Saijutsu: Niseshi nu Sai

 

Written about by others, specifically discussing using the sai when practising the karate kata niseshi (nijushi-ho), a good example of actually applying unarmed Okinawan kenpo (karate) forms to weapons or tools is in the Okinawan karate school called Isshin-ryu. You can watch Master Tatsuo Shimabuku demonstrate kusanku no sai. Essentially, any karate kata can be applied to at least one implement, though some fit better than others, and some are either very obviously meant for weapons or are even noted as being weapons-focused kata. One example is Master Asato mentioning that passai is good for defending against the bo (see Karate-Do Tanpenshu, by Patrick and Yuriko McCarthy). He didn't specify more so, but it supports the points made about the relationship between weapons / tools and karate (Ryukyu kenpo: the Okinawan version of Chinese boxing methods, particularly from the southern type of Chinese boxing). Thus, this footage shows a version of niseshi saijutsu, with further research from various sources including Mutsu Mizuho's Karate Kenpo in which he illustrated Funakoshi niseshi (or, as with any, at least a version of it).

Kobujutsu: Bojutsu of Funakoshi Kusanku [Sho] - Kusanku nu Bo

 

Funakoshi karate, as with all authentic karate, includes kobujutsu / kobudo. It is not known which kata Master Funakoshi knew, or if he taught any, but we know he taught techniques with the bo and the sai. He most likely knew some kata, but without solid evidence, it isn't a good idea to assume. One thing we do know is that in some of the empty-handed kata there are several techniques which are intended for defences against weapons as well as unarmed attacks, such as in kusanku [sho] and passai [sho]. That doesn't necessarily mean the entire form should be applied to bojutsu instead of empty-handed fighting. But it can be clearly seen that certain kata such as these can be applied to particular weapons with ease, while others simply have similarities to kobujutsu techniques because of the close relationship between Okinawan kobudo weapons such as the bo, sai, kama, tonfa (tuifa) and nunchaku, and Okinawan karate. Hence, this video shows an example of Funakoshi kusanku [sho] as a bojutsu kata, with further alterations based on the study of the example of Funakoshi kusanku [sho] presented in the 1933 text Karate Kenpo, by Mutsu Mizuho.

Old Funakoshi Kusanku [Sho]

 

Including variations, this version of kusanku [sho] is updated with the great aid of Mutsu Mizuho's 1933 book, Karate Kenpo Zen (The Complete Karate Kenpo). Mr Mizuho was a student of Master Gichin Funakoshi principally, from the 1920s, which shows clearly in the kata presented in his publication.

Funakoshi Karate Kata: Passai [Sho] - Passai nu Bo

 

The bojutsu of Funakoshi passai [sho], with variations based on further research of the karate kata, including examining Mutsu Mizuho's example of Funakoshi passai [sho] illustrated in Karate Kenpo (1933).

Chinte: What was the actual old Funakoshi chinte (mariti)?

I think it can be deduced that Funakoshi chinte (mariti) was actually like the version shown in Mutsu Mizuho’s book, Karate Kenpo (1933). This is based on comparison with the Shotokai version of chinte which it is very much alike, while the usual variety is found in Mabuni Shito-ryu as well as multiple Funakoshi karate lines. Gojushiho [sho] is from Master Mabuni, so it is of course possible that other kata were introduced or altered by him. I would say it makes sense that if Shotokai, the branch named as the successive line from Master Funakoshi to Shigeru Egami, has a version of chinte which is like the one found in Mr Mizuho’s text, then it at least creates scepticism over which chinte is the original that Master Funakoshi taught, regardless of if he in fact knew more than one way of performing the form. But I actually think the version found in Karate Kenpo is the old Funakoshi chinte, and that Master Funakoshi didn’t teach it to everyone, along with other kata, and that if he did, Master Mabuni had some students who also learnt from him change it. As the different chinte exists in more than one legitimate source and is also found in Kyudokan Shorin-ryu karate, perhaps that supports it being the original Funakoshi chinte. But maybe I’m wrong.

Old Funakoshi Passai [Sho] Kata

 

Funakoshi passai [sho] with variations based on further research including Mutsu Mizuho's 1933 text, Karate Kenpo Zen. Provided what you practise is genuine / authentic / orthodox, it is sincere, so it isn't a matter, in reality, of trying to say that this or that way is more correct than another. My research has no end. Some of my conclusions several years ago are different now. It doesn't really matter which way you practise karate. Real Funakoshi karate is actually just karate generally, practised austerely to improve yourself as a human being and follow the Way.

Old Funakoshi Niseshi - further researched from Mutsu Mizuho’s Karate Kenpo (1933)

While differences are not major, and there could be influence from Master Otsuka imparting possibly some alterations based on study with Master Mabuni in particular for the kata, this illustration, based on the variety of versions then further researched from Mutsu Mizuho’s 1933 publication, Karate Kenpo, shows an example, with some variations, of how Funakoshi-Aragaki niseshi could be performed in the older way like when it was first taught in mainland-Japan from 1922 by Master Gichin Funakoshi.

Old Funakoshi Mariti (Chinte) Kata

Okinawan Funakoshi chinte (mariti) as practised in the way usually seen in Funakoshi karate, and the way shown in Mutsu Mizuho's 1933 book, Karate Kenpo. The former can also be found in Mabuni Shito-ryu, for example, while the latter can also be seen in Kyudokan Shorin-ryu karate, for instance. There are, as always, varying ways of performing the kata, just as there are multiple versions.

Old Funakoshi Passai [Dai] - updated from Mutsu Mizuho's text, Karate Kenpo Zen (1933)

This kata could be performed slightly differently to this, even, depending on the accuracy of the illustrations in Mr Mizuho's book. The differences lie principally in the three ripping movements executed after the crescent kick and elbow strike, and in the final section where you could move forwards first rather than diagonally, though it feels more natural for the form to shift diagonally for the first of the last two sword hand techniques. 

A Study of Master Gichin Funakoshi’s Ryukyu Kenpo Karate: Page 41 - Conclusion: What Is “Shotokan” Karate?

What is "Shotokan" karate?

It's just karate! It's not a style, just a lineage of karate. It's not Japanese rather than Okinawan. It was named by some students of Master Gichin Funakoshi, not by Master Funakoshi himself who never named nor liked the naming of karate. As some experts, such as Master Kenwa Mabuni, said, the purpose of naming karate schools is more for superficial reasons in a modern world. Specifically, Master Mabuni named his lineage simply based on his two primary teachers, but he had other instructors, and it doesn't really serve much purpose; it could easily be called something else, as he mentioned. Master Kanken Toyama did not like the naming of styles at all, to the point of even disagreeing with the so-called two actual styles of karate, Shorin-ryu and Shorei-ryu. From his perspective, there was and is only hard and soft, and without both, a martial art is not complete. 

Shorin-ryu and Shorei-ryu are legitimate names referring to Shaolin boxing, specifically two broad types which are northern and southern. The problem is that northern Shaolin boxing is actually more like battlefield fighting in that weapons may come first, but even if they don't, either way, the method of moving requires a lot of space. It isn't the acrobatics you usually see in a modern Shaolin demonstration. Real northern Shaolin is practical, but it is based on military tactics, hence the reason for weapons being fundamental. You also need space to move in taijiquan which is of the Wudang style. Wudang taiji boxing is descended from the Long fist of northern Shaolin boxing. Wudang boxing is simply an alternative approach to northern Shaolin. Southern Shaolin boxing is more different in style as it requires less space. This is because the terrain and environment are different. Farm tools are also used as weapons more than military weapons. Southern Shaolin is civil fighting as opposed to military fighting. It is descended from northern Shaolin, but adapted to suit different needs. One is not more effective than another, though. Arguably there are just these three styles, and they all study yin and yang, but, as Master Gichin Funakoshi wrote, only the skill of the participants will decide who is better, not the style practised. This can be read in English in Karate-Do Tanpenshu. 

Okinawan karate is like the southern type of Chinese boxing, moving in a staccato manner which is perfect for unsteady terrain or small spaces. Perhaps there are elements of northern Chinese boxing as well in the style that we call Shorin-ryu karate, at least in some kata, such as kusanku. But the style is very similar throughout, so it's really just the Okinawan version of southern Shaolin boxing with some other influences in some cases but not all. Perhaps it could be said that the style of Shotokan karate evolved to be more like the northern Shaolin style, using more dynamic movement without having to worry about a lack of space or having to get a good footing before defending effectively. It was certainly influenced by the principles of Jigen-ryu kenjutsu. Master Funakoshi often noted his teachers' proficiency in that style of swordsmanship. He doesn't say that he was taught it, but he seems to have had some knowledge of it. What is clear is that in the karate text Bubishi, Shaolin boxing is discussed without mention of different types. So, all karate is descended from Shaolin, regardless of the particular so-called style; it is all one. 

Shotokan karate is actually Shotokan Shorin-ryu karate, and, depending how it is practised, it can be more or less Okinawan in style, just like the original karate which Master Funakoshi started teaching in mainland-Japan in 1922. Shotokan is a lineage of Okinawan Shorin-ryu just like Shidokan Shorin-ryu, Matsumura Seito Shorin-ryu (despite dispute over the actual lineage of Matsumura Seito karate), Kyudokan Shorin-ryu, etc. However, this is all for the trend of naming schools and differentiating between them. Really, as Master Funakoshi maintained, it is simply karate, or Ryukyu kenpo, and it used to be just called tii or Bushi-nu-tii. All so-called "schools" should work together to make karate "one". The only real differences are found in the skill of the practitioners, not even in the varying techniques within the myriad of kata and quan. There are more discernible differences between systems, i.e. monk fist, white crane fist, tiger fist, etc. The kata taught in Funakoshi karate transmit monk fist, white crane fist, and dragon fist, along with, particularly, stick fighting. But, even here, each system is merely teaching a different way of applying the principles of hard and soft. Therefore, karate is the study of yin and yang through the various systems (kata / quan), so Shotokan karate is just a lineage of those same teachings, not something so remarkably different to every other Okinawan karate line. It's all in the individual's approach as to how true this truth will remain.

Furthermore, Shotokan was originally the name of the dojo in which Master Funakoshi taught, the new version of which is the main dojo of Shotokai, the successive line of Funakoshi karate. It was Master Shigeru Egami whom Master Gichin Funakoshi named as his successor, after previous successors and potential successors either passed away or started their own schools. Having studied under Masters Gichin and Gigo Funakoshi, Master Egami continued to develop the Funakoshi line of karate, making changes within Shotokai which transformed it into a seemingly different style of karate. According to Sensei Phil Finch of Wokingham Shotokai, Sensei Harada, who teaches Shotokai karate in Wales, England and elsewhere with his branch of Shotokai called Karate-Do Shotokai (KDS), often calls Shotokai "orthodox Shotokan". 

However, because Funakoshi karate is simply karate / karati, there is actually no such thing as this or that style or school. There are only the principles and varying applications of hard and soft. One teacher might know a technique that another doesn't, and vice versa, and they may choose to keep this differing knowledge a secret amongst only a trusted few students. One school might be very much like another, while a third may seem different in the way in which they move. Yet, if a martial art is being practised correctly, then it has to incorporate the teachings of both hard and soft, and not ever only focus on one or the other, if complete understanding and skill is to ever be attained. Therefore, there is only the way of opposites: yin and yang.

Sean R. Marshall

22.09.2020 (first published)

9.10.2020 (edited)

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Old Okinawan Funakoshi Karate: Mutsu Mizuho's Karate Kenpo (1933) - Gojushiho / Useshi

The first three performances are based on the version of Funakoshi gojushiho presented in Karate Kenpo Zen by Mutsu Mizuho, published in 1933. Mr Mizuho learnt directly from Master Funakoshi as well as Master Otsuka who was one of Master Funakoshi's top students and assistants at the time. He also travelled to Okinawa to study, though this was brief. Master Otsuka additionally studied under Masters Mabuni and Motobu. Hence, some of what is seen in Karate Kenpo by Mr Mizuho is possibly, or even likely, not purely from Master Funakoshi. However, it can be seen that the 15 basic kata laid out by Master Gichin Funakoshi are the old versions of Funakoshi karate kata when compared with Master Gichin's first books, Ryukyu Kenpo: Karate, and Rentan Goshin Karate Jutsu. They only, at most, have a few minor differences, such as some positions in the pin'an kata. This means that the other five kata presented in the text could plausibly be the old Funakoshi karate versions of those kata, as taught by Master Funakoshi, because the first 15 do not show material differences that could be attributed to other teachers as is usually seen in schools influenced by more than one instructor. Therefore, Mr Mizuho's work is trustworthy and an excellent resource for our study of the Funakoshi lineage of karate. I look forward to reading the English translation due to be published soon by Mr Joe Swift. Hopefully, any doubts felt by anyone over the reliability of Mr Mizuho's publication as an excellent resource for old Funakoshi karate, will be settled by the translation. 

The third version, above, is the latest. It follows Mr Mizuho's illustrations most closely.

The fourth and fifth films, below, show gojushiho based on the various kinds of the kata found in Funakoshi karate, but specifically focuses on the demonstration by Sensei Nobuhiro and the illustrations in Mr Mizuho's book, with connection to versions such as Master Toyama's "koryu gojushiho" and the variety taught in Shidokan Shorin-ryu karate. 

The sixth and seventh clips, below, depict two more variations of the version of gojushiho presented in Karate Kenpo. The sixth (left or above) illustration includes the employment of a front stance that is simultaneously a back stance, ready to move forwards or backwards. You can see this in Okinawan karate, where a stance looks like it is a front stance, but if you look closely, sometimes it is actually practised with the heel of the front foot above the ground. The seventh edited film employs this method and Master Gichin Funakoshi's method of switching between a front- and back-stance (either way) simply by changing your weight-distribution. 

Okinawan Shaolin

There are said to be several styles of karate. Classically it is written that there are just two: Shorin-ryu and Shorei-ryu. Of course, there is also at least the style of Motobu udundi which is different to these two Chinese styles. There are several variations of the two broad styles, which I wrote about in an article for Shotokan Karate Magazine entitled The Okinawan Origins of Japanese Shotokan Karate. The point is that it is complicated as each kata has its own combination of styles that made it as it is in Okinawan karate, which is Okinawan-style Chinese boxing. Although, that usually concerns the older teachings passed down in Okinawa, not the newer kata such as in Goju-ryu and Uechi-ryu that both teach Okinawan-style Shorei-ryu, though Uechi-ryu is more like the original Chinese method. What was often just called tī (te in Japanese) was a combination of ancient Japanese and Chinese influence, with Okinawan grappling and further Chinese and Japanese influence. My lineage is Funakoshi karate, so it shows influence from ancient times and later from Jigen-ryu kenjutsu as well as quanfa systems such as those of Masters Kusanku and the Fujian expert from Annan whose name may or may not have been Chinto. All of these systems are descended from Chinese boxing with regards to the kata / quan themselves. Some were created from Chinese techniques, some were devised purely in Okinawa, and some were brought from China as quan and altered in style more or less. Various lineages such as Shotokan, Mabuni Shito-ryu, and Goju-ryu had the old text Bubishi passed to them. In that book the articles state the methods being Shaolin. So all of these lineages studied Shaolin teachings. You can say that, while there are northern and southern Shaolin schools, and they do look different, they are both types of Shaolin boxing. Even Wudang boxing originated in Shaolin. Depending on what Chinese text you read, you would either say there is northern and southern Shaolin, and Wudang, or there is Shaolin and Wudang. In essence, the real differences in style lie within whether it is practised externally or internally initially. Hence, either Shaolin or Wudang. Old Okinawan methods happened to see influence from Shaolin. It seems that only later on did experts such as Master Kanken Toyama study Wudang boxing as well. Hence, it is not to be excluded from the ongoing development of karati. Nonetheless, what has been practised up to now can be called Okinawan Shaolin. However, there aren’t really any styles, just the study of hard and soft techniques. Shorin-ryu is usually for lighter, faster techniques, while Shorei-ryu is for heavier, stronger techniques. That difference seems like Shorin-ryu would be soft while Shorei-ryu would be hard. Certainly Shorin-ryu is more natural in movement and breathing, while Shorei-ryu is heavier. However, as with Uechi-ryu karate and Goju-ryu karate, for instance, both are founded on the principles of hard and soft as one, Uechi-ryu having been formerly called Pangainoon which means “half-hard, half-soft”. And all of the old masters talked about hard and soft all the time. This is Chinese, and, as mentioned, our orthodox karate is Okinawan Chinese boxing. So, too, are the so-called Shorin-ryu and Shorei-ryu both based on hard and soft applications combined in different ways. The same is true for Wudang boxing which might be classified as being internal or soft, and natural, while Shaolin might be called external or hard. Both are actually a combination of hard and soft. Without hardness, your techniques will be no good, and without softness, your techniques will be unintelligent and therefore also inferior to a one-sided approach. A martial art with just hard or just soft is not as skillful as a method comprising both ways of nature. To be able to move in accordance with your opponent, you must have the skills to manoeuvre between hard and soft types of boxing skills. That is the same idea as combining Shorin-ryu and Shorei-ryu, except it is more fundamental in description. There are no styles in authentic karati.

Secret Techniques

As Sensei Funakoshi says, there are no secrets in karate, just hard training. That’s the real secret. Master Ueshiba said that secret techniques don’t equal basic training. The secret you should know is simply to train diligently every day. It says in Bubishi that basic technique goes a long way. One idea behind the taikyoku kata is to always return to the basics. You can know the special techniques of dim mak, but in a real fight of life or death you need to be fast, sharp and accurate. Hence, the basics and austere daily training are the real secrets of fighting. There is no short-cut. 

Sensei Funakoshi also says don’t spend too much time reading books. Rather spend it training. Master Gichin Funakoshi believed in education, which requires reading. You should pursue literary studies to develop yourself intellectually. However, he was also practical, according to Sensei Ohshima. So, too, training hard is the most important lesson in karate, in terms of the pursuit of understanding the ancient martial art of karate. 

In my opinion, with martial arts and with life, experience trumps book-learning any day. You can read about something - anything at all - and even see it, but neither count as real experience. Why do you think employers want to see experience more than qualifications in so many instances?

“When you leave your own gate, you face a million enemies.” - Gichin Funakoshi

This precept, written by Master Gichin Funakoshi for his 20 precepts of karate, is greatly relevant now. Every time I leave my own gate at the moment, which has been no more than four or five times during the pandemic, I am concerned about coming into contact with the invisible enemy that is everywhere, lurking, waiting to get you. Usually I would go out and be aware and ready just in case. But now I go out as if I might be ambushed at any moment. And I can’t even use defence techniques. The method employed is to avoid fighting, in this case being to avoid other people and touching anything. Better yet, avoid going out altogether. Getting sick and dying isn’t a good way to go. 

Shaolin Temple: Europe - Peace, Balance and Selflessness

A Shaolin monk from Shaolin Temple Europe talks about the qualities developed through Shaolin and Buddhist teachings, which will help every facet of society.

Zanshin - To Remain Alert

Times are strange at the moment. But, like zanshin in the martial arts, it’s extremely important to remain vigilant right to the end, not relaxing until we are definitely safe. As martial artists, we need to apply our practices to our lives to keep ourselves and everyone else safe. Of course, we must remember to do the same for the environment which is our ongoing problem thanks to the awful way we live. Even when we are exhausted in one sense or another, depending on the individual and their circumstances, we need to remain and not allow even a hair’s breadth of an opening in our minds that will make us make a mistake which, like in a fight or some other dangerous situation, could be fatal. So exercise the concept of zanshin, which means the remaining mind; total awareness; to remain alert. 

Jitte no Konbo

Funakoshi jitte gata with the bo (konbo / kon). I don't think it fits perfectly, but there are only a few techniques that don't work so well. Overall it does work as a bo kata. 

This concludes what needs to be shown for the ryuha hyoho section. I am finishing the online second edition of Origins of Shotokan, called A Study of Master Gichin Funakoshi's Ryukyu Kenpo Karate, with more written sections and some photos. The next project to illustrate my work on Funakoshi karati is an illustrated book of all of the kata, including bunkai and hojo undo. I have decided it should be pictorially focused as other researchers have presented the worded side of Master Funakoshi's teachings and history, so I don't feel there is much I can contribute in that area. The book might be called Funakoshi Okinawan Karate Kenpo no Kenkyu.

Jitte no Sai

Funakoshi jitte applied to the sai. Master Funakoshi practised saijutsu, but it is not known what, if any, kata he knew. The term jitte also refers to a sai-type of weapon. It is a weapon that is used to defend against a sword and catch it. The sai is, as Master Funakoshi illustrated, also used for defending against, and catching, a bo. I believe you should know saijutsu as well, if you study bojutsu. I wouldn't say that jitte applies perfectly to the use of the sai. Probably the best kata to apply to weapons are passai [sho] (bojutsu), kusanku [sho] (bojutsu), wansu (bojutsu), and niseshi (saijutsu). Matsumura rohai works well with the sai, and Funakoshi sochin works nicely with the kama. Jitte has sections that work well with the bo and the sai, but also parts that can be applied like any karate kata, but which don't fit so effectively. 

Niseshi nu Sai

Funakoshi niseshi (nijushi-ho) using the sai. As with Funakoshi bojutsu, there does not appear to be evidence of sai kata taught by Master Gichin Funakoshi. He definitely taught techniques with both weapons, though. I have read about niseshi being a kata to be used with the sai. This is a version of how it could be applied to saijutsu.

Aragaki Sochin by Master Kenwa Mabuni

These photographs appeared in Genwa Nakasone's Karate-Dō Taikan in 1938. They are shown here for research purposes, to illustrate clearly a version of Aragaki sōchin which is meant to be the correct version. This is to compare with the other version linked in Ryuha Hyoho and to contrast with Funakoshi-Kudaka sōchin. 

Passai nu Bo

Funakoshi passai [sho] bojutsu

Okinawan Funakoshi Kusanku nu Bo

Funakoshi kusanku [sho] bojutsu

Crescent kick section from different angles

Funakoshi Okinawan Mariti Kata (Chinte)

Mariti is Okinawan for chinte. They both mean "unusual hands". This is an illustration based on my study of Funakoshi karate which includes comparison with other styles, schools and versions of the kata. Mariti contains about 48 techniques including special techniques. I believe it should be studied carefully. 

Funakoshi Okinawan Unsu with variation of finger-tip strikes

In the same way as Funakoshi useshi / gojushi having varied versions of finger-tip strikes, as noted by Sensei Iwaki Nobuhiro, as well as being shown in the many versions of gojushiho and unsu, the latter kata, derived from Master Aragaki's unsu and with alterations making it Funakoshi unsu, can also be performed with different types of finger-tip strikes. This is also according to Sensei Iwaki Nobuhiro.

Variations of the finger-tip strikes in Funakoshi unsu:

https://youtu.be/G018pwKYbVc

Funakoshi Okinawan Useshi [Dai] Kata - Variation of finger-tip strikes

This version is inspired by the demonstration by Sensei Iwaki Nobuhiro of the Japan Karate-Do Federation, former Director of Keio University School of Medicine Karate club. He shows some of the different ippon nukite and crane beak techniques you might use, but himself employs an ippon nukite crane beak strike. This is interesting as he demonstrates a version of authentic Funakoshi karate, which can be compared in various instances with other Keio University Karate sensei in particular, as well as Sensei Ohshima's Shotokan Karate of America, though depending on what exactly is being compared. It is best to follow others who are more experienced than yourself and then decide if those methods actually work for you and your own body. In terms of research into old Funakoshi karate, it is necessary to listen to the experts and retain an open mind.

Variations of the finger-tip strikes in Funakoshi useshi [dai]:

https://youtu.be/C7E15hriJco

Tiger-style Boxing in Okinawan Karate (Okinawan-Chinese Boxing)

Tiger-style press ups are one difficult method of push ups. I was taught finger-tip press ups when I was a child in Zimbabwe, Africa, from the age of 8. I believe it is an important method for strong karate/quanfa. There are a few kinds of tiger-style press ups. How you practise depends on your own body. Breathing exercises are practised before and after tiger-style methods, and after such strenuous training you should also practise counting [200] leaves, rolling [eyes] stars, and expanding the mind (standing meditation). A tiger's eyes are sharp. You must learn to fight with your eyes. You also need to relax your body and mind and ensure good circulation (going hand-in-hand with breathing) is fostered throughout hard training. The mind must also be trained to be calm and conceal ferocity, with the spirit in reserve hiding the spirit in release. These exercises develop the essence of tiger boxing, which is jing, essence, internal force or internal power. Related to qi (internal/intrinsic energy) and involving shen (mind/spirit), it is far more internal than you might think or than it necessarily looks. 

Chinese Culture in Ryukyu Kenpo: Karate (Ryukyu Boxing: Chinese Fighting Arts)

In Chinese boxing (quanfa), you refer to one another as brothers, sisters, uncles and aunts. Not father, mother, son or daughter, although your teacher might be like a father or mother in many ways, and, likewise, you may be like a son or daughter. There are those experts of the past who you’d refer to as master, there’s your teacher who is called sifu, and to your sifu you are his or her student. Closer students may be referred to as disciples because they follow all of their sifu’s teachings. Your teacher’s teacher you might refer to as uncle or aunt, although someone simply of equal standing to your teacher may be your older brother or older sister. A person who has just joined your class would be your younger sister or younger brother. In my Chinese boxing class we observe this culture, although we refer to our teacher by his first name, as his teacher has his own students do. That’s to place everyone on equal footing, without anyone seeming to be demanding to be called something other than their name. It does not mean we lack respect for our sifu. On the contrary! In my experience the proof is in the pudding, not in the title. 

Master Funakoshi wrote, in his article entitled “Karate”, written in 1934, and translated into English in “Tanpenshu” by Patrick & Yuriko McCarthy, with the 3rd printing in 2006, on page 41 of Tanpenshu, “Younger brothers show respect to older ones, and older brothers display compassion to younger ones. Brothers share everything and learn from each other.” This is a Chinese method, observed by Master Funakoshi within his Okinawan karate. 

In the same book on page 45, in the article entitled “Azato Ankoh: A Short Story About My Teacher”, by Gichin Funakoshi, written in 1934, Master Funakoshi wrote, “Together, Azato and Itosu had diligently studied the martial arts under the strict tutelage of Matsumura Sokon. An advocate of Chinese ways, instruction under that taskmaster was always conducted early in the morning before dawn until the sun came up, without change or observation of holidays.” In addition to showing how Chinese culture and methods were so dominant in karate in Okinawa, the writing also shows that both Masters Azato and Itosu studied under Master Sokon Matsumura, for certain, and therefore Funakoshi karate is closely linked with Matsumura karate. 

Also included in Tanpenshu is the letter which Master Sokon Matsumura wrote to Kuwae Ryosei in 1882 on the 13th of May. Master Kuwae Ryosei is noted as a student of Master Matsumura, however Bushi Matsumura addresses the letter “To: my wise young brother Kuwae”, on page 136 of Tanpenshu. So he refers to his student as his brother, in Chinese fashion yet also with a level of respect as if they are rather equal. Isn’t that interesting?. 

In karati (karate), we might call a teacher sensei or shinshii (Japanese / Okinawan, respectively), like calling a Chinese quanfa teacher sifu. Master Funakoshi noted, in mainland-Japan, that he employed the Japanese method of senpai/kohai (senior/junior). On page 43 of Tanpenshu, in the article called “Karate”, Master Funakoshi wrote, “The senpai/kohai system is the way through which karate’s important message is perpetuated.” But he also clearly followed the culture of seeing his students, colleagues and teachers as a kind of family. That is the Chinese way as taught by Master Matsumura, and that is, therefore, the old Okinawan way, regardless of the Japanese senpai/kohai system.

“Karate Goes Beyond The Dojo”

As Master Funakoshi wrote, karate training is not just for a training hall, it can be practised anywhere and at any time. Obviously you’re not going to take a five minute break at work surrounded by your colleagues and begin intensive training out of the blue. The virus we are all dealing with around the world has rendered the majority of us shut away at home. We can’t go to our usual training sessions. We might not even be able to practise with other people. Obviously this is a necessity in the study of martial techniques, but we have many methods that enable continued effective training when no one is available for pairwork. Individual kata is one plain example, as well as weighted training and iron-body conditioning, for instance. Provided you train with seriousness and visualise that you are actually in a fight, the methods will provide progression regardless of a lack of training partner. And of course the great part about our boxing arts in this scenario is that they are designed to enable individual secretive training with effective results for real fighting. It really all comes down to intensity, though with respect to the mind rather than thinking that the body must necessarily be exhausted during every session. Strength is important, but the development of the mind is more vital as the mind controls the body. Training the physique is actually a vehicle to developing the mind as well as the spirit. And as Master Funakoshi wrote, “Spirit and mentality first, technique later.” 

Funakoshi Sesan

Funakoshi Okinawan sesan gata, performed with kicks that thrust instead of snapping the knee (which I have found to be detrimental to the body, in my experience). 

The Wrong Path

We are on the wrong path. 

Selfishness, carelessness, ignorance, laziness, thoughtlessness, and greed are the traits we exhibit as a species. Not absolutely everyone behaves like this. There are innocent tribes dotted in various parts of the world. Our modern way of living is unnatural. We are impatient and stressed out. We need to change, as a collective. Like fighting a war or a sudden disaster, we need to ban together and each do our bit. I have not experienced a war, but I have experienced urgency, for I am South African and lived in Zimbabwe in the late 1990s when the government started expelling ethnic Europeans. The media elsewhere have noted the time as being the early 2000s, but I can assure you that it began in the ’90s. We had our bags packed ready to leave at a moment’s notice, and we went to England with no more than about £600. So I know difficulty. We, humans, are on the wrong track. And why? Simple, really, when you think about it. We are our own worst enemy. As in Chinese and Okinawan boxing, the real battle is with ourselves. We need to see our problems as us being at war with ourselves so that we take it deadly seriously with an absolute sense of immediacy. 

The Art of Okinawan Boxing

To fight effectively you have to relax. This is a point I struggled with for years. I eventually came to understand what it means, though I of course always continue to try to understand it better. It’s one of the key basic points that contains some of the secrets of boxing. Speed, mechanics and dynamics contain further secrets. All of these elements affect the effectiveness of the techniques executed. Additionally, whether you tense or not for the impact into your opponent is relevant but does not affect the mass that you deliver. Strength is useful sometimes, but speed which is increased by the correct muscular development is more important. You can be very strong and very slow and that’s no good. Applying strength in your blows is sometimes useful but naturally tensing is always effective as swift speed and the right amount of strength are most useful. Accuracy, aiming for vital points, is also necessary for the greatest efficiency. Following through your opponent is the mindset of complete intent applied to the highest degree for the most effective application. Your great energy must be delivered smoothly directly through the target. The technique should be a relaxed flicking twisting wrist with exact and conditioned form. Certain techniques and methods benefit from strength, such as grappling in certain instances but certainly not all, and gripping techniques. Above strength, harden your body, but remember that speed is everything. Practise striking a hard surface softly so you can strike a soft target hard but with speed over tensing and strength. Timing your correctly-distanced actions & reactions, waiting for the last moment, remaining ready, poised, calm and composed, when the attack comes you must have courage and no thought, and somewhat single-mindedly move in accordance, sharply, like lightning. 

Passai nu Bo

Funakoshi passai [sho] gata interpreted as a bojutsu gata. This is updated from the version which appeared in Origins of Shotokan produced in 2013.