A Study of Master Gichin Funakoshi's Ryukyu Kenpo Karate: Page 3 - Styles

Combining the two styles of Shōrin-ryū and Shōrei-ryū, Master Funakoshi's karate is not one-sided. He learnt from a variety of masters, including Ankō Shishū (Yasutsune Itosu), Ankō Asato (Azato), Sōkon Matsumura (Machimura in Okinawan), Seishō Aragaki (Niigaki), Tōonno, Kiyuna, a certain Pechin Anri (according to Master Shōshin Nagamine), and another master indirectly, via his son Gigō, as well as having learnt the gojūshiho (ūsēshi) kata of two of his Okinawan friends, Kenwa Mabuni and Kanken Tōyama (Oyadomari). Furthermore, one of his teachers, possibly listed, taught him Kudaka sōchin. While Master Funakoshi was from Shuri, the idea, as mentioned on page 2 when briefly noting some historical points, that the Okinawan styles of karate were or could be termed as Shuri-te (Shui-tī in Okinawan), Tomari-te (Tuma'i-tī), etc. is not valid. Practitioners learnt from a range of masters hailing from all over Ryūkyū and elsewhere such as Fujian in the south of China. Hence, there is, broadly and simply speaking, only really such a thing as Shōrei-ryū and Shōrin-ryū. They are natural styles based on different body-types. Therefore, they are true styles. Master Funakoshi's knowledge of the differences between them is supported by Chinese boxing references such as Sifu Wong Kiew Kit's text, "The Art Of Shaolin Kung Fu". On page 38, in the first paragraph under the sub-title "The Spread of Southern Shaolin Kung Fu", the descriptions are precisely the same as those outlined by Master Gichin Funakoshi in his book "Karate Jutsu" ("Rentan Goshin Karate Jutsu"), for example.

In the first edition of my research, Origins of Shotokan (2013, Marshalls' Art-Productions, now Marshall & Marshall Publications), I wrote more about the variations of the two broad styles of kara-te. I also wrote about the intricacies of the real karate-styles in an article for Shotokan Karate Magazine in 2014, entitled "The Okinawan Origins of Japanese Shotokan Karate". In addition, I published a short piece on the Funakoshi Okinawan Karate Kenpō Kenkyūkai web-page in 2015 that detailed some other information about Okinawan karate styles, including the proof in Genwa Nakasone's text, "An Overview of Karate-Dō", that Master Itosu wrote the "Shō" in "Shōrin-ryū" using the symbol meaning "enlightened" as in the "Shō" in "Shōrei-ryū".

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Funakoshi Okinawan Karate Pin'an Kata (All Five Together)

Master Gichin Funakoshi's Okinawan karate kenpo pin'an kata (shodan, nidan, sandan, yodan and godan), practised together, here, including ready postures (hachiji-dachi).

A Study of Master Gichin Funakoshi's Ryukyu Kenpo Karate: Page 2 - History

In Master Gichin Funakoshi's Rentan Goshin Karate Jutsu, he began the section on history in a very introductory manner, considering that karate was so new to the Japanese. He then talked about the various theories of the development of karate. We know that all of these are true and that they must therefore be amalgamated. 

Master Funakoshi also discussed the similarity between Okinawan folk dances and karate. He felt that the "dances reflect native Okinawan movements and are the forerunners of the karate of [the day]." (Karate Jutsu, The English Translation of Rentan Goshin Karate Jutsu, Author: Gichin Funakoshi, Translator: John Teramoto, Trans.: 2001, Orig.: 1925, Japan Karate-Dō Shōtōkai and Kodansha International Ltd, P. 25.) The fact that children form their hands into fists naturally in Okinawa is not actually so unique; all human babies do this. Fighting is, of course, completely natural. In Origins of Shōtōkan, I wrote: "It is obvious that the martial arts are ancient to the point of no beginning, always being in existence throughout the history of life, essentially. Such is the lifespan of conflict." (Origins of Shōtōkan, Sean R. Marshall, Marshalls' Art-Productions {Marshall & Marshall Publications}, 2013, History Section.) 

Master Nagahama was one of Itosu's teachers. He was from Naha and learnt Shōrei-ryū from Master Ason. Therefore, so-called Shuri-te, for example, is not actually purely of he village of Shuri. Furthermore, Itosu studied under a certain Master Gusukuma (Shiroma) of Tomari village, and perpetuated Gusukuma's lineage. Whether or not this is why Master Itosu taught a different version of fist-formation, is not evidenced at present. It is, nonetheless, interesting. 

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A Study of Master Gichin Funakoshi's Ryukyu Kenpo Karate: Page 1: Photographs from the late-1800s and early-1900s

Dejan Djurdjevic suggested that this 1921 photograph also shows Master Gichin Funakoshi's principal teachers, Master Anko Asato and Master Anko Shishu (Yasutsune Itosu) in the top corners respectively. However, others suggest otherwise, so I won't say that this is certain. The picture does show some Okinawan students, some of whom are gripping bo and sai, along with Master Gichin Funakoshi.

A young Gichin Funakoshi in the late-1800s, apparently possibly with Master Itosu, but this is not certain.

Some say this photo shows Master Itosu in the early-1900s, while others disagree. Between Kinjo Hiroshi, Patrick McCarthy, Andreas Quast, and others as specified in their research, this is a photograph of Master Itosu.

This picture shows the same man as the photo above it, circled on the right. It must have been taken at around the same time. If it is Master Itosu, then it would be in the early-1900s, and then you might wonder who the man in the front row, fourth from the left, may be. He looks a bit like Master Kanryo Higaonna (Hijonna). It is in fact, based on Andreas Quast's publication, actually Matsushita Nobumoto. And this is indeed another photo of Master Itosu. 

Original Source: Digital Museum of the Naha City Museum of History

 Master Kanryo Higaonna, front row, second from the right, seated with students including Chojun Miyagi and Juhatsu Kyoda standing behind.

 Master Kanryo Higaonna, front row, centre, seated with students including Chojun Miyagi and Juhatsu Kyoda.

This photo shows the first group of Master Funakoshi's black-sash holders. Isao Obata is seated in the front row, third from the left, while Hironori Otsuka is standing in the back row, second from the right. Master Funakoshi is seated in the middle row, third from the right, next to Kasuya Masahiro, Keio University professor, on his right. Seated on Master Funakoshi's left appears to possibly be Takeshi Shimoda. (I'm not sure that Shinken Gima is featured.)

Front Page

Preface

Page 2

Funakoshi Jion Kata

A rendition of Master Funakoshi's Okinawan jion kata, with a few minor alterations based on other Okinawan versions of the kata, and the combined teachings of Master Funakoshi and his students. Filmed in sections and low light due to a lack of space and time.

Old Okinawan Funakoshi Pin'an Godan (without the jump)

Okinawan Funakoshi pin'an godan karate kenpo kata, without the jump in this performance. Filmed in sections and low light due to space and time limitations.

Old Okinawan Funakoshi Pin'an Godan

Master Gichin Funakoshi's Ryukyu kenpo pin'an godan kata. Filmed in low light due to a lack of time.

Old Okinawan Funakoshi Pin'an Yodan Kata

A rendition of Master Funakoshi's pin'an yodan (yondan) kata. Filmed in sections due to space limitations.

Old Okinawan Funakoshi Pin'an Sandan Kata

An illustration of Master Gichin Funakoshi's Okinawan pin'an [sandan] kata, which was recorded in sections due to a lack of space.

Old Okinawan Funakoshi Pin'an Nidan Kata

A performance of Master Gichin Funakoshi's Okinawan pin'an nidan kata. Filmed in sections due to a lack of space.

Old Okinawan Funakoshi Pin'an Shodan Kata

A rendition of Master Gichin Funakoshi's Okinawan pin'an shodan kata. Filmed in sections and edited together due to a lack of space.

Old Okinawan Funakoshi Jion Kata

An illustration of Master Funakoshi's Okinawan jion kata, this rendition had to be performed in sections and then edited together due to space limitations for practice. 

The low light is due to usually only having time for film when it is getting dark.