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)

Return To Front Page

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.