Okuhara Bunei was of course a contemporary (although sempai to) Joen Nakazato. Joen sensei told me Kyan did not teach sai and that Kyan had told him the reason for that was that sai was a peasant weapon- unlike the bo, which was a gentleman's weapon. May as well include the well known picture of the two together from 1941
Filmed by Sensei Rich Nilsson, Master Haruku Nakama demonstrates the kata he learned from Okuhara Bunei, student of Chotoku Kyan. While this has been available for 20 years in pieces, this is the first time I have seen the complete video. The opening includes Kata Seiunchin with Sai, not a Kyan form and several bo sai applications.
https://www.youtube.com/watch?v=SABs0ErM2nQ
Harry Skelter amazing these "whoa, have you seen this?" things we used to share between each other via a worldwide underground network only by dubbing video and mailing it off is now available via a few keystrokes! ..and most interesting to actually see how principles held subtly in kata can be lost/masked/buried in just one or two transmissions - the kata may remain eminently recognizable, but now stripped of many of the secrets that made them effective as teaching tools.
> In Shorinji-ryu does something similar exist, as separate set of application studies (I'm not trying to get copies just understanding the older transmission of the art) in addition to kata studies.
Nothing formal. To get kinda deeper real quick I think this speaks to transmission methods (in oral cultures) which is actually my own sphere of interest as much as anything.
I asked Nakazato sensei about this area of teaching bunkai. He said no, Kyan taught kata. I could get long winded here but I'll try not to. I am not saying that no form of applications was ever shown - as guidance - but the thing is ultimately for the student to interpret the kata (the texts) to his own level of understanding.. and be led or helped based on his own level.. this way your level is entirely yours.. the problems you solve are yours. This I think is the reason things are NOT shown or spoon fed. It is up to you. I think this is why all these formal drills are post-classical period.
This is connected to not showing bunkai.. or rather not spoon feeding but advising based on where the student is.. in that if you have a "sensei says its this" (*without* it being based on something the student is already doing) you get a situation your students will copy you rather than develop their own understanding. Nakazato suggests that is the way it was with them; they used to practice the kata, then pair up and look at some kind of ippon kumite.. this was based not on what Kyan was telling them to do drill-wise, but based on "if you see something in the kata" (JN words).. in other words it came from the student ..but guided by and led by the kata.. and then helped by the techer if he saw the need.. but I suspect Kyan was very simlar to JN, in that the emphasis is on not stepping in except in correcting a basic done incorrectly during *your own* interpretation.
Nakazato's view appears to be that it was really up to the students what they make of it and how they view it.. The texts (the kata) are neutral and this is what is transmitted. This is why you see kata of old folks "looking crap" (!).. Its just a matter of printing versus beautiful personal handwriting (JN uses this thing borrwed from the nomenclature of calligraphy as a direct analogy). The transmission level (kaisho - block printing) kata is shown with very little emphasis beyond suggested weighting and context of individual technique within a group of techniques.. You interpret the words not the other guys handwriting. Eg. Zenryo's handwriting is the full squat shiko dachi whereas really all this is fundamentally is 50/50 weight distribution.. It is interesting to realize that this is also the way Calligraphy is developed, and that the most beautiful is often that that is so abstract that even Japanes cannot read it, but can only decipher it by knowing (ie. having been taught) the order that Kanji characters are constructed. I believe this contextual understanding is also a clue as to the context of moves in kata.. ie. If they were flowing, the kata would only be a mere shadow, or outline skeletal form of what you were doing.. As in the calligraphy example, the techniques become blurred but imbued with the same principles of movement/weight shift.. but there the similarity ends.
So these kata are (were?) transmitted in a neutral way ie without personal bias or emphasis. As are all texts within eastern traditions it seems, or even in transmission of other cultural lineages, such as theater or ceramics... though these are subject to "commentaries" by teachers/practitioners, expanding on the bare texts.. This is why even when doing a kata students of the same teacher do not look the same. Its not that they were taugtht differently, becuase the same neutral kata was taught to each, but there is/was leeway to do with them what you want stylistically.. though not teach personal variations that are your own except as illustrations as to what the student might do to make things their own... the same template is there with no thought to "performance" until the modern era when the emphasis shifted to imitating teachers.. So there are personal variations (eg the angle of punch) but this does not count as a kata change per se. its just personal variation.. but actually according to Nakazato this shouldn't be transmitted. He cites specifics of his own but there is also a story about Tatsuo on his mid 60s visit being asked about the fact that his punch was being imitated (incorrectly?) by his students.. he supposedly said something to the effect of " I don't give a shit what they do, this is mine and what they do is up to them".
Sorry.. I said I'd try not to get long winded, but failed miserably!
Harry (a Shorinji Ryu stylist who trained on Okinawa) raised some questions and Dan Smith (a Seibukan Shorin Ryu stylist who trained on Okinawa) gave response to Harry's questions.
This was a great discussion from the past and tells us something about what was occurring on Okinawa in the recent past.
Dear CD Members, Nakazato Thread
Several responses to Harry and Pat.
I appreciate Harry's study of Seibukan over the last few years. He has put forth lots of physical effort along with time and finances. He has been searching the paths of the Shorinji that came from Nakazato Joen through Japan and now back to Okinawa. Seibukan has been another link to his study and the members of Seibukan have enjoyed his relationship.
I pursued the many of the same paths that Harry has been following to find the relationships of the students of Kyan in the late 70s and 80s. So, it has been informative for me for someone with another view point to share and analyze what we have found. It is also helpful to have another view point of Seibukan. I believe we all can become myopic when it comes to our own methods. So Harry, please keep up the effort and if anyone else wants to join in our journey we will be going back to Okinawa in March of 2006.
Harry, I am not familiar with the terms kaisho, goyosho (sp) or shosho (except that this can mean certificate). Is this something that JN uses to describe the pedagoy of his dojo?
I agree that in Seibukan Zenryo sensei and Zenpo sensei stressed that the kihon of the kata is the same for beginner or advanced student. The process of continuing to strive for perfection of technique is the "Hallmark" of mosof the superior Okinawan karate technicians like Higaonna, Shinzato and Z.. Shimabukuro. I think Harry has found that Itokazu sensei of the Matayoshi Kodokan has the same driven requirement for the perfection of basics. While this may not be the best way for everyone it appeals to me perhaps because of my Shotokan background?
The comparison of Seibukan and Shotokan by Pat. As Pat will recall that I hypothesized several years ago in a white paper that I believe that Funakoshi and Kyan had similar training with Azato, who was the last student of Matsumura that trained Funakoshi and Kyan in the Sakiyama Garden Dojo after Matsumura's retirement. The more than coincidental similarity to the kihon of Funakoshi and Kyan IMHO has lead me to believe that at a minimum there is a strong connection between Seibukan and Shotokan. H.D.Plees two books have pictures of Yoshitaka Funakoshi is the strongest link to the similarities of the methods. Where Shotokan has changed in many directions in the last forty years it appears that Seibukan has more of resemblence to Yoshitaka Funakoshi's karate than could be coincidental.
On a side note. Pat, I appreciate your memory of Bangkok and points south but it shocks me to realize that was almost 40 years ago and most certainly a different time and life. We need to hook up on Okinawa next March to celebrate our continued love of karate.
Comment on Seibukan's growing kata list:
1. Pinan, Naifanchi, Passai Gwa and Jion were added under the direction of Zenryo sensei through Chozo Nakama. These kata are not taught as part of the regular Seibukan curriculum. They were intended to give Zenpo sensei a connection to both Shorin Ryu lineages. Matsumura to Kyan to Zenryo Shimabukuro to Zenpo Shimabukuro and Matsumura to Itosu to Chibana to Nakama to Zenpo Shimabukuro. Only senior Seibukan members learn the Chibana to Nakama kata. We also picked up the Motobu kumite drills through Nakama.
2. Fukyugata - These two kata were added in the early 1980s when all the Okinawan Karate Rengokai members learned these kata to celebrate the 50 year anniversary of the original demonstration of these kata created by Miyagi and Nagamine. These kata are used as warm up exercises and are the basic promotional kata of Okinawa.
3. It was mentioned that Seipai is part of the Seibukan curriculum. Seipai is not practiced as part of our curriculum. In 1986 Zenpo sensei sent me and my oldest son to one of my Goju Ryu teacher to bring Seipai into the dojo for Seibukan members to use for tournament competition since none of the Seibukan kata are included in the shitegata of the WKF. Zenpo sensei's thought was that we would not change one of our kata like Kusanku to the shiteigata method but we would learn a kata that met the shiteigata requirement like Seipai. So, the only Seibukan people that learn Seipai are those that compete in WKF tournaments. It should be noted that Zenshun Shimabukuro won the Okinawan World Championship in 2001 with Chinto as since 1986 our Chinto has been added to the shiteigata.
IMOTO that all Okinawan karate is about the same at a macro level and that the more we search for differences the more we find more similarities. The Okinawans have known this for a long time but the path of finding this out for yourself is worth the effort.
First let me explain I am not an expert in Chinkuchi, nor did I teach Chinkuchi. I believe in Isshinryu without Chinkuchi, for that was how I was trained.
I believe in Isshinryu Chinkuchi, for one of my instructors, Charles Murray explained how Shimabuku Shinso trained him to develop Chinkuchi, and with all of his kata.
I believe and practiced Isshinryu without Chinkuchi, can whoop Isshinryu with Chinkuchi, for I believe in the training I was given and then learned how to practice.
Let me tell my tale and then you can believe it or not.
Simply put the training I received under the guidance of Tom Lewis did not include Chinkuchi with our Isshinryu studies. Then when I trained as an advanced kyu with Charles Murray, the versions of kata I was taught were as he then did them, but Chinkuchi was not a part of my training. Then I made black belt and nothing of Chinkuchi was part of my testing.
When I started training with Charles he explained as a new black belt serving in the Air Force, he was stationed for a year in Okinawa. When there he trained at Agena as much as his schedule permitted. He described that training, the Marines were not training there, for they had their own dojo on their base. Except for a few Americans who had gone to Okinawa, the main part of the students were Okinawan and they would train after work.
He explained Shimabuku Shinso took an interest in him, and trained hin in Chinkuchi. While I was training toward my black belt test, he did not go into the details of that training. After black belt we were only together a few short months, before he re-entered the USAF. During that time he explained what that Chinkuchi training consisted of and showed me his training the kata with Chinkuchi. But there was not time to train me that way, and after he left me, I choose not to attempt to try and train myself, I did not know enough.
I was quite content with my Isshinryu as it was. I started competing because there was no Isshinryu in my area, and I competed not to win trophies, but to keep pushing myself against the best competition I could find.
I did travel to train in Dover and Salisbury when possible, but that was a 6 hour drive and it was not possible to do that often.
Those IKC clubs of Mr. Lewis’ students did a great deal of open tournament competition in their area. Open tournament competition being what was most found in Maryland and surrounding states.
So one day after several years I was competing in an IKI Shiai in that area (I believe this was about 1983, when I was 4 years into my own dan). During the shiai Mr. Lewis called for a black belt meeting. I remember him addressing up, “In the tournaments we have been attending, it seems the judges want to see more power in our strikes, I suggest you have your students for competition start sticking their techniques to receive fairer scores from those judges.”
That was all he said, that was all I needed to hear, After all it was from Sensei.
Now I did not change the Isshinryu that my students were studying. And at that time I was studying many things, outside Isshinryu, so I decided it would be a personal study that was for me. The next several months I practiced doing Seisan kata, just that way sticking hard every punch and kick. It was doing Seisan with a different dynamics for the kata.
So privately I practiced what I was going to do.
The day of the tournament arrived, it was one hosted by George Iberl in Southern Pennsylvania. Many of the contestants and judges were from So. Pa. or New Jersey Isshinryu. Some I knew slightly, but I had no real relationship with any of them. On the other hand I knew many of the competitors, regularly competing with them in Pennsylvania.
So I warmed up waiting for my division to begin.
As much as I can remember all of the judges for that division were from Isshinryu (of course different as it was an open tournament, but it did happen). None of them ones I knew. Then in time it became my turn.
I did Seisan kata, exactly as I had trained, sticking every punch, sticking every kick. In time I finished.
I then stood before the judges awaiting my score. What next occurred was something I had never seen. The judges moved together and began a conference, with several of them glancing at me. What was discussed I do not know, I just remained standing. Then after a while they all returned to their seats and announced my score. It was in the mid-range of the black belt scores that day.
I really didn’t attend tournaments for any of the judges opinions. The only opinion I was ever interested was that of my instructor. I was doing it just to push myself, and in this case could I do what Lewis Sensei suggested.
When I then left the ring all the other competitors came up to me. The individuals who saw my efforts on a regular basis.All of them were of the opinion, that was the strongest kata they had ever see me do.
That was nice to hear that from them, of course I did not do it for their opinions either.
Driving home from that tournament it occurred to me that Mr. Lewis was not suggesting the kata be done that way for Isshinryu judges. Instead for the Open tournament judges in that area they were competing (such as Baltimore). I decided I did not need to do it that was again, for I knew I could do it that way anytime I chose.
Now at that time I was instructing youth, it was a time I was studying a lot of other things mostly for my own knowledge. Those studies would have eventual impact on my art, but not at that time. At that time I was not working on kata application potential or other possible Isshinryu potentials.
So for my students and for myself I returned to the way I was originally shown Isshinryu. Time passes, and eventually I began to explore how Isshinryu technique could be used.
Also remembering that tournament version I began exploring other potentials within Isshinryu, and those studies became intertwined.
Over the years Charles and I kept in touch, while he returned to the USAF in 1979 for a career, becoming an officer, etc. We would see each other every few years for a few moments. Each time it was as if he never left. We might spar or do kata. Then he travels went further and further away. Visits became less. Decades later I remember when he went to Okinawa on a TDY for a week. He trained with Angi, visited with Shinso and Mrs. Shimabuku. He remained involved with training no matter where he was stationed. He also informed me he was continuing with his chinkuchi training.
More time passed, then Charles was stationed in Rhode Island, closer to where I lived. I was able to have him attend a clinic with Sherman Harrill there, and later another one I hosted in Derry. Then one day he retired from the USAF, and began a job with a company that had him roughly in my area, and I began to see him more frequently. He began training with us.
I was past the time to change my art as it had evolved over the years, but I often had Charles cover details of chinkuchi for my records, to make available for my students.
One day Charles came to me with a gift. He had located an old movie of him taken while he was training in Agena. And, the kata he was doing, Sunsu and Seisan were being done with Chinkuchi as Shinso had been instructing him. Everything on that film was priceless to me. But more years would pass before I realized how priceless it would be to me.
One day I was watching this youngster Charles Murray performing Seisan outside of the base he was staying. Just a performance of his then Seisan.
Something clicked, and I suddenly remembered that Seisan Kata I had done decades before in that tournament long, long ago.
Charles 1972 Chinkuchi Sanchin on Okinawa https://www.youtube.com/watch?v=ct2kXNz_yhY
Charles 1972 Chinkuchi SunNuSu at Agena https://www.youtube.com/watch?v=-q2JV8RNDB8
There were no movies, nothing but my memory. Charles had not trained me in this version. But as best as my memory recalls I was doing the same thing when I did that kata.
So the question remains, did I accidenatly do Chinkuchi, or not? Believe it or not. That is your business.
I believe in Isshinryu without Chinkuchi, for that was how I was trained. I believe in Isshinryu with Chinkuchi.
To show you what internet discussions used to be like, here is one with Dan Smith from 2004. It shows his response to Chinkuchi questions by Len Sclafani.
Buckle in and get ready for the ride.
In response to Len's questions.
The questions Len asked open up several other doors for discussion. I will attempt to answer without getting to far off the subject. My responses are mixed in with the questions.
>1. Shitabara means the lower stomach. The emphasis is on the area that >connects the pelvic girdle. The Okinawan word that could be used is gamaku.
I'm familiar with "gamaku," but just a curiosity----Since "chinkuchi" is a strictly Okinawan term, why did you choose "shitabara" instead of gamaku to describe this area? >>>>
The reason I use shitabara is for emphasis to the lower stomach which there is no Okinawan word. Gamaku is for the muscles that are not only in the lower stomach but also in the lower back. The Japanese word that would be used to describe this area would be koshi. The use of Koshi IMO is over used and misunderstood in that it also describes the entire pelvic girdle vs. the specific muscles. While the pelvic girdle is important IMO it is more important to understand the supporting function of the pelvic girdle as the connection between the lower and upper body and the bi-ped functions than using "koshi" to describe the contraction of the gamaku"muscles in the lower stomach and back" and leading the body with the lower stomach (shitabara). The lower stomach leads and causes the rest to follow.
Also, in Okinawa during the late 60's and 70's there was a mixture of the Okinawan dialect and Japanese to describe techniques whereas today it is almost all Japanese unless you have a teacher who was raised to speak the Okinawan dialect of which there are few left. Unless you asked you could be using a mixture and not ever know it which was which. I have been working for several years with a few senior Okinawan teachers to develop the Uchinan gushi but due to the lack of words it is difficult to only use the Okinawan dialect.
>2. Jushin is refering to the center of gravity. Movement of the center of >gravity to cause the whipping aciton from the waist area.
Does this have something to do with Arakaki's "Inner Physical Dynamic System?" He speaks about this in his book in some detail; I was wondering if you're talking about a similar thing.
>>>>> I have read sensei Arakaki's book and had some communication with him and I believe that it is similar but again due to the language barrier I cannot be certain. I am quite certain the "Inner Physical Dynamic System" and "Imaginary Center of Gravity" is not the way a senior Okinawan would describe this effort. Perhaps the same situation occurs with sensei Arakai that occurs with my teacher and I in that the concepts I understand are put into English that I can explain but if asked on Okinawa about such phrases they would not be understood. Word pictures are important in transmitting a physical art but at the same time you have to see the picture through the eyes or the writer.
I do not think the imaginary center of gravity is an Okinawan concept but more from Akido. The Okinawan method is not to become one with the opponent but to separate from the attacker and limit the attacker to single attacks versus a continuous movement. IMO Okinawan karate's strategy is to move the target and weapon as far away as possible.
One other point for discussion. I asked this on one of the Isshin lists I subscribe to, but don't remember the responses exactly; I thought I'd throw it out here. I've always understood "chinkuchi" to be the Naha-te, or Goju, method of power generation, as opposed to the "Whipping" system of power generation espoused by the Shuri-te folks. Since "Shimabuku (ru)'s" all (Tatsuo, Zenryo, etc) taught Shorin based systems for the most part, what purpose would you think there would be for incorporating the Goju method into the Shorin system?
>>>> Chinkuchi is not a term designated to only one system of karate. Chinkuchi is used in any physcial activity to describe the "perfect" motion combining the mind, body and spirit. The use of whipping actions versus pushing actions does not limit the achievement of "chinkuchi".
Your question also brings up the subject of what is Naha Te and Shuri Te? The use of Naha Te to describe a certain type of karate can be misleading. For example; Uechi Ryu, Ruei Ryu and Goju Ryu are described as Naha Te. The basis for the use of Naha to describe anything during the late 1800s and early 1900s had nothing to do with the particular methods but more that it indicated it was new to Okinawa. Anything that was old was thought to be from Shuri and new things were thought to be of Okinawa therefore since the methods of Uechi, Nakaima and Higaonna were considered to be new they were described to be of Naha or a new thing. Shuri represent the old and Naha represented the new in not only karate but music, dress, etc. It is quite obvious that Shorin and Shorei Ryu was practiced in both the Shuri and Naha areas long before the newer Chinese methods arrived.
A further discussion of the importance of "Chinkuchi" is that through the proper application of the technique and intention of the mind you will prepare yourself for the next movement. Without the "chin, chin", springiness derived from "chinkuchi" the readiness for continuation will be lacking.
I am an Isshinryu stylist, however because of a personal interest I also became a Yang Long Fist T'ai Chi Chaun stylist too. Then in the course of my long journey into both arts, I discovered an amazing link between the two arts.
When I began my Yang Long Fist T'ai Chi Chaun with Ernest Rothrock my only interest was just to learn t'ai chi, nothing else. But as my studies progressed I was also shown various exercises to accompany my t'ai chi studies.
Specifically they were: The stepping drill using t'ai chi stepping
Then these 2 person exercises: Stationary the Single Push Hands Stepping Single Push Hands Stepping and Turning Single Push Hands Stationary Double Push Hands Stepping Double Push Hands Stepping and Turning Double Push Hands
These 2 person drills were more to teach not to put more energy into a technique (that could then be used against you) and to recognize when someone was putting too much energy into a technique and how to extend what they were doing to neutralize them.
Very useful to use t'ai chi for self defense. But I really was not studying t'ai chi for self defense. For me these drills were more for developing better t'ai chi flow.
Then after 2 years of weekly lessons I learned the entire form.
Next decades of more study. I also read so much about what T'ai Chi Chaun was about. This was before youtube. I read that there was another 2 person drill called Ta Lu, though I had never seen it. I wrote to Earl Montogue in Australia to order a video showing Ta Lu. But it never really registered with me.
More years passed and of course many more articles and books. Frequently I read that Ta Lu was a necessary study. Then YouTube entered the picture and I saw more Ta Lu videos.
Then over my years I discovered many uses for the full body movements of Chinto Kata. This was prior to meeting Sherman Harrill and gaining many time many more.
One Sunday morning working with my T'ai Chi group, I decided to attempt the Ta Lu drill with them.Then me played with it for a while. I grew to like what it showed. feeling as it was an expansion with the Pushing Hand drills, abet with different techniques. Of course properly done the 2 individuals would continually neutralize each other.
Suddenly I saw something new. The T'ai Chi Ta Lu drill, was using the same 2 movements in Chinto kata for exactly the same potential use.
I am not suggesting T'ai Chi is a precursor to Chinto kata. Just that the movements in that section of Chinto kata work the same way as Ta Lu.
Believe it or not, Of course without the years of work on the Yang 108 form that I had, it might be difficult to accept. For me this was a done drill.
Here are two video sequences. The first a Ta Lu drill. The 2nd my students performing Chinto in 2 different directions at the same time.
Perhaps your eyes can see to what I am suggesting.
Ta Lu drill https://www.youtube.com/watch?v=byl6GNjGNqc
It is with great honor that we present this year's Kokoro Award, bestowed by the World United Isshinryu Karate Association - Europe. This prestigious award is given to one of the most senior masters of Isshinryu Karate, a true pillar of our community and one of the last first-generation students of Tatsuo Shimabuku Sensei, the esteemed founder of Isshinryu Karate.
Please join me in congratulating Tom Lewis Sensei.
Throughout his lifelong journey in Karate, Tom Lewis has exemplified leadership, inspiration, and unwavering dedication to the principles of Isshinryu.As a leader, he has guided countless students on their path, inspiring them to reach their fullest potential. As an inspiration, his passion and commitment have ignited the hearts of practitioners worldwide. And as a true ambassador for Isshinryu, he has fostered connections and unity within our community, leaving an indelible mark on all who have had the privilege to know him.
His impact extends far beyond the dojo walls, resonating throughout the global Isshinryu community, particularly here in Europe, where our organization stands strong.
Tom Sensei, on behalf of all of us, I extend our deepest gratitude for your tireless dedication and unwavering commitment to Isshinryu Karate. We thank you for your immeasurable contributions, which have enriched the lives of so many.
Do you remember the big finish to the fight in the original Karate Kid movie?
Watch it below.
The Final Kick | Cobra Kai vs Daniel | The Karate Kid https://www.youtube.com/watch?v=gsBn5yZsqWA
While a dramatic stunt to conclude the movie fight, it is patiently ridiculous to choose to use this in real life.
However a friend shared a clinic that Fred Villari (the Founder of the Shaolin Kempo Karate) taught this defensive kick as a rational defense against a knife attack. You might recognize Fred as he was the one that coined the name McDojo for the schools in his chain. He wanted to make his Kempo as popular as McDonald's was.
Truly his ego had no limits. However his uniform was very pretty.
I once visited one of his schools in Massachusetts and was told Green belts were promoted to Black Belt and moved to open new schools. I must say I was unimpressed at the instruction I saw.
Pat Nakata http://karatejutsu.blogspot.com/2008/03/guest-post-mirror.html
Too many times, we look outward and fail to look inward. When we look outward, it may appear like, "the grass looks greener on the other side" and we lose our focus. When we look deep into ourselves, we start to develop focus and we start to know our path. Looking inward is also looking at our system, our methodology. Our teachings are based on science, as are other schools, but their approaches, in most cases, are different. Our practice is from Chibana Chosin Sensei and his "ippon kowashi no waza (to destroy with one technique)". To develop this "ippon kowashi no waza", we must have correct posture, precise timing (kime), and correct movements (osae/press).
Chibana Sensei's teachings are based on the application of power. Chibana Sensei's teachings are found in his Kata. We initially learn by watching, and initially a mirror may help. As we advance, we should discard the use of a mirror, because it will distract our focus. Using a mirror is looking outward, we must develop our "inner mirror", which is our "kimochi (feeling)". "Kimochi" cannot be taught or demonstrated and can be developed only by diligent training by keeping our focus.
Now the riddle: We refine our Kata with "kimochi", but as we start to reach the higher stages of refinement our "kimochi" starts to become imperceptible. Although the "kimochi" becomes imperceptible, it is still there. It is our "mind's eye" that keeps our focus. Again, we can only reach this stage through constant training. If we loose the spirit of repetition, we loose our focus and we loose our way.
Chibana Chosin Sensei said, "There is no kamae in a Karate kata, except for the beginning and end of the kata. Everything else is transition and application." This concept of no kamae is not unique to the Chosin Chibana Shorin-ryu Karate, other schools advocate a simliar concept.
Kamae most often is a guard or a ready position (dead, no movement). Chibana Sensei, also, meant that no kamae was no cocking. Example; anytime one drew the hand back for blocking, striking, or punching this was a kamae (cocking).
Some schools consider the finish position of each technique in a kata a kamae (pose). Example; in Shotokan, many times an instructor will call a "gedan barai no kamae" (low sweeping block postion) or in Wado-Ryu, the instructor will call a "jyunzuki no kamae" (a same side [with the front foot] or corresponding punch position).
To repeat, there is no kamae in a Karate Kata. Every minute movement has a meaning and application. There is no posing (set position/posture), because after completing a technique there is an immediate transition into the next technique (the transition may also be the technique in itself). Cocking will stop the flow of the technique, and thus, stop the transition.
The flow and the tempo should be smooth, with no holding of your breath, exhaling or inhaling. This is done with a natural breathing rhythm (iki no hyoshi), leaving no room (space) for kamae.
This is the reason why Chibana Sensei said, "we do not take stances, but rather the 'foot work' ends up in a position that is moving the body weight (or hara) for the transmission of the technique." With this reasoning, Chibana Sensei used the term "ashi" (stepping) more than "dachi" (stance).
Besides breaking the flow, kamae will telegraph your intentions. In the ultimate level of kata practice, there is no kamae, because we are always flowing while timing an opponent.
One of my inspirations to look into karate was this fight scene from the movie Billy Jack. While thes star was Tom Laughlin, his Hapikido stunts were accomplished by instructor Bong Soo Hon.
"BILLY JACK"(1971) -
CLASSIC UNCUT, Epic Martial Arts Fight Scene
The original epic Karate fight from the cult classic "Billy Jack". Introducing Korean Hapkido to the American screen. starring Tom Laughlin,
https://www.youtube.com/watch?v=7PBEl92d--E
Billy Jack - One Tin Soldier ( Tribute ) Video
https://www.youtube.com/watch?v=gc_LU8rZfCU
Billy Jack to The Rescue Bus burning scene from "The Trial of Billy Jack'. https://www.youtube.com/watch?v=GFqyX09MmyA
Chibana Chosin Senseioften told me that the real fighting practice in Karate is in the Kata. This teaching is not unique to Chibana Sensei. In fact, it is universal for most Karate. In all of the traditional Karate Katas that I have seen, most of the techniques integrated 'seize and control'. This 'seize and control' within the techniques seem to have been lost, because of two main reasons:
⦁ Most Karate teachers (including Chibana Sensei) taught that the a strong punch, kick, strike, and block were of utmost importance. Smashing techniques were in many cases reduced to striking techniques, thus losing the 'seize and control' that made them more brutal and combat effective.
⦁ In tournament competition, grabbing and pulling (especially while executing a punch, strike, or kick) is prohibited, because of safety concerns. When Charles Goodin Sensei was looking at a tournament brochure on the illegal or 'outlawed' techniques, he commented that these were the effective techniques that one would use in a real self-defense situation.
Chibana Sensei constantly appeared to redo his grip before executing his Kata movements, but this gripping was in actuality the seizing of the opponent. Many of the old teachers did not show the seizing of the opponent, but in the explanation of the technique (bunkai) they revealed seizing as part of the technique and transition. In most cases the seizing is executed with the [striking] hand, after which [it is used to pull] into the following attack (kick, punch, strike, smash). This hand that seizes, pulls, or opens the opponent is called the 'shigoto no te' or the working hand, which is the essential part in delivering a decisive technique. Some techniques are executed to stun the opponent followed with a seizing technique. Other times a seizing technique is executed as part of a block ('uke').
Seizing an opponent is normally establishing control. To be victorious in an encounter, one must be in control, especially if there is multiple opponents. As the great swordsman, Miyamoto Musashi, points out in his 'Book of Five Rings', "one should move directly into the opponent. One does not make adjustments to the opponent, but lets the opponent make the adjustment to you. When the opponent does adjust, destroy him (cut hm down)". Establishing control is one of the main fighting strategies in Martial Arts. This control is in the Kata (Classical Kata). Again, as Miyamoto Musashi said quite often in his book, "you must study this well".
Hiden Ryukyu Kenpo, Part 30 Old Style Tomari-te: Wanshu Part 1 by Hirakami Nobuyuki Hiden Magazine, August 2003 pp. 122-126 tr. Joe Swift
- Many Versions of Wanshu
We have looked at and analyzed the fundamental characteristics of Tomari-te. Let us now turn our attention to the kata passed down in this tradition. The first kata of Tomari-te is Wanshu, which is relatively short compared to many other kata of Ryukyu Kenpo.
However, there are many versions of Wanshu in Ryukyu Kenpo, each with variations. Let us look at the major versions and some issues surrounding each one.
https://www.youtube.com/watch?v=rv1ixuLMWH8
(1) Funakoshi no Wanshu
This is the version brought to mainland Japan by Funakoshi Gichin, who is often refered to as the father of modern karate-do. It is also the most widely practiced version.
The problem is, we do not know who Funakoshi learned this kata from. In his autobiography, "Karate-do: My Way of Life," Funakoshi lists his teachers as Asato Anko, Itosu Anko and Arakaki (believed to be Arakaki Seisho, but this remains uncorroborated). It is difficult to find anyone else in the lineage of these three teachers who passed on Wanshu.
One theory is that he learned it from Itosu, but the only other teacher in the Itosu lineage who taught Wanshu was Mabuni Kenwa, and the versions are very different. There is also no clear evidence that Mabuni even learned his version from Itosu anyway.
Another possibility is that Funakoshi learned this kata from Iha Kodatsu while he was stationed at Tomari Primary School. I would like to look at this theory in more depth later.
https://www.youtube.com/watch?v=WBWUbrUTbts
(2) Shito-ryu Wanshu
The technical content of the Wanshu practiced in Shito-ryu is very unique, and its lineage is unknown.
There is a misconception that besides the Naha-te kata of Shito-ryu, all other kata in that style were learned by Mabuni from Itosu, so some may think that the Shito-ryu Wanshu came from Itosu. However, no one else in the direct Itosu lineage teaches this kata, so perhaps Itosu didn't teach this kata originally. He may have studied this kata along with his student Mabuni in his later years.
https://www.youtube.com/watch?v=FCoMWHkiyyM
(3) Matsubayashi-ryu Wanshu
There is also a version of Wanshu in the Matsubayashi-ryu of Ryukyu. It also is rather unique but it has technical similarities to the Funakoshi version, so we can deduce that they came from the same root kata.
The lineage of this version is not completely known, but looking at the founder's history and making a comparative analysis with the Funakoshi version, we can deduce that it came from Iha Kodatsu. However, the characteristic of this version is its extensive use of the natural posture, which contradicts the author's opinion that Tomari-te is based on the extensive use of Zenkutsu. I would like to tackle this problem later.
https://www.youtube.com/watch?v=3FoGMPqBIFg
(4) Kyan no Wanshu
This version was passed on by the patriarch of Shorinji-ryu, Kyan Chotoku. He is said to have learned this from Maeda Pechin. Although there are many Maeda's in the Tomari-te lineage, the time frame points to Maeda Gijo.
Again, the content is rather unique, but shares many commonalities with the other versions as well.
https://www.youtube.com/watch?v=0nx8T6Xj3RU
(5) Shimabuku no Wanshu
Shimabuku Taro, a direct student of Iha Kodatsu, also taught this basic Tomari-te kata.
It is the simplest of all of the versions, but it is still a good kata with many unique meanings. Shimabuku also learned from Kyan, so there may be some Maeda influence in this version, as well.
The kata itself shares many similarities with the Kyan version. In Murakami Katsumi's "Karate-do & Ryukyu Kobudo," Shimabuku's kata and their lineages are listed. According to Murakami, Shimabuku learned Wanshu from a certain Iha-gwa, which is assumed is Iha Kodatsu.
Japanese Kata "Enpi" vs Okinawan Kata "Wanshu"
【Shorinji Ryu Karate】
https://www.youtube.com/watch?v=HopPBrIFO4c
- The Characteristics of Wanshu
Each version of Wanshu is unique in its own right, thus making it hard to determine the original version. However, each version also shares many similarities. Let us take a look at these similarities now.
The first is the opening salutation, where the right fist is covered by the left palm. One of the interpretations is that this is a philosophical teaching of Kenpo, whereby the deadly fist is being held back by the palm, much like a sword in its sheath.
This posture is also seen in the Jitte series, but the Wanshu version of the gesture has the elbows out to the sides.
- Relationship with the Chinese Salutation
It has been stated by many that the opening of Wanshu is very similar to the opening posture of many Chinese boxing forms, and from this fact, many make the argument for the connection between the two. The other Ryukyu kenpo kata that use this posture is the Jitte series. This brings us to the surprising truth that only Tomari-te kata have Chinese movement patterns (*). What does this fact mean?
The posture is used in many Southern Shaolin forms, and has many interpretations. One of the most common is that it was a salutation among secret societies who looked to overthrow the Qing rulers and revive the Ming dynasty.
Of course, this meaning is not applicable to the Ryukyu versions, and is often interpreted as a philosophical lesson as described above. At any rate, the fact that only Tomari-te makes use of this gesture is very interesting, and I feel as if it hides some great truth. I would like to return to this point when it comes time to wrap up the history of Tomari-te.
* NOTE: Some lineages of Passai and Chinte also use this position. The original Passai version is not held up, though. Differences among lineages are unavoidable in Kenpo culture.
- Down-Block from Crossed Foot Posture
The next characteristic of Wanshu is the lower level block from the crossed foot stance. This is found in all major versions of Wanshu, and can be assumed to be one of the features of the original version of this kata. It is unique to Wanshu, and we can probably say that Wanshu exists in order to transmit this technique.
This crossed foot posture is one expression of the unique Ryukyu Kenpo body dynamic known as Ryushin (Dragon Body). By twisting the body, various types of power can be developed. The way it is performed in Wanshu is unique and not found in any other kata. If I were forced to make a comparison, the closest would be the way it is performed in Passai. However, although they are similar, they are not exactly the same. Twisting the body while entering into a low posture has a deep meaning.
Generally speaking, Tomari-te is considered to be a hard, linear method of Kenpo, much along the lines of modern karate. It is notable, however, that the fundamental kata of Tomari-te also contains soft, pliable movements as well.
- Down Block from Shiko-dachi into Middle Punch from Zenkutsu
One of the typical techniques of Wanshu is this combination. All versions utilize a variation of this technique, but some styles perform it in a natural stance. It is as we hypotheized, that this type of technique is the basis of modern karate, and cannot be found in any other ancient kata.
- Kneeling Posture
One other characteristic of Wanshu is where the performer drops to one knee. However, the only lineages that overtly express this are the Funakoshi and the Matsubayashi-ryu versions. If two separate lineages use this technique, then we can hypothesize that there was a point in time when the old-style Wanshu was performed in this manner. However, another possibility is that this is a hidden Kuden, that the other lineages chose not to express overtly. There are not many seated techniques as performed in the ancient Ryukyu Kenpo kata*.
* NOTE: Although not considered Kenpo, there are many kneeling techniques in the kata of Ryukyu weaponry.
- Holding Posture
This dynamic technique comes towards the end of the kata. The application is often used as a frontal or rear shoulder wheel throw. This application is unique to Wanshu, and is not found in the other Ryukyu Kenpo kata.
- Shuto-Uke
This technique is called the Dragon Tongue posture in the author's lineage, but it is more commonly known as Shuto-uke. It is found at the very end of Wanshu. It is a unique posture to Ryukyu Kenpo, but has some issues surrounding it. Let us look at some now.
Firstly, it is not found in Naha-te kata. (Some Naha-te lineages use it from a different angle, but this author feels that this is a change brought about by mixing with Shuri-te). It is unique to Shuri-te and Tomari-te. Originally it was not used as a block, but as a method of controlling the opponent by holding his wrist with one hand and using the other hand to lock his elbow up. In this respect, it shares similarities with certain Jujutsu techniques. Of course there are similar techniques in Naha-te, but the solo expression is different.
However, differences or similarities in technique performance is an important issue, and from this we can deduce that Tomari-te techniques are more in line with those of Shuri-te than Naha-te. Looking at the issue from only this point, we can say that Shuri-te and Tomari-te are sister styles whereas Naha-te is a unique Kenpo different from both of them.
- Nuki-ken
I just said that Tomari-te is more akin to Shuri-te than Naha-te, but in actuality, there is one technique in Wanshu that is unique to Naha-te, and not found in Shuri-te. It is the Nuki-ken.
There are some differences in performance between the Naha-te Seisan version of the technique and the Wanshu version, but as they are both performed in Neko-ashi, they can also be considered almost the same. There is a similar technique in Wankan as well.
This technique is one of deflecting and countering simultaneously. This is one of the secrets of Ryukyu Kenpo. As stated before, Tomari-te has a secret method of blocking and countering simultaneously, called Ai-tsuki, and in this respect, it is similar to Naha-te usage. On this point, we can perhaps say that Tomari-te is a Kenpo tradition that acts as a bridge between Naha-te and Shuri-te.
- Direction
One general characteristic of Ryukyu Kenpo kata is that they move in the 4 or 8 cardinal directions. Specifically, Naha-te uses the same exact technique in 4 directions. On the other hand, Shuri-te o nly uses the same techniques in 2 directions, such as left/right or forward/back.
However, Tomari-te Wanshu uses the same technique series in three directions, and this also points to Tomari-te being between Naha-te and Tomari-te. However, not all Wanshu versions go in three directions, as some only go in two. In either case, 3 directional movement patterns can be said to be one characteristic of Tomari-te Wanshu.
- One-Leg Stance
The one-leg stance is used throughout Tomari-te, especially in the Wanshu-series. It is a signature of both Rohai (open handed) and Chinto (closed-fists). It is also found with an augmented hand technique in Wankan, and briefly in Wanshu. In fact the way it is used in Wanshu can be said to be a beginner's version. However, some versions of Wanshu do not adopt this stance.
There are many martial applications of the one-leg stance, but in Wanshu it is often used to generate energy for an attack, and on this note it can can truly be said to be a beginning level usage of the stance.
In this issue, we have looked at many aspects of Tomari-te Wanshu. It is a central kata in Tomari-te with characteristics of both Shuri-te and Naha-te, but it also has its own unique techniques and it a great old-style kata. When learning Wanshu, the student is well grounded in the Shiko-dachi low block / Zenkutsu middle punch combination, which starts him on his journey to strengthen the legs and hips for Bujutsu training. It is an excellent old-style kata which should be studied deeply as the basis for Tomari-te. The next issue will look at the techniques of Wanshu a bit deeper.
Joe Swift
"There are hidden depths to chickens." - Professor Christine Nichol, a scientist who has studied their behavior.
Though not included in this article I am adding the Wansu kata of Tatsuo Shimabuku for comparison
>But a factor in Isshinryu's founder, Shimabuku Tatsuo's use of the vertical strike can also be found documented by Nagamine Shoshin in his "Tales of the Great Okinawan Karate Masters" on page 89. There he hows a photograph proclaiming the vertical strike was "Kyan's original punch". [Course just because Nagamine wrote it doesn't make it true, but it can be considered as Nagamine was a student of Kyan.
For total sake of discussion the picture or the accompanying text doesn't describe how the strike ws delivered, whether turning or delivered Isshinryu style.] Assuming Nagamine was being accurate, not doubt Kyan's instructor was a factor in his thinking on striking.
Hi Victor,
With the particular issue of Kyan's punch, I think it is important to note - as you have - that the depiction in Nagamine's book doesn't show how the strike developed, and that we should guard against the assumption that the picture does.
Kyan sensei's punch justice.. or even the assumption that this was the only punch used by Kyan sensei. I do not dismiss the fact that Nagamine was a student of Kyan by any means, but it is curious that so many versions of this punch are offered by Kyans students if it were taught specifically as kihon by Kyan sensei.
My own view is that the picture's main purpose is to explain the principle behind a fist position of this kind (ie punching high from low) and hence by extrapolation (Kyan sensei at 4'10" tall) might have found this useful when striking things. As the photos suggest, this punch does gain an order of success particularly above one's own shoulder line. But having said that, and seeing the conversation spilling over into how this punch was taught to the students of Kyan, and to Kyan himself, I refer to my interview with Joen Nakazato in March of this year.
I asked him specifically about this punch (in whatever form it has come to be represented now by schools of Kyan descent) and he says this was always Kyan sensei's own punch and Kyan specifically *did not* teach it as such to his students.. It wasnt that they were all taught differently, but they all saw him using his punch.. but Kyan never actually taught to them to punch this way, and further, that Kyan specifically warned against students imitating HIS punch (under the principle that one develops ones own kihon)
Nakazato sensei went on that the full rotation was always used by Kyans students (including Tatsuo sensei) pre war... and that what Kyan actually *taught* was the full rotation, not any version of standing or 3/4 fist.. JN expressed his surprise that when he met up with other ex students of Kyan after the war (including Tatsuo sensei) that they were using these Kyan type punches. His surprise was not that he hadn't seen it before, but that no one else had ever used this punch in their own kihon before. I received some convincing corroboration of this 'change' of punch in information received in person later that trip from a senior Okinawan instructor of Kyan lineage and also, separately, from yet another extremely reliable source, that Nagamine sensei had confirmed this 'change' in another interview in 1996. I think this might in part account for the variations in the depictions of this punch, and I have come to the view that subsequent versions taught are personalized versions of imitations of Kyan's punch.
With regards to what you say here about Kyan's instructor, I would say that however Kyan arrived at this technique, it was under the tradition and principle of making your kihon your own, but also, and importantly, consistent with the tradition and principle of actually teaching and transmitting the kata in its base form, without 'advanced' personalized, innovations (such as advanced or personalized striking methods)... It is perhaps due to this older tradition regarding method of transmission that we cant readily trace any instructor who passed this punch - specifically - to Kyan.
Incidentally, October 2005 is the 60th anniversary of Kyan sensei's death in very sad circumstances..(deep rei)
How could he ever have guessed folks all over the world would be discussing his punch with each other via computers 60 years on... quite fantastic.
love harry
Hello!
Excellent post Harry! (Even though you had informed this to me before)
... tradition and principle of actually teaching and transmitting the kata in its base form, without 'advanced' personalized, innovations (such as advanced or personalized striking methods)... It is perhaps due to this older tradition regarding method of transmission that we cant readily trace any instructor who passed this punch - specifically - to Kyan....
There is an interesting observation in the book of Mark Bishop when he interviews Seikichi Hokama about practice of Tomarite (according to lineage in the book he is a student of Kotsu and Konin Oyadomari who in turn has been student of Kokan Oyadomari) "The full-corkscrew punch was not encouraged..."
We know well that Kyan sensei was influenced by Oyadomari Kokan sensei... If we assume that he learned different type of punching from Tomari guys didn't he had a small dilemma to think which one he chooses as a standard?
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