andygojuryu @andygojuryu - Tumblr Blog

Okinawan Martial Arts

Okinawan Martial Arts Here is an excellent French TV documentary on the martial arts of Okinawa, from the 1990's. It is fortunate that they managed to interview and film a lot of the old Karate masters at this time, because they would pass away very soon after. It is in French, without subtitles , but I have been allowed to share this translation. I have annotated to the translation here, the unaltered translation, I post the link to in the comments section. Okinawan Masters At The Sources Of Karate-Do A Translation by Alexander Simon ….with annotation by Andy Moorhouse

Translators Notes : This is a transcription by Alexander Simon of the French documentary Les maitres d’okinawa aux sources du karate-do (The masters at the source of Okinawan karate-do). A couple of notes before further reading. • I aim to be as accurate as possible in my transcription. However, the interview segments are English translations of French translations of Okinawans speaking Japanese. There is bound to be some divergence between what was originally said and what you see below. I am not fluent in Japanese so my goal was to provide as close a translation as possible to what was being said in French. • Related to that last point, please keep in mind that this is a transcription: I am conveying what the narrator has said. In some cases he uses honourifics to refer to the karate-ka. Sometimes he only uses the first name, and sometimes only the last name. I mean no disrespect to any of the karate-ka when they are referred to by their given name without sensei appended to their name, I am merely repeating what was said in the video. • Whenever necessary I have included small translator’s notes (marked in brackets with the heading “Tr.”). Rather than create an annotated version of the transcription, it is there only in cases where I feel some supplementary information should be noted, or in cases where I feel there may be an error, or conflicting information. As always, no single source of information should be taken as canon, and this transcription should be used to complement what you have read elsewhere, or what has been passed onto you by your sensei. • As a full disclosure, I am a student of the Meibukan, but I am confident there is no conflict of interest in how I have translated and presented the material here. • If you feel there are any errors in my translation/transcription, please feel free to e-mail me: [email protected] • I have left timestamps at various points throughout so that you can refer to those segments in the video. • Annotation notes, translators notes are in (conventional brackets). My annotations are in [square brackets] and in italics where this font is available. Andy M.

(Opening quotation on screen): “An elder dying is as a library burning down.” -Amadou Hampate Ba [Narrator] In 1816, Emperor Napoleon heard tell of a people who carried no arms. “No arms?” he asked, “You mean to tell me they have no firearms?” When it was explained to him that the people of Okinawa did not have the right to bear arms, Napoleon exclaimed, “I cannot understand people who have no interest in war.”

[Opening, members of the Yagi family doing San Dan Gi]

Situated between the extreme south of Japan and Taiwan, the island of Okinawa measures about 120km north to south and 20km wide. It has had an eventful history, occupied successively by the Chinese and then the Japanese. A weapons ban was implemented twice: first by the king Sho Shin, who unified the islands in 1609 [error-1477], and a second time by the Japanese Satsuma clan, who invaded the archipelago in 1609. It is supposed that it is because of this weapons ban that the inhabitants of the island developed their unarmed combat. By practicing with the makiwara the extremities of the body become as hard as a blade--foot or hand could deal damage to an armoured samurai. At this time, the gentry of Okinawa had the idea of using traditional farming tools as weapons, including tools such as fishermen’s oars. At the beginning Okinawa’s martial arts were called To-De (Chinese Hand) for the majority of the existing styles were created either by expert Chinese boxers, or Okinawans who had studied in China. It’s only in 1936 at the beginning of the Sino-Japanese war that the masters of Okinawa decided to adopt the name Karate (the Empty Hand) to distinguish their art. In the 19th century, karate was taught in secret by families of nobility, from master to disciple. Okinawa was officially annexed by Japan in 1879. Thanks to Anko Itosu, karate was introduced to Okinawan school children in 1905 as a method of physical education. It was the first time the art was taught in such a method: in the open, and in large groups. In 1922 Gichin Funakoshi presented the first karate demonstration in Tokyo. Funakoshi decided to settle in Japan and began teaching his art at the university. The first karate championships were held in Japan in 1957, the year of his death. Occupied by the American military in 1945, Okinawa would not be returned to Japan until 1972. Over 30, 000 soldiers were stationed, and many would begin to study karate during their time there. Upon their return to the United States they themselves would begin teaching. Today there are around 1 million inhabitants on the island of Okinawa. Approximately three million tourists, mostly Japanese, visit the archipelago each year to enjoy the beaches. With more than 200 dojo, Okinawa remains the central hub for karate. The Prefecture of Okinawa understands its cultural significance and often organises world championships and seminars to help practitioners from around the world better understand the art.

(Tr. I realise the governor is speaking in English at this point, but it can be a bit difficult to hear what he’s saying, so I’ve translated what the French narrator is saying, which differs slightly from the governor’s original speech.)

Masahide OTA: For us it is very important to transmit our knowledge of traditional karate. These days in Japan there are different schools of karate. In international competitions Japan represents the entirety of the Nippon islands, including Okinawa. But there are differences between Japanese and Okinawan karate. Therefore we want to develop and teach our own karate, that which we inherited.

[Uechi Ryu Karate Demonstration]

Okinawa has no less than 23 styles of karate, but we can categorise them into four major types: Shorin-ryu, Gojyu-ryu, Uechi-ryu, and Kobudo (weapons training). There is also a style that does not exactly fit into any of these categories, called Motobu-ryu*. [I have to admit, I have mixed feelings about Motobu Ryu and the prominence it receives here.] The first master we meet today is Shoshin Nagamine. At 89 years old, he is the head of Matsubayashi-ryu, a branch of Shorin-ryu. A 10th-dan, Master Nagamine has dedicated his life to martial arts. He is one of the most respected experts on the island. His teachers include Masters Motobu, Kyan, and Arakaki, whose portraits adorn the shomen of his dojo.

[demonstration of the Kata, Wankan.]

There existed at one time in Okinawa three styles, called Shuri-te, Tomari-te, and Naha-te, named after the three municipalities of Shuri, Tomari, and Naha. Master Nagamine founded his own school in 1947, combining elements of Shuri-te and Tomari-te. He named it Matsubayashi-ryu after the leaders of the two styles, whose names both began with “matsu,” and which means pine forest. This kanji can also be read as ‘Shorin’, a pronunciation based on the Chinese ‘Shaolin,’ a reference to its Chinese origins. Master NAGAMINE: I will explain to you the difference between Shuri-te and Naha-te. Shuri-te is the style that was practiced in the region around Shuri castle, and Naha-te around the port of Naha. They are the two major styles of Okinawa. There are three essential components to Shuri-te: agility, speed of technique, and movement. In Naha-te one uses physical force and circular/arc movements. We use more natural movements in Shuri-te. The biggest difference lies in the breathing. In Shuri-te we use natural breathing, whereas in Naha-te one employs deep inhalations followed by forceful exhalations. Narrator: We are now at the entrance to Shuri castle. To the right is Takayoshi Nagamine, 8th-dan--son of and successor to Shoshin [Nagamine]. He is the chief instructor of Matsubayashi-ryu. With a group of students Sensei Takayoshi presents to us the kata Passai. From Tomari-te, it was Master Kyan’s favourite kata.

[Demo of the Passai Kata.]

Master NAGAMINE: Some authors have written that Shuri-te is better adapted for tall, slender men, and Naha-te is suited to small, strong men, but I do not believe this is the case. We cannot say that one style is superior to another. It all depends on circumstance and the preference of each person. Naturally, the inhabitants of Shuri practiced Shuri-te, and those from Naha practiced Naha-te. [Demo of basic Kata] Narrator: In front of Shuri castle--destroyed by the Americans in 1945, and restored in 1992--Takayoshi Nagamine and his students demonstrate the first fukyugata. [9:45] Master NAGAMINE: Karate ni sente nashi: There is no first attack (Tr. sente is literally “initiative”) in karate. That is, if we perfectly execute shin gi tai (spirit, technique, body), we become invincible. We are already victors before the battle, therefore the first attack is inconsequential. There is another important phrase in karate: you must work on your character (Tr. the French is literally “you must correct your spirit” -- I am not familiar with the original Japanese phrase). It means that humans are ego-centric, egoistic. In search of our true selves, we exclude others. We all have this tendency. Therefore if we work on our spirit, our technique, and our bodies, we subdue this type of egoism. It is to this end that I have studied Zen over the years; I believe it is through this Way that we can correct the state of our beings.

[Kobudo/weapons demo on bridge.]

Narrator: In front of this temple, built in 1522 for Buddhist priests from Korea, Nagamine’s students practice the kata Wankan, from Tomari-te.

[Kobudo demo continues.]

Master NAGAMINE: Training your body and practicing technique is relatively easy. Training your soul is much harder because humans are always full of desire. Egoism is everpresent. We must constantly fight against our spirit, against our weaknesses, our laziness, egoism.

[Second Kobudo/weapons demo at Shuri Castle, in the palace court yard.]

Narrator: Upon creation of his own dojo in 1953, Master Nagamine named it Kodokan Kobujutsu dojo. Kobujutsu refers to the ancient study of weapons techniques using farming tools as weapons. Master NAGAMINE: It used to be that we didn’t teach karate out of interest or for our curiosity, but with spirit and for our spirits. These days karate is seen as a way of making money. If we consider the physical aspect of karate, it is possible that it is superior to the old days. However, there is no question that the budo aspect of karate used to be much stronger. Budo is, for a small person, the ability to best someone bigger than himself.

[Nagamine demonstrates the Kata, Kusanku.]

Narrator: The kata Kusanku was introduced into Okinawa in 1761 by a Chinese martial arts expert of the same name. Also pronounced Kosokun, it is the most advanced kata in the Matsubayashi-ryu syllabus. It was the favourite kata of Master Chotoku Kyan who learned it from Master Yara (Tr. probably Chatan Yara?). A long and difficult kata, it takes more than a decade of intense practice to master. In the 1930s, Gichin Funakoshi, of the Shotokan, introduced it to the Japanese as Kanku. [14:25]

[impact conditioning demo]

One of the main differences between Okinawan and Japanese karate is in the body conditioning. In Okinawa outside of class forearm training is practiced. This is called kotekitai [Tr. kote is forearm; ko = small, te = hand, kitai = training/forging]. After a few years of daily practice the skin toughens and the arms become strong as logs.

[Makiwara practise.]

At 79 years old, Master Katsuya Miyahira is a 10th-dan and the head of Okinawan Shorin-ryu. When he was 15 years old he became a student of Choshin Chibana, who was taught by Anko Itosu. Gichin Funakoshi brought Anko Itosu’s teachings to Japan to create the Shotokan. In Okinawa, on the other hand, it was Chibana who became Itosu’s successor. In 1935 Chibana named his school Shorin-ryu--the kanji can also be read as Kobayashi-ryu, which means “small forest.” In 1968 Master Chibana received the title of 10th-dan Hanshi becoming the first master in Okinawa to receive such an honour. When he passed in 1969, Katsuya Miyahira succeeded him as the president of the Okinawan Shorin-ryu Karate Association.

[another demo of Passai Kata.]

Master Miyahira is seen here performing the kata Passai. There exists two versions: Oyadomari no Passai from Tomari-te, which is found in Matsubayashi-ryu, and Matsumura no Passai, taught by Master Itosu from Shuri-te. Master Chibana taught the latter form to Miyahira. It is one of the oldest kata in Okinawa, and means “to traverse the fortress.” Master MIYAHIRA: In the old days we didn’t have the kind of free fighting or kumite that we now see in sport karate. Instead we studied the kata and analysed these techniques to truly understand the movements, as we do nowadays with bunkai. Practical fighting application was practiced between the more advanced students, the sempai, and the less experienced. They would ask the juniors to attack them with a punch, or a kick, or any kind of move, but the sempai’s defence would easily disable them every time, or the juniors would be hurt enough that they would try to end the exercise as quickly as possible. It was in this way that learned about fighting. Master MIYAHIRA: There would occasionally be duels between different dojo. From time to time there would be some injuries, but rarely anything serious--at most a broken arm. At this time we were learning how to most efficiently deliver a mortal blow, and so for this reason we practiced frequently with the makiwara. When we trained with our sempai, the blocks they delivered would be so strong our arms would end up black and blue. When we told someone they had a heavy arm, it was a way of saying they had begun to make progress. Master MIYAHIRA: The Zen Nippon Karate Renmei--the Japanese Karate Federation--essentially oversees the development of sport karate. It is through this sport element that they want to achieve the budo spirit, that is to say the development of one’s character. To that end the association continually works on the sport aspect of karate. However my view is exactly the opposite. For me, the element of budo is fundamental to my practice. The type of karate practiced in Europe is essentially sport karate, but for me it is the development of my character that is fundamental and that is the essence of budo. The human condition is the basis of budo. The sport aspect is complementary. Budo is the Way of the Warrior. In the old days samurai were made on the fields of battle, and so it was essential that the warrior’s spirit was forged. Master MIYAHIRA: The fundamental element of karate is building a strong character. It is what is described in this maxim, which says we must seek mutual prosperity. It is not the egoist development of one’s self, but the development and progress as a group that is important. It is the idea of world peace and prosperity. This idea is fundamental to the practice of karate: to seek peace throughout the world. We must live together and prosper together. Master MIYAHIRA: Master Matsumura said that those who practice budo will be rich. Master Itosu explained it thusly: by practicing karate we take care of our health. If we practice regularly, if we go to the dojo anytime, we learn patience and dedication. Furthermore, by going to the dojo regularly we meet others and make social bonds, and so we may become useful to society. By practicing kumite we learn decisiveness. So, if we follow everything I just explained, one who perseveres, who has a strong will, who works harmoniously with others, who can make decisions, then this person will be successful in their work and will be rich. This is the essence of what Master Matsumura was talking about: budo will make you rich.

[demo of Naihanshi Kata]

Narrator: The kata Naihanchi was introduced in Okinawa by a Chinese master. It was originally taught in Naha-te, but this is no longer the case, and has become a part of Shuri-te. Master Itosu modified the kata into three parts. Master MIYAHIRA: The two principles of my dojo come from these two maxim: Kyozon Kyohei, and Gori Go. That is: live together, prosper together, and be sensible. It is fundamental to my thinking. We must act rationally--this corresponds to the techniques we practice in karate. Do not act outside of reason. Kyozon kyohei is mutual prosperity. I discovered this phrase 40 years ago, and I believe it is as true as ever. The idea of working together is very applicable to our society. If someone is facing hardship, we must help them. If you become rich without helping others, there is not really a sense of purpose to your life. That’s why this idea is so important to me. Succeeding together, this is the best way to live. I constantly reinforce this idea because I think there is a tendency to forget about it these days in karate.

{Mass Karate demonstration.]

Narrator: There were multiple celebrations held throughout 1995 to mark the anniversary of the Battle of Okinawa, which saw the deaths of 150, 000 people, and the end of the Second World War. One such event was held at the Cornerstone of Peace, which brought hundreds of karate-ka together from around the world to practice together in a unified ideal of peace and brotherhood. [26:26] Narrator: Nowadays Naha is a thriving metropolis, completely rebuilt after the American attacks in 1945. But in the heart of this bustling city we still find small dojo dedicated to tradition. We are at the dojo of Master Meitoku Yagi, 10th dan in Gojyu-ryu. Master Yagi has instructed both his sons, Meitetsu, to the left, and Meitatsu to the right to ensure they become his successors. Master YAGI: When it comes to modern karate, I feel there is a tendency more and more towards jiyu kumite (that is to say, freestyle sparring) where we don't see movements found in traditional karate, that is, moves that we would find in kata. We see moves closer in nature to kickboxing. It's a tendency, I believe, towards changing traditional karate, which I do not agree with. (Tr. The direct translation of the last sentence is, "It is a tendency I find perverse." However, the French word "perverse" has different connotations than the English word, and without knowing what word Master Meitoku originally used, I hesitate to use the direct translation. The basic idea is that Master Meitoku finds these new movements to be alterations of traditional techniques.)

[Seipai Kata demo]

Master YAGI: It used to be in karate that we used open hand techniques far more often than closed fists. It was only when karate was introduced into schools that we introduced closed fists to the students. With open hands we can at once attack and block, and much more quickly. To attack vital points--the eyes, for instance--it is much easier to use an open hand. In the end it is a more effective technique than a fist. Narrator: In Okinawa, training by the sea is a tradition. The Yagi brothers come here regularly to practice bunkai--the application of kata to be done with a partner--more discreetly. Each kata contains sets of movements to practiced in pairs to learn the practical fighting application of each technique. Master YAGI: Presently in Okinawa there exists two karate federations: Okinawa Karate-do Renmei and Okinawa-ken Renmei. The latter federation is based around the Japanese style of karate. Japanese karate has changed and evolved from the way that we practice karate in Okinawa.

[Demo of Seiunchin Kata]

Narrator: [Kata Seienchin] This kata came from China through Kanryo Higaonna, Grand Master of Naha-te. Born in 1853, Kanryo left for China when he was 23 years old and arrived in Fukkien province. There he became the pupil of a Chinese martial arts master by the name of Liu Liu Ko, and his assistant Wan Shin Zan. Kanryo learned the kata Sanchin, Seienchin, Shisochin, Sanseryu, Seisan, Kururunfa and Suparinpei. After spending a decade in China (Tr, NB. The term "une dizaine d'années" means something like "about ten years" but there is no equivalent English expression), he returned to Okinawa and began teaching in Naha. When he died in 1917, Chojun Miyagi became his successor. Master YAGI: Originally, the karate practiced by Master Miyagi was called To-di, or "Chinese Hand," because that's where he learned his art. Chinese martial arts use open hand techniques much more often than closed hand techniques. [Another Seipai Kata demo] Narrator: [Kata Seipai] Born in 1888, Chojun Miyagi began studying with Kanryo Higaonna at the age of 14. Thirteen years later, in 1915, Miyagi also took his own trip to Fukkien province in China, where he remained for a year. One year after his return Higaonna passed away. Miyagi began to teach. He brought back two kata from China: Tensho and Saifa*, inspired by the White Crane style. He would also later create two Geki Sai kata to teach beginners. In 1937 Jinan Shinzato, one of Miyagi's students, performed at a demonstration in Japan. (Tr. It is my understanding that this story actually took place in 1929.) When asked the name of his style, he did not have an answer. When he returned to Okinawa, he discussed the predicament with Miyagi, who decided to name his school after a line in a poem in the Bubishi--a classical Chinese martial arts text--and thus called it Gojyu-ryu. Go meaning "hard" and Jyu meaning "soft."

[* Saifa - this is interesting, as this documentary is from the 1990’s and the consensus at this time (1990's) was that only Tensho Kata and the Gekisai pair of Kata, were Miyagi’s additions to the style. That the other 9 Kata had come directly from China via Kanryo Higaonna in the 1890’s.]

Master YAGI: We're encountering more and more foreigners practicing karate, and I have the impression that karate is developing amongst them. Narrator: After the war Chojun Miyagi set about teaching at his house. He died in 1953 at the age of 65. He left behind a dozen (Tr. again, the French term here is “une dizaine”) disciples, including Meitoku Yagi and Ei’ichi Miyazato. Ei’ichi Miyazato became a student of Miyagi in 1935, at the age of 13, and stayed with him until the master’s death. He opened his own dojo in 1957, the largest in Naha, and called it the Jundokan. [34:29] Master MIYAZATO: I spent many years studying under my teacher, Master Miyagi. We spent a lot of time doing basic exercises, such as, stretching, running, strength building, etc. [Tr. here I can hear Master Miyazato specifically referring to these exercises as hojo undo, I believe the list provided by the narrator is more for the benefit of those unfamiliar with hojo undo or the types of exercises it might involve], and of course we spent time working on kata and kumite. To strengthen the body it is also possible to practice judo and kendo.

[Demo of Hojo Undo/equipment training.]

Master MIYAZATO: The difference between practicing karate nowadays and back then, is that back then we did not talk about it openly, we did not advertise as we do now. I practiced judo at the Kodokan, I have my 7th-dan. In terms of fighting, when we are at a distance we use kicks, but judo works for close combat, including throws and foot sweeps. Kata were developed based on moves that were known to be effective in battle by masters of the past. I want to use these old techniques to strengthen my body throughout my life. Karate is an exercise in conditioning willpower, which strengthens the weak and makes us better people. Narrator: Okinawa has served as a hub for commerce and trading between Japan, China, Korea, Indonesia, and Malaysia.

[Demo of Suparinpei Kata.]

Of the younger generation of karate-ka, one who stands out as an exemplar in Gojyu-ryu is certainly Morio Higaonna, 9th-dan. Born in 1938 in Okinawa, he spent many years in Tokyo, and eventually settled in San Diego, California. He has established an organisation to help disperse his teachings throughout the world. He regularly returns to Okinawa where he still has a dojo. He is a student of An’ichi Miyagi*, nephew*of the founder of Gojyu-ryu. Here he is seen performing the kata Suparinpei, whose Chinese name is Pechurin--108 techniques. It is the most complex kata in the Gojyu syllabus. It was taught by Kanryo Higaonna to Chojun Miyagi, who brought its techniques to a high level of execution.

(Tr. Once again, while he is speaking English in the video, it can be hard to hear at points, so I’ve just decided to translate the French narration.)

[error – An’ichi Miyagi is not a relative of Chojun Miyagi. It is just coincidence they share the name.]

Master HIGAONNA: I began karate around 15 years old. My father practiced Shorin-ryu. One day I saw him teaching the kata Pinan to some friends and I was very impressed. I asked my father to teach me. He taught me some basics: kicks, strikes, blocks, but nothing that serious. When I was in high school I had the chance to meet Tsunetaka Shimabukuro, who taught Gojyu-ryu but had started in Shorin-ryu. It was with him that I began my training in earnest, around the time I was 17. Narrator: In Gojyu-ryu one must be able to withstand an opponent’s attack. This can be achieved through body conditioning.

[Demo of Tanren ‘body forging’,impact training.]

Master HIGAONNA: The main difference between Naha-te and Shuri-te--in my opinion--lies in the kata. The kata differ greatly between the two schools. I don’t know much about the origins of Shuri-te, as it is not my school and I don’t have that much information on it. Naha-te, which led to Gojyu-ryu, came from Southern China--more precisely, from Fukkien province. The schools in the South based their practice on close combat and grappling. Kicks are executed on the lower part of the body. On the other hand, in Shuri-te, with its tall postures, quick movements, high kicks--sometimes including jumps--is more a reflection of the Northern schools. This difference between the Northern and Southern Chinese schools is also reflected in Shuri-te and Naha-te, and certainly in their kata.

[Kakite/Kakie, pushing hands demo]

Master HIGAONNA: I have done some research into the origins of Gojyu-ryu. Twice I travelled to Fukkien province, in the city of Fuzhou, where Chojun Miyagi also spent time. I met with Chinese experts and we compared our techniques. I discovered they used very similar methods of strength training exercises, or hojo undo, such as the chi’ishi. They also practiced the same type of arm wrestling, which they called Kaki and we call Kakie, but the kanji are the same--it is only a matter of pronunciation. The kata I saw were different, though there are segments that do appear in the Gojyu-ryu kata. The stepping patterns, the Sanchin stance, the kamae, open hands, the shime performed during Sanchin. I did not discover any kata that directly corresponds to a Gojyu-ryu kata, but I was not discouraged, and I will return once again to China to continue my research. Narrator: Strength building exercises exist in all the Okinawan schools, but it is in Gojyu-ryu where is it most emphasised. Chi’ishi refers to strengthening stones. It is equally possible to use the implements to practice kata, such as using chi’ishi to do Sanchin. [47:40] Master HIGAONNA: Let me explain to you where the strength in a punch comes from. When you’re punching the power comes up from your toes, your heel, your ankle, your calf, your knee, your thighs, and your hips, and finally through your elbow to your hand. This is the path that external energy flows through. Internal energy comes from your breath, and is focused through your exhale. Power comes from the perfect co-ordination of these two factors: movement and breath. Or, your body and your internal energy. [Demo of Sanchin Shime, the testing of Sanchin Kata.] Narrator: It is characteristic of Gojyu schools to test one’s power while performing Sanchin. Master HIGAONNA: Breathing is very important in karate, particularly in Gojyu-ryu, both for your internal energy and for your health. Strength and vitality come from your tanden, your stomach. This is true in both medicine and in the martial arts. The deep breathing done in Sanchin--both on the inhale as well as the exhale--is important for executing the techniques properly. We can tell by the sound if it has been done properly. The sound of the exhalation can be compared to the kiai, they both come from our stomach. The breath must be co-ordinated with the rotation of the fist. The focus at the end of the breath coincides with the contact of the fist with a target.

[Demo of the weapon, Sai.]

Narrator: Like all grand masters in Okinawa, Master Higaonna is also an expert in kobudo. Here he is demonstrating the sai against the bo.

[Demo of the weapon, Kama.]

Another weapon is the scythe, or kama. A useful farming tool it can also be transformed into a deadly and efficient weapon. Razor sharp, they keep an opponent at bay. The highest authority in Okinawa in kobudo is Master Shinpo Matayoshi, 10th-dan, president of the Okinawan Kobudo Association. Master MATAYOSHI: My father ran three dojo, one in Kadena, one in Naha, and one in Chatan. I started my training by observing others, around the time I was four years old. By the time I was seven I already knew about five kata. Kobudo originated in China. The techniques are not native to Okinawa; they primarily come from the Fukkien province, and also from Taiwan. Master MATAYOSHI: Okinawa was a peaceful country until it was invaded by the Satsuma clan in 1609. To defend themselves, the country folk used the tools they had available. Most weapons in Okinawan kobudo come from tools that were used in daily life, which is why, for instance, we do not use swords or knives. Most kobudo weapons are particular to Okinawa, including this one here, the mametaki, which is a kind of wooden staff, and actually can also be seen in Vietnam and Taiwan. Kobudo techniques come from the peasants, which were later taken up by gentry who passed these moves on through their teachings. But at their essence we can see these movements belong to farmers who tilled their fields, fishermen casting their rods--all these techniques come from movements that belong to farming or fishing. Master MATAYOSHI: In Okinawa we did not have the katana or guns. Therefore the weapons we used were those found in daily life. For example, cranks, or flails, or boat oars--all these items, the mametaki, the tonfa, the kama, all became a part of Okinawan kobudo. As a part of my training when I was younger, my father would make me wear stone geta, which were very heavy. I would have to jump while wearing them, which helped to strengthen my legs. I would also wear straw shoes and try to jump between obstacles placed about two metres apart. I would often fall and hurt myself, or damage my feet. This exercise was meant to develop my dexterity and condition my feet. Master MATAYOSHI: I made for myself a type of cross that I planted vertically in the ground. I would practice striking it, imagining the horizontal board to be my opponent’s shoulders and the vertical plank his body. It was kind of like a makiwara, one that could be displaced more easily than a traditional makiwara.

[Demo of the Eku/oar.]

Narrator: A kata for eku, a fisherman’s oar. We can’t help but admire the technique of Master Matayoshi, who is 75 years old. Master MATAYOSHI: The practice of budo encourages longevity. In Okinawa there are over 400 centenarians. [1:02:14] Narrator: We now go to another style, Uechi-ryu, which stays close to the practice of karate in the 19th century. It was created by Kanbun Uechi. In 1897, at the age of 20, Kanbun arrived in Fukkien province of China. There he became a disciple of the Chinese master Shu Shiwa, under whom he studied for 13 years. Kanbun Uechi returned to Okinawan in 1909, but did not teach until 1932, at which point he was living in Japan. He once again settled in Okinawa in 1946, where he died two years later. Master Toyama was a student of his. The founder brought back three kata from China, Sanchin, Seisan, and Sanseryu. Master TOYAMA: Master Kanbun Uechi learned karate in Okinawa. The reason for his visit to China was deepen his knowledge of the art.

[Sanchin Shime demo.]

Narrator: Master Kiyohide Shinjo, 7th-dan Uechi-ryu, will demonstrate the kata Sanchin with the assistance of his son. Uechi-ryu performs Sanchin with open hands, in contrast to the closed hands of Gojryu-ryu. Uechi-ryu places emphasis on body conditioning in order to withstand attack during a confrontation. Master TOYAMA: Sanchin is the fundamental kata of Uechi-ryu. It allows us to build a strong body. It should be practiced for three or four years, and then, once we have a grasp on the basics, we can begin to learn other conditioning drills for our arms, our legs, our fists, even our toes and fingers, with the makiwara, or with other tools. Once we’ve built this foundation for ourselves through this training, we can start practicing fighting techniques. Master Uechi spent a dozen years in China. He brought back three kata: Sanchin, Seisan, and Sanseryu. Of these three kata, Sanchin is the foundation of Uechi-ryu. If we practice it seriously and really begin to understand it, it will be easier to learn kata like Seisan and Sanseryu. Once again, it is essential to learn Sanchin to be able to understand the other facets of Uechi-ryu. It also teaches the practitioner about body conditioning. Narrator: Makiwara practice is very important to Uechi-ryu. Unlike other styles, we find a prevalence here of open-handed techniques used for striking vital points. This hearkens back to the art’s origins of a type of self-defence that could permit the practitioner to kill with his bare hands if necessary. Master TOYAMA: During Sanchin practice we strike various parts of the body to strengthen our natural armour. This is an old practice that comes to us from China. Sanchin is the core of our method. One might even say that without Sanchin Uechi-ryu would not exist. I began training with Master Uechi when I was about 16 or 17. It was from him whom I eventually received my 9th-dan. He had a calmness about him in his daily life. However, in training his personality changed and he became quite severe, quite strict. It is now our responsibility to pass on his teachings to a new generation. [1:10:00] Narrator: We now move on to the style Motobu-ryu, which was taught in secret by the Motobu family to the royal family of Okinawa until the 19th century. Choyu Motobu* was the teacher to the last king of the Ryu Kyu kingdom, Sho Tai, who reigned from 1848-1879. Well after the dissolution of royalty, Choyu Motobu opened a dojo in Naha in 1924. He passed on his knowledge to Seikichi Uehara before dying in 1926. Seikichi Uehara began publicly teaching his art in 1947 and named it Motobu-ryu in honour of his teacher.

[*the older brother of the influential Karate fighter and teacher, Choki Motobu]

Master UEHARA: I was the student of Master Choyu Motobu for seven years. My master passed on his knowledge to two people, his son Chomo Motobu, and myself. It was after the war that I decided to open my teaching to the public. [first demo] Master UEHARA: The secret techniques of udunti were taught to the royal family of Okinawa by the eldest sons of the Motobu family. My master, Choyu Motobu, was the 11th generation of this heritage. [second demo.] Motobu-ryu includes weapons training, and it is an integral part of the style. The way of using these weapons, the bo for instance, is also a part of Okinawan dance. When I noticed this it lead me to research the history of the relationship between martial arts and dance. I found that the two histories are, in fact, intertwined. The dance of Okinawa, the RyuKyu buyo and Motobu-ryu do have a shared history. [demo of locking techniques.] Master UEHARA: There are some magnificent moves in traditional dance. This is the movement of a sword striking upwards, and downwards. And now, a movement from the dance. (Tr. this section is around 1:14:10) The relationship is quite obvious. We also have a lateral sword strike, and [Tr. with an open hand] a dance movement. I would say that while the weapons bans were in place, the old masters would hide these techniques in dance to teach them to their students. We know that some of the master, like Chotoku Kyan were excellent dancers. Traditionally, the great dancers of the royal family were men. I believe this is how the martial arts were passed down through the generations in secret. Master UEHARA: Interestingly it is actually the relationship between women’s dance and martial arts where we see the strongest connection. If I do these gestures with open hands they become dance movements. It was forbidden both to draw your sword and to fight with the halls of the royal house. Therefore you had to learn how to overcome your opponent without violence. Here, like this (Tr. around 1:16:45). You see, it’s very easy to manipulate and twist the hand of your opponent. We see the same techniques with two hands. We can just as easily subdue or redirect our adversary. Master UEHARA: In Motobu-ryu or udunti we do not find tsuki like we do in karate. Our movements are based on those from dance, or from swordplay. All these movements stem from women’s dance, and were taught to me by my master Choyu Motobu.

[In the 2 to 4 years they were together ! As you my guess, I have some ‘issues’ with Motobu Ryu, its performance – not just here, but in other videos I have seen, its history and the fact it has such prominence in this documentary. Sorry for the negativity. Andy]

Narrator: Japanese television has come to film Master Uehara. Motobu-ryu is undoubtedly the least known style of Okinawa. Some experts would even question its existence, but the story of Choyu Motobu is, without a doubt, quite real. He even organised a research team in 1924 to investigate the history of Okinawan martial arts. Among the members were Chojun Miyagi, Kenwa Mabuni, Kentsu Yabu, and Chotoku Kyan. Narrator: In contrast to this ancient art, Okinawa also holds championship tournaments to help popularise karate. In 1997, Okinawa organised a world championship for the original styles found on the island. Prior to the tournament, a preliminary meeting was organised in 1995, which also included delegates from around the world. There are several types of categories. For junior competitors, face guards are required in the kumite division. There is also a kata division, which presents itself as a somewhat artistic category as the judges award points based on various factors. In keeping with tradition, weapons kata are also displayed. Perhaps the greatest show of strength lies in the advanced kumite division, which also requires control from the participants. [1:21:45] Narrator: Far from the hustle and bustle of the stadium, Jean Frenette, Canadian karate champion, came to Okinawa to further his study, in particular Zen. Frenette: Zen helps me to focus myself and bring my attention back to my breath. Often in our practice we are so focused on our bodies, or our minds are elsewhere and we don’t give ourselves the complete attention we need. But in Zen we focus almost wholly on the breath, and we achieve a level of harmony, of unity, that we don’t necessarily achieve in our regular practice in karate, or in martial arts in general. That is to say we must make one our breath, our movements, our concentration. Master ROSHI: Why practice Zen? This question comes up quite often. The goal of Zen is to find yourself. To discover your true nature through breath and focus. Samurai practiced Zen because they often came face-to-face with death. They had to find a way to overcome their fear, which they could not do without Zen. The goal of Zen is to understand one’s self through introspection and not through reflection. Master ROSHI: I practiced karate when I was 13. I liked both karate and Zen. If I had not discovered Zen perhaps I would have pursued karate to a higher level. But I chose Zen because it was my calling. I was born in Okinawa in 1920. I began studying with Master Chojun Miyagi when I was 13. I really enjoyed practicing karate and I put all my energy in to my practice. Master Miyagi was strongly opposed to fighting and forbade his students from doing so. Master Miyagi encouraged the spiritual training of his students. Learning to breathe properly and having a good character are the two fundamental principles of karate.

[Demo of Sanchin Kata.]

We practiced in Master Miyagi’s backyard. He was a calm and gentle man with sharp eyes. For him karate was about building character. His teachings involved two parts: physical training and spiritual training. He told us about his life philosophy and his experiences. He explained different rules of karate training, such as not challenging a junior student. For him, karate was about the spirit, first and foremost. Master ROSHI: What is the significance of kata? This should be asked of a specialist, but if I must answer, I would say the essence of kata is breathing. I think this is difficult for Westerners to understand. But the essence of budo, or karate, or Chinese kenpo is subtle. The extreme subtlety is found in the breathing. Kata is the essence of karate in the same way that breathing is the essence of life. It is formed from a set of techniques, some defensive, some offensive. Kata is neither a dance nor a game. In its practice we must come the realisation of oneness with the universe in each technique. It is the same as Zen. To unite the body and mind one must forget one’s self. In practicing kata one must recognise the oneness within oneself as well as with the universe (Tr. I can hear him at this point use the term Tenchi for those familiar with this concept. A possible reference to the Bubishi’s Jin Shin wa Tenchi ni onaji). To unite all in heaven and on Earth, we have to forget our selves. If you are distracted by your ego, you cannot be one with the universe. To reach this level in your training, you must practice Zen. You must master your breath, not only in your kata, but in your everyday life. The essence of karate is not violence, but peace. Even if you are an excellent fighter, you must be able to live your kata in your day to day life, that is to say, uniting the sword and Zen. Zen and karate rest on the same foundation. [1:28:35] Narrator: Taught in schools since 1905, karate is a part of regular life for Okinawan children. NAKAMA: We take kids from when they’re 5-6 years old until they’re 15. They all train together. We teach Sanchin as a foundation for the rest of their training. Later they will learn the more advanced kata. Classes are twice a week for the youngest ones, and four times per week for the older students. Narrator: After introducing karate into the school system, Master Itosu changed the open hand techniques to closed fists. He simplified the kata and removed the martial element, effectively turning karate into a type of gymnastics. This is largely what was exported to Japan and to the rest of the world. It seems that this was what was necessary for karate, an ancient system of self-defence, to be brought into the 21st century. End https://www.youtube.com/watch?v=H8eXBylDpiE

#martial arts #okinawan martial arts #okinawanmartialarts #okinawakobudo #traditional karate #karatedo #karate #traditional martial arts #martial arts history

Trending Blogs

Recently Viewed Blogs

andygojuryu