The Bushinkai Method of Karate traces back to the original Karate system of Okinawa. In the 1750s, a master named Sakugawa combined Okinawan 'Te' and Kobudo (studied under Takahara) with Chinese boxing (studied under Kushanku) to create a unique Okinawan fighting method called Toshu Jutsu (also pronounced Karate Jutsu. This art was characterised by its brutal effectiveness, powerful strikes, dazzling weapons forms and its two main forms the Wansu kata of Tomari and the Kushanku kata of Shuri. Bushinkai is headed by Simon Keegan whose great-great-great-great-great grandfather was a Swedish immigrant who lived in Okinawa for 15 years working with Sakugawa for a shipping firm. Today in Bushinkai, the two old forms Wansu and Kushanku (now known as Empi and Kanku Dai) are the forms we must perform for blackbelt.
SHURI TE, NAHA TE AND TOMARI TE: THE MAIN BRANCHES OF KARATE
As well as the "trunk" Bushinkai teaches the three main branches of Karate which are Shuri Te, Tomari Te and Naha Te. These were three towns in Okinawa where Karate developed. A brief breakdown is as follows:
Shuri Te:
Tode Sakugawa taught Toshu Jutsu to at least a dozen students including Sokon Matsumura (born 1797). Matsumura also studied Japanese sword (Jigen Ryu) and studied under a number of masters including Iwah and Ason. As well as Kushanku he was known for the forms Naihanchi (Tekki) and Bassai. Among his senior students in the Shuri Te tradition was Anko Azato who taught only one or two students. The most famous of these was Gichin Funakoshi who introduced his Karate to Japan in around 1922. Another of Matsumura's leading students was Kentsu Yabe whose student Makoto Gima joined Funakoshi in establishing the Shoto Ryu tradition. From this original Shoto Ryu arose styles such as Shotokan and Wado Ryu. The Bushinkai school has a strong Shuri Te lineage under headteacher Simon Keegan. Not only do we have the chief instructor's Okinawan family tradition going back 8 generations to Tode Sakugawa, but he was also awarded 2nd Dan Shotokan (Kanazawa's division) and 2nd Dan Nihon Jujutsu (division headed by Shizuya Sato who was a student of the founder of Wado Ryu Hironori Ohtsuka) in IMAF, before grading 3rd Dan under Kyoshi Parsons who had himself been graded by Ikuo Higuchi (senior student of Makoto Gima) he was subsequently awarded the title of 4th Dan Renshi in Shoto Ryu.
Tomari Te:
Tomari Te was always more closely linked to the Chinese Shaolin (Shorin Ryu) traditions. Among the pioneers were Teruya Kanga (probably a relative of Sakugawa), Kosaku Matsumora and Gusukuma who trained under the Chinese master Anan in around the 1840s. Among the forms associated with Tomari Te are Wansu (Empi), Jutte, Chinto (Gankaku) and Rohai (Meikyo). The most notable student of Gusukuma was Anko Itosu, the forefather of the Shorin Ryu tradition who formalised the Pinan (Heian) forms. As well as Funakoshi, among Itosu's senior students was Kanken Toyama of Tomari. The Tomari-Te method Toyama was introduced to Malaysia by Chew Chew Soot who studied under Takamizawa. Chew's style of Budokan Karate is very circular and reminiscent of Chinese styles like Hsing-I. The Shobukan school was founded by Mr PAJ Handyside Shihan who graded in Shotokan under Kanazawa and Budokan under Chew. Our chief instructor Simon Keegan was awarded his 5th Dan by Mr Handyside.
Naha Te:
The Naha Te tradition can be traced to around 1828 when members of the Kojo family travelled to Fujian, China. Some of the forms like Seishan (Hangetsu), Sanchin and Niseishi (Nijushiho) were imported to Okinawa by masters like Kojo, Aragaki, Matsumura and Higaonna. The Naha Te method is very closely related to Chinese styles like White Crane, Monk Fist and Tiger Fist Boxing. Bushinkai head Simon Keegan studied Naha Te with Kyoshi R Parsons and his teacher Tadanori Nobetsu who is a master of both Goju Ryu and the Chinese arts of Feeding Crane Kung Fu.
THE ROOTS OF TOSHU JUTSU
The roots of Toshu Jutsu are in the Chinese arts of Bazi Quan (white lion boxing), He Quan and Hu Quan (Tiger and Crane Boxing) and Hsing-I Quan (form-mind boxing). Toshu Jutsu is also closely related to Taiji Quan (supreme ultimate boxing). These Chinese arts have all contributed to our understanding of Toshu Jutsu.
THE PRACTICALITIES OF TOSHU JUTSU
By going back to the origins, Toshu Jutsu is actually taking Karate forwards. Karate was the original "mixed martial art" in many ways. Our Karate is an efficient blend of striking, grappling and weapons, taught through a range of skills, drills and sparring exercises.
Toshu Jutsu is the perfect tried and tested self defence method.
See our main website at www.bushinkai.org.uk for class times and contact details.
Bushinkai teaches authentic Japanese Jujutsu (Nihon-den Jujutsu). One of the main schools which influences our teachings is the Daito Ryu.
The history of Daito Ryu can be traced back 40 generations over around 1,000 years. It began when a member of Japan's legendary Minamoto clan changed his name to Takeda. Some 500 years later one of Japan's most famous generals was Takeda Shingen. The family traditions of this school and the grappling traditions of the related Saigo clan were brought together in around 1890 by Takeda Sokaku.
Takeda trained under his father Sokichi, his grandfather Soemon and with Saigo Tanomo.
One of Takeda's greatest students was Yoshida Kotaro who was also the hereditary master of a minor school of Yoshin Ryu Hakuda called Yanagi Ryu. One of Yoshida's students, Mikonosuke Kawaishi came to Liverpool in 1928 and opened the Kawaishi Ryu. Bill Nelson the great uncle of Bushinkai head Simon Keegan trained there and gained his blackbelt grade.
Other famous students of Takeda include his son Tokimune; the founder of Aikido Morihei Ueshiba and a number of Ueshiba's early students like Minoru Mochizuki (Yoseikan) and Kenji Tomiki (Shudokan) drew heaviliy on Daito Ryu Aikijujutsu.
Many of the old Jujutsu schools were lost as arts like Judo, Aikido and Karatedo grew in popularity. Modern Jujutsu which often bastardised Jujutsu or taught "Jujutsu" without any background in that art emerged. Often in the 20th century an instructor would study a little Karate, a little Judo, a little boxing and a little wrestling and call it Jujutsu (or usually Jiu Jitsu). Correctly arts that are developed for sport (such as Brazilian Ju Jitsu) or as a mishmash of self defence (such as WJJF Ju Jitsu) should be correctly termed Goshin Jutsu.
The Bushinkai Academy however teaches Nihon-den Jujutsu - authentically Japanese Jujutsu.
One organisation that led the way in teaching and standardising authentic Jujutsu was IMAF. The Nihon Jujutsu division was led by:
- Shizuya Sato. Judo student of Mifune and Ito, Taiho Jutsu instructor, student of Wado Ryu (Karate/Jujutsu) master Hironori Ohtsuka and assistant to Kenji Tomiki. We often call his Nihon Jujutsu "Sato Ryu."
- Minoru Mochizuki. Studied Gyokushin Ryu Jujutsu under Oshima and Daito Ryu under Ueshiba and Takeda. Also held senior grades in Karate, Iaido, Judo, Aikido and Kendo.
- Jun Osano. Master of nine schools: Yagyu Shingan ryû heijutsu, Asayama Ichiden ryû jûjutsu, Shibukawaichi ryû jûjutsu, Rikishin ryû bujutsu, Shinto Munen ryû tachiiai, Anazawa ryû naginata, Tento ryû bujutsu, Heiho Niten Ichi ryû, Shinmen Nito ryû
Bushinkai headteacher Simon Keegan took his first Jujutsu lessons over 28 years ago with his father and with various schools studied Jujutsu, Judo and Aikido from 1995-2002 when he was awarded 2nd Dan in Nihon-den Jujutsu.
Bushinkai Jujutsu classes are held Sundays 7pm-8:30pm at Van Dang in Manchester.
Manchester Listings Editor Samuel Bainbridge interviews Bushinkai Chief Instructor Simon Keegan
Over the years martial arts has installed itself as a firm favourite in everything from action movies to animations about turtle-shelled amphibians. But like many of us who are new to the world of martial arts I found that actually choosing the right style and a good sensei could be just as challenging as even the most advanced kata.
While training at the Manchester Bushinkai Dojo under Sensei Simon Keegan I feel that even as a relatively new starter I’ve managed to acquire the basis of what Bushinkai Karate means to both its students and those who teach. This article is for those who, like myself, are still finding their feet in this centuries old practice, or who haven’t yet joined up to the Bushinkai family but have always wanted to find out what real martial arts is all about, without the Power Rangers special-effects.
Sitting down for a conversation about martial arts with Sensei Simon Keegan is noticeably similar to the conversations during class. With a high level of experience and passion for what he teaches, Simon is a wealth of information, with an engaging attitude perfect for settling the nerves and imparting some welcome war-stories to a Bushinkai newbie like myself.
Bushinkai Karate. Is it a sport or simply a healthy activity?
Our Karate isn't a sport because we don't compete, Karate is an excellent activity for fitness but it is predominantly for self-defence. Karate can be a sport, and we do some elements of this in class such as sparring but the primary purpose is self-defence.
What do you think attracts new students, like myself to this type of martial art? Surely punching and kicking with bare feet is a bit antiquated?
Karate is the ideal martial art for self-defence. While some martial arts are relics of history like archery and swordsmanship, Karate is as relevant now as it's ever been. I think students like my class because we offer something different. We don't teach kids, and we don't do silly impractical spinning kicks. We learn in a relaxed yet serious environment of adult self-defence study.
How did you choose the name ‘Bushinkai’? What does it mean?
Actually it was given to me by my Jujutsu teacher at the time who translated it as "warrior spirit school." This is a bit of an over-simplification though. The character Bu, usually translated as martial, war, warrior is actually comprised of the characters "prevent" and "conflict" (the pictogram is two crossed spears). Shin means spirit or heart and kai means school. So it's the school where the spirit of preventing conflict is taught.
You recently featured in Martial Arts illustrated, in part because of your extensive knowledge of the history of material arts, which is obviously a passion. Where did this come from and why?
I have always enjoyed certain periods in history, I like for example the British Dark Ages, the Arthurian era if you like. I am also fascinated by family history, particularly the Irish and Scots branches of my family. I suppose my interest in martial arts history is an extension of this - understanding, documenting and continuing a warrior tradition. My father and great uncle (also both blackbelts) began our family history and I picked up on this. To a Samurai one's martial arts and the traditions of one's clan are part of the same heritage.
What can Bushinkai training do for me? Is it all just about the physical, the fighting?
Training can do different things for different people. Yes, it develops an improved ability to defend one's self but through its self expression can also improve confidence, self discipline and the ability to impart knowledge.
You come from a long line of martial arts practitioners, didn’t you ever want to take a break from training and try other interests? Or does Bushinkai require constant commitment to progress?
As a child I chopped (no pun intended) and changed my martial arts interests with great regularity. One minute it was boxing, the next Jujutsu, the next fencing, archery, Kung Fu, Ninjutsu. I was always interested in swords and swordsmanship, but not one particular school.
If I liked a sword it didn't matter whether it was Spanish or Indian, I wanted to learn to use that weapon. I was lucky to have access to such knowledge in my own family. My dad had studied Jujutsu and Karate my uncle was a member of the To-Ken Society for Japanese swords, another uncle was a Shotokan blackbelt, one great uncle was a Jujutsu blackbelt, another had fought in Japan and China in the war. My parents and grandparents all encouraged my love of martial arts and took me to antique fairs to buy swords and so on. But it wasn't until I was 16 that I committed to one style, studying under Steve Bullough Sensei for eight years in a style called Bushidokan Karate.
I do have other interests outside of martial arts though, I very much enjoy cooking and I like to travel particularly city breaks, to places like New York and Paris. I enjoy writing as well, spending 16 years working in the newspaper industry, and not to mention having an in-depth knowledge of Peppa Pig and Scooby-Do, thanks to my daughter.
How long have you studied Karate and Jujutsu?
I was first taught by my dad when I was about six. He had studied Jujutsu in about 1959-1961 and later Karate and Kobudo in the 1960’s and 70’s. When I was about nine he went to work in China and when he returned (with a Kung Fu suit for me!) my interest in the martial arts grew. My dad taught me throwing knives, sword and stick-fighting too, I joined my first club when I was ten. I used to practice my boxing in my grandad's back garden and he would make weapons for me. I settled on formal Dojo as a teenager and was competing at national level by the time I was sixteen.
Is it true you had to once defend your Manchester dojo during the riots?
Not that I recall, although I did still hold my class that night. As my students and I walked to the club, everybody was fleeing the city and shouting at us not to venture to the city centre. We did and commenced class while police horses galloped past and cars set on fire.
Another instructor in the building suggested we ought to leave though, so again we walked through the riots and to a student's workplace we were resumed training. I wouldn't let a bunch of uppity brats spoil our training night.
As a new student I have several preconceptions about my first classes. Where do you think the negative aspects of the martial images come from?
To me the negatives in martial arts are the "McDojos" that hand out blackbelts to three year olds. The other negatives are these instructors with what I call a "dressing up box". They couldn't punch their way out of a wet paper bag yet they are a 15th Dan in some made up style with a different coloured kimono for every occasion. These people are more like those Dungeons and Dragons players who like getting dressed up as wizards and elves. They are into the "look" but you'll never see them do a situp.
Who are your martial arts heroes?
As a child in the early 1980s, I watched Kung Fu (David Carradine), the Water Margin, Monkey and of course Bruce Lee and then came the Ninja boom in about 1985 and I loved that. I also liked any movies with swordplay like Highlander. In terms of real people, Hanshi Patrick McCarthy (a Canadian who now lives in Australia) is a great inspiration nowadays. He is one of the foremost researchers and practitioners of Karate in the world. I have only met him in person once but I'm a huge fan of his work. When I was a teenager my sensei was who I looked up to. But mostly, my dad and my grandad are my heroes for different reasons.
There seem to be so many confusing varieties of karate, what makes Bushinkai different from what kids are learning in after-school classes?
We teach the "trunk" and the "roots" not one of the branches. We teach a thorough, scientific approach to the martial arts. You don't learn just by seeing and copying you learn by understanding and doing.
Do you think that martial arts is a male-dominated activity? Is there a place for women in Bushinkai?
Karate is equally good for men and women. Some of my best students have been women and some of my hardest teachers have been women. Women are very welcome to train and often are more natural than men.
Taking my first grading in front of yourself and a senior Karate instructor was an intimidating experience, do you think the traditions of the grading and katas are still important and applicable today?
Grading allows the curriculum to be broken into bitesized pieces and for progress to be tracked. It is also a tradition and you know when you get a blackbelt off me, you've earned it. The kata is a living link to the past. Some of our kata have been handed down and modified along the way over eight to ten generations, by practicing kata we are walking in the footsteps of the masters.
Where can I learn Bushinkai Karate?
Our classes are held at Van Dang Martial Arts in Manchester. This is a three storey listed building that has been the north's leading martial arts centre for over twenty-five years. There is an excellent martial arts shop on the ground floor, martial arts on the first floor and on the top floor is our Dojo. We have a fully matted Japanese style Dojo for Karate and Jujutsu and a Hong Kong style Kung Fu studio for our Tai Chi classes. Karate classes are Tuesdays nights, Jujutsu Sunday nights and Tai Chi Tuesday nights. I find that this allows students to explore the full range of what’s available.
What are the qualifications of the instructors?
I hold the grade of 5th Dan, awarded by the World Union of Karatedo Federations, a worldwide governing body. I have also received previous grades from Japanese governing bodies and the English Karate governing bodies. We have a coaching programme which starts with Assistant Instructor then Club Instructor, Regional Instructor, National Instructor, International Instructor then Senior International Instructor. In Bushinkai our regional instructor is my senior student Dan Sanchez who holds the grade of 1st Dan, and we also have club instructors Ben and Pete, also both 1st Dan. We also have students who have held black belt grades in other styles.
How long does it take to get the different belts?
With dedicated study, a hard working student can expect to grade for their red, yellow, orange, green, blue and purple belts every three to four months. Then there is six months in between brown belts and one year to black belt, two years to 2nd Dan, three years to 3rd Dan and so on. The average time to reach black belt is about four to five years, with dedicated study.
For every new starter to our Manchester Bushinkai club who has joined after me, I always feel the urge to make them as welcome as possible, remembering all too well how daunting it can be taking those first steps into the dojo. But it’s also the senior instructors who remember this feeling and go to the same lengths to make sure those of us just starting out are always well looked after.
To me and others who are starting out in our studies not only does Bushinkai Karate mean healthy exercise, self-defence and the chance to learn a real martial art, it’s also a positive force that gives back exactly what it’s students put in. Providing a sense of achievement and pride that can often be lacking in modern life.
History of Toshu Jutsu Toshu Jutsu was the Okinawan fore-runner of Karate. In the early 1700s,
Okinawan "Te" had been practiced by masters like Hama Higa and Takahara
but it was only in the 1750s that masters such as Kanga Sakugawa and
Chatan Yara began to integrate the practices of Chinese Quan Fa into the
art that it became "Chinese hand" pronounced either Toshu or Karate. In
the 1750s, Sakugawa and Yara trained with masters like Wang Zong Yue
and Sakugawa's mastery was such that his nickname was "Toshu" or
"Karate" usually written as a combination of the two - Tode (To Te).
Sakugawa and Yara created versions of the kata we know today as Kushanku
(Kanku Dai and Kanku Sho) and this was known from 1760 to 1920 as the
most important kata in all of Karate. The Matsumura family considered it
to be the most advanced kata and Gichin Funakoshi demonstrated this
form when he came to Japan.
Another important kata in the early days of Toshu Jutsu was Wansu (Empi)
a form derived from the Swallow form of Hsing-I Chuan and popular in
the Tomari area.
In the 1820s, Master Sokon Matsumura studied a style in China that some
have suggested was a cross between Pakua and Shaolin. This art led to
him developing a kata called Passai (Bassai Dai, Bassai Sho) which the
International Toshu Jutsu Federation believes derives its name from Bazi
Quan (White Lion Boxing).
Between around 1820 and 1920 Karate was also influenced by the southern
Chinese "Shaolin" schools as masters like Matsumura, Kojo, Aragaki,
Higaonna and Miyagi trained with Chinese masters such as Ason, Iwah,
Anan, Gokenki and Tang Daiji. Here Karate gained kata and skills such as
Seishan (Hangetsu), Sanchin, Niseishi (Nijushiho) and Rohai (Meikyo).
As Karate emerged in Japan in the 1920s, set styles were established
like Shoto Ryu, Wado Ryu, Goju Ryu and Shito Ryu and other Okinawan
styles like Matsubayashi Ryu and Kobayashi Ryu. Many of the original
ideas of Toshu Jutsu were lost in favour of sport orientated Karate.
About Bushinkai Karate
The Bushinkai Academy teaches Karate (Hakuda Kempo Toshu Jutsu)
according to its original principles. We teach the trunk and roots not
just the branches.
Bushinkai is headed by Simon Keegan (8th generation inheritor of
Sakugawa Ryu). Simon's great-great-great-great-great grandfather Nils
emigrated from his home in Sweden to Okinawa in 1778 where he worked for
a shipping company alongside Tode Sakugawa. Nils returned to Sweden in
around 1795 and his son Johannes was born there. Johannes' son was Nils
Johann (born around 1830) and Nils Johann's son was August Nilsson, born
1866. August who served in the Swedish Royal Navy taught "boxing" to
his son William Henry (born 1895) and grandsons Jim (1923) and Billy
(1924). Jim was the grandfather of Simon Keegan who followed in the
family tradition as the 8th generation inheritor.
After early informal study with his father (who had studied various
martial arts including Tai Chi, Shaolin, Karate and Hsing-I) Simon
commenced formal study and by the age of 16 in 1995 he was competing at
national level in freestyle Karate.
Studying Shotokan and Karate Jutsu, he took his 2nd Dan under the
Federation of English Karate Organisations (FEKO) and was also ratified
in Hirokazu Kanazawa's Shotokan division in IMAF. In IMAF he also
commenced training of Nisseikai (Goju Ryu) Karate with Reiner Parsons
and his teacher Tadanori Nobetsu. Simon graded to 3rd Dan under Ikuo
Higuchi's Shoto Ryu division.
After leaving IMAF he became a founder member of the English Karate
Federation and was awarded 4th Dan by the WKA. He was also affiliated to
Terry Wingrove's Karate Jutsu International and had chance to train
with masters such as Hanshi Patrick McCarthy.
In 2007 he established a Karate system called Hakuda Kempo Toshu Jutsu
and in 2010 was awarded the title of Renshi in Shoto Ryu a title
previously held by Gichin Funakoshi. An internationally published Karate
researcher, he is writing a book called The Lost Book of Kushanku and
has also published an exclusive history of the first ten years of
British Karate. In 2012 he was awarded 5th Dan in Shobukan Karate by
Shihan Handyside 8th Dan (World Union of Karatedo Federations) and in
2013 he was interviewed for Martial Arts Illustrated by legendary
Karateka Alfie Lewis.
Simon teaches his main open Karate class on Tuesday nights (8pm-9:30pm)
at Van Dang Martial Arts in Manchester city centre. Simon is recognised
as a Senior International Instructor of the style.
Our other instructors
Our club's Regional Instructor is Dan Sanchez (1st Dan blackbelt) who
has trained with Bushinkai for around five years. Prior to training with
Bushinkai he studied Shukokai (Tani Ha Shito Ryu) Karate. Dan has also
studied Jeet Kune Do.
Also in our club is national instructor and multi-time world champion
Kicki Holm who was awarded her 2nd Dan in Shotokan Karate by Hirokazu
Kanazawa.
One of our longest training students is Ben Gaunt (1st Dan) who has
trained with the club for over six years and has trained with several
other Karate Jutsu masters including Terry Wingrove and Patrick
McCarthy.
Peter McHugh holds a 1st Dan having also studied Shotokan for many years and competed in kata and weapons at national level.
Joseph Coyne 3rd Kyu is our youngest student (aged 18) but he is also a
very experienced Karateka. He holds the grade of 1st Dan blackbelt in
Shukokai and also studies Kyokushinkai in which he has trained with the
Japanese world heavyweight champion. Joe has also studied MMA, Kung Fu
and Ninjutsu.
Graham Winstanley 4th Kyu is another experienced member of the club.
Studying martial arts for around 50 years he has held a blackbelt in
Jujutsu and studied Aikido, Judo and Shotokan Karate.
Another experienced member of the club is Kevin Dyke 4th Kyu. Beginning
his martial arts training in Tang Soo Do, he later studied Muay Thai and
joined Bushinkai in around 2008. He is also a qualified survival
instructor and has travelled to China where he trained at the Shaolin
Temple.
Simon, Dan, Kicki, Ben, Pete, Joe, Graham and Kev all have a range of experiences that enrich our training and help beginners.
If you would like to be a part of our Karate school email
kaicho@runbox.com, pop in and see us or browse this site for more
information.
Bushinkai headteacher Simon Keegan is the 8th generation inheritor of our school.
Background: Swedish settlers in Okinawa In 1543 the Portuguese became the first westerners to reach Japan and in 1600 William Adams and William Nealson arrived in Japan where they became a part of the Samurai class. In 1609 a Swede name Anders Nilsson Laso travelled to Okinawa, coinciding with the Dutch East India Trading Company opening a factory in Japan.
In 1616 Japan banned trade with foreigners (except China) and what essential trade was conducted was done from the farmost tip of Nagasaki. In 1634 this was taken to the extreme as part of Nagasaki was divided from the mainland, making an artificial island called Dejima used for trading. At this time more Swedish workers arrived and in 1667 the first Swedish book about Japan and China was written by two Swedish sailors who had been there on Dutch ships.
In 1731The Swedish East India Trading Company was created to trade with the Far East as far as Japan and Guangzhou and in 1745 the Swedish Ship Gotheborg was sunk on the way back from China.
By 1753 the art of China was the height of fashion in Sweden and small Chinese palace was even built in Drottningholm, the royal summer palace. By 1774 it is estimated that 90% of tea in Sweden is imported from China.
In 1775 the Swedish physician Carl Thunberg moved to Dejima near Okinawa and he was even taken to meet the Shogun in Edo. Thunberg was a student of the earlier Swedish physician Carl Nilsson (Linnaeus) a pioneer of Eastern studies.
The Nilsson family in Okinawa
In 1778 another Swede named Nils arrived in Dejima on board a Swedish East India Trading Company vessel. He settled in Okinawa in 1779 and in 1785 in Okinawa married Torborg Jonsdotter. This year the Swedish East India Company had four ships in China and the following year was the the second charter of the company.
At this time, Tode Sakugawa the great Karate master was also working for a shipping company, defending the cargo against pirates. Not only were the Nilssons (as the family of Nils became called) allowed to enter Okinawa at Naha, but they were also allowed to settle in Shuri and raise a family.
Nils and Torborg's children were Ingeborg Nilsdotter (born August 3 1785, Okinawa), Johann Nilsson (born June 26 1788, Okinawa), Bengt Nilsson (born December 9 1790, Okinawa) and Olof Nilsson (born April 13, 1794, Okinawa).
Growing up in the small city of Shuri, they were contemporaries of the great Karate master Sokon Matsumura (born 1797) and it appears if Johann Nilsson's son took an Okinawan version of the name "Johann Nilsson" which was Kinjo Nio. The son of Kinjo Nio was Kinjo Matsu, who later became known as the half Skandinavian half Okinawan Karate master Itoman Bunkichi.
In 1794 Nils moved back to Sweden. He likely left Okinawa to get away from his first wife who evidently stayed there with her children, since she died in Okinawa in 1826.
Nils remarried twice to Marit Jonsdotter in 1794 and Sarah Helena Jonsdotter in 1799. His daughters Anna (born 1795) and Maria (born 1797) were born in Sweden. Nils' third wife Sarah was from Kalmar, southern Sweden. He died in 1830 and she moved back to Kalmar, where she died in on May 5 1842.
In Kalmar in 1805, Nils' fourth son Johannes Nilsson was born and in turn his son Nils Johann Nilsson was born in around 1830.
Nils Johann Nilsson's son August Nilsson was born in Koping (now Monsteras) in Kalmar in 1866.
He has brothers called Johann and Carl Johann and sisters called Anna and Marie, which following family naming tradition.
August Nilsson, the great grandson of Nils of Okinawa was the great great grandfather of Simon Keegan.
The family boxing tradition
August Nilsson and his brothers came to England in around 1890 and anglicised their family name to Nelson. August was a formidable man who served with the Swedish Navy. He taught his son William Henry how to box and William Henry, fought in the first world war.
On June 6 1923, William Henry's eldest son Jim Nelson was born and on December 25 1924 Bill Nelson was born.
As children they were taught to box by their father and grandfather. Both served in the second world war.
In 1945 after the war, Bill joined the Kawaishi Ryu, gaining his blackbelt in Nihon Jujutsu, studying a method Mikonosuke Kawaishi had learnt from Yoshida Kotaro (a senior student of Daito Ryu Aikijujutsu grandmaster Sokaku Takeda). Bill later trained in Koizumi-ha Jujutsu.
Bill Nelson was succeeded in the family tradition by his great nephew Simon Keegan who is the inheritor of the family's traditions in boxing - the Okinawan art of Toshu Jutsu.
Hakuda Kempo Toshu Jutsu as taught by Simon Keegan Renshi
Keegan Renshi’s family lineage of Toshu Jutsu goes back 8 generations to
the time of Tode Sakugawa (1733-1815) the master who combined his
studies of Okinawan Te under Takahara Peichin with Chinese Quanfa which
he studied under Kushanku. His student was Sokon Matsumura (1797-1889)
the founder of Shuri Te who was in turn the teacher of many notable
masters such as Azato, Itosu, Yabe and Funakoshi.
Hakuda Kempo Toshu Jutsu is not another ”style” but rather it teaches the trunk rather than the branches of Karate.
HKTJ is famous for its realistic grappling based applications of kata,
its two man flow drills, its application of the principles of Chinese
internal martial arts, for its authentic practice of Chinese, Okinawan
and Japanese weapons and for its pioneering approach to self defence -
the Bushinkai Method.
The Bushinkai Method teaches The Three Sciences - the Science of Violence, the Science of Technique and the Science of Learning.
While modern Karate teaches the Three Ks (Kata, Kihon, Kumite), Toshu
Jutsu teaches the TEN Ks, also adding Kobudo, Kansetsu, Kakie, Kumiuchi,
Ki, Katame and Kyusho. These are weapons, joint manipulations, sticking
hands, grappling, locks and breaks and pressure points.
The Bushinkai Method may be applied to other martial arts and in fact is
in our Nihon Jujutsu classes which also teach a scientific approach to
the martial arts.
Manchester Karate classes: Tuesday 8pm
Manchester Jujutsu classes: Sunday 7pm
Contact: kaicho@runbox.com
Bushinkai's Hombu Dojo (international headquarters) is the White Lion
Academy at Van Dang Martial Arts, Manchester. Established for over 25
years, Van Dang is the north of England's premier martial arts centre.
It is a three storey centre with a wealth of martial arts knowledge from
the teachers who instruct there. Below the Dojo is the Van Dang shop, a
well renowned supplier of martial arts equipment including the Haku
Tora brand.
Bushinkai classes are held on the top floor of the Dojo. We have a Kung
Fu studio (kwoon) for Tai Chi and a fully equipped Dojo for Karate and
Jujutsu.
The Kwoon is a bright spacious studio with wood floors that is perfect
for Tai Chi practice. Simple and minimal, the Kung Fu studio has a few
simple wall bags.
The Karate and Jujutsu Dojo is fully matted and the Dojo is in the
colours of our club, red, white and black. The Dojo has punchbags, focus
mitts, kickshields, makiwara, and a full sized boxing ring. Everything a
Karate and Jujutsu student needs!
At the Shomen (the far end of the Dojo) is our Kamiza, a secular shrine
which includes the photographs of Karate master Funakoshi and Jujutsu
master Takeda, as well as a Tokugawa woodblock and a symbolic sword and
fan. The items on the Kamiza represent the elements water, wind, fire,
wood, earth and metal and when we bow to the Shomen we are bowing to the
great masters who have gone before.
At Shimoseki (the left side of the Dojo when facing Shomen) is our Torii
a black doorway around which are some more photographs and certificates
particular to our school.
Bushinkai and the United Kingdom Budo Federation are part of an
international network of martial arts. The headquarters of Bushinkai is
in Manchester, England based at the three storey Budo centre Van Dang
Martial Arts. Our Tai Chi division Metal Tiger Academy is based in
nearby Wigan.
We have representatives in Japan, China and Indonesia where our
affiliate is Karate and Jujutsu teacher Ben Haryo. In Australia our
honourary branch officer is Darren Ball third generation instructor of
Fudoshin Ryu and in Zambia our branch officer is Shihan J Kruger third
generation instructor of Kodokwan Jujutsu. We also have regional
representatives across Europe including Portugal, Denmark, Scotland and
Ireland where our representative is Sensei Tommy Lonergan a 40 year
veteran of Shotokan Karate. Our honourary technical advisor in the USA
is Jim Mather (9th Dan Hanshi) the senior instructor of the United
States National Karate Association who has published some of our
research internationally.
Bushinkai is also associated with Shobukan Karate International (headed
by Shihan PAJ Handyside) and Shikon (head by Sifu Steve Rowe) which is
part of the World Union of Karatedo Federations.
Bushinkai's Karate division is also part of a worldwide research group
called the International Toshu Jutsu Federation which aims to research
and develop the traditional arts of Okinawan Karate.
To be a part of Bushinkai and join an international family email kaicho@runbox.com
Here are the classes we run at our professional martial arts centre, Van Dang martial arts in the heart of Manchester City Centre:
Manchester Karate: Tuesday 8:00-9:30pm Price £6 Tuition in traditional Shoto Ryu Karate and the Okinawan arts of Hakuda Kempo Toshu Jutsu as seen in this month's Martial Arts Illustrated.
Manchester Jujutsu (Jujitsu, Jiu Jitsu, Jyu Jutsu) Sunday 7:00-8:30pm Price £6 Tuition in traditional Nihon Jujutsu (authentically Japanese Jujutsu) and the related arts of Jojutsu, Kenjutsu and Tanjo Jutsu.
Manchester Tai Chi (Taiji) Tuesday 7:00-8:00pm Price £5 Tuition in Yang style Tai Chi. Currently teaching the internationally standardised 24 form as well as Chi Kung and the Ba Duan Jin.
Contact Simon on kaicho@runbox.com
Or visit our classes on the top floor of Van Dang, 12 Newton Street, Piccadilly.
In 2003 I was inducted into Japan's oldest martial arts fraternity, the Kokusai Budoin which is presided over by Mr Tokugawa Yasuhisa.
Kokusai Budoin was established after World War II and backed by members of the Japanese royal family like Prince Higashikuni (the uncle of Hirohito) who was also the Prime Minister of Japan.
Mr Tokugawa was the great grandson of the last ruling Shogun, and from a ceremonial point of view his is the de jure Shogun of Japan. I have heard martial artists say that if the Tokugawas still has political ambitions they could regain power in Japan such is the country's love of their family.
This meant that not only were my grades recognised by masters like Kanazawa, Sato, Higuchi and Nobetsu, I also had the stamp of the Shogun on my license.
I was also invited to view the treasures of the first ever Tokugawa shogun, Lord Tokugawa Ieyasu - the first time has treasures had left the Nikko Toshogu Shrine. I took away a woodblock from Nikko Toshogu which is now part of our Dojo's Kamiza.
My students' personalised Dan grade certificates bear the Tokugawa crest in tribute to our connection to this great family.
The Tokugawa were also related to the Takeda family who pioneered the Aikijujutsu method that we teach so there is a further link.
Kokusai Budoin (International Martial Arts Federation) suffered a schism when Minoru Mochizuki's group left to become IMAF Europe. There was a further schism between IMAF UK and IMAF GB. Eventually IMAF GB of which I was international director became the United Kingdom Budo Federation.
Although no longer part of Kokusai Budoin, the UKBF and Bushinkai uses the Kokusai Budoin's grade requirements and titles which are:
The Bushinkai Method is a scientific approach to self defence that is
taught through two systems - Bushinkai Karate and Bushinkai Jujutsu.
Both systems are complete martial arts and self defence methods with a
rich history and lineage.
The Bushinkai Method consists of Three Sciences:
1) The Science of Violence
2) The Science of Technique
3) The Science of Learning
The science of violence ensures that we practice defending against realistic and various attacks.
The science of technique ensures we have the principles of efficient power generation.
The science of learning ensures we drill techniques so they become instinctive.
The Bushinkai Method is covered at length elsewhere on this site. I will
now introduce the two styles that are a vehicle for this method.
BUSHINKAI KARATE (Hakuda Kempo Toshu Jutsu).
Hakuda Kempo Toshu Jutsu (Bushinkai Karate) is an excellent self defence
method that is characterised by it's powerful strikes. Toshu Jutsu
teaches a range of kata (solo forms) that reveal a wealth of bunkai
applications containing grappling techniques such as throws, chokes and
locks. The kata are also performed using traditional Okinawan/Chinese
weapons such as the Bo, Sai, Tonfa and Nunchaku.
We begin by learning basic strikes (such as those found in Shotokan) and
the associated stances. Power generation is tested using punchbags and
kickpads and we carefully test and hone the efficiency of each technique
from the roots, to the waist movement, hips, breathing and relaxation.
We train every fighting range - from long range (kickboxing range) to
close range (boxing range) to a clinch (Wing Chun style trappling and
Judo style clinching) to a throwing range right down to the ground.
It is a misconception that Karate contains no throws and locks - Shoto
Ryu founder Gichin Funakoshi always demonstrated throws in his books and
close range trapping techniques were frequently taught by other masters
such as Choki Motobu.
Toshu Jutsu is the old name Karate was known by in Okinawa prior to the
mid 1800s. Hakuda Kempo is a phrase used to describe Chinese fighting
methods that found their way to Nagasaki in the 1600s. Hakuda Kempo
Toshu Jutsu therefore is descriptive of the original Quan Fa based
fighting arts of the Ryukyu and Kyushu islands. Between 1600 and 1900
the Okinawans who practiced Toshu Jutsu were influenced by many
different Chinese fighting arts. For example Hsing-I Chuan, White Crane,
White Lion and Monk Fist. One of the key pioneers of the art was Tode
Sakugawa who devised the Kushanku Kata in around 1750. His student Sokon
Matsumura was the next great pioneer, devising forms such as Bassai and
Naihanchi in the mid 1800s. Toshu Jutsu was phased out in favour of
Karatedo as modern educators like Itosu and Funakoshi took Karate out of
the streets and into highschools. Shoto Ryu Karate (also called Shorin
Ryu) was introduced to Japan in the 1920s by Funakoshi and Gima and from
this art came Shotokan, Shotokai, Wado Ryu and Yoseikan.
Shotokan was spread throughout the world in the 1960s mostly by masters
like Nakayama, Enoeda and Kanazawa, the latter who holds a 10th Dan in
Shotokan awarded by IMAF. The older method of Shoto Ryu was inherited by
Ikuo Higuchi (9th Dan IMAF).
Another line of Toshu Jutsu that was related to the
Matsumura-Itosu-Funakoshi-Gima branch was the Kanken Toyama branch.
Toyama combined Matsumura's Toshu Jutsu with other methods of Tomari Te,
Quan Fa and Hakuda that he studied. This art was taken to Malaysia
where Grandmaster Chew (10th Dan referred to it as Karate Budokan).
The third branch of Toshu Jutsu in Okinawa was Naha Te, a tradition more
closely related to the Chinese arts of Whooping Crane and Feeding Crane
Quan Fa.
Bushinkai chief instructor Simon Keegan graded 3rd Dan and Renshi
(awarded two years after 4th Dan) under IMAF and the UKBF (previously
IMAF GB). His teacher Reiner Parsons was awarded 5th Dan in Nisseikai
Karate (a style combing Naha Te with Feeding Crane) by master Tadanori
Nobetsu and 6th Dan by Shoto Ryu headmaster Ikuo Higuchi. Simon was
awarded 5th Dan in Shobukan Karate (World Union of Karatedo Federations)
by Shihan PAJ Handyside 8th Dan a 50 year veteran of the martial arts
who has trained and graded in both Shotokan (Kanazawa) and Budokan
(Chew).
Simon is also the 8th generation of his family in the
Okinawan-traditions since his great-great-great-great-grandfather
arrived in Okinawa in 1779.
BUSHINKAI JUJUTSU (Bushin Ryu Jujutsu)
Bushinkai Jujutsu is also an excellent self defence method that is
characterised by it's grappling techniques strikes. Jujutsu includes
throws, locks, pins and strikes. Because of its Japanese origins it also
includes kneeling and seated defences. We teach Japanese weapons as
part of this syllabus including the Tanjo, Jo, Tanto and Katana.
We begin by learning Tai Sabaki (body evasion) and basic strikes and
then covering the fundamental throws, locks and pins. The 'Goshin' (self
defence) techniques of Jujutsu have much in common with Aikijujutsu and
include throws, locks, controls and joint manipulations.
There are many different types of Jujutsu - some target the bones, using
percussive strikes (Koppo Jutsu), others tear the flesh (Kosshi Jutsu),
others use 'softer' attacks through grabs, chokes and pressure points
(Yawara).
Bushinkai Jujutsu includes all of these different approaches.
One of the main styles that influences Nihon Jujutsu is Daito Ryu
Aikijujutsu. This style was developed by Sokaku Takeda based on his
family's 35 generation tradition. Among his most famous students were
Aikido founder Morihei Ueshiba, Yoseikan founder Minoru Mochizuki and
master Yoshida Kotaro. The arts were carried on in the 20th century by
masters like Shizuya Sato (10th Dan IMAF), Mitsuhiro Kondo (9th Dan
IMAF) and Mikonosuke Kawaishi 9th Dan.
Bushinkai chief instructor Simon Keegan was certified up to 2nd Dan in
Nihon Jujutsu by Shizuya Sato in IMAF. His great uncle's Jujutsu master
was a student of Mikonosuke Kawaishi (student of Yoshida Kotaro) and
Simon has also trained with direct students of Ueshiba, Tomiki and
Mochizuki.
Our Karate system is called Hakuda Kempo Toshu Jutsu and is largely based on a style of Karate called Shoto Ryu Karate that was introduced to Japan in the early 1920s by Okinawan masters Gichin Funakoshi and Makoto Gima. The arts masters of today include Hirokazu Kanazawa (Shotokan 10th Dan IMAF) and Ikuo Higuchi (Shoto Ryu 9th Dan IMAF). The style's origins date back to the 1600s in Okinawa and ultimately the art can be traced to the Kung Fu styles of Fujian, China. This style is characterised by its powerful punching and kicking techniques but also its throws, grappling, kata and kata bunkai and weapons such as the Bo, Tonfa, Sai and Nunchaku. Our Karate system is great for fitness and self defence and ideal for both beginners and advanced. Anyone over 16 is welcome.
Classes: Tuesdays 8:00-9:30pm price £6
BUSHINKAI JUJUTSU
We teach Nihon Jujutsu (authentically Japanese Jujutsu) which is derived from various Koryu (old Samurai schools) such as Daito Ryu and Tenjin Shinyo Ryu. In the early 1900s, many Jujutsu schools were lost as Judo and Aikido grew in popularity but a few remained. In the mid 20th century master Minoru Mochizuki (10th Dan IMAF) devised a standardised syllabus of Nihon-den Jujutsu and later master Shizuya Sato (10th Dan IMAF) pioneered his method Nihon Jujutsu. These are the basis for the method we teach which includes throws, locks, strikes and Japanese weapons such as the Tanjo and Tanto. Our Jujutsu system is great for fitness and self defence and ideal for both beginners and advanced. Anyone over 16 is welcome.
Classes: Sundays 7:00-8:30pm price £6
BUSHINKAI TAI CHI
We teach Yang style Tai Chi, a Chinese method of Kung Fu that is also spelled Taiji Quan. The Yang style was developed in around 1850 by Yang Lu Chan and further refined by his sons before it was taken to Beijing were it was standardised in the mid 20th century by masters like Li Yu Lin and Li Tian Ji. The forms we teach include the 24 Form (devised by Li Tian Ji in the 1950s). Tai Chi is not as fast moving as Karate and Jujutsu but is still packed with superb self defence applications and is a great way of building flexibility, core strength and relaxation.
Classes: Tuesdays 7:00-8:00pm price £5
Email us now for more information or browse this website for more info. Email: kaicho@runbox.com
Next week Bushinkai's Karate method 'Hakuda Kempo Toshu Jutsu' is featured in Martial Arts Illustrated. Since the interview will appear in edited form here is the complete interview. Interviewer: Alfie Lewis. Interviewee: Simon Keegan.
Buy your copy here: http://www.martialartsunltd.co.uk/martial-arts-illustrated/361-may-2013
Passionate about martial arts history, while at the same time dedicated to teaching Karate as something realistic and effective, Simon Keegan is the pioneer of a Karate method called "Hakuda Kempo Toshu Jutsu". This method of Karate aims to take the art back to its root and "trunk" not just the branches. Simon's approach to intelligent realistic bunkai have attracted the attention of many advanced martial artists and his students include several Karateka who have gained blackbelts in other styles and now want to gain a deeper understanding of the art. Holding the grade of 5th Dan with Steve Rowe's Shikon organisation and having received previous grades from Japan's oldest martial arts fraternity the Kokusai Budoin, he balances a traditional path with a modern attitude to training. He also recently published an early history of British Karate (1956-1966) featuring pictures from England's first ever Karate club which have never been seen before. His efforts have attracted the attentions of a real Karate pioneer, Freestyle Karate legend Alfie Lewis who met up with Simon recently and conducted this interview.
Alfie: We're going to talk a lot about martial arts history, an area we are both interested in, but to start with Simon, why don't you tell us about what you teach?
Simon: I teach a system of Karate and Jujutsu called 'Hakuda Kempo Toshu Jutsu', a traditionally taught method but one that is very much geared towards self defence. We do spar, we do grapple, but these are means to an end rather than an end in themselves. The aim is to develop a range of skills that are drilled in such a way that they become instinctive should the need arise. I don't want people to think this is one of those styles where I stand at the front with a beer belly, a red and white belt and a hakama waxing lyrical about pressure points and Chi. We get stuck in, we spar, we grapple, I do all the situps and pushups with the students. But the focus is on real fighting not fighting for competition.
Alfie: Hakuda Kempo Toshu Jutsu is a bit of a mouthful. Why that name?
Simon: It's very much in keeping with names of Karate systems pre 1920 which had names like Ryukyu Kempo Tode Jutsu or Rentan Goshin Karate Jutsu. 'Hakuda' was an atemi based approach to Jujutsu common to the Nagasaki area, Kempo refers to systems of Chinese origin and Toshu Jutsu is another way of pronouncing the characters 'Karate Jutsu'. But generally my students just call it Karate or Bushinkai Karate. We tend not to dwell on semantics in class, we're too busy training!
Alfie: What do you think is different about the way you teach compared with say the average Karate club?
Simon: Firstly, I don't think my club is better or worse than the next club. It depends what you are after. I might like an Italian restaurant that doesn't mean the Indian restaurant down the street is no good. But my approach to Karate is this: I want to look forward and take Karate forward as an intelligently taught, practical, real workable self defence method, but I also want to have a living link to the past and the roots of Karate. Our branch may be Shotokan but the trunk is the Karate Jutsu of Okinawa, and then the roots are the systems of China like the White Crane school and styles like Hsing-I Chuan. So I want to better understand these too. People say "Karate came from Chinese boxing," I want to know more. Which kata came from Chinese boxing? Which Chinese style? Whereabouts in China? Karate's link with the crane and tiger styles of Fujian is well documented but maybe less documented is Karate's links with arts like Tai Chi and Hsing-I so this is something I have established in a tangible way and something I teach. And actually my style proves popular with advanced students in other Karate styles who want to learn other aspects that are not commonly taught.
Alfie: How do you go about this?
Simon: For example in applying the principles of the Chinese internal martial arts in terms of postural alignment, softness and power generation. I have trained in Tai Chi for around 15 years and my Tai Chi teacher for nine of those years also taught Hsing-I. Not to say I learnt that art in any depth, more looking at some of the the first Five Fists. But it gave me a feel for how the art feels and moves. Hsing-I is quoted as being an influence on Karate in various sources. Tode Sakugawa (who we get the kata Kanku Dai from) learnt Hsing-I in the 1750s, Seisho Aragaki's (who we get the kata Unsu, Nijushio and Sochin from) teacher in about the 1870s was said to be a master of Hsing-I and it is also speculated that the old kata Wansu (Empi) was derived from the Swallow form of Hsing-I.
Tai Chi itself is also related to Karate. Masters Sakugawa and Chatan Yara trained with the Chinese master Wang Zongyue in the 1750s and of course Wang Zongyue was the man who taught Chang Chuan boxing to the Chen family which was then inherited by Yang Lu Chan. So I'm looking at the likes of the Yang style long form and how its snake and crane movements contrast with those found in older Shuri Te Karate forms like Kushanku and Gojushiho.
Another example is in the Tiger boxing systems of Fujian. One of the masters who introduced this art to Okinawa was Tang Daiji, a friend of the legendary Gokenki. I've been researching the history of Tang family Tiger Boxing. I am lucky to have a good friend and Kung Fu brother from the Tang family whose great grandfather was a Tiger boxing practitioner from the Guangzhou area not far from Fujian. We compare notes. He showed me one of his forms, and I noticed a similarity with Seishan kata so having learnt the Shotokan Hangetsu and also the Goju Ryu Seishan, (as well as Aragaki Seishan a long time ago) I now have a third dimension to the form.
I am lucky to have also trained in a Goju Ryu system called Nisseikai, the founder of which was also a master of Fujian white crane - actually the Feeding Crane branch which was strongly associated with the Bubishi. So this gives another tangible link to the roots of Karate.
My friend and teacher Shihan Phil Handyside, as well as having studied Shotokan for the best part of 50 years, also trained and graded under the grandmaster of a Malaysian style called Budokan which owes its origins to Kanken Toyama's Karate Jutsu which was very much a traditional old style, much more Chinese in appearance and Toyama was also a Hakuda master, so this is another area I am looking at.
Styles like Shotokan, Goju Ryu, Shito Ryu and Budokan are the branches, Okinawan Karate Jutsu or Toshu Jutsu and Hakuda are the trunk and Chinese arts like Chang chuan, Hsing-I Chuan, Tiger boxing and White Crane are the roots. My approach is, I'd like to think in line with the approach of the teachers of old. I don't want to teach 30 kata, I want to teach 12 kata thoroughly.
Alfie: What kind of facility do you have for your club?
Simon: I teach in a great place in Manchester city centre called Van Dang which every martial artist in the area knows. There's some great instructors in there, including Jeet Kune Do veteran Steve Powell, Muay Thai coach Giorgio, wrestling coach Artur, MMA coach Ozzy, and there is also various styles of Kung Fu. All the instructors there are supportive of each other which is nice and probably quite rare. We have a small Kung Fu studio on the top floor where I teach Tai Chi and a fully matted room with punchbags and so on where we do the Karate. Somebody commented it's like the building in Game of Death - a different style in each room!
Alfie: You and I have had some good chats about martial arts history, whether it's the old masters of the past or the more recent martial arts legends, but a lot of people don't seem to appreciate the importance of martial arts history. Why is it so important to you?
Simon: Your lineage in martial arts is your DNA - it's where you came from and why you are the way you are. Some people say lineage in martial arts doesn't matter and it's what you can do on the mat that's important and to some extent that's true but you wouldn't want to be treated by a doctor who had never been to medical school would you? Not because he didn't have a piece of paper but because he probably hadn't been taught properly.
Years ago a senior instructor said to me "I can tell a man's grade by the way he walks across the mat." That might be a slight exaggeration but there is a truth to it. A Shotokan man moves in a certain way, a Goju Ryu man moves in a certain way.
Alfie: One of the things you and I always seem to talk about is our shared interest in the martial arts heritage of Liverpool. Why are you so interested in that when you live in Manchester?
Simon: Well I'm a scouser in exile in Manchester. And my family has a lengthy tradition in the martial arts in Liverpool. In fact my great uncle Bill Nelson trained at the same Jujutsu club as you Alfie - albeit about 30 years earlier!
Alfie: That would be Skyner's Jujutsu, a tough club with a real understanding of streetfighting. When did your great uncle train there and what do you know about Skyner's?
Simon: Skyner's was one of the first martial arts clubs in Liverpool. The very first was the Kara Ashikaga in 1906 where Gunji Koizumi taught before he moved to London; the second was Jack Britten's Alpha Jujutsu school where your mentor GM Ronnie Colwell trained and the third was Skyner's. The story is that Mikonosuke Kawaishi who was later a great Judo teacher in France came to Liverpool in 1928 and taught Professor Gerald Skyner. Kawaishi had been taught Jujutsu or more specifically Aikijujutsu by Yoshida Kotaro who was a senior student of Daito Ryu master Takeda Sokaku. Yoshida was also the hereditary master of a style called Yanagi Ryu which was derived from Yoshin Ryu Jujutsu or Hakuda.
Kawaishi is famous for his Judo but in the few years he was in Liverpool it was definitely Jujutsu that he taught. My great uncle trained there after the war from 1945 and gained his blackbelt which was a very high grade at the time and then he trained in another style from the Koizumi branch. I consider myself fortunate to have been able to learn of this era from my great uncle who I was very close to. My great uncle and his brother Jim, my grandad had been taught to box by their dad and grandad when they were kids in the 1930s.
Alfie: So that is quite a long family tradition then...
Simon: Well it goes back even further than that! As you know Liverpool is a real mixing pot of cultural diversity a lot of my family are Irish but that part of the family were Swedish. My great great grandad was in the Swedish Royal Navy and if you go back even further a branch of his family three generations earlier moved to Okinawa. The Nilsson family patriarch worked for the Swedish East India Trading Company and so since the Shogun wouldn't let Gaijin in Japan they made Dejima Island their trading base and settled in Okinawa in 1778. Interestingly at the same time Tode Sakugawa the Karate master also worked for a shipping company which is where he made his name defending the cargo against pirates. The Nilsson family patriarch spent 15 years there then returned to Sweden (leaving his wife and first four kids in Okinawa) where he remarried twice and settled in Kalmar where my branch of the family were from.
Alfie: And your dad's a martial artist as well isn't he? Did that influence you?
Simon: Yes, my dad Dave Keegan teaches Tai Chi these days but he begun originally in about 1959-1960 training in Jujutsu with the Blundells, another one of Liverpool's early Jujutsu clubs. He has also studied Muso Jikiden Eishin Ryu Iaido as well as Karate. He also worked in China when I was younger. My dad gave me my start in martial arts, training in his garage and boxing in my grandad's back yard then I joined my first club aged 10. I also have an uncle who was a Shotokan blackbelt and an uncle who had done Goju Ryu. I formally started Karate as a teenager. Alfie: So who was your main Karate teacher when you started out?
Simon: Somebody you know actually Alfie, it was Steve Bullough, who was on the Great Britain squad with you about 20 years ago. I'll always credit Steve for the eight years I trained with him. He taught me traditional Karate, sport Karate, some Judo, some Aikido, some weapons, some boxing. It was great because it kept me fit, toughened me up and gave me an introduction to a lot of different areas. I used to train at his house at weekends not just in class. He graded me my 1st Dan and it was about a seven hour grading with only me grading.
At that time I used to compete as well, which is how we first met Alfie. I always remember seeing you across the mat from me and being scared to death - bnow I'm glad I know you and you're such a nice guy! Training with Steve was a great grounding and then I basically pursued three arts - Chinese Kung Fu, Okinawan Karate and Japanese Jujutsu.
Alfie: So on one hand you say you are traditional, following in the footsteps of the old masters, but on the other hand you cross trained in at least three martial arts. Isn't that a contradiction?
Simon: No, that is precisely what the old masters did. For example Sokon Matsumura - to my mind the greatest Karate master who ever lived - began with Okinawan Karate which he learned from Sakugawa, then he trained in Kung Fu in Fujian and Beijing, then he went to Satsuma and studied a Japanese style. That Okinawans always took advantage of that cultural melting pot and absorbed arts from China and Japan and made them part of Karate. The important thing is that this is done in a purposeful way and not just randomly collecting techniques.
Alfie: Who are some of the others who have influenced your approach?
Simon: As teachers, Bob Carruthers Sensei and Reiner Parsons Sensei have probably been the biggest influence over the last 12 years. Bob Carruthers (7th Dan) started in a style called Bujinkai which was headed by John Smith and your old friend, the legendary Danny Connor. He then moved back up to his hometown of Wigan where he trained in Shobukan with Phil Handyside an art which comprises style such as Shotokan and Budokan. After being in the martial arts for 30 years when most people would be coasting he started learning other arts, Jujutsu, Iaido, Escrima, Karate Jutsu and he really set an example to me that you should always be open minded and put on the proverbial white belt. He now teaches Abaniko Tres Puntas, a style of classical Arnis and through him I was introduced to grandmasters like Rene Tongson and Angelo Baldisonne. It's not really my thing but a pleasure to have trained with them.
Bob's own teacher Shihan Phil Handyside is now a friend and teacher of mine, I first met him on a seminar in about 2003 and was impressed, not only by his Karate, but also the way he carried himself. In around 2003 I was accepted into Japan's Kokusai Budoin organisation in the Shotokan division headed by Hirokazu Kanazawa who was Mr Handyside's teacher and in the Nihon Jujutsu division headed by the late Shizuya Sato and I also had the opportunity to train with masters such as Tadanori Nobetsu and Mitsuhiro Kondo.
With Kokusai Budoin Reiner Parsons (7th Dan) another 40 year veteran of the martial arts, took me under his wing. Reiner started in Goju Ryu in Liverpool with Tony Christian, Dennis Martin and your old friend Gary Spiers, he later trained with masters like Morio Higaonna, Kai Kuniyuki and Nobetsu who is also a huge influence on me. Reiner hasn't so much taught me Goju Ryu as teach me a more efficient way of doing what I do. He would see me do a technique like an inside block or a front kick, then he'd prove to me why it was lacking power and show me how to add power to it - which usually boiled down to a few simple things - relaxation, waist movement, breathing and so on.
I took my 1st Dan under Steve Bullough, my 2nd Dan I actually graded for a few times, the first was another seven hour Jujutsu and weapons grading in London, then I graded under Bob in Shotokan Karate, then ratified in Nihon Jujutsu under Sato Sensei's UK representatives, and finally in Judo and Tai Chi. Reiner graded me 3rd Dan and I was subsequently awarded 4th Dan freestyle (Karate/Jujutsu) in 2007 and the title of Renshi in 2010. Last year Shihan Handyside graded me on the mat for my 5th Dan in Shobukan as part of Steve Rowe's Shikon organisation, and when he presented me with my certificate it was one of the proudest and most humbling moments of my journey.
Nobetsu's system was of great interest to me because as well as Goju Ryu Karate he was also a master of Feeding Crane Kung Fu which was one of the Fujian boxing styles that influenced Karate in the first place, so Nobetsu was a tangible link to the roots and the trunk not just the branches. Again, it's not about saying "I've trained with suchabody so I must be good" it's just about this is where we come from and this is why we do what we do.
With the Kanazawa Shotokan as a basis, I began to look at ways the more Chinese influenced styles like Budokan and Goju Ryu and the Chinese styles themselves had a more effective way of moving. However the definite change to my approach was not about adding it was about taking away.
Alfie: Do you mean like the 'Bruce Lee' concept of discarding what is useless?
Simon: Yes, in a sense, but it wasn't Bruce Lee that impressed it upon me it was Terry Wingrove! I was training in Poland with Terry and we were talking about techniques and I mentioned some technique or other let's say it was a spinning kick and Terry said: "So give it the Tesco Test." I said what's the Tesco Test? He said, you're standing in the baked beans aisle at 11 O'Clock at night and somebody takes a swing at you are you going to do a spinning kick on them? I said no probably not, but, you know, it's part of Shotokan he said "Oh right so when they attack you maybe you can pull out a picture of Funakoshi and see if that impresses them." That was my "Eureka moment" - everything I taught got the Tesco Test. I took out the stuff I couldn't make work in a 'live' environment, I took out the anachronisms and I concentrated on developing an approach to self defence that was more tangible and scientific.
Alfie: Terry Wingrove is one of England's longest training Karate instructors isn't he?
Simon: Yes, I only trained with Terry a handful of times, but he did give me the Tesco Test so I have him to thank for that! He was one of the very first members of Vernon Bell's Karate club - England's first ever Karate club - in 1957 but also trained in Japan for a long time in more practical (ie closer to the trunk) Karate Jutsu and Yawara methods which was something very painful to experience! He also introduced me to the late Alan Ruddock who was a joy to train with. Alan was a student of the founder of Aikido so it was great to be doing an Aikido technique and him say gently "O Sensei would do it like this..." Terry also introduced me to Allan Tattersall of the Dai Nippon Butokukai, another great Jujutsu teacher who has been a good friend to me. I used to work near his Dojo and spend lunch hours there sitting in his office listening to his stories and being tortured with his wristlocks, and through Terry I met Patrick McCarthy in person who is probably one of my biggest martial arts heroes in terms of his achievements, knowledge, skills and research. Patrick McCarthy is an inspiration to me because of the way he applies a scientific approach to everything from self defence to kata to grappling. Not somebody I've spent much time with but I'm a big fan of his work. Alfie: Can self defence be taught in a scientific way?
Simon: My approach in martial arts is to look at how other things are taught successfully. If you learn to drive you do your practical, your theory, your highway code, your hazard perception, your maneuvers, your emergency stops. I devised a self defence approach called The Bushinkai Method which divides the subject into three areas - the Science of Violence, the Science of Technique and the Science of Learning. The first is your "theory" a knowledge of the realities of combat, the second is the how and why of techniques and the latter is the ability to drill techniques so they become instinctive - like an emergency stop.
I cringe when I see Karateka who have never had to defend against a grab, or Judoka who have never had to block a punch. To me, whatever the martial art unless you're doing archery or something, you should have a grounding in all common types of attack.
The science of technique looks at the underlying principles of techniques. If somebody attacks you you're not going to do a picture perfect shiho nage or an Olympic standard tomoe nage, but you must respond powerfully and decisively. We don't learn 1000 techniques once, we learn one technique 1000 times in 1000 different ways. It becomes un-mechanical. It is by "feel" not by rote.
I never teach "if he does A you do B" I give the students the principles, the ability, the power and the reactions they need to respond quickly and efficiently. It is like language, you start by teaching a child the right answer to basic questions, by the time you are an adult you can just converse on any topic and respond to any question. This is where the science of learning comes in. Often people can do a technique in the Dojo but when it matters they go to pieces. Techniques must be drilled, practiced, tested, and ingrained so that responses are as natural as walking.
I'm a great believer in teaching a few things well. For example we drill and drill basic throws like Osoto Gari (take the opponent backwards) and Tai Otoshi (take the opponent forwards) from these two techniques there are infinite variations. Students of mine who go and do MMA will come back and say "the stuff you teach us really works" which is generally sneaky stuff like just covering up the opponent's mouth and nose and suffocating them. Not very sportsmanslike, but then I'm not a sportsman. Alfie: You talk a lot about kata and bunkai. This is a controversial subject. What's your take on it?
Simon: I love bunkai, especially exploring grappling and weapons applications. Some people have the attitude that bunkai is one of those subjects for when you are too old and fat to do anything active. Well I'm neither but the reason I like to explore bunkai is because it gives meaning and purpose to the kata. Then the form acts as a mneumonic device in other words a kata is a database of techniques and your bunkai is your data.
I also very much like two man flow drills. Other arts like the Filipino Escrima arts and Wing Chun will also do partner work yet in Karate we spend so much time punching thin air. Flowdrills and push hands are a great way of bridging the gap and being able to apply techniques like headbutts, knees and elbows to a real opponent in a safely controlled manner. We also draw from the traditional Kobudo styles and practice each of the core kata with Okinawan, Chinese and Japanese weapons.
Alfie: We briefly mentioned Mitsuhiro Kondo and of course Terry Wingrove, this links in with a project you've been working on doesn't it?
Simon: Yes, I've recently worked on a brief history of British Karate (1956-1966) which included published about 20 photographs from that first era that have never been seen before. Those were really the dark ages of British Karate. Everyone knows about Kanazawa, Enoeda, Suzuki, but few people realise it all started with Vernon Bell.
Alfie: Can you tell us more about this era?
Simon: The first style of Karate that came to Europe was actually Yoseikan. What happened was a pair of Frenchmen named Jean Alcheik and Claude Urvois trained in Japan in the 1950s. They were the first Europeans to study Karate and passed it onto a Judo instructor named Henri Plee who wanted to grow the art in France. So the Yoseikan founder Minoru Mochizuki sent his four top students over to live in France, Italy, Switzerland and ultimately England. These were Hiroo Mochizuki, Shoji Sugiyama, Mitsuhiro Kondo and Tetsuji Murikami. Vernon Bell who in 1956 was a 3rd Dan Judo and Jujutsu instructor began taking lessons in France with Plee and Mochizuki and set up what would today be called a "study group" teaching Karate to four of his senior Jujutsu students in his back garden in Essex. One of these students, Mike Manning contacted me and asked me would I like to pass on some of his memories, photographs, poetry and information from this lost era. Of course having trained with some of these pioneers such as Kondo, Terry and Alan Ruddock, I was very keen to do this. This article is on my website. This era brings us back to Liverpool since the second branch Vernon Bell authorised was Frederick Gille's club in Liverpool which was mostly consisted of members of Jack Britten's Jujutsu school and included the likes of Andy Sherry that club became the Red Triangle... and the rest as they say, is history!
Background:
For many Karateka the Bubishi is known as The Bible of Karate. This book
was prized by Goju Ryu founder Chojun Miyagi, Shito Ryu founder Kenwa
Mabuni and parts of it were reprinted by Shotokan founder Gichin
Funakoshi. This book is an anthology of white crane, monk fist and tiger
boxing as well as pressure points, herbs and Chinese medicine and
mythological and moral tales. It may have been brought to Okinawa as
early as the 1820s or as late as 1900. But what if there were a book
that predated the Bubishi? What if there were an "Old Testament" of
Karate, a book that introduced Chinese Quanfa to Okinawa as early as the
1750s? There was, and that book was The Lost Book of Kushanku.
The Lost Book of Kushanku
Hidden in plain sight for many years, the Lost Book of Kushanku was the
original book that led to the creation of Shuri Te Karate, otherwise
known as Toshu Jutsu. Prized by Tode Sakugawa, Chatan Yara and Sokon
Matsumura, this book contains the genesis of the arts we know today as
Shorin Ryu, Shotokan, Wado Ryu and Shito Ryu Karate.
The Lost Book of Kushanku Project
Simon Keegan Renshi, an internationally published martial arts
researcher has read, translated and analysed original Chinese sources
and studied in some of the original Chinese arts that led to the
creation of the earliest Karate forms. The Lost Book of Kushanku is not
only historically significant, it also adds a technical dimension that
brings together the arts of Karate, Jujutsu, Kung Fu and Tai Chi into a
single understanding.
About the Author
Simon Keegan holds the grade of 5th Dan Karate (World Union of Karatedo
Federations) and was awarded the 'shogo' of Renshi (a traditional
teaching title awarded to those holding the grade of 4th Dan and above
who are deemed to be 'polished teachers') under authority of the
director of Dai Nippon Butokukai. His previous Karate and Jujutsu grades
were received from the Kokusai Budoin in Tokyo under authority of
masters Kanazawa, Sato, Nobetsu and Higuchi and he also holds Dan grades
in Kodokwan Judo and Taiji Quan. He follows in a lengthy family
tradition with a branch of his family moving to Okinawa in around 1780
and follows his father and uncles in studying Japanese, Chinese and
Okinawan martial arts. He is the pioneer of a Karate system called
Hakuda Kempo Toshu Jutsu which is derived from his studies in styles
such as Shobukan, Nisseikai and Taiji Quan.
Bushinkai's method includes not only Karate (Toshu Jutsu) but also Nihon
Jujutsu which means "authentically Japanese Jujutsu" - our system has
particular emphasis on "Hakuda Kempo" the method of Jujutsu particular
to southwest Japan.
Jujutsu has been in my family a long time - my great uncle commenced study in 1945 and my father and uncle in around 1959-1961.
I was awarded 2nd Dan in Jujutsu in early 2002, a little later than
originally planned due to changing styles. It was a tough grading held
in London. My examiners could trace their Jujutsu back to various styles
including Daito Ryu. Soon after I joined the Japanese organisation
Kokusai Budoin and my grade was ratified in Shizuya Sato's Nihon
Jujutsu, with UK instructors including Jack Hearn 8th Dan in the
northeast whose tuition I always enjoyed.
Sato Sensei was a student of Judo masters Kyuzo Mifune and Kazuo Ito;
Aikido/Judo master Kenji Tomiki and Wado Ryu (a fusion of Shoto Ryu
Karate and Yoshin Ryu Jujutsu) master Hironori Ohtsuka.
There have been many other influences on my Jujutsu, both formal and
informal. I particularly enjoyed training with Dai Nippon Butokukai
director Hanshi Allan Tattersall (headmaster of Myoshin Ryu Jujutsu),
Aikido master Alan Ruddock and Yawara teacher Terry Wingrove. Over the
years I have also very much enjoyed Jujutsu seminars with the likes of
Joe Carslake and Andy Wilshaw. I was awarded an honourary 2nd Dan in
Judo recognised by the European Ju Jitsu Union, Kodokwan and Aiichi
University, Japan. I was awarded 4th Dan freestyle (Karate &
Jujutsu) in 2007 and I am currently working with various instructors in
reestablishing the British Jujutsu Federation.
I once heard it said that the branches of Karate and Jujutsu may seem
very distinct but that the trunks of the two trees have always
intertwined, and of course the roots are in the same ground.
Pictured: Shizuya Sato, Mitsuhiro Kondo and Jack Hearn during my Kokusai Budoin days
Bassai is one of the most characteristic kata of the Bushinkai Academy. Having learnt various versions of this form, I settled on the Shoto Ryu version as it was performed by Gichin Funakoshi in around 1930. My research indicates that the origin of this form goes back a further hundred years to when Sokon Matsumura studied Lion Boxing, Bazi Quan and Jigen Ryu.
The name Bassai (often quoted as meaning 'to penetrate a fortress' - Ba Chai) can also be translated as "to withdraw and obstruct" - Batsu Dai. I however have hypothesised that its original meaning was 'white lion' which is "Pai Sai" in the Fujian dialect.
Sokon Matsumura studied in Beijing around the time when Dong Hai Chuan was teaching Bagua there and Matsumura's Karate (in Bassai, Heian Sandan and as was pointed out to me recently by John Burke Sensei, in Naihanchi) does seem to have a Bagua influence.
Bagua and its forerunner Bazi Quan (ancestor also of Baji Quan) has not only its famous circles, turns and spirals but also a powerful sense of lifting and dropping, sinking and rising.
Bassai Sho, developed from Anko Itosu's version of Passai Guwa shows the Jigen Ryu influence on masters like Matsumura and Azato. In the Bushinkai school we practice this kata not only empty handed but also Jigen Bassai which uses the katana.
One of the masters who inspired my martial arts thinking a great deal was Minoru Mochizuki, headmaster of the Yoseikan. He died around the time I joined Kokusai Budoin (the organisation which awarded him his 10th Dan). Mochizuki was a master of Karate, Jujutsu, Aikido, Kobudo, Judo, Iaido, Kenjutsu and Kempo. I was lucky to have trained with some of his seniors students. On the very Kokusai Budoin Masters Seminar I attended tuition was in Aikijujutsu, Karate and Judo with MItsuhiro Kondo 9th Dan who Mochizuki Sensei sent to Europe in the late 1950s to spread the arts. What I noticed about Kondo Sensei was the precision of his every movement - not just the techniques, but even the way he kneeled.
In the Bushinkai school, after we have learnt the Heian Kata we then perform each form with one of the Emono Jutsu ('kobudo') weapons.
The forms include:
Heian Shodan with Sai Heian Shodan with Bo or Jo Heian Nidan with Bo or Jo Heian Nidan with Nunchaku Heian Sandan with Nunchaku Heian Yondan with Tonfa Heian Yondan with Tanto Heian Yondan with Dipdao Heian Godan with Bo or Jo
Looking at classical Kobudo forms of the likes of Sakugawa, Hamahiga and Matsuhiga we have carefully integrated the authentic kobudo techniques into the embusen and sequence of the empty handed forms.
My Kobudo training in brief: My Kobudo training has included formal study of Chinese, Okinawan and Japanese weapons with qualified teachers in each art. This built upon my earlier informal study of these weapons. My grandfather made me my first Bokken in around 1985 and taught me to use the Surujin (bolas); my other grandparents gave me an Aikuchi soon after and my father taught me to use the walking stick, Nunchaku and throwing blades (Shuriken). When I was about 13 I added the Chinese broadsword to my repertoire. I commenced formal study of Kobudo in 1995 when I was 16, learning to use the Sai, Tonfa, Jo and others. I then moved to a Jujutsu school where the instructor had trained under a Shindo Muso Ryu and Muso Shinden Ryu master. In 2003 I joined the Japanese organisation Kokusai Budoin where the Tanjo was part of Shizuya Sato's Nihon Jujutsu syllabus (in which I held 2nd Dan). My dad was studying under the Muso Jikiden Eishin Ryu division learning the classical Japanese sword. At this time also I studied the Chinese straight sword (Jian) for nine years - my teacher's teacher's teacher's teacher was Li Jing Lin - known as 'China's first sword' or the Sword Saint. My Goju Ryu (also Shoto Ryu) teacher who graded me 3rd Dan, assessing me in both Karate and Kobudo had himself graded in classical Kobudo training under such master as Kai Kuniyuki, a master of about 10 schools including an 8th Dan in classical Kobujutsu. In 2007 I added the Dipdao (Chinese twin swords) to the Toshu Jutsu system after 20 years of sword study.
At a more advanced level the Tekki (Naihanchi) and Gekisai (Fukyugata) can also be performed with weapons and some of the more advanced forms also. These includes:
Kanku Dai (Kushanku) with Sai Empi (Wansu) with Jian Jutte with Bo Bassai Sho (Passai Gwa) with Katana
Hi everyone. Just to let you know we have added additional functions to this website including a search function, a Google map and a stream of our latest blog posts on the front page. Hopefully this will add to your enjoyment and ease of use of this site. Thanks. The webmaster.
Bushinkai has various classes across the Northwest. They include:
Tuesday 7:00-8:00pm, Manchester, Tai Chi Tuesday 8:00-9:30pm, Manchester Karate
Wednesday 7:00-8:00pm, Upholland, Tai Chi
Friday 7:00-8:00pm, Appley Bridge, Tai Chi Sunday 7:00-8:30pm, Manchester Karate
Manchester classes are taught by Simon Keegan 5th Dan (World Union of Karatedo Federations). Simon is a former regional director of Japan's oldest martial arts fraternity, IMAF and currently international director of the United Kingdom Budo Federation as well as being a founder member of the English Karate Federation. He holds internationally recognised blackbelt grades in Karate, Jujutsu, Judo and Tai Chi and has trained with some of China and Japan's senior grandmasters. He features in the May 2013 edition of Martial Arts Illustrated (where he was interviewed by the world's greatest ever points fighter Alfie Lewis) and has also been published internationally including in Combat magazine and by the United States National Karate Association. Simon is assisted by senior students Dan, Kicki, Ben, Pete, Joseph and Graham. Manchester classes are aimed at adult students who want to get fit and learn to defend themselves.
Wigan (Appley Bridge and Upholland) classes are taught by Sifu David Keegan, a Senior International Instructor who is technical director for the Chinese Martial Arts divisions of TEMAA, UKBF and the ITJF. He has trained under Chinese, Japanese and Filipino grandmasters as well as having worked and lived in China. He took his first martial arts classes in martial arts in around 1959-1961 in Jujutsu and has also studied Karate, Arnis, Iaido as well as various forms of Yoga and meditation. Although he has studied various Chinese internal martial arts including Hsing-I and Shaolin, he specialises in Yang style Tai Chi which he has studied formally for around 15 years. He was presented with a trophy for Yang style Tai Chi by the Mayor of Shanghai but Sifu David insists his competition days are behind him and that he now only practices Tai Chi for his own health and to improve the health of his students. David's loyal students travel from far and wide to train with him and when he teaches on international seminars groups of senior Judo, Aikido and Karate students eagerly pursue his knowledge.
For more information on classes email: kaicho@runbox.com
Bushinkai is comprised of two academies, one in Manchester (White Lion Academy based at Van Dang) and one in Wigan (Metal Tiger Academy).
In Manchester we teach a Karate/Jujutsu system (Sunday evening 7-8:30 and Tuesday evening 8-9:30) and a Tai Chi school (Tuesday evening 7pm-8pm).
In Wigan we have an Appley Bridge Class (Fridays at 7pm) and an Upholland Class (Wednesday at 7pm).
We are also associated with the Shobukan school which teaches Karate in Preston on Tuesday and Wednesday evenings.
All of these classes are ideal for beginners and advanced alike.
Our Karate is strongly related to Shotokan and our Tai Chi is largely Yang style.
One of our greatest style influences is master Hirokazu Kanazawa, a Shotokan 10th Dan and Yang style Tai Chi practitioner. Shobukan headteacher Mr Handyside studied under Kanazawa and Bushinkai head Simon Keegan's grades were awarded by the same organisation that Kanazawa was a director of.
For more information email Simon on kaicho@runbox.com or browse the site for our history and style.
Sunday: Manchester, Karate with Simon Keegan 7pm-8:30pm
Tuesday: Manchester, Tai Chi with Simon Keegan 7pm - 8pm Tuesday: Manchester, Karate with Simon Keegan 8pm-9:30pm Tuesday: Preston, Karate with Phil Handyside 7pm-8:30pm
Wednesday: Preston, Karate with Phil Handyside 7pm-8:30pm
Thursday: Upholland, Wigan, Tai Chi with David Keegan 7pm-8pm
Friday: Appley Bridge, Wigan, Tai Chi with David Keegan 7pm-8pm
See Class times page for more details and addresses
Matsu Kinjo: a long lost relative? by Simon Keegan
Matsu Kinjo, (otherwise known as Itoman Bunkichi, Kanagushiko Magha, Machiya Buntoku, Matsu Buntoku, Kinjo Kamae) was a great Karate master who was born in 1867 and died in 1945. He trained under the Chinese master Ryuru Ko.
Matsu Kinjo was the son of a Skandinavian who would have been born in around 1830. Kinjo was an "ainoko" (mixed race), a term which usually meant an Okinawan mother and European father. This was common in the Itoman area of Okinawa.
The Uechi Ryu school records the following:
Matsu Kinjo (Matcha Buntoku) was from Itoman and he was born in Keio 3 (1867) and died in August, Showa 20 (1945) at the age of 78. He moved to China in Meiji 24, just after the birth of his first son Matsu, (same name as father). He was 24 years old at that time, and so was l0 years older than Kanbun Uechi. He already had 5 years experience in China before Kanbun Uechi moved to China, and he stayed in China for 18 years during which time he trained at Ken Jutsu. He returned home in Meiji 42 (1909) when he was 42 years old. Kanbun Uechi also returned from China in Meiji 42, both Bujin happened to return at the same time. Matcha Buntoku is known as the last Bushi in Itoman. He followed Kanryo Higaonna to China with Akamine. It was the second time that he went to China. At the time, Higaonna was 32 years old, so he was getting to be mature in his Bu as well as his character. Matchu Buntoku was praised by RyuRyuKo for his great courage and he was famous in Fukien-sho as a rare warrior. RyuRyuKo is the third successor of the Ryuei Ryu main family. RyuRyuKo taught Hanchi Kenko Nakaima and Kitoku Sakiyama. Hanchi Kenko Nakaima was the grandfather of Kenri Nakaima. Both Matcha Buntoku and Kenko Nakaima were taught by RyuRyuKo in China). There is no connection between Matchu Buntoku and Kanbun Uechi, although they were both in the same place at the same time. They do say that Kanbun Uechi heard of the reputation of Matcha Buntoku when he was in Fukien, so he paid respect to him as a great expert of Bu. Kanbun Uechi respected him not only because he was senior in experience, but also for his courage and his character. Kinjo displayed his Kata to the public at the Butokuden with Chojun Miyagi and Jinsei Kamiya and others. He also took Part in displays with Chojun Miyagi2 Jinsei Kamiya, Seiko Higa, and K.Nakaima of Ruyei Ryu. He also gave a demonstration at the wedding ceremony of his third son Sanjiro in Showa 9. He was not a severe man; he was a sincere man who kept his own way of living. He never kept his form secret - he would display his technique whenever he was asked, but he would never teach in case his skills would be used for violence.
The headteacher of Goju Ryu, Chojun Miyagi also met Kinjo:
Hearing about Machaa Buntoku, Miyagi Sensei, the founder of Gojuryu, visited him together with Sensei’s disciples, Jin-an Shinzato and Seiko Higa. Miyagi Sensei asked him to show them his best Kata that he mastered in China. Then Machaa Buntoku put on Hachimaki (=headband) and performed a strange dance in front of them. He danced and danced. Seeing his strange dance, Seiko Higa thought this old man must be crazy or mad because of his old age. Jin-an Shinzato who was yet young at that time lost his temper to see his dance and told him “OK. Dance is enough! Show me your fighting technique! I will be your opponent.” Shinzato delivered a karate blow at him, but Shinzato was thrown down by the dancing old man and hurt his back. He lost face. Everyone there felt awkward about it, so they bowed to the old man and went home. On the way home no one spoke.” – by Kiyohiko Higa.
Matsu Kinjo is of interest to me because his ancestors were Skandinavians who came to Okinawa and so were mine.
Kinjo's father was a Skandinavian, born in around 1830. My great-great-great-grandfather Nils Johann Nilsson was born in Kalmar in around 1830. If we go back one generation further we find a Johannes Nilsson who was born in 1805. What is interesting is that his older brother Johann Nilsson was born in Okinawa in 1788. Their father Nils, the patriarch of the Nilsson family went to Okinawa in around 1779 and returned to Kalmar, Sweden in about 1795.
Could Johann Nilsson have been the grandfather of Matsu Kinjo?
Compare the two lineages:
Nilsson family
1) Nils born 1762, arrived in Okinawa 1779 2) Johannes Nilsson born 1805 (elder brother Johann born 1788, Okinawa) 3) Nils Johann Nilsson born 1830 Kalmar 4) August Nilsson, born 1866, Kalmar 5) William Henry Nelson, born 1896, Liverpool (my great grandfather)
Kinjo family
1) A Skandinavian born in around 1760 [could this be Nils?] 2) A Skandinavian born in around 1790 [could this be Johann?] 3) Nio Kinjo born in around 1830 married Nae Miyazato 4) Matsu Kinjo (Itoman Bunkichi) born 1867, Okinawa 5) Matsu Kinjo II, born 1891, Okinawa
Nils worked for the Swedish East India Trading Company and was a contemporary of Tode Sakugawa who also worked for a shipping company. Nils' first children including Johann were born in Okinawa (contemporary with Matsumura Sokon).
Could Johann have been the father of the original Nio Kinjo? Could "Nio Kinjo" have been the closest Okinawan name to "Nils Johann"?
Perhaps Johann's Okinawan wife pronounced Nils "Nio" and knowing no such word as Johann they settled on "Kinjo".
It is certainly possible and this would make the senior Matsu Kinjo and Nils Johann Nilsson first cousins since they would both be grandsons of Nils.
I can sum up my approach to teaching self defence very simply - three sciences (violence, technique and learning). In other words, understand the subject, get good technique and learn how to make it work. I have written about this, which I call the Bushinkai Method at length here, so now I will introduce the curriculum of Hakuda Kempo Toshu Jutsu itself.
From white belt to black belt, the syllabus has much in common with any Shorin based school such as Shotokan or Wado Ryu. We cover the same stances, the same strikes, the same core kata (Heians, Tekki, Bassai, Kanku, Empi, etc) and many of the same activities such as Kumite (sparring). So that is the common ground, the Kata, Kihon and Kumite... So what makes Hakuda Kempo Toshu Jutsu different?
Here are some of the areas unique or particular to the teaching of Toshu Jutsu:
1) The Ten Ks. We don't just teach the three Ks (Kata, Kihon, Kumite) we also teach Kobudo, Kumiuchi, Kansetsu, Katame, Kakie, Kyusho and Ki. These are respectively forms, basics, sparring, weapons, grappling, locks, joint manipulation, sticking hands, pressure points and Chi.
2) Integrated grappling practices. In Judo the first two throws usually learnt are Osoto Gari and Tai Otoshi. In Karate the first punch is usually Oi Tzuki and the first block is usually Gedan Barai. Our syllabus unites both of these practices in a coherent way. In other words, we learnt the motion of Gedan Barai as a block, then we practice the Tai Otoshi throw using the principles of Gedan Barai (the hands move in a downwards diagonal taking the opponent over the Zenkutsu Dachi stance); when we learn Osoto Gari we do so with the principles of Oi Tzuki (one hand forwards one hand back, legs describe an arc). This way we still learn the most basic blocks and throws, but the students instantly connect with the idea of bunkai/oyo (analysis and application of a movement) and also with the idea that our Kihon are not just basic blocks and strikes, but also an intrinsic part of other areas such as grappling. This same idea is transferred to other throws and locks. Prior to 1920 especially, Karate lots of grappling techniques that were related to kata. Some of these were demonstrated by Gichin Funakoshi at the back of his book Karatedo Kyohan.
3) Self defence not Ippon Kumite. One step sparring is a useful concept. It teaches a finite defence against a single powerful attack. The main weakness with Ippon Kumite is when it only teaches defences against "Karate attacks" (usually straight thrusts), therefore we defend against all manner of attacks, from uppercuts, to bearhugs to headbutts. Karate was never intended for defences against sporting attacks. Choki Motobu's 'Kempo' shows many of these types of defences.
4) Intelligent kata bunkai. The first katas are learned at approximately one kata per belt. At each grading students must also perform bunkai for each of the kata they know. These are prescribed techniques that can include throws, locks, chokes, pressure points and so on. Again, bunkai movements were always intended to utilise grappling controls, such as those demonstrated in the Okinawan Bubishi. 5) Weapons kata. Each of the kata may be performed with weapons including Kihon (Bo), Heian Shodan (Sai), Heian Nidan and Sandan (Nunchaku), Heian Yondan (Tonfa, Tanto or Dip Dao), The empty handed movements are not replicated exactly with the weapon, instead the nature of the move is performed while keeping to the principles of the weapon. For example to perform a lower parry with the hand and with the Bo require totally different dynamics, but the end result is still a lower parry. In keeping with the heritage of the style, we also study Chinese sword (Jian) and Japanese sword (katana). Versions of Wansu (Empi) and Passai Guwa (Bassai Sho) have been developed for these swords, which keep to the nature of the Okinawan forms but are also faithful to the principles of Wutang sword and katana. Some kata have traditionally made sparse use of weapons applications, typically Bo grabs (Empi, Jutte, Kanku Sho, Meikyo) but several other kata can also be adapted for weapons. For example the Matsumuras used to practice Kushanku with hairpins as weapons.
6) Non-Shotokan basics. After around blue belt, students also practice, in addition to "Shotokan basics" a different set of strikes. These are more rounded, subtle and powerful techniques that resemble the techniques of Hsing-I, Budokan, or Kung Fu. They include the splitting strike (a circular shuto), the diagonal backfist, the vertical reverse punch, the circular block, the stepping kizami and others. These techniques evoke an opposite principle to Shotokan Kihon. Where Shotokan Kihon use "dropping" movement (sinking into the stance), these use rising movement (rising from the stance).
7) Two man drills. Our two man drills are in different categories. Some are designs to build reactions, some are to build sensitivity, some are to build reactions, some are to build 'flow' and are some are designed as a method to practice percussive techniques in a live environment. Most Chinese schools use some form of sticking hands or push hands, including Tai Chi and Wing Chun, but for the most part these have been "forgotten" in Okinawan/Japanese Karate. Drawing and condensing drills that are true to styles like Uchinadi but also drawing on arts like Tai Chi, I have also extrapolated a kata called Matsu from our longest drill which demonstrates the relationship between kata, drill and bunkai. This kata strongly resembles Fujian Quan like Sanchin and Suparimpei.
8) Kata as styles. In old Chinese systems there was no distinction between a form and a style. Okinawan masters would also refer to the old forms as styles. We study in this manner. The first style is represented by the five Heian/Pinan forms and originate as their previous name 'channan' suggests in Chang Chuan (long fist boxing). These forms are the most basic yet versatile in our repertoire. The second style is the Shorei which includes the fundamental forms Naihanchi (Tekki) and Fukyugata (Gekisai). The former was a favourite kata of Choki Motobu and the latter was developed by Motobu's student Shoshin Nagamine. They are very close in styles that use tight stances but also have a stronger internal element. The next style is "Wutang Chuan". These are Shuri/Tomari kata - namely Bassai Dai, Kanku Dai and Empi that were derived from the Chinese internal arts of Bazi Quan, Taiji Quan and Hsing-I Quan. These forms are also internal but have a much lighter feel to them than the slow, heavy Shorei forms. Next we come to the Shaolin (Shorin) forms that were the type learnt by Aragaki of Kume. These include Matsu, Matsukaze (wankan), Nijushiho and Hangetsu (Seishan). Studying both Taiji/Hsing-I and Shaolin Chi Kung forms has given us insight into the different unique styles of these Quan.
The kata groups we study are (not in order of study):
1) CHANNAN: Heian Shodan and Heian Nidan derived from Chang Chuan. Lend themselves well to long range weapons like Bo and Sai
2) SHOREI Tekki (Naihanchi) and Gekisai. Close-range "Wing Chun-like" forms with emphasis on Fa-Jing and close explosive power
3) WUTANG A) Bassai, Heian Sandan and Heian Godan. Related to the arts of Bazi Quan and Bagua Zhang. Power through lifting and dropping, turns and spirals. Bassai Sho is studied later but this form also references swordsmanship. B) Kanku Dai and Heian Yondan. This form (along with the later Kanku Sho) are derived from Wang Zong Yue's teachings which was the Kung Fu style introduced the Chen Village that later became Yang style Tai Chi. Therefore study of Tai Chi helps us understand the movements of these forms. C) Wansu (Empi). This form is related to both Hsing-I and Wutang sword.
4) SHAOLIN Forms like Matsu, Matsukaze, Nijushiho, Seishan and Jutte are related to the Fujian (southern Shaolin) traditions, as are later forms like Gojushiho and Meikyo.
These areas are largely matters of curriculum content. The actual teaching of self defence (see previous articles on the Bushinkai Method) and the technical principals of Toshu JUtsu are too numerous to name. Here are some of the differences between Toshu Jutsu and Karatedo: In Karate Do (for example modern Shotokan) strikes use Kime (tension at the last second of a technique for 'focus') - In Toshu Jutsu there is consistent power throughout techniques
In Karate Do (for example modern Shotokan) blocks use Kime (tension at the last second of a technique for 'focus') - In Toshu Jutsu blocks use "heavy hands" transferring power "through" the opponent
In Karate Do the techniques are practiced long range - In Toshu Jutsu the techniques are practice close range primarily and then at other ranges
- In Karate Do the defender steps back away from the attack In Toshu Jutsu the defender advances in on the attack, or turns with the attack
2012 The Year of the Dragon was an interesting year for Bushinkai. Some of the highlights including Graham Winstanley and Joseph Coyne (both blackbelts in other styles) advancing in Bushinkai to become assistant instructors. We also renewed our association with Shobukan Karate, Shikon and the World Union of Karatedo Federations. We also attended a good Budo workshop in October in Scarborough featuring Karate, Judo, Tai Chi, Jujutsu and the first time in a while I've taught Kenjutsu.
In January 2013 Bushinkai published a never before seen history of British Karate.
On Sunday February 3, myself and Sifu David Keegan, Ben Gaunt 1st Dan, Graham Winstanley 4th Kyu and Sam Bainbridge 9th Kyu are attending a Karate-Tai Chi seminar with Sifu Steve Rowe, head of Shikon. This is a very exclusive course with only a few places so we're very fortunate to be attending. Steve rarely teaches anyone who isn't one of his longtime personal students.
On Sunday February 10, the day the Year of the Dragon gives way to the Year of the Snake, our new Sunday class begins... I'm hoping this will also be an opportunity for lapsed students to come out of retirement and join us again.
In March I'm hoping to do a coloured belt grading but this will as always be subject to students having the required attendance. In May there will be a grading for brown and blackbelts, again subject to attendance and the usual factors.
The Bushinkai Academy is proud to present an unprecedented look at the first ten years of British Karate history from 1956-1966.
The art of Karate was introduced to the United Kingdom in 1956 when 3rd Dan Judo and Jujutsu instructor Vernon Bell began teaching classes at his parents' home in Essex. That same year Bell launched the original British Ju Jitsu Federation.
Jujutsu was a mainstay of the UK, having been introduced here in the late 1800s - and many Jujutsu clubs in London and Liverpool taught striking techniques (atemi waza) very similar to those found in Karate, but Karate from an Okinawan source was not officially taught on these shores until 1956.
To celebrate the 50th anniversary of British Karate and the British Jujutsu Federation in 2006, the Bushinkai Academy and United Kingdom Budo Federation held a special masters course over two days which featured masters from the Dai Nippon Butokukai, Kokusai Budoin and the Seibukan - three of Japan's most venerated organisations. Among those teaching on the course were the sponsor of the course, Terry Wingrove Hanshi and Alan Ruddock Shihan who were two of Vernon Bell's original students 50 years ago.
Now, in 2013 we are bringing another celebration of this great era - the founding era of British Karate from 1956-1966.
This time we have produced an unprecedented history of this time 1956-1966 including over 12 photographs never published before, offering the Karate scholar a unique glimpse into a legendary era.
Bushinkai Chief Instructor Simon Keegan has produced a never-before-seen look at this golden era of British Karate including over 12 photographs from British Karate's first ever Dojo. These pictures were generously submitted by one of the pioneers of that era, Michael Manning who studied Judo, Jujutsu and Karate under Vernon Bell and was the first British student to ever be graded to 1st Kyu. It also includes a tongue-in-cheek poem written by Mr Manning about his time with the legendary Bell.
With the Christmas season, I had the opportunity to spend a bit of time sitting down and chatting with my dad Sifu David Keegan, to talk about his decades of experience in many different martial arts and 50 plus years of studying eastern philosophy and culture. I have recorded our chat as a Q&A interview. Nowadays I teach mostly Karate and my dad mostly teaches Tai Chi but he has studied many arts from Jujutsu to Karate to Iaido, to Indian meditation. In his younger days in Liverpool he also saw many of the country's early pioneers of Jujutsu, Judo and Karate and yes, he remembers what martial arts were like before Bruce Lee! I hope you find it interesting as we discuss some of his training experiences, travel to China and some of the characters he's met along his journey. By Simon Keegan
You teach Tai Chi, but this isn't your first martial art. Can you tell me what the first oriental martial art you studied was and when and why?
I was born in 1950 and took my first martial art aged 10 so it was about 1960. We lived in Kirkby near Liverpool and we were in the Scouts at the time but we had to walk one and a half miles to get to class. Then we had the opportunity to take up Jujutsu which was only a quarter of a mile away and only cost six pence. The instructor was Bernie Blundell, the older brother of Liverpool Jujutsu pioneer Jim Blundell. He was the real deal, he was no wimp. He stood there in his gi and blackbelt and had a great charismatic personality. He showed every technique by example, sometimes with the assistance of older students. There was a lot of running and circuit training to begin with and then breakfalls, both sides then back - a great deal of breakfalls. We had no mats and just had to take our shoes off. Then we progressed to running rolls, then the shoulder throws and hip throws. We'd learn a throw then do the counter.
Were martial arts popular at your school in 1960?
No, at St Kevin's in Kirkby we did just traditional sports in PE like football, rugby, cricket and athletics. The only martial arts were Jujutsu at our club then St Chads had Judo and there was a few old fashioned boxing clubs. John Conteh (future British boxing champion) was in my class at school and he trained with Kirkby ABA. There was never anything on telly about martial arts back then, just boxing and wrestling and we'd go to Liverpool Stadium on a Friday night and watch wrestling - which were more like real fights than today - with the likes of Jack Pye and Billy Two Rivers. Even the American boxers like Sonny Liston used to train at Liverpool Stadium when they were over here and we could go and see them train. However we did study the Chinese classics in school. In the 4th and 5th year when we studied philosophy we read Freud and Jung and when it came to the Greek Stoics we were taught how they compared to the Taoist Classics which were not readily available at the time, but the William Brown Library in Liverpool had some copies.
Since you lived in Liverpool, was the local China Town somewhere you could learn about martial arts?
I spent a lot of time in China Town and found many good books on philosophy, health but there were never adverts for Tai Chi or Kung Fu or anything. The Chinese made a hard living running the restaurants and everything was kept internal with the martial arts. But there was never any trouble in China Town, you could be there after Midnight and not have to worry. The Chinese had an exemplorary reputation in Liverpool because of that. And you could discuss things with them in the shops. I read the Arthur Conan Doyle (author of Sherlock Holmes) books and Doyle made Holmes a practitioner of Jujutsu and stickfighting (Bartitsu). I had Edwardian drawings of Bartitsu stickfighting and I read all Doyle's work because he wrote a lot of stories of sea travel and gave background on the Indian and Chinese culture. At the time I would walk home of a night 10 or 15 miles so it was useful to be able to use a stick or an umbrella. I've got a 100 year old blackthorne stick which is an Irish fighting stick. It was a good solid walking stick but also had a nice spring in it so after you struck somebody it would bounce back!
Apart from the ones we mentioned earlier like Jujutsu/Judo and boxing there wasn't really any Karate or Aikido in the country in the early 1960s unless you were in one of the select few clubs [Karate and Aikido were only introduced to the UK in 1956 and took time to spread throughout the land] so where could you go to learn?
I trained in an Indian school in the 1960s which covered postures similar to Yoga and meditation. Classes were held in a private school in Allerton.
In the mid 1960s in Liverpool you must have seen your share of fights. How did they differ from the vioent attacks of today?
The only rule back then was you never hit a man in front of his woman or his kids. There were no rules. But in saying that, you didn't really see people get glassed and once someone hit the deck the fight was considered over and they both went back in the pub, whereas now you'd have 10 people all kicking the loser.
I've heard some 'old boys' of your generation say that in fights in the 1950 and 60s, there was no kicking it was all fisticuffs. Was this the case?
Well not in Liverpool. Anything was common, fists, feet, headbutt... If you could end the fight with a kick to the groin you did. The man who could take the most pain won. You didn't circle and posture - both men just came straight forward. As for knives, there were a lot of people who carried them and we even made our own in school, but when it came to it, it was settled with fists and feet.
In the early 1970s you trained with members of the Red Triangle (the first Karate club in the North of England presided over by Keinosuke Enoeda and run by Andy Sherry). How did that come about?
I had a friend who was a blackbelt there called Peter Hignott. Me and him used to meet up on a Saturday afternoon for a pint. One week his car packed in so he asked me to pick him up at the Red Triangle and so I started to get to know the lads.
The Red Triangle were real characters by all accounts...
I used to meet them at Otterspool and train Sefton Park. We'd go for a run around the path then to the Shotokan exercises. I never remember it being kata it was always single techniques drilled repeatedly. 100 punches, 100 kicks, but they were very receptive and keen to discuss their art. After a particularly heavy training session or grading they used to go for a sauna at Picton baths to relax the aches and pains and Peter invited me. One of the lads threw eucalyptus on and it became like a minty coldness, my eyes were stinging I was short of breath, practically on the floor trying to get fresh air from under the door. When we got outside it was like you could see for miles!
Around the same time you joined the Territorial Army. Did that help with martial arts?
Yes, from about 1974-1978 I was in the Duke of Lancaster's Own in Wigan. One of the corporals Nobby was a kobudo expert and carried his Nunchaku everywhere - even when we went to a nightclub they were in his back pocket - so he taught me to use those. We also did self defence with some of the regulars who had served in Northern Ireland. Their attitude was that if you were ever attacked in a hand to hand combat situation it probably wouldn't be when there was a platoon of you, so it was individual self defence against a knife and a bayonet. We also did a lot of shooting, survival and evasion. They'd drop us in the Black Hills and we'd have to get to a designated point and survive off the land.
Lots of people say Bruce Lee led to a massive martial arts "boom" in the 1970s, was this the case?
Not particularly. For most people David Carradine's Kung Fu was the first they saw of Chinese Kung Fu and the martial arts culture. You Only Live Twice didn't count in my opinion as the martial arts in that film didn't really register with most people. Most people I knew didn't really see Bruce Lee's films as being about Chinese Kung Fu - it may as well have been Karate because it was strictly for film whereas Carradine's Kung Fu was definitely Chinese Kung Fu all the way through and that made people want to learn more. It was only after Kung Fu had been on that I ever saw English people taking an interest in Chinese New Year in China Town.
In the 1980s when I was about 8 you had a few trips to Hong Kong and Guangzhou, China with your best friend John who was also a Shotokan blackbelt. What was it like working in China?
I met a lot of characters, like Johnny Liu a "refugee" from mainland China who taught me about things like the I-Ching. In China I found people were mostly into education. Teaching the kids so the kids could look after them because nobody was on benefits. Few Chinese wanted to know about things like Kung Fu. Exercise, yes, but not Kung Fu. The kids were more interested in learning English so they could leave and go to America or Australia.
Whereas the elderly were doing Tai Chi in the parks, for health. It wasn't something that was advertised, just done early morning and after tea.
How about your trip to Thailand?
The Muay Thai boxers in Bangkok were treated like footballers are treated over here, but for them it was about mind, body and spirit. There was a lot of control, ritual and respect for the opponent.The only unruly ones were the spectators.
When I was a child we trained together in your garage, on the punchbags and so on. By my teens I was doing Karate, but what made you take up formal study of Tai Chi?
I had spent a long time studying certain Indian systems, meditation, postures similar to Yoga and so on, but I felt I needed a change in my lifestyle, something that would give me the incentive to quit smoking and so on, and I needed a disciplined teacher. Luckily I found one.
Most Tai Chi beginners start with one of the short forms, but you started by learning the Yang style long form (the 88). How did you find that? Was a 20 minute form hard to learn in that way?
I found the 88 form invigorating. I think our teacher had been teaching the 24 for a long time and wanted to do something different so started us on the 88.
Those were hard classes. I've studied dozens of different martial arts and they were some of the hardest classes I've ever been to - my legs were like jelly at the end after holding those deep stances for 25 minutes at a time. Yet you teach very differently nowadays. Why is this. Is it still both Yang style?
There are two types of Tai Chi. And that's Tai Chi for other people and Tai Chi for yourself. When we were entering all those competitions and doing the 42 step (an international competition routine) were were doing Tai Chi to please judges. Now I do Tai Chi like those old people in the park - for myself. I now teach old man Tai Chi.
As you said we went to competitions and we did well and we pretty much knew we were good. So why do you eschew this now?
We were taught skills and knowledge at a very fast rate but what set our club apart was not what we were taught it was how we trained. Yes, we were good, and we knew it. But this arrogance had nothing to do with our understanding of Tai Chi it was because we lived it and breathed and knew we trained harder than other Tai Chi clubs. I never missed a class except for if I was working out of the country. I trained on my 50th birthday, I trained on my 25th wedding anniversary. I trained every Tuesday, every Thursday, every Sunday and we rented a hall ourselves to practice more on Saturdays didn't we, that's what set us apart. The over training and the competitions were part of the journey, we didn't know any different. But now I do old man Tai Chi. I see competition athletes who make a deep stance and then have to drag their foot to get to the next posture. Show me one Tai Chi text book that says "drag your foot". I no longer practice the 42 step routine. I don't think it's for everyday practitioners.
What did you think of learning Sun style?
It shows that Tai Chi (ie Yang style) can be versatile and adapted for a different frame and fighting style. The principles and names are the same, the movements are different.
We also learnt the Tai Chi sword (Jian) for years. Do you still train in that?
I train in the Jian virtually every day. It reinforces the idea that there should be awareness in the room. I'm past the stage of thinking about cutting down enemies, I now let the sword guide me and just see Yang style circles.
What about the other arts we learnt like Hsing-I Quan?
I liked Hsing-I because it enabled you to focus an attack not just a defence and take the initiative.
From about 1998 onwards we got to train on annual seminars with Professor Li De Yin, the foremost Tai Chi master in the world. How did you find that?
He instilled that attention to detail was prerequisite and that without single posture training one could not advance.
What about Professor Zhang Xiu Mu?
He was the first that pointed out to us the need to be in touch, physically with Chi while practicing. This is not just for the so called secret 22 form, but for any Yang style form.
You also took up Muso Jikiden Eishin Ryu Iaido. What did you like about that?
Iaido is at the other end of the spectrum from the Jian, but the act of drawing the sword can become meditative in itself. It's not just about one cut, one kill, but about being one with the weapon.
You trained with Japanese masters like Hara, Yoshida and Tose. What did you get out of that
Keiji Tose helped me with a problem I had with kneeling forms. I have well developed thigh and calf muscles which is great for holding Tai Chi stances but not so great for kneeling so he suggested to me doing what some Japanese do with the same problem, which is a 1 legged stool which you keep lowering as the flexibility improves. A few conversations with Hanshi Tattersall also gave me an idea for the mental aspects of the sword - Japanese and Chinese like the psychological angles, how your presence can determine the outcome.
Two of my Karate teachers over the years, Reiner Parsons Kyoshi and Bob Carruthers Kyoshi, I know you hold in high regard having trained with both of them don't you?
Reiner has a high knowledge of Kung Fu (his Karate teacher Tadanori Nobetsu is a master of Feeding Crane Kung Fu) and his knowledge of breathing and internal power is second to none. He also had a great ability to judge students and see their potential. He sees potential in students other people would write off. When we both started learning Iaido, Bob was already something like a 6th Dan in Karate but he never "pulled rank" or boasted. He just readily shared everything he had. Me and him had a similar philosophy. Once on a seminar with Elizabeth Noissier we were "sent to the naughty corner" because our attacks were, shall we say, fully committed. We both wanted to win and didn't like the idea of one person in the sequence having to lose! Neither of us would ever give an inch. It is the same when he started doing the stickfighting and brought GM Rene and Angelo over. Nothing was spared in terms of time, generosity and man to man teaching.
Apart from the Iaido and what we've just talked about what other areas have you developed your Tai Chi teachings from how we were taught originally? For example, I remember being taught Ba Duan Jin, but I don't remember ever learning the Animal Exercises of Huo Toa or the Shaolin Breathing Exercises (Liu He Gong) that you teach
I have integrated forms like the Shaolin exercises because they are natural cousins of Tai Chi. A French Shaolin practitioner named Eves encouraged me to teach these forms. I teach the Harbin (the name of a city) versions of the Liu He Gong forms, and also the Tai Chi Ruler and Tai Chi Balls.
We were often told in the past that martial artists don't respect Tai Chi. Have you found this to be the case?
I've found that the likes of Reiner, Craig Bailey (5th Dan Aikijujutsu) have always been very receptive. I think they appreciate that in any fight, whether it's a Karate contest for example, the relaxed person is the fastest. On the other hand I tell my students that the most sincere martial art is Judo because everything is proved on the mat. I tell them their Tai Chi must have the same honesty.
Why do you do Tai Chi?
To improve my meditation, to increase my wellbeing, to learn more, to pass it on. My path is to teach.
What about self defence?
I want my body to look after me. I want my body to react quickly and efficiently.
What do you say to people who say that martial arts like Tai Chi, Kung Fu and to some extent Karate, are wasting their time with forms and self expression and should just fight like MMA?
I see martial arts as a tradition. Without this history we have no civilisation. We may as well be primitive animals. Martial arts enhances the spirit and the wellbeing. To civilise people, don't ban guns, give them education. We can learn a lot from something like the Japanese tea ceremony. We should all take the time to learn to do something slowly and properly. Anyone can dump a teabag in a cup but man is supposed to be better than this. If we can't remember our ancestors, how can we be civilised?
Anything you'd like to add?
Martial arts is like my other hobby, photography. They are both trying to get a true representation. I may take 500 pictures and throw away 495. To get a great photograph you need the same thing you need in martial arts which is to see something before it happens - this is VAT - visual anticipation and timing. When I do a martial arts form I just want it to be a representation of what I'm doing or feeling at the time, the same way a photographer does.
Simon Keegan teaches Karate on Tuesday nights 8:00-9:30 and Tai Chi on Tuesday nights 7:00 at Van Dang Martial Arts, Manchester. David Keegan teaches Tai Chi on Friday nights 7:00-8:00 in Wigan and Thursday evenings 7:00-8:00 in Upholland. For more information email kaicho@runbox.com
As 2012 is almost at a close I just wanted to say thanks for a few people for their help and friendship throughout the year.
Firstly to my students. Thanks to all of your for your continued support and dedication. After 12 years teaching, I feel the future of Bushinkai is very bright. A special thanks to Dan, Pete and Ben for helping me teach classes. And as always, to my dad, Sifu David Keegan for always being there when I need him.To my Kung Fu brother John Dang and his dad Ken Dang - thanks for your support and giving Bushinkai a real home.
A big thank you to the head of Shobukan Karate, Shihan Philip Handyside. I first met this gentleman about 10 years ago when he taught a course celebrating his 40 years in the martial arts. He had been the teacher of my instructor Bob Carruthers Sensei and that is how we first met.
When I first met Shihan I was very much in awe of his skills and presence and now I'm very proud to call him a friend and mentor. When he sat on a grading panel with me this year and approved my students' promotions, it was a very proud moment for me. And when Shihan offered to grade me himself I was gobsmacked. Above all though, thanks to the other lads in Shobukan for making me feel welcome once again.
Also from the Shikon Organisation, in fact the boss of Shikon himself, Sifu Steve Rowe. Thank you for your kindness and advice and making me smile with your humour. Similarly to Master Alfie Lewis, when I first saw him across the mat from me nearly 20 years ago at a kickboxing tournament he was already a legendary world champion and I was a skinny nervous brown belt - never did I think that in years to come I'd be able to call him a friend. Thank you for your support gentlemen.
Thanks to all those who have taught me over the last couple of decades, especially Reiner Parsons Kyoshi and Bob Carruthers Kyoshi. Thank you for your patience with a very slow learner. And to Colin Hutchinson Renshi and all my friends at TEMAA. Hope you all have a great New Year, guys.
Have a happy and safe Christmas everyone and enjoy the last few months of the Year of the Dragon!
As I teach both Karate and Tai Chi, it is no surprise that I have found common ground between the two arts. But these commonalities are not mere coincidence. The Chinese external arts were historically a major influence on Karate, as seen in these historic examples:
1) One of the first Chinese masters to visit Okinawa in the 1680s was Wang Ji. We believe the art he studied was the Chinese internal art of Hsing-I. From Hsing-I Swallow Boxing we get the form called Wansu which we now call the kata Empi.
2) In the 1750s two of the pioneers of Karate, Tode Sakugawa and Chatan Yara studied with a master called Wang Zongyue whose student went on to introduce an art to Chen village that later became Yang style Tai Chi.
3) In around 1828 Sokon Matsumura studied an unknown fighting art in China from which he created the kata Bassai Dai and Bassai Sho. The most probable style he sourced these from was Bazi Quan which has the forms Baji Da and Baji Xiao.
4) Seisho Aragaki and Kanryo Higaonna both trained with a master in China called Wai Shinxian who was thought to be a Hsing-I master.
5) Goju Ryu founder Chojun Miyagi witnessed a demonstration by Itoman Bunkichi which some (M Bishop etc) believe was Tai Chi.
I first heard of Tai Chi in around 1988 when my dad returned from China and probably saw decent pictures of the art with Danny Connor performing the forms in one of Peter Lewis' books in around 1989 as well. It was not until about 1998 when I was already a brown belt in Karate that I began to formally study Tai Chi, Hsing-I and Sun style which was also derived from Pakua Zhang. The training also included Chinese sword. I had trained with Chinese broadsword (Dao) from the age of 14 but not with the Jian until around 1999.
The internal arts' influence can been seen in several areas of our art, including:
- Kanku Dai (Kushanku) this kata includes many of the 'snake' and 'crane' postures of Tai Chi.
- Empi (Wansu) as well as being related to Hsing-I, this kata can also be performed with Chinese sword (Jian).
- Heian Sandan and Heian Godan contain many of the twists and turns seen in Pakua Zhang.
I believe that whatever art you teach (Karate, Jujutsu, Aikido, Kung Fu
etc) there are three key areas of the tuition. These are 1) A
theoretical and psychological understanding of combat 2) A physical
ability in combat and the ability to perform techniques effectively 3)
The ability to learn in an effective way.
These three areas (The Science of Violence, the Science of Technique and
the Science of Learning) were fundamental to my devising of The
Bushinkai Method which is a quantifiable "filter" I apply to my martial
arts.
To look deeply into the self defence essentials of my style, I did what
may be compared to a mechanic removing an engine from a car, stripping
it down, repairing it and putting it back in the car.
I took away the style specifics (the katas, the bows, the salutes, the
stylised movements, the ancient weapons) and looked at the techniques
that every self defence system must include. For example every style
must have a good leading hand punch, a good cross, good elbows and
knees, takedowns and hold-downs. I concentrated on these essentials
which are common to every style, before putting the system back in its
cultural context.
So when we perform Bassai Dai, it looks like Shotokan, when we perform
the 24 Step it looks like Yang Style Tai Chi, but the technology behind
it is purposeful.
I will often cite my influences as the instructors who have taught me
over the years, principally Bob Carruthers Kyoshi, Reiner Parsons
Kyoshi, Stephen Bullough Sensei, Steve Brennan Sensei, David Keegan Sifu
and masters I have trained with briefly like Shizuya Sato Hanshi,
Tadanori Nobetsu Hanshi, Patrick McCarthy Hanshi, Terry Wingrove Hanshi,
Mitsuhiro Kondo Hanshi and Prof Li De Yin; but there are also several
influences which are completely indirect as I have not met or trained
with them but was influenced by their writings, their philosophy or
their organised approach to learning.
These men include:
1) Jigoro Kano, who took esoteric and mysterious Jujutsu schools and quantified them into a single organised method (Judo);
2) Minoru Mochizuki and his son Hiroo Mochizuki who took around ten
different arts, including Judo, Karate, Jujutsu, Aikido, Kobudo, Iaido,
Jodo, Kenjutsu, Kempo and Boxing and condensed their common principles
into one coherent system (Yoseikan)
3) Bruce Lee, who took a classical Chinese system, stripped aside the
parts he found superfluous, took from other diverse styles and formed
one coherent system.
THE BUSHINKAI METHOD
The beauty of the Bushinkai Method as it is applied to our
Karate/Jujutsu system (HKTJ) is that it is not a "new" art like Jeet
Kune Do or Yoseikan Budo, it is the same art as before. I did not remove
the engine and then build a new car around it, I simply removed the
engine and gave it an MOT to get better efficiency.
The function of Bushinkai is threefold:
1) JUTSU: Effective self defence. The ability to impart self defence
skills to students and enable them to better defend themselves
2) DO: Training to develop other areas of one's life. This includes fitness, confidence, psychology and self expression
3) RESEARCH AND DEVELOPMENT: Looking into the classical origins of the arts to better understand them.
HAKUDA KEMPO TOSHU JUTSU
The art we teach in Bushinkai is Hakuda Kempo Toshu Jutsu which encapsulates these themes.
- Hakuda is an old name for a type of Japanese Jujutsu
- Kempo (Quan Fa) is a term meaning Chinese Boxing
- Toshu Jutsu is an old name for Okinawan Karate
But HKTJ is not a hotchpotch of techniques it is a carefully structured
system. Recalling traditional Karate systems like Shorin Ryu and Shoto
Ryu, HKTJ is derived from a blend of arts. On the surface it may look
like Judo or Aikido techniques have been inserted into the system, but
actually they were always within the Karate beneath the surface.
Every 'Judo throw', 'MMA move' or 'Aikido lock' we teach exists as an Oyo within the Bunkai of the traditional Karate kata,
Key influences on HKTJ
- The Karate of Shuri and Tomari (Shotokan, Budokan, Shoto Ryu, Lion Boxing)
- The Karate of Naha (Goju Ryu, White Crane, Tiger Boxing)
- Nihon-den Jujutsu (authentically Japanese Jujutsu, Aikijujutsu and Hakuda)
- Chinese internal martial arts (Taiji, Hsing-I)
I am inspired by the Bruce Lee quote "I do not fear the man who has
practiced 100 techniques once, I fear the man who has performed one
technique 100 times."
Instead of teaching dozens and dozens of techniques, combinations, forms
and katas, that confuse and befuddle the student, it is better to have a
grasp of simple basic principles like unbalancing, turning, hooking,
using two directions and so on.
Techniques like roundhouse elbow, roundhouse kick, Tai Otoshi, Osoto
Gari, Kata ha Jime - practical close in fighting techniques are drilled
regularly. They are not pretty, nor are they complicated.
Yet my teaching of these few basic techniques is vindicated by the
students who have come to me over the years and said: "somebody tried to
hit me in a club and I was able to take him out with a kata ha jime",
or "somebody tried to hit me and I blocked it and threw him with Tai
Otoshi" or "somebody grabbed me in a clinch and I was able to take him
down with osoto gari and pin him with the armbar you showed me."
Of course it is even better when students have come to me and said:
"Somebody started trouble with me and I was able to calmly stand up to
him. I think he could tell I knew what I was doing."
The latter is where the Jutsu is replaced by the Do. The martial arts
gives the fitness, confidence, experience, control and poise to be able
to do the ultimate self defence - fighting without fighting.
When I was a child the only two Karate styles I really heard of were Shotokan and Goju Ryu. My dad and uncle had trained with the Shotokan/Red Triangle and my uncle Paul in Goju Ryu. When I began training with Steve Bullough in the early 90s he told me about some of the other styles he had trained in such as Wado Ryu and Budokan.
I discovered that both my Karate instructor and my Tai Chi instructor had begun their Karate training with an instructor named Mike Newton who was originally of the Yoseikan style and then later Budokan with Chew Choo Soot.
I believe my Karate instructor trained in this style up until about green belt before moving into other arts. My Tai Chi teacher however remained friends with Shihan Newton and in 2001 took me to train with him.
I only attended about four classes in Budokan with Shihan Newton but the training unlocked a realisation in me - that there was a strong connection between Karate and some of the Chinese styles I had done like Hsing-I Chuan.
For example the Shuto moved like the Splitting (pi quan) technique of Hsing I and the Gyaku Tzuki moved like the cannonfist. I also adapted my Uchi Ude Uke, my Uraken and my Kizami Tzuki based on this brief period of tuition.
I began to explore this connection and my Shotokan teacher Bob Carruthers introduced me to his former teacher Shihan Philip Handyside with whom I attended a seminar in 2003 to celebrate his 40 years in martial arts.
Shihan Handyside explained that his style Shobukan included elements from both Shotokan and Budokan.
In fact in around 1977, the Grandmaster of Budokan Chew Choo Soot was brought over to England by Newton Sensei and Handyside Sensei and the latter organised the Budokan world championships in Preston and was graded 2nd Dan in the Budokan style by he grandmaster himself.
The origins of the Budokan style are this. Chew Choo Soot was interested in boxing, wrestling and bodybuilding an ended up giving bodybuilding tips to a Japanese army officer in exchange for Karate lessons. The Japanese army officer was a student of Kanken Toyama, a great Karate Jutsu master who not only trained in the better known schools (Shorin Ryu with Itosu and Naha Te with Higaonna) but he also studied some of the Quan Fa styles such as Taku (Hakuda) that influenced the original development of Karate.
Chew Choo Soot later went to Okinawa, China and Taiwan himself and put more of the Jutsu back into his Karate.
In 2012, Shihan Handyside was my guest on a Bushinkai grading and straight away explained the difference between the two Uchi Ude Ukes (Shotokan and Budokan) - he pointed out that we like him taught the technique the Budokan way.
As the history of Shotokan is quite well documented, I would like to develop our understanding of the arts that were transmitted from Kanken Toyama via Chew Choo Soot to Shobukan and Bushinkai.
Welcome to the relaunch of the Bushinkai website. It's the same address www.bushinkai.org.uk,
the same design but the content is all new. The reason for the relaunch
is that I've been editing, chopping, adding and rewriting the site for
the last five years and it had become messy, so I thought I'd start with
a clean slate and start from scratch.
This site is designed to promote my Manchester Karate and Tai Chi classes just as http://bushinkai-taichi.com is designed to promote the Wigan classes. But it is more than that.
The site is designed as an information resource for new and existing
students so they can better understand the thinking behind our system
and the history of our style.
I've been criticised in the past for "going on the internet and saying
you're better than everyone else" but this isn't the case. The idea of
this site is not to say we're better than everyone else, it's just to
give an idea of what we're about. The analogy I always use is
restaurants. If I run an Italian restaurant and say we serve authentic
pizza that doesn't mean to say we are better than the Mexican restaurant
down the street. People will choose a restaurant based on their
personal taste. They may want authenticity, they may want healthy, they
may want quick, they may want cheap. What suits one person won't suit
another.
And that's what this site is all about. If you want to win the UFC
heavyweight title, we're probably not for you. If you want somewhere
where you and your toddler can train, we're not for you. If you want
somewhere where you can hang from the ceiling, run along toilet paper
and throw plastic stars, we're not for you.
But if you want a system of martial arts where effective self defence is
taught intelligently and maturely then we could be for you. If you want
a system of martial arts firmly rooted in the old traditions of China,
Japan and Okinawa, then maybe we're for you. If you want to train
somewhere where the kata are taught not as a dance, but as a collection
of drills for brutally effective self defence responses, then maybe
we're for you too.
I have been running the Bushinkai club for 12 years and I think we have
settled into a nice niche. We will never be the biggest club, because I
would rather teach five good students than be a babysitter to 30. But
what we have built is a nice friendly club with some great senior
students including Dan, Pete, Ben, Graham and Joseph who each have years
of experience and are very helpful and keen to pass on the knowledge to
others.
I include lots of information on my lineage (the people who have taught
me and the people who have taught them) not because I'm into "name
dropping" but because it shows the identity of our style.
If I wanted to study Brazilian Jujutsu I'd want to know how the school
was related to the Gracies. Similarly since the predominant heritage of
our school is Shotokan-Budokan I like to show our connections to masters
like Kanazawa, Chew, Toyama, Itosu, Matsumura and Sakugawa. Our martial
arts family tree gives us a sense of identity. When we practice the
forms (kata) for example we are walking in the footsteps of the old
masters.
The site is also designed to give technical information on the physical
techniques in our syllabus as well as other areas of the curriculum such
as weapons.
Finally the site is a hub to related organisations such as the UKBF and Shobukan Karate Organisation and related styles like Shorin Ryu, Shoto Ryu and Nisseikai.
I hope you find something interesting on the site.
We recently had a well attended grading at Bushinkai HQ with a very special guest, Shihan PAJ Handyside 8th Dan.
Attendees:
Shihan PAJ Handyside 8th Dan Sifu David Keegan 4th Dan Renshi Simon Keegan 4th Dan Dan Sanchez 1st Dan Peter McHugh 1st Dan *now also 7th Kyu Tai Chi Ben Gaunt 1st Dan Joseph Coyne *now 3rd Kyu Graham Winstanley 4th Kyu *now also 9th Kyu Tai Chi Kevin Dyke 4th Kyu Sam Bainbridge *now 9th Kyu John Duffy *now 9th Kyu Thomas Gibbons *now 9th Kyu Tai Chi
Empi or Wansu is an anomaly in the Shoto Ryu family. It looks like no
other kata, there is no "Empi Nidan" or Wansu Dai." It is a singular and
unique kata.
ORIGINS
Depending on some research it may also be the oldest kata in Okinawa,
and even old by the standards of Japanese and Chinese martial arts.
The oldest date I have seen for the introduction of Wansu/Empi (I will refer to it as Empi from herein for simplicity) is 1683.
If this date is true it raises a scenario.
1) Empi means "flying swallow." It is said to be named after the Chinese soldier Wang-Ji.
2) It is likely therefore that the "swallow" related to the style of Wang-Ji.
3) The most common Chinese style that uses the swallow is Hsing-I
4) If Wang Ji studied Hsing-I, he did so in the lifetime of Hsing-I founder Ji Ji Ke.
5) Wang Ji may therefore have been a relative of Ji Ji Ke.
If this scenario is the case, we can consider Hsing-I Quan to be the ancestor of Empi.
The potential candidates for who Wang-Ji taught his style to can be
counted on the fingers of one hand. In the 1680s, there were not a
multitude of Karateka. The ones we know the names of are very few. They
may include:
1) Hama Higa (not to be confused with the later Matsu Higa) a Kobudo specialist
2) Members of the Motobu family
3) Members of the Kojo family or others living in the Chinese community of Kume
A generation later we meet Takahara Peichin, a map-maker, astrologer and fighter of Shuri Castle.
Takahara seems to have taught the first generation of Shuri and Tomari
based Karateka, including Tode Sakugawa and Chatan Yara who were
studying in the early to mid 1700s.
Remember at this point in Okinawa there were none of the Fujian forms
that were introduced in 1828 (Sanchin, Seishan, Jutte, Gojushiho), none
of the 'Aragaki' forms (Nijushiho, Unsu, Sochin), none of the Tomari
forms (Chinte, Gankaku, Meikyo), none of the Shuri Te forms (Kushanku,
Bassai, Pinan) and definitely none of the Goju Ryu forms.
Simply put, kata were not a big deal in Okinawa in 1700. So apart from
the solitary kata, Empi, what did the Okinawans practice that related to
today's Karate?
1) Jigen Ryu. The Japanese sword art of Satsuma was practiced by various
Okinawans, later including Matsumura and Azato. Interestingly one of
its kata is called Empi.
2) Kobudo or Emono Jutsu. Not just the Sai, Tonfa and Bo. Okinawan
weapons included the katana, Surujin (bolas), eku (boat oar) and the
Tinbei and Rochin (a short sword/spear similar to a Roman Gladius and a
shield sometimes made from a tortoise shell).
3) Tegumi wrestling, Okinawan Sumo and tug-of-war. There also seems to have been a form of arm wrestling done in mid-air.
4) Okinawan folk dances
5) Motobu Udun-di. The palace art of the privileged Motobu clan which resembled Aikido.
The point I am making is that we do not know what Empi looked like in
1700. Its present embusen may have been changed to reflect the later
trend in kata. For all we know, the original Empi may have been done on
the spot.
TECHNIQUES
Funakoshi's Empi differs from the Wansu practised in styles like
Matsubayashi Ryu. Although it is possible that Funakoshi made arbitrary
changes, it is more likely the differences are because Funakoshi was
primarily taught by Azato. And what do we know about Azato? He was a
master of Jigen Ryu. And what have we already cited about Jigen Ryu? It
includes a kata called Empi.
Therefore in Empi we will look at both influences, Hsing-I and Jigen Ryu.
HSING-I
The characteristic move of Empi resembles the principle behind the Hsing-I swallow form - float high and then swoop low.
Empi also includes the Shuto, shuffling into a Gyaku Tzuki. A
"splitting" strike and reverse punch are fundamental "fists" of Hsing-I.
Hsing-I also includes a stance very similar to Kokutsu Dachi (San Ti) and uses a technique very similar to Jodan Age Uke.
JIGEN RYU
The opening move of Empi is textbook "swordsmanship" as it uses a
diagonal sweep with the right hand from a kneeling position. By looking
at forms such as the Chinese Jian form Wutang Jian (a precurser to the
Yang style Taiji sword form) I have demonstrated how Empi can be
performed using a sword.
Jigen Ryu is a very unusual sword style in that it uses a makiwara.
Jigen Ryu practitioners literally strike a hard wooden post with their
bokkens. Did this practice come to Karate via Jigen Ryu?
Bassai is one of the most important kata in the Shoto Ryu family. It is almost always a requirement for blackbelt. I also know of nobody who cites it as their least favourite kata.
ETYMOLOGY
When looking at Bassai, we will begin with the name. When Bassai was introduced to these shores in the 1950s-1970s, everybody translated the name as "Penetrate the Fortress" when actually the Kanji seem to read nothing of the sort.
Bassai is comprised of the characters Batsu (also pronounced Nukitsu) which means withdraw (a drawing cut in Iaido is called Nukitsuke); and Sai which means obstruct.
Bassai therefore means to withdraw and obstruct. However, Funakoshi uses the character Chai (fortress) rather than Sai and it has been argued that "to blockade a fortress" is a reasonable translation.
However it is possible that in the days when few martial artists could read or write, it is possible Bassai meant nothing of the sort.
In Tai Chi the move Lan Za Yi (lazily tying the coat) was misheard in another region of the country as Lan que wei (grasp sparrow's tail) - thereby completely changing the meaning of the move. Likewise with Dao Jun Hao and Dao Jun Hong - changing the meaning of the move from "repulse the monkey" to "whirl the arms".
As I have pointed out in previous articles, there is a style in China called Baji Quan (originally Bazi Quan which has forms called Baji Da and Baji Xiao. An Okinawan like Matsumura could have easily misheard Baji as Bassai.
In previous articles I have also presented my theory that this art, Bazi Quan, originally meant White Lion Boxing. Okinawan Karate researcher Akio Kinjo pointed out that Bassai shares techniques with Lion Boxing.
The Chinese word for white is pai or bai and in the Fujian dialect "lion" is "sai" so Baisai or Paisai would mean White Lion.
In my Kata study of Heian Sandan I pointed out that it was likely Matsumura was aquainted with Baji Quan practitioner Dong Hai Chuan - perhaps this is the root of Bassai.
In the 1600s a Japanese physician named Akiyama went to China and studied a fighting art which, depending on how the Kanji is translated, can be called Hakuda, Hakushi, Shubaku or Baida.
The syllables are:
Haku/Baku/Bai - meaning white Da/Shu - meaning hand (the same as Te) Shi - meaning lion
So what was this Te that Akiyama studied? My money is on White Lion Boxing. The Shi in Hakushi is the same as the Fujian Sai (lion).
The syllables "Bai shi da" seen in "baida, hakushi, hakuda" are the same as Bassai Dai (white lion hand - rather than blockade the fortress major).
HISTORY
According to my calculations Bushi Matsumura of Shuri and Bushi Kojo of Kume went to Fujian in 1828. Matsumura was already a formidable fighter in his prime (aged about 30). He had been taught Toshu Jutsu and Bojutsu by Sakugawa and also taught some Quan Fa by Chatan Yara who we will meet in my study of Kanku Dai. He had also studied the Japanese style Jigen Ryu which meant he was a master of the sword.
At the "Kojo Dojo" in Fujian, Matsumura and his friend were exposed to various Chinese forms, which we now think included the following forms:
While it is likely Matsumura studied Hangetsu, Jutte and Gojushiho while staying at the Kojo Dojo it would appear that something else inspired him more.
That something was the form we now know as Bassai.
When Matsumura returned to Okinawa he was not a professional Karate instructor. There was no Shuri Te, no Naha Te and no Tomari Te. Instead there were civilians, and there were professional fighters.
Matsumura was the latter.
Bushi Matsumura was the KIng's bodyguard. He organised the defences to Shuri Castle. Therefore his approach was not "self defence." Matsumura's priorities were:
1) Keeping the king alive by protecting him and guarding him 2) Keeping the king alive by hand picking and training all the staff at the castle 3) Keeping the king alive by teaching him to defend himself 4) Identifying any threats to the king and destroying them
It is interesting that the two forms we most closely associate with Matsumura are Tekki and Bassai.
In Tekki we imagine the imposing bodyguard with his back to the wall grabbing a hostage, knocking them out with victious knee strikes and breaking their neck.
Now in Bassai we see Matsumura cutting his way through a crowd impatiently and decimating enemy threats. In Bassai the kata is one of relentless aggression.
Bassai's opening movement sees Matsumura slam all of his bodyweight into the opponent. The first Kiai point sees him spin and opponent round and finish him with a rear naked choke. At the end of the kata Matsumura bombards and opponent with three powerful Yamazukis before dumping them to the ground and then knifing through a crowd with a final devastating strike. Bassai is not like Sanchin - it is not an exercise in isometric tension. Bassai is perhaps Shoto Ryu's most aggressive kata.
VERSIONS
It is likely that the oldest version of Bassai is the one we call Matsumura Bassai. Another version probably authored by Matsumura's friend Kokan Matsumora is Tomari Bassai.
However it is also possible that the oldest of all is the form we call Bassai Guwa (Passai Gwa) and that this was the original way Matsumura taught it.
It is thought Master Itosu took Matsumura's original Bassai to create Bassai Dai and drew on Passai Gwa to create Bassai Sho.
In Bushinkai we learn Bassai Dai at around 3rd Kyu brown belt and Bassai Sho after 4th Dan blackbelt. I will look at Bassai Sho in a future article.
The next kata under the spotlight is Gekisai Dai Ichi, otherwise known
as Fukyugata or Chokyugata. Contrary to popular belief this is not just a
Goju Ryu kata - it has been a part of Shorin based systems such as
Matsubayashi Ryu since 1941.
Gichin Funakoshi and Makoto Gima took Shoto Ryu to Tokyo in the 1920s
and following its success styles like Shotokan, Wado Ryu and Shotokai
emerged. Elsewhere in Kobe, Funakoshi's friend Kenwa Mabuni introduced
Shito Ryu.
Meanwhile in Okinawa, the heads of the Okinawan styles like Shorin Ryu,
Kobayashi Ryu and Goju Ryu seemed to have mixed feelings about the
success of the Shoto movement. On one hand they seemed to resent
Funakoshi's sweeping changes, like renaming kata and simplifying
techniques - but on the other hand they seemed to admire his organised
approach. Because by the 1930s, most if not all the Okinawan styles had
adopted the name Karate Do (Empty Hand Way) rather than the old terms,
Karate Jutsu, Toshu Jutsu, Tode Jutsu (Chinese Hand Way) and they had
also followed Funakoshi's lead in adopting the Judogi and coloured belt
system.
While masters like Matsumura (Shuri Te), Itosu (Shorin Ryu) and Higaonna
(Naha Te) had died, the styles in Okinawa retained a link to the
Chinese schools of Fujian with resident masters like Gokenki and Tang
Daiji.
In the 1920s masters like Chosin Chibana (Kobayashi Ryu) and Chojun
Miyagi, along with Gokenki worked together to form the Ryukyu Tode
Kenkyukai (Okinawan Karate Research Society) and by the 1940s they were
also working with the Chin Woo Society in China to better understand the
Chinese origins of the kata.
In 1941 Chojun Miyagi (Goju Ryu) and Shoshin Nagamine (Matsubayashi Ryu)
worked together to create a form called Fukyugata (fundamental form)
which is also called Gekisai. The form is designed to be taught to
relative beginners. In Bushinkai we learn it at around purple belt.
Hanshi Patrick McCarthy 9th Dan (Koryu Uchinadi) believes the origin of this kata are in Chinese Monk Fist Boxing.
Hanshi McCarthy writes: "During the years I was travelling to China and
researching the origins of karate, I learned very unique two person
trapping, seizing & joint manipulation qin-na set. The form contains
many techniques as exampled in Goju's Gekki-sai futari-renzokugeiko
(the two-person continuous drill supporting Gekki-sai dai ichi).
"Later, when I discovered that its origins were Monk Fist quanfa, I
formed a working hypothesis believing that it may very well have been
connected to that which Miyagi Chojun learned from Monk Fist boxer Miao
Xin (1881-1939) at the Chin Wu/Jing Mo Association in 1936....
"It must have been the original source from which Miyagi (& Nagamine) drew upon when developing Gekkisai in 1941."
We must also look at the influence of Shoshin Nagamine, who unlike most Shorin Ryu stylists was not largely influenced by Itosu.
Nagamine's teachers were the bad-boys of Okinawa, Choki Motobu and
Chotoku Kyan, two men who were at the other end of the spectrum to the
peaceful Funakoshi.
Motobu only knew about three kata. He definitely knew Naihanchi (Tekki),
he probably knew Bassai, he may have known a version of Seishan and he
was familiar with Channan. Forms like Nijushiho, Unsu, Gankaku and
Meikyo did not seem to be on the radar.
If we look at Gekisai it does share some traits with Tekki, including
the almost horizontal Embusen of the first few moves, but it also
resembles Seishan (Hangetsu) in some of its combinations as well.
So Gekisai brings together the Tomari Te and Shuri Te of Motobu with the Naha Te and Quan Fa of Miyagi.
I am not personally a fan of Goju Ryu forms in general, least of all
Sanchin, but when I was first taught this kata (Gekisai) by Tadanori
Nobetsu, I instantly liked it, perhaps because of its
Motobu/Matsubayashi influences. Reiner and Derrick Parsons have since
helped me to understand it but I still view it as the kata out of our
syllabus I know the least, simply because I have only been practicing
this form about 9 years.
As this kata is only 71 years old it is also our newest kata, but
because of its links with Louhan Quan (Monk Fist) and Motobu-ha Te I
feel it is worth exploring.
In the previous Kata studies, I looked at the five Heian/Pinan kata
which were standardised in around 1905 by Master Itosu to act as
introductory forms for new students. Before the introduction of these
forms, the first form students in Shuri and Tomari typically learnt was
Naihanchi, which most styles now call Tekki.
It is not known whether the current Tekki Shodan, Nidan and Sandan were
once part of a longer form called Naihanchi or whether there were
originally two or three Naihanchi forms. But this form was and is a
crucial part of training everywhere in Okinawa outside of Naha.
Infact Shoto founder Gichin Funakoshi spent the first nine years of his training with Master Azato learning only Naihanchi.
Tekki, as I will call it from this point on was in Shuri what Sanchin
was in Naha - the fundamental form designed to strengthen the core and
basic postural movement.
Both Itosu and Azato taught Tekki and therefore both probably learnt it from Sokon Matsumura.
I would now like to explore the origins of the form and how it was
transmitted to Okinawa. I will do this with a number of theories.
HISTORY
Firstly we should point out that although the origins of this form are
said to be Chinese, there is now current Chinese style that practices
it. We cannot therefore say "Naihanchi is a Preying Mantis form" for
example with any certainty. So instead I present these theories.
1) The Shorei theory
2) The inner claw theory
3) The hillock theory
4) The wall theory
1) The Shorei Theory
Karate forms are typically divided into two groups, Shorin Ryu and
Shorei Ryu. On the surface this seems like a straightforward
classification. Itosu's style was Shorin Ryu, Higaonna's style was
Shorei Ryu. Therefore Shorin equals Shuri and Shorei equals Naha. But
unfortunately it is not that simple because masters like Funakoshi and
Mabuni applied that classification to all katas regardless of style. For
example the Pinans are Shorin, Tekki is Shorei, Hangetsu is Shorei,
Kanku Dai is Shorin and so on, despite all deriving from Shorin Ryu.
It is unlikely that if Shorin Ryu means "Shaolin Ryu", that the Shorei refers to some other temple somewhere.
It is even more confusing since some of the forms classified as Shorei
(Jutte and Hangetsu for example) are the ones with the closest affinity
to Shaolin.
Funakoshi also contradicts himself. In one volume he will refer to Empi as Shorin, and in another as Shorei.
I suspect that Funakoshi may have intended to list all the traditional
Shuri forms (Kanku Dai, Bassai Dai, Pinan) as Shorin and the Chinese
forms imported to Naha and Tomari (Hangetsu, Sanchin) as Shorei but then
he became confused when he reached forms where he did not know the
origin and so oversimplified as "slow powerful forms are Shorei, fast
light forms are Shorin."
Some of Funakoshi's writings imply he thought the two Okinawan schools
(Shorin and Shorei) equated to the two Chinese schools Shaolin and
Wutang but we know this is not the case. The speed of Shotokan and
Shaolin may be comparable, as may the speed of Sanchin and Tai Chi but
that's where the similarities end.
But if Funakoshi believed the Naha and Tomari forms to be Shorei, and
the Shuri forms to be Shorin, why did he class Naihanchi, the
cornerstone of Shuri Te and Tomari Te as Shorei?
Could it be that somewhere along the lines Funakoshi heard that
Naihanchi was derived from Shaio Jao (Chinese wrestling) and translated
this as Shorei?
As simpler explanation may just be that Funakoshi knew this form had
been introduced in recent memory by a Chinese master from Fujian. It
was, therefore, Shorei.
But the Chinese master was not from the famous Kojo Dojo where people
like Aragaki and Higaonna learned the white crane based forms (Sanchin,
Seishan, Jutte, Niseishi, Useishi) it was introduced by a master named
Ason.
Ason was also a Japanese rank meaning a prince. Ason
(朝臣) was a prestigious title (under the eight
kabane system), initially conferred in the Nara period of the history of
Japan, on princes who had been reduced to the commonalty.
Funakoshi writes that "a Chinese named Ason taught Zhao Ling Liu
(Shorei-ryu) to Sakiyama, Gushi, Nagahama, and Tomoyori from Naha"
But it wasn't any of these men who created the Naihanchi form from their studies with Ason. It was Sokon Matsumura.
But from what style, Chinese wrestling or otherwise did Naihanchi derive?
2) One theory as to Tekki's origins is in its name. As well as
Naihanchi, it was also written as Naifanchin, which may be translated as
"inner claws."
This may suggest that Tekki was derived from one of the animal boxing
forms such as lion boxing or tiger boxing. I have theorised elsewhere
than one of the styles many of our forms derived from was lion boxing.
The name lion cane be written in the Fujian dialect as Sai, and in
Japanese as Shizhi. Could Naihanchi be some version of this? Perhaps
Naihanshi, Saihanshi or Naihanshizhi
3) Another theory which seems to deserve serious consideration was
presented in the 1960s after a kung fu practitioner, Daichi Kaneko,
studied a form of Taiwanese White Crane Boxing, known as Dan Qiu Ban Bai
He Quan (Half Hillock, Half White Crane Boxing). Kaneko, an
acupuncturist who lived in Yonabaru, Okinawa, taught a form called Neixi
(inside knee) in Mandarin.
This form includes the same sweeping action found in the nami-gaeshi
(returning wave) technique of Naihanchi. Neixi is pronounced Nohanchi in
Fuzhou dialect, which could indicate Neixi is the forerunner to
Naihanchi.
4) The wall theory. The final theory is that Matsumura developed the
form completely to suit his own purposes. As a bodyguard at Shuri castle
he would likely spend much of his time standing with his back against a
wall, surveying any dangers in the room. He would likely move about,
surveying the room while keeping his back to the wall.
Some of the movements in Tekki also seem to represent holding the
opponent as a "human shield" while moving laterally - exactly the kind
of thing a bodyguard would value.
TECHNIQUES
After the liberating movement of the Heian forms, a student can be
forgiven for thinking Tekki is boring. After all there are no jumps or
twists and turns in it. Even Japanese masters are quoting as saying
things like: "Tekki is only for training your horse stance so make sure
you turn your head briskly to avoid the kata being boring."
Such an approach misses the point of Tekki.
This form is a close-in fighting masterpiece. Chokki Motobu who was a
close-in streetfighter favoured this kata. In fact it is possible he
knew only this kata and maybe Bassai Dai.
Tekki includes chokes, neckbreaks, elbow strikes, face smashes,
keylocks, kneestrikes, fish-hooks, rips, stamps and much more. In
Bushinkai we have also looked at applying the techniques as groundwork
with throws and locks on the mat within the kata.
In Bushinkai, as in many styles in the Shotokan, Shoto Ryu, Shorin Ryu
and Wado Ryu families, competance in Tekki is essential before the
student can progress to brown belt.
Following on from my previous kata study (Heian Shodan and Nidan) the latest in the series looks at Heian Sandan, Yondan and Godan which in Bushinkai are required for orange, green and blue belts.
HISTORY
The third, fourth and fifth Heian Katas are thought to have been devised in around 1905 by Yasutsune Itosu.
Heian Sandan is a very unique kata and has a feel of being out of place with the rest of the Heian forms.
Where Heian Shodan and Nidan are the originals, and Heian Yondan is reminiscent of Kanku Dai and Heian Godan is reminiscent of Bassai Dai, Heian Sandan feels unique. It does however resemble Tekki Sandan but since this form is also a late addition to the canon, the question remains, which influenced which.
As I discussed in my previous study of Heian 1 & 2, the original name for the Heian/Pinan forms was Channan and this seems to suggest they originated in Chang Chuan (long fist boxing) but Heian Sandan which eschews typical Shotokan/long fist techniques like Zenkutsu Dachi seems to come from a different source all together.
The style Sandan most closely resembles is Pakua Zhang.
Pakua (Bagua) is the most circular of Chinese martial arts and look at Heian Sandan. Double blocks - circular, turn after Nukite - circular, turn after Oi Tzuki - circular. Fumikomi and Uraken - both circular. Heian Sandan includes more spins, twists and turns than any other kata.
I have theorised that the art Sokon Matsumura utilised to create Bassai Dai was Bazi Quan a style which includes forms Bazi Da and Bazi Xiao (Bassai Dai and Bassai Sho?)
Bazi Quan was the art from which Dong Hai Chuan created Pakua and it is possible that Matsumura and Dong Hai Chuan knew each other.
This may seem like a longshot, but considering Matsumura and Dong were about the same age and that at the time Matsumura was chief bodyguard to the Okinawan royal family while Dong was chief bodyguard to the Chinese royal family it is no less likely than today the British defence secretary meeting the US chief of defence. Mastumura went to Beijing on diplomatic trips. It is actually probable he met Dong. Would they have compared notes on martial arts? Perhaps. If the Bagua founder and the Bassai founder trained together maybe the twisting turning movements found in Heian Sandan were transmitted down that line. Matsumura probably never taught "Heian Sandan" but his student Itosu never invented the third form from thin air.
CHARACTERISTICS
In Bushinkai we practice Heian Sandan with Nunchaku. Because of its lack of longfist techniques it doesn't work as well as Shodan or Nidan with weapons like Sai and Bo. But because of its circles, figure 8s, two handed blocks and snapping strikes it works well with a Nunchaku.
Heian Yondan, carrying similarities with Kushanku (Kanku Dai) can also be performed with a wide variety of weapons including twin swords, tanto and tonfa.
Heian Godan which includes some of the same moves as Bassai Dai and therefore may also share its origin, can also be performed with a Bo.
Since it is believed Itosu extrapolated the five Heian/Pinan forms from perhaps two Channan forms it is possible that the first Channan, let's call it Channan Dai consisted of what we now call Heian Nidan and Shodan and that Channan Sho consisted largely of what we now call Heian Yondan. That way both Channan forms would begin with a double handed block and end with a Shuto.
This then would leave Heian Sandan and Heian Godan as later additions that may have come from the Bassai (Bazi Quan) lineage rather than the Kushanku/Channan lineage.
Notes:
Sokon Matsumura Lived: 1798–1890 Occupation: Chief martial arts instructor and bodyguard for the Okinawan King Created: Bassai Dai, a form likely derived from Bazi Quan.
Dong Hai Chuan Lived: 1797-1882 Occupation: Bodyguard and tax collector for Prince Su of Chinese Imperial Court Created: Bagua Zhang, a form likely derived from Bazi Quan.
Most martial arts instructors who have been around a little while will
have seen many different clubs and schools and invariably some of the
clubs you come across are better than others. When I think about the
hundreds of clubs I've seen, there's a huge variety of strengths and
weaknesses.
Some have superb self defence, some brilliant kata, others excellent
fitness training, and then some seem flaky, have unusual or damaging
exercises and have poor tuition.
Like anything else, restaurants for example, it comes down to what you
fancy and what your expectations are. For example I wouldn't complain
that McDonalds didn't sell Michelin Star food, nor would I expect an
archery club to be on the cutting edge of self defence.
And before anybody pops up thinking they know who I'm talking about, they don't, I'm not, and this isn't 'that' kind of article.
Most of my movements have been among Karate and Jujutsu clubs and of
course the standard and style of each has varied greatly. I've come
across supremely talented martial artists who weren't very good
teachers, I've come across respected martial arts legends who behaved
like bullies, and I've come across the glitziest sparkliest marketing
and yet their martial arts were very poor.
But this blog isn't about how good somebody's Mae Geri is, how polite
they are on the mat, or how well structured their lessons are, it's
about the single quality that all good martial arts have - purpose. I
was going to say 'focus' but I feel purpose is more apt.
It is very tempting as an instructor to be like a magpie and pick up
every sparkly gem we find. I have probably trained on seminars with 50
different instructors from 50 different styles and so could certainly
have had my pick of sparkly techniques to take away and make my own. But
I must be selective in doing so.
Because my system, like others has a certain purpose.
For example if I were a Kendo instructor, and I happened to attend a
Taekwondo seminar, I may learn a wonderful spinning hook kick. But to
try and integrate that into my Kendo would go against its nature and
would likely prove useless to my students.
However if on the Taekwondo seminar, somebody taught me a piece of
footwork, or maybe a distancing exercise, I could probably apply that
lesson to my Kendo.
I have chosen Kendo as the example, because everyone knows the purpose
of that art (a simulated swordfight with sticks) and everyone knows that
things like kicks are not part of it.
But with Karate and Jujutsu it is not so easy to define because largely
"everything goes." I could train with a boxer who could improve my
punching, a Muay Thai instructor to improve my kicks and an MMA coach to
improve my groundwork and I would have reasonable justification for
each. However I would need to be sure I integrated the skills in the
right way and to take into account environmental factors, for example a
Muay Thai instructor may teach a certain technique, knowing he would
always be wearing gloves.
I have chosen that the focus of my system "Hakuda Kempo Toshu Jutsu" is
civil self defence, rather than sport. Therefore any techniques I
integrate should be within the realms of reality. So that means no
sport-only techniques (I do miss the somersault dropkick) and no
anachronistic techniques (knocking a Yamabushi off horseback by pole
vaulting into him using a naginata)
The only area where real self defence seems opposed to other areas of
the syllabus is in our treatment of weapons. I have chosen to teach
Okinawan weapons (sai, bo, nunchaku, tonfa etc). Although these weapons
are not carried in today's society they do have modern equivalents.
Maybe I should arm my students with stanley knives and baseball bats,
rather than Sai and Jo, but this seems to be taking things a bit far.
I take the core of our art (Shoto Ryu Karate) and whenever I integrate
other techniques from styles like Aikido, Judo, Muay Thai etc, I first
ensure that they are in keeping with the purpose of the style.
But it's not just about staying true to your style, it's about your
techniques having a purpose, making them workable and finite.
Bruce Lee created Jeet Kune Do because he felt the martial arts he had
studied had unnecessary frills and forms and not enough effectiveness.
When I was studying Jujutsu we were required to demonstrate 50 different
throws for 2nd Dan. Nowadays I probably teach less than 20. But I'd say
I know those 20 better than I knew the previous 50.
The throws I do teach (for example Osoto Gari, Tai Otoshi, Kaiten Nage,
Sukui Nage) have been chosen because they work. There's no fiddling with
these throws. Just grab the opponent and in one single movement the
technique is executed. And best of all, they can be made to work even if
you don't get them quite right, if the opponent behaves in an
unpredictable way or if you fluff it half way through.
Whereas some throws I have learnt were so balletic and intricate that
even the WWE would reject them as being too fake! If the opponent has to
stand there, paused in Oi Tzuki position while you tie him in a reef
knot, the technique is too fiddly.
Whether a strike, a lock, a throw, a choke, it must be able to go on - BANG - in an instant.
I do not like techniques that depend on the opponent doing a certain
response. For example "You block his punch, so he will hit you with the
other hand, so you move his hand across and block this hand. He will
then lift his knee up to kick."
It doesn't take a streetfighter, a bouncer or an MMA champion to know
this cannot be relied on. You can't guarantee what any opponent will do,
and so you shouldn't train in this way.
Assume you only have a split second, before he rallies back at you.
Common sense should tell us that basic, effective principles are preferable to lengthy complex set pieces.
I remember back in 2001 I took half-a-dozen lessons with an instructor
called Mike Newton. His techniques were exceptionally good and he taught
both Karate and Jujutsu. I told him I also did both Karate and Jujutsu,
and he asked me what Jujutsu techniques I taught. I began my list with
O-Goshi (major hipthrow) and he responded, "would you ever use an Ogoshi
in a fight?"
I answered that I could never see myself using an Ogoshi in a fight to
which he gave me a look that said "so why the hell do you do it?"
This was something I took away from these classes.
Sometimes these days I do throw in occasional techniques that would
never see the light of day in a real situation, but this is only to
either liven up a dull moment in class (jumping body scissors for
example), or teach a principle of body mechanics (figure four leglock
for example).
However the bulk of the tuition is in simple, basic responses to habitual attacks that the student can easily absorb.
I have been asked by students "why do we have to do Osoto Gari and Tai Otoshi every week?!"
And the answer is, because it is better to do one throw a hundred times, than a hundred throws once.
If ever you find yourself in a tricky situation, whether you are in a
fight, or your job calls for you to physically intervene with somebody,
if you reach the stage where you reach a nervous adrenaline rush, you
won't be able to remember fancy sequences, you will only remember what
has been drilled into your muscle memory.
The truth of this is seen throughout history. You can look at Greeks,
Spartans and Romans and look at how they trained for battle. Typically
they practiced simple drilled movements - lift shield, thrust with
sword. They didn't practice complicated spinning sequences.
The same is true these days, when I was in the TA (at a time when the
streets of Belfast were where it was assumed we would see conflict) we
were taught simple basic movements - one or two ways to hold the rifle
when firing and if your enemy is within a foot of you, that's what the
padded knuckles on your Northern Ireland gloves are for and the steel
toecaps in your Magnums.
And this is where the army succeeds where modern martial arts often fail - in purpose and simplicity.
Yet it is not only martial arts where impractical techniques are
drilled. I have heard anecdotes of police officers and doormen being
taught restraints that the tutors knew wouldn't work, but they were
teaching them because it is in the manual.
So whatever martial art or activity you are learning always analyse your
system, understand the purpose and if you are going to assimilate
principles from other arts, ensure that you are infact adding something
useful and not detracting from your purpose.
Heian Shodan and Nidan (alternatively Pinan Nidan and Shodan) are at least 100 years old but before that their origins start to become cloudy.
Yasutsune 'Anko' Azato was well renowned for teaching these forms and it is likely he formulated the 3rd, 4th and 5th kata in the series.
But did Itosu create Heian 1-2 and why and from what source?
The most likely anecdote comes from Choki Motobu who saw Itosu performing these kata and saw that they were familiar to him yet different. Motobu knew them as the Channan forms. Itosu simply replied that they were now called Pinan, and this was on the advice of his younger students.
Perhaps the word Channan had lost meaning in Okinawa and so the students felt the relatively similar sounding Pinan (peaceful mind) would be more apt.
Channan could be an Okinawan attempt at pronouncing the Mandarin words "chang chuan" which is a common term used to denote "long fist boxing", styles of Kung Fu which use stances very similar to those seen in these kata.
Another theory is that Itosu extracted the Pinan forms from the older kata, the most commonly cited being Kushanku (Kanku Dai).
Itosu had at least three teachers, but it seems likely that Pinan 1 and 2 were taught to him by Sokon Matsumura. They are present in styles not directly derived from Itosu's teachings that were derived from Matsumura's including Matsumura Seiot Shorin Ryu and Matsubayashi Ryu.
It is possible that the forms were brought to Okinawa in the 1750s when Matsumura's teachers Sakugawa and Yara trained with Wang Zong Yue and/or Kushanku.
TECHNIQUES
The form now known as Heian Nidan in Shotokan and known as Pinan Shodan elsewhere, was originally the first form of the two, so we can conjecture that its start was also the start of 'Channan'.
The first movement "the double block" is also taught as an armlock such as ude garami. Whether used as a block and strike or as a lock, it works well against a hook punch or straight punch alike. As a two handed "flinch" response it is an excellent technique to drill since double handed parries and covers are more effective and practical as well as being more intuitive.
This movement is also seen in very similar forms in various Koryu Jujutsu paired sets.
The forms include generous use of the Shuto technique. In these two short forms there are 11 shuto strikes. In the Shotokan versions these are delivered at "carotid artery height" - again an excellent, practical and intuitive place to strike. Of course they work as blocks against both hooking and straight punches especially when paired with the hikite movement. Personally I much prefer Shotokan's Kokutsu Dachi to the older use of Nekoashi Dachi.
There are lots of basics in these forms, including Gedan Barai, Jodan Age Uke, Uchi Ude Uke, Oi Tzuki, Gyaku Tzuki and Mae Geri and drilling these forms gives a good way of blending combinations. They also use Nukite, perhaps derived from the Chinese technique 'snake spits tongue' which is also seen in Kushanku, and Morote Uke which seemingly originated in the Okinawan guard position of 'husband and wife hand.'
CHARACTERISTICS
There is a somewhat counter-intuitive way of stepping in these forms. A front leg turn is used throughout Heian Shodan which seems to be the most clumsy way of turning 180 degrees. Similarly Heian Nidan uses a large turning circle following the Nukite.
If we view the forms in a 'kickboxing' context, these turning methods make little sense. But if we think of the foot movements as, what is known in Aikido as 'Tenkan', they start to make sense.
These foot movements teach evasive tactics and are also useful for generating hip power in takedowns. They also work well for weapons such as the katana and bo, perhaps a throwback to Matsumura's training in the Jigen Ryu.
In previous blog posts I have talked about how the family of my great-great-great-great-grandfather went to Okinawa in 1778, now I would like to investigate the possibility that one of them was related to the Karate master Itoman Bunkichi (otherwise known as Matsu Kinjo).
Nils' first four children were born in Okinawa, before he returned to Sweden in around 1795. I have discussed his later Swedish born children such as Johannes who I believe to be the grandfather of my great-great-grandfather August Nilsson. But what about his four eldest children who remained in Okinawa after their father left?
Among the boys were Johann, Olof and Bengt who lived in Shuri with their mother Torborg Tonsdotter. The boys were born in around 1790, the same decade as Bushi Matsumura.
If they spent their lives in Okinawa, perhaps they took Okinawan names? Perhaps Johann became Kinjo for example.
In 1867, Matsu Kinjo (Kunugushiko Bunkichi) was born in Itoman, south of Tomari.
What is known about Matsu Kinjo is that
1) His father was European
2) He was unusually tall
3) He fought a European sailor and was able to evade the "Danish kiss" (headbutt). Read Richard Kim's account of this story here.
So could it be that the father of Matsu Kinjo was the son of Johann Nilsson? My great great grandfather August Nilsson (also born in 1867) was unusually tall for the time (over 6'3") and coming from a Skandinavian family it stands to reason he'd be familiar with a Danish fighting technique! Perhaps August and Matsu Kinjo were second cousins.
When I was 19 I had studied Karate and Jujutsu for quite some time, but then I also decided to follow in my dad's footsteps and study Tai Chi.
The first form we studied was the Beijing 88 Form which was devised by Li Tian Jie based on the 108 step form of Yang Cheng Fu. The form takes a full 20 minutes to perform and contains around 500 moves.
Studying of Tai Chi taught me the need for precision and attention to detail which I have tried to apply to my Karate and of course the idea of a constant flow of power rather than the hard "focus" of Karate.
At first the soft Tai Chi seemed to be at the opposite end of the martial spectrum to Karate, but after several more years of study, I discovered that they were closer than I thought.
Today when I teach Karate and Tai Chi, I find that many of the applications and principles are the same - akin to the Okinawan Go-Ju principle.
Our main style within Hakuda Kempo Toshu Jutsu is Shoto Ryu Karate.
This isn't a spelling error of Shito Ryu or me calling Shotokan by the wrong name, Shoto Ryu was the original name given to the Okinawan Karate method introduced to Japan in 1922 by Gichin Funakoshi and Makoto Gima.
Funakoshi was a student of Azato and Itosu, and Gima was a student of Itosu and Yabe.
In the decades that followed many students broke away and formed splinter groups like Shotokan, Shotokai, Wado Ryu etc, but Gima stayed true to the non-political way.
My teacher Reiner Parsons was graded by Ikuo Higuchi, senior student of Gima.
In 1996 as soon as I turned 17, I joined the territorial army. I had thought about joining the regulars but wasn't sure if I'd like it so thought this was a good compromise. It also gave me the opportunity to learn some new martial arts including the rifle. I had actually expected there to be some sort of unarmed combat training but there was not and I actually ended up teaching a few of the lads in my cadre
Around 1996 there was a lull in our various middle eastern wars (the Gulf war had long since ended and the "war on terror" had yet to begin) and so most of our training assumed the conflict would be on the streets of Belfast. So we trained for urban warfare wearing black leather 'Northern Ireland gloves.' After all Manchester had only just been bombed.
We trained in the Mercia and Dudley area and also tackled a Krypton Factor Assault Course. One of our toughest challenges however was the Combat Fitness Test which was an eight mile run carrying 55lb of equipment including your 'house' (rucksack), SA80 rifle and helmet.
In 1997 some of our IRA-orientated training became a little more real when our regiment was guarding the Grand National trophy and there was an IRA bomb threat (I can't go into details of our preparations for this).
Some of the training was pretty unpleasant - I defy anyone who enjoys the gas chamber. But it did take my fitness levels up a gear, taught me some good urban warfare strategies and gave me the opportunity to become a very good shot with a rifle.
All in all my time in the TA greatly enhanced my martial arts training and my mindset as regards the discipline.
At the age of 16 I was on the British Association of Martial Arts squad (and adopted the black, red and white as club colours which I have kept to this day) and entered my first tournament outside of club events.
I won my first round match, one my second and then found myself in the final. My opponent was a higher grade than me and much faster and more agile. I watched his previous matches and noticed that he kept adopting the same tactic. He would fire off the starting blocks like lightning towards his opponent and when they went to counter him he would evade their counter with a spinning backfist or spinning back kick.
I knew that I couldn't match his speed, but what I could utilise was timing. So when he lunged towards me I waited until the last possible second and moved laterally, using my long arms I struck him each time to the temple with Haito (ridgehand).
Normally when faced with a fighter smaller than me I would use my long legs to keep them away, but this guy was too fast, so I waited each time for him to get inside my guard and then struck with the ridgehand.
Before I realised my tactic I had reached 15 points and had my hand raised by the judge and went home with my first gold medal.
In the team event later on I drew the same opponent in the final. This time however he changed his approach. As the fight started he thrust in with a Yoko Geri Kekomi striking me in the throat and almost knocking me out. After such a powerful strike I lost any fight that was in me and he defeated me this time. So I took silver.
When I was about nine or 10, I was very interested in boxing and Karate and my dad began to convert his garage for us to train. But it wasn't a gym, he said, it was a "Dojo". My dad had already taught me a bit of Jujutsu from about 1986, but Karate type training was still quite new to me.
In the 1960s before Karate was widespread in the UK, my dad did some training with the Red Triangle (the second Karate club in the country) which was run by Sensei Andy Sherry (under Keinosuke Enoeda).
To condition my knuckles he filled a bucket with sand, which I would punch and palm strike. Every day he'd add an egg cup full of water to it.
As a makiwara he took an iron bar, wrapped it in carpet and suspended it in a hessien sack. We also had a speedball and a regular punchbag filled with sand.
In the summer holidays I would take a freestanding speedball to my grandparents house and train in the back garden. My grandad had been taught to box by his dad but I also had another resource. Next door to where my grandparents lived was a builder and his hodcarrier was a local boxer named Lee who later became an international champion when he went pro. Lee was a southpaw like another local boxer I knew named Gary and to this day even though I am right handed I often lead with my right. When I was 10 I joined a boxing club, St Cuthberts in Wigan which was my first martial arts club after previously just training with my dad.
Over the next few years, I moved away from boxing and Karate until I was 16 when I joined the Bushido Academy and began from scratch as a white belt.
In 1989, thirty years after first studying Jujutsu my dad and his best friend John (also a Shotokan Karate blackbelt) went to live and work in China while they set up a new business.
John had studied initially with Ken Smith and H Cook and then graded under Keinosuke Enoeda. He was a goldmine of information to me (and still is). One time he showed me an application for his favourite kata Tekki which nearly separated my shoulder!
They worked in Guangzhou, birthplace of Tiger Boxing, but the art that caught their eye was Taiji Quan (Tai Chi). One of the first places Tai Chi was introduced to England was at Durham University (by Rose Li) where John was on the university Karate team at the time, and his Karate teacher and the Tai Chi teacher were friends. My dad had translated the I-Ching and Tao Te Ching and had long been interested in this mysterious art. Of course nowadays there are Tai Chi teachers in every community centre, but back in the 1960s, 70s and 80s the art was very rare. My uncle John ended up marrying a Yang style Tai Chi practitioner who I now call Ai Yee (auntie) and my daughter calls Cai Mah (godmother).
As well as Guangzhou, they also worked in Hong Kong and travelled to Thailand and Macau. When they returned (with my very first gi, a black Mandarin Kung Fu suit) my training became enriched with new experiences of the culture of the orient.
Kobudo or kobujutsu means "old martial arts" but since Ko also means small, some people translate it as the small weapons. Typically these weapons are less than two feet and include the Sai, Nunchaku, Tonfa, Kama, Tessen and Tanto. These weapons were popular in cultures where weapons were banned such as Okinawa, as they were more easy to conceal.
Another Okinawan weapon is the Surujin. In the west we call these bolas, and my grandad taught me how to make and use them when I was young. Take a cord and tie and knot in the middle to act as a handle. On either end you need to attach a weight for example a large wingnut or fishing weight. Holding it in the middle you then whirl one end clockwise and the other anticlockwise. Swinging the two in two opposite directions is difficult, then you throw the Surujin at the enemy and it will encircle his legs. They can be made small for a person or used as a heavy mace and some will even bring a horse down.
Another chain weapon is the Nunchaku. I first trained with a Nunchaku when I was about eight. I made the Nunchaku myself. For the wood I used two legs off a foot stool because they were well weighted and for the chain I removed it from an old pocket watch. My dad studied the Nunchaku in the early 1970s when he was serving as a cavalry rifleman (corporal) in the Duke of Lancaster's Own. One of his drill sergeants was a Kobudo practitioner and everytime the squadron went for a run, they would turn the nearest corner and get the Nunchakus out for training!
A weapon my dad also taught me to use in the 1980s is the Shuriken or Shaken (throwing blades and throwing stars). He had a large damson tree in the garden (where his bamboo now grows) with a trunk the width of a man's chest. So from around 30 feet away we would use the tree for target practice throwing small knives and some as large as a Bowie knife.
An aspect of martial arts that is usually regarded as "Ninjutsu" is the throwing star. And contrary to popular belief these were often just a short range distraction. A modern equivalent is throwing a hand full of coins in the opponent's face.
Although I don't teach Japanese swordwork on a regular basis in my classes, it is an aspect of the martial arts very close to my heart. The sword I have now was given to me by my dad and although it is a Japanese sword, the steel used is Swedish powder steel which is very special to me because my ancestors, the Nilssons emigrated from Sweden to Okinawa in the 1700s and may have held such a weapon.
I don't remember the first time I saw a Japanese sword. It may have been a Ninja movie or maybe Highlander, but I distinctly remember my first sword - or rather bokken. It was 1986.
If you look at a modern bokken they are made of red oak with a plastic tsuba. Mine was made for me by my grandad Jim. I don't know whether he'd seen them from his brother's Jujutsu training or what but it was a very well made bokken. He made it in his shed, sanding the red wood down smooth. He used to keep his screws, nuts and bolts in coffee jars in the shed, so he had a circular coffee jar lid to hand. He slid this onto the bokken and it made a perfect Tsuba.
Next he made a Shinai for me using bamboo. I don't know the thinking behind the particular design but he opted for a square tsuba this time. The two weapons stood the test of time, for quite a few years until the shinai broke during Kumitachi training with my dad. My next bokken in around 1988 was from a martial arts shop in Southport. I don't know the name of it but I would always pester my mum to take me to the "Ninja shop" where the shopkeeper would cheerily demonstrate each weapon for me.
From my training with my first bokken over 25 years ago, I never ventured far from studying the way of the sword. I trained in fencing, Chinese sword, Spanish sword and many other systems. To this day however the katana remains my favourite of all weapons.
In my previous blog post, I talked about my great uncle's Jujutsu training in 1945. Now I turn to my father's first martial arts training which was also in Jujutsu in roughly 1959-1960. Today my dad is well known for his teaching Yang style Tai Chi, but 50 years ago, all there was to study in this country was Jujutsu. There was only one Karate club in the UK and that was in Essex! My dad and his twin brother my uncle Paul went to quite a rough school in Kirkby and were in the same class John Conteh (later world middleweight boxing champion). When a Jujutsu club opened in nearby Southdene Community centre they eagerly joined. The instructor was Sensei Bernie Blundell 6th Dan, whose younger brother is perhaps better known, Sensei James Blundell founder of the British Jiu Jitsu Association. They taught alongside third brother John Blundell. Martial arts was introduced to their family during WWII when James Blundell was in the Merchant Navy. He said he was introduced to oriental combat methods in Singapore by an antique merchant named Mr Kim. And later studied various Jujutsu methods such as that of Harry H Hunter 'Super Jiu Jitsu.' When my dad trained with the Blundells in Kirkby there was no mats, no gi, you just took your shoes off and practiced the throws and breakfalls on the concrete floor. It has taken some time to research my dad's original Jujutsu school (it was 50 years ago and he didn't think it important at the time) but thanks to Sensei Ronnie Colwell 9th Dan and Sensei Kenneth Blundell (son of James) I was able to confirm that my dad's teacher was indeed Bernie Blundell. Interestingly in recent years my dad has looked to Hanshi Allan Tattersall as a mentor in arts such as Muso Jikiden Eishin Ryu Iaido - and Hanshi Tattersall also began his training with James Blundell so it is fitting that they have come together again. From being very young my dad taught me some of the Jujutsu techniques he had learnt - the first three techniques were Osoto Gari, O Goshi and how to reverse an O Goshi.
My great uncle William Henry Nelson, known to everybody as Billy, was born on Christmas Day 1924. He and his elder brother Jim (my grandad) were taught 'boxing' by their father and grandafther. When he was 14 Billy joined the merchant navy and got into scrapes around the world. He was torpedoed, captured by Germans, jumped ship and court marshalled. He was in other words, a character. After the war in 1945 he joined a tough Liverpool Jujutsu club named Skyner's. The teacher Gerry Skyner had been fired from teaching army recruits because he was too brutal. He had smashed a recruit in the face with his helmet. Bill trained with Skyner, gaining his blackbelt in a style which Skyner claimed had been taught to him by Mikonosuke Kawaishi who came to Liverpool in 1928. Kawaishi later became a very famous Judo instructor in Europe, but when he taught in Liverpool he taught the Jujutsu (actually Aikijujutsu) that had been taught to him by Yoshida Kotaro, who was not only the grandmaster of Yanagi Ryu, but also the senior student of Daito Ryu grandmaster Sokaku Takeda, a Minamoto clan descendant 35 generations removed from Emperor Seiwa and 15 from the legendary warlord Takeda Shingen. After leaving the Kawaishi school, Bill joined another Jujutsu club, this time at Arnott St school in Walton. This one was run in the Gunji Koizumi method which was more related to Kodokan Judo. Later in his life when he "calmed down" Bill was very interested in researching our family tree. Because of this shared interest (and the martial arts) he and I were very close and I was very honoured when he gave me his war medals (which he was still entitled to, such as the Atlantic Star despite being court marshalled). He wanted to celebrate his viking ancestors with the classic music piece from the Viking playing at his funeral as he sailed away one last time. He was a pioneer of Jujutsu in my family and I very much think (or hope) I take after him in some ways.
The United Kingdom Budo Federation was originally called IMAF GB, an officially recognised British branch of Japan's oldest martial arts fraternity the Kokusai Budoin (IMAF).
The aim of the old IMAF was to act as a supporting fraternity for legitimate senior instructors of traditional Japanese martial arts. The group historically included many world renowned masters such as Gogen Yamaguchi (Goju Kai), Hironori Ohstuka (Wado Ryu), Hirokazu Kanazawa (Shotokan), Kyuzo Mifune (Judo), Minoru Mochizuki (Yoseikan) and Gozo Shioda (Yoshinkan Aikido).
The first president was Japanese crown prince Higashifumi and the current president is the great grandson of Japan's last ruling shogun, Mr Tokugawa Yasuhisa.
Through its links to the imperial and shogun families, IMAF, like Dai Nippon Butokukai grants Shogo (old warrior titles) such as Renshi, Kyoshi and Hanshi.
Bushinkai head Simon Keegan joined IMAF in 2003, during a seminar with Mitsuhiro Kondo and his grades were recognised in Jujutsu by Shizuya Sato and in the Shotokan Karate division headed by Hirokazu Kanazawa. This also introduced him to one of his primary Karate instructors Kyoshi Reiner Parsons and his teacher Tadanori Nobetsu (head of Nisseikai). Reiner was graded by both Nobetsu and Shoto Ryu head Ikuo Higuchi and Simon graded under Reiner, and currently holds the grade of 4th Dan Renshi in Shoto Ryu.
On the UKBF's first masters seminar in 2006, masters and instructors on the course included Terry Wingrove 9th Dan, Allan Tattersall 9th Dan, Alan Ruddock 6th Dan, Jack Hearn 8th Dan and Tony Christian 8th Dan. Also on the course were Reiner Parsons 7th Dan, Bob Carruthers 7th Dan and UKBF directors Colin Hutchinson 5th Dan, Simon Keegan 4th Dan and David Keegan 4th Dan. This course celebrated 50 years of Karate in the UK and the British Jujutsu Federation.
At Bushinkai's White Lion Academy the Karate & Jujutsu instructors have a wide variety of knowledge and experience led by black belt instructors Simon, Dan, Pete and Ben.
Simon Keegan 4th Dan Renshi (SC1 Senior International Instructor) has decades of experience in the martial arts in Japanese, Chinese and Okinawan systems and is a dedicated researcher in old Karate methods (Toshu Jutsu) particularly specialising in kata bunkai. He has traied with some of the world's senior masters and established Bushinkai over 12 years ago.
Daniel Sanchez 1st Dan (C3 Regional Instructor) is a serving police officer whose experience on the front line gives valuable insight into his self defence. He has previously studied Shukokai Karate and also has a keen interest in Jujutsu and MMA with excellent grappling and striking ability.
Peter McHugh 1st Dan (C4 Club Instructor) has many years experience in the martial arts, beginning with traditional Shotokan Karate and also studying with various kickboxing schools. as well as other martial arts like Kali and Iaido. Pete has a particularly good repertoire of kata and is also skilled with a variety of weapons. Pete also trains in our Tai Chi classes.
Ben Gaunt 1st Dan (C4 Club Instructor) has been with Bushinkai for six years. In that time he also spent two years training in Karate Jutsu with Sensei Alan Platt and other leading exponents of Karate. Ben is a teacher by trade and his intelligent and methodical approach comes through in his martial arts teaching. Ben also trains in our Tai Chi classes.
Bushinkai is part of a Karate Jutsu research society called the International Toshu Jutsu Federation designed to further the research into the history of Okinawan martial arts. One of our research projects is quite close to home however as Bushinkai head Simon Keegan has been researching the adventures of his own ancestors in Okinawa! If Simon's research proves correct it may be that 8 generations ago his ancestor were involved in Karate. This means a full 200 years of family tradition in the Bushin Ryu.
Simon followed his great uncle (Bill Nelson b1924) into martial arts. Bill was a blackbelt in the 1940s but before the war he and his brother (Simon's grandad Jim) were taught 'boxing' by their father William Henry Nelson (b1895) and grandfather August Nilson (b1867). August was a Swedish sailor from the province of Kalmar with siblings named Johann, Gustaf, Marie and Anna. Simon discovered that three generations before, a family of Nilssons from Kalmar moved to to Okinawa - the children were named Johann, Gustaf, Marie and Anna - the same names.
Further research suggests that the father of the Nilssons, whose name was Nils was working for the Swedish East India Trading Company and because his wife was onboard the ship he must have been a senior member of the party. As the ship arrived in Tomari, he was received well since the powers-that-be in Shuri permitted him to stay and raise a family which was a taboo for westerners in Japan. One thing is certain from research on the pioneers of Karate - they favoured travelling knowledge. Karate master Takahara Peichin was employed in Shuri Castle as a mapmaker and astrologer and his student Tode Sakugawa was also well travelled, training in China. And the king's bodyguard in the subsequent generation, Sokon Matsumura trained in residence in both Japan and China. A man who had sailed all the way from Sweden was therefore of great interest to them. Matsumura we know had an interest in the ways of the west, even quoting the Duke of Wellington in his writing.
Simon has published much of his research on the bushinryu.weebly.com website which includes links to genealogical documents and resources on the Nilssons in Okinawa as well as pictures of the Nilssons and others concerned with the tradition.
Recently somebody asked me about my training in a school called Kiai Yamabushi Ryu and in particular with the chief instructor Jaimie Lee-Barron, so I thought I would clarify this to the best of my recollection.
1) I was never a personal student (uchideshi) of Sensei Lee-Barron and never trained with him outside of some classes and seminars. The only instructors with whom I have had such a relationship whereby I would train with them informally outside of class or with personal tuition were my father David Keegan, my Bushido instructor Steve Bullough, my Shotokan teacher Bob Carruthers and my Goju Ryu teacher Reiner Parsons.
2) I first met Jaimie Lee-Barron in late 2000 or early 2001 when I began teaching Karate/Jujutsu at the Northwest College of Martial Arts. I attended some of his classes in Jujutsu and weapons (katana and Bo) and attended a few seminars including two in Ireland (one in Smarmore and one in Ardee), and then trained with him in a few lessons prior to taking my 2nd Dan. He also invited me to two of his instructor training seminars, one in Wigan and another, a talk, at Salford University.
3) I took my 2nd Dan under Jaimie Lee-Barron and George Scarrott at a grading in Isleworth, London near Brentford I believe. The grading was a long one, about seven hours and I passed. My Karate teachers Bob Carruthers and Steve Brennan watched the grading.
4) My club was affiliated to the Kiai Yamabushi Ryu Bugei Renmei from around 2001-2004, after the original North West College of Martial Arts closed, I resigned from this organisation and joined IMAF.
5) I very much enjoyed the lessons I received from Sensei Lee-Barron and view him as a very good martial artist, particularly in Jujutsu and Iaido and he also broadened my mind to the need for an academic approach to teaching martial arts.
To sum up, I was not a personal student of Jaimie Lee-Barron, and was only affiliated to his association for about three years in which time I graded 2nd Dan. I left this organisation about 9 years ago and no longer hold any title or affiliation with them. My best wishes to any members past or present of KYR who may read this.
In my previous blog I talked about how Wang Zong Yue was the grandfather of both Karate and Yang style Tai Chi. Now we trace the line back and we find the origins of the Heian (Pinan) kata.
The series of five basic kata called Pinan (Heian in Japan) were developed by Anko (or Yasutsune) Itosu (1832-1915) in around 1907 for inclusion in the karate curriculum of the Okinawan school system. However one theory is that Itosu was re-working a longer Chinese form called Channan.
Choki Motobu a student of both Matsumura and Itosu, referred to the Channan forms in 1934, saying:
“I visited [Itosu] one day at his home near the school, where we sat talking about the martial arts and current affairs. While I was there, two or three students also dropped by and sat talking with us. Itosu Sensei turned to the students and said 'show us a kata.' The kata that they performed was very similar to the Channan kata that I knew, but there were some differences also. Upon asking the student what the kata was, he replied 'It is Pinan no Kata.'
"The students left shortly after that, upon which I turned to Itosu Sensei and said 'I learned a kata called Channan, but the kata that those students just performed now was different. What is going on?' Itosu Sensei replied 'Yes, the kata is slightly different, but the kata that you just saw is the kata that I have decided upon. The students all told me that the name Pinan is better, so I went along with the opinions of the young people.' These kata, which were developed by Itosu Sensei, underwent change even during his own lifetime."
Shito Ryu founder Kenwa Mabuni also mentioned the Channan forms in 1938 and successor Sakagami Ryusho (1915-1933) wrote that Itosu developed the five Heian katas by extracting the principle techniques of Kushanku and adding his own interpretations. He continues:
“In the beginning these kata were known under the old name ‘Channan’. Subsequently the tenor changed somewhat and they were called ‘Pinan’.
Sakagami also indicates that the original version of the Channan kata can be found in the old Chinese book Chi Hsiao Hsin Shu (or Ji Xiao Xin Shu known in Japan as Kiko Shinsho) written by General Ch’i Chi Kuang. General Ch’i was known for his military might, but he also documented Chinese boxing. There was even a temple built for him in Fuzhou (Fukien Province) in 1567.
Those of you following this blog will note I traced the origins of Karate, Hsing-I, Tai Chi and Baji Quan to an art called Bazi Quan. General Ch'i records this art himself:
"Among the fist families of old and new...Yang family spear methods and Bazi fist and staff, are the famous families of the day."
In his writings he included a sword kata called Ch’i-chia Chien (sword of the Ch’i family).
Extracts of his writings were including in the 1617 publication Wu Pei Chi (not to be confused with the later Okinawan ‘Bubishi’).
Ch’i divided the Chinese boxing into three themes – boxing, wrestling and grappling. He also included the 32 positions of Ch’ang Quan of T’ai Tzu, a longfist boxing style thought to have been studied by mythical Taiji Quan founder Zhan San Feng. It is possible that the name Channan is derived from this style – Chang Chuan (Chan nan).
As noted by researcher Henning Witttwer, some of the postures shown by General Ch’i resemble Channan/Pinan techniques. These include: - The flag and drum position (similar to Morote Uke) - The winding arm position (similar to Nukite) - Carrying a Cannon at the head (similar to start of Yondan) - The Riding a Tiger position (similar to Manji Gamae)
Ch’i’s 32 self defence positions are similar to some of the 48 postures shown in the Okinawan Bubishi.
Douglas Wyle, who compiled the excellent “Lost Tai Chi Classics from the Late Ching Dynasty” wrote:
“If traced as a distinctive form with specific postures and names, then Tai Chi’s history may be said to begin with Ming General Ch’i Chi Kuang’s Chuan Ching (Classic of Pugilism), twenty nine of whose postures are borrowed for the Chen village age of Henan, possibly as early as Chen Wang Ting in the seventeenth century...”
The postures the good General lists are:
1) Lazily Arranging Clothes (the Chen style name for the Yang style technique 'grasp sparrow's tail) 2) Golden Chicken Stands On One Leg (seen in Yang style) 3) Pat Horse (seen in Yang style) 4) Bending Single Whip (seen in Yang style) 5) Seven Star Fist 6) Repulse Riding Dragon 7) Sweep Leg And Empty Bait 8) Hill Fairy Stance 9) Repulse Thrusting Attack 10) Ambush Stance 11) Casting Away Stance 12) Pick Up Elbow Stance 13) Speedy Step 14) Chin Na Stance 15) Middle Four Level Stance 16) Subduing Tiger Stance 17) High Four Level Stance 18) Repulse Insertion Stance 19) Well Blocking Four Levels 20) Ghost Kick Foot 21) Striking groin 22) Animal Head Stance 23) Spirit Fist 24) Single Whip 25) Sparrow Dragon On The Ground 26) Rising Sun Stance 27) Goose Wings Fold Body 28) Riding Tiger Stance (Manji Gamae) 29) Bend Pheonix Elbow 30) Cannon Overhead (similar to start of Heian Yondan) 31) Follow Phoenix Elbow 32) Flag And Drum Stance (Morote Uke)
So I propose a hypothetical transmission of the Channan kata as this:
General C'hi (1528-1588) brought the practice of Quan (kata) back into vogue with the Classic of Pugilism. He cited Bazi Quan as a leading style of the day.
Bazi Quan practitioner Ji Ji Ke (1588-1662, reviver of Hsin-I Quan) and Chen Wang Ting (Chen style) studied his work.
Wang Ji (Wansu, 1621-1689) a student of Ji Ji Ke brought his art to Okinawa. Gao Ji Wu, student of Ji Ji Ke lived 1600-1680 and taught the art in China. Chen Wang Ting passed on the family art in Chen village.
Wang Ji taught his branch to Hama Higa, Motobu Chohei and Akiyama Toshitoki who translated Bazi Quan (White Lion Boxing) as Hakuda (white hand)
Hama Higa taught Wansu kata to Takahara Peichin Ma Yun Cheng taught 'the two Saints' who in turn taught Pakua Zhang founder Dong Hai Chuan
Wang Zong Yue (1736-1795) taught Jiang Fa who in turn taught Chen style 6th generation head Chen Chen Xing. Wang Zong Yue taught Okinawans Chatan Yara and Tode Sakugawa.
Sakugawa and Yara create the forms Channan and Kushanku which they teach to Matsumura Chen Chen Xing teaches Yang Lu Chan who founds Yang Style Tai Chi
Matsumura teaches Itosu who breaks up the Channan forms and created the Pinan forms
Itosu teaches Funakoshi the Pinan forms and he adapts them and creates the Heian forms.
The White Lion Hypothesis Part 2 (continued from blog post 46)
When I was learning Tai Chi, my instructor and my dad would both criticise me for "moving like a Karate guy" - what they meant was that I was too tense or too stiff and my Tai Chi wasn't flowing. They meant no offence to Karate, it's just that Karate "finishes" each technique with Kime, whereas Tai Chi always keeps moving.
Fair enough, I thought. I've been doing Karate longer. It's bound to taint my Tai Chi.
However when I then (as a 2nd Dan) started learning under Reiner Parsons, a Nisseikai Goju Ryu practitioner who had also studied Shoto Ryu and Wado Ryu - he admonished me also for the way I moved. As he showed me how I should have been moving I pointed out that the way he was teaching me was the way I had been shown in Tai Chi.
As far as I had been concerned, Karate and Tai Chi had to be compartmentalised away from each other. My Karate had to look like Karate and my Tai Chi like Tai Chi.
But then I realised that both should simply move and generate power in the most efficient way.
I realised that I could "pick the brains" from Tai Chi and use it to enhance my Karate. I borrowed the postural principles, the push hands principles, the attention to detail and I believe it made my Karate better than it was. And of course I'm far from the first to have done this.
I would like to look at how Tai Chi and its companion arts of Hsing-I and Pakua have influenced Karate.
Martial arts in however a basic form have always been practiced since the dawn of time. So what did the earliest Okinawan martial arts look like before the influence of Chinese boxing? Perhaps they looked like body-to-body grappling, since Okinawan 'tegumi' resembles a kind of Sumo. Or perhaps there was a basic pugilistic art influenced by Siamese boxing (which Patrick McCarthy conjectures was called Ti'gwa). Whatever martial art, the Okinawans practiced they probably just called it "Te" (hand) as in "hand to hand." Perhaps the Motobu or Kojo families had more advanced forms, but for the purposes of this article that is neither here nor there. What is significant is that in around 1683, a Chinese envoy named Wang Ji sailed to Tomari.
This visit of Wang Ji is thought to have begun the idea of Toshu (Chinese hand) otherwise pronounced Kara Te, To Te, Tang Te, Toshukuken and so on.
In the seemingly short space of time Wang Ji was in Okinawa, how did he transmit a Chinese martial art and more to the point, what has this to do with my hypothesis?
Well the chances are, the Okinawan envoy he met with was Hama Higa, himself a martial artist adept with weapons like the Tonfa. The two dignitaries could have met as businessmen and then compared martial arts notes as recreation. We saw this before with Hama Higa - he went to Japan to demonstrate his Kobudo before the Shogun and while there had a competitive boardgame of Go. Clearly a man who liked to mix business with 'sport'.
So for Wang Ji's part what did he teach Hama Higa? Well the clue is in the name of the kata that was derived from this meeting. Wansu was also called Empi which means "flying swallow". The swallow is not one of the most common animals to feature in martial arts - when it comes to symbolism the little bird hardly rivals the tiger or dragon. But one art that uses a 'swallow' form is Hsing-I Chuan (Xing Yi Quan).
Having studied a little Hsing-I I can see the similarities - it uses a kind of old school Shuto called Pi Quan (splitting fist), a stance similar to Kokutsu Dachi (called San Ti) and a very powerful variation of Gyaku Tsuki and Tate tsuki with Jodan Age Uke.
Added to this, we find that if Wang Ji studied Hsing I he must have been among the first generation of students - and the founder was called Ji Ji Ke. Could the Ji name have been passed along the line?
From Hama Higa, the Wang Ji (Wansu) form was passed to Takahara Peichin, who made maps for a day job and was also an astrologer. We know little of Takahara, modern sources call him a 'Shaolin monk' but this is likely modern assumption constantly repeated. Takahara is best known as the teacher of Tode Sakugawa and it is here that we first run into Tai Chi.
Or rather we run into a primitive type of Tai Chi. Because the phrase "Tai Chi Chuan" essentially means "boxing that has the characteristics of Yin and Yang" and this comparisson was only made in Yang Lu Chan's day. The art Yang himself had studied was under one of the Chen family who had in turn been taught by Jiang Fa and he by Wang Zong Yue.
Wang Zong Yue was therefore the grandfather of Tai Chi Chuan. And in the 1750s he became the grandfather of Shuri Te Karate as well.
Richard Kim (Weaponless Warriors) tells us that Sakugawa trained with Wang Zong Yue. He describes the art as being Hsing-I but also talks about learning the "twin swords" and the "essence of balance" (Yin Yang). He also says that Wang's uke at the time was Yara, who I believe to be identical with Chatan Yara.
And how did this lesson in Chinese boxing manifest itself? Well in the decades which followed both Sakugawa and Chatan Yara taught a form (apparently inspired by a Chinese attache called Kushanku) which we now know today as Kanku Dai.
Kanku Dai and its little brother Kanku Sho have much in common with Tai Chi. The 'snake spits tongue' (nukite), the 'snake creeps down' (the low shuto after the crouch) and has various postures akin to 'white crane spreads wings' including Manji Gamae.
So possessing two Wutang forms, Wansu from Hsing-I and Kushanku, seemingly from the grandfather of Tai Chi, where did the arts go next?
Only to the greatest ever Karateka Sokon 'Bushi' Matsumura.
In 1828 (by my estimation) Matsumura used his Chinese contacts in the Kojo family to grant him training in Fujian. There he trained with a master we remember as Iwah. This visit seems to have yielded 'Shaolin' forms like Jutte, Gojushiho and Seishan but it also inspired another kata.
Matsumura created Bassai.
Bassai Dai and Bassai Sho would appear to have a common origin with the Chinese forms Baji Da and Baji Xiao, the art of Baji Quan was originally called Bazi Quan and according to the grandmaster of the art, this was the ancestor of both Tai Chi and Bagua. Perhaps therefore, both Wang Ji, Wang Zong Yue and Iwah taught Bazi Quan, an art I have translated as White Lion Boxing (hence the name of my school White Lion Academy) as opposed to the pedestrian translation of 'rake boxing'.
I discussed this further in part 1 of this essay (the White Lion hypothesis)
So what do the katas we now know as Empi, Kanku Dai and Bassai Dai have in common with Hsing-I, Tai Chi and Baji Quan - the answer is principles.
Empi uses lightness, soaring high and swooping low.
Kanku uses the expansiveness of the crane and the directness of the snake.
Bassai uses heavyness and lightness, lifting and dropping.
But by Matsumura's time the various Chinese and Okinawan styles had been placed in a big mixing pot and Karatefied (as I will clumsily say far too frequently). Matsumura probably taught the following kata (in no particular order):
1) Pinan 1 and 2 (Heian 2 and 1) possibly referred to as Channan
2) Naihanchi (Tekki)
3) Passai (Bassai Dai)
4) Kushanku (Kanku Dai)
5) Seishan (Hangetsu)
6) Jutte
7) Useishi (Gojushiho)
8) Chinto (Gankaku)
9) Hakkutsuru (possibly a version of Niseishi/Nijushiho)
10) Wansu
Matsumura taught dozens of students, but the most significant in the realms of this essay is Yasutsune 'Anko' Itosu.
Itosu took the first two Pinan/Channan forms and created another three. Pinan Yondan and Godan (Heian Yondan and Godan) seem to be largely inspired by Bassai and Kanku, but Heian Sandan is a mystery.
If Pinan/Heian Sandan looks like any Chinese style, it is Pakua (Bagua) Zhang, another Wutang art most likely derived from Bazi Quan. Everything about Pinan Sandan is circular. Even its circles have circles.
Did Itosu piece together Sandan using partial Bazi drills Matsumura learnt from Iwah? This does seem likely.
While Matsumura was teaching Itosu the arts we call 'Shuri te' and Tomari te' (collectively Shorin Ryu), another martial tradition was emerging in Okinawa which we call Naha Te.
Along with Matsumura and Kojo, the next Okinawan to make fruitful trips to China was Seisho Aragaki. Often forgotten about, Aragaki taught each of the main founders of Shotokan, Shito Ryu and Goju Ryu and if his famous 1867 Karate demo is anything to go by he was Okinawa's "main eventer". Aragaki gave us forms like Nijushiho, Sochin, Wankan and Unsu.
Aragaki apparently studied under a man named Wai Xin Xian whose name by my reckoning looks like it could have inspired the kata 'wankan' - according to Mark Bishop (Okinawan Karate) the art he taught was Hsing-I. According to some translations, the form of Hsing-I was 'blue hawk' - and there is indeed a Hsing-I hawk form.
Aragaki's student Higaonna Kanryo later studied an art that was probably 'Whooping Crane Kung Fu' (see Patrick McCarthy's translation of the Bubishi for Full hypothesis) and here emerged Naha Te.
Higaonna's most famous student was Chojun Miyagi, founder of Goju Ryu, who is again cited as having studied Hsing-I and Pakua in China.
Miyagi was also taught a Tai Chi lesson by Itoman Bunkichi that he would never forget.
Bunkichi was the son of a European sailor, he was therefore something of a social outcast, and most likely a few feet taller than most Okinawans. When Miyagi and his friends heard Bunkichi was adapt at Chinese boxing they asked for a demo.
What they got was Tai Chi. Bunkichi moved 'as slow as a zombie' so much so that one of Miyagi's friends thought the form was a 'wind up' so went to attack Bunkichi. They were quickly repelled probably with a few less teeth and the Goju Ryu founder remarked that just as he thought he was seeing the light he realised he was still in darkness (we've all been there haven't we!)
In the decades that followed Miyagi named his Karate 'Goju Ryu' (hard soft school) and Funakoshi sort of named his Shoto Ryu (waving pines school). They both took their Karate to mainland Japan and they both claimed that Karate came from two traditions, the Shorin Ryu and the Shorei Ryu.
In Funakoshi's Karate Do Nyumon he seems to suggest that these were modern versions of Shaolin (Shorin) and Wutang (Shorei) but this is a very complicated subject. On the definition of Shorin and Shorei, Funakoshi, Miyagi and their friend Mabuni constantly contradict each other and often themselves, but it seems that there is a glimmer of truth in the notion that they are trying to pass on a long forgotten truth.
That Karate was not only derived from 'Buddhist' Shaolin but also from 'Taoist' Wutang.
In modern times Shotokan Karate legend Hirokazu Kanazawa (who trained with Funakoshi among others) discovered the usefulness of Yang style Tai Chi for himself. The master stated: "It is because I practice Tai Chi I am still able to do Karate."
Okinawan Karate (Toshu Jutsu) and the Chinese internal arts (including Tai Chi) are both descended from that original school of thought that I have named 'White Lion Boxing' and this is the legacy of the White Lion Academy and our schools of Hakuda Kempo Toshu Jutsu and Taiji Quan.
David Nash interviews Bushinkai Headteacher Renshi Simon Keegan....
How would you sum up your martial arts? I teach traditionally for the modern world. In my Karate and Jujutsu I teach the old forms or kata and show Japanese conventions, like the etiquette and using the Japanese language. In Tai Chi I teach the Yang style forms as they were standardised by the Li family and use the old Mandarin names of the techniques. It is my view that what most people think is traditional like JKA Shotokan, is actually relatively modern. For example an Ushiro Mawashi Geri is considered a "traditional" Karate technique, yet there were no Ushiro Mawashi Geris in Karate prior to the 1930s. By teaching a combative approach to Karate that has a great deal of close in fighting, grappling and bunkai, I am really teaching something closer to how Karate was practised in say the 1800s before it became a sport for most people.
What is your grade and qualifications? My Karate grade is 4th Dan and I have the title Renshi and in my family school, Bushin Ryu I have the grade of Kyoju Dairi which means 'representative headteacher.' I have some other grades too in other martial arts including 2nd Dan Taiji Quan and 2nd Dan Nihon Jujutsu and Judo. I am a "Senior International Instructor" with the United Kingdom Budo Federation which was formerly known as IMAF GB. My 2nd Dan was recognised in Hirokazu Kanazawa's Shotokan division of IMAF, my 3rd Dan in Ikuo Higuchi's Shoto Ryu division, my 2nd Dan Jujutsu in Shizuya Sato's division, and my Renshi title presented via the director of Dai Nippon Butokukai. My license was signed by Tokugawa Yasuhisa, the hereditary Shogun.
Tell us about your club Bushinkai, which means Warrior Spirit School was founded in 2000, so it is 12 years old. The school has two academies, the White Lion Academy run by me and the Metal Tiger Academy run by my dad.
What styles do you teach? Basically I teach a Karate class and a Tai Chi class. The main style in the Karate is Shoto Ryu and the main style in the Tai Chi is Yang style. But my Karate is actually part of a larger style called Bushin Ryu and includes many different martial arts. The particular system I teach is called Hakuda Kempo Toshu Jutsu.
Why is it called that? It's quite common in Okinawa for a style to have a lengthy name like this. Hakuda was an old approach to Jujutsu around the Nagasaki area and also found in Taiwan. It is a brutally simple, pragmatic approach to Jujutsu. "Toshu Jutsu" is an old Okinawan term for Karate, sometimes read as Toshukuken or Toshu Kempo. Just like Gichin Funakoshi's original Shoto Ryu was called Ryukyu Kempo Tode Jutsu, mine is called Hakuda Kempo Toshu Jutsu.
What Kata do you teach? Kihon, the five Heian Katas, Tekki, Gekisai and Bassai Dai, then Kanku and Empi - that's up to black belt. Then we do Wankan, Nijushiho, Jutte and Bassai Sho among others. We also perform all the katas with weapons. There are also two-man katas or flow drills.
Can you briefly describe the history of Shoto Ryu? Yes, if you go back it's origins are in about 1680 when a Chinese envoy named Wang Ji or Wansu came to Okinawa. My theory is that he was a Hsing-I Swallow boxer taught by Ji Ji Ke. He taught some Okinawans, who would likely include Hama Higa who was a Kobudo pioneer. Hama Higa likely taught Takahara Peichin. This is what I call "old Tomari Te." Now at this time you also had the Motobu family teaching a very Aikijujutsu-like family style in Motobu Penninsula, and you also had families like the Kojo teaching in Okinawa's "China Town." The next generation brings some famous names like Tode Sakugawa and Chatan Yara. They trained under a man named Kushanku - I have my own theories on who that was - and this was the start of Shuri Te in the mid 1700s, then in the 1800s Sokon Matsumura emerged. He trained in Japan under the Jigen Ryu, and also in Fujian as well as in Okinawa. He studied under masters like Iwah, Ason and Anan and created the kata Bassai. His students included Azato and Itosu. Next we have masters Funakoshi (a student of Azato and Itosu) and Gima (a student of Yabe and Itosu) and they went to Japan in about 1922 and taught Shoto Ryu from which we also get Shotokan, Wado Ryu and so on. Funakoshi's students include Nakayama and Kanazawa and Kanazawa taught my teacher's teacher.
You follow a lot of Kanazawa's teachings don't you? Yes. What I like about Master Kanazawa is that he didn't only study Shotokan, he also went to Okinawa and trained with Chosin Chibana of the Kobayashi Ryu and also studied Yang style Tai Chi.
What other Karate masters inspire you? Kanken Toyama, another man in my Karate Jutsu lineage. He not only studied Shorin Ryu and Tomari Te, he also went and studied Quan Fa and Taku which is Hakuda. He was the last of the Toshu Jutsu masters in some ways. Also Minoru Mochizuki of the Yoseikan, but more for his Jujutsu approach than his Karate. Ultimately the Karateka I most look to is Sokon Matsumura, the greatest Karate master who ever lived - bar none.
Do you have a teaching methodology? The Bushinkai Method is centred around the Three Sciences - the Science of Violence, Science of Technique and the Science of Learning. From my research, the great systems throughout the years have always had these three areas. The first means understanding the realities of self defence, the second means understanding the principles - how and why we do it not just what we do, and the third is practicing in such way that we really learn and absorb the knowledge. The Bushinkai Method is basically a filter that could be applied to any martial art.
Where is your club? Bushinkai's HQ is Van Dang Martial Arts in Manchester City Centre - the best martial arts centre in the northwest.
Who are the other instructors in Bushinkai? My second in command is Dan Sanchez 1st Dan, a regional instructor, who is an excellent practitioner and instructor; there are three other club instructors who are also excellent Karateka, Ben Gaunt 1st Dan, Peter McHugh 1st Dan and Jamie Tozer 1st Dan - Jamie is taking a bit of a break at the moment but he's still part of the club. Then we have two other seniors I'll mention who are blackbelts in other clubs, Graham Winstanley and Joseph Coyne. There is also a superb instructor named John Dang who my students and I have learnt a lot from. John is my Kung Fu brother - he was born into martial arts, studying his father's family style of Kung Fu and on his mother's side Muay Thai. He's also a superb Jeet Kune Do, Taekwondo and BJJ practitioner.
How long have you done martial arts? I joined my first club 22 years ago and started informal practice with my dad when I was young, maybe about 27 years ago. When I was younger it wasn't a case of training or not training, Because the Dojo was always there - my dad's garage was a fully kitted out Dojo and my boxing gear was at my grandad's I would just train for fun whenever I liked.
Have you competed? Yes, in Karate, Tai Chi, weapons (Iaido) and Chinese sword. I won some, I lost some. It was a passing phase, all my trophies have gone in the bin.
Who were your main teachers? My dad was my first teacher in life as in martial arts, then my next longest serving instructors would be Bob Carruthers 7th Dan (Seiki Juku Karate) who I trained with over 10 years, Reiner Parsons 7th Dan (Nisseikai Karate) who I've trained with on and off for nine years and counting, and I also trained with Steve Bullough (Bushido) for about eight years and with a Tai Chi and Hsing-I instructor for eight or nine years. I'd also say Steve Brennan 4th Dan (Shoshin Ryu) in Karate, Jaimie Lee-Barron (Kiai Yamabushi Ryu) in Jujutsu and Ray Walker in Judo. There are others who I've only been on seminars with but they left a big impression on me just the same like Terry Wingrove (Yawara) and Patrick McCarthy (Koryu Uchinadi), and I'd also put Tadanori Nobetsu (Nisseikai), Professor Li De Yin and Zhang Xiu Mu in that category as well as my teacher's teacher Phil Handyside Shihan, who taught Bob Carruthers and is a good friend.
Sum up Bushin Ryu, your family tradition. If Daito Ryu is the tradition of the Takeda family, Bushin Ryu is my family tradition. It is carried through the generations by Densho (scrolls) which I will pass on to my senior students, including Oku Iri, Mokuroku, and so on. As well as the present generation, my great uncle studied in a Daito Ryu based style and before him his father and grandfather were military men who practiced unarmed combat but there is also a suggestion it may go back a further three generations and include a time in Okinawa. Bushin Ryu therefore could go back eight generations, about 225 years. In teaching publicly I teach Shoto Ryu Karate and Nihon Jujutsu, Bushin Ryu as my family tradition is something more personal just for indoor students.
Is it true you teach 18 martial arts in Bushin Ryu? Eighteen is a magic number in Japan, we hear of the Bugei Ju Hapan (18 martial arts) but sometimes numbers can be contrived to reach 18. In Bushin Ryu, my family martial arts Ryu this list is slightly different because it includes the Okinawan weapons and some other aspects of Bushido like the tea ceremony. The 18 arts in Bushin Ryu are: 1) Toshu Jutsu 2) Jutte Jutsu or Sai 3) Kusarigama or Nunchaku 4) Tonfa Jutsu or Timbei 5) Bo Jutsu 6) Rochin Jutsu or Ken 7) Nihon Jujutsu 8) Kenjutsu 9) Iai Jutsu 10) Aikijujutsu 11) Tanto Jutsu 12) Shuriken Jutsu 13) Jojutsu 14) Sojutsu, Naginata or Eku 15) Tanjo Jutsu 16) Reishiki 17) Chado 18) Heiho. But in answer to your question, I don't teach these 18 martial arts, they are part of the tradition to select students after black belt.
How did your family tradition of martial arts start? There's two sides, basically Chinese martial arts on my dad's side and Japanese-Okinawan martial arts on my mum's side. I'll tell you about the Japanese first: When I was a child my mum's uncle Billy's exploits were legendary - he had been a black belt in Jujutsu and got up to all sorts of scrapes in the war - he was in the navy. He trained in the Kawaishi Ryu - Mikonosuke Kawaishi came to Liverpool in 1928. I was very close to great uncle Billy through the mutual interest in Jujutsu and genealogy and before he died he left me his medals - he was our Jujutsu pioneer. But this wasn't the start of it. My great uncle Billy and his brother Jim (my grandad) were taught boxing by their dad and grandad when they were children. Their grandad was a Swedish sailor, a bosun named August Nilsson who changed his name to Nelson to sound more English (born 1867 in Monsteras, Kalmar). The interesting thing is that in August's grandfather's generation a family of Nilssons from Kalmar emigrated to Okinawa that was in 1785.
So it's possible some Karate made its way into your family in 1785? Yes, definitely possible. Nils Bengtsson moved to Okinawa with his wife like I say in 1785, he may have worked for the East India Trading Company and his first four children were born in Okinawa. He then moved back to Kalmar and remarried and had more children. His children's names including Anna, Marie and Johann Nilsson and they were the names of August Nilsson's siblings. So given the time period, the interest in 'boxing', the seafaring tradition, the pattern of names and the location, it is very possible, maybe even probable that Nils was my great-great-great-great-great-grandfather. Just like I took after my great uncle with the Jujutsu and he took after his grandad with the Navy, perhaps he took after his grandad with boxing. As regards boxing, my grandad told me that his dad used to run boxing training for all the local kids. Maybe when you trace it back some of that boxing originated in Okinawa. Nils was contemporary with Tode Sakugawa and his children, the first generation Nelsons were contemporary with Sokon Matsumura. My nan remembers my great great grandfather (he lived until he was 90) she told me recently how tough he was, I asked her if she'd be surprised if his grandad had been to Okinawa and she just said "no, probably for the boxing."
Is there any record of the Skandinavians in Okinawa or Japan? In terms of records, I have found the Nilssons in Okinawa on genealogy resources, but in terms of contemporary records, yes. Hanshi Richard Kim in his book Weaponless Warriors tells an old story of Danish in Okinawa - he also mentions Itoman Bunkichi whose father was Skandinavian. There was actually a Nilsson who made it to Okinawa even earlier than the Kalmar Nilssons, who was Anders Nilsson Laso (born 1585) and even further back the famous William Adams (born 1564), documented in the best selling book Samurai William was in Japan with a William Nealson. The spelling of Nealson, Nilsson, Nilson, Neilson, Nelson etc is pretty much interchangeable, Nobody could really spell back then! So exactly 200 years after Nils arrived in Okinawa in 1785, my grandad Jim Nelson made me my first oak bokken, and so the tradition continues!
So you adopted Japanese "Bushido" traditions early? Yes, as I say my grandad made my first bokken and also a Shinai for me in 1985 when I was six, then in 1987 a "shop bought" bokken. A few years later, maybe when I was nine or so my grandparents gave me an Aikuchi (a small Japanese dagger). My great uncle taught me to fire a bow in my grandad's back garden and my dad taught me to throw knives and introduced me to boxing and Jujutsu. When I was 14 I received a gift of a Kodachi (shortsword or Wakizashi) and at 16 finally a katana. If you read Inazo Nitobe's "Bushido" the way I was given weapons - bokken, then Aikuchi, then Kodachi then Katana is in keeping with the Bushi tradition.
What about Chinese martial arts? The main tradition there is the Yang family's Taiji Quan. My dad holds the 'blue tiger' grade in Taiji which is 4th Dan and he is headteacher of the Metal Tiger school. Also my aunt Mei Kwan practices a Yang family branch of Tai Chi. My uncle John her husband was a black belt in Karate. They live now in Guangzhou and Hong Kong. Over 25 years ago my dad and John went to China. My dad has previously done Jujutsu/Judo which he started at school in about 1959, then also Karate/Kobudo and later Iaido and Shaolin. My dad is very much of the Chinese way of thinking whereas I take after my mum's side more with the Japanese. There are a lot of parallels between the Celts and the Chinese a lot of the symbolism and mythology is the same, the dragons, the gods, the demons, the warriors. Even the symbolism of the sword, my clan in Ireland MacAodhagain (Keegan) were hereditary Brehons - lawmakers, they were warrior poets, sword-makers, philosophers. My dad has a 100 year old fighting stick. Irish stickfighting (bata) was much like the oriental methods.
You mentioned the Bushido tradition, did you also grow up with Chinese customs? Yes, definitely. Apart from one of my earliest memories being watching "Kung Fu" (David Carradine) and Monkey with my dad, it would have been when I was eight my dad and uncle John were getting ready to go to China. John would be telling me about martial arts history (his favourite kata was Tekki from his Karate days) and then when they returned months later, they brought me my first Kung Fu suit. Dad's garage "Dojo" as I called it was very much a Chinese style Kwoon, the three Taoist gods on the window ledge, the Pakua, the wind chimes. He taught me hand conditioning punching a bucket of sand and my punchbag was an iron bar wrapped in carpet! We would have many Saturday nights around the wok. My dad would cook traditional Chinese food, then maybe a consultation of the I-Ching. Best of all when we went to John and Mei Kwan's house, I loved the culture. Taking our shoes off at the door, all visitors being given sandles, then drinking Chinese tea, a game of Mah Jong, going to where Mei Kwan volunteered in China Town. Not just martial arts, just experiencing the life and little customs like money in red envelopes, the Taoist gods, the food and so on. I remember my dad performing Tai Chi for Mei Kwan and her saying fondly it reminded her of her Yang style teacher back in China. When I was 20 they visited from China and brought me a white linen Kung Fu suit and Mei Kwan gave me a "Kwan Dao" or Dao, a Chinese broadsword made of a single piece of Jade like the one used by her legendary namesake General Kwan. Dad and I trained together for nine years in a Chinese martial arts club. Apart from the headteacher, and two assistant instructors Dad was the senior student and when we left that club, most of our Tai Chi "family" came with us. He was seen as the "Sifu" - the teacher-father to all us youngsters in the club, not just me. Often the whole school would gather at my dad's house and Sifu would be the host, like one big family! One time we went to a Chinese martial arts Euro competition and dad and I competed against each other in hand forms and Chinese sword - he beat me of course and the mayor of Shanghai awarded him his trophy. It's so nice to be teaching Tai Chi again, because I love the culture.
Have you trained with any Japanese and Chinese masters? Yes, Tadanori Nobetsu, the chief instructor of Nisseikai which is a blend of Goju Ryu and Feeding Crane; Shizuya Sato 10th Dan of Nihon-den Jujutsu, Kondo Sensei, master of Aikijujutsu, and also on Tai Chi seminars with Professor Li and Professor Zhang. That's it I think as far as Japanese and Chinese go. I've taught a few Chinese and Japanese guys but those are the only masters I've trained with from the Far East. They aren't "my" teachers though as such, but I have trained with them.
Out of your instructors, who taught you what? Briefly - my dad taught me basic Jujutsu, fencing and boxing when I was a child, Steve Bullough taught me a system called Bushido which included Karate, Judo, Aikido, Kobudo... Bob Carruthers taught me Shotokan and Karate Jutsu, Reiner teaches me Goju Ryu (Nisseikai), Shoto Ryu and Kobudo, Jaimie Lee-Barron taught me some Jujutsu. Seminar-wise I was introduced to Yawara by Terry Wingrove, Hakuda by Joe Carslake, I was introduced to Koryu Uchinadi by Steve Brennan, and later seminar-wise with Patrick McCarthy, I was taught my Judo katas (kime no kata etc) by Ray Walker. And in the Chinese martial arts school I trained in we did Yang style, Sun style, Chinese sword and Hsing-I.
So what is your 'lineage' in Karate? In terms of "who graded who", I was graded in Shoto Ryu by Reiner Parsons, he was graded by Ikuo Higuchi, he was graded by Makoto Gima, in terms of Shotokan Bob Carruthers' main teacher was Philip Handyside who was taught by Kanazawa (student of Funakoshi) but also studied and graded under Chew Choo Soot, a Malaysian grandmaster whose style was based on Kanken Toyama's Karate Jutsu. My 2nd Dan was under Kanazawa's Shotokan division in IMAF and my 3rd Dan was under Higuchi's Shoto Ryu division, so there's the other link. If you go back past Funakoshi, then you have Itosu and Azato and then Matsumura, then Sakugawa and so on.
What is the difference between Shoto Ryu, Shotokan and Shotokai? Politics really or lack of it. After Master Funakoshi died, his students divided into two camps, the Shotokan (JKA) and the Shotokai. His first blackbelt student Makoto Gima who was actually taught by Itosu and Yabe, started Shoto Ryu as a direct continuation to the way it was taught before the politics emerged. Today his senior student is Ikuo Higuchi who graded my teacher. Gima received his 10th Dan from Kanken Toyama, a great Toshu Jutsu master. Another who broke away was Master Kanazawa, he left the JKA and his Shotokan has a lot of Yang style Tai Chi in it.
Why do we call it “Toshu Jutsu” rather than “Karate”? Firstly, “Toshu” is an old pronunciation of the written characters for Kara Te or To Te. Secondly, we use the word Toshu in order to distance ourselves from the many punch-kick-block schools that are teaching what is in essence “childrens Karate”.
Why are the two academies in Bushinkai called Metal Tiger and White Lion? A school must be personal to the founder. In the case of our academies there are obvious reasons for the names, then more complex reasons. Metal Tiger Academy came to be called that because my dad was born in the Year of the Metal Tiger (1950). Every 12 years it’s the year of the tiger and every fifth year of the tiger is the metal tiger. 2010 was also the year of the Metal Tiger. That’s the obvious reason for the name Metal Tiger Academy. The more complex reason concerns the symbolism of the tiger in Chinese martial arts. The oldest set of forms we have is the Five Animals of Huo Tuo (dating back to 200AD) - one of these is the Tiger. If you go back to some of the notable martial arts systems of Guangdong/Guangzhou (Canton) you will see many of them such as Hung Gar and Black Tiger use this symbolism as well. And then you see it in Taiji and Qi Gong with techniques like Tiger’s Mouth and Carry Tiger to Mountain. Even some of the Japanese Koppo Jutsu styles like Gyokko Ryu, Koto Ryu and Gyokushin Ryu use the symbolism of the tiger. The obvious reason for me using the name White Lion Academy (aside from it parallels Metal Tiger Academy nicely) is that on our family’s coat of arms is a White Lion. The more complex reason is that I believe that the lost style of Kung Fu taught by Sifu Iwah to Bushi Matsumura was called White Lion Boxing. One possible translation of my favourite kata Bassai is “White Lion” and if you look at an old Kung Fu style called Golden Lion it looks very much like Bassai. The name Hakuda also means White Hand and I believe Hakuda was also derived from White Lion Boxing.
What was White Lion Boxing? Was it a Chinese style like White Crane? There are various pieces of the puzzle. In the Fujian and Canton area there were numerous styles called White Crane. The oldest of these was said to be a Tibetan Style called Lion’s Roar. If you read the Bubishi it talks about extant Quan that we know of as Karate forms (such as Sanchin, Niseishi etc) and one of the styles known for including Seishan is cited as Lion Boxing. One of the most famous descendant-styles of this is Bagua Zhang (Eight Trigram Palm) and its older relative Baji Quan (Eight Direction Fist). These arts originally come from a style called Bazi Quan - which the present head of Baji Quan says is China’s oldest martial art - which is often translated as Rake Boxing but can also be translated as White Lion Boxing. This White Lion Boxing gave us the forms Seishan and Bassai (Bazi) and is also the ancestor of Hakuda and Bagua. You can see the similarities between the three names Hakuda, Bagua and Bassai Dai. The syllable Ha/Ba can mean white and Da/Dai/Te means hand. The word Sai or Shi means Lion. White Lion Boxing is the origin of Okinawan Toshu Jutsu, it is the origin of Nagasaki’s Hakuda and it is the origin of many of the Chinese Internal Martial Arts.The White Lion Academy is bringing this full circle.
Is Aikido part of your system? Yes. My great uncle's master Kawaishi taught Aikijujutsu in Liverpool (he later taught Judo) which he learned from Yoshida Kotaro, and he from the 35th generation headmaster of Daito Ryu Takeda Sokaku. A lot of my Aikijujutsu originates with this school and the Takeda, Minamoto and Tokugawa families are part of our heritage. I've been lucky to train with some of the students of Aikido founder Morihei Ueshiba, like the late Alan Ruddock. Aikido is an amazing martial art.
What are your aims in the martial arts? To give something back to Karate by making it something more than a sport/hobby - to make Karate a thoroughly researched and coherent self defence method.
What is most important to you in the martial arts? Helping people improve themselves.
What do you dislike in the martial arts? Frauds and McDojos obviously but also little things that may not bother other people. I hate people teaching arts they've never trained in, you know like a Karate instructor buying a pair of shorts and all of a sudden he's a Muay Thai instructor, I hate bullying on the mat, I get annoyed by double standards, you know like an instructor slagging off people with inflated grades and then you look and they are a 10th Dan at the age of 50! I hate to see instructors rest on the past achievements at a young age, you know get their 3rd Dan and never take another lesson but then get their 4th Dan, 5th Dan, 6th Dan, because of "time served" even though they probably know less than they did at 3rd dan, because not only have they not learnt anything knew, they've probably forgotten what they used to know! I also dislike it when people start their own "style" despite not having the understanding to teach anything other than what they have been taught. I also dislike the idea that everyone is entitled to their next grade. To me, if people don't cut it they don't grade. In 12 years I've awarded five black belts - one had trained for 25 years, another had trained for 15 years, the final three had been with me for five years and trained extremely hard.
Would you recommend any books for martial artists? All the old classics, the Book of Five Rings, the Hagakure, The Art of War, the Bubishi, and I'd also say Donn Draeger's Budo and Bujutsu series. Chris Crudelli's book Way of the Warrior is a great intro to all styles as well.
What advice would you give a beginner? Find a good teacher, stick with them, learn your art and then start to learn others. Don't flit from style to style in the early days - a white belt in 10 styles is still a white belt.
MMA is very popular. What are your views on it? I like it. I have to say I liked it better in the early days when it was more raw - a sumo against a boxer and so on. Now it's all MMA versus MMA it is all a bit clean cut. The groundwork is wonderful. To me it's not just a passing fad, it's an artform in itself now. I think if it had been popular when I was younger before I had bad shoulders, I would have had a go.
Apart from the ones we've mentioned, like Karate, Jujutsu, Aikijujutsu, Tai Chi, have you done any other martial arts? Ninjutsu when I was young, also western arts like boxing, wrestling, fencing and archery. Stickfighting - I was lucky to attend a seminar with Grandmaster Rene Tongson (Abaniko Tres Puntas). I've also done bits of Muay Thai, Taekwondo, Kung Fu, Chinese broadsword, Iaido... Not many I haven't done really! One of my first loves is a Spanish rapier system called Destreza. I started training in Spanish sword over 25 years ago and I could write a book just on that, so that's for another time.
Are there any martial arts you don't like? I guess I'd have to say the modern dance type ones, they are fine I suppose for what people want, boxercise, Zumba, even Capoiera but they are not for me, I've no rhythm!
Finally - a lot of martial artists seem to be world champions, SAS or bodyguards. What about you? No, I was never world champion. I won some British tournaments so I suppose you could say British champion but it just meant I was the best or the luckiest on the day I never walked around with a title belt on or anything. SAS or bodyguard? Again, no I was in the TA and I believe one of our drill sergeants was ex SAS, about the only guarding my regiment did at the time was at the Grand National the year of the IRA bomb scare, that and a bit of door work - nothing exciting I'm afraid.
Beginning his interest in the martial arts in the early 1980s, Karate and Jujutsu have been in Simon Keegan's family for several
generations on both his mother's and father's side of the family.
Notably his father David Keegan is headteacher of a branch of Yang style
Tai Chi (Metal Tiger school) and also studied with the Muso Jikiden
Eishin Ryu, having previously studied Jujutsu.
And Simon's great uncle
Bill Nelson was a Jujutsu black belt studying with the Kawaishi Ryu from
1945. Even prior to this, distant relatives in Simon's
great-great-great-great-grandparents generation emigrated to Okinawa as
early as the 18th century when Karate was still in its infancy.
Simon joined his first club aged 10 and from his mid teens, Simon trained for nine years with the Bushido
Academy and nine years with a school of Chinese martial arts. He also
graded 2nd Dan in Jujutsu with the Kiai Yamabushi Ryu, studying 18 arts.
For the last dozen years of running the Bushinkai Academy, he has been
committed to the traditional arts of Karate, Jujutsu and Tai Chi,
teaching a system called Hakuda Kempo Toshu Jutsu.
He received his 2nd Dan in Karate under Kyoshi Robert Carruthers whose
teacher Shihan Philip Handyside 8th Dan is headteacher of the Shobukan
school. Mr Handyside has studied the martial arts for 50 years and among
his teachers are Hirokazu Kanazawa (10th Dan IMAF - Shotokan) and Chew
Choo Soot (10th Dan Budokan). Kanazawa Hanshi is regarded as perhaps the
senior Shotokan master in the world, training directly with Gichin
Funakoshi, and Grandmaster Chew's teacher was a student of legendary
Karate Jutsu master Kanken Toyama.
Simon was accepted into Japan's Kokusai Budoin (IMAF) as a 2nd Dan in
Kanazawa Sensei's Shotokan division and a 2nd Dan in Sato Sensei's Nihon
Jujutsu division.
It was in IMAF that Simon met his next teacher Kyoshi Reiner Parsons 7th
Dan, who trained in Japan with Tadanori Nobetsu (9th Dan IMAF - Goju
Ryu) who graded him 5th Dan and also trained with the likes of Ikuo
Higuchi (9th Dan IMAF - Shoto Ryu) who graded him 6th Dan. Nobetsu
Hanshi is a master of both Goju Ryu Karate and Feeding Crane Kung Fu;
and Higuchi Hanshi is the successor of Makoto Gima, who along with
Gichin Funakoshi founded Shoto Ryu in Japan. Gima was the first man to
ever be awarded black belt in the Shoto school and the first to be
awarded 10th Dan (presented by Kanken Toyama). Simon was awarded 3rd
Dan in Shoto Ryu by Reiner, and after being awarded 4th Dan Simon
pioneered the Bushinkai Method (Hakuda Kempo Toshu Jutsu).
Also training with masters from around the world including Tadanori
Nobetsu, Li De Yin, Rene Tongson, Patrick McCarthy, Shizuya Sato and
Mitsuhiro Kondo, Simon refined his studies into a modern system of
Karate that is truly classical in its outlook.
In 2009, two years after receiving his 4th Dan in Karate, Simon was
awarded the title of Renshi, endorsed by the UK Director of the Dai
Nippon Butokukai (the same organisation that awarded that grade to Gichin Funakoshi) and also received his 2nd Dan Judo and 2nd Dan Tai Chi.
In 2012, Simon is assisted by blackbelts Dan Sanchez, Ben Gaunt, Pete McHugh and Jamie Tozer.
Here is a timeline of the Japanese and Okinawan tradition on my mother's side of the family (the Swedish Nilssons). I have included some significant dates in martial arts history - Simon Keegan
16th and 17th century
1504: Svante Nilsson becomes King of Sweden and is famed for his sword. Source
1585: Anders Nilsson Laso is born in Sweden.
1600: William Adams and William Nealson (a variation of Nilsson) arrive in Japan, they are among the first English and Adams was the first western Samurai. Source
1609: Nilsson Laso travels to Okinawa around this time (Source) perhaps coinciding with the Dutch 'East India Trading Company' opening a factory in Japan
1609: The Japanese Satsuma clan invade Okinawa. 1616: Japan bans trade with foreigners except China confined to Nagasaki. 1634: An artificial island near Okinawa called Dejima is created for trading
1683: A Chinese envoy named Wang Ji (Wansu) arrives in Okinawa.
1680s: Okinawans Hama Higa and Takahara learn the Wansu method of boxing.
18th century
1731: The Swedish East India Trading Company is created, inspired by the likes of the Dutch East India Company to trade with the Far East as far as Japan and Guangzhou. 1733: Tode Sakugawa is born in Shuri, Okinawa, he studies under Takahara. 1745: The Swedish Ship Gotheborg is sunk on the way back from China.
1750: Sakugawa begins study under Chinese master Kushanku in Okinawa. 1759: Anders Ljungstedt is born in Sweden, he later works for the Swedish East India and in 1820 is appointed Sweden's first consul in China. He was well loved in Macao where he was called Long Sital 龍思泰.
1762: Nils Bengtsson is born in Jonkoping, southern Sweden. 1774: 90% of tea in Sweden is imported from China. 1775: Swedish physician Carl Thunberg moves to Dejima near Okinawa. Did the Nils family come with him? Source. In 1776 he met the Shogun in Edo, and in 1779 he returned to Sweden. Thunberg was a student of the earlier Swedish physician Carl Nilsson Linnaeus.
1785: Nils is in Okinawa and marries Torborg Jonsdotter. Source. This year the Swedish East India Company have four ships in China and the following year was the the second charter of the company - Source. The arrival of Nils predates the first whaling ship in the Pacific (the British ship Amelia in 1788) and the first to reach Okinawa was in 1822. Does Nils' arrival coincide with 1788: The Nilsson family are born in Okinawa to Nils and Torborg.
Nils and Torborg's children are:
- Ingeborg Nilsdotter (born August 3 1785, Okinawa)
Sokon Matsumura was born in Okinawa in 1798. The Nilssons therefore were the same generation as the great Karate master.
1794: Nils moves back to Sweden around this time. He likely left Okinawa to get away from his first wife who evidently stayed there with her children, since she died in Okinawa in 1826. Nils remarried twice to Marit Jonsdotter (source) in 1794 and Sarah Helena Jonsdotter (source) in 1799. His daughters Anna (born 1795) and Maria (born 1797) were born in Sweden. Nils' third wife Sarah was from Kalmar, southern Sweden. He died in 1830 and she moved back to Kalmar, where she died in on May 5 1842.
Nils' grandchildren (the second generation of Nilssons) would have also been born in around 1830 in the Kalmar area.
1797: The HMS Providence arrives in Naha.
19th century
1867: My great great grandfather August Nilsson is born in Koping (now Monsteras) in Kalmar, Southern Sweden. He has brothers called Johann and Carl Johann and sisters called Anna and Marie, which following family naming traditions suggests he may be a grandson of the Okinawa Nilssons. The same year Machaa Buntoku (Japanese Matsu Kinjo) otherwise known as Itoman Bunkichi is born in Okinawa Source, the son of a Skandinavian immigrant and an Okinawan woman. The "Danish Kiss" is recorded in Okinawa as a fighting technique (headbutt). Source. Could Itoman Bunkichi have been related to the Nilssons?
1868: The Meiji Restoration. The end of the Samurai class in Japan and Okinawa
1870s-1880s: August serves in the Swedish Navy and would have been taught hand to hand combat and single stick, a type of stickfighting designed to replicate the cutlass.
1890s: August and his brother Carl Johann move to Liverpool and change their name to Nelson. They marry two sisters, Bessie and Alice Wood.
1893: August and Bessie's eldest sons are born, Charles John (1893) and William Henry Nelson (1895)
Early 20th Century
1906: Jujutsu is introduced to Liverpool by Gunji Koizumi.
1914: The First World War begins. William Henry Nelson serves with the King's (Liverpool) regiment and is awarded four medals. He is taught unarmed combat and rifle marksmanship. The war ends in 1918
1920s: William Henry becomes a docker and is considered the toughest man on the docks. His nickname is The Mighty Elmo, from the 1919 action film of that name. He marries Violet Stephens, a Cornish girl descended from the Welsh (Celtic) Royal family.
1923: Charles James Nelson (Jim) is born on June 6.
1925: William Henry Nelson (Billy) is born on Christmas Day
1920s-1930s: Jim and Billy are taught 'boxing' by their father and grandfather
1939: The Second World War begins. Jim serves in the East Yorkshire Regiment and Billy in the Merchant Navy, following in the sea-faring tradition of his ancestors.
1945: The war ends, Bill Nelson begins studying Jujutsu with Gerald Skyner at Cathrine Street Liverpool, a student of Mikonosuke Kawaishi who as well as Judo, studied Daito Ryu Aikijujutsu under Yoshida Kotaro (student of Sokaku Takeda). Bill achieves black belt.
1950s: Bill leaves the Kawaishi Ryu and joins another Jujutsu club at Arnott St School, Walton.
The three schools of Okinawan Karate are named after three places on the island, Shuri, Naha and Tomari.
Bushinkai Karate (Hakuda Kempo Toshu Jutsu) is derived from all three of these schools.
As I grew up in martial arts, I have had dozens of teachers, but my main ones in terms of training and grading in Karate have been Bob Carruthers and Reiner Parsons.
Shuri Te and Tomari Te comes to us from my teacher Shihan Robert Carruthers whose primary teacher was Shihan Philip Handyside.
Naha Te comes to us from my teacher Kyoshi Reiner Parsons whose primary teacher was Hanshi Tadanori Nobetsu.
I have documented master Nobetsu on this blog all ready - his style is Nisseikai, a mixture of Goju Ryu and Feeding Crane (white crane). I was lucky to train with master Nobetsu and it was a great experience.
I am also fortunate to be a friend of my other teacher's teacher Mr Handyside Sensei who I first trained with back in 2003 which was a course to celebrate his 40 years in martial arts. Mr Handyside is the founder of a school called Shobukan which is largely comprised of Shotokan and Budokan.
Shotokan obviously is the style of the Gichin Funakoshi's students and Budokan is a Malaysian style created by Chew Choo Soot whose teacher Takazawa was the student of Tomari Karate Jutsu master Kanken Toyama.
Mr Handyside began his martial arts training in 1963 in Judo and Jujutsu under Richard Butterworth and in 1965 saw a demonstration of Karate by a Shotokan master named Sadashige Kato.
Joining a Karate club headed by Dennis Makinson and later Cyril Cummins (who graded him for his Kyu grades) he joined the KUGB under Keinosuke Enoeda and seniors like Andy Sherry, Bob Poynton and Terry O'Neill. He established the Shobukan Karate Organisation (originally Red Sun Karate) in 1974.
Mr Handyside trained with many Shotokan masters including Tomita, Kawasoe, Asano but his greatest influence was Hirokazu Kanazawa 10th Dan (IMAF and SKI) who trained directly with Funakoshi and Nakayama. Mr Handyside brought Kanazawa to Preston in 1977 and took his 1st Dan with him. Kanazawa's Shotokan is softer than that of many of his peers, having also trained in Shorin Ryu Karate Jutsu with Choshin Chibana and Yang style Tai Chi with master Wang.
The next great influence was in Malaysian Budokan Karate, headed by grandmaster Chew Choo Soot and his students who came to Preston in 1978. Along with Yoseikan instructor Mike Newton, Mr Handyside adopted the Budokan style and graded 2nd Dan under Grandmaster Chew.
Around this time, the club was joined by a 1st Kyu named Bob Carruthers, originally of the Bujinkai school who travelled to train from Wigan. Bob opened a branch of the club in Wigan, calling it the Rising Sun Dojo, which later broke away from Shobukan and became known as Seiki Juku.
I first met Bob as a 1st Dan in 2001 and shortly after took my 2nd Dan with him and in 2003 he was invited to bring his senior students to train with his old teacher Mr Handyside to celebrate his 40 years in martial arts (1963-2003) and so I went along and met my teacher's teacher.
Nine years later having trained with many other teachers and received my grades from the Karate division headed by Mr Handyside's mentor Hanshi Kanazawa, I consider Mr Handyside a friend and hope to continue to learn from his expertise and strengthen the link between Bushinkai and Shobukan, the school that has greatly influenced ours.
David Keegan Senior International Instructor Yang Style Tai Chi - Principal: Metal Tiger Academy - 4th Dan Tai Chi - Senior Deshi: Muso Jikiden Eishin Ryu Iaido - Previously studied Jujutsu, Judo, Karate, Kobudo, Hsing-I Quan
Simon Keegan Senior International Instructor Hakuda Kempo Toshu Jutsu - Kyoju Dairi (5th generation representative headteacher) Bushin Ryu family Karate and Jujutsu tradition - 4th Dan Renshi (Shoto Ryu Karate) - 2nd Dan Nihon-den Jujutsu (Kokusai Budoin, Japan) - 2nd Dan Judo (Kodokwan and Aichi University recognised) - 2nd Dan Tai Chi - 2nd Dan Yamabushi Ju Tai Jutsu
John Dang International Instructor - Family Kung Fu tradition (Southern Quan Fa) - Taekwondo (international instructor) - Muay Thai (international instructor) - Jeet Kune Do (senior student) - Brazilian Jujutsu practitioner
Dan Sanchez Regional Instructor Hakuda Kempo Toshu Jutsu - 1st Dan Bushinkai Karate (Shoto Ryu) - 1st Dan Bushin Ryu Jujutsu (Nihon-den Jujutsu) - Previously studied Shukokai Karate
Jamie Tozer Club Instructor Hakuda Kempo Toshu Jutsu
- 1st Dan Bushinkai Karate (Shoto Ryu)
- 1st Dan Bushin Ryu Jujutsu (Nihon-den Jujutsu)
- Previously studied Shotokan Karate
Ben Gaunt Club Instructor Hakuda Kempo Toshu Jutsu
- 1st Dan Bushinkai Karate (Shoto Ryu)
- 1st Dan Bushin Ryu Jujutsu (Nihon-den Jujutsu)
- Also studied Watashi no Karate Jutsu
Peter McHugh Club Instructor Hakuda Kempo Toshu Jutsu
- 1st Dan Bushinkai Karate (Shoto Ryu)
- 1st Dan Bushin Ryu Jujutsu (Nihon-den Jujutsu)
- Previously studied Shotokan Karate
Graham Winstanley Hakuda Kempo Toshu Jutsu
- 4th Kyu Bushinkai Karate (Shoto Ryu) - Previously held 1st Dan in WJJF Jujutsu
Joseph Coyne Hakuda Kempo Toshu Jutsu
- 4th Kyu Bushinkai Karate (Shoto Ryu)
- Also holds 1st Dan Shukokai Karate (Tani-ha Shito Ryu)
"Hakuda Kempo Toshu Jutsu" was formalised in 2007 in order to transmit a system of Karate & Jujutsu that is true to its traditional origins while remaining completely self-defence orientated and that is studied according to a scientific approach to self defence referred to as the Bushinkai Method.
The core of the art is in Shoto Ryu Karate which in 1922 was introduced to Japan from Okinawa by Gichin Funakoshi (Shorin Ryu student of Itosu and Azato) and Makoto Gima (Shorin Ryu student of Yabu and Itosu). Master Funakoshi and his peers such as Ohtsuka (Wado Ryu), Miyagi (Goju Ryu) and Mabuni (Shito Ryu) were accredited with their teaching titles by Japan's oldest Budo organisation the Dai Nippon Butokukai.
Makoto Gima, the first ever Shotokan or Shoto Ryu blackbelt later became Karate's first ever 10th Dan, presented by grandmaster Kanken Toyama. Gima's successor Ikuo Higuchi presented my teacher Reiner Parsons with his 6th Dan.
The core forms of Shoto Ryu and Shorin Ryu are the five Pinan (Heian), Naihanchi (Tekki), Passai (Bassai), Kushanku (Kanku) and Wansu (Empi). We also study Fukyugata (Gekisai), Wankan, Niseishi (Nijushiho), Jutte and Seishan (Hangetsu) among others.
Shoto Ryu and Shorin Ryu are largely based on the teachings of Sokon Matsumura a 19th century pioneer who combined many Okinawan, Japanese and Chinese fighting arts while working as a bodyguard in Shuri Castle.
Other influences on our style are the Shotokan of Hirokazu Kanazawa 10th Dan IMAF (who taught and graded my teacher Bob Carruther's teacher) who trained directly with Gichin Funakoshi and also studied in Okinawa with Shorin Ryu master Chosin Chibana; and the Nisseikai of Master Nobetsu (9th Dan IMAF) which combines Goju Ryu with Feeding Crane Quan Fa, and Chinese arts such as Hsing-I.
Our Jujutsu method following in the tradition of 20th century masters like Minoru Mochizuki (10th Dan IMAF) and Shizuya Sato (10th Dan IMAF) is derived from old style Judo and Jujutsu systems such as Yoshin Ryu, Tenshin Shinyo Ryu and Daito Ryu. Kokusai Budoin (IMAF) is Japan's second oldest Budo group (after Dai Nippon Butokukai) and is the basis for the foundation of the United Kingdom Budo Federation (formerly IMAF GB).
I was lucky to receive training and grading from Kokusai Budoin (IMAF) joining the group as a 2nd Dan in both Kanazawa's Shotokan division and Sato's Nihon Jujutsu division, before grading 3rd Dan in Higuchi's Shoto Ryu division. My shogo of Renshi (awarded to senior international instructors at least two years after 4th Dan) was authorised by the UK Director of the Dai Nippon Butokukai.
Presently Bushinkai also has one regional instructor, Dan Sanchez (1st Dan), and three club instructors who also assist me, Ben Gaunt, Peter McHugh and Jamie Tozer all 1st Dan black belts.
Tai Chi
The Bushinkai method of Taiji Quan (Tai Chi Chuan) is based on the Yang Style, created in the 1800s by Yang Lu Chan (Yang the Invincible).
As well as being taught within the Yang family a notable exponent of this style was "China's first sword" Li Jing Lin, a military general and master of the Wutang sword. In the 20th century Yang style was passed from Li Jing Lin to another unrelated Li family beginning with Li Yu Lin and passing to his son Li Tian Jie and grandson Li De Yin. This family developed the Yang style in Beijing and drew influences from other styles, notably Sun style and are responsible for the world's most popular forms, the 88 Step and the 24 Step.
In 1998, already as an instructor in Karate, I followed my dad into a traditional Tai Chi school run by two students of Li De Yin who were both world champions and their senior student who was a European champion.
Training in this school for nine years, attending seminars with Li De Yin, and performing before the mayor of Shanghai we honed our style and now my dad runs the Metal Tiger Academy, teaching Tai Chi for health while I teach a more martial approach, according to the Bushinkai Method.
Tai Chi classes run at 7:00 on Tuesday evenings and Karate at 8:00.
In previous blogs I have talked about how my great uncle Bill Nelson began his Jujutsu study in 1945, having previously been taught unarmed combat (boxing) by his father and grandfather, a Swedish sailor named August Nilsson. Even before August, the Nilssons were intrepid sailors and one group of the family even made it to Okinawa which is the subject of my ongoing research.
August Nilsson was born in Mönsterås, Kalmor county, Sweden in 1856 or 1857. In
the 1870s he joined the Swedish Royal Navy and became a bosun. As part
of his training in the navy he studied what was called boxing but was
actually a form of unarmed combat unburdened by rules or gloves. They
also studied weapons, from the rifle to the sabre which was simulated by
single stick fighting.
The Swedish sailors were an intrepid bunch and there are historical
records of Skandinavian sailors making it as far as Okinawa. The famous
Karate master Itoman Bunkichi was fathered by one such European and
master Richard Kim talks about a technique known as the Danish Kiss
(headbutt) entering the Karate repertoir.
August who moved to Liverpool from Sweden where he became a docker, was a
very big man, well over six feet tall (estimated by my grandfather to
be around 6'4") which was very tall for the 1800s when the average for a
man was maybe about 5'7" he was also well known for his toughness in
his youth but mellowed after falling off the roof of his house after which he "saw the light" about his aggressive ways.
One Nilsson family patriarch who visited Okinawa before August's time was Nils Bengtsson (born 1762) , whose children
included Johan Nilsson, Bengt Nilsson, Olof Nilsson, Anna Nilsdotter and Maria Nilsdotter. He was born and died in Sweden but married in
Okinawa, where his children were born. (see here for source)
Nils Bengtsson, born 1762, Jönköping, Sweden. Married Torborg Jonsdotter in Okinawa, August 17, 1785
Johan Nilsson, born June 26, 1788 in Okinawa
My line:
August Nilsson, born 1856 in Monsteras, Sweden
William Henry Nelson, born 1895, Liverpool
Karate master Richard Kim
refers to Skandinavian immigrants in Okinawa fathering some of the
Karate masters including Itoman Bunkichi, and introducing the Danish
Kiss (headbutt) to Okinawa.
However even Nils in circa 1780 was not the first Nilsson to visit Okinawa, in 1585 Anders Nilsson Läsö was born in Okinawa. See source.
I can't help wonder if some of
the hand to hand combat August knew was influenced by the fighting men
of Okinawa.
August's son William Henry Nelson (my great grandfather) was also a tough man, who was known for his toughness on the Liverpool docks. A small man (unlike his father) his friends called him the Mighty Elmo after the Lancashire wrestler who was in turn inspired by the 1919 silent movie of that name about a scrapping cowboy. William Henry used to say, don't measure a gun by the size of the chamber but by "the strength of the gunpowder."
William Henry Nelson was a decorated infantry soldier in World War I (1914-1918) and received medals for active combat.
My grandfather Jim Nelson and his brother Bill were born in 1923 and
1925 and as children their father and grandfather taught them to box. I
remember my grandad telling me: "My dad had boxing gloves hanging up in
his shed. All my friends used to come round and we'd spar in the back
yard. One day me and my dad were sparring and he hit me so hard he broke
my nose."
My grandad was smart, disciplined and gentle and when WWII broke out he
joined the army. His brother Billy was the exact opposite - rough,
rebellious, slightly scruffy. He joined the merchant navy aged 14. My
grandad said he never wanted to join the Navy because he would be made
fun of as "Admiral Nelson" - his brother however would stand for no such
jibes.
While my grandad was firing a mortar on Sword Beach, his brother Bill
was travelling the world in the Navy getting into scrapes. His ship was
torpeedoed and he spent days in the water.
After the war finished and my grandad finished his service in Egypt and
Palestine, he and his two brothers and brother-in-law joined the
territorial army.
Bill also wanted to continue his study of unarmed
combat and so he joined Skyner's Jujutsu Club in Liverpool and our
family Jujutsu tradition begun.
Nihon Jujutsu, Yawara, Judo, Jiu Jitsu, Jyu Jutsu, Taijutsu there are
almost as many names for Jujutsu as there are styles. So what's the
difference?
Jujutsu as it is taught in the UK is usually a hotchpotch of dirty Judo,
Karate strikes and some wrestling submissions . Authentic Jujutsu
however has a particular style depending on what school it originates
from.
Just as you can tell whether a Karate man is Shotokan or Goju Ryu, or
whether a Tai Chi practitioner is Yang style or Chen style, Jujutsu has a
certain accent as well depending on the school it comes from.
I would like to introduce some of the main schools and their hallmarks as well as some of the better known practitioners.
Firstly an awareness of the word Jujutsu.
1) Jujutsu is the preferred Romanised spelling of this Japanese word. Ju
Jitsu, Ju-Jitsu, Jiu-Jitsu and Jyu Jutsu are clumsy western spellings
not much better than writing "harry carry" for "hara kiri"
2) Jujutsu is largely a retrospective term for any unarmed or lightly
armed Japanese combat method (other than Sumo). Just as the eskimos are
said to have hundreds of words for snow, so too did the Japanese for
grappling! These included Yawara, Jujutsu, Hakuda, Taijutsu, Jutaijutsu,
Koppojutsu, Koshijutsu and so on. In a sense it is no different to
British fighting arts being referred to as boxing, pugilism, scrapping,
fighting, wrestling, grappling, catch as catch can, unarmed combat, self
defence etc - they are all slightly different and just as we understand
the difference between "boxing" and "self defence" so too would the
Japanese understand the difference between "koppo" and "Yawara,"
Here are some of the styles:
1) AIKIJUJUTSU: Daito Ryu, Gyokushin Ryu and the northern Japanese Aiki Jujutsu styles
Depending on how you look at it, Daito Ryu is either one of the oldest
or one of the newest Jujutsu styles. Daito Ryu was formalised fairly
recently by Takeda Sokaku in about 1900. In this sense it is a modern
style because it was formalised since the Meiji Restoration (the end of
the Samurai class) - however Takeda claimed he was the 35th generation
of his family Ryu and that he merely formalised what he had been taught
by his grandfather. Other than his grandfather Soemon, the other main
influence on Sokaku was Saigo Tanomo who taught him a form of grappling
called Oshikiuchi. Other than its origin, Daito Ryu would seem to have
another paradox. The stylists claim that its movements are derived from a
Samurai's sword cuts and so on. But to those who have cross-trained, it
seems apparent that Daito Ryu has been influenced by the Chinese art of
Pakua. Daito Ryu is classified as "Aikijujutsu" which means that the
core principles is the harmonious blending with the attacker's energy -
in other words "go with the flow." Students of Sokaku include his son
Tokimune, Aikido founder Morihei Ueshiba and Yanagi Ryu master Yoshida
Kotaro. Older styles of Aikido such as Yoshinkan are fairly
indistinguishable from Daito Ryu on a basic level. The latter however
has more intricate and varied old style kata.
Another style worthy of mention here is Gyokushin Ryu. This style was
the method of Jujutsu studied by Minoru Mochizuki (Yoseikan founder).
The style was based around the theme of a rolling sphere - whichever way
you turn it, it is completely balanced and centered. Therefore even
when executing sacrifice techniques, the exponent has the same sense of
posture that they would if they were standing. Some of the throws in
this style resemble what are known in wrestling as the Suplex and
involve dropping backwards or sideways to the ground in order to slam
the opponent.
2) JUJUTSU: Tenjin Shinyo Ryu, Hontai Yoshin Ryu, Fusen Ryu and related styles
TSR is another fairly modern style of Jujutsu, created in around 1830.
It is the style most closely associated with Judo and Jigoro Kano was
said to have mastered this art. According to the book Koryu Bujutsu:
"Tenjin Shinyo-ryu techniques included in judo are: koshinage (hip
throw), seoinage (shoulder throw), ashibarai (foot sweep), haraigoshi
(sweeping hip throw), sukuiashi (foot scoop), kushikitaoshi (one-hand
drop), osotogari (major outer reaping throw), sumigaeshi (corner throw)
and various masutemi (rear sacrifice) and yokosutemi (side sacrifice)
throws, as well as many of the immobilization, joint locks, and
strangling techniques." TSR is probably what most people think of when
they think of Jujutsu. However TSR does differ from Judo - it has much
more Atemi (percussive techniques) and joint manipulations.
Hontai Yoshin Ryu (not related to Akiyama branch Yoshin Ryu) included
many kneeling forms and may have also influenced Judo. Along with TSR,
Hontai Yoshin Ryu is one of the styles that has influenced western
Jujutsu such as the Jujutsu of the World Ju Jitsu Federation.
Many of these Jujutsu schools have their origins in a style called
Takenouchi Ryu which is known for an unarmed attacker defending against a
weapons attack with ease.
3) YAWARA: Yagyu Shingan Ryu and the Edo schools of Yawara
The Yagyu family were retainers to the Shogun in Edo (Tokyo) and lend
their name to a number of schools, notably the sword school Yagyu
Shinkage Ryu. Perhaps because of their role in the upper echelons of
society, the retainers in the capital strongly embraced the
sophisticated Chinese concepts. Therefore it is the Tokyo schools that
were most keen of Confucian and Taoist thought (in other words Bushido)
and the physical concept of Ju (softness overcoming hardness, yielding
instead of resisting). Often in Tokyo, Ju was pronounced "Yawara" and
both referred to this principle. Jujutsu may have also been a pun on the
Chinese phrase Jujishu (meaning to arrest or restrain). In my opinion
YSR has definitely been influenced by the Chinese art of Hsing-I. Of all
the Jujutsu school YSR has the most emphasis on stylised postures. YSR
can almost look like one of the Chinese animal styles, say Eagle Claw.
The distinctive guard position of this style has the hands together in
front of the groin (like the way a Goju Ryu Karate kata or Tekki kata
starts).
A well known modern day practitioner of Yagyu Shingan Ryu is Dr Sato Kimbei.
4) HAKUDA: Yoshin Ryu, Yanagi Ryu and the Hakuda schools of southwest Japan
The theme of the various Yoshin Ryu schools (including Akiyama Yoshin
Ryu, Shindo Yoshin Ryu etc) is of the willow. While a sturdy heavy tree
like an oak cannot easily be moved, it can be felled by strong wind,
whereas the gentle willow simply bends in the wind. This method was
introduced to Japan by a Nagasaki physician named Akiyama who studied in
China. I have theorised that the art he studied was Bazi Quan,
forerunner of Baji Quan and that the syllable Ba/Haku should be read as
"white". The original meaning of white may have been symbolic of animal
boxing in China (white crane, white lion, white tiger etc) but in Japan
the meaning would seem to have taken on Buddhist imagery of purity.
Stylistically Hakuda is characterised as quite a percussive art closer
to Karate than to Judo, understandable when we consider the proximity of
Okinawa to southwest Japan. One anecdote states that when Gichin
Funakoshi saw Hironori Ohtsuka performing Shindo Yoshin Ryu, he thought
it was Okinawan Karate.
5) KOPPO JUTSU: Gikan Ryu and related arts and
6) KOSHI JUTSU: Koto Ryu, Gyokko Ryu
In the mid 20th century some of the Koppo schools, chiefly including
Gikan Ryu were associated with the eccentric Jujutsu master Toshitsugu
Takamatsu whose students included Yawara master Sato Kimbei and Ninjutsu
teacher Masaaki Hatsumi. Koppo Jutsu is a hard martial art where bone
meets bone. It is about destroying the bones and joints by strikes,
breaks and dislocations. One of the original teachings is "Ni Sente
Nashi" (no first attack) which is also the motto of Shotokan Karate.
Some of the names of Koppo schools (Koto Ryu, Gyoko Ryu) contain the
name tiger (ko) which may suggest that Koshi Jutsu was originally a
Kempo form originating in Chinese tiger boxing. Like the tiger, Koshi
Jutsu used the claws to grab, rip and tear. Chokes, flesh tears, pinches
and rips are the hallmarks of Koshi Jutsu.
7) KOGUSOKU, TORITE, KOGUSOKU: Araki Ryu and related schools.
Araki Ryu is a purely Japanese grappling art similar to a kind of Sumo
(except for the need to be fat!) that is not influenced by Chinese Kung
Fu (Kempo). It is the furthest away from the percussive methods of
Hakuda and Koppo. Araki Ryu used the terms Kogusoku and Torite.
Torite can be considered close combat methods to take prisoner or kill an opponent.
Kogusoku means "light armor," and refers to close combat/grappling with a blade.
To imagine what this kind of Jujutsu looks like it is based to visualise
amateur wrestling. In fact one of the head teachers of this style will
not teach anyone unless they have studied "body to body wrestling. He
says: "A pre-requisite for training in this line of Araki-ryu is skill
in body-to-body grappling: judo, free-style or Greco-Roman wrestling,
sambo, BJJ, sumo, etc. There are no exceptions to this requirement. The
body dynamics of Araki-ryu are identical to that of body-to-body
wrestling, and requires the same kind of fluid adaptability to rapidly
changing force. "Arms-length grappling," such as aikido, Daito-ryu,
Hakko-ryu, or many modern styles of European/American jujutsu which do
not work body-to-body, does not suffice."
Taijutsu may have been a term used in the Kobe area to refer to arts
similar to Tokyo Jujutsu. One of the most notable schools is Shinden
Fudo Ryu which was studied in Edwardian times by EW Barton Wright who
called his method Bartitsu, made famous by Sherlock Holmes. The Taijutsu
of this school is based on Jutai Jutsu (levers, controls and throws)
and on Dakentai Jutsu (punching techniques).
9) KEMPO/JUJUTSU/JUDO of the Kito Ryu
Kito Ryu is one of the most openly Chinese of the Jujutsu styles and was
formulated by students of the Quan Fa master Chen Gempin. Kito Ryu (or
Fukuno Ryu) is not still in existence but may be preserved in the Judo
forms Kime no Kata, Koshiki no Kata and Ju no Kata. Kito Ryu would seem
to be a form of Pao Chuan (cannonfist) and I have theorised that Chen
Gempin may have been related to the Chen family of Taiji Quan fame.
Bushinkai classes in Manchester now include Karate classes and new Tai Chi classes. Both are taught according to the Bushinkai Method (the three sciences) - a systematic approach to self defence.
KARATE: BACKGROUND AND HERITAGE
"Hakuda Kempo Toshu Jutsu" is a system based on the original combat methods of Okinawa and southwest Japan.
Toshu Jutsu and Hakuda Kempo have largely been replaced my modern arts like Karatedo, Taekwondo and Judo, but the original combative systems did survive and are passed on today.
Headteacher Simon Keegan (5th generation inheritor of Bushin Ryu) holds the grades of 4th Dan Renshi in Shoto Ryu. His teacher Reiner Parsons Kyoshi (7th Dan) was graded by Ikuo Higuchi, successor to Okinawan master Makoto Gima, a student of Itosu and Yabe. Master Gima (along with Gichin Funakoshi) was among the first Okinawan masters to teach in Japan. Gima was also the first to be awarded 1st Dan blackbelt and the first to be awarded 10th Dan (Shoto Ryu or Shotokan) which was awarded to him by the legendary Tomari Te master Kanken Toyama. Another key influence on the style is Tadanori Nobetsu's Nisseikai, a Naha Te style which combines Goju Ryu with Feeding Crane Quan Fa. In addition to his Karate grade of 4th Dan Renshi, Simon also holds the grade of 2nd Dan in Nihon Jujutsu under the authority of the late grandmaster Shizuya Sato and 2nd Dan Judo awarded by the Kodokwan/European Ju Jitsu Union.
Simon's grades were endorsed by Japan's oldest association, the Kokusai Budoin presided over by the great grandson of the last Shogun. His 2nd Dan Karate was taken in Hirokazu Kanazawa's Shotokan division, 2nd Dan Jujutsu in Shizuya Sato's Nihon-den Jujutsu division, his 3rd Dan Karate was awarded in Tadanori Nobetsu's Nisseikai and Ikuo Higuchi's Shoto Ryu divisions.
Simon's title of Renshi (awarded to distinguished teachers after the grade of 4th Dan) was endorsed by Japan's original Budo institution, the Dai Nippon Butokukai.
Hand-to-hand combat has been formally studied in Simon's family for five generations - his great great grandfather studied 'boxing' in the Swedish Navy, his great grandfather and grandfather in the British Army; and his great uncle in the Navy before studying Jujutsu from 1945 with the Kawaishi Ryu. Simon's father David Keegan commenced Jujutsu study in 1959, and trained with a member of the Red Triangle (Shotokan Karate under Keinosuke Enoeda) in the late 1960s and has also studied Nunchaku, stickfighting and Iaido as well as becoming a Tai Chi headteacher. He gave Simon his first informal lessons in the early 1980s. Simon's uncle John also studied Shoto/Wado Karate at Ken Smith's Dojo in the North East becoming an early blackbelt, also grading under Enoeda. Simon's uncle Paul Keegan also studied Goju Ryu Karate.
Karate was introduced to Europe and Britain in 1956 and Simon has trained with some of the original practitioners of that generation including Hanshi Mitsuhiro Kondo and Hanshi T Wingrove.
Another primary teacher of Simon's for the last 12 years has been Robert Carruthers Kyoshi (7th Dan) who has studied Karate under a variety of masters including Shotokan (Enoeda), Wado Ryu (Suzuki) and also studied Ryukyu Kempo (Hogan) and Arnis (graded directly under Grandmaster Rene Tongson).
Simon is assisted in teaching Toshu Jutsu by three experienced black belt instructors, Dan Sanchez, Ben Gaunt and Peter McHugh.
TAI CHI: BACKGROUND AND LINEAGE
Karate can be pinpointed as being introduced to Britain in 1956, but Tai Chi Chuan (Taiji Quan) is less difficult to pinpoint. Of course it may have been taught behind closed doors in Liverpool and Manchester's China Towns for hundreds of years but we don't know for sure. In terms of being taught publicly we can look to the likes of Danny Connor of Manchester. In about 1972 he taught Wing Chun, Preying Mantis, Shaolin, Tai Chi and Hsing I. In 1974 Connor and Wado Ryu Karate instructor John Smith combined their resources and created a style called Bujinkai. One of the early students in this art was Simon Keegan's teacher Bob Carruthers who opened Cornwall's first ever Karate Dojo under the Bujinkai banner. Another name to consider is Rose Li who taught at Durham University when Simon's uncle John was on Harry Cook's Karate team there. In 1988 when Simon was eight or nine his father and uncle John went to China to live and work for a while where they saw firsthand the art of Tai Chi being practised there. John married a Yang style Tai Chi practitioner named Mei Kwan and lives there to this day.
In the mid 1990s when Simon was studying Karate with the Bushido Academy, his father joined a local Tai Chi school and in 1998 Simon also joined the club.
For nine years they were taught by a local couple who were both world champions as well as their senior student who was a European champion. They were students of Professor Li De Yin who created the 42 and 48 Taiji forms and whose uncle Li Jian Jie created the 88 and 24 forms based on his father Li Yu Lin's study of the traditional Yang and Sun styles.
Aside from the three instructors Dave was regarded by most of the class as the senior student and as well as the formal classes the class in informal practice groups with Dave as senior.
They attended seminars with masters like Zhang Xiu Mu and several with Professor Li De Yin and his daughter Hui and also competed in the Euro championships in front of mayors and dignitaries from Shanghai.
In 2003 Simon's Karate class affiliated to the Japanese Kokusai Budoin who expressed an interest in Taiji Quan on their seminars. A few years later Dave was offered the grade of 2nd Dan in Taiji and invited to grade for his 3rd Dan. Dan grades (sometimes called Duan grades) are a recent innovation in Chinese martial arts and so Dave was a pioneer in this field since he was the first person ever to be awarded a Chinese grade in Kokusai Budoin's 50 year history. When Simon began teaching he refused any Dan grade recognition in Taiji and accepted only the lowest possible teaching grade - a purple sash and in the following years took formal gradings for his three brown sashs, and black sash.
In 2006, they left the school they were with and the Bushinkai Academy was divided into the White Lion Academy (Simon's Manchester club) and the Metal Tiger Academy (Dave's Wigan clubs).
Simon's emphasis is on Taiji Quan for self defence focussing around Yang style applications while Dave's emphasis is on Taiji for health including Qigong and the Ba Duan Jin.
In 2007 the year Simon received his 4th Dan in Karate, Dave was awarded his 4th Duan in Taiji. In 2011 Dave graded Simon and awarded him the 2nd Duan in Taiji Quan. Today Simon teaches Toshu Jutsu and Taiji Quan in Manchester on Tuesday evenings and Dave teaches Taiji for health in Wigan on Thursday and Friday evenings.
Bushinkai Headteachers:
Principal: Sifu David Keegan: Qinghu—si duan (4th Duan Yang style Taiji) SC1 Senior International Instructor Technical Director: Chinese Martial Arts (United Kingdom Budo Federation)~ Director: The Empire Martial Arts Association
Chief Instructor: Kaicho Simon Keegan: 4th Dan Renshi Shoto Ryu Karate Jutsu 2nd Dan Nihon Jujutsu, 2nd Dan Judo, 2nd Dan Taijutsu Yinying—er duan: (2nd Duan Taiji Quan) SC1 Senior International Instructor Technical Director: Karate & Jujutsu (United Kingdom Budo Federation, British Jujutsu Federation, International Toshu Jutsu Federation) Director: The Empire Martial Arts Association
Who are the most influential Karate masters who ever lived? Some may say Chuck Norris, Lyoto Machida or Mister Miyagi, but here Simon Keegan looks at those who single handedly made Karate what it is and what it has been. The top 10 may surprise you:
1) Sokon "Bushi" Matsumura (Shuri Te)
Matsumura Bucho is undoubtedly the most influential Karate master who
ever lived. While we can say that without Gichin Funakoshi there would
be no Shotokan, without Matsumura there may very well be no Karate at
all. Matsumura was to Karate what Bruce Lee was to Jeet Kune Do or what
John L Sullivan was to boxing.
Matsumura pieced together no less than five different arts to radically
change them into something we know today as Karate. His life spanned
almost all of the 19th century (1798–1890) therefore he was contemporary
to three different generations of masters.
Before Matsumura there were perhaps two or three different kata that we
know of practised in Okinawa. Something resembling Wansu (Empi) was
practiced in Tomari, something resembling Kushanku (Kanku Dai) was being
developed in Shuri and there may have been some Chinese boxing
practised in Naha and some Okinawan folk dances practiced within the
Motobu family.
Matsumura began by studying these forms but then refined them in a way
nobody else had. He travelled to China in 1828 and studied Fujian forms
such as Seishan (Hangetsu), Useishi (Gojushiho), Jutte and Sanchin with a
master named Iwah - these were integrated into his teachings and
Seishan became a fundamental kata with Gojushiho considered the most
advanced.
But he did not stop there. In Okinawa he also trained with a master
named Ason and subsequently created another fundamental form - Naihanchi
(Tekki), with a master named Anan and was instrumental in forms such as
Chinte and Chinto (Gankaku).
Already teaching a rich mix of Chinese and Okinawan forms, Matsumura did
not stop there. He journeyed to Japan and studied in Satsuma in the
Koryu style of Ko-Jigen Ryu. There he studied a variety of weapons and
may have introduced the Makiwara to Okinawa.
Matsumura taught empty handed combat and self defence. He worked as a
bodyguard in Shuri Castle and was universally feared and respected. Even
Matsumura's wife was said to be of the most fearsome fighters in
Okinawa. He taught weapons forms, such as the Bo and some accounts
suggest he would also hold a long hairpin in his hand while performing
forms.
In terms of kata he taught Pinan Shodan, Pinan Nidan, Naihanchi, Seishan, Bassai, Jutte, Kushanku and Useishi.
Karateka in Shuri like Itosu and Azato looked up to Matsumura as their
teacher and he was also senior to Tomari masters like Matsumora and Naha
masters like Seisho Aragaki.
He also taught some of the next generation of instructors, like Funakoshi, Motobu and Kyan.
With his trips to Fujian, Matsumura opened the door for future masters and essentially created the way we practice Karate.
2) Yasutsune Itosu (Shorin Ryu)
Itosu took Karate out of the backyards and castle courtyards and into
the schools and academies. A student of both Shuri Te and Tomari Te he
was feared and respected for his strength and power. He evidently had an
academic approach to Karate that had never been seen before. Studying
under the likes of Matsumura, Nagahara and Gusukuma, he formulated what
we now know as Shorin Ryu. Many of his students went on to form their
own styles including Funakoshi (Shoto Ryu), Mabuni and Shiroma (Shito
Ryu), Chibana (Kobayashi Ryu), Kanken Toyama (Shudokan) and he also
taught Motobu, Yabu, Chomo and Kyan. Itosu was also friends with a
number of other masters including Azato and Higaonna.
He also created/standardised the five Pinan (Heian) katas as well as
creating or modifying Tekki Nidan, Tekki Sandan, Bassai Sho, Kanku Sho,
Jion and Jin.
He is perhaps responsible for the Shotokan idea of toughened forearms,
hard blocking, "one hit one kill" punches and he perfected the kata
Naihanchi (Tekki Shodan, Nidan and Sandan) to the point that it would be
taught solely for the first decade of study.
3) Gichin Funakoshi (Shoto Ryu)
The man who inspired Shotokan, Shotokai and Shoto Ryu Gichin Funakoshi
is listed higher than any of his peers on this list. If this list were
about who was the best fighter or who knew the most his position may be
lower but in terms of being influential, Funakoshi is not far behind his
teacher Itosu or his teacher Matsumura.
He wasn't the first to write Karate as "empty hand" instead of Chinese
Hand (that was Hanashiro Chomo), he wasn't the first to write a
commercially available book on Karate (that was probably Choki Motobu)
and he may not have even been the first to demonstrate Karate in Japan -
but he was certainly the first to move Karate into the Japanese
mainstream.
Funakoshi took Karate from being a Jutsu to being a "Do" like Judo and
Kendo. He standardised Karate. He was the first to insist on wearing a
gi and the first to award black belts in the art.
Inspired by his teachers Azato, Itosu and Matsumura and his friendliness
with other masters like Miyagi, Mabuni and Kojo allowed him to take a
wealth of material and make it into an activity that could be practiced
on a wide scale.
Funakoshi did for Karate what Kano had done for Judo.
Funakoshi also inspired other styles. He taught the founder of Wado Ryu
(Ohtsuka), the founder of Yoseikan (Mochizuki), the founder of Taekwondo
(Choi) and even taught some of the first generation of Japanese pro
wrestlers!
His approach even seemed to influence those who did not approve of his
methods. Okinawan masters like Motobu, Chomo and Yabu met in Okinawa to
discuss the "situation in Tokyo" and by the end of the meeting all
agreed to call their art Karate-Do, standardise kata and generally teach
more like Funakoshi!
4) Kenwa Mabuni (Shito Ryu) Founder of Shito Ryu also taught founder of Shukokai. Taught the advanced katas Nijushiho and Gojushiho to Shotokan seniors, making them part of the JKA syllabus.
5) Hironori Ohtsuka (Wado Ryu) Jujutsu grandmaster and Shoto Ryu stylist became founder of the first ever Japanese Ryu of Karate, recognised by Dai Nippon Butokukai and Kokusai Budoin
6) Chojun Miyagi (Goju Ryu) Founder of Goju Ryu and forefather of Goju Kai.
7) Seisho Aragaki (no named style) Taught Higaonna Kanryo, Gichin Funakoshi, Kenwa Mabuni and countless others. Headlined the first ever public demo of Karate. Probably introduced Unsu, Sochin, Nijushiho and Wankan to Okinawa and also taught Seiunchin, Shisochin and Seishan.
8) Higaonna Kanryo (Naha Te) Master of Sanchin and Suparimpei taught Chojun Miyagi
9) Choki Motobu (Motobu Ryu) Won respect for Karate in Japan by beating a boxer half his age. Wrote one of the first books on Karate. A notorious streetfighter also taught Hironori Ohtsuka (Wado Ryu) and Shoshin Nagamine (Matsubayashi Ryu).
10) Masatoshi Nakayama (JKA Shotokan) Picking up the reins of Gichin Funakoshi's pioneering son Gigo, Nakayama led the JKA to a worldwide domination of Karate. Taught Hirokazu Kanazawa, Keinosuke Enoeda as well as Shirai and Kase.
In a previous blog post I described "Hakuda Kempo Toshu Jutsu" as a true system of Karate, detailing our lineage in Shoto Ryu, our kata, our influences and our curriculum. But HKTJ is also a system of Jujutsu, specifically a style we call Bushin Ryu. I would now like to describe in some detail our Jujutsu influences.
In the 1800s my great great grandfather August Nilsson was in the Swedish navy where he studied unarmed combat and stick fighting (to replicate the fencing of the boarding-sabre or cutlass). Skandinavian sailors like himself travelled far and wide and many even made it to Okinawa where some met Okinawan women and their offspring where an unusual mixed race of Swedish-Okinawan called aoinagi who were not entirely well excepted. One of these aoinagi was a Karate master called Itoman Bunkichi and even Hanshi Kim (Weaponless Warriors) refers to one Karateka being on the receiving end of a "Danish kiss" (headbutt). In my great great great great grandfather's generation one branch of the Nilsson family arrived in Okinawa where they lived for a generation before returning to Sweden. My great great grandfather came to England and taught his son WH Nelson to box. Nelson was in the infantry in World War I, serving with the King's Regiment at a time when military unarmed combat first came to be influenced by Jujutsu which had been introduced to Liverpool in 1906 by G Koizumi. My grandfather Jim Nelson told me that as children he and his brothers were taught to box (unarmed combat) by their father and grandfather and that their father had boxing gloves hanging in his shed and that all the boys in the street would learn to box from him. When World War II begun by grandad also signed up with the infantry where he was again taught military unarmed combat in addition to rifle and bayonet combat. His younger brother, my great uncle Bill Nelson served in the merchant navy and like his grandfather travelled the world getting into scrapes. When the war ended in 1945 he found a Jujutsu school in Liverpool.
The school was the Kawaishi Ryu under G Skyner. Master Kawaishi later found fame as a Judo instructor but when he came to Liverpool in 1928 he was still teaching the Jujutsu he learnt under Yoshida Kotaro which was Daito Ryu, a style that has greatly influenced our school.
The lineage is as follows:
Sokaku Takeda (35th generation grandmaster of Daito Ryu) Yoshida Kotaro (grandmaster of Yanagi Ryu, master of Daito Ryu) Mikonosuke Kawaishi (grandmaster of Kawaishi Ryu, master of Judo) Gerald Skyner (Kawaishi Ryu professor) Bill Nelson (Kawaishi Ryu deshi, yudansha)
My dad also studied Jujutsu in Liverpool in around 1959. My dad, David Keegan has studied several martial arts including Taiji Quan, Hsing-I Quan, Eishin Ryu Iai Jutsu and also researched Bartitsu a Victorian-period Jujutsu style based on Shinden Fudo Ryu. Studying informally throughout my childhood, and adding to my study with various other arts like Chinese sword, fencing and boxing, I joined the Bushido Academy as a teenager.
My teacher taught me a freestyle system of Karate comprised of his varying experiences of many styles including Yoseikan/Budokan,Shotokan, Goju Ryu, Wado Ryu and Shukokai. He also taught a range of Jujutsu based skills based largely on his study of Rakukan Judo and Ki Aikido. Over the eight years I trained with him I tried to compartmentalise my training - traditional Karate on one side and "Bushido" (his name for the mixture of Jujutsu, Iaido, Judo, Aikido, Ninjutsu and other Japanese arts that we studied) on the other. Although we studied lots of weapons, the Aikido type techniques resonated the most and I found they complemented the Karate very well. My teacher's first style, a blend of Yoseikan/Budokan also included some Jujutsu. Back in 1995 when "grappling bunkai" was as rare as rocking horse droppings we were practising gedan barai as a throw. I gained my black belt in Bushido and freestyle Karate in 1999.
My next Jujutsu based system was Kiai Yamabushi Ryu. During my time with KYR I had chance to train with many other Jujutsu exponents such as Hanshi Carslake and Shihan Wilshaw. My Karate teacher Kyoshi Bob Carruthers was also studying Jujutsu himself and passing techniques onto us including Small Circle Jujutsu from Wally Jay. I was awarded the tradition menkyo "Mokuroku" (traditionally equivalent to 2nd or 3rd Dan) in 2002 which was comprised of 18 different martial arts.
I next joined Japan's oldest martial arts fraternity, the Kokusai Budoin. I had previously done a "Muso Jikiden Eishin Ryu" photoshoot with one of the Kokusai Budoin instructors, but my first course was with Aikijujutsu master Mitsuhiro Kondo (student of Minoru Mochizuki). My grade of 2nd Dan Nihon-den Jujutsu was accepted by the senior Jujutsu/Judo instructors J Hearn 8th Dan, D Wareing 6th Dan. I was under the direction of Shizuya Sato 10th Dan, a Nihon Jujutsu master who studied Judo with Ito and Mifune, Aikido with Tomiki and Wado Ryu with Hironori Ohtsuka. Due to my previous experience of Jujutsu, Judo and Aikido I was already familiar with all the main areas of Sato Sensei's syllabus.
In 2005 I met Hanshi Terry Wingrove (9th Dan Jujutsu), head of the International Ju Jitsu Federation who began his Jujutsu study in England with Kenshiro Abbe and Vernon Bell and later studied Yawara Jujutsu in Japan with Sato Kimbei. Much like the people I mentioned in my lineage like Kenji Tomiki, Minoru Mochizuki and Abbe, Sato (no relation to Shizuya) was also of the Daito Ryu lineage. Kimbei Sato also taught Hsing-I, an art I have also studied and the similarities between this art and his Yagyu Shingan Ryu are evident.
Hanshi Wingrove introduced me to quite a few senior Budoka, including Hanshi Patrick McCarthy (8th Dan Jujutsu, 9th Dan Karate), Alan Ruddock (6th Dan Dai Nippon Butokukai) a personal student of Aikido founder Morihei Ueshiba, and Allan Tattersall (9th Dan Dai Nippon Butokukai), the first man recognised by the DNBK as Soke of his own Jujutsu Ryu.
In 2007 as a 4th Dan I formulated the system Hakuda Kempo Toshu Jutsu to unite my studies of Karate, Jujutsu and Quan Fa into one effective system. In 2008 I held our club's 8th annual course at the DNBK UK Headquarters, 80 years after Master Kawaishi set up the Kawaishi Ryu in Liverpool where my great uncle trained. Master Kawaishi had also trained at the Butokukai so I felt this was a fitting "full circle" - 2008, 80 years since 1928 when Kawaishi came to Liverpool on the 8th anniversary of our club. Naturally I held the course on 08.08.08. Eight being a lucky number in Japan. I assumed the mantle of Kyoju Dairi (representative headteacher) of our family Jujutsu tradition Bushin Ryu which goes back five generations.
Five years later, there are now four other black belts in Bushinkai, Jamie Tozer, Dan Sanchez, Peter McHugh and Ben Gaunt. In their Dan gradings they were not only examined in Shoto Ryu Karate Jutsu but also in Bushin Ryu Jujutsu and received a special Bushin Ryu certificate from me, marking their progress in this tradition.
Much like in our ancestor school, Daito Ryu, students past 1st Dan also receive traditional menkyo which are Oku Iri, Mokuroku, Aikijutsu, Goshin Te, Bushin Ryu and so on. And like some of our ancestor schools like Daito Ryu and its derivatives, our catalogue of Aiki Jujutsu are based around a few basic controls.
Hakuda Kempo Toshu Jutsu is chiefly comprised of Karate Jutsu (Toshu Jutsu) and the Jujutsu that was practiced in South West Japan (Hakuda Kempo) but Bushin Ryu includes an entire warrior tradition and its own Bugei Ju Hapan.
Hakuda Kempo Toshu Jutsu is a traditionally taught Karate system owing its origins to Shoto Ryu and many other styles of Karate including Goju Ryu, Shorin Ryu and Shotokan; Japanese styles such as Aikijujutsu, Jujutsu and Judo and various Chinese forms of Quan Fa.
However there are various aspects that make Toshu Jutsu a true "system" and not just a "hotchpotch."
These are:
1) The traditional focus around Kata of a single school - Shorin Ryu - with a clearly defined lineage 2) The theoretical commitment to a quantifiable method underpinning the system 3) A methodically taught and graded syllabus and curriculum 4) A clearly defined purpose and mission statement 5) A coherent system that is none-contradictory and every technique has a place
1) The traditional focus around Kata of a single school - Shorin Ryu - with a clearly defined lineage
The first two kata Pinan Nidan and Pinan Shodan (renamed Heian Shodan and Heian Nidan by Funakoshi) have been in the system since at least 1850. They were practiced by Matsumura, (b1798) passed on to Itosu, Azato and Kyan and brought into the Shoto Ryu and Shito Ryu systems by Funakoshi and Mabuni respectively. The next three kata, Sandan, Yondan and Godan were developed by Itosu in around 1890 and became important introductory forms in Shorin Ryu (both Kobayashi Ryu and Matsubayashi Ryu), Shoto Ryu, Shito Ryu and Shukokai.
Naihanchi (Tekki) was introduced to Shuri Te and Tomari Te in around 1840 by a Chinese master called Ason. From thereon it became an important form to masters like Matsumura, Matsumora and Motobu. It may have been Itosu's favourite kata (Tekki means iron horse and so does his nickname Anko) and was one of the first kata ever demonstrated in Japan, being performed by Shoto Ryu headmaster Makoto Gima in the 1920s. The next kata Fukyugata (Gekisai) was introduced into Shorin Ryu quite late (1940s) and is the first kata in some styles (such as Goju Ryu).
Bassai was an important kata in both Shuri Te and Tomari Te. It may have been introduced to Okinawa in 1828 by Matsumura and was also favoured by Motobu and Oyodomari. Master Funakoshi considered it an important kata and almost universally (Shotokan, Shorin Ryu, Wado Ryu, Shito Ryu, Shukokai etc) it is a prerequisite for black belt. Kushanku (Kanku Dai) was likely introduced to Shuri in about 1750 and was made famous by Tode Sakugawa, Chatan Yara and Matsumura. In some styles close to Matsumura, Kushanku is considered the most advanced kata, and Master Funakoshi may of been of this thinking in the 1920s as he demonstrated it in Japan. Like Pinan, Naihanchi and Bassai, Kushanku is usually considered mandatory for blackbelts. Our next kata Wansu (Empi) is often considered to be Okinawa's oldest kata and was said to have been introduced in the 1600s. It is associated with the Tomari area and is practiced in Matsubayashi Ryu, Shoto Ryu and Wado Ryu. Our next kata are strongly associated with a Naha Te master who is nonetheless important to Shorin Ryu (especially Shoto Ryu and Shito Ryu) named Seisho Aragaki. These kata are Wankan, Nijushiho and Seishan (Hangetsu).
So out of our first 13 kata, the oldest (Wansu/Empi) was introduced to Okinawa 330 years ago in 1682, the newest (Fukyugata/Gekisai) was formulated in 71 years ago in 1941, so our kata were formulated over a 260 year period.
My 2nd Dan grades were recognised in Kokusai Budoin (IMAF) by Hirokazu Kanazawa's Shotokan division. Kanazawa Hanshi (a student of Gichin Funakoshi) received his own grade from IMAF. as did the likes of Gogen Yamaguchi (founder of Goju Kai) and Hironori Ohtsuka (founder of Wado Ryu). I then took my 3rd Dan under Kokusai Budoin studying under Reiner Parsons (who was graded 5th Dan by Tadanori Nobetsu in Nisseikai, and 6th Dan by Shoto Ryu headmaster Ikuo Higuchi), and I was able to train directly under Japanese grandmasters such as Nobetsu. As a 4th Dan I was awarded the shogo title of Renshi under authority of Dai Nippon Butokukai, the same organisation that granted this rank to Gichin Funakoshi in 1938.
Pictured below: Makoto 'Shinken' Gima (seated) was a Shuri Te master who studied under Kentsu Yabu and Yasutsune Itosu. He later went to Japan with Gichin Funakoshi where the two gave the first public demonstration of Karate. He was the first man awarded a black belt by Funakoshi and later received his 10th Dan under Kanken Toyama. After the death of Funakoshi and the rise of JKA Shotokan and the Shotokai, Gima kept to the old ways with Shoto Ryu. Gima's senior student was Ikuo Higuchi (pictured on the far left of this picture). It was Higuchi who awarded the grade of 6th Dan to my teacher Reiner Parsons (7th Dan Kyoshi).
2) The theoretical commitment to a quantifiable method underpinning the system
In addition to the "Hakuda Kempo Toshu Jutsu" syllabus, our system is taught according to a self defence methodology called the Bushinkai Method which I have written at length about.
In a nutshell, the Bushinkai Method is comprised of:
- The Science of Violence. The theoretical and practical understanding of self defence and violence - The Science of Technique. The theory and principles behind efficient technique - The Science of Learning. Methods used for imparting and absorbing skills
Although I have coined the phrased "Bushinkai Method" and "The Three Sciences" it is my believe that all the most effective self defence systems have been such because of teaching these three areas. They are our equivalent of the driving test's "theory, practical and hazard perception."
Covering these areas ensures we are not just learning an "art" but rather becoming effective at self defence - the goal of the Toshu Jutsu masters of old.
3) A methodically taught and graded syllabus and curriculum
In Bushinkai, belts are not just for reward and gratification nor are they status symbols outside the Dojo. The grading system of Bushinkai is essential to the methodical learning of our art.
The curriculum of Toshu Jutsu is vast and the syllabus only represents a part of it. The curriculum is "everything" that we teach, whereas the syllabus is just a convenient cross section broken up into segments to facilitate learning.
With each grade comes a new kata, a new set of basics, perhaps a new weapons and a higher expectation of self defence capability and technical proficiency. Also as we advance there is more room for freedom, more room for specialism, and a greater sense of proficiency and knowledge.
With each grade students can monitor their progress with what they "must know, should know and could know."
4) A clearly defined purpose and mission statement
The purpose of Hakuda Kempo Toshu Jutsu is to teach a combat-effective self defence based system of Karate/Jujutsu.
We don't care to be the biggest or the most popular and we don't care to win competitions, neither do we care to be used as a babysitting service, a drop-in centre or a youth club. We respect instructors who teach children, respect competition fighters and respect those who teach particular professions, but that is not where we fit in. We are a self defence club aimed at adults. Our club is small but the quality is high. There is nothing wrong with teaching young children be we don't feel that is where our strengths lie.
We aim to "give back" to Karate by creating a system that is more efficient and well rounded than those that have gone before; while still staying true to the traditions and conventions of old styles such Shuri Te, Shorin Ryu and Shoto Ryu.
As part of the International Toshu Jutsu Federation we are part of a research group (kenyukai) charged with researching and furthering our historical understanding of the root arts of Karate.
As part of TEMAA and the United Kingdom Budo Federation we are able to cross-train with quality clubs in a range of other arts like Judo, Aikido, Jujutsu and Iaido.
5) A coherent system that is none-contradictory and every technique has a place
In some styles I have trained with in the past, the approach has been like this: The instructor, say a Karate instructor learns a new technique, say a Judo technique, and shoehorns this technique into what they teach. The technique may contradict what they usually teach but they are determined to teach their new trick.
Instead every technique is taught referencing the core system. For example the first throw we learn is Osoto Gari and this is related to our basic punch Oi Tzuki - it uses the same semi circular foot movement and the same "one hand pushing, one hand pulling action" - this is bunkai in its purest form. The second throw we learn is Tao Otoshi which relates to our basic parry Gedan Barai - in that it utilises a diagonal sweeping motion and Zenkutsu Dachi type posture.
This is in the spirit of the original Toshu Jutsu. Sokon Matsumura (my teacher's teacher's teacher's teacher) who studied many different arts and assimilated them all into his Shuri Te.
Matsumura began with Shuri Te in around 1811, studying under Tode Sakugawa (learning Wansu) and Chatan Yara (learning Kushanku). He then journied to China where he trained with Iwah in a style described by Mark Bishop as "a mix of southern Shaolin and Pakua", learning Seishan, Useishi and Jutte. When he returned he created his masterpiece Bassai Dai. But Matsumura did not stop there, he also trained with Ason learning Naihanchi and Anan learning Chinto and Chinte. Finally he journied to Japan and mastered Jigen Ryu swordsmanship. Matsumura did not teach 5 different arts, he assimilated all his knowledge into one coherent system which became Shorin Ryu, the art which gave us Shoto Ryu, Shotokan, Shito Ryu, Shukokai, Yoseikan, Budokan, Matsubayashi Ryu and Kobayashi Ryu.
Toshu Jutsu returns us to the original source of Karate. We do not teach the branches or the twigs - we teach the trunk, the trunk that is our system.
The White Lion Hypothesis is the theory that many of the Karate forms practised today originate in a Chinese art called White Lion Boxing.
I first began to explore this hypothesis when looking at the origin of the kata Bassai Dai and Bassai Sho.
Okinawan researcher Akio Kinjo states that Bassai or Passai may be a Fujian dialect translation of "leopard lion" (pao shi) and notes that some of the lifting and stomping movements are similar. Kinjo says it was pronounced as 'baoshi' in Manderin, 'Baasai' in the Fushou dialect and 'pausai' in Quan Shous dialect. Kinjo, a respected researcher, believes that the movements of the kata also resemble the leopard boxing of China. The Leopard style uses a lot of blocking and striking while standing in a cross leg stance, for instance. He also points out that the lion boxing style is well represented, as it holds a great deal of openhanded techniques while using a stomping action.
Personally I would favour the translation white lion (white can variously be bai, pai, pa, haku, ba, ha, in Chinese, Okinawan and Japanese) which would also be more in keeping with other Chinese style names like white crane, black tiger etc.
But we may also note that the form of internal Kung Fu Baji Quan has two kata called Baji Da and Baji Xiao which are comparable to Bassai Dai and Bassai Sho.
The interesting this is that Baji Quan is actually a modern name for an older system called Bazi Quan.
Because it uses a clawing motion, Bazi Quan is translated as "rake boxing" but Bazi could equally be translated the same way as Bassai - as white lion. The raking action being representative of the lion's claw.
The second kata that shows the "lion" influence is the Goju Ryu form Saifa. Often translated as "smash and tear" this kata is actually more likely to mean Sai Fa (lion method) which Fa used as in Quan Fa.
Sai in the Fujian dialect is the equivalent of the Cantonese Shi which is also written as Shishi.
And this is where we see this syllable again.
Of course "shi" is often said to mean "four" which of course it does, but consider what new meanings our kata could have if we translated this as lion.
Useishi (the old name for Gojushiho) is translated as 54 steps and pointed out to resemble tiger boxing, but could Useishi be a translation of "shishi".
Naifanchi (the old name for Tekki, also written as Naihanchi) would take on a new meaning as Naifanshi (lion's inner claws). Even Seishan (Hangetsu) could take new meaning as Sai san (Three Lions).
Lion Boxing is of course well established in Fujian. A glance at the Bubishi reveals the Kata we practice today that have a Fujian origin (Useishi, Jutte, Niseishi, Sanchin etc) are derived from various styles of Lion, Crane, Dog, Tiger and Monk Fist Boxing.
Indeed Jin Shi Quan (golden lion boxing) is still taught in Fujian and one of the techniques that characterises it as Lion Boxing is the use of the arms like two large jaws of a lion. If you can't visualise what I mean, look at the Yama Zuki at the end of Bassai Dai. There's that link again.
The commentary reads: It reads: "Tiger Boxing also uses Saam Chien, Sanseiru, and Peichurrin, among others. Dog Boxing also uses Saam Chien and Sanseiru among others. Arhat Boxing, also known as Monk Fist, uses Saam Chien, Seisan, Jutte, Seipai, Ueseishi (Gojushiho), and Peichurrin among others. Lion Boxing uses Saam Chien and Seishan among others."
Kagoshima's striking system "Hakuda" which seems related to Karate.
Hakuda was essentially a brutal south west Japanese version of Jujutsu but known for its Karate-like strikes. The name Hakuda (haku da) white hand can be reversed as Shubaku (Shu baka) hand white.
Chojun Miyagi (Goju Ryu founder) referred to Hakuda as "Baida" (white hand) in the Chinese dialect and Kanken Toyama referred to it as Taku.
Haku: White Da: Hand
Shu: Hand Baku: White
Bai: White Da: Hand
Ba: White Sai: Lion Da: Hand.
Therefore Bassai Bai may mean "White Lion Hand" and Hakuda may also mean "White Hand".
Kanken Toyama, (pictured performing Useishi) who studied Taku (Hakuda) in Taiwan wrote in praise of Lion Quan, saying:
"If you are seized from behind by a thug, the most exquisite technique is the LION METHOD. Although there are many different techniques when being seized from the rear, the LION METHOD is the only method in which to repel an opponent and deliver a mortal blow."
The hypothesis that Bassai, Seishan, Naihanchi, Useishi and Saifa are derived from Lion Boxing is certainly an interesting idea and could give insight into some of the original meanings of the forms. Consider the lifting and pouncing of Bassai, the ripping and clawing of Seishan, the "inner claws" of Naihanchi and the majestic movements of Useishi... Is White Lion Boxing the missing link?
Sometimes fate can lead to an interesting discovery. My family's coat of arms is a white lion (Bassai) holding a half moon (Hangetsu) with a king's crown (Wankan) on top. This was the original reason why I called my club White Lion Academy (in the spirit of my father's club Metal Tiger Academy, named after his birth year) and began to research a possible link for Karate with this Quan.
If you look at pictures of Shuri Castle you will see carved in the stone, guardian lions. White Lions protecting the heritage of Shuri.
* In part two of this feature I will present theories on the lineage and transmission of White Lion Boxing to Okinawa.
Everything in martial arts is a cycle and everything in martial arts is a paradox.
We began our journey with Karate (or Toshu Jutsu) as a network of knowledge in Okinawa circa 1700-1870. In those halcyon days of Karate men like Hama Higa, Tode Sakugawa, Chatan Yara, Sokon Matsumura and Seisho Aragaki had a thirst for knowledge.
They didn't know where they would find their Holy Grail. The Okinawans looked to the Northern Shaolin Temple, to Beijing, to the Southern Shorei schools of Fujian, to the Jigen Ryu of Japan, to the fighters of Thailand, Vietnam and Taiwan. Karate was in a state of perpetual change. The more the Okinawans learnt about China and Japan, the more Okinawan Karate became.
Then in the early 20th century men like Itosu and Funakoshi set about standardising Karate, cleaning it up and making it palatable for mass consumption. Karate became a success, a sport, a way of building health, of making friends, of bonding.
But like every cycle, eventually Toshu Jutsu has come back to its root. Today in 2012, as half the Karate community dreams about their sport one day making it into the Olympics, those of us who would seek to emulate the original Okinawan way of approaching Karate are making slow and steady progress.
Not for nothing did I call my own system Hakuda Kempo Toshu Jutsu. My not using the term Karate is intentional. It is Karate but it isn't Karatedo.
The journey of discovering Karate's past is how we can secure its future.
THE SHORIN ORIGINS OF SHOTOKAN
Hirokazu Kanazawa, who received his 10th Dan from Kokusai Budoin (IMAF) journeyed to Okinawa to discover the source of his Shotokan.
He and his colleague Keinosuke Enoeda sought tuition from Shorin Ryu masters Chibana and Higa and Enoeda was declined.
Higa cited Mr Enoeda's "aggression" as the reason for not teaching him.
Chosin Chibana however agreed to teach Kanazawa in 1964.
In an interview with Graham Noble, Kanazawa told of his being impressed by the then 80 year old Chibana. Mr Kanazawa said: "We met him at his house, sitting round, drinking tea and talking, many questions. Sometimes the questions were not very good, but of course the students were young. But one asked a question about technique, and Chibana Sensei said, "OK you try and attack me, any technique." So the student went to attack, I'm not sure what attack, I think he tried to grab Chibana Sensei's wrist, but before he could get the grip--"Bam," he was thrown across the room. Chibana Sensei remained sitting down."
Like his teacher Itosu, Chibana could also thrust his fingers through a bundle of bamboo. Kanazawa said: "Some of the students held it and he hit it with nukite--Agh! Agh!--then kicking with his toes, his toes were pulled together like this, and Bang! Bang! I was surprised, and the students were--"Ohh!"
Mr Kanazawa also remarked that Chibana's stances were much higher than those of Shotokan, saying: "He thought that was better for power. He explained... when you are punching, your body must expand--Bam! so that your power goes in to the punch."
He added: "I think his training was reality training. That was my impression."
Comparing the Shuri Te (Shorin Ryu) with the Naha Te (Goju Ryu) he saw, Mr Kanazawa said: "Naha-te is I think more Chinese Style, the technique is more round, (circular). Shuri-te is maybe more Okinawan. Some Okinawan people say, "Our style is not from China we had our own Okinawan techniques. This is Shuri-te."
Mr Kanazawa is of course correct. As we saw in part 1, Shuri Te dates back to at least 1680, whereas Naha Te was very much the result of Chinese communities in Kume.
He added: "Naha-te is more from contact with China, Chinese technique and Okinawan technique brought together. Tomari was similar, close to China. Shuri-te is more in keeping with the original Okinawan karate. This is what they say, thought I don't know really."
Mr Kanazawa also advocated Karateka studying Tai Chi.
He said: "The reason I can still do karate at seventy-three years old is because I do tai ch'i. Tai ch'i is so different, extremely different from karate. In karate speed is very important, but in tai ch'i you much not use speed. Power is very important in karate, but in tai ch'i you must not use power: you must only move by intention, don't use muscle. Focus is very important in karate, but in tai ch'i you must not use focus: in tai ch'i before you can focus you are already starting the next movement. But of course I understand the reason for this. Because in karate "no focus," means that at any time you can make focus. If you move slowly and relaxed, any time (any instant) you can make speed. And if you really understand relaxing, you can really understand power. So by doing tai ch'i I can see my karate very well. So tai ch'i supports my karate."
Just like Mr Kanazawa attempting to discover the Shuri Te roots of Shotokan, various attempts have been made to discover the White Crane roots of Goju Ryu.
THE FUJIAN ORIGINS OF GOJU RYU
Tadanori Nobetsu (9th Dan Kokusai Budoin IMAF) founded the Nisseikai school of Goju Ryu in 1965. He did so by combining his study of Goju Ryu with the art of Feeding Crane Kung Fu.
According to Patrick McCarthy, the style of Kung Fu that Goju Ryu Karate was based upon was Whooping Crane (also called Calling Crane or Screaming Crane).
This art was based on the Fujian White Crane apparently passed to Ryuryu Ko by Pan Yuba who’s teacher was Lin Shixian (who was a student of Feng Qi Niáng, the originator of the first White Crane style).
Another branch, the one studied by Nobetsu Sensei, is the Feeding Crane tradition.
In 1922 four masters of Crane Fist from China's Fujian arrived in Taiwan They were Er-Gau, Yi-Gau, A-Fong and Lin Dé Shùn.
After his arrival in Taiwan Lin De Shun started to work for a sugar company and in 1927 Liu Gu (1900-1965) heard about the skills of that master, and immediately invited him to be his teacher, offering some expensive gifts. Liu learnt thee full syllabus and became the next grandmaster.
Liu Gu was succeeded by his son Liu Yín Shan and he by Liu Chin Long who is Nobetsu Sensei’s teacher.
An interesting aspect of Liu family Shi He Quan is that the family had a book called “The Secret Shaolin Bronze Man Book” – apparently almost identical to the Bubishi.
In his commentary of the Bubishi, Patrick McCarthy recalls: “Having met Liu Yinshan’s brother, Liu Songshan in Fuzhou, I came to learn of a “secret book” on gongfu that had been in the Liu family for the last seven decades. After meeting him in Fuzhou, hosting him at my home in Japan and visiting him in Taiwan, I have become familiar with that book, entitled The Secret Shaolin Bronze Man Book and can testify that it is, in almost every way, identical to the Bubishi. Master Liu’s Bubishi is dvided into 17 articles in three sections, whereas the Okinawan Bubishi contains 32 articles. However the same data is covered in both works though it is categorized differently.”
Tiger Boxing was another style that influenced both Karate (Uechi Ryu) and Feeding Crane was taught by Zhou Zi He.
Following in the footsteps of Aragaki and Higaonna, Uechi Kanbun arrived in Fujian and like them settled at the Ryukyukan, a Okinawan enclave of buildings including a boarding house, homes and businesses established for those who visited and lived in the area – including the famous Kojo Dojo.
Uechi didn’t like training at the Kojo Dojo because he was bullied so Uechi eventually became the student of Shu Shi Wa or Zhou Zhi He. Uechi's teacher, Zhou Zhi He (1874-1926) originated from Minhou, Fujian.
Zhou reportedly practiced Tiger boxing, in addition to hard and soft qi gong and was noted for his iron palm technique. It has also been speculated that Gokenki and Tang Daiji studied the same style as Zhou Zhi.
THE PRESENT DAY
I have ended this historical journey with Masters Kanazawa (to represent one modern face of Shuri Te) and Master Nobetsu (to represent one modern face of Naha Te) not for any other reason than they are a tangible link to the past.
Master Kanazawa is one of the few living masters to have trained with Shorin Ryu masters like Gichin Funakoshi, Choshin Chibana and Higa. Let us not forget, Funakoshi trained with Matsumura whose own training began in around 1812, therefore just from four generations we have 200 years of Karate history.
Master Nobetsu, as well as training with the likes of Yamaguchi and Asada is also a tangible link to Karate's Quan Fa origins.
They are also two masters with who's methods I am somewhat familiar. In the Shuri based traditions, Kanazawa is my teacher's teacher's teacher. In the Naha based arts, Nobetsu is my teacher's teacher. I have also graded in divisions headed by these two men.
In 2003 I was lucky enough to be accepted in the Tokyo-based Kokusai Budoin, where my grades which at the time were 2nd Dan, were recognised in Hirokazu Kanazawa's Shotokan Karate division, and in Shizuya Sato's Nihon Jujutsu division. I was lucky enough to train with masters like Tadanori Nobetsu (founder of Nisseikai Karate) and Mitsuhiro Kondo (one of the founders of the European Karate movement in 1956). Soon after I met the aquaintance of Terry Wingrove, one of the first generation of British Karateka circa 1957 and a man who trained 21 years in Japan in the old ways of Karate Jutsu and Yawara, and who introduced me at last to Patrick McCarthy who although I only trained with him in person one time, it was an honour to finally meet the man whose Bubishi I have long treasured.
AUTHOR'S NOTE:
The history that you have just read over 5 sections, is not just my school's history it is every Karate school's history. We are all brothers, sisters and distant cousins. Like my father and uncles, and great uncle before me, I have followed on the path of Karate, Jujutsu and Kung Fu and as well as my blood ancestors, the men I have mentioned in this piece are also my ancestors, my Budo ancestors.
My main teacher for my 32 years has been my father Sifu David Keegan. My main teachers for nine years each when I was a young man were Stephen Bullough (a system called Bushido comprising Karate, Judo, Aikido and Kobudo) and A McDonnell who taught me mostly Taiji Quan as well as some Hsing-I Quan and Chinese sword.
My principle teachers for the last ten years or so have been Shihan Robert Carruthers 7th Dan and Kyoshi Reiner Parsons 7th Dan.
Bob Carruthers Sensei commenced his Karate study in 1972 under British pioneers John Smith and Danny Connor. The system was Bujinkai, a mix of Wado Ryu Karate, Shotokan Karate and Preying Mantis Kung Fu. His next teacher in the 1980s was Shihan Phillip Handyside of the Shobukan school, whose style was based on the Shotokan of Hirokazu Kanazawa, and the Malaysian Budokan of Chew Choo Soot. Bob trained under various instructors, including Hakuda and Jujutsu master J Carslake who was on the panel that awarded him his 5th Dan, J Hogan (Ryukyu Kempo) who awarded him 6th Dan and currently with a group based in the Phillipines, headed by Grandmaster Rene Tongson and Angelo Baldisonne, who awarded Bob his 7th Dan and Shihan title. Bob's previous senior student Stephen Brennan introduced me to a type of Karate called Koryu Uchinadi and I have never looked back.
Reiner Parsons Sensei commenced his Judo study in 1960, followed by boxing and then Goju Ryu Karate in 1974, studying under various Liverpool Goju Ryu pioneers including the likes of Tony Christian, Bob Greenhalgh, Gary Spiers and Dennis Martin. He later trained in Goju Ryu and Kobudo with Morio Higaonna and Kai Kuniyuki and also trained in other styles with masters such as Kazuo Sakai (Wado Ryu Karate) and Shizuya Sato (Nihon Jujutsu). Reiner's main influence in Karate however has been Nisseikai master Tadanori Nobetsu who graded Reiner 5th Dan before he was awarded 6th Dan by Shoto Ryu master Ikuo Higuchi, the successor to Makoto Gima.
My father Sifu David Keegan first commenced his study of Jujutsu in 1959, spent some time training in the park with the Red Triangle Karate club (Masters Enoeda and Sherry) before studying various methods of weaponry. Travelling to China in the mid 1980s when his brother John Barrie (Shotokan black belt under Enoeda and Cook) he fell in love with the art of Tai Chi and later graded in Muso Jikiden Eishin Ryu Iaido. He currently practises Yang Style Tai Chi, Sun style Tai Chi, Chinese sword and various types of Chi Kung including the Ba Duan Jin, the Animal style of Huo Tao and various Shaolin methods.
These are the instructors who have taught me for any significant length of time. Others who have helped shape my understanding of Karate, Jujutsu, Kung Fu or other martial arts even if I have only attended brief or informal training or seminars with them including:
Tadanori Nobetsu, Patrick McCarthy, Jaimie Lee-Barron, Terry Wingrove, Joe Carslake, Shizuya Sato, Ray Walker, Jack Hearn, Mitsuhiro Kondo, George Scarrott, Mike Newton, Phillip Hanyside, Li De Yin, Alan Ruddock, John Dang, Nejc Sever, Bruce Miller, Zhang Xiu Mu and Allan Tattersall.
Funakoshi Gichin was an educated man and a modernist. He embraced the
modern age, did not cling to the old Samurai days but did embrace the
idea of Okinawans becoming Japanese.
He admired Jigoro Kano, founder of Judo for the way Kano had taken a
bunch of haphardly taught Jujutsu schools and distilled them into a
modern, standardised, international Budo form.
Funakoshi wanted to do the same for Karate. He wanted to take "Rentan
Goshin Tode Jutsu" or "Toshu Jutsu" and make it into "Karatedo" a
single, entity like Judo, with rules, a uniform and a Japanese sense of
etiquette.
But Funakoshi couldn't do it alone. And the first person who helped him
was a fellow student of Itosu named Makoto Gima who also knew his way
around Tokyo.
Makoto Gima was born on September 28, 1896 in Okinawa. After graduating
from Okinawa Shihan Gakko (Higher Normal Scool), Mr. Gima studied in
Tokyo at Shoka Daigaku (presently Hitotsubashi University). In 1912,
under the guidance of both Masters Itosu and Kentsu Yabe he began to
pursue Karate.
Jigoro Kano requested a karate demonstration at the Kodokan (Judo
headquarters). As Master Funakoski's assistant, Gima demonstrated the
kata Tekki Shodan, while Master Funakoshi demonstrated Kanku Dai.
for the purpose of karate expansion in Japan, Mr. Gima participated as a
partner with Master Funakoshi. In March 1923, Master Funakoshi promoted
Makoto Gima to the rank of first degree black belt. Funakoshi himself
had received a "Renshi" grade from the Dai Nippon Butokukai which
implied he was at least 4th-6th Dan.
The second man we should mention is Hironori Ohtsuka.
In 1921, Ohtsuka had received the menkyo kaiden (certificate of mastery
and license to teach) in Shindo Yoshin Ryu Jujutsu and in 1922, began
training in Shotokan karate under Funakoshi.
By 1928, Ohtsuka was an assistant instructor in Funakoshi's school. He
also trained under Chokii Motobu - a decision which didn't go down well
with Funakoshi.
Upon hearing that Funakoshi had received a Renshi grade, Motobu remarked, "what does that make me then? a 10th Dan?"
Funakoshi considered Motobu and uneducated pleb and Motobu considered
Funakoshi a weak Karateka. Motobu would often challenge Funakoshi to
"friendly" bouts of pushing hands and wrestling drills in order to
humiliate him.
In 1930, Funakoshi established an association named Dai-Nihon Karate-do
Kenkyukai to promote communication and information exchange among people
who study karate-do.
The Kenkyukai eventually became Shotokai, and in 1939, Funakoshi built
the first Shotokan dojo (training hall) in Tokyo. Makoto Gima also began
to refer to his art as Shoto Ryu. But we should note that Funakoshi
himself never referred to his art as Shotokai, Shotokan or Shoto Ryu. He
called himself Shoto as a nickname but only ever wanted his art to be
called "Karatedo" in the way that Jigoro Kano only referred to Judo not
"Kano Ryu Judo."
Another early student of Funakoshi's was Minoru Mochizuki, later founder
of Yoseikan, and the only Budoka considered to have mastered Judo,
Aikido, Karate, Kendo, Iaido and Kenjutsu. It is possible Mochizuki
received a Karate lesson as early as 1924 since his Judo teach Toku
Sanpo was Okinawan. We might suggest that an Okinawan martial artist
would have been very likely to have known at least a little Karate.
In the 1920s another Okinawan began teaching in Japan, he was Kenwa
Mabuni. Like Funakoshi and Motobu he was also a student of Itosu. If we
can say anything about Mabuni it was that he was a walking directory of
kata. Studying almost every style on Okinawa, under Itosu, Higaonna,
Aragaki and Gokenki he may have known upwards of 70 kata. Even Funakoshi
sent his own sons to train with Mabuni to learn new kata (the Aragaki
ones) since Funakoshi only knew in the region of about 12.
Funakoshi's art was beginning to be known as Shoto Ryu (much to his
dismay), Chojun Miyagi's Naha Te based art was now called Goju Ryu (via
his Japanese representative Gogen Yamaguchi), Hironori Ohtsuka's mixture
of Jujutsu and Karate was now called Wado Ryu and Kenwa Mabuni's
mixture of Itosu and Higaonna styles was now called Shito Ryu. Minoru
Mochizuki would later follow with Yoseikan Ryu, Kanbun Uechi with Uechi
Ryu and so on.
However this was mostly happening in Japan. Karate was very much still
thriving in Okinawa. Men like Hanashiro Chomo (Shorin Ryu), Chojun
Miyagi (Goju Ryu) and Choki Motobu (Motobu Ryu) saw what was happening
in Japan and it would seem their views were mixed.
On one side, they didn't seem to appreciate Funakoshi and Mabuni
standardising Karate and making it popular. On the other side.... they
wanted in.
In 1936, a local newspaper in Okinawa held a meeting of the island's leading Karate masters.
They included:
Chomo Hanashiro (Shorin Ryu senior student of Itosu)
Kyan Chotoku (Tomari Te student of Matsumora and Itosu)
Choki Motobu (Tomari Te student of Matsumora, Itosu and Matsumura)
Chojun Miyagi (Goju Ryu. Student of Higaonna)
Juhatsu Kyoda (To-on Ryu. Student of Higaonna)
Choshin Chibana (Shorin Ryu student of Itosu)
Shimpan Gusukuma (Shorin Ryu student of Itosu. Not to be confused with earlier Gusukuma)
Genwa Nakasone (representing Kanken Toyama - more on him later)
Chotei Oroku
Nakasone remarked that the instructors in Tokyo (ie Funakoshi) were
calling Toshu Jutsu (also pronounced Toshu Jutsu or Karate Jutsu)
"Karate" (empty hand rather than Chinese Hand) and he thought that was a
good idea.
Hanashiro Chomo, concured saying lots of people just called it Te anyway.
Chojun Miyagi stated he called it Chinese Hand but saw no problem changing, considering Jujutsu and Hakuda had changed to Judo.
Kyoda however felt most Okinawans would oppose calling it by a new name
and felt more research was needed. But Chomo said he himself had used
"empty hand" as early as 1905.
Gizaburo Furukawa, Supervisor of Physical Education of Okinawa
Prefecture, stated that he thought Okinawan Karate should be unified,
saying: "There are a lot of Ryu or styles in karate now. I think we have
to unify them at any cost. I hear there are small differences between
Shuri style karate and Naha style karate. I think both styles should be
unified and we should make Kata of Japanese Karate-do. In the old days,
we had about 200 styles of Kendo (= swordsmanship), but now they have
been unified and we have the standard Kata of Japanese Kendo. I think
karate would become popular all over the country if we had the unified
Kata. For example, we can newly establish ten Kata as Japanese Karate.
The name of each Kata should be changed into Japanese, such as
Junan-No-Kata (soft and stretch kata), Kogeki-No-Kata (= offensive kata)
and so on."
Obviously this idea did not exactly catch on...
Miyagi said he agreed with some things, such as a standardised uniform,
but didn't just want to invent new kata, saying: "As to karate clothes,
we also would like to make karate uniform soon as we often have
problems. As for terminology of karate, I think we will have to control
it in the future. I am also advocating it, and I have been making new
technical words and promoting them. Regarding Kata, I think traditional
Kata should be preserved as old or classic Kata."
Shortly after this meeting new styles of Karate emerged in Okinawa along
with the already strong ones like Goju Ryu and To-on Ryu.
Chosin Chibana called his style Shorin Ryu, basing it entirely on
Itosu's teachings. The characters Shorin can also be read Kobayashi.
Shoshin Nagamine, a student of Choki Motobu and Chotoku Kyan also called
his art Shorin Ryu, but used the syllable Sho (Matsu) rather than Sho
(Ko) in order to pay homage to Matsumura and Matsumora. Therefore this
school is also called Matsubayashi Ryu.
Therefore among the original Karate styles and their founders were, in no particular order:
Goju Ryu (Chojun Miyagi. Largely based on Naha Te and White Crane)
To-On Ryu (Kyoda. Largely based on Naha Te)
Ryuei Ryu (Norisato. Largely based on Naha Te)
Shoto Ryu (Funakoshi and Gima. Largely based on Shuri Te and Tomari Te)
Kobayashi Ryu (Chosin Chibana. Largely based on Shuri Te and Tomari Te)
Matsubayashi Ryu (Shoshin Nagamine. Largely based on Motobu Ryu and Tomari Te)
Wado Ryu (Hironori Ohtsuka. Largely based on Shoto Ryu and Jujutsu)
Yoseikan Ryu (Minoru Mochizuki. Largely based on Shoto Ryu, Aikido and Judo)
Uechi Ryu (Kanbun Uechi. Largely based on Naha Te and Pangainoon)
Shudokan (Kanken Toyama. Largely based on Itosu, Higaonna and other arts)
There were also notable derivative styles, such as Kyokushin (largely a
mix of Shotokan and Goju Ryu) and Shukokai (originally Chojiro Tani's
branch of Shito Ryu) as well as Malaysian Budokan which was developed by
Chew Choo Soot, a student of Takamizawa whose main teacher was Kanken
Toyama.
Ironically two styles that came later were founded by descendants of
Sokon Matsumura. They were Chito Ryu, founded by Tsuyoshi Chitose and
Matsumura Orthodox Shorin Ryu, founded by Hohan Soken.
There were other martial arts of course arriving later in Okinawa and
Japan which resembled Karate, including Shorinji Kempo, Taikiken and
Akio Kinjo's Jukendo, but the above are the main arts from which other
styles developed.
While the likes of Gichin Funakoshi and Mabuni were pushing Karate on
the "mainland", in Okinawa, many Karate looked to Kanken Toyama for
leadership.
Kanken Toyama, was born in Shuri, Okinawa on the 21st year of Meiji,
September 24, 1888. His given name was Kanken Oyadamari and he born into
to a noble family.
In 1897 Toyama Kanken began his formal training in Toshukuken (Toshu
Jutsu or Karate) under Master Itarashiki. Later, he apprenticed himself
to Anko Itosu, who then became his primary teacher and was his
inspirational guide. He continued studying under Itosu until Itosu's
death in 1915.
In 1907 Toyama was named Shihandai (assistant) to Itosu at the Okinawa
Teacher's College in Shuri City, and in 1914 he held a high office at
the Shuri First Elementary School. Toyama was one of only two students
to be granted the title of Shihanshi (protege); Gichin Funakoshi was the
other to receive this title from Itosu.
In 1924 Toyama Kanken moved his family to Taiwan where he taught
elementary school and studied related systems of Chinese Ch'uan Fa
(Kempo). This included Taku (Hakuda), Makaitan, Rutaobai, and Ubo. Taku
is one of central China's Hotsupu (northern school) Ch'uan Fa and is
further classified as Neikung Ch'uan Fa (Shorei Kempo), that is, an
internal method. Makaitan and Rutaobai, which the techniques of nukite
(spear hand) came, and Ubo, all belong to the Nampa (southern school)
Ch'uan Fa and are external methods or Waikung Ch'uan Fa (Shorei Kempo).
These later three styles hail primarily from Taiwan and Fukuden, China.
Toyama sensei was also known to have studied and taught Tai Chi.
Early in 1930 Toyama moved again from Taiwan to mainland Japan and on 20
March 1930 he opened his first dojo in Tokyo. He called his dojo Shu Do
Kan meaning "The Hall for the Study of the Way" (in this case the
karate-way).
In 1946, Toyama Kanken, now a Dai Shihan, founded the All Japan
Karate-Do Federation (AJKF). Toyama's intention when establishing the
AJKF organisation was to unify the karates of Japan and Okinawa into one
governing organization, providing a forum for the exchange of ideas and
technique.
Toyama's specialties in karate-do were strong gripping methods, Useishi
No Kata [Gojushiho] and the Aku Ryoku Ho of Itosu and Itarashiki and
similar Chinese methods of finger and hand strengthening. He was the
author of books Karate-do Taihokan and Karate-do.
In 1949 Toyama was awarded a special title of honor by the Governor of
Okinawa, Mr. Shikioku Koshin. Aside from learning Shorin-Ryu from Itosu,
Toyama studied and mastered other styles of karate from other notable
masters of Naha-te and Tomari-te which also included Okinawan Kobudo. A
few of his other teachers were Aragaki, Azato, Chibana, Oshiro, Tana,
and Yabu. It is also thought that when the Korean (Ch'uan fa) master,
Yoon Byung-In came to train at his gymnasium, he also studied Northern
Manchurian Kwan-bop with him. Toyama therefore was also an ancestor of
Taekwondo.
While Karate was taking over the world, men like Kanken Toyama meant it was in good shape in Okinawa.
Meanwhile upon Gichin Funakoshi's death in the 1950s, his students descended into bickering factions.
In previous articles I have written about Karate (to be precise Yoseikan
Ryu) arriving in Europe and Britain in 1956 so I won't hammer that
point here. Except to say the movement was led by Hiroo Mochizuki,
Tetsuji Murikami, Mitsuhiro Kondo, Shoji Sugiyama, Henri Plee, and Jim
Alcheik.
By the 1960s, arts like Shotokan, Shotokai, Goju Ryu, Wado Ryu, Uechi
Ryu, Kyokushin, Shukokai, Budokan and their cousin arts like Tang Soo Do
and Taekwondo were being taught in just about every country in the
civilised world.
Shotokan was one of the most "forward at coming forward" with masters
like Kanazawa, Enoeda, Shirai and Kase spreading the art throughout the
world under the watchful eye of Masatoshi Nakayama.
In Britain, among the early notable and early practitioners of Karate included, in no particular order:
Vernon Bell
Terry Wingrove
Martin Stott
Danny Connor
Charles Mack
Roy Stanhope
Michael Randall
Stan Knighton
Ticky Donovan
Ronnie Colwell
Andy Sherry
John Van Weenan
Tommy Morris
John Smith
Terry O'Neill
Steve Morris
By the 1970s, Japan had no sense of superiority in Karate. The art had
very much become an international sport. The England Karate team
defeated the Japanese team. To make matters worse Karate was becoming
the poor relative of Kung Fu.
However Karate had not completely become just a sport. The old ways of
Karate Jutsu still existed for those who bothered to look for them.
In Part 1, we met the pioneers of the 1700s, including Hama Higa, Takahara Peichin, Chatan Yara and Tode Sakugawa. In Part 2 we met the pioneers of the early 1800s including Bushi Matsumura, Bushi Kojo, Kosaku Matsumora, Oyadomari and Seisho Aragaki.
Conventional history states that Shuri Te came into being when it was inherited from Matsumura by Itosu, and Naha Te came into being when Kanryo Higaonna went to China in the 1870s. As we have seen, this isn't the case.
The true fathers of Naha Te were the Kojo family and Aragaki, and Itosu was far from being only a disciple of Matsumura.
Anko Itosu (born 1831) began to study the martial arts in Tomari Te with Nagahama Chikudon Peichin. After taking and passing civil services exams he became a clerk for the Ryukyu government. Itosu continued his training in the martial arts, again in Tomari Te with Matsumora Kosaku and Anan in 1873 (Sakagami). He may, in fact, have begun training with the legendary Sokon "Bushi"Matsumura when in his late thirties.
According to Choki Motobu, Matsumura did not originally think very highly of Itosu. He wrote: "Sensei Itosu was a pupil of Sensei Matsumura, but he was disliked by his teacher for he was very slow. For although Itosu sensei was diligent in his practice his teacher did not care about him so he (Itosu) left and went to sensei Nagahama."
According Motobu, while Sensei Nagahama was quite well known and very diligent, his method or idea of teaching was entirely different from master Matsumura. Nagahama stressed just building of the body. Apparently Itosu adjusted well and trained hard for Motobu reports that Nagahama referred to Itosu as his disciple and "right hand man." It must have been a shock when Nagahama told Itosu on his deathbed (as reported by Motobu), that he had actually only taught him (Itosu) strength building and had never once given thought to actual combat. In other words his method lacked the idea of liberty in motion and alertness in action, and therefore he wanted him to go back to master Matsumura.
Chosin Chibana recalled a similar exchange between the two men. Matsumura had once said to Itosu: "With your strong punch you can knock anything down, but you can't so much as touch me."
By the 1870s, Shuri Te and Tomari Te were more or less combined into one school with a repertoire of forms very much resembling modern day Shotokan.
Itosu himself set about creating new forms. He increased the number of Pinan forms to five, added Kanku Sho to go with Kanku Dai, and created Chinte to go with Chinto.
The Itosu school of Shuri/Tomari Te included around 20 kata including:
Pinan 1-5 (Heian) Naihanchi 1-3 (Tekki) Bassai Dai and Sho Kanku Dai and Sho Jutte, Jin, Jion Wansu (Empi) Chinto (Gankaku) Chinte Gojushiho
Meanwhile in Naha, a student of Seisho Aragaki named Higaonna Kanryo decided to follow in the footsteps of Aragaki, Matsumura and Kojo and go to train in Fujian.
We should note here that Higaonna was already studying in Naha with Aragaki. His repertoire was already quite vast. Therefore when he met the aquaintance of his teacher Ryuru Ko, he did not do so as a beginner.
Another man from Naha named Nakaima Norisato (later of Ryuei Ryu) made a similar training trip and he too trained with Ryuru Ko. Patrick McCarthy has identified Ryuku Ko with the Whooping Crane master Xie Zhongxiang but this is by no means definite. Now there were four distinct traditions in Naha - those of the Kojo family, those of Aragaki, those of Higaonna and those of Norisato.
Meanwhile in Shuri and Tomari, those traditions too were developing distinct schools, including Orthodox Matsumura style (Matsumura, Azato and Nabe), Itosu style, Matsumura/Matsumora style (Matsumora, Motobu, Kyan), Oyadomari style (original Tomari Te).
Itosu made a massive leap for Karate when he began teaching it in schools, in structured classes.
The lineages of Karate however are anything but linear. Patrick McCarthy has put forward the "Matsuyama Koen" theory where he speculated that Karate was practiced in the park of that name rather like Tai Chi is practiced in parks in China. He suggests that Matsuyama park was an open plan Dojo for sharing knowledge and kata and retaining links to China after the Ryukyu kingdom was abolished.
In this spirit, the repertoire of Aragaki for instance came to be a part of both the Shuri/Tomari and Naha lineages, with versions of Seishan, Niseishi and Unsu occurring in both camps.
It is perhaps at this point that the phrases "Shorin Ryu" (usually referring to the Shuri/Tomari forms) began to be used along with Shorei Ryu for the Naha Te forms. The cataloguing of various kata as Shorin or Shorei is worthy of an article in itself, and is something the masters could never agree on. From here on I will refer to the Shuri/Tomari schools of Matsumura and Itosu as Shorin Ryu to encapsulate them as one tradition.
Shorin Ryu Karateka to have trained with Itosu include: Kentsu Yabu, Chomo Hanashiro, Jiro Shiroma, Chojo Oshiro, Shigeru Nakamura, Anbun Tokuda, Moden Yabiku, Kenwa Mabuni, Gichin Funakoshi, Chosin Chibana, Moden Yabiku, and Choki Motobu - each of these men left a lasting legacy on Karate.
Over in Naha, the list is less extensive and other than Higaonna and Norisato usually only consists of one man - Chojun Miyagi.
And here we come once again to Tatemae and Honne. The Goju Ryu tatemae is that Miyagi was taught by Higaonna and he by Ryuryuko, but actually Aragaki was a main influence on Higaonna, and a man named Gokenki was a major influence on Miyagi.
Wu Xiangi or Wu Hsien Kuei, best known as Gokenki was a Chinese tea merchant and White Crane practitioner. Gokenki worked for the Eiko Chako Tea Company and taught White Crane in Okinawa between 1912 and his death in 1940.
Gokenki was an enormous influence on many Karateka, and like the Bubishi he was a tangible link to the art of White Crane Quan Fa. Among his students were Chojun Miyagi (later founder of Goju Ryu), Kenwa Mabuni (later founder of Shito Ryu) and Hohan Soken (student of Nabe Matsumura).
A colleague of Gokenki who also taught in Okinawa was Tang Daiji.
Tang Daiji or To Daiki (1887-1937) was from Fuzhou. In 1915 he came to Naha and opened a tea shop (Showacha-ten) with his cousin To Daisho (Japanese reading of his name).
The Tang family whose name was also spelled To included various Tiger style boxers across Fujian and Guangzhou.
In a previous blog I have presented various theories on how the Bubishi (an anthology of Fujian boxing techniques) arrived in Okinawa and Tang and Gokenki are among the outside candidates for its introduction.
Toshu Jutsu, also called Karate Jutsu, also called Ryukyu Kempo, also called Tode Jutsu, also called Goshin Tode Jutsu, also called Uchinadi, was now coming together in a community of mutual support and learning.
Then Karate took a leap that would change it forever. In 1922 the Japanese Ministry of Education invited a small, quiet school teacher to Tokyo to give a karate demonstration. That teacher was a student of Itosu, Azato and Matsumura.
In Part 1, I discussed the history of Karate from Wang Ji's arrival in Okinawa and Hama Higa's visit to Japan, which both happened in about 1682. Throughout the 1700s we met other pioneers including Takahara, Yara, Sakagawa, Matsumoto and Makabe. We now come to the turn of the 1800s.
The 1800s were also the approximate lifespan of Sokon Matsumura. There are four different theories on his date of birth and date of death, and they are all within a few years of him being born in 1800 and dying in 1900.
The dates are: 1809-1901 or 1798–1890 or 1809–1896 or 1800–1892.
So whichever theory you subscribe to Matsumura saw pretty much all of the 1800s (the second theory is the best fit in my opinion).
The young Matsumura's first teachers were Sakugawa and Yara, two old men who taught him the old Toshu Jutsu arts of Shuri and Tomari. From these men, he learnt the Tomari method of Wansu and the Shuri method of Kushanku. From Sakugawa he also learnt a system called Channan, related to the Pinan (Heian forms).
And as a young man he entered service at Shuri castle, a bodyguarding role that saw him make trips to Satsuma (Japan) and Fujian (China).
In 1828, aged about 30, Bushi Matsumura and his colleague Bushi Kojo made their first trip to China. Taking a Kojo to China was the key to the door. The Kojo family of Kume were already Chinese boxing experts, and with Matsumura's diplomatic role and knowledge of Toshu Jutsu, they were able to find tuition there.
This date is significant because it meant breathing new life into both Shuri Te and Naha Te. Whereas the old Shuri forms were largely based around Kushanku, and the old Naha Te (the forms practiced in Kume) were very old style Chinese boxing, this 1828 visit led to the introduction of the so-called "Shaolin" forms.
This visit debunks another myth. Most will say that Goju Ryu came from Naha Te which was only developed when Higaonna Kanryu went to China in the 1860s, but Goju Ryu founder Chojun Miyagi himself denied this and cited the 1828 visit as the true origin of Naha Te.
Miyagi wrote: "In 1828, our ancestors inherited a kung fu style of Fujian province in China. They continued their studies and formed Goju-ryu Karate. Even today, there still exists an orthodox group which inherited genuine and authentic Goju-Ryu karate."
The "orthodox" Goju Ryu that Miyagi referred to is the similar sounding "Kojo Ryu".
This led to new forms for both schools:
Matsumura Shuri Te:
- Original Kushanku and Channan forms (Kanku Dai and Heian katas) - Seishan, a Fujian form meaning 13 steps (Hangetsu) - Useishi, a Fujian form meaning 54 steps (Gojushiho) - Jutte, a Fujian form meaning 10 hands (Jutte, Jin, Jion)
The name of the man who taught them was Iwah who taught a cross between Southern Shaolin (Tiger Boxing, Lion Boxing, Monk Fist) and the Taoist art later known as Pakua.
I have theorised that Iwah's art was referred to as Bazi Quan - translated as White Lion Boxing.
Matsumura created new forms called Bazi Da and Bazi Xiao (known in Okinawa as Matsumura Passai and Passai Gwa) which we know today as Bassai Dai and Bassai Sho.
Following his excursion to China, Matsumura made another trip, this time to Japan. There, he trained in Satsuma with the Jigen Ryu school where he mastered the art and received Menkyo Kaiden.
So what does swordsmanship have to do with Karate. Well, three things spring to mind.
1) Jigen Ryu is a very unusual sword school that practices not only Tameshigiri (test cutting) but also Tameshiwara (test hitting). Jigen Ryu practitioners hit a Makiwara with a wooden bokken. This could be the origin of the makiwara in Karate
2) JIgen Ryu teaches unorthodox weapons such as so-called farming implements in order to have a "Dad's Army" style home guard to support the armed Samurai. This is one explanation for the popularity of weapons like Nunchaku, Tonfa, Eku and so on.
3) Jigen Ryu teaches a form called Empi (flying swallow) which could explain why this name was later applied to the kata Wansu. The style also had a notable "ancestor" called Jion which could account for the kata of that name.
Matsumura came to be called the "restorer" of Shuri Te and in the mid 1800s he began to teach some very notable students who were largely comprised of his fellow Shuri Castle employees.
In the 1840s and 1850s, Shuri Te and Tomari Te took another notable turn as another two Chinese masters visited Okinawa.
The first was Ason, who taught a highly unusual form known as Naifanchin (later Naihanchi and Tekki). This form was adopted into Shuri Te and became a key form of Toshu Jutsu in the capital. Just like Sanchin was the cornerstone of Naha Te, Naihanchi was an important fundamental form in Shuri.
Ason taught his Naihanchi form to: Bushi Matsumura, Kitoku Sakayama, Gushi and Tomoyori.
The second was Anan (also called Chinto) in 1854 who may have been Vietnamese of Southern Chinese descent and a practitioner of an old White Crane style. Matsumura met Anan in Tomari and this gave rise to a new Tomari Te. Anan's students included Kosaku Matsumora and Oyadomari who were also disciples of two Shuri Te masters, Kishin Teruya (1804-1864) and Giko Uku (1800-1850).
The Shuri style and the Tomari style were very closely linked and included some of the same forms. Headed by the likes of Matsumura (Shuri) and Matsumora (Tomari), these forms included, in approximate order of study:
1) Naihanchi (Tekki 1-3) 2) Channan (Pinan/Heian 1-2) 3) Passai and Passai Gwa (Bassai Dai and Sho) 4) Jutte and Jion 5) Chinto (Gankaku) 6) Seishan (Hangetsu) 7) Kushanku (Kanku Dai) 8) Useishi (Gojushiho)
Matsumura's students included Kosaku Matsumora, Yasutsune Itosu (more on him later), Yasutsune Azato, Chotoku Kyan, Choki Motobu, Seisho Aragaki, and later Kentsu Yabu, Gichin Funakoshi and apparently Matsumura's grandson Nabe Matsumura.
Of these, one of the shining lights was Aragaki Seisho, who had journied to China himself and trained at the same place at Matsumura and Kojo (which historians sometimes call the Kojo Dojo). Aragaki's coach was Wai Shin Xian, a Hsing-I and White Crane stylist who taught him a number of forms.
Aragaki's repertoire included: 1) Seishan 2) Sanchin 3) Niseishi (24 steps) related to the Shotokan form Nijushiho and the Goju form Sanseiru 4) Sochin 5) Wankan (Matsukaze) - possibly a corruption of the name Wai Shin Xian 6) Unsu related to the Goju form Shisochin
In 1867, Aragaki led a public demonstration of Karate and Kobudo. This was the first public demo of Karate in the world, in which Kata, Kumite and Kobudo were demonstrated as an artform and a way of life.
The running order of the event was:
Tinbei and Rochin (shield and straight sword) by Maesato Peichin
Tesshaku (iron ruler or Sai) and Bo by Maesato and Aragaki
Seisan by Aragaki
Bojutsu and Toshu Jutsu by Maesato and Aragaki (unarmed vs staff)
Chishaukiun (Shisochin? or perhaps Preying Mantis) kata by Aragaki
Tinbei and Bojutsu (shield vs staff) by Tomimura Pechin and Aragaki
Tesshaku (Sai) by Maesato
Kou Shu (Kou as in Ku in Kumite, Shu as in Toshu) Maesato and Aragaki in two man sets
Shabo (wheel staff) by Shusai Ikemi Yagusuku (maybe Nunchaku?)
Suparinmpei by Tomimura
Kogusuku Peichin reading poetry and playing the Biwa lute
After this event, Karate came to be seen not as something private, not any more as just a way to protect oneself, but as a way of improving oneself.
Bushi Matsumura himself wrote: "Maturity promotes harmony and that a master of the martial arts should stay away from violence, deal well with people, be self-confident, keep peace with people and become financially stable.”
In Japan and Okinawa there is a concept called Tatemae and Honne, which loosely translated means "official truth" and "actual truth". Another way of looking at it would be "propaganda" and "truth."
Sometimes Tatemae is used for political or marketing purposes and other times to enhance a legend.
To use a western comparison, telling your children that Santa brings their presents is like Tatemae. It is an unspoken rule that almost everybody abides by, but obviously nobody actually really believes apart from little ones.
Each martial art has a Tatemae and a Honne.
For example the Tatemae of Shotokan Karate is something like: "Karate is an ancient Okinawan martial arts developed by peasants who were not allowed weapons. They were able to use their bare hands and farmyard implements to defend against the ruling Samurai. The three ancient schools were Shuri Te, Naha Te and Tomari Te. From Shuri Te and Tomari Te the Shorin Ryu school developed and from Naha Te the Shorei Ryu school developed. Gichin Funakoshi mastered the Shorin and Shorei schools and combined them to form Shotokan."
Remember this is Tatemae. This is the kind of thing Funakoshi's assistant instructors would pass on as "history".
But if we examine it, Karate was not ancient, it was not developed by peasants, Shuri Te, Naha Te and Tomari Te were not ancient either, Funakoshi never mastered Shorin and Shorei and he never created Shotokan! And Okinawans didn't knock Samurai off horseback using rakes.
So what is the true history of Karate?
Well firstly cast aside any ideas of Karate as a peasant art. Peasants or plebians did not practice Karate. They had some fighting based games that resembled Sumo and arm wrestling, but these did not much resemble Karate. Patrick McCarthy has conjectured that Siamese Boxing (Muay Boran) may have been a percussive art that Okinawan peasants adopted and referred to as Ti'Gwa, but for the origins of Karate as we know it we should look at two main sources:
1) Priviliged classes among Chinese communities (Yukatchu) 2) Okinawan privileged classes (Peichin)
1) Chinese Communities The Chinese communities were largely based in Kumemura (Kume village). Imagine Manchester, Liverpool or London's China Towns and how they are Anglicised communities of second and third generation Chinese. How they have some modern English customs, some old Chinese customs and some Chinese novelties to sell to tourists. There are restaurants, shops and behind closed doors, martial arts are taught. This is exactly what Kume was in Okinawa - a China Town. One of these Chinese families living in Okinawa was the Cai family, known locally as the Kojo. Within Kume, the resident families studied and taught Chinese Quan Fa which the local Okinawans called Toshu Jutsu (or Tode) - Chinese hand techniques.
The people of Kumemura, traditionally believed to all be descendants of the Chinese immigrants who first settled there in 1393, came to form an important and aristocratic class of scholar-bureaucrats, the yukatchu, who dominated the royal bureaucracy, and served as government officials at home, and as diplomats in relations with China, Japan, and others. By the middle of the fifteenth century, the community was enclosed within earthen walls, and consisted of over one hundred home. Children in Kumemura began their formal studies at the age of five, and would travel to the palace at Shuri for a formal audience at the age of fifteen. At this point they would be formally added to the register of yukatchu scholar-bureaucrats and could begin their government careers. One of the defining features of the scholar community at Kumemura, and its relationship with China was the system by which students and scholars of Kumemura spent periods in Fuzhou, both as students and as members of tributary missions. Most if not all students and scholar-bureaucrats spent at least a few years of their lives studying in Fuzhou; a few traveled to Beijing, and beginning in the 17th century, some studied in Japan, in Kagoshima. Only a few hundred Ryukyuans were ever resident in Fuzhou at a time, and only eight at the imperial university in Beijing, where they were allowed to stay for three years, or up to eight in exceptional circumstances.
2) Okinawan privileged classes Okinawa, the central Ryukyu kingdom is part of a chain of islands that has affinity with both China and Japan, in the way Jersey and Guernsey are half way between England and France. The nobility in Okinawa regularly visited both on diplomatic exchanges. Two early examples of this are the Chinese envoy Wang Ji visiting Okinawa in the late 1600s and the Ryukyu native Hama Higa visiting Japan around the same time. Hama Higa was known to be a weapons expert. In other articles I have hypothesised that Wang Ji was a student of Hsing-I Quan founder Ji Ji Ke and in turn taught Hama Higa, along with members of the Okinawan nobility such as the Motobu family. Around 1801, young men from Shuri began to be sent abroad to study in Fuzhou and Beijing, breaking the monopoly on Chinese scholarship held by Kumemura for roughly four centuries. This was the start of the original "Shuri Te".
Hama Higa Pechin (1663 – 1738) was a famous Go player and also accompanied Nago Ôji Chôgen on his visit to Shôgun Tokugawa Tsunayoshi in 1681.
Hama Higa may have been the teacher of Takahara Pechin who lived in Shuri’s Akata; and became known as a talented Mathematician and cartographer (map maker).
So in these early pioneers we seen a Chinese envoy - Wang Ji, two Okinawan dignitaries Hama Higa and Takahara Peichin, and the privileged Motobu family. Not peasants.
Many early Okinawan pioneers studied Emono Jutsu (weapons) which included Japanese sword, Bo, Chinese sword (Dao) and various flails.
Training in Japan with the Jigen Ryu school, both the Okinawan Emono Jutsu practitioners and the Japanese Bushi developed fighting methods using cheap and improvised weapons, including those imported from China, including the Tuifa and Nishaku (Tonfa and Nunchaku).
By the mid 1700s the Okinawan and Japanese weapons arts (Emono Jutsu), and the fighting arts of the privileged classes (Udundi) came to be practiced alongside the Chinese Quan Fa arts (Toshu Jutsu) and the result was a new more Okinawan method referred to as Uchinadi and also still called Toshu Jutsu or Tode Jutsu.
We may say that the arts of the privileged Okinawans (Udundi and Emono Jutsu) were the original Shuri Te and Tomari Te, and that the Quan Fa practiced in Kume (Toshu Jutsu) was the original Naha Te - but these terms were not used at the time.
In the mid 1700s, we meet another two Karate pioneers from the Shuri-Tomari area, "Tode" Sakugawa (pictured) and Chatan Yara. As well as studying under Okinawans such as Takahara Peichin and Japanese Jigen Ryu instructors, they also made the trip to China where they trained under Wang Zong Yue. They are said to have trained with a man called Kushanku too, but I'll save my theories on that for another article.
You'll note I have made not mention of kata thus far.
Firstly, the reason for this is that Kata is a Japanese concept. Kata relates to the Japanese notion of correctness. The Samurai drank tea according to a kata, wrote their name according to a kata, kneeled down according to a kata, pruned their bonsai trees according to a kata and performed theatre (kabuki) with set kata. This kata concept is fairly new to Karate.
What Karate did have his Hsing (forms) and Quan (boxing art).
As I have explained in previous articles, in old Chinese martial arts the idea of a "kata" and a "style" are alien. The kata and the style were the same. For example in Yang style Tai Chi there were not 27 katas there was one form (now called the 108 step). Within the Yang style form, was the essence of the style. The style was the form and the form was the style. Fighting was fighting but the Hsing (form) was the idea of the Quan.
It is likely that Wang Ji (who probably taught Hama Higa) and Wang Zong Yue (who taught Chatan Yara and Sakugawa) were practitioners of Taoist styles originating with an art called Bazi Quan.
The mainline of Bazi Quan is now called Baji Quan, and among its derivatives are Hsing-I Quan and the art now called Taiji Quan.
Along the Wang Ji to Hama Higa to Takahara to Sakugawa line was passed an idea from Hsing-I Quan called Swallow Boxing. Nowadays the essence of this art is contained in the 12 Animals form of Hsing-I and the kata Wansu, which is called Empi in Shotokan.
Along the Wang Zong Yue to Sakugawa and Yara line, were passed the art which came to be called Taiji Quan.
Old Taiji Quan (that's Tai Chi for those of you not paying attention) was originally a fighting art based on the movements of the Snake and the Crane and of 13 principles.
From these principles, Chatan Yara and Sakugawa created a form which we now call Kushanku (or Kosokun or Kanku Dai or Kwanku etc).
This form could be practiced wielding twin swords, or as was the wont of the Okinawans, twin hairpins.
Kushanku came to be the main form of Shuri and Wansu came to be the main form of Tomari, thanks in part to three of Sakugawa's students, Makabe (nicknamed the birdman), Matsumoto (the senior student) and Okuda (the one punch knockout man).
By the end of the 1700s, the fighting arts of the Ryukyu were still dispersed geographically in the sense that Bojutsu was prevalent in the Yaeyama islands, Tonfa was most popular in Hamahiga island, old Chinese Quanfa (Toshu Jutsu) were most frequent in Kume, the old methods of Udun and the Kushanku kata were most common in Shuri and Wansu and the Swallow boxing was restricted to Tomari.
However in Tode Sakugawa these arts began to be brought together as a single art. Devising his own weapons forms (including Sakugawa no Kon Sho) and passing on the Toshu Jutsu forms of Kushanku and Wansu, Sakugawa was now passing on a system that was now Okinawan.
But just when Sakugawa thought his legacy had ended (aged 78 he had already retired and passed his school onto Bushi Matsumoto) he began to teach his most notable ever student, Sokon "Bushi" Matsumura, born 1797, and the single greatest Karate man of all time.
I read recently a comment from Hanshi Jim Mather of the USA who noted that many non Japanese and non Okinawan stylists have taken to using traditional titles like Kyoshi and Hanshi. But these are not the only titles that are misused. Even "sensei" is used out of context.
SENSEI
Many western instructors will sign their name like "Joe Bloggs Sensei" or introduce themselves as "Sensei Joe Bloggs".
This is wrong. In Japan that is the equivalent of saying: "I'm Joe Bloggs, I'm better than you."
You can say: "I'm Joe Bloggs Yondan" or "I'm Joe Bloggs, the world kata champion" because these are statements of fact but "sensei" is used only as a comparison of seniority.
It is like a waiter in a restaurant choosing to call you sir. That's normal. But if you introduced yourself as: "My name is Joe Bloggs but you must call me sir" people would think you were full of your own importance.
Calling yourself sensei is the same.
Sensei is a term which means "one who has gone before" on a practical level it is a title acknowledging superiority.
Remember Japan is quite old fashioned when it comes to class structure.
So in Japan a binman might call a doctor, teacher or magistrate "sensei" particularly if they are older.
Of course in martial arts traditionally, the sensei was almost always older than the student. In situations where this wasn't the case the title sensei was adapted. For example Masatoshi Nakayama may have called Gichin Funakoshi "Ro Sensei" and his son "Waka Sensei" (to mean old teacher and young teacher).
In other words "sensei" depends on the relationship between two people. I might expect my students to call me Sensei (only in the Dojo) but it would be odd if I asked my next door neighbour to call me that!
To use another analogy, my daughter calls me "Dad" - I've earned this title but I wouldn't expect anyone else to call me by it unless in the context of being her father.
"Sensei" is the same - you are only a teacher if you have students.
Similarly if I am 4th Dan and I bump into one of my old teachers who retired at 3rd Dan, I might still call him sensei out of respect.
In my Dojo I'll sometimes tell new brown/black belts that if they are teaching people may call them sensei, but again this is at the discretion of the individual.
Within a small Dojo like mine the formal titles between students are sempai (senior) and kohai (junior) but these are seldom used as they seem somewhat too formal when first names will suffice. They would best be used for example if a blue belt were asked to teach some yellow belts. Sempai would perhaps be a better fit than Sensei.
So the golden rule of "Sensei"? Never refer to youself as sensei. It's up to others to call you sensei. And if anyone questions this, tell them Sensei Simon told you....
RENSHI, KYOSHI, HANSHI
Other titles like Renshi, Kyoshi and Hanshi are not subjective, they are status of fact. You have either been awarded a Renshi title or you haven't.
Think of them as like military titles. I was in the territorial army 15 years ago - that doesn't mean I can suddenly think, you know what, I think I should be a Colonel.
The origin of the Shogo (Renshi, Kyoshi and Hanshi) titles is in the Japanese Samurai armies. A Renshi was originally someone who could train other Samurai. In other words he was like a drill sergeant training new recruits. Renshu means to improve by working something, or polishing something in the way that you forge a sword from a piece of raw metal. Shi means a gentleman of the arts, such as a Bushi is a gentleman of Bujutsu. So in other words a Renshi is a polished practitioner of the arts.
These titles were used by Dai Nippon Butokukai and Kokusai Budoin (including IMAF Japan, IMAF Europe and IMAF GB - now UKBF).
Typically Renshi would be awarded between 4th Dan and 6th Dan, Kyoshi would be awarded between 6th Dan and 7th Dan and Hanshi would be awarded between 8th Dan and 10th Dan. But these titles are not automatic. Not every 8th Dan is a Hanshi, just like not every 20 year soldier is a sergeant.
They are Japanese traditional awards and should only come from this kind of traditional institution. They are not appropriate to, for example Korean arts like Tang Soo Do and modern disciplines like MMA shouldn't use these titles, but traditional styles, even if they have been created relatively recently can.
SIFU
Sifu is a Chinese title often used in Chinese martial arts. Sifu (Cantonese), shifu (Mandarin pinyin) is the identical pronunciation of two Chinese terms for a master.
The modern reading is Teacher Tutor but the traditional is Teacher Father.
In old Taoist (native Chinese religion) martial arts, the master adopted the student. There was a full "adoption" ceremony on an altar and the teacher was now the father of the student. Therefore you would not call just any Kung Fu teacher "Sifu".
To some old Chinese teachers, only their own indoor students may call them this. And as a generic term of respect, the term Laoshi "teacher" or "coach" should be used.
Again, this isn't exclusive to martial arts. An apprentice carpenter could refer to his master carpenter as Sifu but only in a direct lineal relationship.
So in a Tai Chi class I might refer to my dad as Sifu (because he is my teacher as well as my dad) and I would in the past have called my previous Tai Chi teacher of nine years "Laoshi" (I never actually recall calling him Sifu but I may have) but I would call another Kung Fu teacher Laoshi as a rule with Sifu used more affectionately to older or more familiar teachers.
EXCEPTIONS
There are of course always exceptions to these rules. For example, sometimes my own teachers will call be "sensei" when on the mat in front of students, in order to give me "face" in front of juniors. This is normal too. If I visited a 2nd Dan's Dojo, I would probably call them Sensei in front of their students too. It is like how primary school teachers don't call each other by their first names in front of pupils.
Outside the Dojo I would very rarely call my teachers by their titles. "Do you want a pint Sensei" sounds a little odd, but I must admit I have done it! Sometimes it's a habit.
I often teach people older than myself, and if they forgot themselves on the mat and called me Simon, I would not demand they call me Sensei. In fact, the only time I would use the "that's Sensei to you" line would be to children, who need a more "black and white" understanding of Dojo etiquette.
Next month I'm teaching a seminar on Bunkai - the fighting applications of Karate.
What is Bunkai? (分解)
Well bunkai is to analyse something to understand how it works. Bunkai is the Haynes Manuel of kata.
Some techniques in kata have obvious applications, sometimes a punch is just a punch and a kick is just a kick.
But other times kata have more abstract applications.
In many Chinese styles the techniques are so flowery and unusual looking, that on a superficial level they seem to not resemble any martial arts technique. For example look at "white crane spreads wings" in Tai Chi - it doesn't look much like a punch, kick or block.
Another problem for Karate is "labelling disease". Many of the Japanese styles such as Shotokan and Wado Ryu allocated names to techniques that meant they had to be pidgeon-holed as strikes.
For example the third/fourth move of Heian Godan used to be called Mizuno Nagure no Kamae (flowing water posture) but now most Shotokan practitioners call it Kage Tzuki (hook punch).
The technique we now call Morote Uke (supported or augmented block) was a favourite position of Choki Motobu - but he never used it as a supported block, it has just evolved that way.
Originally kata contained every type of technique in the art's repertoire. Masters such as Funakoshi are quoted as saying katas contain throws but few people practice them in this way because the technique that was meant to be a throw was burdened by a name which suggests it is a punch, kick or block.
So once we have liberated ourselves from the shackles of these labels, we are able to see a vast array of possibilities within the kata. Throws, locks, chokes, trips, breaks, even some groundwork.
Identifying these techniques through Bunkai gives us our Oyo (application).
Bunkai/Oyo should be learnt in a structured way. I have spent many years cataloguing Bunkai/Oyo for every technique in each of our first 14 kata. I can't do it for every kata yet, but I'm not interested in accumulating 30 kata I'm more interested in understanding the ones we've got.
Then we have the Oyo we look at Henka (variations) depending on the level of advancement within the syllabus.
Of course part of our Bunkai includes performing the katas with weapons, something that has been largely lost.
Most Shotokan practitioners will have heard that Jutte includes Bo defences, and some will have heard that the Matsumura family used to perform Kushanku while holding hairpins in their hands.
Studying the weapons along with the kata helps us peel another layer off the onion.
Finally the Bunkai study is taught according to the Three Sciences, otherwise known as the Three Treasures. Some might call this "mind, body and spirit" I call it the Science of Violence, the Science of Technique and the Science of Learning.
Within Bunkai the Science of Violence means the Bunkai has to work against realistic attacks. No Ninjas jumping off horseback throwing spears. These applications must be against real attacks. They also must work under pressure.
The Science of Technique means effectiveness of the Bunkai. Using the lessons within the kata to generate efficient power.
The Science of Learning means making the Bunkai part of our repertoire by drilling and practice.
Many times an advanced student will see a technique - let's say they see a technique from Judo - and recognise where it fits as a Karate application. The principles are the same, whether they are principles of efficiency (using the waist, breathing, moving in two directions etc) or principles of physics (fulcrum, lever, pulley etc).
Bunkai breathes life into Karate kata and makes it a never ending study. The more you understand Kata, the more the kata helps you to understand,
The Bubishi is one of the most valuable books a Karateka can possess. It is also of tremendous value to practitioners of Wing Chun, Hung Gar and White Crane.
The book "The Bubishi" is sometimes called The Bible of Karate. It is to Karate what the "Book of Five Rings" is to the Samurai.
Like the Bible, the Bubishi is an anthology of older stories pieced together and edited on one theme to act as a guide.
Most old Karate masters valued it, including masters Funakoshi, Miyagi and Mabuni, the founders of the three biggest schools, Shotokan, Goju Ryu and Shito Ryu.
Bubishi comprised some of the traditions of the original styles that influenced Karate including White Crane, Black Tiger and Monk Fist boxing.
The Bubishi contains anatomical diagrams, philosophical essays, defensive tactical strategies, and poetry.
The first chapter of Bubishi is entitled "The Origins of White Crane Boxing," and tells us that the White Crane style was founded by a woman, Feng Chi Niang who seems to be the same character as the woman who created Wing Chun, Fong Chut-Neung and her successor would seem to be identical with the man who created Hung Gar a form of Tiger boxing) - I have discussed these two characters in previous blogs.
The Bubishi therefore demonstrates that Karate, White Crane, Wing Chun and Tiger Boxing have a common origin.
The Bubishi has thirty-two chapters dealing with history of White Crane Boxing, advice and observations from Master Wang Yo Teng; information on vital spots and how to attack them; time strikes; grappling arts; six turning hands; 54 steps of the Black Tiger hand; Sun Tzu's comments on war; and a variety of chapters dealing with herbal medicine, combat techniques.
In 1922 Funakoshi published the first book on karate in Japan, "Ryukyu Kenpo Toudi." Four chapters from the bubishi were included at the end of the book, but the bubishi itself was not named.
In 1934 when Kenwa Mabuni published "Seipai No Kenkyu" (Study of Seipai) the bubishi was named. Mabuni included the drawings from five chapters from Anko Itosu's copy of the Bubishi.
The Bubishi was translated into Japanese by the Goju master Tadahiko Ohtsuka and English translations made by George Alexander, and later and much more comprehensively by Patrick McCarthy.
In Hanshi McCarthy's copy of the Bubishi there are at least ten different theories as to how the Bubishi arrived in Okinawa. Tode Sakugawa, Sokon Matsumura, Yasutsune Itosu and Higaonna Kanryo are all candidates for its introduction.
Kenwa Mabuni had a copy given to him by Itosu so this would seem to indicate it had been in Okinawa a long time.
But other outside possibilities are that it was introduced to Okinawa in the early 20th century by either White Crane master Gokenki or Tiger Boxing master Tang Daiji (To Daiki).
Another possibility is that it came to Okinawa via the Feeding Crane lineage now headquartered in Taiwan.
I have had a full copy of the Bubishi since 1996 and in the 16 years since I have studied it, I have found it to be of tremendous value. Of almost equal value are Hanshi McCarthy's citations, commentaries and references which are valuable in themselves.
As we try to decipher the origins of Toshu Jutsu and Karate by examining Chuan Fa, Muay Boran, Tiger Fist, Lion Boxing, Crane fist and so on, the Bubishi is a tangible look a the the world's first Karate syllabus.
I'm sometimes asked why I have added the Goju Ryu kata Gekisai to our syllabus which is comprised mostly of Shotokan kata.
Simply because ours are not just Shotokan, and Gekisai is not just Goju Ryu, both are Shorin Ryu.
It wasn't me who added this kata to the others it was Shoshin Nagamine in 1941. Well, sort of.
Historically most of our kata were not just Shotokan kata they were "Shorin Ryu" kata. In other words, long before Shotokan was created, masters like Itosu taught the Heian katas, Tekki, Bassai, Kanku and so on. They were taught under different names, but taught nonetheless.
After master Funakoshi moved to Japan, the many styles that originated from his teachings continued to use these kata, such as Shoto Ryu, Shotokan, Shotokai, Wado Ryu, Yoseikan and Taekwondo.
However the other styles in Okinawa also continued to use them, styles like Shorin Ryu, Kobayashi Ryu and Matsubayashi Ryu.
The only styles that did not use them were the styles based on Naha Te like Goju Ryu and Uechi Ryu.
After Master Funakoshi moved to Tokyo many of the masters still in Okinawa started to work together and combine their resources.
They decided to create a universal kata.
The project was led by Shoshin Nagamine 10th Dan of Shorin Ryu and Chojun Miyagi, founder of Goju Ryu. Unlike many Shorin Ryu masters, Nagamine was not a senior student of Itosu, his main teachers were in fact Choki Motobu and Chotoku Kyan. Like Itosu they were students of Matsumura but were also well versed in the arts of Tomari, originating with Kosaku Matsumora.
For that reason, Nagamine took the syllable Matsu (in both Matsumura and Matsumora) which can also be pronounced Sho.
The syllable Rin (forest) can also be pronounced Hayashi.
Sho-Rin using the syllables Matsu-Hayashi means pine forest.
The traditional Sho-Rin (Ko-Hayashi) means small forest and is a direct translation of "shaolin".
So the two main strands of Shorin Ryu are:
Matsubayashi Ryu (Shorin Ryu) of Shoshin Nagamine - the Motobu and Kyan lineage Kobayashi Ryu (Shorin Ryu) of Chosin Chibana - the Itosu lineage.
Nagamine Shoshin (July 15, 1907-November 2, 1997) was a policeman and from 1931 to 1936, he had trained at the Kadena Police Station under Kyan Chotoku. He also was a student of Motobu Choki, having trained with him on the Japanese mainland during a six month police assignment starting in April, 1936. In the autumn of 1936, Motobu moved back to Okinawa, where he resided until his death in 1944. Nagamine Sensei continued his training under Motobu during this period.
In May 1940 Nagamine Sensei was awarded the Renshi title by the Dai Nippon Butokukai and in 1941 he and Chojun Miyagi began developing the Fukyugata (Gekisai kata).
Hanshi Patrick McCarthy who has trained with Nagamine says that when he was in China he learnt a Monk Fist Boxing two man flow drill (Renzoku Geiko) and if there were performed solo it would look very like Gekisai. For this reason he believes the time Chojun Miyagi spent studying Monk Fist Boxing with the Jing Mo association were a key influence on this form.
In my school, Bushinkai we learn the kata Tekki (Naihanchi) around blue belt and also at this time learn our Tegumi Renzoku Geiko flow drill. It is therefore a perfect time to learn Gekisai at purple belt as this builds on these themes.
Naihanchi was a kata associated with Kyan and Motobu and so Shoshin Nagamine would undoubtedly have been influenced by this when he contributed to the development of Gekisai.
I was first shown Gekisai along with the other Goju Ryu katas by Master Nobetsu, and the one I liked best was Gekisai, and so I asked my teacher Reiner Parsons and his sons Derrick and Clive to teach it to me so it could be added to our syllabus. Gekisai fits in perfectly with the Tekki and Renzoku forms and has many possibilities, as this clip of it being used as a grappling drill shows.
Here is Goju Ryu master Morio Higaonna performing Gekisai and here is a Matsubayashi Ryu practitioner performing the corresponding form Fukyugata Ni.
Here is one of Hanshi McCarthy's students performing Chokyu, that style's interpretation of Gekisai/Fukyugata.
Finally here is the Matsubayashi Ryu (Shorin Ryu) master Shoshin Nagamine himself performing another of our katas, Wankan. You will note it differs from the Shotokan versions.
This blog post is by Bushinkai club instructor Peter McHugh 1st Dan. In Bushinkai we teach the 3 Sciences - the science of violence, the science of technique and the science of learning. Here Pete focuses on the science of violence and asks are you really ready to fight with what you've learnt in the Dojo?
When it comes to violent situations out side of the dojo/class we often don’t take into account the mindset of the attacker and think that any move we know will
work whether it be a punch to the nose or a swift kick to the groin.
These moves might work really well in the dojo and that’s because we are
in a relaxed safe environment and we don’t have to cope with the extra
adrenaline rushing through our body or the attackers adrenaline rush and
his mind set. Let’s talk about the extra adrenaline rush we get for a
second, all people get one whether you do a martial art or not this extra rush can cause one of three actions…
Action number 1
FREEZE
This action happens a lot the person freeze’s on the spot unable to move, this action happens probably about 40% of the time.
Action number 2
FLIGHT
We turn tail and leg it to a safe place, this action happens again probably about 50% of the time.
And then finally
Action number 3
FIGHT
You face the attacker willing to take or give a beating. I know what
you're thinking, you're thinking, "well I do martial arts so I will do
action number 3 and beat the crap out of the attacker."
Bull.
Not all people react the same way.
For example you're walking down the road and a rotweiller comes rushing to you, teeth out growling away, what will you do?
Maybe you stand still, frozen with fear (action 1). or you see the dog rushing towards you and you turn and run (action 2).
Now take a look at your self in the mirror and envision your self
standing toe to toe with some one the build of iron Mike Tyson.
Let's say you do stand and fight you need to take into account the attacker's mind set
and body language. Have they been drinking? (slower reactions but
feeling less pain), are they on drugs? Do they have a weapon? Are we
going to get cut?
Or are they so adrenaline charged they think they are Superman?
With training and drilling the moves we learn in the dojo we can be
ready for that day when we do stand and fight but think to your self
would my knife defence get me killed, you will get cut that’s for sure
but will it get me killed? would my MMA training work against multiple
attackers or would my sports based kickboxing work in the street where a
person can grab anything?
The answer for me is some times its best to just walk away. He that fights and runs away lives to fight another day.
Wimp, I hear you say but are you willing to end up in hospital or die to show you had the guts to fight?
In last night's class I talked about the two primary functions of Hakuda Kempo Toshu Jutsu being self defence through Karate and Karate through self defence.
I'd like to expand on this with some ideas about Karate and self defence.
Firstly, our goal of self defence. This does not mean wanting to be the best Karate fighter in the world, or wanting to be the best grappler in the world. It's not about beating the guy who bothers to show up at the same tournament as you and agrees to fight by the rules - it's about giving you a better chance of defending yourself than you had before.
In order to gain useful self defence we need to cover a few key areas:
1) Knowledge of violent situations, habitual attacks and how best to respond 2) Effective techniques and the underlying principles behind them 3) The ability to drill these techniques so they become instinctive.
These three areas should be key to any self defence based system, it doesn't matter whether you do Karate, Jujutsu, Ninjutsu or Wing Chun - if you don't understand violence, you don't understand the principles behind the techniques and you can't perform useful defences instinctively - very simply you don't have an understanding of your artform.
So as we advance through the ranks, it's not just a "box ticking" exercise, "ok now I know Heian Nidan I can get my orange belt" it is about progressing to a level of competance.
Through this, we understand Karate better.
In the early grades, we begin with "Shotokan basics", learning the stances, punches, blocks, kicks and the first few katas, but as we advance through the grades we do not simply learn more of the same.
If all we do as we progress through the grades is learn more basic postures and more advanced forms to perform all we are doing is gaining one dimension. In other words it is like a swimming pool that is 100m long but only one inch deep.
How we add depth to our study is by practicing and understanding.
Strikes must be practiced on the bags/pads/makiwara and correct power generation must be examined
We must practice defending against all the most common habitual acts of physical violence.
We must practice in all fighting ranges, close quarters self defence, weapons, ground grappling, standup sparring and more.
In Toshu Jutsu, as in Karate, Kung Fu, Tai Chi etc, our database of techniques is within our kata.
So every single technique in every single kata comes under scrutiny:
a) Bunkai: examining the technique's possible applications b) Oyo: practicing the applications c) Henka: practicing variations
If we take our first kata Heian Shodan:
First we learn to perform the kata correctly Then we look at the true bunkai and discard the bad bunkai Then we practice the Oyo Then we learn to practice the kata with a Rokushaku Bo or Jo Then we learn to practice the kata with Sai Then we look for more henka (variations) which might be pressure points, groundwork, other weapons. Then we practice the associated two-man drills
And let's not forget the other qualities of the kata.
We can practice it slow as a warmup We can practice it fast as high intensity training We can practice it smooth and with full breathing as an external Qi Gong exercise.
By the time the student reaches Black Belt, they not only have a good general standard of Karate, Kobudo and Jujutsu (including 12 Karate kata plus six weapons and several two man drills), they also feel confident in a self defence scenario. They have spent years fighting stand-up, on the ground, defending against close quarter attacks and against weapons, they know their strikes are effective, they know their locks are effective and they know how to manipulate the opponent and break his balance.
Then as the old cliche goes, the real learning begins.
This means that now the Black Belt student is equipped with how to do it, now they can go and do it.
Now they can be given a Kata and told "go and find out the applications".
Now they can be given a weapon and told "go and find out how to use it."
Learning your martial arts up to black belt are like passing your driving test. Now you've passed the test, you have the vehicle, now you can go on your own journeys!
And what many black belts find is that the more they learn, the more they realise they still have to learn, and the more pleasure they get from practicing the simple stuff that they've known for years.
Osu!
Comments received on this Blog Post:
Good evening Sensei,
I have just completed reading your blog ( 5th March) and wish to
congratulate you for putting into words, so much better than I could,
the connection between the so called ‘’separate’’ Martial arts. I live
and work (and train) in a country town 300 k/ms from a capital city in
Victoria, Australia and due to this isolation factor we travel often,
to train with other organisations and styles,as well as compete in all
style competitions. I have trained in Judo ,Jujitsu and have 42 years
of Shotokan training in my past and have always believed that the
martial arts seem to separate at the bottom of a pyramid, but gradually
come together after a life time of training.
My teacher for the last 20 years has been Hitoshi Kasuya Sensei as we are affiliated with W.S.K.F.
I find your article refreshing, in not locking into a narrow view of one single focus which blocks out any others.
My latest article on bunkai: I've been reading a forum about Jujutsu being "added" to Karate, whether this is right or wrong. And here is my view.
Purists on the forum stated: "Master Funakoshi thought it was a sin to add Jujutsu throws to Karate believing it watered down both arts."
While others countered: "But Master Funakoshi himself said that we shouldn't neglect throws in our Karate and he said that basics and sparring should only exist but for the practice of kata."
So from these two simple views we can make a deduction.
In Funakoshi's time there was no need to "add" Jujutsu to Karate because Karate had its own grappling techniques.
"Well I trained with Kanazawa and Enoeda and I never saw them do a throw" I hear you say. "Are you trying to tell me Kanazawa and Enoeda were doing Karate wrong?"
No, I'm saying emphasis had changed.
In Matsumura's time Karate was something warriors did to hone their skills. In Itosu's time Karate was a way to develop fighting skills and improve character In Funakoshi's time Karate was a way to develop fitness and improve character In Kanazawa's time Karate was a way to develop fitness and compete in a sporting contest
See the changing emphasis?
In now, in our time we have a choice. We can do Karate for sport, for fitness, for character, for self defence.
Caveat emptor. It's a buyer's market but make sure you get what you're looking for.
When I first begun teaching, I followed my teacher's convention of teaching both Karate and Jujutsu. First we'd do some Karate techniques (such as kihon, kata or kumite) then we'd do some Jujutsu techniques, be it Judo style grappling or Aiki type throws.
Then I came to the realisation that there was no need to separate the techniques. No need to say: "Ok, class, this is a hip throw so it comes from Judo whereas this is from Aikido because it's an armlock."
Because actually there are all types of throws and locks already contained within Kata.
And if I've enhanced my Karate by applying my Jujutsu knowledge to it, I've done so not to create a cocktail but to enrich the overall recipe.
And I am far from the first to do this.
Soken Matsumura (b1797) began studying Toshu Jutsu under Sakugawa, he then studied Japanese Jigen Ryu, before training in China. He was enriching his Karate knowledge by studying other arts.
In the early 20th century Hironori Otsuka, Minoru Mochizuki and Kenwa Mabuni also studied both Karate and Jujutsu.
So how do you know you are refining your Karate by applying knowledge gained from Jujutsu, and not just making a hotchpotch of different arts?
The answer is by staying true to the kata. I'll give you an example from another art.
When I was learning Tai Chi we learnt a movement called "repulse the monkey." We were taught which kind of energy this move was supposed to have. In other words which hand was pulling, which hand was pushing, which was expanding, which was sinking, when to advance, when to retreat.
Then my Tai Chi teacher said to me: "It is applied like an Osoto Gari."
So from having done this Judo technique I better understood my Tai Chi. But of course I hadn't "diluted" my Tai Chi by mixing it up with Judo.
The same goes for Karate. I can show an application such as the "uppercut and jump" in Heian Godan, and explain it best by comparing it to the Shiho Nage in Aikido.
Because emphasis has changed in mainstream Karate from being a practical combat art to a sporting activity for those of us who wish to pursue the old methods, sometimes it is necessary to borrow inspiration from other sources.
It is often said in martial arts that grades and lineage do not matter.
But by the same token, it really does matter when somebody does not have
a true lineage or true grades.
Think of it like this. If you go to a restaurant and you like the food,
it does not matter where the chef learned to cook as long as you like
the food.
But imagine if somebody opened a restaurant and said: "Come and sample
the most authentic Japanese food in England. Our chef was the personal
chef to the Japanese royal family and he comes from a long line of
Japanese chefs. Every single one of our ingredients is authentically
Japanese, prepared in a traditional Japanese way and will be served
according to Japanese tradition."
People would attend the restaurant not only for the food, but for an authentic experience.
Now when you got the restaurant, if they served you tinned sweet and
sour pork, microwave rice and Earl Grey teabags, you'd have pretty good
cause for complaint.
Now to some people they don't care if food is authentic, or "an
experience" they just want good, healthy nutritious fayre. Others don't
even want that. They'll happily grab a burger or a kebab and couldn't
care less if they were served rat meat.
So back to martial arts. You can go to a gym with no airs and graces, hit the bags for a bit, do some pushups and be happy.
Similarly, you can drop the three kids off at Tiny Tygers Thai Kwondo
Kamp and watch as they run around playing games and gaining merit badges
for being able to do a cart wheel. Again - that's fine if that's what
you want.
I like to serve up something more authentic. Granted, it's my own
recipe. Granted it may not be to your taste. But it's good honest
martial arts cuisine - and it's healthy!
You know I could probably have a lot more students if I taught kids but I'm a martial arts instructor not a babysitter.
I'd probably have thousands of students if I did dodgy door-to-door
marketing and pyramid schemes like those clowns at Go Kan Ryu.
But it would leave a bitter taste.
I could probably get more "business" if I started an MMA class, a
kickboxing class, a Ninjutsu class, a Reiki class or whatever else is
flavour of the month.
But that goes against what's on the menu.
You wouldn't expect to see a Big Mac on the menu at Gordon Ramsay's
restaurant and you won't see Ninjutsu in my class. Not that there's
anything wrong with Ninjutsu, or Big Macs for that matter. It's just one
is for chubby kids (and this other is a hamburger).
What I serve up is a healthy blend of Karate and Jujutsu that I call Hakuda Kempo Toshu Jutsu.
Karate has always been an eclectic art. Forged in Okinawa from various
Chinese schools of Quan Fa including He Quan, Hu Quan, Hsing-I Quan and
Bazi Quan, with influences from Japanese schools like Jigen Ryu.
Jujutsu too comes in many different flavours - there's Koryu, Goshin, Brazilian and so on.
I trained in Shotokan and Shoto Ryu under students of Hirokazu Kanazawa,
Keinosuke Enoeda and Ikuo Higuchi. My grades were recognised in Kokusai
Budoin (and later UKBF) by the divisions headed by Kanazawa (Shotokan)
and Higuchi (Shoto Ryu). I also trained in Niseikai, including with the
headteacher Tadanori Nobetsu.
In the 20th century Nihon-den Jujutsu was preserved by the likes of
Minoru Mochizuki, Kenji Tomiki and Shizuya Sato, who combined their
Jujutsu with traditional old school Judo.
I trained with students of Mochizuki, Sato and second generation
students of Tomiki. The late Shizuya Sato awarded me 2nd Dan in Nihon
Jujutsu.
As well as my main teacher Shihan Bob Carruthers (Shotokan, Karate Jutsu
and Arnis), Reiner Parsons (Nisseikai, Kobudo and Shoto Ryu) and David
Keegan (Tai Chi and Chinese sword) I have been lucky enough to train
with grandmasters from around the world (on seminars) such as Li De Yin,
Rene Tongson, Patrick McCarthy and Mitsuhiro Kondo as well as the
above.
When I teach and grade my students, therefore this is the standard. I do
not ask them to do kata like me, I ask them to do it like Hirokazu
Kanazawa. I am accountable to my teachers and their masters' standards.
When a chief instructor has no teacher of his own, or an example to
follow, they are free to modify their style according to their own
limitations. This is why we see so many westerner 8th Dans in made up
styles with mail order Dan grades.
When my students grade they follow a rich tradition off Shoto Ryu Karate
and Nihon Jujutsu. Hakuda Kempo Toshu Jutsu may be my recipe, but the
ingredients are authentic.
I've handed my blog over to one of my senior students, Sensei Peter McHugh who has written this very thought provoking piece on evolving Karate - SK ................................................................
By Peter McHugh
When I first stepped foot in a Karate dojo I saw all kinds og strange stuff and to me at that time just looked like a lot of
people messing around in white pyjamas wearing different colour belts
and screaming loudly …. Today looking back at the first time I started
I can see a whole lot more than just kicks, blocks and punches I can
see how Karate has evolved in to the martial art it is today.
Thanks
to a few people that were visionaries, in the 21 century if
you were to walk in to a Karate Dojo or school you wont just see people
doing kicks and punches you will see and probably come across a lot
of other things like grappling - the type found in some Judo and Jujutsu clubs.
In other clubs you might see back flips
and rolls like in gymnastics, some clubs involve the use of
traditional weapons like the bo & jo staff ( a long wooden pole
ranging between 4ft and 6ft in length )the nunchaku (two pieces of wood
held together by rope or chain and made famous by the one and only
Bruce Lee) the Sai (a three pronged metal weapon resembling a trident )
and in some cases Chinese gung fu butterfly knifes (known as the dip
dao and able to cut through bone very easily).
An example of how the
martial arts of karate as evolved is in the katas or forms we practise.
In the early 90s when we did our kata we were just taught that a punch
is a punch, a kick was just a kick and a block was just a block that
was all fine and good for Karate at that point in time.
But
in today’s Karate systems like Hakuda Kempo Toshu Jutsu when we practise kata, we envision the moves as
locks, choke holds, arm bars, leg locks and body throws - not just
kicks, punches and blocks we also practise two man kata drills designed
to strengthen and develop one's abilities as a all round martial artist.
Chinese general Qi Jiguang (1528 – 1588) created a system of Chang Quan (Long Fist Boxing) which influenced Karate.
Then we have Tode Sakugawa
(1733-1815) who it is said developed the kata Kushanku or as its known
kanku dai after studying various Quan nd the weapon arts from the Chinese.
Then we have Sokon Matsumura (1798-1890) a student
of Tode Sakugawa who developed the Karate style of Shuri-te later
known as Shorin Ryu along with the Heian or peinan katas .
We
have other people after that, but none more famous than Shotokan founder Funakoshi Gichin (1868 –1957) who took karate to main land Japan.
Today some martial arts teachers are becoming
visionaries just like Tode Sakugawa, Sokon Matsumura and Funakoshi
Gichin.
One teacher I know who is like this is master Robert Carruthers 7th Dan. After studying karate for many years he went on to
study Jujutsu and Karate Jutsu and developed the Seiki Juku system of Karate Jutsu.
Today Carruthers Sensei is incorporating the new techniques he learned
in the classical martial art of the Philippines, Abaniko Tres Puntas
which is stick and knife fighting.
Another martial artist that’s
evolving the martial art form of karate is the Bushinkai Method
founder Simon keegan Renshi by incorporating moves and techniques from
the Chinese martial art forms like Tai Chi, Nihon Jujutsu, Judo,
Aikido, Bojutsu, Muay Thai and many other martial arts he has developed a
martial art system that not only will help defend ones self from a
standing attack but it will also aid ones elf if the attack went to
the floor.
And with the understanding a student of the Bushinkai Method
will receive from the teachings of Renshi Simon Keegan along with the
learning of how to use and defend against weapons the student will be
able to handle any situation that may arise in this day and age for
just like in the Japanese Edo period people are carrying around
weapons and given the opportunity will use them.
So just like the
visionaries Tode Sakugawa, Sokon Matsumura and Funakoshi Gichin that
made and evolved the martial arts of karate to be an effective form of
fighting and defence in their day so it is that the visionaries of
today evolve and grow the martial art of Karate to keep up with the
21st century - just as people grow and adapt to new things and
technologies the martial arts most grow.
Tode Sakugawa, Sokon
Matsumura and Funakoshi Gichin realised this and adapted the martial
art of Karate to fit in with the times sometimes adding techniques
from other styles like Chinese gung fu, Hsing I quan and some times
taking away some of the techniques like grappling and body throws.
Some people think about Karate as a traditional martial art form a
martial art that never changes but the truth of the matter is its not.
And has never been just one martial art form it’s a collection of a lot
of styles blended together and it will continue to grow and grow in
to a better martial art form with the help of visionaries and teachers
of the past like the late Tode Sakugawa, Sokon Matsumura and
Funakoshi Gichin along with the visionaries of today master Robert Carruthers, Renshi Simon Keegan and others - to ensure the art form
of Karate will always be evolving.
In Karate Do the 3 Ks are taught - Kata, Kihon, Kumite - In Toshu Jutsu, the 10 Ks are taught - Kata, Kihon, Kumite, Ki, Katame, Kyusho, Kansetsu, Kumiuchi, Kobudo, Kakie
In Karate Do kata has only Bunkai (analysis of forms based on kumite techniques) - In Toshu Jutsu the bunkai leads to Oyo (real workable applications that can be practiced and applied on a partner)
In Karate Do students learn to defend against "Karate attacks" - In Toshu Jutsu students defend against all the most habitual violent attacks
In Karate Do (for example modern Shotokan) strikes use Kime (tension at the last second of a technique for 'focus') - In Toshu Jutsu there is consistent power throughout techniques
In Karate Do (for example modern Shotokan) blocks use Kime (tension at the last second of a technique for 'focus') - In Toshu Jutsu blocks use "heavy hands" transferring power "through" the opponent
In Karate Do the techniques are practiced long range - In Toshu Jutsu the techniques are practice close range primarily and then at other ranges
- In Karate Do the defender steps back away from the attack In Toshu Jutsu the defender advances in on the attack, or turns with the attack
This blog gives more information on the history of the Bushinkai schools and what the different names mean.
Bushinkai
Meaning "warrior spirit school" this name covers the two Academies that together comprise the Bushinkai International Academy of Martial Arts. Bushinkai was established in 2000 and held its first class in early 2001.
White Lion Academy and Metal Tiger Academy
The White Lion Academy is run by Kaicho (academy head) Simon Keegan, teaching the martial arts of Okinawa, Japan and Fujian/Guangzhou. The name white lion was chosen partly because of the symbolism of the stone guardian lions in Shuri, Okinawa and of Fujian Lion Boxing.
The Metal Tiger Academy is run by Sifu David Keegan, and teaches Chinese Internal Martial Arts, including Taiji Quan (Tai Chi), Taiji Jian (Tai Chi sword) as well as other Qigong from other sources including Shaolin and the Ba Duan Jin.
Hakuda Kempo Toshu Jutsu
Within the White Lion Academy a fighting system is taught called "Hakuda Kempo Toshu Jutsu".
Prior to the rise of modern striking arts like Karate-Do, Taekwondo, Wu Shu and Tang Soo Do, the name for the true fighting arts in Okinawa was Toshu Jutsu or Toshukuken. Toshu Jutsu means "Chinese Hand techniques" and reflects the origins of the arts in Fujian and Guangzhou. One of the Fujianese sources for Toshu Jutsu was Lion Boxing.
Hakuda is a name for a type of Jujutsu originating from southwest Japan.
Masters of the Yoshin Ryu and Yagyu Shingan Ryu were influenced by the Quan Fa arts of China such as Bazi Quan and Hsin I Quan and so Hakuda Kempo took on a different flavour to other methods of Jujutsu, Yawara and Kumiuchi.
Hakuda Kempo Toshu Jutsu is a complete fighting system based on the following arts:
- Toshu Jutsu or Karate Jutsu. Fighting applications based on Okinawan forms - Tegumi. Grappling drills originating in Okinawa and Fujian - Hakuda or Jujutsu. Grappling methods from the old Satsuma prefecture. - Emono Jutsu or Kobudo. Weapons arts of Okinawa, China and Japan. - Nihon-den Jujutsu. Authentically Japanese Jujutsu, originating in the Tokyo area.
Hakuda Kempo Toshu Jutsu is collectively known by the school name Hakukigen Ryu, a name comprising the characters "Hakugen Ryu" an old school of the Satsuma area and "Kigen" a name meaning "to pray" in Japanese.
Bushinkai students are initially graded in Shoto Ryu Karate and upon reaching brown belt are graded for both Karate and Nihon-den Jujutsu.
Once they pass black belt levels they may be awarded densho within the Bushin Ryu tradition.
Shoto Ryu Toshu Jutsu (Shoto Ryu Karate)
In Okinawa all "Chinese boxing" forms were originally called Toshu Jutsu but as they became more integrated into Okinawa, three separate traditions emerged named after the villages where they were practiced - called Shuri Te, Naha Te and Tomari Te.
Sometimes these schools took the names "Shorin" and "Shorei" in reference to the Chinese Shaolin traditions.
The first time these arts were formally demonstrated in mainland Japan was in the 1920s by Gichin Funakoshi and Makoto Gima, both students of Itosu.
Originally they called this art "Ryukyu Kempo Tode Jutsu",but later the character (Tode/Toshu) was changed to Karate. Funakoshi himself gave no name to his school, only stating he taught both the Shorin and Shorei methods.
Gima, Funakoshi's senior student (and some would say his peer) used the name Shoto Ryu since Shoto was Funakoshi's pen-name.
Later Funakoshi presided over two groups also bearing his name, the Shotokan and Shotokai which took very different paths after his death.
Soon after in Okinawa, masters who were Funakoshi's peers (and fellow students of Itosu and Matsumura) formally established their own schools in Okinawa such as Shorin Ryu, Kobayashi Ryu and Matsubayashi Ryu which are different ways of pronouncing the same characters.
Bushinkai head Simon Keegan was certified by Kokusai Budoin, in which the head of Shoto Ryu is Ikuo Higuchi 8th Dan and the head of Shotokan is Hirokazu Kanazawa
Nihon-den Jujutsu
There were many grappling arts in Japan, using different names including Jujutsu, Yawara, Hakuda, Kogusoku, Taijutsu, Kumiuchi, Kempo, Toritejutsu and Aikijujutsu.
In the late Tokugawa Period most of these schools came to be classed as Jujutsu, and soon after the traditional Budo schools emerged. From Jujutsu came Judo, from Kenjutsu came Kendo and so on.
In the 20th century as new Jujutsu styles developed as far afield as England, Hawaii and Brazil, Japanese masters formalised some Jujutsu skills with techniques also common to traditional Judo and Aikido and established a programme of Nihon-den Jujutsu. At the forefront of this development were Minoru Mochizuki (10th Dan Aikido, 9th Dan Jujutsu) and Shizuya Sato (10th Dan Jujutsu, 9th Dan Judo).
Bushinkai head Simon Keegan was certified by Kokusai Budoin, in which the head of Nihon Jujutsu was Shizuya Sato and previously Minoru Mochizuki.
Bushin Ryu
Bushin Ryu is our headteacher's family Jujutsu tradition that began when Mikonosuke Kawaishi (a student of Daito Ryu master Yoshida Kotaro and Judo master Jigoro Kano) arrived in Liverpool in 1928.
Yoshida's teacher Sokaku Takeda was the last of the great Aikijujutsu masters to have actually fought in mortal combat.
Ok, I admit it the heading of this blog is a misnomer. Because there are no secrets in the martial arts.
There's a few handy rules in the martial arts. But these aren't secret. In fact to show you how un-secret they are, I'll tell you a few:
- Train hard and train sensible - Always relax - Breathe... you'll live longer - Use your body movement efficiently - There's no rules in a fight
Now, do you feel enlightened?
Ah but what about the masters? They must know secrets, right?
Well I'm not talking about the paper tigers. You know the ones. The ones who claim they were brought up in the jungle by a secret Ninja clan and now they are the 200th generation 15th dan soke dokey, and if you train with them long enough and buy all their videos, you too can learn their secrets.
No, I mean the real masters. Like Hirokazu Kanazawa (Shotokan Karate), Li De Yin (Tai Chi), Morio Higaonna (Goju Ryu Karate), Terry Wingrove (Yawara/Karate Jutsu), Patrick McCarthy (Koryu Uchinadi).
Why are these men masters? Well, they have all trained 50 years or more. So time is a factor. And they have all got REALLY good basics. Attend a seminar with Kanazawa and the chances are you'll spend a long time doing basics.
So there you have it. You are now liberated, you've taken the red pill, as they say in the Matrix.
Or if you prefer it, you can continue to believe in Father Christmas, and for those of you who don't know the truth, you can console yourself with this:
One day I was walking in the hills and a willow tree broke, and from behind it came a Yamabushi warrior monk, and he told me the secret of the martial arts, and for those of you who believe this kind of things, I'll tell you what he told me....
.... Only you're not quite ready. Train with me many years, buy all my merchandise, watch my videos, get the badges, and when you're a 23rd Dan I'll tell you the secrets.
It's up to you folks, follow common sense or follow the smoke and mirrors.
I have discussed how the Okinawan art of Toshu Jutsu has as its primary influence the arts of China and Japan; and as its secondary influence, the arts of Thailand, Taiwan and Vietnam. Now I would like to briefly discuss the western martial arts.
I do not mean MMA, I am referring to the classical fighting arts of the west.
In Oriental martial arts I have always preferred the practical to the sporting and in occidental martial arts, the same is true.
Fencing, wrestling and boxing are thought of more as sports than as fighting arts but this was not always the case.
Spanish and French fencing schools owe their origins to the Italian schools, which pioneered the use of the rapier.
Prior to the rapier, sword fighting was an unsophisticated affair with large heavy broadswords. The Italian rapier allowed for fast intricate movements.
The French style most closely resembles what we know today as fencing as it favoured the more direct lunges, although it does include some dramatic movements such as Le fleche (the arrow).
Italian was originally more flamboyant, including dropping sacrifice techniques like Passata Soto.
I have studied French (Foil and Epee) fencing and Italian but I enjoy Spanish the most.
The Spanish style (Destreza) can be compared to the Chinese art of Pakua as it uses circles within circles.
Destreza also uses what the Japanese would call Irimi, Tai Sabaki and tenkan type movements to enter, close and evade the opponent rather than just keeping him at arms length.
When I was about nine my first sword (I already had a Japanese bokken) was a Spanish backsword and I later came by various rapier.
The Spanish swords of Toledo, along with those of Damascus and Japan were among the finest in the world.
The Spanish sword (Espada) art Esgrima (literally fencing) made its way to the Spanish colony of the Philippines and the art we know todays as Escrima, arnis or Kali was born out of a combination of Filipino and Spanish martial arts.
The origins of the Desreza system of swordsmanship dates as far back as
1569, when Jerónimo Carranza began reducing it to writing. There is
some evidence indicating that the sixteenth-century fencing theorist Camillo Agrippa's
work was the inspiration for the Carranza's work. Pacheco makes the
claim that Carranza based his text on the work of Camillo Agrippa in a
letter to the Duke of Cea in Madrid on May 4, 1618. This claim is reinforced by a common use of geometry and circular movement in both systems.
Whatever its inspiration, Carranza's work represents a break from the older tradition of Spanish fencing, the so-called esgrima vulgar or esgrima común
(vulgar or common fencing). That older tradition, with roots in
medieval times, was represented by the works of authors such as Jaume
Pons (1474), Pedro de la Torre (1474) and Francisco Román (1532).
Writers on Destreza took great care to distinguish their "true art"
from the "vulgar" or "common" fencing. The older school continued to
exist alongside la verdadera destreza, but was increasingly influenced
by its forms and concepts.
After Carranza laid the groundwork for the school with his seminal
work (published 1582), Pacheco de Narváez continued with a series of
other books which expanded upon Carranza's concepts. While Pacheco
originally clung closely to Carranza's precepts, he gradually diverged
from them in significant respects. This divergence eventually caused a
split between followers of Carranza ("Carrancistas") and those of
Pacheco ("Pachequistas"), essentially resulting in the existence of
three different schools of fence in Iberia.
Spanish fencing methods quickly spread to Spain's colonial empire in
the New World. Originally, this was the esgrima común, but eventually
included destreza as well. Carranza himself was governor of Honduras
for a time. Destreza authors and masters can be documented in Mexico,
Peru, Ecuador, and the Philippines. Some degree of influence on the
Philippine martial arts is highly likely.
When the Spaniards began colonizing the Philippines, they saw an
already-developed weapons-based martial arts practiced by the natives.
The name Eskrima came from the Spanish word for fencing due to
the perceived similarity to fencing. Some practitioners used sticks made out of
rattan rather than swords, as well as small knives wielded like a
sword.
As eskrima is an art for the common folk, most practitioners lacked
the scholarly education to create any kind of written record. While the
same can be said of many martial arts, this is especially true for
eskrima because almost all of its history is anecdotal, oral or
promotional. The origin of eskrima can be traced back to the fighting
systems used by Filipinos during inter-tribal warfare.
Among the earliest written records of Filipino martial arts comes from the Spanish conquistadors who fought native tribesmen armed with sticks and knives.
Sources differ on the degree to which Eskrima was affected by the
Spanish colonization. The fact that many Eskrima techniques have
Spanish names adds fuel to the debate.
One of the apparent influences from Spanish styles is the espada y daga (sword and dagger) method, but some disagree as Filipino espada y daga appears to be distinct from European rapier and dagger techniques; the stances are different as weapons used in Eskrima are typically shorter than European swords.
This blog post reflects my personal opinion on the amount of self-proclaimed 10th Dans, grandmasters and Sokes that are around these days.
In England there are those boasting a 10th dan in Karate - this is plain silly. There are only a handful of Karate masters in the entire world who hold this grade, and these are legends like Hirokazu Kanazawa and Morio Higaonna - both of whom started training before this art was even introduced to England.
The longest serving Karateka in England, Terry Wingrove (began 1957) was only recently awarded his 9th Dan (by Kinjo Hiroshi). Other 9th Dans include Britain's greatest ever Karate coach Ticky Donovan - and 8th Dans include the first British shotokan black belt Andy Sherry - so how those of much less time and experience than these can call themselves 10th Dan is ridiculous. One of these 10th dans has only been training since 1984. Some of my students have been training longer than that!
In Jujutsu these high grades are numerous. Jujutsu has been in Britain about 120 years - so there's certainly the opportunity for people to tick the "time served" box. But do they have the skill to match?
Compare the amount of hokey sokes in Jujutsu to the genuine ones in Judo.
The Kodokan only recently made its first promotions to Judan (10th dan) in
22 years. On January 8, 2006, three men were promoted to the highest
level in Judo. This makes only 15 to be promoted to 10th dan since
Prof. Kano founded Judo in 1882.
That's right - in 129 years there have been only 15 Kodokan 10th dans - all Japanese - yet somehow there seems to be more western 10th Dans than there are white belts!
One such "reason" for these grades is the concept of the "Soke." In Japan, a "soke" or "iemoto" meant the head of the clan or head of family. In some respects the soke could be considered the "grandmaster" of a family tradition of martial arts.
For example, in Daito Ryu, Takeda Sokaku considered himself the 35th generation of his clan to practice the fighting arts and when he died his son Tokimune succeeded him as 36th soke.
However in the west, instructors are using "soke" as interchangeable with "founder." In other words, Joe Bloggs, maybe a 1st dan in Judo and a 2nd Dan in Karate calls himself "soke" of "Bloggs Ryu Joe-Jutsu" - and all of a sudden he's a 10th Dan.
I think these people ae missing the point. Personally I'm proud that martial arts have been in my family for three generations, and, yes, I have my own school. But the only grades I hold are those I took on the mat.
Sometimes students will say to me, "Sensei, you've been a 4th Dan for four years - when are you getting your 5th Dan?"
Well the answer to that is, (a) when I'm good enough, (b) when my instructor enters me for the grading and (c) only if I pass that grading.
Could I be a 5th dan now? Sure. I could buy a red and white belt from Blitz, join the Royal Council for Dodgy Sokes, send a cheque to someone and get a certificate in a few days, hell, why not make it a 10th Dan? In fact if i did Ninjutsu we could make it a 15th Dan!
No, thanks, I'll stick to my 4th Dan.
But don't I have a fancy title? Well it says "Renshi" after my 4th dan which means "a polished teacher" - which my seniors deemed me to be, after ten years teaching and i sometimes sign off official letters with "kaicho" - which means "chairman" which, again, I am (the chairman of TEMAA).
But do me a favour... The day I start calling myself Soke, wearing a red and gold belt and joining soke dokey councils.... Somebody send me to sensei for a clip round the ear and some press-ups!
In the previous blog I mentioned pursuing the "trunk" of martial arts, rather than the branches. I will explain a little more about this.
The roots of martial arts, the ones buried right beneath the soil are the ancient ancestors that we cannot trace a complete lineal descent from. These are lost so deeply beneath the ground that they are such a distant memory. These may be primitive village arts from India, they may be primitive grappling forms of Babylon or they may be lost in stories of gods and mythology. No Karate school can trace their lineage back to Buddha.
The trunk of the martial arts, is actually many martial arts intertwined like ivy. so much so that you can't tell where one trunk starts and another ends.
These are the true martial arts (the Jutsu) that we know as Quan Fa (China), Bujutsu (Japan) and Toshukuken (Okinawa).
In China the Quan Fa schools took on different family names, or took stylistic influences from animals or themes.
In Japan, some of the Bujutsu schools took influences from China and became schools of Kempo, Yawara or Hakuda.
In Okinawa the old Toshukuken or Toshu Jutsu schools borrowed from China and the Karate Jutsu schools were born.
Similarly in Thailand there were schools of Muay Boran, in Korea there was Taekyon, in Burma there was Lethwai and in Malaysia there was Silat.
In Hakuda Kempo Toshu Jutsu we focus on the trunk not the branches.
The branches are, as you might expect, more numerous than the intertwined trunk.
They include:
Okinawa: Shuri Te, Naha Te, Tomari Te, Motobu Te, Kume Te
China: Crane fist, Tiger fist, Lion fist, Monk fist, Supreme Ultimate fist, Form Mind fist, etc etc
From these branches there are more branches still.
For example, from Shuri Te we get Shorin Ryu, Shoto Ryu, Taekwondo, Wado Ryu, Kobayashi Ryu.
From Daito Ryu we get Aikido, Hapkido, Yoseikan Budo etc.
And in turn each of these branches have their own "twigs" so from Shoto Ryu (as taught originally by Master Funakoshi) we get JKA style Shotokan, SKI style Shotokan, Shotokai and numerous modern derivatives.
In Bushinkai, we look to the "trunk" (Hakuda Kempo Toshu Jutsu) but of course, we are also a product of the branches such as Shoto Ryu, Goju Ryu, Aikido, Jujutsu, Taiji Quan etc.
In Bushinkai we also have instruction from my good friend John Dang. His branches are different to mine - they are Taekwondo, Muay Thai and Jeet Kune Do, but his "trunk" - namely Kung Fu and Muay Boran is intertwined with our own - the Koreans call Toshu "Tang Soo" and the Okinawans call Muay Boran "Ti'Gwa."
The Trunk (The Jutsu) Toshu Jutsu, Muay Boran (Ti Gwa), Quan Fa (Kempo)
The Branches (The Do) Shotokan, Taekwondo, Goju Ryu, Jujutsu, Muay Thai
In previous posts I've talked quite a bit about my teachers and now I'd like to sum up the development of Hakuda Kempo Toshu Jutsu.
Martial arts, like military service have been in my family for a long time. My great great grandfather August Nilsson (born 1867) was taught unarmed combat in the Swedish Navy, his son William Henry Nelson was in WWI and trained in unarmed combat and basic boxing. William Henry's sons Jim and Bill were taught boxing by their dad as children. Jim my grandad was in the army in WWII and my great uncle Bill was in the Navy.
At the end of the 1800s, various methods of Jujutsu were introduced to Europe. The main pioneers in England were EJ Harrison, EW Barton Wright and L MacLagen. And from these many European schools developed, including in Sweden since that country's pioneer Viking Cronholm trained with MacLagen while stationed in Africa. Another name we should mention was Swedish descended estonian George Hackenschmidt, a wrestling pioneer in 1905 who challenged many Jujutsu experts and wrestlers including Liverpool's Tom Cannon.
After WWII my great uncle Bill studied Jujutsu with Mikonosuke Kawaishi's school in 1945, and when my dad was at school in about 1959 he too studied Jujutsu.
We should note that in addition to Kodokan Judo, Kawaishi had also studied classical Koryu Jujutsu under Yoshida Kotaro, a master of Daito Ryu and Yanagi Ryu. The latter was a branch of classical Hakuda school Yoshin Ryu.
I was interested in many different martial arts as a youngster, including ones from Spain, Japan, England and China. I flitted from one art to another, until I met my first formal Sensei when I was 16.
Sensei Steve Bullough's influence on me over the next eight to ten years cannot be overstated. He gave me my start in many areas of the martial arts that I had not previously explored - from Koppo Jutsu (breaking the body) to Aikido.
When I was a 20 year old black belt, I began teaching as Steve's assistant instructor, and so what I taught initially was his system, Bushido Freestyle Karate.
Around that time I also followed my dad into a Tai Chi school in which we trained for around nine years. In addition to Yang style Tai Chi, we also studied Sun Style, which was developed by master Sun as a fusion of Tai Chi, Hsing-I and Pa Kua. We were also taught some Hsing-I separately, learning the Hsing-I Fists.
Hsing-I is an art of great interest to the history of Toshu Jutsu. An early Hsing-I master (or possibly an early version of Hsing-I called Hsin-I or Bazi Quan) named Wang Ji came to Okinawa in 1683 and this is the root of the Wansu kata. And even as late as the 1920s, Hsing-I came to influence styles like Goju Ryu. If we look at Hsing-I today the parallels with Karate are apparent.
When I was 21, I set aside many of the arts I had studied, in order to focus only on the traditional side of the arts.
From Sensei Robert Carruthers and Sensei Steve Brennan I learned the arts of Shotokan Karate and Karate Jutsu. And I also studied Jujutsu, Taijutsu and Aikijutsu with instructors such as Jaimie Lee-Barron. I also attended seminars with the likes of Aiki specialist George Scarrott, Hakuda master Joe Carslake and a superb Jujutsu and Kenjutsu man named Andy Wilshaw. All of these added to my understanding of Karate and Jujutsu.
In 2003 I was inducted into Kokusai Budoin, Japan's oldest martial arts fraternity. There I was able to train with masters like Tadanori Nobetsu (Niseikai), Shizuya Sato (Nihon Jujutsu) and Mitsuhiro Kondo (Yoseikan Aikijujutsu); and with students of Hirokazu Kanazawa (Shotokan), Morio Higaonna (Goju Ryu), Kai Kuniyuki (Kobudo), Ikuo Higuchi (Shoto Ryu), Minoru Mochizuki (Yoseikan and Nihon-Den Jujutsu), Keiji Tose (Eishin Ryu) and several other Japanese masters.
My grades were recognised in the arts of Shoto Ryu Karate and Nihon Jujutsu and I began training in Niseikai with Reiner Parsons, who would grade me 3rd Dan.
Reiner and his sons Derrick, Clive and Graham introduced me to the Naha Te arts and I was lucky enough to train with Master Nobetsu himself.
In 2005 I met the aquaintance of the UK's senior Karate instructor, Terry Wingrove a master of the old ways of Karate Jutsu and Yawara. Although I only trained on a handful of occasions with Hanshi he implanted a very important lesson in me - which was to pursue the roots and "trunk" of the martial arts - not just the branches and twigs! He also assured me to search out what was effective rather than what was simply "traditional."
Through meeting Hanshi I also met some other legendary martial arts instructors, including Hanshi Patrick McCarthy (Koryu Uchinadi) and Alan Ruddock, a direct student of the founder of Aikido. I also became friends with the UK head of the Dai Nippon Butokukai, Hanshi Allan Tattersall.
In 2007, as a 4th Dan, I began to devise a new syllabus for Bushinkai. In the past my syllabus had come directly from my own teachers, Steve, Bob and Jaimie. But this time I wanted to include the very best of what I had learnt and none of the techniques that were there for "decoration."
Recalling the oldest methods of Okinawa I devised the name "Ryukyu Kempo Toshu Jutsu" and recalling the old Jujutsu methods of South West Japan, I devised the name "Hakuda Aiki Torite Jutsu" - together they comprise Hakuda Kempo Toshu Jutsu.
In blog post 16, I talked about my great uncle, Bill
Nelson who studied Jujutsu 1945-1950s, now I would like to introduce my
dad and uncles' training.
My dad, David Keegan was born in 1950, the year of the Metal Tiger according to Chinese astrology. He has a twin brother, my uncle Paul Keegan.
They moved from Bootle to Kirkby in the mid 50s and in about 1959 a
Jujutsu instructor began giving Judo lessons at their school. In their
class at school was John Conteh who later became one of Britain's
greatest boxers.
There were only a few Jujutsu instructors in Liverpool at this time, including Jack Britten, Gerry Skyner and Jim Blundell.
In the 1960s, the cultures of the East really opened up in west
(remember the Beatles joining the Maharishi!) and David Keegan became
interested in various eastern belief systems and texts including the Tao
Te Ching and the I-Ching. He has spent nearly 50 years studying the
strategies and Taoist wisdom of these systems. He also became interested
in a branch of Shindo Fudo Ryu Jujutsu called Bartitsu, made famous in
the Edwardian world of Sherlock Holmes. Dad had some old pictures and
manuscripts of this style which as well as Jujutsu included fighting
with a walking stick.
In the early 1960s the art of Karate was introduced to Liverpool. The
first club was run by Fred Gille and early students included Andy Sherry
(previously a Jujutsu student of Jack Britten) and Terry O'Neill (whose
father studied alongside my great uncle with Gerry Skyner). This club
later became the world famous Red Triangle Karate club under "The Tiger"
Keinosuke Enoeda.
My dad was friends with one of the Red Triangle instructors, a 1st Dan
named Peter Hignott whose instructor was Andy Sherry and they would
often train together. The Red Triangle used to train in Sefton Park.
Karate also arrived in the North East in 1966 and Harry Cook became a
prominent Karateka, initially studying with Andy Sherry and then with
Enoeda, Asano, Kawasoe and others before moving to Japan.
Sensei Cook ran the University of Durham Karate team and my dad's best friend, my "uncle" John Barrie was on that squad. He was examined for his black belt by Enoeda.
In the 1970s dad joined the Duke of Lancaster's Own and became a
corporal and excellent rifleman. One of the drill sergeants was a Kobudo
practitioner and would allow the troopers to practice with their
Nunchaku while they were supposed to be out running.
My uncle Paul Keegan trained in a few other Liverpool clubs, including a
Goju Ryu club run by Dennis Martin. He also did some Jujutsu and had
two Japanese swords. He was a member of the To-Ken society.
In about 1987, when I was about eight David Keegan and John Barrie went
to China. They worked in Hong Kong, Guangzhou and Bangkok and
experienced the lifestyle, commerce, martial arts, foods and culture
firsthand. They brought me back my first Kung Fu suit! Uncle John later
returned to China and still lives there to this day with his wife Mei
Kwan, a Tai Chi practitioner.
Years later I joined the Bushido Academy and my dad joined a Tai Chi
academy, which I later followed him into. He trained with this Tai Chi
school for several years and it hosted China's leading exponent of the
art, Professor Li De Yin, several times.
In 2001 I had been teaching with the Bushido Academy for a year, and my
uncle John returned from China. He gave me a Kenjutsu gi from Japan and a
Chinese broadsword carved from a single piece of Jade - both of which I
treasure. Soon after my club became Bushinkai and was split into the
White Lion Academy (Toshu Jutsu) and the Metal Tiger Academy (Tai Chi).
Over the last ten years, dad and I have had numerous teachers. I have
mentioned mine already. He began studying Muso Jikiden Eishin Ryu and
studied with the likes of Kenji Tose, Yoshida and Hanshi Tattersall. We
graded for our 3rd Dans together under Reiner Parsons (whose style
includes Karate, Kobudo, Kung Fu and Chi Kung) and in 2007 we were both
awarded 4th Dan. In the last few years he has added new skills to his
repertoire from other styles.
David Keegan holds Tai Chi classes in Wigan (Friday evening 7-8 and
Saturday morning 9:30-10:30am) and Ormskirk, Thursday evening 7:00-8:30.
In previous blogs, I have introduced my Goju Ryu instructor Reiner Parsons and his teacher Tadanori Nobetsu, I have also talked a little about members of my family who have studied martial arts including my dad and uncles. Now I would like to briefly profile my two main Karate teachers over the years, Steve Bullough and Bob Carruthers. Martial arts biographies are often a subject of speculation and some degree of opinion, so I would like to keep these biographies free of my own opinions, and instead just offer the facts.
I feel it is important to acknowledge my teachers, as this is the ancestry of our school.
Bob Carruthers Bob Carruthers was born in Wigan, Lancashire in about 1949 and moved down to Devon and Cornwall in his early twenties to work as a bricklayer. He married in the west country and stayed there for many years. Although Karate has been introduced to England in 1956, the spread of the art was very slow and didn't grow widely til around 1966 when Shotokan, Shotokai and Wado Ryu spread throughout the country.
So in around 1970 or 1971 when Bob began training in Karate, it was still a relatively new art and a black belt 1st Dan was considered quite rare. Bob began with a Shotokan club and then trained in Taekwondo.
Taekwondo was even newer to England, having only been introduced in 1967 and taught at RAF bases. In 1972, the club Bob was training in affiliated to the British Karate Federation which was run at the time by the likes of Danny Connor (Manchester) and John Smith (Devon) who at the time were students of Tatsuo Suzuki in Wado Ryu.
John Smith was a pioneer in Wado Ryu Karate in the south. He was on the Great Britain Karate team from 1967 to 1973 and in 1968 had started Streatham Karate Club in London.
In 1972 Smith started the Mayflower Karate Club in Plymouth at the Kitto Centre and in 1973 founded a new style of Karate called Bujinkai with Danny Connor.
Bujinkai was one of the first British "freestyle" systems since it combined Shotokan and Wado Ryu with some of Danny Connor's Chinese influences such as Preying Mantis Fist.
Bob trained in this style for a few years, and as a blue or purple belt opened his own club in Bodmin. According to Bob's recollection this was Cornwall's first Karate club, but another group in Helston disputes this.
In the late 1970s, having achieved the grade of 1st Kyu, Bob returned to Wigan and found a new teacher: Phillip Handyside.
Sensei Phil Handyside was a Shotokan stylist who had trained initially with Sadashige Kato and Cyril Cummins and had taken his 1st Dan under Hirokazu Kanazawa. He taught in Preston and was part of a select group who trained with a visiting master from Malaysia.
The master was Chewchoo Soot, founder of Budokan Karate, a blend of styles largely based on the teachings of Kanken Toyama.
Sensei Handyside took his 2nd Dan under Soot, and his club the Red Sun organisation became Shubukan Karate.
Bob gained his black belt 1st Dan and among his early students were Steve Lowe (now a 5th Dan with Kissaki Karate), Peter Lee Bibby (now a 5th Dan with Kenyukai Karate), Steve Brennan (now a 4th Dan Shoshin Ryu Karate) and a young Mark and Scott Webster who are today Bob's senior students.
In the early 1980s, Bob was a part of various groups including Mirai (run by Alex and Peter Laurie) and BIKA (run by Paul Chadwick). He had by this point attended seminars with masters like Enoeda and Kanazawa. He also met another influential instructor.
Master Pan, a Korean Taekwondo instructor became Bob's next teacher. He ran a martial arts equipment company and gave Bob a gift of a silk black belt - the last one he ever exported.
In the mid 1980s, Bob joined UKASKO, run by Roy Stanhope and in the late 1990s joined a new group called the Bugei Renmei. In 2002 he was awarded his 5th Dan by this group on a course I attended. He has subsequently received the grades of 6th Dan and 7th Dan and has recently taken up Classical Arnis with a style called Abiniko Tres Puntas and also studied Iaido for a few years.
Bob attended our 10th anniversary course on October 10 2010.
I have learnt a lot from Sensei Bob over the last ten years and he has been extremely generous to me with his time and knowledge and long may our friendship continue.
In this post I will introduce my training in Niseikai, a style which
combines Naha Te (Goju Ryu) with Shi He Quan (Feeding Crane).
In previous blog posts I have talked about the origins of Shoto
family forms like Heian Bassai Dai and Empi but I have only briefly
touched upon the Goju family in my article “all Go and no Ju.” Although I
consider myself a Shoto Ryu stylist, one of my main teachers of the
last eight years has been Reiner Parsons of the Niseikai school, a very
interesting style which combines Goju Ryu Karate with Feeding Crane Kung
Fu.
Reiner’s teacher, who I have also trained with is master Tadanori Nobetsu 9th Dan Hanshi.
Nobetsu Sensei was born in 1935 in Kyushu and in 1965 he established
Niseikai in Ageo, Saitama Prefecture, based on his studies with masters
like Yamaguchi. Significantly he has also put the “ju” back into “Goju”
through his studies in Feeding Crane Kung Fu with his teacher Liú Chin
Long.
Basically put the principle of Niseikai, as it is imparted to me by Reiner is:
- Always stay relaxed. Reiner’s strkes, in common with those of Nobetsu, use no strength but transmit a shockwave of power
- Breathe. The breathing method used is a type of hard Chi Kung that generates power and hardens the body
- Use the waist. Power is generated from the centre. The arms – like the crane’s wings – simply “flap” from the waist power
- Two directions. This principle will require further discussion in a post of its own.
- Train slowly for precision. Move slowly when defending. I will elaborate in a future post!
In my post about the origins of Bassai Dai I mentioned that
Okinawans Matsumura and Kojo went to Fujian in 1828 and disovered a
master called Iwah who taught all sorts of forms including Lion Boxing
and is the origin of our Shorei (“Southern Shaolin”) family of forms
like Seishan (Hangetsu). Seemingly after this visit, there is a trend
for Okinawan masters to go to Fukien and learn the Shorei forms.
Aragaki Seisho (pioneer of the forms Niseishi, Unsu, Sochin and
Wankan) trained there with Wai Shinzan and Aragaki’s student Higaonna
Kanryo, (founder of Naha Te and teacher of Goju Ryu founder Chojun
Miyagi) also trained there under someone called Ryuryu Ko.
As a child Higaonna Sensei trained under Aragaki Seisho Sensei.
Later he briefly trained with Kojo Taitei Sensei of the Kojo Ryu. He
traveled to China where he became a student of Ryuryu Ko with whom he
trained for about 15 years before returning to Okinawa. After his return
to Okinawa he eventually began to teach what became known as Naha Te,
as contrasted with Shuri Te and Tomari Te.
A second Okinawan may have trained with Ryuryu Ko and that is Nakaima Kenri who founded the Ryuei Ryu style.
Koryu Uchinadi pioneer Patrick McCarthy has suggested that Ryuryu Ko
was none other than Xie Zhongxiang, the founder of Míng Hè Quán
(Whooping Crane Kung Fu).
Whooping Crane (also called Calling Crane or Screaming Crane was
based on the Fujian White Crane he learned from his teacher Pan Yuban
who’s teacher was Lin Shixian (who was a student of Fāng Qī Niáng, the
originator of the first White Crane martial art). He had to conceal his
name and aristocratic lineage and took on the name Ryu Ryu Ko, under
which he worked, making household goods from bamboo and cane. He has
been teaching martial arts at his home to a very small group of
students, which included Higaonna Kanryō, who they say stayed with Ryu
Ryu Ko from 1867 to 1881. Ryu Ryu Ko expanded his class to an actual
public school “The Kojo Dojo” in 1883, running it with Wai Shinzan
possibly a student of Iwah.
So one theory is that Naha Te and the Shorei tradition were
developed from Whooping Crane, one of the five branches of Fujian White
Crane.
Another branch, the one studied by Nobetsu Sensei, is the Feeding Crane tradition.
In 1922 four masters of Crane Fist from China's Fujian arrived in Taiwan They were Er-Gau, Yi-Gau, A-Fong and Lin Dé Shùn.
After his arrival in Taiwan Lin Dé Shùn started to work for a sugar
company and in 1927 Liú Gù (1900-1965) heard about the skills of that
master, and immediately invited him to be his teacher, offering some
expensive gifts. Liu learnt thee full syllabus and became the next
grandmaster.
Liú Gù was succeeded by his son Liú Yín Shān and he by Liu Chin Long who is Nobetsu Sensei’s teacher.
An interesting aspect of Liu family Shi He Quan is that the family
had a book called “The Secret Shaolin Bronze Man Book” – apparently
almost identical to the Bubishi.
In his commentary of the Bubishi, Patrick McCarthy recalls:
“Having met Liu Yinshan’s brother, Liu Songshan in Fuzhou, I came to
learn of a “secret book” on gongfu that had been in the Liu family for
the last seven decades. After meeting him in Fuzhou, hosting him at my
home in Japan and visiting him in Taiwan, I have become familiar with
that book, entitled The Secret Shaolin Bronze Man Book and can testify
that it is, in almost every way, identical to the Bubishi. Master Liu’s
Bubishi is dvided into 17 articles in three sections, whereas the
Okinawan Bubishi contains 32 articles. However the same data is covered
in both works though it is categorized differently.”
We know that the Bubishi – an anthology of Fujian Quan Fa – was
considered the Bible of Karate and we see its link with Whooping Crane
(through Ryuryu Ko and Higaonna) and with Feeding Crane (through the Liu
family) – but could there be more to the crane family than meets the
eye?
The founder of White Crane is said to be a woman called Fang Qi Niang.
The founder of Wing Chun is said to be a woman called Fong Chut-Neung (alt. Fong Wing Chun or Ng Mui)
In Hung Gar stories, the Tiger Fist master Hung Hei Gun marries Fong and she teacheshim
In White Crane stories, the Tiger Fist master Ceng Si Chu (Zeng Cishu) meets Fang and she teaches him
Could it be that all the three southern Kung Fu styles of Tiger Fist (Hung Gar), Wing Chun and White Crane are all related?
On the surface at least it seems that the idea of a man using Tiger
Fist and a woman using White Crane Fist are perfect analogies for the
hard and the soft or Yin and Yang.
Another tiger style that influenced both Karate (Uechi Ryu) and Feeding Crane was taught by Zhou Zi He.
Following in the footsteps of Aragaki and Higaonna, Uechi Kanbun
arrived in Fujian and like them settled at the Ryukyukan, a Okinawan
enclave of buildings including a boarding house, homes and businesses
established for those who visited and lived in the area – including the
famous Kojo Dojo.
Uechi didn’t like training at the Kojo Dojo because he was bullied
so Uechi eventually became the student of Shu Shi Wa or Zhou Zhi He.
Uechi's teacher, Zhou Zhi He (1874-1926) originated from Minhou,
Fujian. He reportedly studied martial arts under Li Zhao Bei and Ke Xi
Di and was proficient in a variety of Quan.
Zhou reportedly practiced Crane and Tiger boxing, in addition to
hard and soft qi gong and was noted for his iron palm technique. It has
also been speculated that Gokenki aand Tang Daiji were students of Zhou.
In conclusion, if Shoto Ryu is descended from Chang Quan, Hsin-I
Quan and Bazi Quan then Nisseikai is descended from He Quan (Crane Fist)
and Hu Quan) Tiger Fist.
In a future blog post I will discuss the Animal Styles that are found within Toshu Jutsu kata.
Over 25 years ago there was an excellent British TV series called
Way of the Warrior. Each episode focussed on a different martial art
and, accordingly a master from that style.
It was the first time many westerners had seen "Tenshin Shoden Katori Shinto Ryu" and its great master Risuke Otake.
It also featured Goju Ryu Karate and Higaonna Morio.
While it was good to see Higaonna Sensei in the Dojo, it also showed
him running (barefoot) through the villages of Okinawa and showed the
cultural influences of the island.
Okinawa clearly had Chinese and Japanese influences, but also stylings from Thailand and South East Asia.
In the episode Higaonna Sensei meets a dance instructor and they
discuss the similarities between traditional Okinawan dance and Karate
kata.
In all the episode illustrated that what we know as Karate emerged from a real mixture of influences.
The Japanese relationship dates back to Minamoto Tametomo
(1139–1170) who was exiled from Japan, fled to Okinawa and fathered
Shunten who became king and established the Shunten Dynasty.
In 1291 China sent a special envoy to Okinawa to negotiate an
alliance that would see the Ryukyu paying tribute to its bigger brother
and in 1392 the apocryphal he "36 Families" arrived in Okinawa and
established its "Chinatown" Kume village.
The links to Japan and China account for Okinawa's "warrior" traditions. But what of its peasant fighting traditions?
Karate master and researcher Patrick McCarthy (9th Dan Hanshi)
believes that the original "Te" or "Ti" (predating Karate) was termed
Ti'gwa and originated in the pugilistic traditions of Thailand - the old
kingdom of Siam. One source states that the Okinawan "boxing came from
Indo-China or Siam."
It is funny that we often talk about Japanese martial arts, Chinese
martial arts or Okinawan martial arts, as if these countries had
distinct physical and cultural boundaries.
But we must remember that Japan is a number of islands, the Ryukyu
(including Okinawa) are a number of islands and China is, well, huge.
In other words a tradition in western China would likely have
nothing to do with a tradition is eastern Japan because they are
geographically and culturally so far apart. But if we look at the coasts
of China and Japan that face each other, and consider islands like
Okinawa and Taiwan in between we come up with a relationship I have
termed the "Toshu Triangle" (catchy I know).
When Okinawans went to China to train, they didn't then walk
thousands of miles west to Xinjiang (which borders Russia and India) -
they got the boat from Naha (Okinawa) to Fujian (China) the equivalent
of going Dover to Calais.
The Fujian area was rich in martial arts like White Crane, Black
Tiger, and Lion Boxing - and unsurprisingly it is these arts that
influenced Toshu Jutsu or Karate.
Similarly in Japan, we don't hear of Samurai travelling from
Hokkaido in the north to train in China, we hear of Akiyama from
Nagasaki going to China to study Hakuda - or Matsumura of Shuri going
from Okinawa to Satsuma to train.
So in researching and developing Hakuda Kempo Toshu Jutsu we must mostly look to these traditions:
1) The Quan Fa schools of Fujian
2) The Toshu Jutsu schools of Shuri, Naha and Tomari
3) The Hakuda schools of Nagasaki
4) The Bujutsu schools of Kagoshima (Satsuma)
5) The percussive arts of Thailand
6) Influences from other neighbouring nations such as Taiwan and Vietnam
Returning to the history for a moment, we have discussed the
influences of Japan and China dating back to the 1200s and also the
possibility of Ti'Gwa (Siamese boxing) developing.
In the 17th century, surprisingly the first Quan we meet in Okinawa is Wansu, a style that owes its origina to the Hsin-I Quan.
Hsing-I master Wang Ji visited Okinawa in 1685 and taught his skills
to Hama Higa who combined these Chinese forms with Okinawan Kobudo
weapons (Emono Jutsu) and the art of Toshu Jutsu (Chinese hand skills)
emerged. Takahara Peichin was the next notable master and in his
lifetime is the first written reference to "Te".
In the 1800s Toshu Jutsu (or Toshukuken) became influenced by
Japanese styles such as Jigen Ryu and Hakuda Kempo (also called Taku or
Baida).
In 1828 Matsumura and Kojo visited Fujian, later followed by Aragaki
and Higaonna and studied styles like Lion Boxing and Monk Fist with
masters like Iwah.
Other stylists taught the Okinawans, such as Ason who may have been
Taiwanese and taught Naihanchi Quan. And Anan who may have been
Vietnamese and taught Chinto Quan.
Finally masters Gokenki and Tang Daiji (To Daiki) came to Okinawa to
export tea (as in the drink not Kara-tea!) but ended up teaching,
respectively White Crane and Tiger Boxing to Chojun Miyagi and Kenwa
Mabuni.
The influence of Gokenki and Tang Daiji is an often understated one,
but Goju Ryu and Shito Ryu would probably be very different if not for
these two masters.
In the 1920s-1950s the old ways of Toshu Jutsu and Karate Jutsu were
largely forgotten, as modern arts like Karate-do and Taekwondo became
popular throughout the world.
There were of course still surviving masters of the old ways of
Toshuken and Hakuda - notably Kanken Toyama who taught the founders of
both Keishinkan Karate (parent style of Budokan) and Taekwondo. Toyama
was also a senior of Kinjo Hiroshi, Hideo Tsuchiya and Makoto Gima.
In my view Toshu Jutsu, as it was practiced by Matsumura, Azato,
Itosu, Motobu and Toyama was an excellent and vibrant fighting arts -
not just a watered down sport.
I have developed Hakuda Kempo Toshu Jutsu into its present system
over the last 10 years I have been teaching in the Bushinkai school. I
have looked into and trained in many arts to arrive at the present
system, including:
- Shoto Ryu, Shotokan, Seiki Juku, Shobukan and Karate Jutsu
- Jujutsu, Hakuda, Aikijujutsu, Aikido and Judo
- Okinawan and Japanese Kobudo & Bujutsu
- Goju Ryu, Niseikai and Feeding Crane Quan Fa
- Taiji Quan, Hsing-I, Shaolin and Chinese weapons.
But after ten years teaching and developing - and several more years
studying - this system, the evolution and learning is far from over.
I am now overseeing the research and development of Toshu Jutsu along with Laoshi John Dang.
John's father's side of his family is Chinese-Vietnamese and he has
grown up with his family's method of Kung Fu. From what little I know I
can describe this school as looking something like Hung Gar Quan. He has
also studied Jeet Kune Do, an art he still trains in.
His mother's side of his family is Thai and since childhood he has
trained with some of Thailand's most renowned masters of Muay Thai -
some of whom were also specialists in the Korean art of Taekwondo.
Having spent around 25 years studying Kung Fu and Muay Thai -
teaching privately for the last 12 years - John is a valuable asset to
our developing of Toshu Jutsu. He has studied Taekwondo poomse (the
equivalent of Shotokan kata) and competed in both Muay Thai and
Taekwondo.
On a research level, I believe it is important for Toshu Jutsu to
acknowledge its relationship with the martial arts of Thailand, Korea,
Vietnam and China, but on a practical level, John's expertise in Muay
Thai and Kung Fu also gives an edge to our training and I believe makes
for a more vibrant system.
Classes and instructors are currently:
Tuesday (Salford): Simon Keegan & Dan Sanchez
Thursday (Manchester): Simon Keegan & Jamie Tozer
Sunday (Manchester): Simon Keegan & John Dang.
Following on from my last blog, I thought I'd talk about the five schools of Toshu Jutsu and their kata.
SCHOOL ONE: Channan Quan
KATA: Pinan/Heian
Chang Quan (Long Fist) was developed in the 10th century by Zhao
Kuangyin, founding Emperor of the Song Dynasty (960–1279). His style was
called Tàizǔ Chángquán, which means "the Long Fist style of Emperor
Taizu. Chang Quan was famed for its deep stances, lunge punches and
dynamic kicks.
By the 16th century the practice of solo forms had fallen out of
vogue and had all but disappeared but one military general saw value in
them.
Qi Jiguang (November 12, 1528 – January 5, 1588) was a Chinese military general and national hero during the Ming Dynasty.
He wrote various martial arts manuals and his interpretation of the
Chang Quan seems to have influenced many different arts including Chen
Taiji Quan and Karate.
Chang Quan was probably introduced to Okinawa in th 1750s when
"Kushanku" taught Tode Sakugawa. In turn Sakugawa taught Matsumura and
Matsumura taught Itosu.
Originally there was a style called Channan (perhaps the local
pronunciation of Chang Quan) and Itosu renamed this Pinan. Funakoshi in
turn renamed it Heian.
It is said of Chang Quan: "The forms of the Long Fist style
emphasize fully extended kicks and striking techniques, and by
appearance would be considered a long-range fighting system. In some
Long Fist styles the motto is that "the best defense is a strong
offense," Long Fist uses large, extended, circular movements to improve
overall body mobility in the muscles, tendons, and joints. Advanced Long
Fist techniques include qin na joint-locking techniques and shuai jiao
throws and takedowns.
Key techniques: Stepping punch, Front kick, Rising Block, Lower Block.
Characteristics: Long range techniques with short range techniques disguised. Dynamic movement, stepping and turning.
Hidden gems: A wealth of short range locks, chokes and hidden
applications. The forms may also be performed with weapons, notably the
sai, bo and nunchaku.
SCHOOL TWO: Naifanchi Quan
KATA: Naihanchi/Tekki
Naihanchi may come from a Taiwanese style of White Crane Boxing,
known as Dan Qiu Ban Bai He Quan (Half Hillock, Half White Crane
Boxing). One form from this style is called Neixi (inside knee) in
Mandarin. This form includes the same sweeping action found in the
nami-gaeshi (returning wave) technique of Naihanchi. Neixi is pronounced
Nohanchi in Fuzhou dialect, which could indicate Neixi is the
forerunner to Naihanchi.
Naihanchi was introduced to Okinawa in the mid 19th century by a master named Ason. He taught the form to Sokon Matsumura.
From this point Naihanchi was the first form taught in Shuri and
Tomari. It was considered more fundamental that the Channan/Pinan forms.
Notable practitioners include Matsumura, Matsumora, and the famous Choki Motobu.
Naihanchi does not move on a forward-back embusen like the Channan group.
The kata assumes a close-in clinch range.
If you watch MMA and see the two fighters standing in a clinch with
one with his back to the cage, you will see the strategies of Naihanchi.
In MMA this is called "dirty boxing" because the only techniques
that are possible at this range are those outlawed in boxing - such as
rabbit punches, kidney punches, headbutts, knee strikes and stamps.
Here are two pictures to compare:
In Chinese martial arts, different schools are either defined as
Shaolin/Buddhist or Wutang/Taoist. This doesn't really mean these arts
all originated from either the Shaolin Temple or Mount Wutang, but it is
an easy way of categorising.
Generally the Shaolin arts are quite external but have an Indian/Buddhist influence which is quite Yoga-esque.
The Wutang arts are culturally Chinese (without Indian influence)
and have Taoist symbolism. They usually are considered internal and
include Chi training.
Examples of Wutang arts are: Taiji Quan (Tai Chi), Hisng-I Quan, Bagua Zhang and Baji Quan.
In Okinawa, the very first Quan to strongly influence Toshu Jutsu
was "Hsin-I Quan" (the forerunner of Hsing-I which was taught by Wang-Ji
(Wansu) to Hama Higa and his student Takahara Peichin.
This art emphasises the rising and swooping of the swallow and its light movements.
Within this art is also a powerful Zhan Zhuang (standing meditation)
called San-Ti which resembles the opening move of Heian Yondan.
Key techniques in Wansu are the Gyaku Tzuki and Shuto Uke as well as the stepping in and sinking movement.
The Bassai forms, I believe come from a forerunner of Baji Quan
called Bazi Quan and represent the powerful stomping and sinking
movements of the Lion. Matsumura learnt this art in the 1830s around the
time he was also studying Jigen Ryu in Japan.
Key techniques are the "lion's jaw" (Yama Zuki, mountain punch) and the lifting and sinking of weight.
The Kanku forms, like the Channan were introduced to Okinawa in the
1750s and as I described in my previous blog are both related to Taiji
Quan. Within Kanku are the movements of the crane and the snake that are
fundamental to Taiji Quan.
Characteristics: Light techniques, lifting and sinking, changing of rhythym
Hidden Gems: takedowns, tackles, throws and slams
STYLE FOUR: SHOREI QUAN
FORMS: Gekisai, Seishan and other Goju Ryu forms
In 1828 Sokon Matsumura and his friend Peichin Kojo went to Fujian,
China. Matsumura was already armed with knowledge of the Wutang school
having studied Wansu quan under Sakugawa and Kushanku quan under Chatan
Yara. Matsumura studied a form called Seishan and posisbly also Useishi
(Gojushiho) and brought them back to Shuri.
Subsequently Kojo and Seisho Aragaki maintained their study in
Fujian and brought many more forms back to Naha including Sanchin.
Aragaki's student Higaonna Kanryo went to Fujian and studied under
Ryuru Ko and this was to be the beginning of Naha Te (forerunner of Goju
Ryu, Ryuei Ryu and Pangai Noon).
These forms, thought to be related to Fujian white crane, include
Sanchin, Seishan, Suparimpei and are very typical of "Southern Temple"
Shaolin.
We must also understand that Goju Ryu founder Chojun Miyagi (student
of Higaonna) studied White Crane with Gokenki and Tang Daiji.
My own teacher Reiner Parsons was taught by Tadanori Nobetsu who studied both branches - Goju Ryu and Feeding Crane.
Key techniques: Inside block, reverse punch
Characteristics: Close-in fighting, solid grounded base, sliding in
The true Shorin school (Shaolin) represents the forms introduced to
Tomari by Anan in the 1850s and the forms brought back from China in the
1840s by Seisho Aragaki.
If we take Niseishi (Nijushiho) as a prime example we see various
Shaolin traits such as the Buddhist numbering (Nijushiho meaning 24
steps, 24 being a factor of the holy 108).
Niseishi begins close range with a clinch, coils back, closes off the opponent and strikes. It moves like a dragon.
Niseishi, like Wankan also contain Aragaki's famous technique of catching the arm or leg of the opponent and taking them down.
Whereas the Channan method disguises its grappling, the Aragaki group make no bones about its traps and breaks.
When I was 16 our club was a fairly physical one. We did lots of
sparring, both semi-contact and full contact. We also grappled on the
ground (back to back start) and did lots of self defence. Although there
were other aspects to the training myself and my peers prided ourselves
on being able to "handle" ourselves.
My friend was training in a traditional Goju Ryu club and all he
ever seemed to do was kata, and predictably when we sparred with him he
didn't have the skills we had.
Kata seemed to be a necessary evil to us. We fought all lesson and
then for the last 15 minutes, did some kata. Maybe it was a Japanese
thing, take the rough with the smooth. I certainly never found much
value in it.
Remember that in, say 1995 nobody had the internet so if you wanted
to read up on kata you had to buy a book, and my local town wasn't
exactly cosmopolitan when it came to specialist cultural arts!
Granted, some of the kata - particularly Bassai Dai - looked dynamic
wen the black belts did them, but our kata like the first three
Taikyoku forms seemed like an exercise in being obsessed with Gedan
Barai - a move we never did in sparring.
In 1996 I found an old book on Ed Parker's Kenpo Karate. The book
was from the 1960s I would guess and emphasised Karate's Chinese -
rather than Japanese - origins. It showed Chinese weaponry but also
showed a two man drill featuring many of the moves I knew from kata.
Then I asked Sensei about the kata and he said: "A block is a strike and a block is a throw."
It started to fit together. Maybe I needed to forget about the long
range techniques that we used in Karate sparring and concentrate on the
self defence moves I had learnt. Sensei had taught us lots of Judo
throws, Aikido locks and so on. Maybe it was these moves that were
within the kata.
By 1999 I was also studying the Yang Style Long form in Tai Chi and
once again I saw techniques that were open to interpretation. Some of
them were fairly obviously punches - but what about "Fair Lady Works
Shuttles", "Needle at Sea Bottom" and "Carry Tiger to Mountain" - it was
almost as if the person designing the forms wanted us to choose our own
applications.
In 2000 Sensei let me open my own club and in February 2001 the
"Northwest College of Martial Arts Bushidokan" (later Bushinkai) was
launched. Although at this point I was training for my 2nd Dan as well
as studying Jujutsu and Tai Chi I still very much viewed my martial arts
as separate and compartmentalised. My arts themselves may have been
kept separate, but by this point I had a decent repertoire, a good
collection of reference books and an understanding of the different
approaches in Chinese, Japanese and Okinawan martial arts.
In 2001 I was training in Karate under Sensei Bob Carruthers and in Jujutsu under Sensei Jaimie Lee-Barron's group.
I also began training with another instructor who opened my eyes to another facet of Karate.
Sensei Steven Brennan was one of Bob Carruthers' senior students. He
had started training in 1974 with the KUGB under Billy Higgins, he then
joined Bob as a blue belt and later trained under Joe Ellis and Roy
Stanhope. Since 2000 though he had been attending seminars in Yorkshire
with one of Patrick McCarthy's Koryu Uchinadi instructors. Steve and I
paired up for his 3rd Dan grading and my 2nd Dan. We both passed since
you asked - his grading kata was Hangetsu, mine was Empi.
Steve Brennan introduced me to what he called TNT Karate - the TNT
stood for "techniques not taught" namely the nasty breaking, ripping and
pressure point techniques found within kata. He also re-aquainted me
with the idea of two-man flow drills.
One of my senior students at the time Steve Chriscole masterminded a
martial arts magazine designed purely for the kata enthusiast called
Kata Unlimited. I contributed to every issue, usually with puns like
"let's stance" and he also got contributions from the likes of Patrick
McCarthy, Rick Clarke, Iain Abernathy, Bill Burgar and Reiner Parsons
(who would later become my teacher). Ideas were exchanged (and pinched)
and it all went towards shaping understanding of this thing we call
Bunkai.
So I came to realise that Kata was not just a dance or a pointless tradition - or a classical mess as Bruce Lee called it.
I realised kata was a database of techniques. Every throw I could
find in Judo, I found in a Karate kata. Every lock, throw, twist and
crank in Aikido is in a Karate kata.
My real syllabus was not the A4 booklet in my kitbag my real syllabus was kata.
I began to catalogue every single technique (including the
intermediate "stack ups") in every single kata I knew and came up with a
variation of realistic bunkai based on Patrick McCarthy's 36 HAPV
theory.
By 2003 I was training in both "branches" of Karate - in the
Shoto/Shuri/Shorin school with Bob Carruthers and in the
Goju/Naha/Shorei branch with Reiner Parsons. I was still working through
"TNT" Uchinadi with Steve Brennan, and was also studying Jujutsu and
Judo on seminars (under the late Shizuya Sato) with the likes of Jack
Hearn and Ray Walker. I was maintaining my Tai Chi study (which also
included a little Hsing-I) and teaching my own class.
Now at this point, I was a firm believer (as I am now) that Kata is a
mneumonic (memory aid) to act as a database of techniques already
learnt.
In other words, the old practitioners learnt a technique (say a
wrist lock) and then when they learnt the kata, they recognised the
movement and were able to understand the kata based on a lesson already
imparted.
I had spent some years reverse-engineering this process - learning
the kata and then deciphering the applications. Once I had done that I
could teach my students the correct method.
So we learn our basic fighting techniques and theory - punches,
kicks, throws, knees, elbows, breaks, heabutts etc and then when we come
to learn the kata I point out where in the form these moves occur.
As an aside we also learn to perform each kata with a weapon.
So if we take the opening two moves for Heian Shodan (lower block
and lunge punch) we get a myriad of applications. But first we must
realise that these two moves are not just two moves. They are as
follows:
1) Yoi Position. Body facing the front. Weight distributed evenly
2) Turn and "stack up" as if to begin a Gedan Barai.
3) Move into Gedan Barai and Zenkutsu Dachi Position
4) Gedan Barai hand moves upwards as punch begins and feet arc to centre
5) Move into Oi Tzuki and Zenkutsu Dachi
So we can interprite this technique as simply a block and punch or
we can work an application from a full clinch where the stack up and
gedan barai are done to Kuzushi. We can also use the "stack up" as a
Jeet Kune Do style guard in itself and slide in with the Gedan Barai as a
throw. The Gedan Barai can be a Tai Otoshi throw, it can be an Aikido
robuse ("Ikkyo") and the Oi Tsuki can be an Osoto Gari throw. It can
also be a parry and strike with a sai, a tonfa, or a Bo.
And that's just the first two moves of the basic kata. Wait til we get to move 56 of Kanku Dai!
So now, assuming you (as reader of this humble blog) take my word
for it that the techniques contained within kata represent all the most
effective self defence techniques known to man... You may still be left
with a question: Why not just learn the self defence without the kata.
You may think: Why do I need 13 kata to be my syllabus when I have a
printed curriculum, a book, a DVD and clips on Youtube. Why can't we
just learn the self defence without the kata?
The thing is, if you are an experienced martial artist who has many
years training behind them, you probably can get by just by learning new
self defence tricks, because you already have the skills, reactions,
temperament and knowledge necessary to apply them but if you are new to
martial arts I believe in learning a style in the right order. Learn the
letters, then the words, then the sentences.
So am I saying that kata is for beginners and advanced should forget them? No.
I'm saying advanced can discard one aspect of kata. And that aspect is kata. I'm saying they can. I'm not saying they should.
Put it like this, could Mohammad Ali have won some of his fights
without a trainer in his corner, coaching him. Yeah, probably. But
should he have done this. No. Did he do this? No.
Kata has many other advantages. Certain moves in the forms exercise
the brain in unique ways. When we step with the left and punch with the
right we are exercises the part of the brain that governs "fight or
flight" - exercicising this part of the brain therefore keeps us calm
under pressure.
Now, think about my previous paragraph: "Discard one aspect of kata.
And that aspect is kata" - how can kata be an aspect of kata?
Because in the old days (and I don't mean the 1980s) the word for kata and the word for style where the same thing.
Nowadays Shotokan has about 27 kata and Goju Ryu has about 13. In ye
olden days each style had one form and that form was the stylistic
representation of that style? Make sense?
Gichin Funakoshi knew this when he classified his kata as either
Shorin Ryu or Shorei Ryu - the trouble is he needed to elaborate on this
a little.
In Tai Chi (Taiji Quan) there was the Yang family. And each member
of the Yang family practiced the same form. Yang Lu Chan practiced his
form one way, and Yang Ban Hou practiced it another. Nowadays we call
this form the "108 step" but back then it didn't need a name. It was
just the Yang family "Quan" - it was their style, their form, their
syllabus and their way of keeping healthy.
Similarly in Fujian, you may have learned Monk Quan, Crane Quan,
Lion Quan etc and the idea of style and form were one and the same.
Eventually Fujian (particularly the vaunted Kojo Dojo) came to be a
melting pot and drop-in centre for martial artists and practitioners of
different STYLES learned each others' FORMS.
Think of it like this, in Tai Chi, a Yang master could have learned a
Wu style form. But he would not be a master of Wu style, just a
practitioner of one aspect of the style - namely the form.
Karate masters like Funakoshi and Mabuni took a hotchpotch of forms
from different styles and attempted to make them into one style,
respectively Shoto Ryu and Shito Ryu. But the idea of one style having
27 forms is a pretty modern one.
This is why in Bushinkai, our Toshu Jutsu forms are treated as different styles.
Style 1: Channan Quan (the five Pinan or Heian forms)
The fundamental method of Karate. Covers all ranges and weapons.
Essentially a type of "long fist," stances commonly used include front
stance, back stance and horse stance. Techniques advance laterally and
sink into stances. Weapons include Bo, Sai, Tonfa, Dip Dao and Nunchaku.
This style uses a fairly basic 1-2-3 rhythym. We keep in mind master
Itosu, a lean agile and powerful warrior.
Associated exercises: Forearm hardening and wrist drills. Sparring and weapons training. Aikido type controls and Tenkan.
Style 3: Naihanchi Quan (the Tekki forms)
Movements in this style are softer and the rhythym is more advanced.
There many be many fast hand movements for each foot movement. The
feeling is of tearing, breaking and crushing. We keep in mind master
Motubu, a stocky powerful close range fighter fond of elbows and low
blows. This style may come from a style taught by Ason called "half
crane half hillock boxing."
Associated exercises: Makiwara, Close-in grappling, ground-fighting, Judo type throws
Style 4: Shorei Quan (the Goju forms including Gekisai)
The body is held more squarely and there is a sense of internal
power. There is no hard "kime" and moves are more circular. Techniques
drive relentlessly toward the opponent. A typical sequence being the
kick, elbow, backfist, barai, reverse punch in Gekisai. Kata can also be
performed with weapons such as Sai. We keep in mind master Miyagi, a
strong muscular powerful master.
Associated exercises: Okinawan strength training with apparatus,
slow speed flow grappling. Two-man flow drills. Breathing exercises for
power.
Style 5: Bazi Quan (the Bassai or Passai forms)
The Bassai form looks much like the Heian forms (particularly Heian
Godan) but the feeling is slightly different. The rhythym is more
"urgent" and it includes techniques (such as the opening move) where we
must adopt an attitude of rising and dropping. We lift and we suddenly
crash into the opponent. We keep in mind master Matsumura, the king's
bodyguard in Shuri Castle. He was not a big stocky man, he was lean and
wirey but he had tremendous explosive power. It is easy to see why
people thought Bassai (to extract) meant "to storm a fortress" - this is
the mind-set of this style. It has attributes of old Baji Quan and uses
lifting, stomping, cannon-like techniques. If Bassai were an internal
art it would be most like Pakua Zhang.
Associated exercises: Bassai Sho may be performed with a katana, showing Matsumura's Jigen Ryu influence.
Style 6: Kushanku Quan (the Kanku or Kushanku forms)
Kanku is also related to the Heian forms but is also a distant
relative of Taiji Quan. Masters Sakugawa and Yara who pioneered this
kata trained under Wang Xong Yue prior to him coining the phrase Taiji
Quan. He taught them Qi Gong, Hsing-I Quan and twin swords (Dip Dao).
The opening move of Kanku Dai may be used as Zhan Zhuang (standing
meditation) which aids relaxation and circulation. It includes several
Taiji techniques including Snake Spits Tongue and Snake Creeps Down. The
feeling of Kanku Dai is similar to Heian but has a more "open gate"
approach. Kanku is the closest the Shuri/Shoto family has to a form that
is representative of its style. It is no coincidence that when
Funakoshi first demonstrated Karate for the Japanese he chose this kata.
When we practice this kata we keep in mind master Sakugawa and Master
Funakoshi.
Associated exercises: Butterfly swords, chi kung, zhan zhuang
Style 7: Wansu Quan (the Wansu or Empi kata)
I have discussed Empi at length in a previous Blog post so I won't
repeat myself here. Except to say that Wansu is representative of the
Swallow Form of Hsing-I Quan and has a distinct method of fighting. Like
Sun Style Taiji Quan (which is also derived from Hsing-I), this form
teaches an advancing and retreating method (think like the way a
featherweight would fight a heavyweight). Its shuto and gyaku tzuki are
the splitting and pounding techniques of Hsing-I and Shuto can also be
held as a standing posture (San-ti). Whereas the Heian forms teach the
first level of striking power (sinking) this teaches the second level
(rising). We keep in mind the old Tomari masters such as Takahara.
Associated exercies: Hsing-I fists, San-Ti, Chinese straight sword (Jian).
Style 8: Aragaki Quan (Nijushiho/Niseishi, Wankan, Sochin, Unsu)
The forms Aragaki Seisho studied in China are the first Shaolin
forms we meet. Not for nothing was he nicknamed the Cat and these forms
make generous use of cat stance. The style of fighting is one of
relentless, yet beautiful Kung Fu with the agility and unpredictable
movements of a a tiger. When practicing these forms we must remember
these are a completely different style to what we have learned before -
in fact it is likely Master Funakoshi never even knew these forms. He
certainly never taught them publicly or in his books. We keep in mind
master Aragaki. These forms teach dynamic entering techniques, close in
elbows, traps and a certain efficiency of fighting. Unsu is one of the
most athletic and gymnastic forms in the whole canon. The Aragaki forms
Unsu and Nijushiho have equivalents in Goju Ryu.
Associated exercises: Shaolin breathing exercises
Style 9: Advanced Shorei (Hangetsu/Seishan and higher Goju forms)
In Goju Ryu, the backbone are forms such as Sanchin, Seishan,
Suparimpei and Seiunchin. They are clearly related and may have
originally come from one source. Of these the Shoto family only
practices Seishan/Hangetsu. This style is thought to have been taught to
Matsumura by Iwah and to Kanryo Higaonna by Ryuruko at the Kojo Dojo in
Fujian. Patrick McCarthy has suggested that the style was "whooping
crane" but they have more charcteristics of Lion Boxing. With this
style, what is important is not so much the applications as the power
generation in the movements. I don't think anyone would look at Sanchin
and think it was the combat equivalent of Bassai. These forms epitomise
the five principles of martial arts that were taught to me by Reiner
Parsons:
1) Relax
2) Use the waist
3) Breathe
4) Train Slowly
5) Two Directions.
The contrary actions of the kata (step with left, block with right)
provide a workout for the brain. These kata also contain a hard chi kung
type of breathing which invigorates the body and the blood cells. With
these forms we keep in mind master Higaonna.
Style 10: Tomari Quan (including Jutte/Jin/Jian, Chinto/Chinte, Meikyo)
These forms were most likely introduced to Tomari (a rocky cavernous
part of Okinawa) by a master called Anan or Chinto. He may have been
Vietnamese but the style has definite hallmarks of white crane as well
as Five Ancestor Fist. Like the Aragaki branch, these forms resemble
Shaolin crane and monk styles. Perhaps the Okinawans in rocky Tomari
valued the one-legged crane stances for fighting on uneven terrain.
Jutte has some similarities to Taiji (the hold the ball posture) and can
also be performed with a Bo staff which again gives that "Shaolin Monk"
feel.
Associated exercises: Bo kata
I will now divide these forms into groups, combining their origin with a classification:
So we have now grouped our curriculum into five Quan. The first is
Channan Quan (Long Fist) comprising Heian katas, which is our basic
starting style from white belt up to purple belt. It introduces students
to long and short range techniques as well as weapons.
We are next introduced to Naifanchi Quan (Tekki) and the first of
the Shorei Quan (Gekisai) both introduce us to more close-in grappling.
The fourth style we meet is from the Wutang style that is to say
forms derived from the arts of Hsing-I Quan, Bazi Quan and Taiji Quan.
They have a light internal quality and make use of lifting and dropping
power. They also have a Qi Gong aspect.
The fifth style is the Shaolin forms like Nijushiho and Jutte. They introduce a new type of body mechanics and power generation.
So kata (style) is not just about kata (form).
When we practice with Sai, we do so in the manner of the Channan (Heian) forms.
When we practice our slow, flowing close-in sparring we are training in the Shorei method.
Everything we do in Toshu Jutsu, from the simplest throw to the most precise pressure point is one of these traditions.
Therefore can we discard kata? No. Because if we did there would be no Toshu Jutsu.
A punch is a block and a block is a throw, but a kata is a style and a style is a kata.
The Heian katas are often said to have been developed by master Itosu.
They were called Pinan and the name was changed by Gichin Funakoshi to
make it more appealing to the Japanese.
The problem with the theory about Itosu creating the Pinan forms is
that at least two of them (Nidan and Shodan) seem to predate Itosu.
Styles, seemingly derived from Itosu's teacher Matsumura also
include these forms and Chokki Motobu also related a story about them.
Motobu said he saw Itosu practicing the Channan kata - but
practicing it differently - and when he asked about it, Itosu said:
"This is the way we do it now, the young people tell me Pinan is better
than Channan."
So from this we can conclude that the five Pinan forms were derived from the previous Channan form. Or where they?
Another story states that the Pinans were derived from the kata
Kushanku (Kanku Dai) and certainly there are similarities. But for every
similarities there are many differences. For instance the opening moves
of Nidan, Sandan and Yondan are nowhere to be seen in Kushanku.
Perhaps Pinan were derived from both Channan and Kushanku.
So where did Itosu and his teacher Matsumura learn these forms?
It is unlikely that Matsumura learnt these forms on his excursions
to China. His training with Iwah alongside the Kojo family and Aragaki
seems to have yielded forms which still have counterparts in the Shaolin
tradition like Useishi (Gojushiho), Seishan (Hangetsu) and Jutte.
Rather it is likely that Matsumura learn this kata from his original teachers Chatan Yara and Tode Sakugawa.
There is a version of the kata called Yara no Kushanku and this
would seem to be the origin. An Okinawan tale recalls that a master
called Kushanku taught the form to Sakugawa and Richard Kim tells us
that one of Kushanku's students was called Yara. So that seems to clear
things up.
But Kushanku himself may have also been a practitioner of Chang Chuan (Long Fist) which may be the origin of Channan.
Long Fist includes techniques very similar to some found in Pinans.
Chang Chuan was pioneered by a sixteenth century general called General Qi.
I enjoy the Pinan forms because I believe they are very versatile
and their myriad of applications give us a broad grounding before we
meet more close-in fighting forms like Naihanchi and Seishan.
In examining the Pinan forms:
Pinan Shodan (Heian Shodan) gives excellent Tenkan movement and has some very nice Aikido style locks and throws
Nidan has some great fundamantal flinch blocks, throws and takedowns.
Sandan is the most circular of the forms and its applications resemble Pakua Zhang.
Yondan is the closest to Kushanku and also works well with a knife or twin swords.
Godan is the little brother of Bassai and begins to introduce more
close range grappling that will take us onto Naihanchi. It also works
well with a bo staff.
In Bushinkai we learn the Pinan/Heian forms, then Naihanchi and
Gekisai and finally Bassai and Kushanku. Then we begin on the advanced
forms.
In my previous blog post, I talked about my great uncle first studying
Jujutsu in 1945. His teacher's teacher was a practitioner of Daito Ryu
which traces its origins back to the famous Minamoto clan.
The original art of the Minamoto clan was called Hakugen Ryu which I would like to talk more about.
One of the first Japanese martial arts schools was Kashima no Tachi
Shinmyoken, which was founded by Kunima Masato in 400 AD. From this
style Jigensai Kazutou Jiichibou created a school called HAKUGEN RYU in
931AD.
Hakugen Ryu was passed to the Minamoto clan (Genji) which held its
secrets in a set of two scrolls, “Ryuko Nikan no Hidensho (the two
secret scrolls of Dragon and Tiger).
The art was passed to Minamoto no Yoshiie (1039 – 1106) who decoded
the secrets and created a system which he called “Ten Chi Jin In Yo
Godan no Houkei” (the form of the Five Techniques of Heaven, Earth,
Human, Darkness and Light).
Yoshiie's younger brother Minamoto Yoshimitsu (1045 – 1127) created a
branch of the tradition later known as Daito Ryu, famed for its
Aikijujutsu.
Minamoto Yoshiie passed Hakugen Ryu to Kiichi Hougan and he to
Minamoto Yoshitsune (1159 – 1189) who was the brother of the shogun
Minamoto Yoritomo.
Yoshitsune passed the art on to Shunjobu Jugen who taught it to Yaobettoh Kenko.
Yaobettoh passed the art to Tose Nagamune who also mastered Tenshin
Shōden Katori Shintō Ryu and called his teachings Tenshinsho Jigen Ryu.
Nagamune moved to Satsuma and changed the name Jiken to 'Jigen' and
changed his own name to Setoguchi Masamoto.
He explained: "The origin of my style traces back its roots to Jouko
Ryu Kashima no Tachi Hakugen Ryu. The style has incorporated many other
different styles by the past successors. “Gen” also contains several
meanings like; the source of everything in the world, the war strategy
(Heiho) of the Minamoto (Genji) clan. I hereby name my style as
Tenshinsho Jigen Ryu Hyoho with absolute certainty and confidence.”
Setoguchi died in 1519 but left behind hidden in Satsuma all the
secrets of his art, that was passed down to only one disciple of each
generation and royal guards of the Shimazu clan for about 500 years.
Within Satsuma the art of Jigen Ryu was further developed by Togo
Chui (1561-1643) in Satsuma Province, now Kagoshima prefecture, Kyushu,
Japan.
This branch of the art was passed through to Togo family and then a
branch of it, called Kojigen Ryu was taught to Toshu Jutsu masters from
Okinawan including Sokon Matsumura and Yoshitsune Azato.
Matsumura created numerous forms that are used in Toshu Jutsu and
Karatedo including Bassai Dai and Bassai Sho, the latter includes some
resemblance to Jigen Ryu sword movements and the kata Empi shares its
name with a Jigen Ryu form.
Hakugen Ryu is the ultimate ancestor of Daito Ryu (from where the Bushin Ryu family tradition of Nihon-den Jujutsu derives).
Hakugen Ryu is also the ultimate ancestor of Kojigen Ryu which was
studied by the masters of Toshu jutsu who influenced our school.
Hakugen Ryu was also an influenced on the original Yoshin Ryu school of Hakuda which influenced much of our Jujutsu.
Another reason why I highlight the name Hakugen Ryu is the name of
my clan in Gaelic is MacAodhagain which in English is pronounced
MacKeegan but in Irish is pronounced more like 'Makugen' - so Makugen
and Hakugen are only one letter out! The irish syllable 'Aodha' is
pronounced 'Hugh' making my clan name sound like Makugen rather than
Makeegan.
My great uncle Bill Nelson, was born on Christmas Day 1925 in Bootle, near Liverpool.
His parents were William Henry Nelson and Violet Stephens. William Henry was the son of Swedish immigrants and Violet came from a very old Cornish-Welsh family that dates back to the days of King Arthur!
William Henry's father was a formidable Swedish sailor named August Nilsson. There is some significance to why I mention this, since in August's great grandfather's generation a branch of the Nilssons lived for one generation in Okinawa.
August, born in 1866 served in the Swedish Navy during which time he would have learnt various combative arts including "hand to hand combat" (ie boxing) and also a type of fencing using short sticks which was common in the navy across Europe.
Singlestick was developed as a method of training in the use of backswords such as the cavalry sabre or cutlass. It was a popular pastime from the 18th to the early 20th century, and was an event at the 1904 Summer Olympics.
Sweden has not been actively involved in war since 1814 but the Swedes like the Danish trawlers were renowned for their far-flung adventures. Some even made it to Okinawa. In fact Richard Kim recalls a 19the century Karate master (Itoman Bunkichi) who was the son of a Skandinavian sailor and tells of a technique [headbutt] called a "Danish kiss."
August was a very big man, I'm guessing well over six feet tall, whereas his son William Henry was much smaller. William Henry fought in World War I with the King's Liverpool Regiment ad won several medals.
William Henry's oldest son was my grandad Charles James "Jim" who was born in 1924, with Bill following in 1925.
My grandad told me that when they were children in the 1930s their dad had pairs of boxing gloves hanging in the shed and would teach them unarmed combat which he had learnt from his father. My grandad recalled even having his nose broken sparring with his dad.
In 1939 when World War II started Bill joined the merchant navy aged 14 and travelled around the world getting into many adventures including being torpedoed by a German u-boat.
When the war ended in 1945 he took up Jujutsu.
In a previous blog post, I've talked about the introduction of Jujutsu to Liverpool but I will briefly mention it again. In 1905 Gunji Koizumi made a fleeting visit and in around 1912 one of Yukio Tani's students Jack Britten set up a Jujutsu Dojo.
In 1928 Gerald Skyner established a Jujutsu club at 67 Mount Pleasant near the city centre.
Skyner claimed he was a student of Japanese master Mikonosuke Kawaishi.
Kawaishi studied Judo in Kyoto with Master Tomio Kurihara (later 10th Dan), a student of Isogai Hajime 10th Dan (who was taught by Kano) and also studied Daito Ryu Aikijujutsu with Master Yoshida Kotaro.
Kawaishi sailed from Kobe to Seattle and then went to New York in 1926. He is even reputed to have fought legendary boxer Jack Dempsey.
When Kawaishi came to Liverpool he taught Jujutsu and earned his money as a professional wrestler named Matsuda.
Kawaishi taught many aspects of Bushido including Jujutsu, Aikijujutsu and Kenjutsu.
Skyner himself was a formidable man who taught unarmed combat to the RAF.
In WWII He was asked to be an army combat instructor but was fired after one day for smashing a recruit in the face with a steel helmet (anecdote courtesy of Liverpool combat instructor Dennis Martin). Among Prof Skyner's students were PC O'Neill, a local police office whose son grew up to be one of the UK's greatest Karateka, Sensei Terry O'Neill.
Prof Skyner was an unarmed combat instructor for the RAF and police, while Kawaishi went on to be a resident instructor at Oxford University and head of the French Judo Federation.
My uncle Bill trained with Skyner from 1945 at his Dojo in Catherine Street (it moved from Mount Pleasant) and graded to black belt. He later trained with another Jujutsu teacher at Arnott Street School in Walton.
There has been some suggestion that Kawaishi was not in Liverpool long enough to have taught Skyner very much, but all the same, this is how Jujutsu came to be introduced to my family.
On this website I include a page of my influences, from my main teachers to instructors I have been inspired by on seminars.
There's various reasons why I include this. The first one is
lineage. What lineage means in martial arts is that you can trace your
art back to its founder. For example in Shotokan, one of my teachers
trained with one of Gichin Funakoshi's students. Therefore there is a
clear path from founder to instructor.
Another reason is in the interest of cataloguing the origins of a
school. I was always fascinated when my instructors told me about their
instructors, and I don't want my teachers or their teachers to be
forgotten.
Over the years I've trained in literally dozens of different martial arts but I try to focus on three, namely;
- Karate (Toshu Jutsu, Hakuda and related Okinawa-Fujian-Kagoshima Kempo based arts)
- Nihon-den Jujutsu (including styles derived from Daito Ryu & Hakugen Ryu)
- Tai Chi and related arts
I have been lucky enough to train with some of the world's senior
masters and grandmasters and I will address these before I return to my
personal teachers.
Among the masters I have trained with are:
- Tadanori Nobetsu 9th Dan (Niseikai Karate)
- Shizuya Sato 10th Dan (Nihon Jujutsu)
- Mitsuhiro Kondo 9th Dan (Nihon-den Jujutsu, Aikido, Karate)
- Terry Wingrove 9th Dan (Yawara)
- Allan Tattersall 9th Dan (Myoshin Ryu)
- Patrick McCarthy 8th Dan (Koryu Uchinadi)
- Li De Yin & Zhang Xiu Mu (Tai Chi)
- Alan Ruddock (Aikido)
I mention these men, because they are all either founders of a
martial art (ie Sato is the founder of Sato Ryu Nihon Jujutsu) or else
trained with the grandmaster of their art (ie Alan Ruddock trained with
Morihei Ueshiba). One day, sadly these men will be gone and along with
them much will be forgotten.
I have had many great conversations with the likes of Hanshi Terry
and Hanshi Allan and to hear about men like Morihei Ueshiba, Kenwa
Mabuni and Minoru Mochizuki from first hand experience is wonderful.
This is why, even though these gentlemen were not my personal
teachers, I cite their names. Yes, I have trained with them, but more
importantly is who they have trained with. They are a living bridge to a
legendary era.
Of my personal teachers, the names are well documented throughout this website.
My dad, David Keegan was my earliest martial arts source. When I was
a nipper, obsessed with Kung Fu and Ninjas he would help me train and
punching the heavy bag in his garage dojo is fondly remembered. My dad,
my uncles and my great uncle all trained in martial arts before the
decade I was born.
The next name I will mention is Sensei Stephen Bullough, my teacher
from my teenage years. I trained with him for eight years and was his
student inside and outside the Dojo. He taught me Karate, Judo, Aikido,
weapons and above all, fighting spirit.
I next trained with Sensei Bob Carruthers, and on occassion with his
senior student Sensei Steve Brennan. Two wonderful, humble men who gave
freely their time to help me learn about Shotokan Karate and Karate
Jutsu. Last year (2010) I held a course which celebrated 10 years of
Bushinkai and 10 years of me having trained with Bob.
Around the time I started training with Bob I was also guided by a
number of Jujutsu instructors within one association. I can't say any
where my "personal" instructor (in the same way Steve and Bob were) but
those who helped me along include Jaimie Lee-Barron, George Scarrott,
Joe Carslake, Terry Hall and Andy Wilshaw.
After this "era" I became a student of Goju Ryu/Niseikai instructor
Sensei Reiner Parsons, who has been perhaps my main instructor, along
with Bob for the last eight years. I have also been helped along by
Reiner's sons, senior Goju Ryu instructors in their own right.
At the time I met Reiner I also met my great friends Colin
Hutchinson (Judo) and Craig Bailey (Kyushindo) - and I was also helped
in the art of Judo and Nihon Jujutsu by two very skilled instructors
Jack Hearn and Ray Walker.
Today, many years after treading the path for the first time, I am
learning new skills all over again from the arts of Muay Thai and Kung
Fu from my friend John Dang.
Back in 1999 I was a 1st Kyu training for my black belt. I was so keen
to gain the skills necessary to pass, I was training literally every
opportunity I could. Not just in classes, but also at Sensei's home at
weekends.
After one particular class, my friend said to me, "I'll pick you up after Karate on Sunday night and we can go for a drink."
I said: "Ok, but no beer for me - I'm in training!"
So my friend picked me up and we went to the pub. I drunk my lime and soda and began to walk home.
I was walking along an unlit country lane with no path. I was close to the hedgerows and carrying my kit bag.
I looked back over my shoulder and saw a car zooming towards me. I
would estimate the speed was around 65mph. I turned round and his
headlights shone on my face so he must have seen me. I moved in as
closely to the hedgerows as I could to let him past but as he got a few
yards away I realised he was about to hit me and I had no place to go.
The car hit me, full speed, I took the worst of the impact in my
legs. I flew backwards over the bonnet, windscreen, roof and felt myself
land with a side breakfall in the hedgerow.
The breakfall took a lot of the impact and my sports bag helped but I was still in a bad way.
I don't know why, but my first thought in that first second was one
of triumph. FI thought, "Ha! I'm ok!" I guess my initial reaction was
that the driver had purposely hit me - but failed to do me in. I think
now that's not the case. But that was my first thought.
My second thought was, "I better get up before something else hits me."
I stood up and looked back down the road. One of my shoes was about
20 feet away. The car had literally knocked me out of my shoes and
carried me that far. I limped over to my shoe, put it on and hobbled
across the road and onto the start of the path.
As I crossed the road I realised my nose was bleeding, I had a cut
on my forehead and my face was generally a bit mushed. Nothing too
drastic though. But my legs weren't good. I certainly wasn't going to
make it home.
I made it a few hundred yards to the nearest phone box and called my dad.
He picked me up in the car, I got in, he took one look at my face and said: "Tough class?"
I got in the house and realised me jeans were stuck to my legs with
blood. I ripped them off, wiped some of the blood away and saw on both
legs I had yellow and blue bruises from my feet to my hips.
When things like this happen, the adrenaline gives you a big "high"
but then when it wears off you get a massive "low". I probably should
have gone to hospital, but I just wanted to go to bed (with a small
whisky for my nerves!"
On Monday morning I went to hospital, limping from the car. I told
the doctor what had happened and he looked at my legs and said: "We need
to see just how many bones are broken. Quite a few I should think."
I had an x-ray and no bones were broken. None were cracked, none
were fractured. I still haven't got much feeling in my left shin though.
"Rest your legs", he said. "No Karate for a few weeks"
The next day I said to my dad, "The doctor said I shouldn't do Karate for a few weeks."
Dad replied, "Well he never mentioned anything about Tai Chi. Grab your bag. You've got a grading in a few weeks."
On that Tuesday night's Tai Chi lesson we did single posture
training in deep stances for most of the lesson. Because I was a brown
belt in Karate, I was expected to have a good deep stance. Of course my
legs were wobbling like crazy.
A few weeks later I went into a seven hour black belt Karate grading and passed.
I've learnt a lot since that night 12 years ago. But I still think that was my best and certainly hardest breakfall.
It was about 1997 and Sensei told us that we would be going to compete
at a martial arts championships in Sheffield. I wasn't fighting at this
particular event - I wanted to do kata.
I decided on a weapons kata. I wanted to use my katana, but I didn't
want to show a traditional Iai form, I wanted a more dynamic freestyle
form.
Sensei had showed me a bo kata which he felt we could adapt and I
finished up with a nice looking form. Some of the movements looked a
little like Bassai Sho but I believe the Bo form was called Ichi Chikara
Bo.
Before the event there was a special weapons demo by the world
weapons kata champion. He was using a pair of kama (sickles)- he moved
beautifully and with great speed and dexterity.
As we were signing in and the fighters were weighing in, an
instructor arrived with a coachload of students. He was, to this day,
one of the most unpleasant, arrogant and rude instructors I've ever met.
He was belittling other competitors, mocking people if they had not
training in Japan and making fun of people's equipment and even their
sword bags.
A member of my club heard an official say: "Look how many students
he's brought, make sure he leaves with something" - meaning make sure he
gets a trophy!
I felt demoralised but was determined to give a good showing.
One of his students was up first. They performed a pretty sloppy demo of the first Iaido kata "Mae" - it was nothing special.
Next up came a man with a Yari (spear) his demo was good and I felt he was the man to beat.
Sensei said: "You and him will get first and second - not sure which way round."
The arrogant instructor was up next. He performed a pretty good katana form but nothing to write home about.
I went on and gave my best ever performance of my kata. I received a standing ovation from the audience. Sensei looked pleased.
The winners names were read out and the arrogant instructor had won. And his student finished second.
I was quietly disappointed but as the names were read out, instead of applause there was an audible gasp of "WHAT!!???"
The promoter herself, a very experienced lady, came over to me and said: "That decision is wrong. You won that."
I felt a little better, but still went off to the changing rooms disappointed I had been beaten by such a poor performance.
As I was at my locker, I heard a voice. "Your sword kata...." I half expected it to be the winner come to gloat.
It wasn't. It was the world kata champion. His ponytail swept back
and his kama strapped to his rucksack, he looked every inch the modern
day Samurai.
"Your sword kata..." He continued, "was excellent. You were the
clear winner. That other man should not have won. Well done to you."
I realised my performance may not have gained me a trophy, but I'd won the respect of superior martial artists.
When I got home that day my parents said: "Another trophy son?" I said, "No, not this time."
Within the Bushinkai school we train in various weapons. We begin with
Jo (four foot staff), then move on to Sai, then Nunchaku. Next we learn
the tonfa.
Before brown belt we introduce bladed weapons, either Japanese
knives (Tanta - dagger, or Aikuchi - knife) or Chinese knives (Dip Dao).
Finally we revisit the staff, but this time using the Rokushaku Bo (six foot staff).
Once students attain black belt they may also specialise in a sword. Either Japanese (Katana) or Chinese (Dao, or Jian).
Throughout the syllabus we also study Tanjo (Escrima stick) as a generic weapon.
Before I proceed, there are a few FAQs or myths I would like to clear up.
MYTH 1: You shouldn't be teaching Japanese weapons and Chinese weapons together.
RESPONSE: These weapons have always been taught together in Okinawa,
since the Ryukyu kingdom was influenced and governed by both China and
Japan.
MYTH 2: The Chinese Dip Dao (butterfly swords) belong in Wing Chun, not Karate.
RESPONSE: Read Richard Kim's "The Weaponless Warriors" particularly
the account of Chatan Yara studying the Chinese Twin Swords. Also read
Okinawan Karate by Mark Bishop, reference the Kojo family studying the
Chinese curved sword and introducing them to Okinawa.
MYTH 3: The Japanese sword has nothing to do with Karate since swords were banned in Okinawa.
RESPONSE: Two of the most influential Karate masters ever, Bushi
Matsumura and Anko Azato were both masters of Jigen Ryu, a school of
Japanese sword. And they were by no means the only Karate masters to
train in this school. In particular the Motobu Ryu was based on the
katana.
MYTH 4: The Jian (Chinese straight sword) was never taught in Okinawa
REPONSE: The Chinese straight sword was taught in Okinawa, together
with a shield (usually made from a giant turtle shell) the weapons were
called Timbei and Rochin. The sword was used almost like a spear in a
stabbing fashion across the shield, in the same way Roman legionnaires
used their gladius swords and spears in their shield formations.
Now these cultural points are addressed we can approach more technical points.
HOW DO THE WEAPONS FIT IN WITH THE SYLLABUS?
Firstly they add a wonderful new dimension to kata. Of course we
explore (bunkai) kata for its myriad of grappling applications (oyo) but
the forms may also be performed with weapons. My preferred forms with
each weapon are:
Heian Shodan: Sai or Jo
Heian Nidan and Sandan: Nunchaku
Heian Yondan: Tanto or Dip Dao
Heian Godan: Bo
They also add a new dimension to self defence - that of weapons defences.
HOW ARE ARCHAIC WEAPONS RELEVENT TO SELF DEFENCE?
Easy. Substitute "Jo" for "pool cue", "Tonfa" for "police
truncheon", Sai for "crow bar" - it doesn't take much imagination. And
depending on where you live, you may be surprised how often machettes
and katanas are still used in violent crime.
BUT I DON'T CARRY A WEAPON AROUND WITH ME. SO WHAT'S THE POINT IN BE ABLE TO FIGHT WITH ONE?
You probably do carry a weapon. Have you ever carried an umbrella, a
rolled up magazine, a bunch of keys, a handful of coins, a cup of
coffee, a pen. Have you worn a leather belt? Maybe you have carried a
walking stick or even a dog lead.
And as for the contents of a woman's handbag... I once taught a
group of women self defence and some of the potential weapons in their
bags would put a Ninja to shame! One even carried a can of mace with her
at all times.
A stick weapon is a stick weapon, a chain weapon is a chain weapon.
Of course in the Dojo we use nice laquered oak Tonfa, but it could just
as easily be a rolled up Daily Telegraph. Don't believe me? Take a
broadsheet newspaper, roll it up as tightly as you can and hit a table
or tree with it. It's like carrying a truncheon. (Or fold it again and
you have, what back in the 80s, football hooligans termed a "Millwall
brick"
Am I encouraging people to carry weapons? No. I'm encouraging people
to think laterally about their surroundings and to improvise.
A FINAL WORD...
Most of what we learn is practical-application based but there is
also something to be said for self expression and gaining a skill is
self improvement and confidence building in itself. Choose a weapon,
make it part of you, specialise in it. Know it back to front, inside
out. And then come to realise what you have learnt could be applied to
any weapon.
When I was 18 I was in the Territorial Army, a cavalry regiment with
a particular pedigree for riflemanship. That weapon, the SA80, went
everywhere with us. We slept with it in our sleeping bags (very cold),
you take it to the toilet with you. It goes under your seat when you're
in the canteen and when you get up for another slice of toast, you pick
it up and take it with you. Now I don't have any fondness for guns. But
part of that discipline stayed with me. I always know where my weapons
are.
I am also reminded of the time a very senior Jujutsu teacher named
Brian Dossett turned up to a weapons kata competition with a gardening
fork wrapped in tinfoil. He was told "that's not a weapon, it's a
gardening implement." He pointed at the Nunchaku and Kama that other
competitors had and said: "So are they!" This tale struck me as
apocryphal, until I asked his then-uke Jo Biggs if it was true and he
said: "Yeah, but only because he couldn't fit a lawnmower into the back
of my Mini!"
Kanken Toyama is of great interest to us since he was one of the last
masers to study authentic Hakuda, Toshu Jutsu and make study of Chinese
Lion Boxing.
The late great martial arts grandmaster, Kanken Toyama, was born in
Shuri, Okinawa on the 21st year of Meiji, September 24, 1888. His given
name was Kanken Oyadamari and he born into to a noble family.
In 1897 Toyama Kanken began his formal training in Toshukuken (Toshu
Jutsu or Karate) under Master Itarashiki. Later, he apprenticed himself
to Anko Itosu, who then became his primary teacher and was his
inspirational guide. He continued studying under Itosu until Itosu's
death in 1915.
Itosu was of course the founder of Shorin Ryu Karate with many
famous students including Gichin Funakoshi (founder of Shotokan) and
Kenwa Mabuni (founder of Shito Ryu.)
Toyama was a school teacher by profession, and his chosen field of
instruction was karate-do. In 1907 Toyama was named Shihandai
(assistant) to Itosu at the Okinawa Teacher's College in Shuri City, and
in 1914 he held a high office at the Shuri First Elementary School.
Toyama was one of only two students to be granted the title of Shihanshi
(protege); Gichin Funakoshi was the other to receive this title from
Itosu.
In 1924 Toyama Kanken moved his family to Taiwan where he taught
elementary school and studied related systems of Chinese Ch'uan Fa
(Kempo). This included Taku (Hakuda), Makaitan, Rutaobai, and Ubo.
Taku is one of central China's Hotsupu (northern school) Ch'uan Fa
and is further classified as Neikung Ch'uan Fa (Shorei Kempo), that is,
an internal method.
In previous blogs I have suggested that Taku (Hakuda) is synonymous with the Chinese Lion schools and of Bazi Quan.
Makaitan and Rutaobai, which the techniques of nukite (spear hand)
came, and Ubo, all belong to the Nampa (southern school) Ch'uan Fa and
are external methods or Waikung Ch'uan Fa (Shorei Kempo).
These later three styles hail primarily from Taiwan and Fukuden,
China. Toyama sensei was also known to have studied and taught Tai Chi.
Koyasu sensei learned Tai Chi from Toyama.
Early in 1930 Toyama moved again from Taiwan to mainland Japan and
on 20 March 1930 he opened his first dojo in Tokyo. He called his dojo
Shu Do Kan meaning "The Hall for the Study of the Way" (in this case the
karate-way). Toyama sensei did not claim to originate a new style,
system or school of thought, nor did he combine the different styles he
had learned. Those who studied under him basically learned Itosu's
Shorin Ryu and the related ch'uan fa.
In 1946, Toyama Kanken, now a Dai Shihan, founded the All Japan
Karate-Do Federation (AJKF). There is some evidence that the AJKF
actually got its start in 1930s, however the federation evolved into a
full fledged organization when it was officially documented and
sanctioned in 1946.
Toyama's intention when establishing the AJKF organisation was to
unify the karates of Japan and Okinawa into one governing organization,
providing a forum for the exchange of ideas and technique.
Toyama's specialties in karate-do were strong gripping methods,
Useishi No Kata [Gojushiho] and the Aku Ryoku Ho of Itosu and Itarashiki
and similar Chinese methods of finger and hand strengthening. He was
the author of books Karate-do Taihokan and Karate-do.
In 1949 Toyama was awarded a special title of honor by the Governor
of Okinawa, Mr. Shikioku Koshin. Aside from learning Shorin-Ryu from
Itosu, Toyama studied and mastered other styles of karate from other
notable masters of Naha-te and Tomari-te which also included Okinawan
Kobudo. A few of his other teachers were Aragaki, Azato, Chibana,
Oshiro, Tana, and Yabu.
It is also thought that when the Korean (Ch'uan fa) master, Yoon
Byung-In came to train at his gymnasium, he also studied Northern
Manchurian Kwan-bop with him. It is alleged that Toyama Kanken said that
he and Yoon Byung-In should share techniques.
Toyama wrote of Lion Boxing, saying: "If you are seized from behind
by a thug, the most exquisite technique is the Lion Method. Although
there are many different techniques when being seized from the rear, the
Lion Method is the only method in which to repel and opponent and
deliver a mortal blow."
Although Toyama never really created his own school, he taught many
masters, some of whom have influenced our school. These include:
When I was a child, I viewed martial arts as very easy to define. Karate
was about striking, Judo was about throws and Aikido was about
wristlocks! Little did I know there were strikes in Judo, and throws in
Karate. Today the martial arts are not so easy to define, and really,
any effective martial art should teach a full range of attacks and
defences at different ranges.
The two martial arts I have trained in the most are Karate and
Jujutsu. Both include strikes, throws, locks, grappling and weapons. So
if this is the case, what is the difference between the two?
I will attempt to answer this with a number of comparative points.
There will of course be a grey area and that grey area is literally
where Japan and Okinawa meet. Okinawa is an island off the coast of
Kagoshima, and so the Jujutsu of Kagoshima (often termed Hakuda) has
much in common with Karate. Similarly the weapons of Kagoshima (ie Jigen
Ryu) has much in common with the weapons of Okinawa. Both of these
regions also had influences from Fujian, China more so than the rest of
the quite literally insular Japan.
So I will ignore this grey area, so please assume I am refering to,
for example the Jujutsu of Tokyo, contrasted with the Karate of the
Okinawan capital Shuri.
1) Karate is Okinawan; Jujutsu is Japanese
2) Karate uses prescribed stances (ie Zenkutsu Dachi), Jujutsu uses prescribed hand positions (ie Ichimonji no Kamae)
3) Karate uses solo forms, Jujutsu uses paired kata
4) Karateka were primarily empty-handed; Samurai were primarily armed
5) Karate kata hides its applications within the form; Jujutsu applications are seen and are self evident
6) Karate uses many hand shapes (knife hand, single knuckle punch
etc); Jujutsu does not (because Samurai wore restrictive gauntlets)
7) Karate was practiced by bodyguards, officials and civilians; Jujutsu was practiced by professional warriors/knights
8) Karate was developed by a handful (maybe a dozen) pioneers across
a few hundred years; Jujutsu was developed by thousands of warriors
over a thousand years. Karate was taught by individuals on an informal
basis; Jujutsu was taught by professional instructors within each
warrior clan and taught in a formal arranged fashion
9) Jujutsu was developed almost solely in Japan. Perhaps around 99%
of Jujutsu schools were developed purely by Japanese teachers in an
isolated fashion within their Ryu; whereas Karate was developed with
direct influences from Okinawa, Japan, China, Thailand, Vietnam and
Taiwan. Japan was a nationalistic cultural art; Karate was a mixing pot
of influences
10) Jujutsu was designed to be practiced in restrictive clothing
from full armour to sandles, riding hakama, kimono, while wearing
weapons; Karate may be freely executed in a minimal attire, not much
different from today's gi.
I've been using this blog to explain some of the thinking behind
Bushinkai. Why do we refer to our Karate as "Toshu Jutsu", why to our
Jujutsu as "Hakuda Kempo" and why my branch is called "White Lion
Academy." Now why do we wear black, red and white.
I think every club should have "club colours", they do in other
sports but even if we look back hundreds of years ago in Japan, each
clan would have its own banner, its own crest and its own colours to
distinguish on the battle field.
For us we use three colours which have a significance. A student
begins as a white belt, the first colour they get is a red belt, then
when they've gone through all the coloured belt they get a black belt.
In theory when we reach 10th Dan (very theoretical) we wear a red belt
again and upon reaching 12th Dan (basically improbable) we once again
wear a white belt.
White, red and black are birth, life and death. Coal begins black,
burns red and returns to white. Steel comes out of the black fire, glows
red and returns shining.
White, red and black are Okinawa, China and Japan.
They are Karate, Bujutsu and Kung Fu.
Many hundreds of years ago my clan shield was red with a white lion. Our tartan was red and black.
At my first Karate club the Bushido Academy when I was a youngster
the colours were Black, red and white (they since chanced to blue and
yellow - but I kept the old ones).
Many traditionalists say "it's traditional to wear a white gi" but
this is not so. Old Toshu Jutsu and Karate masters from Sakugawa to
Funakoshi to Miyagi often wore a black kimono to teach. The gi was only
adopted from Judo in the 1920s. In fact in the earliest Karate demos in
the 1920s Funakoshi's students wore T-shirts! Chokki Motobu usually wore
shorts - so much for traditional white gi.
Black, red and white are our clan colours, our tradition and symbol the three sides of our tradition.
In previous blogs I've introduced the phrase "Hakuda Kempo" which is
representative of the "Jujutsu" part of our school. Now I would like to
talk about my use of the phrase "Toshu Jutsu" as distinct from Karate.
In the written Japanese language words can be written in either of
three "alphabets" Hiragana, katakana or Kanji. The latter is the "last
resort" and is a classical Chinese pictographic "alphabet" which is what
we know as "Chinese writing."
Kanji can be pronounced in two ways in either Onyumi or Kunyumi, or
in Japanese or Chinese therefore the Kanji for the surname Minamoto can
also be pronounced "Genji" and the Kanji for the surname Taira can also
be pronounced "Heike." And Ju (as in Judo or Goju Ryu) can also be
pronounced Yawara.
Gichin Funakoshi changed the Kanji for Karate from "Chinese Hand" to "Empty Hand"
The Kanji for "Chinese hand" can either be pronounced Kara Te
(Kunyomi), Toshu (Onyumi), To te (On & Kun) or Tang su (Korean).
The Kanji for "Hand" can be either Shu/Su or te/ti/de/di
The various translations are:
KARA TE (Empty hand)
KARA TE [Chinese hand - in Kunyumi]
TO SHU [Chinese hand - in Onyumi]
TO TE [Chinese hand in On & Kun]
TANG SU [Chinese hand in Korean]
The word Toshu (Chinese hand) is therefore the same as Karate but I
use Toshu Jutsu (Chinese hand combat techniques) to differentiate
betweenthe practical Toshu Jutsu and the more sporting Karate Do (Empty
hand Way).
Interestingly in 2009 my uncle John went to Gyokusendo, Okinawa and there a local Dojo was teaching "Toshu Jutsu."
Hakuda Kempo Toshu Jutsu means is fully expressed as meaning "White Lion Fist Law method of Chinese Boxing"
A bit of a mouthful! So I understand when students just call it "Toshu Jutsu" or "Bushinkai Karate"
The Bushinkai Academy is comprised of two schools, the Metal Tiger
Academy and the White Lion Academy. The former teaching Chinese Internal
Martial Arts (Tai Chi etc) and is run by my dad and the latter teaches
Toshu Jutsu and is run by me.
I originally chose the name White Lion Academy because it was
personal to me. My clan coat of arms is a white lion (and a crown and a
half moon). And because it fits in nicely with Metal Tiger Academy (my
dad was born in the Year of the Metal Tiger.)
My martial arts and my clan heritage are related. Just like the Takeda clan heritage is synonymous with Daito Ryu.
But there's another reason for the name - one more relevant to Karate and Jujutsu.
In researching the history of the kata Bassai Dai I came across some
interesting information. The Chinese style Baji Quan includes forms
called Baji Da and Baji Xiao - Bassai Dai and Bassai Sho anyone
But Baji doesn't sound anything like Bassai. No but Bazi does. And that was Baji's original name.
Bazi means "rake boxing" because of its clawing techniques.
The Ba in Baji is supposed to mean "eight" but what if it means "white"?
In the Fukien dialect Sai means "Lion". Therefore Bassai would mean
"white lion" and the clawing techniques would be the lion's claws.
But does Bassai move like Lion Boxing? At least one Japanese master thinks so.
Akio Kinjo, believes that the name of this Kata in Chinese means
'leopard-lion', and was pronounced as 'baoshi' in Manderine, 'Baasai' in
the Fushou dialect and 'pausai' in Quan Shous dialect (kinjo 1999).
Kinjo, a respected researcher, believes that the movements of the kata
also resemble the leopard boxing of china. The Leopard style uses a lot
of blocking and striking while standing in a cross leg stance, for
instance. He also points out that the Lion boxing style is well
represented, as it holds a great deal of openhanded techniques while
using a stomping action.
So could this White Lion Boxing have been the style Matsumura studied to formulate Bassai Dai? It seems possible.
In my previous blog post I talked about Kagoshima's striking system
"Hakuda" which seems related to Karate. Hakuda means "white hand" but
let's compare Hakuda, Baida and Shubaku to Bassai Dai. We will take the
"Baji Da" version of the name "Da" rather than the modern "Dai"
Haku: White
Da: Hand
Shu: Hand
Baku: White
Bai: White
Da: Hand
Ba: White
Sai: Lion
Da: Hand.
Therefore Bassai Bai may mean "White Lion Hand" and Hakuda may also mean "White Hand".
Perhaps the art Jigoro Kano described (Hakuda) and the form
Matsumura studied (Bassai Dai)were the very same art - White Lion
Boxing.
Bubishi: The Bible of Karate tells us that Lion Boxing was around in
Fukien and teaching Karate-like forms. It reads: "Tiger Boxing also
uses Saam Chien, Sanseiru, and Peichurrin, among others. Dog Boxing also
uses Saam Chien and Sanseiru among others. Arhat Boxing, also known as
Monk Fist, uses Saam Chien, Seisan, Jutte, Seipai, Ueseishi (Gojushiho),
and Peichurrin among others. Lion Boxing uses Saam Chien and Seishan
among others."
So if Lion Boxing taught Sanchin (Saam Chien) and Hangetsu
(Seishan), two of the oldest and most widely used Karate forms, it
certainly could have also used Bassai.
The name of our system "Hakuda Kempo Toshu Jutsu" and our school
both "White Lion Academy" both pay homage to Chinese Lion Boxing in this
way.
If the ancestor of Goju Ryu is white crane, perhaps the ancestor of Shoto is white lion.
Jujutsu is defined as unarmed (or lightly armed) combat methods of
Japan, the name of which suggests using suppleness and pliancy to subdue
rather than brute force.
Judo developed from Jujutsu, Kendo from Kenjutsu, Aikido from Aikijutsu... right? Well only sort of.
Although nowadays we often think of any Japanese grappling system
prior to 1860 as being Jujutsu, that term itself is often
retrospectively applied.
It's a bit like living in the Dark Ages or living in Medieval times.
People didn't actually say: "So how do you like medieval times?" or
"These dark ages are rough aren't they?" The terms were applied
afterwards.
And so with Jujutsu. Hardly any of the schools that we now think of as Jujutsu actually used that term.
Some used the term "Yoroi Kumiuchi" meaning "fighting in armour".
Others used "Torite" meaning "attacking hands"
Some schools used "Kogusoku" meaning "lightly armed."
Others used "Taijutsu" meaning "body techniques"
These terms were all common across Japan prior to the 1600s.
Then Japan began to observe Chinese influences in its styles. The
Chinese concept of the soft overcoming the hard was expressed in the
word "Yawara" in Japanese or "Ju" in Chinese, meaning softness. This is
the root of the phrase Jujutsu.
Other Chinese concepts were Koppo (destroying the bones) and Kosshi (tearing the flesh).
One Japanese master named Akiyama from Nagasaki learned a style
called "White Hand" (Baida) in China. In Japanese this becomes Haku Da
(white hand) or Shu Baku (Hand white). It has been suggested the origin
of this phrase is "to strike without impurity.
Another is Kempo, a direct translation of the Chinese "Chuan Fa" meaning Fist Law.
So we have seen the following phrases used to express Japanese hand-to-hand combat:
So why did the phrase "Jujutsu" become a catch-all for Japanese grappling?
One reason is that wrestling resonates with the Japanese psyche
better than pugilism. Japanese gods wrestled, the national sport is
Sumo, the Japanese teach Judo in schools, Puroresu (pro wrestling) is
popular in Japan.
Now name a famous Japanese boxer...
Kempo, Koppo Jutsu and Hakuda were percussive methods of fighting
and may be considered the sister of Okinawan Karate. They were viewed in
most of Japan as rather undignified.
Whereas "Jujutsu" expressed the par excellance of wrestling.
Subduing another wrestler using gentleness. What skill could be greater?
While Kagoshima prefecture (uncoincidently the bit of Japan nearest
to Okinawa and China) enjoyed Hakuda, northern Japan especially around
Tokyo wanted to learn Yawara or Jujutsu.
The Kito Ryu school took this concept one further and called its art
"Ju-Do" - softness as The Way. That's right - the phrase Judo was used
before Jigoro Kano created Kodokan Judo.
Kano's writings talked about how Judo was developed of Jujutsu.
In 1887 Kano told the Asiatic Society of Japan: "In feudal times in
Japan, there were various military arts and exercises which the samurai
classes were trained and fitted for their special form of warfare.
Amongst these was the art of jujutsu, from which the present judo has
sprung up. The word jujutsu may be translated freely as "the art of
gaining victory by yielding or pliancy." Originally, the name seems to
have been applied to what may best be described as the art of fighting
without weapons, although in some cases short weapons were used against
opponents fighting with long weapons. Although it seems to resemble
wrestling, yet it differs materially from wrestling as practiced in
England, its main principle being not to match strength with strength,
but to gain victory by yielding to strength."
Of Hakuda he stated: "There once lived in Nagasaki a physician named
Akiyama, who went to China to study medicine. There he learned an art
called hakuda which consisted of kicking and striking, differing, we may
note, from jujutsu, which is mainly seizing and throwing."
The name of my system is "Hakuda Kempo Toshu Jutsu". My senior
students are graded in both Karate and Nihon-den Jujutsu. Our system
name includes the phrase "Hakuda Kempo" rather than "Jujutsu" since our
school most strongly owes its origins to the percussive methods of
Okinawa and Kagoshima, rather than the softer wrestling of Tokyo
Jujutsu.
I will discuss the phrase Toshu Jutsu in a future blog.
If we take the Kata of Shotokan, (or indeed Wado Ryu, Shorin Ryu, Budokan etc) we find the forms fit into groups.
The Taikyoku (Kihon) forms are relatively recent innovations to be
taught to beginners. The five Heian (Pinan) forms can be fairly reliably
traced back to Master Itosu.
Kanku Dai has its little brother Kanku Sho; as Bassai Dai has Bassai Sho.
These are the forms typical of the Shorin (Shuri) school with big stances, powerful movement and movement in all directions.
Then we have the "Aragaki" forms, oweing more to Chinese White Crane
and Monk Fist. These include Nijushiho (Niseishi), Unsu, Wankan and
Sochin.
We have the "Temple forms" of Jutte, Jion and Jin and the Tomari
forms of Chinte, Meikyo and Gankaku (Chinto) which again pay homage to
Chinese Crane and Monk boxing.
We have the Naha Te form Hangetsu (Seishan) which has siblings like
Sanchin and Suparimpei in styles like Goju Ryu and Uechi Ryu.
We have the three Tekki (Naihanchi) forms which have some hallmarks of white crane but also seem to owe to grappling drills.
And finally we have Gojushiho (Useishi) Dai and Sho, advance forms
which seem to tie together all the Shotokan forms in a style remeniscent
of Tiger boxing, drunken boxing and - according to master Funakoshi -
of the woodpecker.
But one form remains - Empi. It has no siblings and its parents are unknown.
Empi (flying swallow) was previously known as Wansu in Okinawa. Some
suggest it means "dumping kata" and that the characteristic jump at the
end symbolises a "fireman's carry" and body slam, dumping the opponent
to the ground.
I first learnt this kata in about 1997 from Sensei Stephen Bullough
in the Bushido Academy. He taught me the form very similar to the
Shotokan version but with a front kick as part of the characteristic
"stepping in" sequence. Interestingly in the 1970s master Kanazawa also
put a kick in this sequence (a roundhouse kick) but later abandoned the
idea.
Empi became one of my favourite forms and I performed it as my Tokui Kata for both my 1st Dan and 2nd Dan gradings.
I later learned two versions of this form from Sensei Bob
Carruthers. The first was the Shotokan version, the second was a form
called Wansu, the origin of which I'm not sure except to say he was
taught it by Sensei Joe Carslake and it most closely resembles the
Kobayashi Ryu version.
I attended an excellent Empi seminar with a Slovenian Karateka named
Nejc Sever, a student of master Kase. The interesting thing was that
Nejc was also a Tai Chi student (as was I) and he demonstrated relating
Tai Chi relaxation to this form.
It would be a while before I learnt to do this (see my previous Blog
post about learning Goju Ryu) but I came to realise that Empi had a
real internal power about it.
As luck would have it my Tai Chi teacher began teaching us another
internal martial art called Hsing-I. I found this art strange at first,
because although it was grouped together with Tai Chi and Bagua, its
"five fists" (the basic forms) seemed to move rather like Shotokan
Karate. A coincidence I thought.
In 2001, I left the Bushido Academy and attended about four lessons
with another instructor. I must emphasise I only attended four classes
(or perhaps three or five) but they were very thought-provoking to this
day. The style was based on Malaysian Budokan Karate.
Budokan in turn (founded by Chew Choo Soot) was based on Kanken Toyama's Tomari Te Karate.
The interesting thing was, this Karate method performed its Shuto
quite like Hsing-I's "splitting fist", and its Gyaku tsuki like
Hsing-I's "pounding fist."
I discovered something else one of the "12 animals" of Hsing-I was the Swallow. Remember Empi means "Flying Swallow."
I looked into the history of Empi and found a reference to it being
introduced to Okinawa in 1683. This would make it the first extant kata
in Okinawa - and explain its lack of "siblings."
The master who introduced this form to Okinawa was named Wang Ji
(Wan Su in the Ryukyu dialect). Wang Ji was a contemporary of the
founder of Hsing-I Quan, Ji Ji Ke. Perhaps he was even a relative.
I no longer have the opportunity to learn Hsing-I Quan, and I never
made it past the first few "fists" but when I practice Empi I keep in
mind the internal qualities of this kata. Although I teach it to my
students the "Shotokan way" when I practice it for myself I substitute
the Shuto with Splitting Fist and the punches with Pounding Fist.
My other discovery is the Chinese weapon that works beautifully with
this form, and it also includes an excellent groundwork armlock (oh you
didn't know?) but that's another story for another Blog.
When I think about Empi, I remember how over the last 14 years I
have been taught versions of this kata by about six different
instructors (some I have not mentioned in this Blog post), I have looked
into its possible relationship with Hsing-I Quan, I have looked into
performing it with weapons and I experiment with its postures as Zhan
Zuang (standing meditation) - and still I find this kata has much more
to give me. It amuses me then when I hear people say "I know 20 kata"
when all they really know is how to perform the kata as a dance routine.
In the late 19th century various methods of Jujutsu were introduced to
England. Japan's masters demonstrated in the musichalls and one Briton,
EW Barton Wright trained in Kobe, Japan and brought his findings back.
Barton Wright called his art Bartitsu (Barton-Jujutsu) and it gained
such a cult following that Sir Arthur Conan Doyle wrote Bartitsu into
Sherlock Holmes' repertoire.
Soon after a Manchester newspaper sub editor called EJ Harrison became England's first Judo black belt.
In around 1905, an advert appeared in Liverpool advertising Jujutsu
classes under a master called Kara Ashikaga. This is thought to have
been a marketing ploy and the existance of Ashikaga is doubtful.
A few years later the famous Gunji Koizumi left Japan with dreams of
joining the British Navy. He'd studied Tenjin Shinyo Ryu in Japan,
another style in Singapore and sailed from Bombay to Wales. Next he
arrived in Liverpool and contacted the Kara Ashikaga school with designs
on becoming the new resident instructor.
Eventually Koizumi relocated to London and established the Budokwai.
He was joined by another instructor of the Fusen Ryu named Yukio Tani
and together they promoted Jujutsu in England. At the time Jujutsu was
not taught as it is now, but rather as a musichall showpiece and often
Jujutsuka would fight boxers and wrestlers in grand challenges.
Tani met a Scotsman named William Bankier who introduced Tani to
some wrestlers, Percy Longhurst, W H Garrud, Bruce Sutherland and Percy
Bickerdike. Between them they went on to set up the British Ju-Jitsu
Society.
In the years before WWI, one of Yukio Tani's students named Jack
Britten relocated to Liverpool and opened a pet shop and a Jujutsu Dojo.
The Alpha school became the north of England's first real Dojo.
In 1928 Liverpool's second Dojo emerged. It was run by Gerald
Skyner, a tough instructor who claimed to be the personal student of
Mikonosuke Kawaishi (Judo and Daito Ryu Aikijujutsu).
When WWII started in 1939, Jujutsu was frowned upon because Japan
was the enemy, but what the war did do for Jujutsu was expose many
soldiers and sailors to the fighting methods of Japan, Singapore and
Korea.
Gerry Skyner was recruited as an army combat instructor but was sacked after smashing a student in the face with a steel helmet.
In the post war years Britten and Skyner had a number of students
worth a mention. Britten's students included Andy Sherry, now the UK's
top ranked Shotokan Karate instructor, currently graded 8th Dan; Ronnie
Colwell, now one of the UK's senior Jujutsu and Karate instructors,
currently graded 9th Dan; and Bob Clarke, later head of the World
Jujutsu Federation.
Skyner's students included a police officer named O'Neill whose son
Terry became one of the UK's greatest Karateka, currently graded 7th
Dan. Another of Skyner's senior students was Bill Nelson my great uncle.
One of the merchant sailors who claimed to have studied martial arts
while in the Far East was James Blundell, later head of the British
Ju-Jitsu Association. His students include the likes of Allan Tattersall
now head of the Dai Nippon Butokukai's UK branch who later studied in
Japan under the heads of various Koryu including Takenouchi Ryu.
In the late 1950s while my great uncle Bill Nelson was studying
Jujutsu in Walton, my dad and uncle were studying Jujutsu at school in
nearby Kirkby.
At the other end of the country at this time, there was another
exciting development in martial arts - the introduction of Karate.
In the early 1950s Aikido and Judo master Minoru Mochizuki (more on
him in a later blog), who had also studied Jujutsu and Karate took two
European students, Jean 'Jim' Alcheik and Claude Urvois. They convinced
him to send students over to Europe and in 1956, Hiroo Mochizuki flew to
France followed by Tetsuji Murikami, Shoji Sugiyama (who went to Italy)
and Mitsuhiro Kondo (who went to Switzerland).
By the time Hiroo and Murikami arrived in France Mikonosuke Kawaishi
had left Liverpool (via America) and set up a Judo and Jujutsu Dojo in
France. And so Mochizuki and Murikami, along with Urvois, Alcheik and a
local Judoka named Henri Plee concentrated their efforts on Karate.
In 1956 Essex Judo instructor Vernon Bell began to visit his Judo friend Plee in France, taking Karate lessons.
Bell introduced Karate to England, teaching in his back garden in Essex.
From these humble beginnings, with a few loyal students including
Terry Wingrove, (now a Jujutsu 9th Dan and Karate 8th Dan)the British
Karate Federation was established.
Soon new Dojos appeared, with Alan Ruddock running the Irish branch,
Fred Gille (with a young Andy Sherry and Terry O'Neill) in Liverpool
and before long Dojos as far afield as Scotland.
Karate was introduced to Manchester by Martin Stott and the
legendary Danny Connor who apparently trained under a Vietnamese
instructor in France.
In 1966, Karate exploded in the UK with visiting masters from Wado
Ryu (Tatsuo Suzuki), Shotokan (Kanazawa, Enoeda, Kase, Shirai) and
Shotokai (Harada), but these early years 1956-1966 should not be
forgotten.
I will return to more Karate and Jujutsu history in a future Blog post.
In my own school, students must train regularly for a minimum of four
years before attaining black belt. In the last 11 years I have only
awarded one black belt and that student had trained for over 25 years at
the time! At the moment I have three students graded 1st Kyu, who I
would like to see grade for their black belts in the next year. I think I
am fairly centre ground when it comes to Dan grades. I wouldn't expect a
student to be Miyamoto Mushashi to get his black belt but neither would
I Dan-grade every Tom, Dick or Harry who simply turns up for four
years.
To me, a black belt is not just about experience, it's about skill,
dedication, attitude, aptitude and more. It's the start of a new journey
but it's also a benchmark.
I'd rather have no blackbelts than a bad black belt.
But now I'd like to talk about the two extremes of grading students
to blackbelt. I call them the "macho criteria" and the "spiritual
criteria"
THE MACHO CRITERIA
In 2001 I asked one instructor what his criteria for a Dan grade
was. He said: "About 12 years study, then they have to work on the doors
as a bouncer for at least 18 months."
In other words, learn to handle yourself in streetfights or you don't get the black belt.
To me, this is too far to the extreme. One should be able to study
martial arts without engaging in streetfights or working in a violent
environment.
THE SPIRITUAL CRITERIA
I once remarked to an Iaido instructor that one of his 1st Dans was
noticeably less competant than his others Dan grades - in fact he wasn't
even as good as any of the Kyu grades.
I asked him why this person was allowed to pass his 1st Dan and he
said: "Because on his own journey this student has come much further
than the others, because when he started he was 'further back'."
This makes sense if we take martial arts (Do) as being a way of
life, but surely the "martial" in martial arts counts for something?
To me, these two views - the macho and the spiritual - are at opposite ends of the spectrum. I try to take the middle ground.
Back when I was a 2nd Dan I met the man who would become one of my main teachers. And he changed the way I approached Karate.
At the time I was 2nd Dan in Shotokan Karate & Shoshin Ryu
Karate Jutsu and also 2nd Dan in Jujutsu and in another style of
Ju-Taijutsu which also encompassed Aikijujutsu and other arts. I'd also
done Tai Chi at that point for about four years. So in other words I'd
been around - I hadn't only trained in one way. I thought I knew my
stuff.
I was teaching on a seminar in Birmingham. Still one of the biggest
I've taught on. I showed Karate kata applications (bunkai) and
demonstrated something that back then was still pretty seldom taught,
Karate Oyo (applications) consisting of grappling, throws, locks and
pressure points. At the end of the session, a Judo 6th Dan said to me
"that was the best Karate demo we've ever seen."
I was feeling pretty good.
Then Reiner Parsons (a 5th Dan Goju Ryu at the time) came over to me and said: "I like what you did...."
Again, I was feeling pretty good....
But then added: "But I don't like the way you move."
I should point out that Reiner's English (he's German) can sometimes
come across as a little blunt. He added: "It looks like that Shotokan
shit." I don't think he meant that Shotokan wasn't a very good style. I
think it was just his choice of words (although...)
We got talking and I mentioned that I did Tai Chi. He asked me to do
a Karate Kata and then do a Tai Chi form. He shook his head throughout
the Karate form, but when I did the Tai Chi he said: "So you do know how
to relax!"
I pointed out that the way I had been taught Karate, you were to
relax and then at the point of impact tense the whole body. This was
Kime. This was locking out the technique. This was focus. This was
Shotokan.
This was wrong.
Over the next eight years or so, Reiner taught me how to do my
Karate the way I did my Tai Chi. With one, constant, flowing stream of
power. Of course you still finish techniques and you still speed bits
up, but this is simply done in time with the breath. It is natural, not
forced. There's no dynamic tension and no burst blood vessels and no
asthmatic wheezing.
He showed me how to test this principle. He would have me punch him
in the stomach, at first the Shotokan way, then this way. The first way I
just bounced off. The second, I knocked him back.
Each time I saw him, he jokingly made fun of my Karate and would
say, "So can you punch yet?" and I'd say, "No Sensei, can you show me
just once more."
I never converted over to Goju Ryu. I kept my Shotokan/Shoto Ryu
family of forms, but Reiner showed me how to generate a new level of
power and relaxation in them. A few years later he graded me 3rd Dan and
gave me two certfificates, one in my own style and one saying "Goju
Ryu".
He had trained in western Goju Ryu as well as in Shoto Ryu but his
main teacher was Tadanori Nobetsu, a Japanese master who had gone back
to the source, studying Feeding Crane Kung Fu.
I told Reiner that I had seen many Goju Ryu instructors and they all
punched more like the Shotokan way rather than this "White Crane" way
and he said: "Yes but they are all Go and no Ju."
I saw Reiner a few months ago and he was on the panel which awarded
me my Renshi (title awarded after 4th Dan) award. He said to me: "So,
have you learned how to punch properly yet?"
I said: "No Sensei, can you show me just once more."
Martial arts are either defined as traditional, classical or modern. But
which are we? Well, a little traditional and a little modern. With some
hallmarks of classical. And we're not alone in this respect.
Here I talk about the different approaches:
CLASSICAL
In Japan, a classical martial art (Koryu Bujutsu)is one that has
been preserved - unchanged - since before the Meiji Restoration. In
other words, it was created in Samurai times and has been passed through
the generations, without changing anything.
And example of a classical school is Tokyo's "Tenshin Shoden Katori
Shinto Ryu," which specialises in swordwork, another would be "Tenjin
Shin'Yo Ryu" which has Jujutsu as its primary focus.
Generally classical martial arts don't use coloured belts (the Dan-i
system) and instead present scrolls of competency. These may be in
particular areas ("Aikijujutsu"), they may represent a certain number of
techniques or they may represent a level of mastery (Menkyo Kaiden).
Often Koryu schools are transmitted within a family or clan, and
sometimes the headmaster is not necessarily the best practitioner, but
he is well-placed to continue the transmission. For example if a
headmaster is 90 and his senior student is 80 there is little point
passing the school to him, since he probably won't be around much longer
than his predeccesor, so sometimes it is passed to a younger student
and "caretaker" headteachers groom him for succession.
Dress for a Koryu school is usually a keiokogi (short sleeved kimono
jacket) and hakama (pleated wide trousers). The jacket may include a
clan crest.
TRADITIONAL
Traditional martial arts in Japan tend to be those created between
the Meiji Restoration (1868) and the mid 20th century. Examples include
Judo, Aikido, Shotokan Karate and Kendo.
Traditional martial arts were usually founded by a Japanese master,
often from a Koryu style. For instance Judo founder Jigoro Kano studied
various Koryu Jujutsu forms and Shotokan Karate founder Gichin Funakoshi
studied various old Okinawan Karate Jutsu forms.
These arts usually follow a coloured belt system, practitioners
usually wear a plain white kimono (Budo gi) and in some cases (such as
Aikido), a hakama.
In traditional martial arts, as opposed to classical, sporting
contests (Shia, Kumite or Randori) are common and athletic prowess is a
consideration. Most traditional martial arts having governing bodies,
sports council recognition and have a greater degree of standardisation.
Traditional martial arts tend to use a fairly similar time-served
principle for grades which is approximately four years to black belt,
two more years to 2nd Dan, three more years to 3rd Dan and so on.
In traditional martial arts holders of 9th and 10th Dan are very
rare. In the Kodokan, only 12 people have achieved 10th Dan since 1934.
In the case of Karate and Aikido, more modern sub-styles have
developed. For instance, among the students of the Aikido founder Gozo
Shioda created Yoshinkan Aikido, Minoru Mochizuki created Yoseikan and
Kenji Tomiki created Shodokan. These styles are still viewed as
traditional.
MODERN
Modern martial arts often include a western influence (ie boxing,
wrestling) and include Freestyle Karate, Kickboxing, Mixed Martial Arts
(MMA)and Goshin Jutsu.
Modern martial arts are often a combination of traditional arts and
sometimes wear more colourful costumes and it is common for
practitioners to be more highly graded.
To take a famous example, Jeet Kune Do was created in the 1970s by
Bruce Lee, combining Wing Chun Kung Fu with boxing, wrestling, Escrima,
fencing, Savatte, Judo and other arts.
COMBINATIONS OF MODERN, TRADITIONAL AND CLASSICAL.
CLASSICAL/TRADITIONAL
Daito Ryu has all the hallmarks of a classical school - except that it was only formalised in 1900, after the Meiji Restoration.
Daito Ryu is synonymous with one clan (the Takeda), is passed down
from father to son, uses the Menkyo system and is taught in classical
atire. But it was officially formalised (despite boasting a 37
generation tradition) after the Samurai era had ended.
The debate rages on therefore - is Daito Ryu Koryu (classical) or Gendai (20th century traditional).
ALTERED CLASSICAL
The Iaido school of Muso Jikiden Eihin Ryu is classical (it was
formed in 1590) but in many branches, such as that of the IMAF group, it
is taught more like a Gendai Budo. Students are graded Kyu and Dan
grades (albeit without coloured belts) and forms have been changed for
safety reasons.
COMBINED CLASSICAL/ MODERN
Some modern schools have been created by combining different Koryu.
For example the Bujinkan school ("Ninjutsu") of Masaaki Hatsumi includes
the techniques of a number of Koryu such as Kukishin Ryu and Hontai
Yoshin Ryu which have been combined with a "Ninja theme" and modern
uniform.
MODERN WITH CLASSICAL CUSTOMS
The Brazilian Jujutsu style taught by the Gracies is undoubtedly
modern. It is constantly evolving, adding techniques from styles from
around the world, and geared towards MMA competition, but the way the
style is built around one family (the Gracies) with a strong family
patriarch (Helio Gracie, died 2009) is very typical of classical
schools. Gracie Jujutsu is a trademark controlled by one family, much
like "Daito Ryu Aikibudo: is a trademark controlled by the Takeda
family.
Another example of this is the Yoseikan Budo of Hiroo Mochizuki.
Hiroo took his father's Yoseikan Aikido, combined it with other arts
like boxing and savatte and created a modern sporting Budo. However
Minoru passed the "Sokeship" (headmastership) to his son Hiroo and in
years to come Hiroo's sons Kyoshi and Michi are likely to succeeed as
third generation heads.
TRADITIONALLY TAUGHT MODERN
An example of a modern school (founded since the 1970s - exact year
unknown) is the Nihon Jujutsu system taught within the IMAF
organisation.
IMAF's original Nihon Jujutsu division head was Minoru Mochizuki
(Yoseikan) whose Jujutsu was a mixture of Gyokushin Ryu Jujutsu, Daito
Ryu, Karate, Aikido and Judo.
The Nihon Jujutsu division is now headed by Shizuya Sato (10th Dan)
who studied Judo under Ito and Mifune (students of the founder), Aikido
under Kenji Tomiki and Wado Ryu Karate under Otsuka.
Sato therefore studied Karate, Judo and Aikido under first
generation students of each art's founder. Although Nihon Jujutsu is
modern, in th sense that it is new. It is taught with traditional
trappings and would appear to be just as traditional as, say Yoshinkan
Aikido.
SO BACK TO BUSHINKAI....
Well first and foremost we are a modern school. I established
Bushinkai in 2000-2001 and the present syllabus was produced in 2007,
but as we have seen, things aren't always so clearly defined.
Bushinkai has the classical hallmark of a family tradition. I study
Jujutsu, my dad studied Jujutsu, my great uncle studied Jujutsu.. and
his father and grandfather were taught unarmed combat. So we have a five
generation family tradition, going back to before 1868. To my senior
students (above black belt) I also award Menkyo certificates in addition
to belt grades.
We are also traditional in the sense that I have trained and graded
in traditional arts (Shotokan, Goju Ryu and Nihon Jujutsu)and my grades
were traditional recognised by Japanese governing bodies (Kokusai Budoin
and UK Dai Nippon Butokukai). This would not happen for a modern art
like Kickboxing, MMA or Gracie Jujutsu.
So why, when there is much about our style that is traditional, do
we go out of our way to be modern? Why do we wear black gi instead of
white? Why do I teach Karate as well as Aikido and Jujutsu techniques?
The reason is, because I follow the mindset of the Okinawans, not
the mainland Japanese Samurai. What do I mean by this? In Japanese Koryu
techniques were preserved long after they outgrew their usefulness.
They were preserved for the sake of preservation.
In Okinawa however - to coin a phrase - the only thing constant was change.
Sokon Matsumura who lived (1798–1890)and taught before the end of
the Samurai class was in a sense a "mixed martial artist". He studied
Koryu Bujutsu in Japan (the Jigen Ryu of the Satsuma) he studied
Okinawan Te under Tode Sakugawa and he also trained under various
Chinese masters including Iwah, Ason and Anan.
Matsumura was my teacher's teacher's teacher's teacher. He lived and
died before Daito Ryu was formalised. When Matsumura was born, Tenjin
Shinyo Ryu was only 60 years old.
Of course I don't teach the same syllabus as Matsumura did. But I'd
like to think he would approve of my syllabus. And if he were around
today, I bet he'd make use of modern pads, punchbags and he'd probably
watch Brazilian Jujutsu and think "I'd love to learn that."
There is a saying in Budo that rather than simply follow the old masters we should seek what they sought.
We recently had a well attended grading at Bushinkai HQ with a very special guest, Shihan PAJ Handyside 8th Dan.
TECHNIQUES
The White Lion Hypothesis is the theory that many of the Karate forms practised today originate in a Chinese art called White Lion Boxing.
