Nunchaku

I can't say it better than Wikipedia here, so a repost of the good parts:

The nunchaku (Chinese: 雙節棍, shuāng jié gùn; 兩節棍, liǎng jié gùn "Dual Section Staff"; 二節棍, èr jié gùn "Two Section Staff"; Japanese: ヌンチャク nunchaku 梢子棍, shōshikon "Boatman's staff"; 双節棍, sōsetsukon "Paired sections staff"; 二節棍, nisetsukon, also sometimes called "nunchucks", "numchuks", or "chain sticks" in English) is a traditional weapon of the Kobudo weapons set and consists of two sticks connected at their ends with a short chain or rope. A sansetsukon is a similar weapon with three sticks attached on chains instead of two.

Although the certain origin of nunchaku is disputed, it is thought to come from China through the Japanese island of Okinawa^{[citation needed]}; and according to the History Channel they were created in their current incarnation for the movies. The Japanese word nunchaku itself comes from the Hokkien (Min Nan) word ng-chiat-kun (兩節棍). When viewed etymologically from its Okinawan roots, nun comes from the word for twin, and chaku from shaku, a unit of measurement. The popular belief is that the nunchaku was originally a short flail used to thresh rice or soybeans (that is, separate the grain from the husk).

It is also possible that the weapon was developed in response to the moratorium on edged weaponry under the Satsuma daimyo after invading Okinawa in the 17th century, and that the weapon was most likely conceived and used exclusively for that end, as the configuration of actual flails and bits are unwieldy for use as a weapon. Also, peasant farmers were forbidden conventional weaponry such as arrows or blades so they improvised using only what they had available, farm tools such as the sickle. The modern weapon would be an ineffective flail.

Another popular theory is that the nunchaku originated from China, Song Dynasty. It was named "da pang long gun"(大盘龙棍), meaning great coiled dragon stick. The weapon is composed of one long stick and a short stick connected by horse hair. It was commonly used in wars against cavalry to trap horse legs. The weapon eventually evolved into a short range weapon as seen in our present day nunchaku.

The nunchaku as a weapon has surged in popularity since martial artist Bruce Lee used it in his movies in the 1970s. It is generally considered by martial artists to be a limited weapon, although it is also one of the least understood weapons. Complex and difficult to wield, the nunchaku lacks the range of the bo (quarterstaff) and the edged advantage of a sword. The nunchaku has a steep learning curve. It is also prone to inflicting injury on its user.

A nunchaku is two sections of wood connected by a cord or chain, though variants may include additional sections of wood and chain. Chinese nunchaku tend to be rounded, whereas the Japanese version has an octagonal cross-section (allowing one edge of the nunchaku to make contact on the target increasing the damage inflicted). The ideal length of each piece should be the length of the user's forearm; the bone between elbow and wrist. Traditionally both ends are of equal length, although asymmetrical nunchaku exist. The ideal length for the connecting rope/chain is just enough to allow the user to lay it over his or her palm, with the sticks hanging comfortably and perpendicular to the ground. Weight balance is extremely important; cheaper or gimmicky nunchaku (such as glow-in-the-dark ones) are often not properly balanced, which prevents the artist from doing the more advanced and flashier 'low-grip' moves, such as overhand twirls. The weight should be balanced towards the outer edges of the sticks for maximum ease and control of the swing arcs.

The traditional nunchaku is made from a strong, flexible hardwood such as oak, loquat or pasania. Originally, the wood would be submerged in mud for several years, where lack of oxygen and optimal acidity prevent rotting. The end result is a hardened wood. The rope is made from horsehair, and was traditionally claimed to be able to block a sword.^{[citation needed]} Finally, the wood is very finely sanded and rubbed with an oil or stain for preservation. Today, such nunchaku are often varnished or painted for display purposes. This practice tends to reduce the grip and make the weapon harder to handle, and so is not advised in a combat weapon.

The modern nunchaku can be made from any suitable material: from wood, metal, or almost any plastic or fiberglass material, commonly covered with foam to prevent self-injury or the injury of others. It is not uncommon to see modern nunchaku made from light metals such as aluminum. Modern equivalents of the rope are nylon cord or metal chains on ball bearing joints. Simple nunchaku may be easily constructed from wooden dowels and a short length of chain.

Tonfa

(From Wikipedia) The tonfa's origin is found outside of Okinawa. Folklore says it was originally used as the wooden handle that fit into the side of millstones and was later developed into a weapon. In China, the tonfa is said to have developed from a crutch. Either way, it was also an early weapon of Southeast Asia, particularly Malaysia, Indonesia and the Philippines. A similar weapon is used in Thailand and called the mae sun sawk which had rope tying the elbow end of it to the arm.

The tonfa traditionally consists of two parts, a handle with a knob, and at 90 degrees to the handle, a shaft or board that lies along the hand and forearm. The shaft is usually 51-61 centimeters (20-24 inches) in length, and optimally extends about 3 cm past the elbow when held. Often the shaft has rounded off ends which may be grooved for a better grip.

There are numerous ways to defend and attack with the tonfa. Defensively, when holding the handle, the shaft protects the forearm and hand from blows, and the knob can protect from blows to the thumb. By holding both ends of the shaft, it can ward off blows. When holding the shaft, the handle can function as a hook to catch blows or weapons.

In attack, the shaft can be swung out to strike the target. By holding the handle and twirling the tonfa it can gain large amounts of momentum before striking. The knob can be used as a striking surface, either when held by the handle, or when holding the shaft, using it as a club. The shaft can also be maneuvered to stab at attackers. By holding the shaft and handle together, the tonfa can be used for holding or breaking techniques.

The tonfa is traditionally wielded in pairs, one in each hand, unlike the police nightstick which is a single-hand weapon.

Kama

Kama

Kama (鎌 or かま) are Okinawan and Japanese weapons that resemble traditional farming devices similar to a scythe. It was originally a farming implement, used for reaping crops. During the annexation of Okinawa by the Satsuma, all traditional weapons were outlawed. This led to the development of the kama and other Kobudo weapons. It is sometimes known as a 'Hand Scythe'.

When a kunai and chain, ball and chain or bare chain itself are attached to the end of the Kama, it becomes a kusari-gama, a formidable (if hard to master) weapon because its range makes it extremely difficult for opponents to approach the wielder.

When the student of Kenshin Kan begins training with Kama, he enters a whole new dimension in weapons. Kama are somewhat unique in kobudo as they are a cutting weapon. Up to now, none of the weapons utilized in kobudo training have been bladed and this adds a new dimension. Kama are a vicious weapon and training with them is not for the feint of heart or the poorly focused student. A person can seriously injure themselves, as well as their opponent, with kama so the training with them is of the utmost seriousness.

More Sai!

Found an interesting article from Oshiro karate website. Good reading, thought I'd share.

The Stories and Practice of the Okinawan Sai
by Toshihiro Oshiro and William H. Haff

Any penetrating review of Okinawan weapons history is a mixture of hyperbole and fact.
Most modern martial arts students have been taught that Okinawan kobudo developed as a result of the Okinawan samurai being stripped of their weapons at two different points in their history. But a review of these incidents shows that our current view of the roots of Okinawan kobudo might be based on misconceptions.

Oshiro Sensei poses in a kamae that demonstrates the concept of "kakushi buki" or concealment of the weapon. The idea behind it is that the opponent cannot tell exactly what you are holding and how long the weapon is. This gives one the advantage of surprise. Keep in mind that in the old days the normal dress was a kimono that had very long and baggy sleeves that could conceal a short weapon much better than a standard karate gi worn today.

The first time that the Okinawan samurai's weapons were supposedly confiscated was during the reign of King Shoshin (1477 - 1526). While it is documented that King Shoshin ordered his provincial lords, or aji, to live near his castle in Shuri, many historians no longer believe that he totally disarmed his ruling class. A famous stone monument, the Momo Urasoe Ran Kan No Mei, which is inscribed with the highlights of King Shoshin's reign, talks about the King seizing the aji's swords, and how he amassed a supply of weapons in a warehouse near Shuri castle. But some Okinawan historians now interpret that King Shoshin was actually building an armory to protect his ports and prepare for any potential invasion by wako, or pirates, not that he was stripping the Okinawan samurai or the general population of their weaponry.
The second time that the Okinawan samurai were purportedly disarmed was after the Satsuma invasion of 1609. But documents have been recovered that state that the Satsuma outlawed the ownership and sale of firearms, all the Okinawan samurai of the Pechin class and above were allowed to keep those muskets and pistols that were already in their family's possession.
There is further documentation that in 1613 the Satsuma issued permits for the Okinawan samurai to travel with their personal words (tachi and wakizashi) to the smiths and polishers in Kagushima, Japan for maintenance and repair. From the issuance of these permits, it is logical to infer that there were restrictions on the Okinawan samurai carrying their weapons in public, but it is also clear evidence that these weapons were not confiscated by the Satsuma.
Based on this misconception that the Okinawan samurai were stripped of their weapons by the Satsuma most modern martial arts students are taught that Okinawan kobudo developed because the Okinawans turned to farm implements for their self-defense and training. When we consider the sai specifically we can see that the plausibility of this common myth is significantly strained.
Sensei Toshihiro Oshiro, long time practitioner of Yamanni-Chinen Ryu Bojutsu and the Chief Instructor for the Ryukyu Bujutsu Kenkyu Doyukai - USA, says that he has never found any evidence in his own extensive research to support the theory that the sai was used as a farming tool. Nor has he been told that by any of his teachers. He asserts that the sai has always been a weapon. If this is true, then where and how did the sai originate?

Stories on the Origin of the Sai
One story suggests that the sai made its way into Ryukyuan history by following the path of Buddhism, migrating from India to China to Okinawan. The shape of the sai were designed in the image of the human body; after the monks who carried them for protection. While there is little way to ascertain the veracity of this story, it remains an interesting projection.
Another, more modern story that martial artists often hear is that the practice of the sai originated with the Okinawan police force who carried the sai as their personal "side-arm" to control crowds and apprehend criminals. This story gains credibility because one of Okinawa's leading sai practitioners was Kanagushiku (Kinjo) Ufuchiku, a highly regarded police captain who lived from 1841-1926. But if the sai was the required weapon for the police, Sensei Oshiro believes that there would be some evidence in recorded laws or regulations from the previous century in Okinawan history. To date Sensei Oshiro says that he hasn't been able to find any proof in his research that supports this story. He thinks that the sai had a much wider following in the Okinawan martial arts community.

"Kakushi Buki" The Use Of Concealed Weapons
As we mentioned above, while the Satsuma did not confiscate the personal weapons of the Okinawan samurai class, there were tight restrictions imposed on their rights to carry their weapons in public. The Okinawans increasingly relied on "kakushi buki" or the practice of concealed weapons for their self-defense and the defense of their family and property. Sensei Oshiro maintains that the sai were one of the prevalent weapons used for this purpose.
The Okinawan samurai would often carry as many as three sai concealed in the sleeves of their kimono and in their obi. These hidden sai were typically shorter than the modern sai used today, with straight wings rather than flared so as not to snag on clothing when they were being drawn. When the Okinawans felt that they were in danger of imminent attack they would immediately strike with or throw their concealed weapon. Since throwing the sai was a common technique, the Okinawans routinely carried more than one sai.

A concealed technique to use for in-fighting, is the jab with the tip of the sai from the basic grip. This of course, only works when the Sai length extends past the elbow.

Many modern martial arts practitioners assert that because of their winged structure they were used to block bo. While these assertions might be technically feasible, the range and momentum generated by the longer weapon would make sai a risky defense. Sensei Oshiro believes that sai were generally used in a "first strike" or surprise movement. The winged shape of the sai increases it versatility and enables a wide variety of striking techniques.
There is also evidence that use of the sai was integrated more widely into the Okinawans' martial arts practice and used to augment other disciplines. Many Okinawan martial arts reference books speak of the sai being used for "hojo undo" or endurance training. While it is possible that the native martial artists used these heavy sai for fighting, it is more probable that they were training tools used for developing arm and wrist strength. Similar to swinging a weighted bat in baseball batting practice, the benefits from this type of training would improve not only their sai strikes, but carry over into their karate and bo training as well.

In figure "A" Oshiro Sensei stands with the Sai at his side and low. In order not to telegraph when you are about to deliver a strike, you must begin from whatever position your hands happen to be at without any preparatory or wind-up movements. In this case following figures "B" though "E". Notice how the Sai goes directly from the lower position to the target and immediately back to the recovery position, prepared for the next strike.

The Sai in Modern Martial Arts Practice
The sai have been practiced for many years in Okinawa, but it was very individual practice. Because the sai were used primarily for self defense, they were not systematically taught as a separate martial arts style. Each person would have their own places to carry and hide their sai and developed their own favored techniques. Thus we find that sai does not have as documented a tradition in Okinawan martial arts culture as either the bo or karate. The "traditional" sai kata practiced today are of relatively recent invention.
If the above comments are reasonably "accurate", where does that leave modern martial artists as they consider their practice of the sai and its place in Okinawan kobudo tradition? While the sai do not have as long a kata's history as the bo Sensei Oshiro feels that they are very beneficial for modern budoka to study.
Starting with basic techniques, today's practitioners can study how to grip the sai, how to use their wrist in flipping the sai and developing a stronger strike. Modern students should spend long hours building up their striking speed and capabilities. As Sensei Oshiro constantly admonishes his own students, "when you swing the sai, you should always cut the air. Swing fast, but never let your arms move outside the scope of your body. Basically, you should always try to reach longer when you swing. In advanced forms you should recoil after your strike, hiding your sai and preparing for the next movement.

Many Sai practices today employ rigid karate-like punches and strikes. The Sai can be used more effectively by using slashing and cutting movements. For example the picture above shows a common upper level strike which ends in the position shown. A more effective movement is to pass this point and execute the kime or focus at the end of the arc at the lower position (left). This movement creates a threat to your opponent that covers not only the head by the entire torso, hands, arms and finally the legs.

With kihon movements for the sai, it is perfectly appropriate for beginners to move each arm sequentially, first one side then the other. But in more advanced technique both the right and left sai should be used in tandem, flowing from one "waza" to the next. "Of course", says Sensei Oshiro, "when you complete a certain combination or series of techniques, you must use kime, or focus".
Consistent with the sai's history as "kakushi buki", modern practitioners should try to initiate their strikes right from where their hands are without too much setting or winding-up. Also they should not let the tine of the sai separate from their forearm as they prepare to strike, giving away the position of the sai and telegraphing their intended movement to their opponent.
Because of the sai's short range, footwork is critical to the proper use of this weapon. Learning how to move in and out dynamically and how to change sides and angles will provide the modern sai student with many hours of challenging practice. Footwork, hip movement, and the upper body should all be integrated for maximum power and effect. Well founded sai kata should incorporate this elements. Look for a combination of basic and advanced technique in your katas.
The art and practice of the Okinawan sai has a long yet murky history. Inspite of the fact that our current understanding of the origins of the sai is not definitive, the practice of the sai can provide today's martial artists with a chance to look back to the "old ways" and flavor their modern training with a taste of earlier Okinawa....

The Sai

Sai (釵) is the Ryukyu name for a traditional Okinawan weapon also used in India, China, Indonesia, Malaysia and Thailand. Its basic form is that of a pointed, rod-shaped baton, with two long, unsharpened projections (tsuba) attached to the handle. The very end of the handle is called the knuckle. Sai are constructed in a variety of forms. Traditional sai are round, while some reproductions have adapted an octagonal middle prong.

It is believed the sai was always a weapon. Although, some hypothesize it originated as an agricultural tool used to measure stalks, plow fields, plant rice, or to hold cart wheels in place, though the evidence for this is limited. The sai is known to have been used in other parts of Asia before its arrival on Okinawa. It is also of note that the Greek letter psi, is a homonym of sai and that the shape of the letter itself closely resembles the shape of the weapon.

The Bo Staff

Bubishi is the Japanese pronunciation of the Chinese Wu Bei Ji, "Account of Military Arts and Science". This is the title of two different Chinese documents.

The first Wu Bei Ji was a book produced in 1621 by Mao Yuanyi: a massive compilation consisting of 240 chapters in five parts and 91 volumes, treating all aspects of the art of war.

The second Wu Bei Ji was a compendium of topics loosely related to the Fujian-based quanfa traditions of White Crane and Monk Fist boxing, probably dating from the mid-to-late Qing dynasty (1644-1911.) It contains anatomical diagrams, philosophical essays, defensive tactical strategies, and poetry. No author is known; the book is most likely a collection of pieces from various sources put together by an anonymous editor. It was popular in Okinawa among Okinawan-based quanfa practitioners during the 19th and early 20th centuries.

An English translation of the second Wu Bei Ji by Patrick McCarthy was published in Japan in 1991 and the United States in 1995 as Bubishi: the Bible of Karate.

In this mysterious text, the bo staff is referred to as “the essence and foundation for all martial arts that use weapons”. It is in this ancient text that diagrams depicting karateka using the bo staff look remarkably similar to those techniques used today.

Not wanting to rewrite something well written, Wikipedia says it better about the bo:

A bō (棒: ぼう) or kon, a long staff, usually made of tapered hard wood or bamboo, but sometimes it is made of metal or plated with metal for extra strength; also, a full-size bō is sometimes called a rokushakubō (六尺棒: ろくしゃくぼう). This name derives from the Japanese words roku (六: ろく), meaning "six"; shaku (尺: しゃく); a Japanese measurement equivalent to 30.3 centimeters, or just under 1 foot; and bō. Thus, rokushakubō refers to a staff about 6-shaku (1.818 m, about 6 ft.) long. The bō is typically one and a quarter inches thick in the middle, gradually tapering at both ends to three quarters of an inch. This thickness allows the user to make a tight fist around it in order to block and counter an attack. The most common shape, maru-bo, is a round staff, while kaku-bo (four-sided staff), rokkaku-bo (six-sided staff), hakkaku-bo (eight-sided staff) also exist.^[1] Other types of bō range from heavy to light, from rigid to highly flexible, and from simply a piece of wood picked up off the side of the road to ornately decorated works of art.

The Japanese martial art of wielding the bō is bōjutsu. The basis of bo technique is te, or hand, techniques derived from kung fu and other martial arts that reached Okinawa via trade and Chinese monks. Thrusting, swinging, and striking techniques often resemble empty-hand movements, following the philosophy that the bō is merely an "extension of one’s limbs". ^[2] As in Okinawa-te, attacks are often avoided by agile footwork and returning strikes made at the enemy’s weak points. ^[2]

The bō is typically gripped in thirds, and when held horizontally in front, the right palm is facing away from the body and the left hand is facing the body, enabling the bō to rotate. The power is generated by the back hand pulling the bō, while the front hand is used for guidance. When striking, the wrist is twisted, as if turning the hand over when punching. ^[3] Bō technique includes a wide variety of blocks, strikes, sweeps, and entrapments. The bō may even be used to sweep sand into an opponent’s eyes.

The earliest form of the bō, a staff, has been used throughout Asia since the beginning of recorded history. The staff evolved into the bō with the foundation of kobudo, a martial art using weapons, which emerged in Okinawa in the early 1600s.

In 1609, the temporary peace established by Sho Shin was violently overthrown when the powerful Satsuma Clan invaded Okinawa. Composed of Japanese samurai, the Satsuma Clan took over the island, making Okinawan independence a thing of the past. The Satsuma placed a new weapons ban on the people of Okinawa, leaving them defenseless against the cruel steel of the samurai’s swords. In an effort attempt to protect themselves from the devastating forces of the Satsuma, the people of Okinawa looked to simple farming implements, which the samurai would not be able to confiscate, as new methods of defense. This use of weapons developed into kobudo, or "ancient martial art," as we know it today.

Although the bo is used as a weapon in modern day kobudo, it is evolved from non combative uses. It was used to carry baskets or buckets across the shoulders. It also had use as a herding staff and, with a little alteration, a fishing spear.

Even though it’s obvious that the Okinawans didn’t invent the “stick”, they definitely perfected it’s use.

The Bo-jutsu forms practiced by the samurai (warriors) have names ending in "Kon". These art forms were presented to the king and are distinct from "Son-Bo", the common people's Bo-jutsu. In ancient times, the Kuba (Chinese Palm tree) was used as material for Bo. The grain of this hard tree is wavy-like, the same as oak. Kuba was an ideal material for Bo. It is not easily broken or bent in actual fighting and, in case it is broken, it's still an effective weapon as the broken point is quite sharp. However, in recent years, oak has been used as a Bo material.

Kobu-what??

When most people sign up for classes in a martial art studio, few understand exactly what all that entails. Some do it for health, others for self-defense, and still others for sport.

Not many walk into the dojo and say, “I want to learn to wield old weapons.”

Not only do very few dojos offer classes in kobudo, (lit. old martial way) but even fewer teach them the same way they were taught hundreds of years ago.

We at the Okinawan Budokan do not train in Okinawan kobudo because we think we might actually use a pair of sai against a samurai sword on the street today, but rather we train for the tradition and history of our style. We train because it is excellent exercise, using the same muscles as we do when we do karate.

So, in an effort to broaden the knowledge of our stylists and the general public, I’ve decided to devote a couple of entries to the weapons we teach.

But first, about Okinawan kobudo in general:

(Taken from Wikipedia.org)

Okinawan kobudō (古武道; also known as Ryūkyū Kobujutsu, Koryū, or just as Kobudō) is a Japanese term that can be translated as "old martial way of Okinawa". It generally refers to the classical weapon traditions of Okinawan martial arts, most notably the rokushakubo (six foot staff, known as the "bō"), sai (short unsharpened dagger), tonfa (handled club), kama (sickle), and nunchaku (nunchucks), but also the tekko (knuckledusters), tinbe-rochin (shield and spear), and surujin (weighted chain). Less common Okinawan weapons include the tambo (short staff) and the eku (boat oar of traditional Okinawan design). It is a popular story and common belief that Okinawan farming tools evolved into weapons due to restrictions placed upon the peasants that meant they could not carry arms. As a result, it is said, they were defenseless and developed a fighting system around their traditional farming implements. However, modern martial arts scholars have been unable to find historical backing for this story, and the evidence uncovered by various martial historians points to the Pechin Warrior caste in Okinawa as being those who practiced and studied martial arts, rather than the Heimin, or commoner. It is true that Okinawans, under the rule of foreign powers, were prohibited from carrying weapons or practicing with them in public. But the weapons-based fighting that they secretly practiced (and the types of weapons they practiced with) had strong Chinese roots, and examples of similar weapons have been found in China, pre-dating the Okinawa adaptations.

Next time: The bo

Kata and other four letter words...

When you've been doing something over 20 years, you tend to do one of two things: Forget how much you know, or forget more than you know.
When it comes to karate I've done my share of both.
Today, while committing to paper all that we would be teaching (i.e. writing the manual), it blew my mind how many kata we could teach. The list for the adult class comes in right under 50 kata.
(counting weapons)
When you consider Master Soken and other early martial artist could spend 2-3 years on learning Naihanchi kata alone, we have our hands full.
Now I'm not saying I'm entirely proficient in all 40 something katas, far from it.
Some of the katas are basic katas used to teach schoolchildren in Okinawa, some are variations on a theme (Rohai 1,2,3), and some I haven't done more than once or twice.
Still, in today's world of teaching karate it is often times better to have too many kata than not enough.
And while I consider a paltry 39 of them important enough to demand my students learn them,
I also expect it will take them 20+ years to do just that.
Karate, the gift that's always new.

Here's a NON comprehensive list of the kata we will teach and/or have seen associated with Ken Shin Kan over the years:
OPEN HAND
Kihongata
Fukyugata Ichi, Ni, San *
Fukyugata Ni International *
Wansu *
Pinan Sho, Ni, San, Yon, Go *
Naihanchi Sho, Ni, San *
Seisan *
Ananku *
Chinto *
Passai Sho, Dai *
Jion *
Ji'in
Gojushiho *
Kusanku *
Ryu Sho Ken (Got it written down, don't know if I can remember it)
Rohai 1,2,3 (Don't know)
Hakutsuru (Don't know)


WEAPONS
Bo Sho, Ni, San, Yon, Jitsu *
Sai Sho, Ni, San, *
Kama Sho, Ni *
Kamagata No Nichigama
Tonfa Sho *
Soken no Nunchaku *
Tekko *
Ni Tanbo
Chatan Yara No Sai
Tsuken Sunakakai no Kon (can't remember all of it) *
Ananku Sai *
Urasoi No Kun (can't remember all of it)
Tokumine No Kun *
Sakugawa No Kon Sho *
Syushi no Kon Sho, Dai *
Chiken Bo (can't remember all of it)
Eku (never done, only seen)
Tinbei/Rochin (which I don't know)

This doesn't include a lot of the children's katas which we've borrowed from other styles.
My goal is to bone up on my weapons katas so that by the end of the year I feel like I can go through all of them without pausing. Katas with a * will be taught and expected for promotion.

Fukyugata Ichi

Last night in class, it became apparent that the history of the Fukyu katas were not included in the manual. Wanting to focus more on doing the kata, I opted to include here a history of the development of the Fundamental katas as I know it.

Much of this essay is derived from an article appearing in Dragon Times, Volume 15, 1999.

At the turn of the century, kata was still a closely guarded secret by most practitioners and was practiced mostly in private. Itosu Anko changed all of that by creating the Pinan series of katas for integration into the Okinawan school system. The government readily agreed to this as military conscripts and recruits who had previous karate training were superior physically and more disciplined than their untrained counterparts.

In his Ten Lessons of To-te, written in October 1908, Itosu states:

The primary purpose of karate training is to strengthen the muscles, making the physique strong like iron and stone so that one can use the hands and feet to approximate such weapons as a spear or halberd. In doing so, karate training cultivates bravery and valor in children and it should be encouraged in our elementary schools. Don't forget what the Duke of Wellington said after defeating Emperor Napoleon: "Today's victory was first achieved from the discipline attained on the playgrounds of our elementary schools.

With these teachings in mind, it is my conviction that if the students at the Shihan Chugakko (old name of Okinawa's Teachers College) practice karate they could, after graduation, introduce the discipline at the local levels; namely to elementary schools. In this way karate could be disseminated throughout the entire nation and not only benefit people in general but also serve as an enormous asset to our military forces.

Itosu did in fact teach at the Teachers College, thus spreading the art to a new, and very prolific, generation of instructors.

In making the transition from very small, private or semi-private classes, to large classes of school children, Itosu decided that an easier form of kata was required. Drawing from such sources as the Kusanku kata, Itosu formulated the five Pinan ("Peace") kata./4 If you have ever practiced or taught the Pinan kata, you will recognize that they are not basic at all, but rather of an intermediate level. In a nutshell, the Pinan are too difficult for beginners, particularly for young children.

Prior to the development of the Pinan kata, three basic kata were generally taught in Okinawa. For students of Shuri-Te or Tomari-Te (which generally became known as "Shorin-Ryu"), the introductory kata were either the three Naihanchi kata or the Seisan kata. For students of Naha-Te (which generally became known as "Goju-Ryu"), the introductory kata was generally Sanchin. The introductory kata were usually practiced for at least three years before more advanced kata were learned. Okinawan school students might or might not have previously learned these kata. It is to be expected that most had not (since the early masters generally taught very few students at any given time).

The 1936 Meeting of Masters:

In October of 1936, a meeting was held of the leading Okinawan masters. The martial arts participants included Hanashiro Chomo (1869-1945, shihandai of Itosu), Kyan Chotoku (1870-1945, student of Sokon Matsumura, among others), Motobu "the Monkey" Choki (1871-1944, student of Kosaku Matsumora), Miyagi Chojun (1888-1953, student of Higaonna Kanryo), Kiyoda Juhatsu (1886-1967, senior student of Higaonna Kanryo), Chibana Choshin (1885-1969, student of Itosu and founder of Kobayashi-Ryu), and Gusukuma Shimpan (1890-1954).

It was at this meeting that the term "Karate" (Empty Hand) was formally adopted in favor of the old "Tote" (China Hand). The masters observed that the new "Karate" was becoming very popular on the Japanese mainland. Okinawans such as Funakoshi Gichin (1868-1957, a student of Itosu and Azato Anko, and founder of Shotokan), Motobu Choki (1871-1944), and Mabuni Kenwa (founder of Shito-Ryu), among others, had moved to the mainland and successfully begun to spread the art. Funakoshi was quite an innovator, adopting Judo's kyu and dan system, and "modernizing" many of the kata. He had also changed the traditional names of the kata, many of which were Chinese in origin, in favor of Japanese versions. Okinawa's unique cultural art was at risk of becoming "Japanese."

The Okinawan Masters knew that something had to be done. They realized that the status quo in Okinawa had changed relatively little since the turn of the century. The art was broken into distinct "Te" systems. Generally, the Naha-Te practitioners trained among themselves practicing their own kata, as did the practitioners of Shuri-Te and Tomari-Te. The Pinan kata, while widely taught and practiced, were distinctly of Shuri-Te origin. It was time to attempt to bring the systems closer together and make Karate more accessible to the youth of Okinawa. One of the participants, Fukushima Kitsuma, a prominent military officer, recommended the creation of ten kinds of Japanese kata with Japanese names. Miyagi stressed the need to preserve the classical kata, but suggested that a national kata could be created.

The following year, the Okinawan Prefectural Karate-Do Promotional Society was founded by several leading instructors, many of which were present at the meeting the previous year. The members of the society followed up on some of the proposals made at that earlier meeting and formulated up to twelve new kihon (basic) kata. Within a few years, almost all of the senior masters would pass away as well from old age, the war or both.

What became of the twelve kihon kata developed by the Okinawan Prefectural Karate-Do Promotional Society is unclear. But in 1940, the Governor of Okinawa, Gen Hayakawa, assembled a prestigious Karate-Do Special Committee to address the need for easier basic kata for children.

Governor Hayakawa requested that the committee develop two new basic kata that would be easier for beginners. It also appears that he wanted kata that would break with the Shuri-te, Tomari-Te and Naha-Te distinctions. The new kata would be truly "Okinawan." Students from any area of the prefecture and with any type of karate background (or no previous training at all) could freely learn and practice them. Again, it must be remembered that the Pinan kata were of Shuri-te origin. Governor Hayakawa, through his selection of committee members, ensured that the Naha-te tradition would be fairly represented in the formation of the new kata.

The actual task of composing the kata fell upon Miyagi Chojun and and Nagamine Shoshin. Miyagi Sensei was 52 at the time, still young when compared to seniors such as Hanashiro, Kyan and Motobu who were in their seventies. Nagamine Sensei was only 33!

The kata Miyagi contributed became known as Fukyugata Ni International. In Goju-Ryu it is known as Gekisai (to "smash") Dai Ichi. There are two Gekisai kata. Gekisai Dai Ni is a more advanced form of the first kata, primarily through the use of more open handed techniques. The Gekisai kata are generally acknowledged as having been created by Miyagi in 1940 to teach to school children.

Nagamine Sensei chose to create an entirely new kata, one firmly rooted in basics. After a few months of considering the existing kata and careful design work, he developed the kata now known as Fukyugata Ichi. According to Nagamine Sensei, he "drew in his mind a basic and an easier kata so that any beginner may start Karate with ease." The kata was accepted and ratified by the Special Committee in June of 1941.

A few years ago, Master Kise introduced a kata known as Kihongata to effectively be our most basic beginner’s kata; however, this kata is no longer taught on a wide scale and has been replaced with Master’s version of Fukyugata Ichi, Ni, and San. (low,middle, high)

Elements of sport karate styles are incorporated into the Fukyu katas so they will be recognizable anywhere, by any Okinawan style.

Welcome!

Hello! And welcome to the ‘official’ blog of the Okinawan Budokan. This blog will be used as an area to update students, make announcements, answer questions, and inform prospective students of traditional martial arts and how we practice them…specifically, Shorin-ryu and Okinawan Kobodu (ancient weapons).