose of the development of our country's karate-do, with all "styles" included

2.     To be a mechanism for technical research for those who train in karate-do, and, at the same time, to be a mechanism for their mental / spiritual cultivation

3.     To be a mechanism for cordial communication between karate-ka

4.     Karate kenkyu shall also carry materials regarding other budo, forms of exercise, etc., that ought to serve as both direct and indirect sources of reference for karate-ka

The page then ends with the statement that:

Karate-do is the budo which is best at cultivating the new Japanese bushido spirit. (Karate kenkyu 7) (12)

We can only wonder what further valuable and informative pieces of writing would have been left to karate historians and modern karate-ka had the plan to publish Karate kenkyu regularly been brought to fruition.

 

Translation of Mabuni's "Practice Karate Correctly"

 

          In karate, the most important thing is kata. Into the kata of karate are woven every manner of attack and defense technique. Therefore, kata must be practiced properly, with a good understanding of their bunkai meaning. There may be those who neglect the practice of kata, thinking that it is sufficient to just practice [pre-arranged] kumite (13) that has been created based on their understanding of the kata, but that will never lead to true advancement. The reason why is that the ways of thrusting and blocking - that is to say, the techniques of attack and defense - have innumerable variations. To create kumite containing all of the techniques in each and every one of their variations is impossible. If one sufficiently and regularly practices kata correctly, it will serve as a foundation for performing - when a crucial time comes - any of the innumerable variations.

 

          However, even if you practice the kata of karate, if that is all that you do, if your [other] training is lacking, then you will not develop sufficient ability. If you do not [also] utilize various training methods to strengthen and quicken the functioning of your hands and feet, as well as to sufficiently study things like body-shifting and engagement distancing, you will be inadequately prepared when the need arises to call on your skills.

 

          If practiced properly, two or three kata will suffice as "your" kata; all of the others can just be studied as sources of additional knowledge. Breadth, no matter how great, means little without depth. In other words, no matter how many kata you know, they will be useless to you if you don't practice them enough. If you sufficiently study two or three kata as your own and strive to perform them correctly, when the need arises, that training will spontaneously take over and will be shown to be surprisingly effective. If your kata training is incorrect, you will develop bad habits which, no matter how much kumite and makiwara practice you do, will lead to unexpected failure when the time comes to utilize your skills. You should be heedful of this point.

          Correctly practicing kata - having sufficiently comprehended their meaning - is the most important thing for a karate trainee. However, the karate-ka must by no means neglect kumite and makiwara practice, either. Accordingly, if one seriously trains - and studies - with the intent of approximately fifty percent kata and fifty percent other things, one will get satisfactory results.

Acknowledgments

The kind cooperation of the publishing company Yoju Shorin is gratefully noted. The translator would also like to express his thanks to his wife, Yasuko Okane, and to his colleague and friend, Izumi Tanaka, for their Japanese language assistance. In addition, he would like to acknowledge the role that Sensei John Hamilton and Senpai Michael Farrell have played in sparking his own fascination with kata. As always, any and all errors are solely the fault of the translator.

About the Translator

Mark Tankosich has dan rankings in both Sho-ha Shorin-ryu karate and Zen Nihon Kendo Renmei jodo. He reads, writes and speaks Japanese, and has lived in Japan for close to 15 years. Currently he and his wife reside in the city of Hiroshima, where he works as a university teacher.

Notes

1.     Mabuni's son Kenzo stated that his father knew "over 90 different kata" (Fraguas 178). It is unclear if this figure includes those forms that Mabuni created himself.

2.     It is unclear exactly when or where the statements that McCarthy attributes to Kinjo, Sakagami and Kenei Mabuni were made, as McCarthy does not provide these specifics. Who Sakagami and Kenei Mabuni made their comments to is also uncertain, though it seems that it may have been to McCarthy himself.

3.     Unfortunately, Noble does not give his source for this quote.

4.     The title that appears on the piece itself, on page 28 of the book, is "Kumite no kenkyu," while what is listed in the table of contents is "Kumite kenkyu," sans the "no." The meaning of these two titles is essentially the same. Variations in other titles in the publication can also be found.

5.     For an English translation of this, see McCarthy and McCarthy.

6.     For an English translation of this, see Swift's "Karate Ichi-yu-Tan." (Although this title which Swift suggests - "Karate ichi-yu-tan" - seems conceivable, it is this translator's understanding that "Karate isseki-tan" is the correct reading for the Japanese characters making up the title of the essay.) As Swift notes, although the author of this piece is given as Motobu himself, "...the actual writer was a reporter..., presumably Nakasone Genwa," who visited Motobu at his dojo in Tokyo (Swift 49).

7.     Kanken Toyama's original surname was Oyodomari (Hokama 37). It is under this original name that "Chibana's Kusanku" was written.

8.     "Karate-den" was originally published in the June, 1930 issue of a Japanese magazine before being reprinted in Karate kenkyu. For an English translation, see Swift's "Hoan Kosugi." Kosugi's name may not be as familiar to the reader as the others mentioned here, but his contribution to the history of karate is a rather unique one. Apparently a famous painter in his time, Kosugi was the student and friend of Gichin Funakoshi who provided the illustrations for what is said to be the first book ever written about karate, Funakoshi's Ryukyu kempo karate. He also designed the now well-known tiger drawing that has become the symbol of Shotokan karate. (Teramoto 15; Cook 65, 98)

9.     All comments made regarding the book Karate kenkyu are based on the 2003 reprinted edition. It is assumed, however, that this edition is essentially the same as the 1934 original.

10.                        For an English translation of the minutes of this meeting, see McCarthy's "The 1936 Meeting." For a group photo of most of the masters who attended, see Kim (5).

11.                        In the publication there are / were also other indications of Karate kenkyu being an inaugural issue.

12.                        The translations of the "aims" and Nakasone's words that are presented above them are this translator's.

13.                        "Pre-arranged" has been added here. Mabuni himself does not explicitly use this word, but it seems clear from the context that that is what he means. One would assume that his usages of "kumite" later in the essay also have this meaning as well.

Bibliography

Cook, Harry. Shotokan Karate: A Precise History. Norwich, Eng.: n.p., 2001.

Fraguas, Jose M. Karate Masters. Burbank: Unique Publications, 2001.

Hokama, Tetsuhiro. 100 Masters of Okinawan Karate. Trans. Charles (Joe) Swift. Okinawa: Okinawa Gojuryu Kenshi-kai Karate-do Kobudo Association & Karate Museum, 2005.

Iwai, Kohaku. Motobu Choki to ryukyu karate. Tokyo: Airyudo, 2000.

Kim, Richard. The Weaponless Warriors: An Informal History of Okinawan Karate. Santa Clarita, Calif.: Ohara, 1974.

Mabuni, Kenwa. "Kata wa tadashiku renshu seyo." Karate kenkyu. Ed. Genwa Nakasone. Ginowan, Jap.: Yoju Shorin, 2003. 15.

McCarthy, Patrick. "The 1936 Meeting of Okinawan Karate Masters." Ancient Okinawan Martial Arts Volume Two: Koryu Uchinadi. Comp. and trans. Patrick and Yuriko McCarthy. Boston: Tuttle, 1999. 57-69.

McCarthy, Patrick. "Standing on the Shoulders of Giants: The Mabuni Kenwa Story." Ancient Okinawan Martial Arts Volume Two: Koryu Uchinadi. Comp. and trans. Patrick and Yuriko McCarthy. Boston: Tuttle, 1999. 1-37.

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