The Evidence of the Origins of the "Okinawan Fist": Teachings of Master Anko Shishu (Yasutsune Itosu)

It appears evident that the "Okinawan fist" (clenching your hands into a fist that does not bend the third knuckle of the index finger on each hand, before wrapping the thumb over the fingers between the second and third knuckles, as tight as possible), as opposed to the standard fist (the common formation of a fist which is ancient throughout the world), was definitely used by karate-master Anko Itosu (as he is commonly known), and is not supported to have been used by Master Sokon Matsumura. Students of Master Itosu, including Masters Gichin Funakoshi, Kenwa Mabuni, Choki Motobu, and Chotoku Kyan, can all be seen in pictures that illustrate them clenching this alternate fist formation. The Japanese fist form is the standard version, as is the Chinese. But both types are (were) practised in Okinawa. Goju Ryu and Uechi Ryu karate use the standard fist. They are both more recently linked with China, in terms of their complete, or mostly complete, lineages. The hard evidence to support my claims, is presented here, regarding what I have found to-date, and what seems to potentially conclude the issue to the furthest extent possible. 

Master Gichin Funakoshi shows how to make a fist on page 24 (specifically) in his book, Rentan Goshin Karate Jutsu. It is the Okinawan version.

Master Kenwa Mabuni illustrates clearly enough the use of the Okinawan fist, even with a kata he learnt from Master Kanryo Higaonna - seipai - on page 54 of Seipai no Kenkyu: KoboJizai Karate Kenpo.  

Master Choki Motobu can be seen in images of his techniques, clenching the same alternate version of fist. See the footage of his son, Sensei Chosei Motobu, performing Master Choki Motobu's techniques, here. Specifically, go to 5 minutes 24 seconds to see the Okinawan fist being clenched. Otherwise, it can be seen that Chosei Motobu and his training partner form that alternate fist.

Master Chotoku Kyan shows what can be identified as what must be the Okinawan formation (with gaps rather than seeing the curled index fingers).

Master Chomo Hanashiro appears to also show, at least clearly enough in one image, that he formed the Okinawan fist. It is in a clearer version of the picture of Hanashiro demonstrating one of the front-snap kicks in the kata "jion" illustrated in the book, "An Overview of Karate-Do", by Genwa Nakasone (translated by Sensei Mario McKenna). The photo can be found on page 4 of the paperback edition of the translated text, but only a version of the photo which is made clearer by using computer editing actually shows what I sought. Only just, can it be identified that Master Hanashiro formed the "Okinawan fist", because there was/is just enough light to see the finger-nail of the index finger of his left hand, meaning that it was in the alternate fist rather than the standard fist. One way to cross-check is to find this picture on "Google Images", save it, and auto-correct it. A version that I found online was better lit than that which was printed in the translation of the book for which the photo was originally used. 

And Master Shinpan Gusukuma, though not seeming to present photographic evidence that is closer or angled ideally, does appear to have also utilised the same alternate fist, based on the side view always showing a gap where his training-partner does not always show (instead, clearly illustrating a commonly-clenched fist). Considering this "Okinawan fist" taught by Master Itosu seems to have taken precedence over the standard fist in various cases which involve a range of different teachers [of varying lineages], specifically for the practitioners mentioned, it would come as no surprise that Master Shinpan Gusukuma, too, chose to use the "Okinawan fist". Pictures of Gusukuma can also be found in "An Overview of Karate-Do".

Master Choshin Chibana can be noted here as not using the Okinawan fist, at least for some kata, and perhaps just those not of Master Itosu's lineage. However, it would seem that he simply chose - from a younger age than later photos that definitely illustrate the ordinary fist - to use the fist formation which he appears to have learnt from his first teacher, Master [Shimboku? / Shimbuku?] Tawada, who had studied under Master Sokon Matsumura.

Master Hohan Soken's fist form can be clearly observed here, also with naihanchi kata (like Master Chibana). It, too, presents the standard fist, based on the fairly clear photographic evidence. Master Soken was taught karate by Master Nabe Matsumura, Sokon Matsumura's grandson and student. 

Therefore, it would appear that in perhaps most cases when Itosu was one of the teachers, the students perpetuated the fist form which must have been taught by Itosu. (Though, Japanese karate, at least for the vast majority {excluding Master Tsutomu Ohshima}, seems to "only" use the standard fist, per the choice of Japanese practitioners - if not influenced by their original Okinawan sources to do so - such as Master Nakayama of the Shotokan lineage, who briefly noted  his thoughts on the difference between forming the two styles of fist, on page 15 of "Best Karate: Comprehensive". He knew both versions, but he decided to use the common fist.) In some cases of instruction from other teachers, and otherwise within the most pure Matsumura lineage, the standard fist was either chosen or only known, respectively, as the evidence indicates. It would, therefore, appear proved that the "Okinawan fist" is at least via Master Itosu, and possibly only from him (maybe, plausibly, actually of his innovation). That is a very possible reality because of his noted focus on punching and gripping development. And perhaps it is more relevant for the element of grip, since it seems to mainly find practical use as a vital-point-pressing grip against the inside of the opponent's forearm, with the thumb applying pressure to a particular nerve, while the rest of your hand holds the attacker's wrist. Form this alternate version of the fist, without application, and it feels as though you are practising to grip in that particular way, squeezing the nerve. It is like it is the other natural fist, but the natural gripping-fist as opposed to the natural striking [ordinary] fist ("ordinary" referring to a standard sort of fist instead of a fist such as any of the versions of forming the index-finger one-point fist). The Okinawan fist also finds solid use for the chuko ippon-ken, as it supports the formation of this hand form much more than the common way of holding the middle-finger one-point fist. That could even be a, or another, good reason to form the fist with the index finger held in the same way as the Okinawan fist, since it is quick to change between hand forms, just as it is with the common versions of both hand-forms. Another application is to enable stronger use of the first knuckle of the thumb as a weapon, because the Okinawan fist-form reinforces the thumb, preventing it from alternatively being pushed inwards if its first knuckle was utilised. I do not subscribe to the notion of the ability to punch being strengthened with the "Okinawan fist". I personally feel that the standard fist is better for punching, mainly due to the index finger being folded and appearing to definitely be more supported in such a position. On this basis, I choose to use both fist-forms. 

Regardless of application, though, it would appear true that the formation is from Master Itosu, but it is difficult, and possibly impossible, to completely conclude that its origin started with Itosu, without a little more photographic evidence (which does not appear to exist, to my present knowledge) depicting really all of the various masters of the same time as Master Itosu, clearly illustrating their clenched fists, for our comparison. The topic is not such a problem, of course, because it is really only a minor detail of overall karate-research, in reality. But it is interesting, as others similarly believe, and it would be nice to know the definite, complete, origins of this differing method of forming a fist (and chuko ippon-ken). However, it cannot currently be said that it is Master Itosu's fist-form, because he may have learnt it from one of his teachers, such as Master Gusukuma or Master Nagahama, since Master Sokon Matsumura appears to have not taught it, as Masters Tawada and Hohan Soken apparently evidently both did not use the alternate fist. Consequently, I call it the "Okinawan fist", without knowing with absolute certainty whose hand form it was originally. 

Sean R. Marshall

Styles Of Karate: Okinawan Shorin Ryu (Southern-style Shorin-ryu; Northern-style Shorei-ryu), and Okinawan Shorei-ryu

I previously read in Bruce Clayton's book, "Shotokan's Secret", that "Unante", written by John Sells, illustrates Master Anko Itosu's letter to the Japanese Ministry of Education. Specifically, in "Unante", it is apparently highlighted that Master Itosu wrote "Shorin Ryu" with the characters which mean "Enlightened-forest Style", rather than those meaning "Shao-forest Style". The first ideogram, "enlightened", is also used by Master Itosu for "Shorei-ryu", which is common. "Unante" is rather expensive these days, so I have not yet been able to purchase a copy. However, I recently bought Mario McKenna's translation of Genwa Nakasone's "An Overview of Karate-Do". In this invaluable text, Itosu's letter is wholly presented, and it can indeed clearly be seen that Itosu did in fact write "Shorin Ryu" (or "Shorin-ryu", depending) with the symbol for "enlightened" when penning "Sho". This, then, surely proves that it was at least considered by Master Itosu (possibly first) that "Shorin-ryu" (Shao-forest Style) and "Shorin Ryu" were different in that Shorin Ryu karate kenpo was a style that combined northern and southern Chinese martial arts, therefore meaning that a combination of the names for northern and southern Chinese "boxing" was appropriate to the end of highlighting the differing, Okinawan, style. As a result, I call Shorin Ryu karate "Enlightened-forest Style Chinese-hands", with such historical support, as I have previously noted in some of my work. It is its own "style" of Okinawan karate, separate to the styles of Shorin-ryu and Shorei-ryu. 

Now, breaking down the styles for different body-types is true, because there are pure Chinese references of such a practice, for example in 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 precise with respect to those outlined by Master Gichin Funakoshi, for instance. 

As I similarly explained in one article, entitled "The Okinawan Origins of Japanese Shotokan Karate", published in issue 120, in July 2014, of Shotokan Karate Magazine, there are Chinese and Okinawan versions of kenpo (northern-Chinese Shaolinquan, and southern-Chinese Shaolin which is Zhaolingquan; in Okinawa there is Ryukyu kenpo which is karate or karate kenpo, and the various kata (quan) relate to the relevant styles of Chinese origin, except that pure Shorin-ryu would be northern Shaolin-liu, and that does not exist in an entirely comparable Okinawan version). Therefore, there is Okinawan Shorin Ryu which is a combination of principles found in the northern and southern Chinese styles, though, overall, appears to lean slightly further to northern Shaolin, hence calling it Shorin Ryu (it is usually described as being northern Shaolin, but this is clearly not precise, upon examination). Okinawan Shorei-ryu is southern Shaolin (Zhaoling-liu), and is more purely of the southern style, as can be seen by comparison between southern Chinese martial arts and the Okinawan schools of Goju Ryu and Uechi Ryu, as well as the Higaonna side of Mabuni Shito Ryu. 

However, as I described in the article I referenced, there are further necessary details. Shorin Ryu is overall. It consists of both Shorin-ryu and Shorei-ryu origins. Some kata appear more as Shorin-ryu, so they are "southern-Chinese Shorin-ryu" kata. Whereas Shorei-ryu kata in Shorin Ryu are not the same as Okinawan Shorei-ryu, so they are "northern-Chinese Shorei-ryu" kata. That results in Shorin Ryu being much more different to simply saying Shorin-ryu as opposed to Shorei-ryu, as if there are only two styles in Okinawa (completely besides "udundi" - the other karate). You have to look closely at the kata to find the detailed, and therefore more true and whole, origins of the overall styles. And actually, that supports the notion of being able to study just one or a few kata to learn karate, because clearly you would in fact be studying their respective styles, and so would actually be learning, for example, Okinawan Shorei-ryu with the kata seiyunchin, southern-style Shorin-ryu with the kata passai, and northern-style Shorei-ryu with the kata naihanchi. And in the process of studying the latter two, you would also learn the overall style linked with those two, being Shorin Ryu, which should perhaps be called Okinawan Shorin Ryu for definite distinction. 

So, Shorin Ryu is descended from Chinese martial arts, and is related to Shaolin, like Wudang taijiquan is. Thus, the writings in the Bubishi are related to Shaolin, with perhaps some closer than others. But they are also closely related to southern-Chinese martial arts (Zhaoling-liu or Shorei-ryu, both using the same characters meaning "Enlightened-spirit Style", and more so representing a style rather than a temple, though temples were/are "involved" in the southern Chinese arts, too).

The "six ji hands" explained in the Bubishi, are found in both northern and southern Chinese martial arts. They are not just of northern Shaolin, though their origins do relate to the Shaolin Temple. 

But all this separation starts to give me a headache, after a while. It is all just kenpo, or karate kenpo; Chinese kenpo, or Ryukyu kenpo karate. There are differences between styles, but all are just versions of kenpo/quanfa. That is why it is alternatively called Ryukyu kenpo. 

Kaigen