meibukan magazine five

WWW.MEIBUKANMAGAZINE.ORG No 5 July 2005House of the Pure Martial Arts

MEIBUKAN MAGAZINETHE INTERNATIONAL WEB BASED MARTIAL ARTSMAGAZINE AS A PDF DOCUMENT No 5 JULY 2005

House Of The Pure Martial ArtsMEIBUKAN MAGAZINE

History of Northern Shaolin, Part 1

Mario McKenna on Tou’on-ryuTradition? What Tradition?

Tou’on-ryu Kicking Techniques

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MEIBUKAN MAGAZINENo 5 JULY 2005House of the Pure Martial Arts

Meibukan Magazine is published several times ayear in an electronical format with an attractive mixof subjects and styles. Each issue of at least twelvepages is published as pdf-file for easy printing.Published editions remain archived on-line. Wehave chosen a low picture resolution for easydownloading.

Readers of the webzine are enthousiasts and practi-tioners of the spirit of the martial arts world wide.

Editor in chiefLex Opdam

Executive editorMark Hemels

Editorial BoardMatthew Jones

Iwan MeijJeroen Verhoeven

ContributorsMario McKenna

Lex OpdamMathieu G. Ravignat

Marc van Dam

Art directorIwan Meij

Meibukan Magazine is pleased to submit views,concerns and experiences on any subject matter IFrelated to the mission statement expressed by theMeibukan Magazine. Therefore articles, photographsand illustrations are welcome, although MeibukanMagazine is selective and can not garantee that sub-missions will be placed. Submission can be mailedto our P.O. Box by floppy, CD or DVD, or can besent to our e-mail address.

MISSION STATEMENT

Meibukan Magazine is an initiative of Lex Opdamand Mark Hemels. Aim of this web based magazineis to spread the knowledge and spirit of the martialarts. In a non profitable manner Meibukan Magazinedraws attention to the historical, spiritual and tech-nical background of the oriental martial arts. Start-ing point are the teachings of Okinawan karate-do.As ‘House of the Pure Martial Arts’, however,Meibukan Magazine offers a home to the variousauthentic martial arts traditions.

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MEIBUKAN MAGAZINEP.O. Box 8, 6663 ZG, Lent, Netherlands

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ColumnSelf-activity

FeatureTradition? What Tradition?Karate-do practitioners often think of their art as the transmission of a pure andunchanging tradition. Just how traditional is their daily visit to the dojo? MarioMcKenna dispels some of the myths surrounding “traditional karate”.

InterviewMartial artist Mario McKenna on Tou’on-ryuMario McKenna studied Tou’on-ryu from its current headmaster ShigekazuKanzaki. “Tou’on-ryu is very much a time capsule of old Okinawan Karate. I feel astrong sense of responsibility to be a part of protecting this style from extinction.”

TechniqueTou’on-ryu Kicking TechniquesSporting competition karate has increased combative distance between opponents.This has changed kicking technique applications. We take a closer look at a“frightening, old style” kicking technique from Tou’on-ryu’s Seisan Kata.

ReviewClassical Warrior Traditions of Japan by Diane Skoss (ed.)

HistoryNorthern Shaolin: From Bodhidharma to the Boxer RebellionToo often a Kung-Fu style is attributed to a mysterious monk or masterdescending from the mountains to teach the local peasants. In this first of twoparts, we examine the history of Northern Shaolin up to the 19th century.

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Copyright and disclaimer

© 2003-2005 Meibukan Magazine.All materials on the Meibukan Magazine website and Meibukan Magazine pdf-files (including without limitation all articles, text, images,

logos, compilation, audio, video, and design) are Copyright by Meibukan Magazine. All rights reserved.The downloadable Meibukan Magazine pdf-files may be downloaded, printed and distributed for personal use only.

Only with explicit permission in writing from the Meibukan Magazine and the original copyright holder may the Meibukan Magazine or(part of) articles be used for other than personal use (e.g. educational, research purposes, commercial use, a.o.).

Every Meibukan Magazine pdf-file has a unique ISSN number (1572-5316) and is registered by Law.

All information and materials on the Meibukan Magazine website and Meibukan Magazine pdf-files are provided “as is” and withoutwarranty of any kind.

Meibukan Magazine founders are Lex Opdam and Mark Hemels.Web design by Lex Opdam.

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Self-activationOver the last decades, with the passingof an entire generation of Okinawankarate and kobudo masters who foundedmany of the ryu’s that exist today, therehas been much talk about the loss oftechnical knowledge that has been lostwith them.In many ways, researchers are attemptingto recover this knowledge in order to passit on to future generations. However, oneoften overlooks that the highest form ofeducation – the kind that stimulates thestudent in spiritual growth – is vanishingas well. The latter accomplishment is of amuch profounder significance regardingthe transmission of martial arts than meretechnical skills.

Spiritual growth through education is in-extricably attached to self-activity. Themartial teacher should always keep inmind the delicate personal relationship,which he or she engages when guiding astudent. This is to serve general and indi-vidual methods that should not only setthe door ajar to under-standing andcreativity, but also fully open the door tointegrate this matter into daily life.It is up to the student to enter this doorand use the instruments and guidancethat are offered during this process.

I observe that in our present materialisticworld, the methods that make us intro-spective are often considered as an assaulton every day life. Lessons remain unreadand meaningful practice fails to occur.Methods intended to actuate this innerprocess require interaction betweenteacher and student, and activation ofthe dormant intention to achieve com-plete consciousness. Through discipline,concentration and above all dedication,the source of under-standing and creati-vity can be reached.

We should now, more than ever, attributea more prominent role to the lessons fromthe past that have been passed down tous from generation to generation, andcombine these with the modern didactic,methodical and psychological knowledgethat we possess – all this in order to tapthis source of understanding and creati-vity. These lessons that aim to stimulateand induce self-activity, should not havethe objective of obtaining social status,but instead guide the way to personalgrowth.

Lex OpdamEditor in chief

Tradition?What tradition?

Karate-do practitioners often like to think of their martial art asthe transmission of a pure and unchanging tradition. But just

how ancient and traditional is their daily visit to the dojo?Mario McKenna dispels some of the myths surrounding

“traditional karate”.

- by Mario McKenna -

Inside the dojo

All karate-do practitioners know thefeeling of grabbing their keikogi andheading out the door to the dojo two ormore nights a week to train. If youstopped and asked him or her what itwas he or she was devoting so muchtime and energy in studying, they ofcourse would answer something to theeffect of, “Japanese karate,” “Okinawankarate” or “Traditional karate.” Thissounds all very well and good, but whatexactly do these terms mean? Out ofall these terms, I find “Traditional karate”to be the most suspect. To be perfectlyhonest, having lived in Japan for wellover eight years, I have yet to understandexactly what people are referring towhen they say that they practice“Traditional karate.” Karate-do itself iswhat is commonly referred to in Japanas a shin budo, or new martial way, butmore often than not karate is consideredthe realm of yakuza (gangsters) orthugs – not a true martial art at all. “But”,people may protest, “karate has existedfor centuries on Okinawa!”Well, yes that is true to an extent, butkarate-do in its current metamorphosis isa fledgling art. And although this word“traditional” may carry with it inspiring

images of bygone centuries and colorful,quaint masters, when you get rightdown to it we are probably talking abouttraditions begun by your basic ordinarypeople; the Kinjo’s and Higa’s of Okinawa.So, with that in mind, what I would liketo do for the next few paragraphs is todispel some of the myths surroundingkarate in the hopes of giving the readera better perspective on his or her practice.

OutdoorsThe place where all of us sweat andtoil several hours a week, week afterweek, year after year, is the dojo; aplace that most of us take for granted.“The dojo will always be there”, wemay think to ourselves. I suppose it’sonly natural to assume that, but in thedistant past, martial arts “dojo’s” as suchdid not exist. There were no formalschools, no dojo in every shopping mallor within ten minutes drive of yourhouse; not even a building where practicetook place. Instead, instruction tookplace wherever and whenever theteacher decided – whether it is in anopen field, at a family tomb or in thehillsides. Such was the case with karateas well. The Ryukyus had imported

quan’fa over severalgenerations fromFuzhou and not surpri-singly its traditionshad been imported aswell. This is summa-rized nicely by PatrickMcCarthy who statesthat, “[sic] the standarddogi (uniform) ordojo concept had yet

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“Up until World War II on Okinawa,many of karate’s foremost teacherstaught a small group of students quietlyout their homes or neighbouring gardens.There were no set curriculum, no ranks,or licensing.”

“Like it or not, this process of culturaladaptation and technical modificationis the only true karate tradition.”

to be established. The deshi usuallytrained outdoors in their fudoshi (loin-cloths, the standard underwear for thatgeneration) (McCarthy, 1999).”Up until World War II on Okinawa, manyof karate’s foremost teachers taught asmall group of students quietly out theirhomes or neighbouring gardens. Therewere no set curriculum, no ranks, orlicensing. Teachers taught individuallyand tailored the techniques to the needsand disposition of the student. Such wasthe case for men like Anko Itosu (1832-1915) and Kanryo Higaonna (1853-1915).The students of these teachers, men likeKentsu Yabu (1866-1937), ChomoHanashiro (1869-1945), Chojun Miyagi(1888-1953) and Juhatsu Kyoda (1888-1968), were all known to instruct studentsout of their homes as well. The modernkarate dojo as we know did not exist onOkinawa to any real extent during thisperiod in karate’s history. So where didthe concept of the dojo come from? Notsurprisingly, given the influence of theJapanese on Okinawa over severalcenturies, the karate dojo that we knowtoday is fashioned after the Japanesemodel, and it too is a relatively recentinnovation!

Urban schoolAs Japan entered the Tokugawa era,relative peace came over Japan. Duringthis period, bushi were no longer beingretained by feudal lords for their profes-sional services as warriors. As a result,the bushi were forced to “make theirrice” somewhere else. Many of themmoved to larger urban centers and opened“dojo’s” to teach the warrior skills. Un-fortunately, many of these new machi-dojo (urban schools) were looked downupon for overly formalized or unrealistictraining methods. Ju-jutsu dojo’s are aclear example of how far things haddegenerated by the 19th century. Ofcourse, not all schools were interestedin selling their skills to prospective studentsand there were several excellent dojo’sthat focused on teaching realistic fightingtechniques and skills of the professionalwarrior (For a detailed discussion of thistopic see Draeger, 1973).It was also during this period of the machi-dojo, that the concept of fees originated.Traditionally, mainland Japanese bushiwere paid a stipend for their services.However, this did not take the form of hardcash, as this would have been consideredrather vulgar. Only merchants (one classup from the lowest, the burakumin, oruntouchables) dealt with money. Therefore,it was considered good breeding for abushi not to know much about money,even to the point of not talking about it.Instead, bushi were paid in rice (the factthey turned around and sold the rice formoney was conveniently overlooked).However, during the Tokugawa periodall this changed. Many bushi readilyaccepted hard currency in exchange fortheir instruction.So, with this background in mind, itcomes as no surprise that after karate hadbeen demonstrated successfully on theJapanese mainland for the first time in1917 by Gichin Funakoshi, the face ofkarate slowly started to change. Karatebecame reshaped into a modern budo,consistent with all other modern disciplinespracticed under the umbrella of theButokukai (For a complete overview ofthis topic, see McCarthy, 1999). Thisincluded having a common trainingsyllabus, terminology, practice uniform,fees, training facility (i.e. dojo),certification (Jigoro Kano’s dan/kyusystem) and a competitive format. These

changes did not occur immediately andtook several decades to be phased in,but by the end of World War II, most ofthe trappings that we call “Traditionalkarate” were in place: the dojo, uniforms,belts, fees, shiteigata (standardizedkata), tournaments, etc. (Take a look atthe photos in Gichin Funakoshi’s 1922publication Ryukyu Kenpo Toudi; heis still wearing a quan’fa (gung fu) sash.Choki Motobu can be seen wearing aquan’fa sash and what are essentiallya pair of boxer shorts in his 1926 bookOkinawa Kenpo Toudi-jutsu Kumite.Early photos of Uechi-ryu Karate practi-tioners often shows them practicingoutdoors in their fudoshi).

Gichin Funakoshi

Traditional smorgasbordSo, what sort of “Tradition” do we have?Certainly not one that is very old. A littleover fifty years perhaps. “But,” you mayprotest, “our Tradition was handed downfrom teacher to student, all the way backto the founder who studied in China!”Perhaps, but let’s take a closer look atthat statement. Specifically, let’s look atKanryo Higaonna as a good example ofsomeone studying in China and bringingit back to Okinawa and establishing a“Tradition.”Most of us know that Higaonna studieda form of Southern White Crane quan’fain China under a teacher named Ryu RyuKo. He came back to Okinawa and taughtamong others Chojun Miyagi who passedthe “Tradition” on to his students.Therefore modern Goju-ryu is a continu-ation of Higaonna’s “Tradition.” Well,not quite. Higaonna studied under a goodmany teachers, which included not onlyRyu Ryu Ko (a.k.a. Xie Zhong Xiang)(1852-1930), but also Seisho Arakaki(a.k.a. Maiya Arakachi) (1840-1918 or1920), Taite Kojo (1837-1917) and KahoKojo (1849-1925). Most likely his in-struction contained varying elements ofall his teachers.How about Chojun Miyagi then? CertainlyChojun Miyagi passed on Kanryo Higa-onna’s “Tradition” intact? Wrong again.After the death of Higaonna, we findMiyagi, travelling to Fuzhou in 1915 fortraining and research purposes (Higaonna

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1998). Later we find Miyagi, along withJuhatsu Kyoda and Kenwa Mabuni,befriending Wu Xian Hui (1886-1940)(Jap. Go Kenki) a Fuzhou tea-merchant,instructor of White Crane Chinese(Higaonna, 1985, 1996). And still laterhe befriends yet another Fuzhou teamerchant named Tang Dai Ji (1887-1937) (Jap. To Daiki), a teacher of Tigerboxing (Higaonna, 1998). Finally, in1936, we find Wu and Miyagi travellingto Shanghai where Miyagi is introducedto Miao Xing (1881-1939) a renownedmaster of Lohan Quan (Monk Fistboxing). So, what we call “Traditional”Goju-ryu is a veritable smorgasbord ofChojun Miyagi’s decades of study, placedon top of yet another “Traditional” smor-gasbord left to us by Kanryo Higaonna!So, what we can see then is nothingmore than a series of adaptations andmodifications of “Traditions” by asucceeding generation of teachers. Inmy opinion I would have to agree withmartial arts writer Paul Okami when hesaid, “Like it or not, this process of culturaladaptation and technical modification isthe only true karate tradition (Okami1999).”

Religious beliefThe karate dojo and all the other moderninnovations aside, many “Traditionalkarate” practitioners have often arguedto me that it is the practice of Zen andits goals of transforming the individualthat is what makes karate “Traditional.”They may say something like, “Wepractice seated meditation before andafter class” or “We practice differentkinds of breathing methods” or “We bowto the shinden/kamiza before and afterclass.” Well, like it or not, even theconscious inclusion of quasi-religioustraining, in the form of Zen, is a moderninnovation to the karate dojo occurringafter World War II.The Ryukyus, of which Okinawa is themain island, have traditionally been amelting pot of the religious beliefs andpractices of the world. Elements ofAnimism, Buddhism, Confucianism, Shintoand Christianity among others can befound on Okinawa. A veritable smorgas-bord of religion. But for a large segmentof the population, especially for the oldergeneration, ancient folk religion stillreigns supreme. It is still quite common

when he wrote, “When the spirit ofkarate-do is deeply embraced, it becomesthe vehicle by which one is ferriedacross the great void to enlightenment(McCarthy, 1999: pp. 102).”Although I have played the “devil’sadvocate” a little in this article, formyself, the fact that “Traditional karate”

Chojun Miyagi

“When the spirit of karate-do is deeplyembraced, it becomes the vehicle bywhich one is ferried across the greatvoid to enlightenment.”

in Okinawa and the surrounding islandsfor people to consult a Yuta, or divinerfor matters of importance. Many of the“island” karate teachers I have met whilein Japan have sought the advice of a Yuta.When I lived on Amami Oshima, anisland to the north of Okinawa, I hadthe chance to visit a Yuta and listen toher “advice”, something I would notadvise for the superstitious or faint ofheart.At any rate, unlike mainland Japan andits professional warrior class, the bushiof Okinawa were never known to embrace

Mario McKenna is a 5th

degree black belt in Tou’on-ryukarate-do. He has practicedkarate-do for over 20 years andRyukyu kobudo for 10 years. Heresided in Japan from 1994 to2002. Mario McKenna nowteaches Tou’on-ryu and Goju-ryuKarate-do at the Kitsilano Dojoin Vancouver, Canada.

For more information aboutMario McKenna

please visit www.mariomckenna.com

is a shin budo or perhaps the realm ofgangsters is of little consequence to me.What matters is that I find karate aprofound means of self-analysis and self-learning. It is a physical manifestation ofmy beliefs, philosophy and my ideals. Onethat has profoundly affected my life andundoubtedly the many people whose liveshave been touched by its practice.

or practice a religious discipline such asZen Buddhism. Generally speaking, inthe modern karate dojo it is the teacher’sdecision whether or not to includereligious training in the dojo or not. Thisis not to say that karate training cannotbe an indirect or implied expression ofZen, but simply that it has not beenovertly practiced in some karate dojountil after World War II (Bishop 1989;Bishop 1996).

Self-realizationSo, what does this leave us with?“Traditional karate”, and all it’s accom-paniments as we know it, is a little over50 years old. However, this lack ofvenerability in no way detracts fromkarate-do’s ability to serve as a vehiclefor people wishing to find “the Path ofKarate.” Like any human endeavour,karate can be a profound means to self-realization and personal growth. This isbest summed-up by Kenwa Mabuni

ReferencesBishop, M. (1989). Okinawan Karate:Teachers, Systems, and Secret Techniques.London, A&C Black.Bishop, M. (1996). Zen Kobudo: Mysteries ofOkinawa Weaponry and Te. Rutland, C.E.Tuttle Co.Draeger, D. F. (1973). Classical Budo. NewYork, Weatherhill.Draeger, D. F. (1973). Classical Bujutsu. NewYork, Weatherhill.Draeger, D. F. (1973). Modern Budo andBujutsu. New York, Weatherhill.Higaonna, M. (1998). The History of Karate:Okinawan Goju-Ryu. Dragon Assc. Inc.McCarthy, P. (1999). Ancient Okinawan MartialArts: Koryu Uchinadi. Rutland, VT, C.E. Tuttle.Okami, P. (1999). Does traditional karateexist?

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www.mariomckenna.com


Tou’on-ryu is the style of karate taught and named by Juhatsu Kyoda, student of the legendaryKanryo Higaonna. In the 1990’s martial artist Mario McKenna moved to Japan where hestudied Tou’on-ryu from Kyoda’s student Shigekazu Kanzaki. Meibukan Magazine askedMcKenna about his experiences with Goju-ryu and its lesser known brother Tou’on-ryu.

“Tou’on-ryu is very much a time capsule of old Okinawan Karate. I feel a strong sense ofresponsibility to be a part of protecting this style from extinction.”

- By Lex Opdam -

Tou’on-ryuA Time Capsule of Okinawan Karate

Interview with Mario McKenna

Mr. McKenna, could you tell us somethingabout your background?I was born in Belfast, Northern Irelandon October 20, 1968. My parents immi-grated to Canada when I was six yearsold and I later became a Canadian citizen.I currently work as a research and projectmanager for the Arthritis ResearchCentre of Canada in Vancouver, BC,Canada. In my first year of high schoolI was talked into attending a karateclass (Shotokan) by one of my friends.The club folded four months after I joined.At that time I looked around for anotherdojo, and found Sensei Yoshitaka Kinjoof Gohakukai (Goju-ryu Tomari-teAssociation). Sensei Kinjo was a fantasticteacher and I trained with him from 1984to 1994. I also managed to do a little bitof Aikido and Judo during my universitydays. It was in 1994 that I decided tomove to Japan. I remained there for thenext eight years until 2002. While livingin Japan I primarily studied RyukyuKobudo, Tou’on-ryu karate-do, andChikushima-ryu bo-jutsu.

Portrait of Yoshitaka Kinjo presidentof Gohakukai Canada.

How did you make contactwith Tou’on-ryu?I always had an intensecuriosity about Tou’on-ryu,but it wasn’t until the summerof 1998 that I actually startedtraining. It was through theintroduction of my good friendand fellow researcher JoeSwift that I found myself inthe dojo of Katsumi Mura-kami. Author, researcher andholder of multiple teachinglicenses in the fighting arts,it was no exaggeration to say

Murakami’s dojo. The sign to the left readsTou’on-ryu and Shorin-ryu karate-do.

that he is a walking encyclopedia ofinformation. Although I initially went tohis dojo to get additional training inRyukyu Kobudo, one of the things Inoticed right away when we walked tohis dojo was that there was a sign bythe door saying “Tou’on-ryu”! I waspleasantly shocked and surprised.Apparently Sensei Murakami had studiedTou’on-ryu on a limited basis from Juhatsu

not even his own sons. He would not evendemonstrate the kata. I was stunned,disappointed and speechless. However,the next time that I visited him, he providedme with the address of Shigekazu Kanzaki,the current headmaster of Tou’on-ryu. Tosay I was overjoyed would have been anunderstatement. I was ecstatic.

When I returned home to Nagasakiafter visiting Sensei Murakami, I beganto draft a letter to Sensei Kanzaki. Bythe next day it was in the mail. Weekspassed and I had not received a reply.Being persistent I wrote another letterand sent it off and about a week laterthe phone rang. I picked it up, “moshimoshi” I answered. And then a voiceon the other end came on, “Beppu noKanzaki desu kedo.” It was SenseiKanzaki. He explained that he had notreplied because his wife had recentlypassed away and that he had had some

“The first time I saw Tou’on-ryu kataexecuted I was dumb-founded at whatI saw. It was unlike any Okinawa karateI had ever seen. It seemed to have muchmore in common with kungfu systems.”

Kyoda in the 1950’s and 1960’s and hadeven received a teaching license fromhim. After visiting several times I askedSensei Murakami to teach me Tou’on-ryu. He flatly refused stating that he hadnot taught any of his students Tou’on-ryu;

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Shigekazu Kanzaki, current headmasterof Tou’on-ryu. Born 1928, Fukuoka

Prefecture. Began training at the age of24 under Juhatsu Kyoda until Kyoda’s

death in 1968. Continued training underJuko Kyoda until his death in 1983.

surgery. I told him of my interest in Tou’on-ryu and that I would like to come out andmeet him. He answered that now wasnot the best time for him both physicallyand emotionally. “Phone me back in a fewmonths”, he said, “we’ll see then.” A fewmonths later I picked up the phone anddialed the number that Sensei Kanzakihad given me. He answered and again heasked me to phone back in a couple ofmonths. This went on for quite a whileuntil Sensei Kanzaki finally consented tomeet me.

I took the train from Nagasaki to Beppuin Oita prefecture where Sensei Kanzakiresides. He was there waiting at thestation for me and greeted me with awarm smile and a handshake. We walkedto a local community center near hishome where I spent all day with SenseiKanzaki listening to him talk about Tou’on-ryu, looking at old photographs andvideo, and of course him demonstratingparts of the kata that he had learned fromSensei Kyoda. After that day I was hooked.I asked Sensei Kanzaki if he would teachme Tou’on-ryu and he agreed. So for thenext three years I devoted all my energiesto learning the style.

Could you describe the training youreceived from Sensei Shigekazu Kanzaki?When I first started training with SenseiKanzaki, rain or shine we would go to apark that was close to his house. There hestarted with the fundamentals of stances,postures, breathing, and bone and musclealignment. Later we moved to stepping,punching, striking, blocking, and kicking The original ‘single-arm wooden man’ used for training at

Juko Kyoda’s home in Beppu, Oita Prefecture.

Early 1960’s, Shigekazu Kanzaki trains on themakiwara in the Kyoda garden dojo.

Finally I practiced Sanchin kata. On theexterior the Goju-ryu version of Sanchinthat I had learned was very similar tothe Tou’on-ryu version, but on closerexamination there were many subtledifferences and nuances. For example,when advancing forward instead oftwisting on the ball of the foot to straightenthe leg before stepping, you twisted onthe big toe while maintaining tension inthe inside of the thighs.The breathing and punching were fasterthan the Goju-ryu version. Instead of1) inhale – chamber fist from Sanchinkamae, 2) exhale – punch, 3) inhale –return to Sanchin kamae, 4) exhale –complete Sanchin kamae, the Tou’on-ryu pattern was 1) inhale – chamberfist from Sanchin kamae, 2) exhale –punch, return to Sanchin kamae andcomplete. Naturally there were manyother difficulties such as stepping, posture,tightening the correct muscles groups,but I found the cadence of the kata themost difficult for me.This went on for about three or fourmonths. I went out to Sensei Kanzaki’shouse, we would go to the park and Irelearned Sanchin kata, stances, basics,and strikes. The whole experience wasexhausting, at times humiliating andfrustrating, but always enlightening.When I started to make progress in thebasics I was introduced to Ten-I-Happoalong with the corresponding hand andfoot techniques. This is a Tenshin drillsomewhat similar to Shito-ryu and theirTenshin happo. There were also somebasic forms that Sensei Kanzaki madeto bridge the introduction to the classical

forms that I learned as well. They neverhad any formal name as far as I know.

There was also all the supplementarytraining with chi’ishi, ishisashi, nigirigame,makiwara and kakiya. These I encoun-tered when Sensei Kanzaki took me tothe original garden dojo of Sensei Kyoda.The kakiya was the most interesting forme. Essentially it is a “wooden man”with a weighted single-arm. We used itto practice kata segments and Tenshinat full power in place of a training partner.Its resistance aided in developing yourbalance and in improving your strength.This was also the same time that SenseiKanzaki finally took me one afternoon tomeet and practice with two of his students,

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Hojo UndoTachi makiwaraSagi makiwaraKakiyaChi’ishiTan

Kihon WazaSonoba no wazaIdo no waza

TenshinNeko-ashiDakouTen-I-happoShiho-uke 1-3

Ude/Ashi TanrenKote-kitaeAshi-kitae

KumiteKakieKihon kumiteIri kumi

KataSan ChinSesanSanseruJionNepaiPechurin

Standing striking postHanging striking postSingle-arm ‘wooden man’Uneven dumbellsBarbell

Stationary techniquesMoving techniques

Cat stanceTriangle steppingStepping to eight pointsBlocking in four directions

Arm conditioningLeg conditioning

Push handsBasic fightingIn-fighting

Three ConflictsThirteen [techniques]Thirty-six [techniques]Mercy & CompassionTwenty-eight strikesOne hundred continuoussteps

Tou’on-ryu’s Basic SyllabusIkeda san and Fujita san. Sempai Ikeda,as I would later call him, had been trainingunder Sensei Kanzaki for 20 years, andSempai Fujita 10 years. I was particularlyimpressed with Sempai Ikeda. He wasfit, strong and polished in Tou’on-ryukata and technique.This was the first time I was able topractice some simple applications andTou’on-ryu’s version of kakie. This wasall done at very close distance. I wasalso able to see the higher kata such asPechurin and Nepai. I was particularlyintrigued by the kicking techniquesfound in the kata. No snapping kicks atall, just all low thrusts, stomps or straightlegged kicks similar to those found insome kungfu styles.

Did you also receive instruction in theuse of weapons from Sensei Kanzaki?Yes, I received instruction in using thebo, sai and nunchaku. For the bo theypractice Soeishi no kon, for sai, Tsuken-shitahaku no sai and Chatanyara no sai,and for nunchaku there is no kata, simplytechnique. I asked Sensei Kanzaki wherethese forms came from and he said thathe did not know. All he knew was thatKyoda had taught them to him in the1950’s. He did not know if they werepassed down from Kanryo Higaonna.He also stated that they were primarilyused as supplementary training tools forstrengthening your karate.

Mario McKenna performing kata Pechurin

You have trained and researched Goju-ryu for more than 10 years and thereforegained insight and experience in thissystem. From your past martial historyyou can oversee and compare Goju-ryuand Tou’on-ryu with each other. In theJournal of Asian Martial Arts (volume 9,no. 3, 2000) you mentioned that Tou’on-ryu in many ways is completely oppositeto Master Miyagi’s Goju-ryu in the execu-tion of techniques. For example, youmention that Tou’on-ryu is characterizedby swift springing movements andplaces little emphasis on rooted stances.Yes, Tou’on-ryu in my opinion does notemphasize rooted stances as much asGoju-ryu, but this needs to be qualified.In the initial stages of learning, a lot ofemphasis, much like Goju-ryu, is placedupon Sanchin kata – Its circular stepping,developing power, correct breathing,sinking the body, posture, etc.After these traits are developed theyform the foundation for lighter andswifter movement and footwork. Thisbecomes readily apparent in the kataSanseru, Pechurin and Nepai. For example,Sanseru teaches irimi, or entering andoccupying an opponent’s position, Pechurinteaches moving to the eight cardinalpoints and Nepai teaches continuouscircular movement.

You have also said that Tou’on-ryu’stechniques are more circular, smooth and

have a more flowing pattern than theirGoju-ryu’s counterparts. In an interviewin Meibukan Magazine no. 4, 2005,Sensei Anthony Mirakian mentions thatthe Okinawan martial artists alwaysemphasized power. That the Okinawansfelt that speed and flexibility are veryimportant, but that they always investedmore in power. Something that we clearlysee within the body dynamics of Goju-ryu and Uechi-ryu.This is the impression that I have alwayshad, that the techniques seemed to bemore circular and flowing. This is notto say that Tou’on-ryu does not placeimportance on developing a powerfulstrike, but at least in the execution ofkata such as Pechurin and Nepai, theforms tend to be more circular. Takemawashi-uke for example (tora-guchi),generally in Goju-ryu one hand circleshigh while the other hand inscribes asmall circle close to the torso. In contrast,in Tou’on-ryu one hand circles high andout at 45 degrees while the other handdrops down below the belt line andcircles upward. I never got the feelingC

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that there was any muchimi in thetechniques; in fact this term was neverused in the dojo.

Do you mean that these heavy slow andsticky movements, which are performedin many of Goju-ryu’s kata’s, are notpracticed in Tou’on-ryu?Yes, it’s my general impression thatthere were not as many ‘muchimi’ basedmovements in Tou’on-ryu as comparedto Goju-ryu. The few movements thatdo exist usually come at the end of thefour main Nahate kata of Sanchin, Sesan,Sanseru and Pechurin, but are not nearlyas ‘heavy’ as in Goju-ryu. The other twoforms of Tou’on-ryu, Jion and Nepai donot have any ‘muchimi’ based movements.

It seems that Tou’on-ryu, as far as thebody dynamics are concerned, has

A young Shigekazu Kanzaki (far left)sitting with Juhatsu Kyoda (center).

more in common with the Chinesekungfu way of moving. More flexibleand less static, more on speed ratherthan power. In the Journal of AsianMartial Arts (volume 9, no. 3, 2000)you mentioned that there is definitelya more distinctive and obviouslyChinese flavor to Tou’on-ryu comparedto Goju-ryu.As I mentioned earlier, the first time Isaw Tou'on-ryu kata executed I wasdumb-founded at what I saw. It wasunlike any Okinawa karate I had everseen. It seemed to have much more in

the ground. When advancing in Sanchindachi, the lead foot is straightened byturning/twisting on the big toe and therear foot advancing in a semi-circle.

One of my biggest personal contentionsis taking the mechanics of Sanchin as theyare and grafting them on to all aspectsof your karate. If you are not carefulthen I believe this will result in an overlystiff and artificial karate. For me, themost important aspects are the properalignment of the muscles and bones inconjunction with the breath, and the useof circular stepping. The conditioning andiron vest training are secondary. ProperSanchin training should place the bodyin the right condition to produce quick, ex-plosive movement. This is accomplishedby dropping and relaxing the shoulders,

keeping the elbows in and maintainingcontinuity of reaction forces from theground through the legs, hips, back, andarms.

At any rate, Sanchin is called the basictraining kata of Nahate and its simpletechniques contain many profoundconcepts that will gradually reveal them-selves to you through serious practice. Itis for this reason that the teachers ofthe past stated that karate begins andends with Sanchin.

Could you share your thoughts as a martialartist and researcher on why there areso many differences in body dynamicsbetween Goju-ryu and Tou'on-ryu,especially since both Juhatsu Kyoda(1887-1968) and Chojun Miyagi (1888-1953) had Kanryo Higaonna (1853-1915) as their main teacher?I suppose that is the million-dollar question!

It is complex and multi-faceted. Whysuch differences when both men hadthe same teacher? There is no definitiveanswer, but we can speculate a little, takinginto account the age in which they livedand their respective outlooks on whatkarate represented. I believe both menstruggled to rationalize their karate for theirgeneration, reviewing and modifying thekata they had learned from KanryoHigaonna.Given the two men’s backgrounds, andthe pedagogical and cultural reificationthat was current in so many other areasof society in Japan and Okinawa, I do notsee how either of them could have avoidedrationalizing their respective karate.If nothing else, they both attempted to unifythe performance of the Higaonna kata. InKyoda’s case he added Nepai, and Jion,

while Miyagi brought in additionalkata to the original four. Whetherthese were from Higaonna, GoKenki, To Daiki, the Kenkyu Kai,or his trips to China, remains to beproven. Although I doubt we willever know as there appears to belittle evidence either way.

To continue on, my guess is thatboth men could have made thesechanges and maintained a very realbelief that they had preserved and

passed on the true core of their master’skarate; particularly in the case of Kyodaas his dedication there was obvious asevidenced by his choice of system name.

The real issue is in the way we executethe movements and especially in the waywe generate energy during kata withinthe confines of a specific pedagogy. Both

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common with kungfu systems such as straightlegged toe kicks, but still retained anOkinawan influence with the emphasis ofthe closed fist.

I have noticed that the stances in Sanchinkata within Tou'on-ryu are straight andwider than the stances that are used inGoju-ryu. Could you explain the technicaldifference between the two since bothways share the same principles of rooting?At any rate, I would like to point out thatvariations between Goju-ryu and Tou’on-ryu’s Sanchin dachi are simply pedagogicaldifferences. Functionally they are thesame. In Tou’on-ryu the lead leg should“have the feeling of being turned inward”.Tension is always held in the lowerabdomen and inside of the legs. The toesare splayed out as if roots are coming fromthe feet and into the ground. While grippingthe ground firmly with the feet, you shouldhave the feeling of drawing the ki from

“One of my biggest personal contentionsis taking the mechanics of Sanchin as theyare and grafting them on to all aspects ofyour karate. For me, the most importantaspects are the proper alignment of themuscles and bones in conjunction withthe breath, and the use of circular stepping.”

men had different builds, psychologicalmake-up, social status, pedagogical biasesand fighting experience. Hence there aredifferences in the tension and relaxationused, respiration, position of pelvis andlower abdomen as well as neck, shouldersand elbows, differences in utilizing the



lower back and waist and many, manymore while executing kata and technique.

You have quoted McCarthy (1995: 5) inthe Journal of Asian Martial Arts (volume9, no 3, (2000) that "Kyoda's methodsembraced what has been described as aset of standards no longer fashionable toa generation so dominated by materialism".Could you describe in your own wordshow you see this set of standards thatapplied to Juhatsu Kyoda?I think most readers are aware of thesocial and political climate of Japan fromthe Meiji restoration to the rise of militarismin the 1920's. During this time martialarts practice in the education system wasmeant to instill moral character andcombative spirit. It goes without sayingthat the face of Karate was forever changed:standardized uniforms, universal curri-culum, new basic forms, emphasis on"moral and mental" development, competition,etc.

In contrast to this, from what little I knowand have discussed with teachers inJapan and Okinawa, old style training

involved the three K's - Kitsui, Kiken andKitanai - Hard, Dangerous and Vulgar.Endless, self-imposed training on ahandful of techniques both in pairs and byoneself, combined with weight trainingusing the old style equipment and impacttraining on the makiwara, sagi makiwara,kakiya, etc. That's it. No systematic orovert instruction in application. Instructionwas very hands on, and if the student waslucky and listening, hints were given alongthe way. But ultimately this apprenticemodel focused on developing a strongsense of efficacy in the student, as experi-ence is always the best teacher. Hencethe need to test oneself via kake-damashi(challenge fight) in the old red light districtof Tsuji or perhaps even go so far as tryjissen (dueling).Using this historical backdrop it becomeseasier to understand this anecdote aboutJuhatsu Kyoda. Sensei Kanzaki relatedthat as a young man Kyoda used topractice for hours at a time until he wasexhausted and fell asleep on top of bamboopoles he had cut and laid out on theground. The poles being uncomfortablewould force him to wake up and then he

Mid-1950’s, Shigekazu Kanzaki demonstrating techniques at the Japanese Self-defense Force base.

would begin practice again. He apparentlywould repeat this process for days at atime. Perhaps this story is more myththan fact, but it does give an indicationof what Kyoda's mentality was like.Looking at this old model from whichKyoda was a product of, it becomesapparent that his methods embraced aset of standards no longer fashionableto a generation so dominated by materialism.

As an aside I am always a little surprisedwith people who say they want to get backto "karate's roots" and return to "old styletraining methods". I doubt they reallyunderstand what those old methods entail.

"Old style training involved the threeK's - Kitsui, Kiken and Kitanai - Hard,Dangerous and Vulgar."

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Juhatsu Kyoda was a strong proponentof the licensing system that the Buto-kukai used. Could you tell us what his mainarguments were to propagate and integratethis system into the Okinawan martial arts?Why did Kyoda support the Butokukaiin terms of its licensing system? To answer



Mid-1960’s, Shigekazu Kanzaki demonstrates Pechurin at his karate clublocated at the Japanese Self-defense Force base.

Juhatsu Kyoda’s Hanshi certificate issued bythe Dai Nippon Butokukai in May of 1956.

Karate demonstration at an American military base in Beppu, OitaPrefecture, 1954. Juko Kyoda breaks several boards

while a young Shigekazu Kanzaki looks on.

that we need to take a closer look at whatKanryo Higaonna taught. I feel that fun-damentally Kanryo Higaonna’s systemwas a complete form of village karatethat he had learned in Kunida as ayoung man. That is, a very objective andefficient method of fighting. However,to the model presented by the Buto-kukai it had no cultural, technical orhistorical substance and was thereforeconsidered incomplete. Most Okinawankarate teachers during the 1920’s to1940’s were trying to get their art acceptedby the Butokukai, and needed codificationto fit in there. This resulted in externalpressure for socio-economic and politicalreasons, i.e. my teacher’s karate wasso great I want to preserve, codify anddisseminate it. Hence recognition from theButokukai was not necessarily toimprove karate, but simply to gain honorand acceptance for Okinawa. This I feelwas the underlying reason for Kyodaembracing the licensing system of theButokukai.

Is this licensing system also used withinthe small Tou’on-ryu organization nowadays?Interestingly, Kyoda’s Tou’on-ryuinitially did not use any dan or licensingsystem with his direct students whotrained out of the garden dojo. Later on,when Sensei Kanzaki began instructinghis own students, Sensei Kyoda signed-off their certificates. Currently the Tou’on-kai uses a dan/kyu based grading systemin conjunction with teaching licenses.

I suppose that your Tou'on-ryu teacherShigekazu Kanzaki has told you aboutmaster Juhatsu Kyodamore than once. Is itcorrect that masterKyoda was a Buddhistand that he taught hisart within certainBuddhist principles?Yes, Sensei Kanzakioften talked aboutSensei Kyoda, but Ido not ever recall himstating that Kyoda wasBuddhist. At Kyoda'shome of course therewas a Buddhist altar,but this is quite typicalof most Japanese homes during that eraand to a certain extent today. Kyodawas also known to give lectures to hisstudents on proper behavior, moralityand karate history. Whether these weretied directly to Buddhism, I do not know.

What was your personal motivation to startyour own school and teach Tou'on-ryu?My own personal motivation was quiteselfish. As a Goju-ryu student at the timeI wanted to see what the original Naha-te might have looked like. After I startedtraining, I began to appreciate Tou'on-ryu more and more for its honesty andsimplicity. Tou'on-ryu has never been alarge style and has never actively promo-ted itself. In many ways it has deliberatelyavoided any form of attention. In fact JukoKyoda, Sensei Kyoda's youngest son, wasan extremely shy and quiet individual

who did not care about taking on students.Juko did teach his son Jumei, but un-fortunately he did not continue on withhis training and no longer practices.Sensei Kanzaki thinks Tou'on-ryu wouldhave completely died out had it not beenfor his dojo.

At any rate, Tou'on-ryu is very much atime capsule of old Okinawa Karate inmany respects. In this sense it is invaluableand I felt a strong sense of responsibilityto be a part of protecting the style fromextinction. Therefore I asked permissionto teach the style in Canada when I cameback. Now I teach Tou'on-ryu to a fewstudents who are serious about learning it.

Do you, like Sensei Kanzaki, also drawa sharp distinction between modernsport karate and classical karate-dowithin your own teachings?Yes, I draw a very clear distinction betweenmodern sports karate and classicalkarate. I believe very much - like SenseiKanzaki, Sensei Kinjo - that in sportkarate there is far too much emphasison training to win at all costs, and that the

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Translation by Mario McKenna:

Practice all of the principle techniques ofkarate. Inquire about the meaning of eachindividual technique and practice how touse them under what situation. Furthermorethere are many methods of entering, defen-ding, releasing and seizing [against anopponent] which have been handed downto us through oral tradition.

- Copyright Mario McKenna -

"Tou'on-ryu is very much a time capsuleof old Okinawan Karate in many respects.In this sense it is invaluable and I felt astrong sense of responsibility to be a partof protecting the style from extinction."

Lex Opdam, Renshi,6th Dan Goju-ryu, is editor-

in-chief of MeibukanMagazine. Mario McKenna

was interviewed by LexOpdam in June 2005.

唐手表芸は数多く練習し一々手数の旨意を聞き届け是は如何なる場合に用ふべきかをを確定して練習すべし且入受はずし取手の法有之是又口伝多し

original intentions of karate are lost orovershadowed. These are: self-protection,creating a health body and having a longlife. I may upset some readers by sayingthis, but sports karate is a dead end.

Sports are meant for public display, enter-tainment and spectacle. They are for publicconsumption and by their very natureprovide little insight into oneself. Whereasclassical karate is to train and have theconfidence to defend oneself knowingthat if you lose a confrontation it can meanyour injury or death. By definition this isa very deep and private matter for theindividual. To this end, classical karatemust teach courtesy, humility, love,kindness and self-reflection, this is the'do' aspect, its spiritual side. However,karate must also embrace technicalproficiency; this is the 'jutsu' or thetechnical side. The two must balanceeach other out.

Master Kyoda felt that karate trainingwas to build both a strong body and astrong mind and that a person becomea valuable and productive member ofsociety. What responsibility do you haveas a Tou'on-ryu representative and whatgeneral tasks do you set for yourself inguiding your martial art students?

Mario McKenna performing kata Sakugawa

Shigekazu Kanzaki and Mario McKenna, December 2004.

Classical karate is a verydifferent animal to sportkarate and there is definitelya strong ethical responsibi-lity that must be addressedwhen teaching it. Part ofthis is the long tradition ofsecrecy with regards toteaching the meaning oftechnique etc. This isspelled out quite clearly byItosu Anko (1831-1915,Itosu Anko was one ofOkinawa's great mastersand responsible for introdu-cing karate-do into the Okinawan schoolsystem) in his sixth precept.

When I asked Sensei Kanzaki about teach-ing Tou'on-ryu he replied quite bluntly,"saisho wa kyouiku no karate wo oshieru"- teach physical education karate at first.

Karate taught as a means of physicaldiscipline, training and recreation; not asa means of combat. His explanation was

that he works for. There is another shihan,Sensei Fujishima, but I believe he is notteaching at the moment as his job keepshim extremely busy. And of course thereis Sensei Kanzaki. Although he is retiredfrom full-time teaching he does teachone class a week at one of the localcommunity centers.

that you do not know whatkind of character your stu-dent has initially so whytake the chance. Secondly,even if you want to teach it,the student might not wantto learn it! Finally teach theclassical techniques oncethey have put in the hoursand you are confident of his/her character.

Are there more active Tou'on-ryu schools outside SenseiKanzaki's and your ownschool at this present time?To the best of my know-ledge Sensei Yoshino is stillteaching in Mogi, which islocated in Kita Kyushu.Like myself he has a back-ground in Goju-ryu, specifi-cally Jundokan. SenseiIkeda lives in Beppu andteaches a few students outof the company gymnasiumC

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Itosu Anko’s sixth precept

If you are interested in the issue of theJournal of Asian Martial Arts

(Volume 9, no 3, 2000), which isreferred to several times in this article,

please visit the website of MediaPublishing Company

- www.goviamedia.com -


www.goviamedia.com


According to the Cambridge dictionary,the following definition is given for“kick”: to hit someone or somethingwith the foot, or to move the feet andlegs suddenly and violently. Despiteits rather base connotation, the kicks ofkarate-do are some of the most interestingand difficult techniques found within itsarsenal. Most students are familiar withfundamental kicks such as mae-geri(front kick), yoko-geri (side kick),ushiro-geri (back kick), and mawashi-geri (turning kick).When looking at these kicking techniques,we can generally associate them withsporting competition. Yet when we examineclassical Okinawan karate-do kata, wesee no such kicking techniques. In theirplace we see short thrusting, stompingor snapping kicks to low targets. Thiscontrast is most likely the result of thesporting format which modern karate-do has embraced within the last 50 yearswhere there has been an increase in thema-ai, or combative distance betweenopponents. This is not meant as a criticism,but simply reflects the emphasis of modernkarate-do’s training methods.

Kanyu HigaonnaIn the following paragraphs I would liketo focus on one interesting “old style”kicking technique found in OkinawanTou’on-ryu to provide a basis of contrastwith modern karate-do kicking techniques.Tou’on-ryu and its kata are a veritabletime capsule of old Okinawan karate-do techniques. Although beyond thescope of this article, part of the reasonfor these unique techniques to have beenpreserved, is that historically Tou’on-ryuwas never taught on a large scale by itsfounder Juhatsu Kyoda or by his students.Even to this day, their numbers havealways been very few. Furthermore,Kyoda spent the later part of his life on

the Japanese mainland, away fromOkinawa and modernizing influences.Finally, Tou’on-ryu – like many Okinawankarate-do – never embraced the ideaof a sporting format within its trainingmethods.

SeisanLooking at the Goju-ryu (Kanryo) versionof Seisan and contrasting it with theTou’on-ryu (Kanyu) version, we can seeseveral differences. Unlike the Goju-ryuversion in which the performer deliversa low sokuto-geri (sword foot kick) andquickly snaps it back, the Tou’on-ryuversion does not retract the leg afterkicking but instead lunges forward (seephoto sequence below). This principle ofnot snapping the leg back and bringingthe entire weight of the body onto theopponent while kicking is a basic conceptfound in Tou’on-ryu Seisan and Sanserukata. A former student of Juhatsu Kyoda,Katsumi Murakami, summarizes thisparticular kick very nicely:2 […] This kickin Seisan is used as a finishing technique

Because of the sporting competition in karate, there is an increase in the combative distancebetween opponents. This has changed the way kicking techniques are applied. In contrast, we take

a closer look at a “frightening, old style” kicking technique found in Tou’on-ryu’s Seisan Kata.

- By Mario McKenna -

Tou’on-ryu Kicking Techniques

Seisan kataLeft - Seisan Kataperformed by SenseiHidenori Ikeda.Middle - Application ofSeisan Kata performedby Sensei Shigekazu

kata Sanchin and Seisanextensively while inChina, and it is this ver-sion of Seisan that I willexplore for its kickingtechnique. As an asideit is interesting to notethat only the Kanyuversion of Seisan waspassed down in Tou’ on-ryu. Apparently Kyodahad discussed teachingboth kata or combiningthem into one Seisan.However, this nevertook fruition1.

“This kick in Seisan is used as a finishingtechnique in a kill-or-be-killed situation,and is very frightening.”

The kicking technique that I would liketo examine is a technique from the KanyuHigaonna version of Seisan. Besideslearning Seisan from his primary teacherKanryo Higaonna, Juhatsu Kyoda alsolearned a separate version from Kanryo’scousin Kanyu. Kanyu was an accom-plished calligrapher who had studied the

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Kanzaki3.Right - Goju-ryu Seisanapplication of Sokuto-geri and Turn4.



control. The best initial method for trai-ning this technique is to practice againsta tire that has been mounted or buriedin the ground. This allows you to bringthe full force and weight of your bodyinto the target without worry of injuringyou or an opponent. This method is howI practiced when I began learning thistechnique, and I would highly recommendit.

ConclusionIt can be seen that there is a markeddifference between modern karate-dokicking methods and earlier methods asillustrated in the Tou’on-ryu Seisan kata.This old style method of kicking hasalso been pointed out by noted karate-do researcher Nobuyuki Hirakami6.Hirakami explains that the sokuto-geri,is often applied as a kick to the back ofthe opponent’s knee. Although he statesthat this is not wrong, this interpretationis limited. He states that by practicingon tatami it is easy to apply the sametechnique as a reaping throw or a sweepto the front of the knee7.

Hirakami also points out, rightly so, thatthese types of sweeps are well suitedto real combat and can be used to dropthe opponent face down. However, whenpracticing on a wooden floor or hardground, it is difficult to take a fall safely,so the kata is often applied as a kick tothe back of the knee.However, when practicing on tatami ora sandy beach, one can use nage-waza(throwing techniques) easily.Interestingly, Hirakami laments the loss

of such techniques in modern karate-do:This is a kuden8, and the competentinstructor should know both. However,the sad fact is that the practice of throwingtechniques is all but gone from modernkarate training.

1 Shigekazu Kanzaki in personal communi-cation, 2000.2 From “Spirit and Technique of Karate” byKatsumi Murakami, 1991.Translated by JoeSwift, October 28, 1999.3 These photos originally appeared in theOctober 2003 issue of Gekkan Karatedo,page13 and are used here with the permissionof Shigekazu Kanzaki and Hidenori Ikeda.4 Exerted from http://www.kalate.com/5 Image copyright 2000 by Nucleus Communi-cations, Inc. All rights reserved. http://www.nucleusinc.com6 “Secrets of Nafadi Seisan” by NobuyukiHirakami, June 2001 issue of Hiden. Translatedby Joe Swift.7 See photo sequence 3.8 A verbal teaching from the instructor usuallyonly given to senior students.

in a kill-or-be-killed situation, and is veryfrightening. This was perhaps learnedin an actual situation by the personresponsible for developing Seisan. […]Sensei Kyoda used to check the floorbefore practicing this kick. He said thatonce he didn’t check the floor wellenough, and that he injured his footpretty badly. The kick in Seisan mustbe performed with great power, anddue to this, one naturally puts a lot ofstrength into the kick when practicing,often resulting in broken floorboards.

Contrasting the old and newMy Tou’on-ryu teacher, Shigekazu Kanzaki,the current headmaster of Tou’on-ryu,describes this technique found in Seisannot as a kick, but as a thrust and stompwith the foot that knocks an opponentdown and is then twisted into him. Place-ment of the foot is extremely importantin the proper execution of this technique.It requires the outer metatarsals of thefoot to be placed on the femoral neck,where the femur joins the pelvis (seeillustration). Then using the entire bodyweight, the foot is quickly thrust andtwisted down at approximately a 25degree angle. Since most hip fracturesoccur in the region of the femoral neckand the area below it, attacking this regionincreases the likelihood of serious injuryto the opponent. Perhaps this is whatKatsumi Murakami was alluding to inthe description of this technique, “as afinishing technique in a kill-or-be-killedsituation, and is very frightening”.

Basic Anatomy of the Pelvis5.

“Shigekazu Kanzaki, the current head-master of Tou’on-ryu, describes thistechnique found in Seisan not as a kick,but as a thrust and stomp with the footthat knocks an opponent down and isthen twisted into him.”

13

Practicing and applying this techniqueis difficult and dangerous on the part ofthe performer and his or her partner.Attempting to perform the techniqueagainst the open air as in kata is an im-portant first step. However, one mustbe careful as there is a tendency to pullthe body back to maintain balance sincethere is no target to transfer the forceof the kick in to.Conversely, using a live partner as atarget can be dangerous without proper



SWORD & SPIRIT

Following up on the previous book, thisvolume adds more to the "field guide to theclassical Japanese martial arts". The editorsdescribe Yoshin-ryu, Toda-ha Buko-ryu,Tenshi Shoden Katori Shinto-ryu, Tatsumi-ryu,Takenouchi-ryu, Shojitsu Kenri Kataichi-ryu,Shinto Muso-ryu, Sekiguchi Shinshin-ryu,

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Keiko Shokon translates as "Reflectingdeeply on the past, illuminate the present."This volume includes Karl Friday's masterfultranslation of the Neko No Myojutsu, abeautiful parable of ancient Japan concerningthe warrior. There is a wonderful interviewwith Nitta Suzuyo, head of Toda-ha Buko-ryu. William Bodiford has contributed anarticle which should put to rest the use andabuse of the term "soke" in the west, andGeorge H. Bristol, Lieutenant Colonel,USMC has provided a rather modern practicalconsideration of koryu budo in his essay"The Professional Perspective". KeikoShokon, as well as the first two books in theseries, is well worth reading by anyoneinterested in the history behind our modernpractice of Japanese martial arts. For thosewho wish to practice the koryu bujutsu them-selves, they are an invaluable resource. Finally,the philosophical questions they raise onsuch issues as change and tradition are wellworth considering in and of themselves.

By Marc van Dam

Koryu Bujutsu - ClassicalWarrior Traditions of Japanby Diane Skoss (ed.)

228x152 mm, 192 pp,33 photos

available atwww.mikado.nlwww.amazon.com

KORYU BUJUTSU

Koryu Bujutsu takes readers into thecabalistic world of Japan's classical bugeitraditions through eight thought-provokingessays by the world's most experiencednon-Japanese practitioners of koryu, eachof whom has spent decades in Japan trainingand researching under the headmasters ofancient traditions. Interestingly, several ofthe essays herein are somewhat contradictoryin their analysis of the koryu, highlightingthe diversity of thought among these schools.As well, there are interviews with some ofthe leading Japanese masters. If your onlyexposure to the bujutsu comes from readingDon Draeger's work, this book providesperspectives that are both similar to anddifferent from his. Furthermore, it containsan overview of a number of classical bujutsustyles by the editor Diane Skoss.After Donn Draeger's books, there have beenvery few publications in terms of authenticmartial arts culture, history, and lore, especiallyconcerning classical budo. This new bookis a rarity; it encapsulates and brings into focusall the striving we and others have been doingall these years.

Introduction: Keiko Shokon by Diane Skoss;The Koryu Bujutsu Experience by HunterB. Armstrong; The Meaning of Martial ArtsTraining: A Conversation with Sawada HanaeInterview by Meik Skoss; Field Guide to theClassical Japanese Martial Arts by DianeSkoss; Marishiten: Buddhist Influences onCombative Behavior by David A. Hall;Tenjin Shinyo-ryu Jujutsu by Meik Skoss;Kato Takashi: Reflections of the Tatsumi-ryu Headmaster Interview by Liam Keeley;Koryu Meets the West by Ellis Amdur.

By Marc van Dam

Keiko Shokon - ClassicalWarrior Traditions of JapanVol 3, by Diane Skoss (ed.)

228x152 mm, 208 pp,22 photos


Sword & Spirit - ClassicalWarrior Traditions of JapanVol 2, by Diane Skoss (ed.)

228x152 mm, 192 pp,40 photos


Negishi-ryu, and Hozoin-ryu Takada-ha.Quite a list... And again eight deep-diggingessays. You can read the translation of theKyujukyu Kakun or 99 Precepts of the TakedaClan and the importance of this documentin the formation of the early Tokugawa era"Bushido" ideals, and its influence on laterworks of this genre such as the Budo Shoshin-shu, and the Hagakure. There is also aninteresting interview with Saito Satoshi,the headmaster of the Negishi-ryu Shuriken-jutsu school. Just read the table of contentsand you'll know why all us wannabe samuraishould read this book carefully at least acouple of times.

Foreword by Yagyu Nobuharu; Introduction:A Coconut Palm in Missouri by Dave Lowry;Kyujukyu Kakun: The Ninety-Nine Preceptsof the Takeda Clan by Takeda Nobushige;Neglected Treasure: The Koyo Gunkan byAlexander C. Bennett; Field Guide to theClassical Japanese Martial Arts by Meik& Diane Skoss; Negishi-ryu Shurikenjutsu:An Interview with Saito Satoshi by MeikSkoss; The Tojutsu of the Tatsumi-ryu,Murphy's Law, and the K.I.S.S. Principleby Liam Keeley; Kabala in Motion: Kata& Pattern Practice in the Traditional Bugeiby Dr. Karl F. Friday; Uchidachi and Shidachiby Nishioka Tsuneo.

By Marc van Dam

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“After meditating in front of the wall ofa cave for nine years, Ta Mo wrote intwo volumes the path that the monksmust follow to attain spiritual and physicalperfection.”

Too often a Kung-Fu style is attributed to a mysterious monk or master descending from themountains to teach the local peasants. Though these stories are important folklore, and oftenhave a valuable, ethical message, they are rarely historically accurate. In this first part in a

series of two, we examine the history of Northern Shaolin up to the 19th century.

- By Mathieu G. Ravignat -

History of Northern Shaolin, Part 1From Bodhidharma to the Boxer Rebellion

Some form of empty-handed martial artprobably existed from the dawn of human-kind and has its origin in the basic anthro-pological nature of man. However, a highlysystematized art form is an entirelydifferent thing to primitive hunting andself-defense techniques. The Shaolinsystem of martial techniques, thoughhaving its roots probably much earlier inpre-Buddhist Chinese traditions, datesaccording to written records from theLiang dynasty (6th century A.D.).Legend has it that an innovator, an IndianBodhisattva by the name of Bodhidharma,created its basis. Before becoming aBodhisattva, Bodhidharma was a mem-ber of the Shatria, or warrior noble classof India. He is considered the 27thfather of the Dhyana sect of Buddhism,known in China as Ch'an and in Japanas Zen. In China, where he is known asTa Mo, he is also proclaimed to be thefather of both Northern and Southernstyles of Shaolin Kung-Fu. In China, heestablished himself at a temple in the

Ta Mo, better known as Bodhidharma

Songshan mountains. This temple wascalled the Young (Shao) Forest (Lin)Temple (Shaolin Si) and was built neara young forest, hence the word Shaolin.Shaolin and its derivatives represent someof the oldest living forms of unarmedand armed combat systems in the world.They have in turn greatly influencedmany other Asian martial arts includingnon-Chinese martial arts such asKarate-do and Tae Kwon-do. Becauseof its 1500-year history, it is known as

Early DevelopmentThe legend of Ta Mo suggests that thehistory of Shaolin Kung-Fu began whenthis famed Buddhist monk traveled toChina from India in 519 A.D. to introducehis new philosophy called Ch'an Bud-dhism. When he displeased the emperor,he was forced to seek refuge at a localtemple in the Songshan mountains calledthe Young Forest Temple (Shaolin Si).There he observed that the monks werein poor physical condition and so, out ofgratitude for their hospitality he offeredthem a gift of health and immor-tality.After meditating in front of the wall ofa cave for nine years, he wrote in twovolumes the path that the monks mustfollow to attain spiritual and physicalperfection.

The first volume concerned itself withphysical strength and health and wasnamed the Muscle Change Classic.(Yin-Gin Ching). The second book, theMarrow and Brain Washing Classic(Shii Shoei Ching), concerned itself withinternal strength with the marrow andthe blood. It promised a healthy Shen(Spirit) to help gain immortality andspiritual enlightenment. Along with thesebooks, Bodhidharma is said to havetaught the Monks eighteen self-defensemovements. Legend also has it that themonks expanded these self-defensemovements through the imitation of thecombat movements of five animals: thetiger, crane, snake, leopard and dragon.However, it must be remembered thatthe earliest report of these books andsubsequent additions in written formonly date from 1835. So much of ourknowledge of the Chinese martial artshas had to rely on a very rich oral tradition.On this early technical basis, the Emperor

the father of all empty-handed combatsystems. It was first taught to secularsand laymen at the beginning of the Chingdynasty (17th century A.D.) and hassince traveled the world as it passedfrom Sifu to student.

15



“Therefore, Kung-Fu to the monkswas a tool to help them down the longroad to spiritual perfection. It was ameans, not an end, to the eventual utopia:the state of Nirvana.”

The temple of Shaolin.

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Tai Tsu (A.D.960-976) reportedly furtherexpanded these self-defense movementsto thirty-two forms of Long Boxing (TaiTsu Chang Quan). A century later, themonk Chueh Yuan supposedly modifiedthe system to encompass seventy-twoforms. All Northern and Long Fist setsreportedly have these seventy-two move-ments as their core.

But how is it that the current styles aremuch more vast than the early version?Because the original style was so wellconstructed and practiced that it spreadthroughout China. Primarily this wasdone through exchanges between temples.Soon there were training monks andShaolin temples all across the provincesof the vast Chinese empire both Northand South of the Yang Tze river.The different types of cultures and opinionsbegan to change the style irrevocably. Inaddition to the ethnic changes, warswould also modify the style. As theShaolin monks involved themselves inpolitics, or simply favored one warlordover another, the warlord of the opposingarmy would often burn the temples downand massacre the monks. Therefore,many monks were forced to flee thetemples. Outside the temple, they oftendecided to teach a few chosen disciples.These lay disciples served both as a new

which would in turn give them the abilityto destroy illusion and realize the truthof Buddha.

Today, the art is often abused or used forcompetitive purposes, partially because ithas not been taught with the proper empha-sis on patience and control. Unfortunately,these sports rarely provide a moral frame-work to ensure the harnessing of suchpower. Without the presence of the threelargest philosophical influences; Buddhism(the way of Buddha), Lao-Tzu's Taoism(the way of virtue) and Confucianism (theway of Confucius), the art is not complete.All three of these philosophies, albeit indifferent ways, taught the control of theego (Hsin) by the will (Yi). This uncloudsour judgment and allows us to realizean inner and outer peace and a resolutionof the mind. This is why Kung-Fu's strenu-ous activities were well suited to theBuddhist and Taoist priests of old. Oncethey understood or harnessed the immortalharmony (Yin-Yang), it was internalizedand the priests became like water, likeinfants: ever yielding yet powerful enoughto shape the earth and move mountains.

The Spread and Diversification of theMartial ArtsBy the end of the Ming (A.D. 1368-1644)and the beginning of the Ching dynasties(A.D. 1644-1911), the spread of theShaolin temples and the secularizationof their styles led to the proliferation ofvarious traditions. An important figure inthis process of secularization was GanFenchi, a disciple of the Monk Chueh

Yuan (secular name Zhu Fu). He was,reportedly, the first layman to be taughtthe entire art of Shaolin, but this is probablyan exaggeration, since other styles referto the teaching of other laymen fromeither earlier or later dates. Nevertheless,many Northern secular fist styles, inclu-ding Northern Shaolin, Hua Chuan, andall their derivatives, trace their originsto this original figure. What is perhapsmore important is that this secularization

from such exchanges. This is also howthe Shaolin monks came to use bladedweapons like the Chinese Dao or broadsword, and the Qiang or spear. Oftenthese refugees would leave the templeas experts ready to disseminate theShaolin arts to the public. These abovefactors resulted in the eventual secula-rization of the Shaolin styles. The contactwith the outside world as well as internalramifications changed the style so thattoday it has become the most famousof all Kung-Fu styles. Nevertheless, thispopularity probably led many fightingstyles to falsely claim their origins to thetemple.However, it is important to remind theenthusiast that even with the secularizationof Shaolin Kung-Fu, the initial andultimate goal of these monks was notthat of creating the ultimate fightingsystem. Their goal was far simpler:enlightenment. Therefore, Kung-Fu tothe monks was a tool to help them downthe long road to spiritual perfection. Itwas a means, not an end, to the eventualutopia: the state of Nirvana. They believedthat the more one perfected an art ora technique the closer they came toperfecting themselves: the more theypushed themselves beyond the limits ofhuman capacity, the more they gainedcontrol of their bodies, desires and minds,

16

hope for the style's future aswell as being an effectiveway to protect themselvesfrom the warlord's bountyhunters. Similarly, the defeatedgenerals or fleeing banditswould often seek refuge inthe Shaolin temple. Therethey were not refused refugeand could live a life of peaceaway from the violence ofpolitics and war. However,the very principles of com-passion that accepted themwithin the temple were thevows they would have tolive by during their stay.

These laymen, or unshaveddisciples, as they were known,also shared their Wu-Su(martial arts) with the monks.Certain forms and sets likethe 18 Hands of the Arhat,which still exists today, come



“As they were prosecuted, many Shaolinexperts fled to various countries in SouthEast Asia, including Taiwan, Vietnam, andIndonesia, where Kung-Fu was furtherdisseminated.”

power and preserve Chinese culture andreligion. Two such figures were MonkChueh Yuan and his disciple, Gan Fenchi,who were arrested in accordance withthe imperial edict of Li Wei (who wasGovernor General at the time), for preachingsecret religious doctrines in opposition tothe Ching empire. Gan Fenchi reportedlyinfiltrated the imperial palace by animpressive martial arts demonstration tobecome an imperial bodyguard. In thisposition, he acted as a spy for variousrevolutionary organizations. After gainingthe information necessary, it is writtenthat he excused himself from imperialservice only to be voluntarily arrested.Later, in 1760, it is reported that theShaolin organization led a massiveattack, which resulted in the death ofmany monks and the burning of a numberof temples. As they were prosecuted,many Shaolin experts fled to variouscountries in South East Asia, includingTaiwan, Vietnam, and Indonesia, where

Kung-Fu was further disseminated. TheShaolin temples, both in the South andin the North, were burned by the thirdManchu Emperor and then, fortunately,rebuilt afterwards by Ch'ien-lung (1736-1795). The last of these particular bur-nings was reported to have occurred atthe Southern Fukien Shaolin temple.Five monks escaped, and became, accor-ding to the legend, the fathers of secret,revolutionary organizations, including thatof the famous (or infamous) Hung League.Thought to be predominantly a myth, it isonly recently that some archaeologicalevidence of the Fukienese Temple's bur-ning has been discovered. Though notparticularly successful in their attempts,these societies did succeed in spreadingthe boxing doctrine all over China.Probably the most famous of theseBoxer revolutionaries was a Hakka (aparticular cultural non Han Chinese groupcomparable for some to Gypsies) namedHung. A Christian convert, Hung trainedhis men in spear and empty-handed play.In the Taiping Revolt, the Manchu andBritish forces crushed Hung and hisLeague forces. But, for more than twelveyears, the Hung League held the YangTze River in chaos, even if they werevastly outnumbered and outgunned.This revolt, in turn, inspired Dr. Sun YatSen's (also a Christian convert) nationa-list revolution as well as inspiring furtheranti-foreign rebellions. At the end of the19th century, a full-fledged Boxer(Martial Artists) rebellion occurred. Therebellion was encouraged by the anti-foreign doctrine of the then reigning andcorrupt dowager Empress. The birthplaceof the Boxer rebellion was Shangtungprovince, and the core of that rebellionconsisted of the I-Ho Chuan, or RighteousFist Society, who rebelled because thearea was powerless against Germaninvasion. They practiced a form of externalChi-Kung, called Iron Body, which theybelieved would make them invulnerableto bullets. In one of the bloodiest momentsof foreign occupation of China, thousandsof Boxers were massacred by Britishand German firearms.These, however, were not the first ofthese types of societies. Secret societieshave a long history in China. The mostpowerful of these societies, before theManchu invasion, were the Triad Societies,which, according to legend, were also

founded by renegade Shaolin monks.Further suppression followed, and thesocieties dissipated, though the artscontinued to spread. During this time,most martial artists tended to coalescearound warlords, pitting for power asthe Ching dynasty was increasinglybeing rotted from within and from without.Finally, the conditions were ripe, andthrough the teachings of the great politicalphilosopher, Dr. Sun Yat Sen, and hisThree Principles of the People, a nationalistrevolution was finally successful, and arepublic was declared in 1912.However, many warlords did not jointhe nationalist forces. A number ofmartial artists joined their respectivewarlords against the nationalists, thoughsome martial societies opposed themilitarization and despotism of thewarlords. This was the case for theSociety of the Red Spears, which wasorganized in Shangtung, in 1920. Robert

W. Smith reports, in his ComprehensiveAsian Fighting Arts (New York:Kodansha International, 1980, p.19), thattheir motto was: "Against bandits,against militarists, against foreign devils,against opium, against gambling andwine; for peaceful labor and life and forthe preservation of Chinese traditions."

Except for some activity in the 1800's,the vast and resistant Shaolin organizationhad disappeared, and it was time for thesecular tradition to take up the cause,though the Shaolin Temple still remaineda symbol of resistance, and was stilllargely held up as the best martial artsschool and/or style. However, the arrivalof firearms essentially reduced theShaolin as a threat to the Ching andtheir foreign allies, as well as reducingtheir involvement in Chinese politics.The Shaolin organization's glory dayswere over.The last battle the temple fought wasagainst Chiang Kai-Shek's Northernexpeditionary nationalist forces. The

“It is more likely that fighting traditionswere developed by various scholars,peasants, warriors, and yes, even fish-mongers. Equally as likely, it is possiblethat these traditions developed over theages through families and small groupsof dedicated disciples.”

created a plurality of traditions, which,though having their common roots in thefirst Shaolin temple, possess vastlydifferent technical and theoreticalapproaches. For example, compare theclosed, straight line, short-range tech-niques of Wing Chun to the open, long-range, flowing techniques of ShaolinNorthern Long Fist, and yet both tracetheir origins to the Shaolin organizationand its boxing doctrine.

Secret Societies and RebellionsDespite this factor, a more significantvariable in the proliferation of the Shaolinmartial arts was the conquest of Chinaby the Manchu, in 1644. The rule of theManchu led to two hundred years of mur-der and oppression. In order to consolidatetheir power, the Manchu attacked thepowerful Shaolin martial organizationand its boxing doctrine. In turn, manymonks and their lay disciples formedmartial societies and protective organi-zations. These societies hoped to reduceManchu abuses towards the populationas well as attempt to return the Ming to

17



would resist them, that, in1928, they burned thetemple down. Times werechanging ahead of thetemple, and, unfortunately,the monks probably did notknow a thing about theprinciples of justice in Dr.Sun's nationalism as wellas his respect for the box-ing doctrine.

The Rise of New StylesDuring this turbulent period,different secular Shaolinsystems and traditions beganto increase in popularity -newer systems were beingcreated. In southern China,styles began to be popula-rized including: Choy LayFut, a mix of Northern andSouthern family styles; Hung-Gar, a form of SouthernShaolin; White Crane, aFukienese style which hasits root in the FukieneseShaolin temple; and a Canto-nese style called Wing Chunwas also being practiced,but mostly in secret.The historical phenomenonof the specialization anddifferentiation of all thesestyles is complex, and everystyle seems to have a dif-ferent, particular emphasis A Boxer recruit at drill.

and history. Much of these differencescan be attributed to completely differentcultural origins as well as climates, ruralor agrarian origins, individuals, spiritualbeliefs, class, etc., i.e., all the differencesin the way men lived in China has hadtheir effect on these fighting traditions.We must also be careful not to drawsimilarities between them. Not all stylesthat claim they come from Shaolin actuallydo. If we take this myth out, then wecan understand how different styles can

evolve in different cultures. Althoughmuch unbiased, anthropological workneeds to be done. This approach is notvery popular amongst traditional martialartists. Dr. Yang Jwing Ming, forexample, believes that the variety of themartial arts is the result of the way theShaolin monks were actually taught.According to him, when the monks

reached a high level, they were askedto specialize, which in turn led them toteach their disciples only their area ofspecialization. According to Dr. Yang,this would cause these specialized formsto be ossified through the years until thestyles became one-sided technicaltraditions.However, Dr. Yang does not explainwhy the monks would not have taughtthe same basic unified curricula theylearnt. Why did they not follow the same

teaching pattern as their temples? Hedoes admit that they had a basic coreof techniques taught to all students, buthe cannot explain why they were notsystematically taught similarly. Secondly,Shaolin cannot realistically be at the rootof as many styles as claimed. It is notas simple as saying that they are fromeither the Song Shan Mountains, the

Wudang Mountains, orEmei Mountain. It ismore likely that fightingtraditions were developedby various scholars, pea-sants, warriors, and yes,even fishmongers. Equallyas likely, it is possible thatthese traditions developedover the ages throughfamilies and small groupsof dedicated disciples.Legitimacy was soughtafterwards in the historyof the particular style. Toooften a style is attributed toa mysterious monk ormaster descen-ding fromthe mountains to teach thelocal peasants, and thisredundancy reduces itscredibility. Though thesestories are important folk-lore, and often have avaluable, ethical message,they are rarely historicallyaccurate. But this inaccu-racy, in no way, takes awayfrom the quality of thesestyles. On the contrary, theyare all highly developed andvariable fighting concepts,and different versions ofthe totality. This, in turn, justadds to the unbounded rich-ness of the Chinese martialtraditions, and proves the

Monks allied themselves with a localwarlord, which took refuge in the temple.The head master, by the name of AbbotMeauw Shing, was a good friend of thewarlord, and he ordered his monks toattack the expeditionary forces. Themonks were defeated by superior numbersand firearms. The nationalist forces werereportedly so angry that the famed Shaolin

Mathieu G. Ravignat is thefounder of the University

of Ottawa Stone LionKung-Fu School.

He has over seventeenyears experience in theChinese martial arts ofNorthern and Southern

Shaolin Kung-Fu.

18

impressive innovative nature of man.


www.stonelionkungfu.com

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