To'on Ryu. Karate-do's forgotten style by Mario McKenna Dragon Times vol 17 Introduction When China solidified cultural and trade ties with the Ryukyus by establishing a Chinese settlement in Kume village in 1393, it set about a chain of events which would forever change the face of the fighting arts of Okinawa and later the rest of the world. China's settlement consisted of 36 Families whose purpose was to introduce Chinese culture which included politics, business, commerce, music, literature, and quan'fa to the Ryukyus. Consequently, the Okinawans embraced this new fighting tradition and made it uniquely their own. As McCarthy noted: "...chinese quan‘fa enabled its users to subjugate an adversary without rendering serious injury unless absolutely necessary. Hence, such effective defensive principles were embraced as an adjunct to domestic law enforcement... Modern Karate-do, representing varying interpretations of these Chinese defensive principles, evolved, for the most part, from these old disciplines". Modern karate-do, evolving from these early traditions, has been taught outside of Okinawa for ‘some 75 years on the Japanese mainland and internationally for well over 40 years. As a result, most of the traditional schools of karate-do and their respective founders have become familiar to millions of practitioners throughout the world. Students practicing such diverse styles such as Shotokan (Funakoshi Gichin), Goju-ryu (Miyagi Chojun), Wado-ryu (Otsuka Hidenori), Shorin- tyu (Chibana Choshin; Hanashiro Chomo), Kyokushin-kai (Oyama Masatatsu), Isshin-ryu (Shimabuku Tatsuo), and Shito-ryu (Mabuni Kenwa) are now common place. In addition to these major styles, there are literally dozens of minor styles of karate-do which have yet to be researched and fully explored. One style of karate-do that is virtually unknown both overseas and even in Japan proper is To'on-ryu, To’on-ryu is the culmination of one mans research and experience into the fighting arts of the Ryukyus, a man by the name of Kyoda Juhatsu. Except for the occasional passingreference to To'on-ryu in English language Karate-do history books information regarding To'on- ryu and its founder Kyoda Juhatsu (1887-1968), is virtually non-existent. As a result, To‘on-ryu karate-do remains litle understood or appreciated outside its own training halls. To'on-ryu has been most often described and dismissed as “similar to Goju-ryu.” This is not surprising since the founder of To'on-ryu, Kyoda Juhatsu, received instruction from Higashionna Kanryo (1853-1915), the same Higashionna Kanryo who instructed Goju-ryu founder Miyagi Chojun (1888-1953). Regrettably, such explanations fail to adequately describe just who Kyoda Juhatsu was and what his system of To'on-ryu encompassed. In the following, a little light will be shone on the life of Kyoda Juhatsu and the development of To'on-ryu. It is hoped, that such an examination will help the reader better understand one of the many branches of Okinawan karate-do, Kyoda Juhatsu. Kyoda Juhatsu was born on December 5, 1887 (Meiji 20). Like many of the early pioneers of karate-do, Kyoda was born in the latter years of the Meiji restoration, a turbulent and chaotic time in Japan's history where social and political change was the norm. He was the fourth son of Kyoda Jukyo and his wife and was nicknamed “Sutagawa’ in his childhood and "Sutachi" in his adult years. For the most part, the young Kyoda's life was uneventful and by all accounts he was a quiet and modest person, Although it is not known at exactly what age Kyoda Juhatsu's gained his first exposure to the fighting arts, we do know that it was brought about by hismother. Kyoda's mother was a relative of Higashionna Kan’yu who took the young Kyoda to receive instruction in quan'fa. Little is known of Higashionna Kanyu. It is believed that he (1848-1922), like his younger cousin of five years, Higashionna Kanryo, had also trained in quan'fa with Aragaki Seisho (1840- 1918/20). However, unlike Kanryo, the older Kanyu was better known as a gifted musician rather than excelling in quan'fa, Nevertheless, there is one interesting tale of Higashionna Kan'yu's exploits which was related on January 24, 1914 in the Ryukyu Shinpo newspaper entitled, "Okinawa no Bujutsu-ka" or "Okinawan Martial Artist." Kan'yu's intensity and courage can be glimpsed in the following translation: "On Okinawa, there is a tale of the martial valor of one Higashionna Kanyu, related to the Tinbe. During the Great Tug-Of-War of Kume village, there were two teams: Daimon (Great Gate) and Selmon (West Gate). The towns participating in the Daimon were Higashi and Kumoji, whereas the towns participating on the side of Seimon were Nishi and Izumizaki. However, one year, after the Tug-Of-War, trouble broke out over a trivial matter. At that time, Higashionna (Kanyu) stood in front of Daimon with a "Tinbe" (short spear) in his hand, and stared down several ‘opponents, not giving in even a single step". Sometime between 1901-1903, Kyoda Juhatsu began to study Fujian based quan fa from his father’s acquaintance, Higashionna (Okinawa Hogen: Hijianna) Kanryo (1853-1915). Higashionna had studied extensively under Aragaki Seisho (1840-1918/20) and Kojo Taite (1837-1917) of Kume village in his youth and later received instruction in Ming He Quan (Whooping Crane Fist) from Xie Zhong Xiang (1852-1930) in Fuzhou city, Fujian province. Higashionna was considered, along with Itosu Anko, to be one of the foremost innovators of karate-do on Okinawa at the turn of the 20th century. A few months later, Miyagi Chojun (1888- 1953; founder of Goju-ryu) also begun studying from Higashionna, Like most karate-do training in the early 20th century, instruction was tailored to the needs of the individual with a strong emphasis on the application of technique. Kyoda Juhatsu for his art, spent several long months learning the basic footwork and breathing of Sanchin, the fundamental kata used by Higashionna. In fact, Kyoda Juhatsu as with all of Higashionna’s students spent the first few years mastering Sanchin, basic applications (e.g. kakie - push hands and yakusoku kumite - pre-arranged sparring) and supplementary strengthening exercises (nigiti-game, ishi-sashi and chiishi) before being taught other kata by Higashionna. Once these fundamentals training methods had been adequately mastered, Higashionna would teach one or more additional kata and their respective applications. These included: Seisan, Sanseru and Pechurin/Suparimpei. Among the students that Higashionna instructed, Kyoda Juhatsu was the only one to learn all four of the kata directly from Higashionna Kanryo, Furthermore Kyoda, unlike Miyagi, learned the use of Chinese weaponry from Higashionna, including the use of the spear and the broadsword. Higashionna was not Kyoda's only teacher and while attending the Okinawa Prefectural teachers College Kyoda studied Karate-do under “the sergeant’, Yabu Kentsu, one of the greatest exponents of Shurite. From Yabu, Kyoda learned the kata Jion, which he later included in his To'on-ryu. For a brief time, Kyoda also learmed under Yabu's teacher, Itosu Anko, Following the death of Higashionna Kanryo and Itosu Anko in 1915, Kyoda, with several other prominent young karate-do teachers including Miyagi Chojun and Mabuni Kenwa continuedtheir teachers’ campaign in popularizing the art of karate-do throughout Okinawa and mainland Japan. The pre-World War II era was a tumultuous time in Japanese history. Kokutal (“national essence") was aimed at reshaping all of Japan, including Okinawa, into one unified people and relied heavily on what was described as: “...a rapid 'samuraization’ of the country; a dissemination, among the lower layers of the population, of the disciplinary ideals and extremist loyalty code that had exemplified the education of the samurai." Hence Japan's ancient martial arts of kenjutsu and jujutsu were more often than not seen as an idealized means of developing the national essence. Kyoda, in his role as an educator, set about popularizing karate-do in accordance to Kokutai by establishing several karate-do clubs at the elementary and junior high schools at which he worked prior to World War I. ‘Among the students he taught on Okinawa was Iraha Choko (1901-1986). When Iraha was a student at Okinawa First Prefectural junior high school, he leamed from such greats as Yabu Kentsu, Funakoshi Gichin and Hanashiro Chomo. However, it was Kyoda who became Irahas primary instructor for a total of 15 years. Once when Kyoda sensei and Iraha were practicing yakusoku Kumite, Iraha was struck in the abdomen by Kyodas kick. Kyoda was extremely worried about Iraha and visited his house everyday for four days or so to see if he was alright. Kyoda also lent his talents to the establishment of several Karate-do associations and research societies. The first of these was the Okinawa Karate-jutsu Kenkyu Kai (Okinawa Karate-jutsu Research Club) which opened in 1925 and established the first permanent training center for karate-do. Besides Kyoda, there were many famous karate-do teachers who instructed their including Choju Oshiro, Choshin Chibana, Mabuni Kenwa, Miyagi Chojun, Hanashiro Chomo, Motobu Choyu and Wu Xiangui (Jap. Go kenki). Of all the instructors who participated in the Karate-jutsu Kenkyu Kai, perhaps Wu Xiangui had the most lasting and profound influence on all the others. We Xiangui (1886-1940) is somewhat of an enigmatic figure in the history of Okinawan karate-do and there is little factual evidence surrounding his life. It is known that Wu was Chinese and immigrated from Fuzhou in 1912. He was a tea-merchant by trade and resided in Naha’s Higashi-mach. Wu was also an instructor of White Crane boxing (jap Hakutsuru-ken) and it was from Wu that Kyoda learned the kata Nepai. By 1930 Kyoda, along with his colleagues from the Karate Kenkyu Kai, was again vigorously involved with promoting karate-do, this time by establishing the Karate Kenkyu Kai as the official branch of the Okinawa Kenritsu Taiku Ryokai (Okinawa Prefectural Athletic Association). Three years later, in December of 1933, this organization was officially recognized by Dai Nippon Butoku Kai (Greater Japan Martial Virtues Association). This was a significant event as Okinawa Karate-do was officially recognized as an official Japanese budo. With karate-do now officially recognized by the Butoku Kai, Kyoda was one of the first Okinawan karate-do teachers to receive his Kyoshi certification in karate-do from the Governor of Okinawa, at the request of the Dai Nippon Butoku Kai in 1934 (Showa 9). Kyoda himself was a strong proponent of the renshi/ kyoshi/hanshi system of licensing which was used by the Butoku Kai and was instrumental in promoting it in Okinawa and later in mainland Japan, In addition, Kyoda was named the chief director and head instructor of the Naha branch of the Butoku Kai: The final organization Kyoda was involved directly with was the Okinawa ken Karate-do Shinko Kai (Okinawa Prefectural Karate-do Promotion Society), established in of January 1937. Kyoda, along with such notables as Yabu Kentsu, Hanashiro Chomo, Kyan Chotoku, Chibana Chosin,Miyagi Chojun, Gusukuma Shimpan, and Nakasone Genwa gathered together in March of 1937 and created the Karate Kihon Kata Juni Dan (12 Basic Forms of Karate). These Kata were the origin of today's Shorin-ryu Kihon-gata I & Il. To'on-ryu After World War Il Okinawa lay in ruins. Few if any of the pre-war karatedo organizations had survived the Battle of Okinawa and most had vanished from existence. For most karateka of that era, hardship and poverty marked the first few years following the end of World War Il. Not surprisingly karate-do practice took a back seat to simple survival. It was during this chaotic post-WWII era that Kyoda Juhatsu retired from his career as a school principal and moved to the southern Japanese island of Kyushu. There in Kyushu he settled in the hot springs resort town of Beppu, located in Oita Prefecture and began to teach his brand of karate-do calling it To'on-ryu. Kyoda Juhatsu did not have a formal dojo as such, instead he taught out of the garden in his home. Outside in his garden he had makiwara, nigiri-game, chi-ishi, ishi-sashi and other training equipment. Murakami Katsumi recalls that sometimes Miyagi Chojun’s students would come to the dojo to visit or to ask for instruction. According to Murakami: "...apparently Miyagi had said in his later years that if you have any questions about kata, to ask his senior Kyoda Juhatsu" Of all the teachers Kyoda Juhatsu studied under (Higashionna Kan'yu, Yabu, Itosu, Wu, Higashionna Kanryo had the most profound impact on him by far. Indeed, Kyoda devoted well over a decade of his life to learning Higashionnas karate-do. So loyal was Kyoda to his teacher, that he named the style of karate-do that he taught after him; To'on-ryu (literally Higashion(na) style. To'on-ryu takes its name from the onyomi (Chinese) reading of two of the Chinese characters of Higashionna’s name To'on-ryu: The Style Despite both Kyoda and Miyagi having studied under Higashionna Kanryo, Kyoda’s To'on-ryu is in many ways completely opposite to Miyagi’s Goju-ryu in the execution of technique. To'on-ryu Is characterized by swift springing movements and places little emphasis on rooted stances; a characteristic of Goju-ryu. Generally speaking, techniques in To'on-ryu are executed in a much more circular, smooth and flowing pattern than their Goju-ryu counterparts. There is definitely a more distinctive and obvious Chinese flavour to To'on-ryu. This can be especially seen in To'on- ryu's use of low Kicks to low targets as well as the use of the open hand in contrast to the closed fist of Goju-ryu. Also of note is that many people believe that it was Goju-ryu founder, Miyagi ‘Chojun, who initiated the change from empty-hand to closed fist, However this appears not to. be the case. Murakami Katsumi, a direct student of Kyoda Juhatsu, Kyoda had stated that Higashionna Kanryo had told Kyoda to do what was comfortable for him, whether it be a closed fist or open hand (Murakami 1999). To'on-ryu Kata: Sanchin Like his teacher Higashionna, Kyoda was a staunch believer in Sanchin kata and was often quoted as saying, "Karate begins and ends with Sanchin". Kyoda's method of instruction was virtually identical to the way he had learned under Higashionna; Sanchin for the first three years! In the first year Kyoda taught the basic foot movements, hand positions and strikes, as well asthe correct method of breathing for the kata. Importance was placed on basic footwork which, in contrast to modern Goju-ryu, emphasized using the toes to grip the floor instead of the ball of the foot. Kyoda likened the foot movements of Sanchin dachi as being similar to moving the foot ‘over hot coals, that is moving the feet quickly and smoothly in a light, sliding action. Generally speaking, the feet are held straighter and wider apart in comparison to the Goju-ryu Sanchin dachi. For Kyodas students, basic footwork alone took several long months of training and was later taught in conjunction with striking, kicking and blocking techniques Breathing in To'on-ryu Sanchin is also considerably different to what is practiced in modem Goju-ryu. Goju-ryu employs deep and slow inhalations through the nose followed by a powerful, almost bellowing exhalation of air from the contraction of the abdomen through the mouth, coupled with a tightening of the glottis (roughly sounding like a prolonged "hah". This method of breathing is reported to have originated after Miyagi Chojun returned from his research trip to Fuzhou in 1918. In contrast, Kyoda taught the same method of breathing that he had learned from Higashionna. While performing Sanchin, students breath out normally and continuously, but after the hand is returned to Sanchin kamae, a very brief, sharp exhalation is performed; akin to blowing dust from one’s hand (roughly sounding like "su"). Therefore, To‘on-ryu does not use two stages in its breathing like Goju-ryu. Goju-ryu inhales as the arm is retracted and exhales as the punching arm is extended. As the arm is brought back into Sanchin kamae, another inhalation is performed with a final exhalation as the arm stops in Sanchin kamae. To'on-ryu, in contrast to this, inhales as the arm is retracted, but then continually exhales as the Punching arm is extended and retumed to Sanchin kamae. By the second year, Kyoda's students were expected to conduct their own personal research and investigate what techniques the kata contained. Finally, by the third year students were expected to begin to apply the various techniques contained within the kata in simple and complex patterns. Modem karateka could scarcely imagine learning in such a manner. Indeed, Kyoda's methods embraced what McCarthy has described as: “...a set of standards no longer fashionable to a generation so dominated by materialism " Although Kyodas training methods were severe, Murakami Katsumi recalls that, "He was extremely patient and kind when he taught karate to his students. It made quite an impact on me" Rokkishu. After learning the kata Sanchin, Kyoda next introduced his students to the techniques of Rokkishu. Rokkishu is very similar to the techniques contained in Goju-ryus Tensho Kata, but these techniques were never systemized into a formal kata. It is believed that both Kyoda Juhatsu and Miyagi Chojun based their techniques on a chapter in the Bubishi entitled Rokkishu, or the "six hands of chance / energy." It is of interest to note that martial arts historian, Kinjo Akio, has argued that although Tensho and Rokkishu contain the hand formations illustrated in the Bubishi, it is more likely that Kyoda and Miyagi took their inspiration from an alternate source, perhaps hsing/kata of a Fujian origin. However, what this alternate source may be is still a point of speculation. Seisan,Seisan then follows Rokkishu. There is some confusion as to exactly how many versions of Selsan Kyoda Juhatsu WAS proficient in, but it is believed that he was familiar with three versions of the kata. According to Kinjo Akio, Kyoda had learned both Higashionna Kanyus and Kanryos Seisan kata and initially introduced his students to both versions. In contrast, Murakami Katsumi has stated that Kyoda had learned a version of Seisan from a man named Miyagi, who learned the form in China, Murakami also states that according to Kvoda, the man named Miyagi was the elder brother of a man who rented a room in the Kyoda family house when he was a youngster. This Miyagi had two elder brothers, one who was quite a bit older, and was proficient in karate. The second eldest traveled to China and studied quan'fa. It was this man that Kyoda learned from. This man did not use any other kata, and specialized only in Seisan. According to this man, he taught the kata exactly as he learned it in China. Be that at as it may, Kyoda appears to have known several versions. Indeed, Murakami goes on to relate that after the passing of Kyoda Juhatsu, he called upon his most senior student, Iraha Choko to compare his Seisan with his. Murakami soon found out that his kata was the same as how Iraha learned it During their meeting, Murakami states that Iraha told him: "...only Kyoda Sensei used this kata | often get visitors who practice karate, and we have discussions on the martial arts, but | have never shown anyone this kata.” Murakami also relates that he believes Kvoda received strict instruction in Seisan kata from his teacher Higashionna Kanryo. Murakami recalls that Kyoda was especially strict with him when teaching the sokutogeri (sword foot kicking technique). Kyoda often recounted an interesting story about the sokuto-geri to his students. Kyoda would relate that when Higashionna demonstrated this technique, there was a loud cracking sound. The next day when Miyagi Chojun visited Higashionna’s house, Higashionna was separating the floorboards. Higashionna said to Miyagi: " there seems to be something wrong with the floor, go take a look". When Miyagi Chojun went under the house to have a look, one of the large supporting beams under the floor was broken clearly in two and the house was sinking down as a result! According to Murakami, “The kick (sokuto-geri) in Seisan is used as a finishing technique in a kill-or-be-killed situation, and is very frightening’. Accordingly, the sokuto-geri in Seisan must be performed with great power and one must put a lot of strength into the kick when practicing, often resulting in broken floorboards. Not surprisingly, Murakami states that Kyoda used to check the floor before practicing this kick He said that once he didn't check the floor well enough, and that he injured his foot quite badly. Be that as it may, Kyoda only taught the Higashionna Kan'yu version of Selsan to his students. Sanseru. Sanseru is the next kata taught in Toonryu and was reputedly Higashionna's specialty. Interestingly, Higashiona’s most famous and prolific student, Miyagi Chojun, reportedly did not lear the kata Sanseru. Despite his family's wealth, Miyagi Chojun was called up for a compulsory two-year tour in the military in 1910, being posted in Miyazaki Prefecture on the island of Kyushu. Kyoda on the other hand had graduated from the Okinawa Teachers College a year earlier in 1909, and because he did not meet the minimum height requirements for military service as well as his position as a elementary and junior high school teacher, was freefrom such obligatory military service. Therefore, it was during Miyagis absence that Kyoda is believed to have learned Sanseru and for which Miyagi was reportedly very envious of Kyoda. Pechurin, Pechurin (also known as Suparempei) is generally regarded as the highest kata in Naha-di and was reportedly Kyoda's favorite kata. Higashionna Kanryo, after thoroughly teaching Sanchin, proceeded to teach Seisan, Sanseiryu, and finally Pechurin. According to Murakami Katsumi, Pechurin is the longest kata in Naha-di, and contains all of the techniques of the Naha-di tradition. Murakami also relates that here are many secret techniques hidden within this kata and much practice and personal investigation is necessary to unlock its secrets. Interestingly, Kyoda Juhatsu taught this kata to only four individuals: his son Kyoda Juko; Beppu Self Defense Force karate instructor Kanzaki Shigekazu; his senior student and former Okinawan government representative Iraha Choko; and this Murakami Katsumi; former elementary and junior high school teacher. Jion. ‘As previously mentioned, it was during Kyodas College days that he studied under Shuri-te expert Yabu Kentsu, a man who reputedly had amazing punching power. From Yabu, Kyoda learned the kata Jion, it is rumored that during Kyoda's studies of Shuri-te, he also learned the Pinan kata as well as the kata Sochin, but this has not been substantiated. Nepal. Kyoda Juhatsu spent several years involved with the Karate-jutsu Kenkyu Kai and it was during his involvement that Kyoda learned White Crane boxing (Jap. Hakutsuru-ken) from Wu. Kyoda learned the kata Nepai, but what rational Kyoda had for learning Nepai from Wu is not known. Kinjo Akio has speculated that Kyoda included Nepal in his To'on-ryu because Higashionna’s training was believed to be a form of Crane boxing as was Wu's Nepai is clearly illustrated in the Bubishi and means “twenty-eight, referring to the number of strikes and/or fighting postures contained within the kata Wu also taught his version of Nepal to Shito-ryu founder Mabuni Kenwa, who called the kata Nipaipo or "twenty-eight steps. However, the Shito-ryu version is considerably different from the To'on-ryu version which stil contains its "Chinese flavor and obvious combative origins.ae Conclusion. Kyoda Juhatsu died on Aug 31, 1968 (Showa 43) at the age of 81. Among those students who had the opportunity to leam from him, Kyoda is remembered for the respect and humility he demonstrated after class. After class Kyoda would often speak at length and with respect about Higashionna Kanryo and would also recite Buddhist scripture Murakami Katsumi remembers Kyoda in the following words "He was in the true sense of the word an educator. His occupation was being a principal of an elementary school for most of his life. He was a man of great integrity! Prior to moving to Oita, Kyoda had taught a number of students not only academically, but also physically and mentally through karate practics For Kyoda Juhatsu, as with many Okinawans of his generation that studied karate-do, he refused to instruct anyone of low character or moral standing because he felt these people would give nothing back to society or karate-do. Ever the educator, Kyoda felt that karate-do training was to build both a strong body and a strong mind and that it was through this training that a person would become a valuable and productive member of society. After his death, his teachings were carried on by four of his students Iraha Choko (1901-1986), Kyoda Juko (his third son 1926-1983), Kanzaki Shigekazu (b. 1918) and Murakami Katsumi (b 1927). Regrettably out of these four students none of them are actively teaching To'on-ryu. After contacting and interviews Kanzaki Shigekazu, this author was informed that only one of Kanzaki sensei's students is still teaching To'on-ryu.‘Low'on Ryu karate, founded by Master Jubatsu Kyoda by Mario McKenna, M.Sc. Mario MeKey When were you born? Kanzaki Sensei: April 22, 1928. Ikeda Sensei: March 26, 1961 Mario McKenna: What was your childhood like? Kanzaki Sensei: I attended elementary and. middle school in Kotea during the Sino-Japanese Was, When the Second World War started to expand, 1 volun- teered for naval flight school and beeame a cadet, ‘Thece I was indoctrinated into dying an honorable death for Japan, This was in Ainoura, Nagasaki (pre eat day Sasebo city), and it was during my training that the war ended Mario McKenna: Could you tell us about your back- ground in budo? Kanzaki Sensei: From elementary to middle school 1 practiced Kendo, and daring my days as a naval cadet 1 practiced Bato-jrs, Theda Sensei I started karate when I was 18 yeas old. Tim now in my 31st yar of practice, 48 Chast Fihing Ans * worsening ‘Mario McKenna; What inspired you to stat practicing arated Kanzaki Sensei: After the war in Beppu a friend and T got in to some “trouble” swith some occu: pying American soldiers and lost. 1 wanted to be able to fight back and gave some serious thought about what would be the best thing eo do. Ie was through an Okinawan man that I was introduced to Kyoda Sensei Mario MeKenna: What does budo mean to you? Kanzaki Sense: The cultitation and mental raining of decisive techniques of self-defense, and a calm mind (ve from panic ofthe things around us) Ikeda Senseis It means cuvvating the mental courage and strength to put ones life before others to protect family and loved ones. Mario McKenna: Have you practiced other forms of budo? Ranzaki Batto-juts, As I mentioned earlier, Kendo andIkeda Sensei: I practiced some Judo in my cali days Mario McKenna: What was your impres- sion of Kyoda Sense? Kanzaki Sensei: To be honest my first impression was, “this guy is a karate teacheet” I had no idea that he was a famous arate master. But as I told yous my motives for initially wanting to study karate were (0 get stronger and use itco fight but I found it impossible to become a student. I asked [Kyoda Sensei] many times o become a student, RE SS: (oe MMe Pies ao CONS eu cee ioe bout was tumed away: But in stiving to stat practice, my attitude changed and Twas eventually granted permission to start. Kyoda Sensei was usually a very gentle and warm man, but duving Karate practice he was very strict; especially when it came to basics, which I repeated again and again until I understood them. This was Kyoda Senses way of teaching self-discipline. His eyes would always be fixed om my legs and lower back. If T wanted to study another form of bade, hre recommended that I study Kendo as the movement ofthe legs and lower back were comparable to karate. Kyoda Sensei 50 Chesil gig Ars * worn cdaialihingetson would like to drink occasionally and when we would have get-togethers he would relax, tel jokes, and sing Okinawa folk songs. Mario McKenna: Hon was practice when you fist stated with Kyoda Sensei? Kanzaki Sensei: I was so elated chat I ‘vas allowed to stare practice, but I had no idea what Twas doing! AILT did was practice walking in sanchin stance, and I didrit even know it was called sanchin when I started. Juhatsu Sensei would say things like, “Everything begins and endswith sanchin” or “When you watch: a persons sonchin Kats, you know imme diately how much he has trained” I did this for about three months on top cof the tatami mats in Juko's company apartment. At that time Juko was work ing for NTT and Juhatsa Sensei was living with him, We were pretty hard on the tatami and they would become worn quickly, so we had to replace them often, When I think aboue my practice back then, I think ie was hard eraining Te was about seeing how far I was able to push myself: Looking back it was a good way to practice - leaned posture, stepping, use of power. OF course 1 was leaning the fundamentals as well, punches, kicks, Blocks, stances, and basic ‘movement, Bat because we were practice ing in Juko’ apartment, we had to be quiet so as co not disturb his neighbors. So we would move sofiy like a cat and then powerilly ikea tiger. After about Jikan Sef defence Force Karate ci part Far lf standing, KyodsJuko; second from lf, seated, KanzaiShigekazu, Far riht, seated, Kyoda Juhats. a year Inter, we started practicing out- side in the narrow ganlen of a rented house, I remember being so happy about being able to practice outside. But the seasons. change, and we would always be barefoot when we practiced - even in the middle of winter when it would snow. My feet would be so cold that I woul lose feeling in my toes. Id look around for a spot where the snow had smelted and practice there. Even though it was a puddle of water ic was waemet than standing in the snow. In 1955 ve moved practice co the garden of another student who lived in Kamegawa town ship. We stayed there uncil 1957. That ganlen was very wide with lots of room to practice. Because that house was on the outskicts of Beppu, I would ride the tran to practice with Kjoda Sensei. T would stare out the window not really thinking abouc anything and I remem- ber him asking me suddenly whae did just see out of the corner of my done know," I replied, "Dorit just aim- lessly look around, be aware of what sin front of you, what is beside you. This is also practice and a way of training your intuition,” he sad, Tl alvays remember that. On days when it was raining, we wouldnt practice karate, but instead Koda Sensei would lecture us on karate history and martial spirit. Eventually Kyoda Sensei and Juko moved to a new house, We set up makiwara, kakiya and ‘other equipment, but by this time I was the only one practicing so the garden was huge. Kyoda Sense also taught be some kobudo. He sad, “In this day and age, you dont need these sore of things (weapons), but it you should practice as a means of strengthening yoursel” So, 1 made myself abo, sai and unchaku that were much thicker and heavier than usual. In 1966, Kyoda Sensei sad ro me, “Youre teaching now, so I think you ae —— Syaes aa vounicasalighingartsorg * (cal Fling Ants ST"Sanchin. We would practice Sanchin in ‘coordination with our breathing wntl our - bodies couldrt move anymore. Next we ‘would use the wooden man (lakiyt), and then practice blocking and attacking. would practice sparing with Juko Sensei ther things and We would practice with Sanchin, Ket practice con- sisted of basic kata I and 2, then Sesan and Sanseru as well as other variations. Mario McKenna: Did you ever practice Sanchin with open hands? Kanzaki Sensei: We never practiced Sanchin with open hands. Mario McKenna: Did Kyoda Sensei each any prearranged sparring ses? Kanzaki Sensei: Kyoda Sensei didnot teach prearranged sparring, instead of prearranged sparring, Juko Sensei and T vwould practice free spacing. This meth ‘od involved placing your right wrist on the right wrist of your partner's while both of you took a right forward stance. The lef fist was held a che waist. Koda Sensei would stand between us and hold both of our fists down and we would wait for our chance. eis exactly like the start of Japanese Sumo. You looked for your chance, and with a shout “HA the sparring would star. In other words, Tou‘on-rye is a style that favors close- in fighting and using techniques at an ‘extremely close distances, Therefore, we do not do prearranged sparring where an attack comes and you block in a certain ‘manner or attack in a cerein manner. probably need some dan grade. Maybe Kanzaki Sense: Fits, warming.up exercs- 4th or Sth dana” But that was the fist es; stationary blocks, kicks and punches; Mario McKenna: Could you explain the and only time that Kyoda Sensei talked combinations of moving blocks, kicks importance of locking the hips? about dan rankings and punches, et Kyoda Sensei brought these together inco an original exercise Kanzaki Sense: In karate there is almost Mario McKenna: Was there specific way called “Blocking to Four Directions (sido no time when you use only the muscles that Kyoda Sensei taught? uk). Next we would repeatedly sep in of your upper body. The hips always form the base. The moment you kick, S2 Clie Fging Ans * woodspunch and block your hips will natu rally more. You do not move the hips on Purpose; you must move your hips nar rally. You exhale strongly but not entirely when striking punching, kicking and the like, Exhale 70% to 80% of your breath and eave 20% to 30%. This isin onder to deal with the next consecutive attack, Mario McKenna: What is Ter l-Heppt Kanzaki Sensei: Ten-Happo is a very important movement [exercise]. This ‘Ten-lHappo is an original creation (of Ryoda Senscis. This [movement] is used to move the body in relation to the attack of your opponent and to assume 1 dominant positon, From this position you are able to apply different variations of throws, Blocks, reversals te Mario McKeon: What was yor impres- sion of Kanzaki Sensei? Theda Sensei I first met Kanzaki Sensei in 1981 when I was 20 yeats old. At chat time, Sensei vas 53 yeats old. Inemember being impressed with Kanzski Senses build. He was very muscular, especially his upper body. When I met him he showed me a part of the [Toa'on-ryu] kata Pechurin, and I was struck at how completely different it was compared to the modern kata Suparempe. I also remember each movement having heavy and soft parts to it and thinking that Kanzaki Sensi was very mysterious Mario McKenna: Why do you think Kyoda Senses and Miyagi Sensei’ kata and technique differed? Kanzaki Sensei:Kyodsa inherited igaonnals rata and technique unchanged, how ‘ever Miyagi made his own kata and changed others by introducing his own ideas. The most obvious is chambering the fist at the same height as the chest because he was barrel chested, In adai- tion [Miyagis] sansera is completely Afferent fiom that of the Kyods, while, pechurin was passed on by Higaonna to Kyoda as pechurin. I think suparempei is a kata that was changed by Miyagi co include different techniques. Kyoda also researched other systems in_ addition to Higronna’ in order to build-up che Higaonna style. For example, Yabu no Jion and Nepai. Mario McKenna: Why do all che Tos’on- ryu Shihan use the “Ju” kanji i chi names? Kanzaki Sense: Tou'on-yu shihan include the “Ju” (8) kanji in their first name. This means that our system (of Karate) comes from Juhatsu Kyoda Sensei. We use the fist kanji "Ju" from Juharsu ( BH) Sense’s name. The “Iu” (B) kanji can be rad two ways. Japanese is difficult, I know. One way isto read it “Shige” and another way is “Ju, So, 1 am called Shigekazs or Juwa (3), Theda shihan is Shigshide or Jushu ( BH), Yoshino shihan is Shigemasa or Jusei (IE) and Fujshima Shihan is Shigekatsu or Jushou (BEM). Either reading is ie. Mario McKenna: What is the meaning of kata? Kanzaki Sensei: Kata is constructed to be used as it isin combat, Those who say that Kata is meaningless do noc under- stand the meaning of kata. Kaa assumes rapid. attack agninst an opponent's weak points and the defense of your own, The techniques contained in kata must be practiced over and over again tuntil chey become instinctive, ‘gvama Dojo, Beppu ita Prefecture standing front lef, eda Shlgeide; standing front, ght, encod Shigeo, worclasialigbinguser, * Clase ghing Ans 53Theda Sensei: Kata teaches you the impor- tance of practicing with your body, and the importance of using your entite body. Mario McKenna: How should a person scudly karate? Kanzaki Sensei: The frst important ching is to study the caditional karate that has been handed down to us. This means researching the ancient tradition of Karate that was developed, practiced, and used on the Ryukyu Islands, the birthplace of karate. This means study- ing until you are proficient. It also all right to research the techniques fiom other styles. Tkeda Sensei: Naturally, as people age, they ‘must continually refine and study theit techniques. T think this also includes tespiration and the intemal and external integration of ki [vial energy) Mario McKenna; What do you think of spore karate? Kanzaki Sense: I dont thnk i a good thing, This is karate competition using speed and technique [alone] Ikeda Sensei: The mote sports karate you practice, the farther remored you ‘become fiom karate as a form of bude. So, we practice Tou’on-ryu from the viewpoint of an ancient martial way. Mario McKenna; What do you hope for ‘Towon-ryu karate’ future? Kanzaki Sensei Tou‘on-ry isan old and traditional karate pased down to ws, 0 want to protect and cultivate tis tradi tion, but these days there are few people lke Shigehie Sense performing Sesan ata, (training]. However, 1 feel they will carry on the tradition. There ate some in the dojo who working hard as assistant JS4 Qhasicl Fybing Ans * sww.dasicafhingrcoryTheda Sensei: As an ancient martial way, Thope to pass on Touon-ryu to future generations unchanged. This means not nly physical training, but also che teach- ing the importance of mental maining. Mario McKenna Do you have any advice for students? Kanzaki Sensei: Karate is definicely not something mysterious. Over the months and years, take ic step-by-step; there are no breaks. Continue to study and practice throughout your life ~ thete is 10 end. Tkeda Senseit Please continue your stud. ies The more you suudy karate, you will come to understand what a profound practice iis. Mario McKenna: Any last thoughts? Kanzaki Sense: In this interview I have said what [honest think Setbukan Kiawate Featuring Zenpo Shimabukuro, 10th Dan, Seibukan Siall of stature, karate master Choto jan developed a form of arate so ef ‘ive itmade his rame a legend in Okina. From the early 1930s Zenryo Shimabuluro studied with Kyan Sense and when he had ‘mastered the art of his mentor, opened his a CALL (800) 717-6288 TO ORDER! ‘Chojun Miyagl deft traning with Junatsu Kyod. Circa 19. Seibukan Shorin Ryu karate is a traditional kata based system that retains complete combat effec: tiveness. The legacy of Kyan is stil seen today ints speed, ferocity and power—atributes that dsin- ‘uh ie from more modern karate systems. According to Kan sensei mastery of his art imvolved:"Seventy percent perspiration and thirty Percent inspiration" The modern student who fl- lows the advice ofthis legendary martial artst will find the efore worthwhile and the prize arch one. 48 min. ~ $39.95 Contents: ‘Tha History ofthe Seba: The kata of Chota Kyan Passa, Chin, Kuan Sin, ‘Ara, Wats, Gojusha Wanchin. Feformed by Zenpo Shimabukuro, th Dan Selon vwoedlasiabighingmseee * (lasial Fghing Ans 55International Ryukyu Karate Research Society © 2001 Kanzaki Interview PM: Sensei, welcome to the Koryu Journal and thank you for gracing us with this interview. KS: Not at all, it's my pleasure, PM: Sensei, when were you born? KS: | was born on the 22™ of April 1928. PM: Would you mind telling us something of your parents? KS: Yes, of course. My father, Noboru, was a dentist and had a clinic in Korea, before the war. He died, however, rather young at the age of 50 in 1943. My mother, Fumi, didn't pass away until 1993 at the ripe old age 92 PM: How did you get started in karate? KS: | had some trouble with American soldiers during the Korean War (1950-1952), and decided that | needed to get fit and learn to defend myself. Looking for a Karate teacher | met an Okinawan named Teruya Rinko, an old student of Master Kyoda Ju- hatsu and received instruction from him. PM: Sensei, what was your childhood like? KS: | was brought up in a relatively normal middle class family in good social settings. However, with the Ruukouchiao incident (rokakyo jiken) at Nanjing, Japan declared war on China, which ultimately lead them into World War. That was a time of complete chaos. By the time WW2 was declared I was a student in secondary school. Of course, | volunteered for the military as a preparatory student and became part of the Imperial Navy fying corps. In this unit, recruits were indoctrinated in accepting honorable death for our country. PM: What does Budo mean to you? KS: Kyoda sensei never liked fighting at all. | heard he used Bu to protect himself inevi- tably. He used to say that you should not attack first to an enemy who are apart from you and stay away from the trouble first. In short, he taught us to defense ourselves first, which keeps me in mind. | believe that the important thing is to discipline physi- cally first and train the mind. Budo is the most excellent tool to discipline ourselves (body and mind). | always try to observe myself from the third point of view, in another word objectively PM: Sensei, have you conducted any supplementary research of your own? KS: Not really. | mean, | have never made any special research into karatedo. It is said karate originally came from China and | have always just studied it from that point of view. | have, however, thoroughly studied the meaning of those Kata which were passed onto me. When | became a student, sensei never told us to "teach". His modest attitude which he studied with me together inspired my interest of budo. When | was young, there were no historical documents available like there are these days. Like others, | just obeyed and did what sensei asked of me. | was not easily ac- cepted as a student of Kyoda Juhatsu in the beginning and was told that my motivation insufficient. Even when | was finally accepted by Kiyoda sensei, my daily training was limited only to the learning the ashi sabaki (footwork) of sanchin. It was only much later that sense finally told me the reason he was so hard on me was to test my resolve. Page 12‘Studying the Anthropology, Ethos & Technical Theories of Uchinadi PM: Have your studied other kinds of budo? KS: Not really. When | started Karate, | also undertook the practice of Kendo, too. | practiced Kendo in secondary school because Sensei suggested that | should if | wanted to learn something other than Karate. | assumed that Kendo's sharp body movement and stable hip positioning would assist my ,| Karate technique een PM: Many people focus on the ori- _| gins of our tradition. Is this an im- "| portant issue for you? PM: Yes, | think so. Especially these days. | think there should be more | emphasis on the original karate. For myself, | draw a line between the mod- fem and the original and stick to what sensei passed onto me. | think others share my conviction, too, as teachers from other styles and countries are recently visiting me for the same pur- pose. PM: Sensei, which kata were passed onto you? KS: | learned the Sanchin, Seisan, Sanseru, Yabu no Jion, Nepai & Peichurrin. PM: Did you create any of your own kata? KS: No, not in the classical sense, but | did develop some kihon exercises to help with blocking, striking and kicking. For example, “Shiho Uke" represents blocking in four directions which are supported by striking & kicking techniques. In order to help de- velop speed Kyoda sensei created the Kihondosa; Ten-i Happo, as regular practices that | ultimately assigned names to. PM: What is the meaning of kata? KS: Kata has many meanings. | think each style needs to study the meaning of kata in their own way to discover its practical application. Discovering how kata can only be used effectively requires diligent study over and over until responses become instinc- tive. From this concept osae, nage, kanselsu-waza, kyusho-justsu, tsukamiai, tuski and keri can be applied accordingly. This should be mandatory study. PM: How should one study kata? KS: First of all, you should discover & understand the meaning of kata well. In this area there can be no end to learning; even if you develop applications, you should still con- tinue to work on variations and alternative uses. Just study and continue to study. In this regard karate is said to be a lifetime study. PM Have you published a book? KS: Not really, however, an Okinawan friend of mine, named Kinjo Akio, is a respected and acclaimed writer and included my memories of Kyoda sensei in one of his publica tion entitled, "Karate den Shin Roku.” Page 13International Ryukyu Karate Research Society © 2001, = jekazu & students with Kyoda Juhatsu (far right) PM: Would you comment on the sport element of karate? KS: Karate became a very popular after joining the Nippon Taiiku Kyokai. However, it appears to me as if there's far too much concern about winning and who's got the most, powerful "tuski" and "keri." In my opinion, such concerns are far away from the true purpose of karate. | understand that winning is very important as a sport but many true martial artists are concerned that the more important lessons are being lost in lieu of winning, PM: What do you see for the future of karate? KS: That's too difficult a question for an old man like me. However, | can say that if this current situation—winning at all costs—-is not adequately addressed it's entirely possible that the true essence of karate will be lost forever. PM: What can you tell us about Kakedamashi? KS: It's something | don't know. PM: Can karate ever be unified? KS: With attitudes that insists this style is better than the other, | doubt it PM: Has this attitude always existed? KS: To the best of my knowledge, it did not exist when | first started learning. Kyoda sensei said that in old days different teaching methods existed in Naha and Shuri but after the research group was established styles were mixed and studied together. G if s Page 14‘Studying the Anthropology, Ethos & Technical Theories of Uchinadi PM. What, in you opinion, are the qualities of a first rate karate master? KS: Genuine modesty followed by self-discipline. PM: What other masters impressed you? KS: Kyoda sensei is the only master | knew. || PM: Why did Kyoda make such an impression on you? KS: Kyoda sensei changed my life, At the time | was leading a life of dissipation which resulted from the | shook of losing World War 2. At that time "yokaren- ||kuzure" was @ popular word. Basically, it referred to J young pre-pilots like myself who had been brain washed by the military that dying for our country was the only way. Following the war | lost the purpose to live, which ruined my life. Kyoda’s teaching saved me. Would you mind sharing one of the most memorable things that ever hap- pened to you in karate? KS: Certainly. It was in the middle of kumite practice when Sensei was instructing me in the correct use of "Jodan-tsuki.” During our kumite | inadvertently threw a kick in- stead of the jodan-tsuki. Sensei reacted with such speed that my feet were scooped up and | landed flat on my back, Giving me a pretty concemed stare, Sensei quickly apolo- gized for being responding too hard and asked me if | was all right? | was more im- pressed with how fast he reacted than | was about myself. | never forget that day. Once, many years later, | was confronted on the street and my body reacted in a simi- larly instinctive way. | thanked Kyoda for his patience & lessons. PM: Sensei, what advice can you share with our readers? KS: Never forget the motto "Karate ni sente nashi* don't ever use karate to attack first! indiscriminately. Karate is to be used defensively; nage (throwing), gyaku-waza (counter attack) osae (holds), tsuki (ist striking) and keri (kicking) should be instinctive. This can become an instinctive reflex when the meaning of kata is understood. PM: Sensei, would you like to make a final comment? KS: Higashionna Kanryo, Higashionna Kanyu and Yabu Kentsu, were the teachers of my teacher. As the successor of Kyoda sensei, my responsibilty is to pass on his les- sons. The principal lesson Sensei emphasized was using "kake-ai;” the ability to use techniques in harmony with each other, especially in close-quarters. In the case of combative engagement distance being further away then it is best to avoid the confron- tation, Karate technique is a defensive skills used in close quarters and not meant to be used otherwise. | still study and practice these concepts with like-minded enthusiasts. Well, that's about all. However, as you can see by my answers my life in karate relates only to Kyoda Sensei. I'm sorry I don't know much about other things. PM: On the contrary Sensei, your responses have been extremely informative and very helpful. Thanks only to the cooperation of senior masters like you can we juniors better understand what was previously taught and how it was handed down. On behalf of the entire research society | thank you for your helping us. Page 15NAHATE: THE OLD SCHOOL OKINAWAN MARTIAL ART AND ITS ORIGINAL FouR-KATA CURRICULUM, Part II by Mario McKenna, M.S. Originally published in the Journal of Asian Martial Arts * Volume 20 Number 3 ¢ 2011 Digital Edition © 2012 qv All Rights Reserved by Via Media Publishing Company No part of this file may be reproduced in any manner whatsoever without writ- ten permission form the publisher, except by writers who may quote brief pas- sages to be printed for review or reference. Kindly write to the publisher concerning requests to make use of any of the materials published in this files, or contact the authors directly. Via Media Publishing 941 Calle Mejia #822, Santa Fe, NM 87501 USA wwwjournalofasianmartialarts.comPhotographs courtesy of Mario McKenna. Abstract The empty-hand fighting methods of the city of Naha created an important boxing culture on Okinawa island during the nineteenth and twentieth centuries. Referred to generically as Nahate (B81, Naha fist), this boxing culture subsequently influenced the modem karatedo sy tems of Goju-ryu and Tou'on-ryu. This two-part essay will discuss the origin, primary tech- niques, and hidden meanings found in the four main solo-training forms (#, katas) of Nahate: Sanchin, Sesan, Sanseru, and SuparempeilBechurin, Information will be presented from written sources, personal observations, and the verbal traditions passed down in the modem karatedo systems of Goju-ryu and Tou'on-ryu. These essays will emphasize the importance of these four forms in providing a systematic and logical progression of techniques for students. 38 Nehate Kata Curriculium ¢ Mario McKennaNahate: The Old-School Okinawan Martial Art and Its Original Four-Kata Curriculum, Part II by Mario McKenna, M.S. Ric 7 Aaa em ale If you were to ask a Nahate student what is one of the most notable tech- niques of Sanseru, he would probably answer that it is the use of the elbow. The elbow strike is referred to as enpi uchi or hifi ate in Japanese, and is a powerful technique in the old karate (Okinawan: toudi) arsenal. Compared to the fist, the elbow is much stronger, larger, and closer to the body, which allows it to concentrate more energy into a strike. It also requires less impact training (e.g., makiwara) compared to the fist, and is less prone to injury. Perhaps a better saying than the traditional karate maxim of “One punch, one kill” would be “One elbow, one kill.” Before examining the elbow strike and other techniques in Sanseru, let’s review a little bit of Sanseru’s and its different versions. Odd Man Out Sanseru is the odd man out in Nahate katas. Compared to the other main Nahate katas, it seems like a kata with multiple personalities, When we examine the Higaonna Kanryo (1850-1915) lineage of Sanseru, we can see three main versions:! © Miyagi Chojun (24% ARIA 1888-1952) version, © Kyoda Juhatsu (FH! #3 1887-1968) version, and © Higa Seko (E638 tit 1898-1966) version. ' Though historically important. we will imit our discussion to the Higaonna Sanseru kata and exclude the Uechi ryu version of the same kata, Journal of Asian Martial Arts # Vol, 20 No. 3 + 2011 39I must admit my bias at this point and feel that the Kyoda version is probably the closest to the original that Higaonna taught. There is enough anecdotal evidence to argue for this. There are stories of Miyagi’ being upset when he returned from his military duty to find out that Kyoda had learned Sanseru; Kyoda's being noted as an expert in this kata and performing it at many festi- vals and demonstrations; Miyagi’s deferring to Kyoda with respect to Sanseru kata among his students; the presence of the midlevel block, front kick, and elbow strike—which are signature techniques of Miyagi found in his version of Sanseru—and Miyagi katas Geki-sai I and Il and the statement from Miyagi Kei (1919-2009) (Miyagi Chojun’s son) that his father learned this kata from Kyoda, Ironically, however, compared to the Kyoda, the Miyagi version is now the most common version taught in the majority of Goju-ryu dojos around the world The Higa version of Sanseru is a bit of aconundrum in that it seems SoS Ci key to mix the Miyagi and Kyoda ver- ‘ass am Cd sions. We shouldn’t really be sur- : Sto prised at this given the dual influ- ence of Miyagi and Higaonna on Higa Seko? This alone might be enough reason to explain the hybrid nature of the Higa Sanseru.’ The Higa Sanseru has many techniques mixed from the Miyagi and Kyoda versions, as well as its own unique techniques. For example, like the Kyoda version, there isa knee strike in place of the double kick at the beginning. Like the Miyagi version, it uses the midlevel block, front Rai) Aone io and lock * See http:/len. wikipedia org/wikilSeko_Higa. *As an aside, many of Higa Seko's students know and teach the Miyagi version of Sanseru as well as the Higa version of the same kata More recently, the main Higa lineage group, the Intemational Karatedo Kobudo Federation emphasizes the Miyagi version to more freely interact with other Goju-ryu associations and events with respect to kata 40 Nahate Kata Curticulium * Mario McKennakick, and elbow combination. And uniquely it turns in the opposite direc- tion when performing the final crane posture Escape Technique and Joint Lock Like Sanchin and Sesan earlier, Sanseru kata begins with three steps in Sanchin stance in combination with three reverse punches and three midlev- el blocks. The first major technique after this sequence is an escape and joint lock technique akin to the aikijujutsu wristlock (nikkajo), although there are some differences in how the technique is performed in the Kyoda, Miyagi, and Higa versions. The seized wrist is used to secure the opponent's hand, while the other hand locks the opponent's elbow. The opponent's balance is broken by stepping back into a forward stance, which also provides addition- al leverage. rear Joumal of Asian Martial Arts ¢ Vol.20 No. 3 « 2011 41Elbow Strike, Hook Punch, and Low Side Kick Sanseru introduces the vertical elbow strike in conjunction with a forward stance. The forward stance deserves a bit of discussion at this point. One of the first things we should notice is that the forward stance appears often in the Sanseru kata, is absent in the Sanchin kata, and only appears once in the Sesan kata. We should stop and ask ourselves why that is. As we saw earlier in the opening segment of Sanseru, the forward stance provides greater lever- age and the ability to break the opponent's balance when we execute the escape and joint lock technique. However, there is much more to the forward stance than this. In Sanseru, the forward stance is used as a means of moving quickly forward to enter and occupy an opponent's space, and to transfer body weight into the strike. When this is combined with the use of the vertical elbow, the result is a technique that can crush an opponent. At this point we should note that there are substantial differences among the three versions with respect to the techniques performed before the vertical elbow strike. In the Higa and Miyagi versions, a midlevel block and front kick are performed in Sanchin stance, while in the Kyoda version, an inverted rising block in Sesan stance is performed with no kick. These are very important differences that need to be considered when examining the evolution of Sanseru kata—or any Nahate kata, for that matter. It provides a sort of a DNA signature, if you will. At any rate, this difference in the stances and techniques performed prior to the execution of the vertical elbow strike is important, as it changes the dynamics and functionality of the technique quite drastically. The Kyoda version teaches much more clearly the impor- tance of entering straight into a technique (irimi). Following the vertical elbow strike, a left punch is delivered. Here there are some minor variations, with the Higa and Kyoda versions remaining in a half-facing (hanmi) forward stance before delivering the punch, while the Miyagi version squares the waist and performs the punch. Functionally the technique is the same in all the versions and is typically used as a quick fol- low-up strike to the elbow strike. The final portion of this sequence is the low side kick, and here we can see differences among the different versions. In the Miyagi and Higa versions, the leg is drawn back slowly, then the kick is delivered quickly, and then retracted quickly and placed on the ground. In the Kyoda version, the leg is pulled back rapidly, the kick delivered quickly, but the leg is left extended, and then placed on the ground. Regardless of how the technique is per- formed, there are many interesting uses for the low side kick. At a superficial 2 Nahate Kata Curriculium # Mario McKennalevel, much like Sesan earlier, the kick can be delivered directly to the knee ed in the Sesan por- with very dangerous consequences. However, as I discu tion, there are many other interesting uses for this technique, some of which include throws and sweeps, and Sanseru introduces a new perspective on how to use them. Above: Sanseru Goju-ryu bow sequence and application. Below: Sanseru Tou‘on-ryu elbow sequence and application. 8 Journal of Asian Martial Arts © Vol. 20No.3 + 2Oa ed pet Low Cross Block The next portion of the kata has the performer execute two separate low ctoss blocks in succession: one with open hands and one with fists, in a horse stance. The sequence in the Miyagi and Higa versions is with an open-hand block first, followed by a fist block, while in the Kyoda version, the sequence is reversed. Regardless of the sequence of open to closed block or vice versa, the low cross block is an interesting technique. On the surface this technique could be interpreted literally as a low block, perhaps against a kick, but, as I oF Nahate Kata Curricullum # Mario McKennaThe next applica- tion we will look at is less spectacular, but perhaps a bit more practical, espe- cially since it incorporates the idea of karamidi. Like the previous example, it starts with seizing the attacker's arm, but from the outside, and then delivering the uppercut and backfist strikes to the face. The dropping elbow strike is used to bend the attackers arm at the elbow, while the low-level block strikes the groin and then encircles the attack- er’s arm to lock it. With the attacker secured, the hook punch delivers a strike to the face, and the low side kick is used to kick or throw the atte to the ground. ker SU) backlist BreFront Kick and Reverse Punch ‘The next segment of Sesan we'll look at is the front kick and reverse punch combination. Front kick is the second kick introduced in Sesan after the low- level side kick. It is executed by seizing the opponent and kicking directly into his body. The next technique after the front kick is the reverse punch. Previously, this punch was taught using Sanchin stance, but now it is performed in a forward stance while the other hand simultaneously does a palm block. ‘At face value, this technique is quite simple and brutally effective, but, as with other techniques, there are various levels to applying it. Cat Stance and Circle Block Sesan ends by performing a circle block from the cat stance. As I have already talked about the circle block, 1 won't discuss it here, but I will touch upon the importance of the cat stance. The cat stance provides the defender with a new protective strategy. In modern karate, it is typically explained as a fighting posture, but this runs counter to old-style karate (toudi), which does not use static postures (Nakasone, 1938: 86). Although there are many uses for the cat stance, in Sesan kata it is used in conjunction with a circle block. In this context, tora guchi is Sesan applications: 1) sweeping block/strike 2) palm-heel 3) front kick used to capture and ensnare (karamidi) the opponent's arms, and the cat stance is used to move the defender’s center of gravity in order to drop the opponent to the ground. It also allows the quick delivery of a kick with the lead leg 102 Nahate Kata Curticulium Mario McKennaLeft: Sesan circle block, applied Right: Sesan circle block applied with leg sweep ACKNOWLEDGMENTS I would like to extend my sincerest thanks to Mr. Maik Hassel for taking the photographs that illustrate this article, and to Mr. Olivier Riche and Mr. Brent Zaparniuk for posing for the photographs. REFERENCES CAMARA, E & MCKENNA, M. (2007). A preliminary analysis of Goju-ryu kata structure. Journal of Asian Martial Arts, 16 (4) 46-53. HiraKAMI, N. (2001). Koden Ryukyu Kenpo: Nahate no Himitsu. Gekkan Hiden: Issues 1-10. Kino, A. (1999). Karate denshin roku. Okinawa: Tosho Center. KUuMEMURA. http://en.wikipedia.org/wiki/Kumemura McKenna, M. & Swit, C. (2002). Etmology of Goju Ryu Kata. Dragon Times: 21: 12-13, 35. McKenna, M. (2001). Chinese boxing master Go Ken Ki: Okinawan Karate. Dragon Times: 20: 13-15. MCKENNA, M. (2000a). To-on-ryu: A glimpse into karate-do’s roots. Journal of Asian Martial Arts, 9 (3)32-43. MCKENNA, M. (2000b). Exploring Goju Ryu’s past, part 1 & 2. Dragon Times: 19: 18-19; 15-17. NAKASONE, G. (2009). An overview of karatedo-English Translation and Commentary by Mario McKenna. Raleigh, N.C.: Lulu Press. TAKAMIYAGI, S. (1996). Sanchin and its five cardinal points (pg. 158). pub- lisher? Tocucul. http://en.wikipedia.org/wiki/Seikichi_Toguchi TOKASHIKI, I. (1991). Gohaku-kai nenkanshi. Naha: Published privately. Joumal of Asian Martial Arts ¢ Vol. 20 No. 2 ¢ 2011 103them into fists, and pulling them back to the waist or chest, followed by open- ing the hands, turning them over, and thrusting with the fingertips. Let's examine the use of the fingertip thrusts by looking at a historical example. In An Overview of Karatedo (1938), Shiroma Shimpan describes the formation and use of fingertip thrusts in his chapter called “Karatedo Kata and Their Meaning.” Shiroma first describes the technique: “If the back of the hand is facing upwards and the fingers are held horizontally then it is known, as horizontal fingertip thrusts [sic]. Horizontal fingertip thrusts can be seen in the kata Sanchin. In Sanchin kata both hands are held at midlevel and simultaneously strike using horizontal fingertip thrusts” (Nakasone, 2009: 97). Shiroma (Nakasone, 2009: 98) explains the use of this technique: If an opponent fixes his eyes on your solar plexus and launches an attack, wwe use the principle of simultaneous attack and defense as | have previously explained by using double horizontal fingertip thrusts to both attack and defend. This double sided fingertip thrusts [si] is a very effective technique. If however, the opponent strikes at your face you can perform an open hand side block and with the same hand you can strike your opponent's face with either horizontal or vertical fingertip thrusts. Therefore high and mid-level fingertip thrusts are both an effective and advantageous means of attack and defense. Circle Block The final sequence of Sanchin kata in both Goju-ryu and Tou'on-tyu consists of stepping back one step in Sanchin stance and performing a circle block. In Goju-ryu it is referred to as “circle block” (mawashi uke), while in Tou’on-tyu it is referred to as “comma block” (tomoe uke). There is a noticeable difference how the block is performed between the sister styles, but we will get to this important difference a little bit later. The circle block is an extremely powerful technique that is often applied as a strike. This is a completely valid application of the technique, but it expresses only one dimension of it. An alternate name for this technique is tora guchi—the mouth of the tiger. The choice of name is quite interesting, as it evokes the frightening image of a tiger consuming its prey. But why this name? As you are probably aware, there are superficial (omote) and deeper (ura) appli- cations of techniques in karate (toudi), and this includes the circle block. In this light, the striking application can be seen as a superficial application, but a deeper application would be the use of tora guchi in some other manner. Journal of Asian Martial Arts ¢ Vol. 20 No. 2 ¢ 2011 omI think most people who practice Sanchin have thought of this and may even have stumbled onto a few alternative uses for tora guchi during their practices, but I would encourage you to continue to delve deeper into its study. There are countless applications for tora guchi: locks, throws, sweeps, traps, etc. I suspect that if your background is sports-based karate, then these applications may not be readily apparent, but with a little effort and experimentation outside of a sports context, they will reveal themselves to you little by little. Of course, it helps if your teacher is knowledgeable with these techniques, but it is not essential—at least not in the beginning. Now let’s return to the differences between Tou’on-ryu and Goju-ryu and how they perform the circle block at the end of Sanchin kata. In it, the arms are not extended out to project energy as you would as if trying to strike (this is more apparent in the Uechi-ryu interpretation and less so in the Goju-ryu version but still present). Instead the arms (especially the elbows) are kept close to the body. Also the position of the palms is quite different, with the upper hand in front of the collarbone and the lower hand in front of the groin. From this position one can easily “devour” an opponent. In closing I will leave the reader with the following image to contemplate the meaning of the circle block: “[T]he tiger always catches its prey” (Hirakami, 2000: pt. VI, 63). Psychological Aspects to Sanchin Not only does Sanchin kata provide deep technical and physical training; it also provides profound training for the spirit and mind. This is expressed very eloquently by Dr. Takamiyagi Shigeru, a high-ranking Uechi-ryu teacher of the Okikukai (Okinawan Karatedo Association) in his essay entitled “Sanchin and its Five Cardinal Points” (Takamiyagi, 1996: 158). ‘The practice of Sanchin, the foundation kata of Okikukai, develops the student in five ways that reach beyond the basic needs of exercise or self-defense Properly understood, Sanchin is a philosophical statement. The five benefits of Sanchin are as follows: 1) Sanchin integrates all parts of the stance; 2) Sanchin corrects the breathing: 3) Sanchin develops penetrating eyes; 4) Sanchin cultivates spiritual concentration; 5) Sanchin strengthens the body. The key for understanding Sanchin is “integration.” Proper stance anchors the student to the floor, while proper concentration and breathing integrates all body movements. Proper eye contact demonstrates uninterrupted awareness, focusing the mind on every area of attack of the opponent. To develop a strong and integrated Sanchin kata is to forge a well-honed and ordered self, 2 Nahate Kata Cusriculium ¢ Mario McKennaComments on Sanchin There are a few expressions that have been passed down in karate (toudi) about the importance of Sanchin kata, such as, “Sanchin is the beginning and the end,” or, “Three years of study for Sanchin kata.” These expressions tell us that although a short kata, Sanchin formed the backbone of Nahate upon which subsequent technique and understanding were built. In the next part of this article I will discuss the Sesan kata. DETAIL FROM A 1937 NAUTICAL CHART SHOWING THE AREA AROUND NAHA city. NAHA To SHURI (SYURI) IS ABOUT THREE MILES. From the Library of Congress print collection. Joumal of Asian Martial Arts « Vol. 20 No. 2 ¢ 2011 3A) Aya Ca) The next kata in the Nahate curriculum we will discuss is Sesan, which is typically viewed as an intermediate-level kata.’ Sesan is written as the number 13” but the reason for this is not entirely clear. Some teachers have stated that Sesan refers to the number of individual or composite techniques in the kata, while others state that it refers to the number of steps in the kata. For some, these methods sum to thirteen, leading them to believe that this is the meaning of Sesan (see Tokashiki, 1991; Kinjo, 1999). However, overall these methods of defining Sesan are unsatisfactory because of their inconsistency when applied actoss the different lineages of Sesan found in karate (toudi) What we can say with some certainty is that Sesan builds upon the techniques learned from Sanchin. For this portion, I will only be examining the Sesan taught by Higzonna Kanryo (1850-1915), which, unforcunately, was not passed down in Tou’on-ryu. Therefore a cross-comparison within the same lineage of kata cannot be done. Tou'on-ryu uses a version of Sesan, which originates from Higaonna Kanyu (1849-1922) and differs quite markedly in comparison to the Kanryo version. With that said, lev’s take a look at some of the techniques found in the Higaonna Kanryo version of Sesan. Sword-Hand Strike and Continuous Block Like Sanchin kata, Sesan opens with three steps forward in Sanchin stance in conjunction with three midlevel blocks and punches. As this was already dis- cussed in the Sanchin section, I'll move on to the next major set of techniques: a sword-hand strike followed by three rapid blocks and three double fingertip thrusts and knee strikes in succession. First, let’s examine the continuous block. These are unique to Sesan kata and are a solid example of a practical self-defense technique. They are excellent for a number of reasons, but let’s highlight two of them. First, they are executed toward the centerline of the opponent’s body while simultaneously protecting your own, and second, they can be used to deflect an attack and simultaneously counter toward vulnerable parts of the throat and head. This series of blocks is referred to as renzoku uke in Japanese and is described in An Outline of Karatedo by Shiroma Shimpan in his chapter called “Karate Kata and their Meaning” (Nakasone, 1938: 104): * Interestingly enough, in Tou'on-syu and Uech-yu, Sesan is taught before Sanseru 4 Nahate Kata Curiculium + Mario McKennaTG ‘When your opponent punches with his right fist, you block his attack with your left forearm (the right forearm is then held ready). However if your opponent attacks again with his left fist, you can quickly raise your right forearm to block his attack, [This technique is illustrated in figures | and 2.] Renzoku-uke is intended to block multiple strikes from an opponent, but during an actual fight it is not enough to simply block the attack; this is meaningless. It is vital to quickly strike your opponent's oncoming blow with your right of left hand chambered in front of you (since in karate-do kata double or triple punches are executed), When shifting from defense to offense with renzoku- uke, either in kata or in actual fighting, a useful technique is nukite [see photograph on page 100]. For example, after executing the third renzoku-uke you can strike your oppo- nent with a right tate nukite (or yoko nukite). Even if your opponent simultaneously punches at you with his right fist, you will have the advantage because your right hand is on the inside, PHU Pena Era Joumal of Asian Martial Arts # Vol. 20No. 2 2011 95Low-Level Side Kick and Turn In Sanchin kata there are no kicks, but in Sesan the first kick a student learns through this kata is the low-level side kick. This kick is typically taught to attack the opponent's knee and is an adequate (albeit limited) explanation of its application. Other applications can include sweeps to the front or back of the knee or ankle, and are dangerous. In addition, the turn in Sesan can be used to throw an opponent. The Sesan rendition is to prop the opponent's foot and use the turn to trip him—an exceedingly simple tech- nique, and one that is more reminiscent of jujutsu than modern judo (Hirakami, 2000). These kinds of simple sweeps can be found in Takenouchi-ryu jujutsu and are well suited to real combat, as they allow the defender to maintain a stable position while being able to throw an opponent to the ground with minimal effort (Hirakami, 2000). Unfortunately, in some modern dojos, practice takes place on hard floors, making it difficult to use such techniques safely. Asa result, the low-level side kick is usually literally applied as a kick to the knee as described earlier. Even more discouraging is that the practice of these kinds of throwing techniques has mostly disappeared in modern karate training. 96 Nahate Kata Curriculium # Mario McKennaScooping Block The next section of Sesan introduces a new technique, the scooping block, which resembles open-hand mid- and low-level blocks. A typical application of the scooping block is to deflect an opponent's attack with one hand, and hook and pull as the other hand strikes the face. This is a surface-level application and is adequate for beginning students, but intermediate students should be thinking of deeper applications. To give you an example of a deeper meaning of scooping block, , Tow’on-ryu students are taught that this technique can be an entangling technique (karamidi), and they should think along these lines when applying the technique to an opponent. For example, using the block’s low-level portion to deflect and seize an attack, and the midlevel portion of the block to entangle the opponent's arm at the elbow and force him down. Sesan cd cea Joumal of Asian Martial Arts © Vol. 20 No. 2 ¢ 2011 7Combination Punches and Low Side Kick ‘The next main technique sequence that we'll look at is the combination punches found in Sesan that are performed to the right and left.t After blocking the opponent's attack, the defender enters and strikes the opponent with a combination of punches. Although simple in appearance, this technique is very dynamic and powerful. This sort of aggressive punching technique is very rare in mainland Japanese jujutsu, and it is perhaps one reason why there might have been such a strong interest in karate (toudi) when it was demonstrated on Okinawa to judo founder Kano Jigoro, and later on the Japanese mainland at the Kodokan. Be that as it may, the. combi- nation punch in Sesan is a simple but elegant technique intended to down an opponent quickly, The first series of punches consists of a vertical-fist punch followed by two rapid twisting punches. The vertical-fist punch is very important, as it introduces the concept of short power (chinkuchi). This image may draw to mind the idea of a “one: inch punch” delivered in Bruce Lee's style (Jeet Kune Do), but instead the idea is to generate maximal force in a swift and relatively short distance. This requires a strong base, which should have been previously developed when practicing Sanchin kata—relaxing the shoulders, elbows in, coordination of the breath, and continuity of reaction forces from the ground through the leg, hips, back, arms, and into the target. This is one reason we traditionally see the progression of the kata as Sanchin to Sesan. After the vertical-fist punch, the two twisting punches are delivered, followed by a low- level block and low- level side kick. We have already discussed this type of punch in the section on San- chin kata. Sesan vertical fist. * Of note are the twisting combination punches that are only found in Sesan, and not seen in Sanchin, Sansewv, or Suparempei/Bechurin. Likewise, they are also not found in Saifa, Seiunchin, Seipai, Shisochin, or Kururunfa 98 Nahate Kata Custiculium * Mario McKenna