It
was throwing front kicks from Seiza Dachi,
First
to strengthen the quads,
Second because that was one of their ways.
and this photo shows what it looks like when
executed.
Ongoing thoughts on my martial studies and interests, which encompass almost everything.
It
was throwing front kicks from Seiza Dachi,
First
to strengthen the quads,
Second because that was one of their ways.
and this photo shows what it looks like when
executed.
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
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.
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
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
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.
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."
Albert Mady to Kata Exchange
: 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
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.
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".
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.
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