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.