It is interesting to see how Funakoshi Ginchin described karate technique in 1925 in his first book. It was more to educate the Japanese Martial establishment that something for his students to follow.
A decade later he did the same in his Karate-Do Kyohan. His description of his karate techniques changed.
Unfortunately this is something very, very few look at, and I think it shows the evolution of his karate as time passed.
Continuing to think on Funakoshi Ginchin’s first work, “Karate Jutsu” from 1925 (I’m reading the excellent new Kodansha translation) I’m quite struck how much changed between that book and his Master Text, the “Karate-Do Kyohan”.
Lets take one aspect, Leg Techniques. Here’s a side by side comparison of what’s described.
Karate Jutsu
Keage (rising kick)
Tobikeri (jump kick)
Mikazuki (crescent-moon kick)
Uchimata (inside thigh kick)
Sotomata (outside thigh kick)
Fumikiri (stamping through kick)
Yoriashi (following leg)
Tobikomi (leaping-in kick)
Nekoashi (cat leg)
Hizauchi (knee strike)
Kerikomi (thrusting kick)
Kehanashi (snapping kick)
Kinteki (kick to testicles)
Namikaeshi (returning wave kick)
Sankakutobi (triangular jump)
Karate Do Kyohan
Front Kick (Mae-geri)
Side Kick (Yoko-geri)
Back Kick (Ushiro-geri)
Roundhouse Kick (Mawashi-geri)
Crescent Moon Kick (Mikazuki-geri)
Stamp-in (Fumikomi)
Knee Strike (Hiza-tsuchi)
Jump Kick (Tobi-geri)
Double Kick (Nidan-geri)
Returning Wave (Nami-gaeshi)
Consider changed:
Keage, Kerikomi, Kehanashi and Kinteki became I believe flavors of Mae-geri.
Tobikeri became Tobi-geri and Nidan-geri.
Nekoashi became a ‘stance’ (with implied immobility) where originally it was defined as “Neokashi refers to the fact that one’s weight is placed primarily on the back leg, while the heel of the front foot is raised like that of a cat, and one advances and retreats noiselessly.” Which is much more a method of movement.
Speaking of methods of movement. “Yoriashi is used to close the distance when after blocking an attack one is too far away to reach the opponent with a counter-attack. It is also commonly used to suddenly shift one’s position, thereby momentarily draining the opponent’s focused energy and concentration. Movement should be free in any direction, forward or backward, left or right, rather than in a consistent direction.” And “Tobaishi is some what akin to yoriashi, but differs slightly in flavor. In yoriashi both feet stay on the floor, using the legs to move into the opponent, but in tobaishi one’s feet leave the floor like those of a bird in flight, so that one can freely leap into an opponent.”
The knee which was used for Uchimata, Sotomata, and Hizazuchi turns only into Hiza-tsuchi, the tactical descriptions are left behind. “Uchimata – There are time when both arms are occupied in engaging an opponent and victory or defeat are determined through the use of one’s legs. In such situations the knee can be used to forcefully strike the opponent’s inner thigh, or uchimata, thereby causing him to collapse (Execution of this technique depends on the opponent’s position and posture.” Where “Sotomata, is the opposite of uchimata. Once again it is used to strike the opponent’s thigh from the outside to destroy his balance and posture.” And to save space Hizazuchi describes a knee strike to the opponents head.
I start to see Funakoshi Sensei’s original use of the lower body in a tactical sense, where the later work uses it in a pure technique sense. Likely the direct result of where he took his developing Shotokan.
And look at what wasn’t present, Back Kick, Side Kick, Roundhouse Kick.
We can’t say his original book was the ‘perfect description’ of his knowledge, and may have just what he wanted to expose beginners to in their studies. But the differences show an entirely different shape to his art from 1925 to 1935.
Victor Smith
Bushi No Te Isshinryu
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