Kitabı oku: «Empty Hand», sayfa 4

Yazı tipi:

Drawing a Circle With a Straight Line

In Chinese kempō, the basic movement is the circle. In boxing and kickboxing, too, all kicks and punches are carried out as circular movements. Under the influence of these techniques in the post-war era, the karate movements have become circular, too.

Some time ago a student showed me a book titled The Secrets of Okinawan Karate: Essence and Techniques written by Arakaki Kiyoshi. This author also had edited writings left by my father in the monthly journal Karate Dō as a series titled Karate Sankoku Shi. His book was very interesting to me. He wrote: “The essence of Japanese budō can be described as drawing a circle with a straight line.” I was very impressed by this sentence because it expresses with words what I feel with my whole body. In iaidō40 it can be well observed that the arms are drawing a straight line forward while the sword is carrying out a circle. That means that a straight line describes a circle. It is also true that the Jigen ryū “flame cloud” speed that is reached when the sword hits the target cannot be obtained with a circular movement alone. According to master Arakaki, the maximum energy generated by the circular motion is transferred to the target via a straight line that is the shortest possible distance. This technique of the Japanese budō represents the highest level of body perfection.

Photo 5

Photo 6

Photo 7

Photos 5 to 7: The execution of a punch. The fist is in the back position close to the hip (hikite) (5). It comes from the hikite position (6), and a thrust is carried out in an absolutely straight line (7).

It is not the hardening of the hands and their transformation into weapons what makes the difference to Chinese kempō. It is the kind and perfection of body control in the moment of thrusting and kicking which mobilizes the whole body. When we observe the thrust movement of the fist, we can see that unlike the curved line in boxing, the thrust is carried out in an absolutely straight line by bringing the fist forward out of its back position (hikite) (see photos 5 to 7). Kicking too, is not carried out in wide curved lines or circles as in Chinese kempō or in kickboxing. The karate kick goes straight into the target. Therefore the energy is generated from a circular movement by bending the leg inwards and swinging it up. Then the circle is drawn with a straight line (see photos 8 to 10).

Photo 8

Photo 9

Photo 10

Photos 8 to 10: Execution of a kick. Taking the basic position or ready stance (kamae) (8). The leg is bent and then swung upwards (9). The kick is carried out in a straight line (10).

It may be surprising, but in the traditional karate kata there is no roundhouse kick (mawashi geri) and no kick in the upper level (jōdan geri). However, there are jumped kicks (tobi geri), but they are only used as final falling or sacrifice techniques (sutemi). Kicking in wide, curved lines causes instability because it opens the own weak points to the enemy. It is too slow when fighting against a swordsman or other armed opponents and does not provide deadly first strike ability. Besides this, kicking may easily become ineffective if the opponent is physically stronger.

Photo 11

Photo 11: Mabuni Kenwa and his son Kenei practicing the exercise “falling tree” (tōboku hō).

There is a special Japanese budō exercise called “falling tree” (tōboku hō) or “falling down” (tōchi hō). In the book cited above The Secrets of Okinawan Karate by master Arakaki there is a photo showing me doing this exercise. The photo has been taken from the book my father published in 1938, Introduction into Attack and Defense Techniques in Karate Kempō. It shows how my father is supporting or catching me, respectively. This exercise gives the experience of a tree falling down to earth using the energy of the free fall. The body does not try to resist gravity. Arakaki considers this exercise, which is peculiar to the Japanese budō, to be the top level of human body control. My understanding of this practice is not that much scientific and I like to use the name used in the Itosu style: “borrowing power from the earth”.

The beginners in the Itosu ryū always start their studies with the kata of the Shuri-te. “Borrowing power from the earth” is one of the exercises of the traditional Okinawa-te, which is the kernel of the Shuri-te. All Shuri-te kata include the principle of the “falling tree”. Whether this principle is integrated into present-day karate is a point I would like to write about later in the context of the development of karate into a kind of competitive sport.

The Emergence of the Naha-te

The Naha-te is said to originate from a village called Kume41. It was founded by Chinese who came to the Ryūkyū islands from the Fukien province in 1393. This was the time of the Ming empire. Many of their offspring were active in the China trade. From their home province they had brought along kempō knowledge that they obviously passed on to the Kume nobility. What they taught was probably not pure Chinese kempō but a style rather influenced by the Shuri-te and adapted to the conditions of the Ryūkyū islands.

Aragaki Seishō (1840-1920) from Kume – he was later given the name “Aragaki the Cat” – is said to have been one of the greatest martial arts masters. My father, Funakoshi Gichin and Miyagi Chōjun were among his disciples. He not only practiced karate but also bō techniques.

Higaonna Kanryō (1853-1916), too, learned karate from master Aragaki. Higaonna came from a Naha-based family of firewood traders. He learned kempō, which was normally taught only to the Kume nobility, from Aragaki. Higaonna seemed to have been blessed with a special fighting talent. At the age of 15 he traveled to the Fukien province, studied the local kempō and after his return created the Naha-te. That is why the Naha-te is younger than the Shuri-te and the Chinese influence is stronger. My father said about master Higaonna and his karate: “Master Higaonna had been to China and had studied the Fukien kempō. His lessons were different from the ones we are used to today.”

Photo 12

Photo 13

Photos 12 and 13: The hanging or laying hand (kake-te). Photo 12 shows the technique kake-te as practiced in the Shuri-te, and photo 13 represents the same technique as practiced in the Naha-te. See next pages.

Typical for the Shuri-te is distance fighting presupposing an opponent armed with a sword. Naha-te, however, is infighting, based on southern Chinese kempō. There are no thrusts and kicks which are typical elements of distance fighting. Of course Naha-te, too, is not pure kempō. It is influenced by the Shuri-te and adapted to the Okinawan conditions. However, techniques that are called in Chinese kempō “explosive energy” (hakkei) or “power of the moment” (sunkei) are particular for this style. In the Naha-te, these techniques were at first practiced by exercising the “three phases kata” (Sanchin) and “turning-the-palms kata” (Tenshō).

A particularity of the Naha-te is also a breathing technique used to contract all muscles of the body. There is no such exercise in the Shuri-te. In the beginning it is practiced by inhaling and exhaling slowly, and at the same time slowly pulling the fist back to the hip (hikite) and thrusting it forward. Of course in a normal situation blocking and thrusting are carried out much faster.

The above-mentioned expression of the “power of the moment” (sunkei), i.e. “explosive power”, describes the harmony of breathing and action in order to accumulate the inner energies and to contract the whole muscular system of the body and then releasing it “explosively”. Normally this is called kime.

Photo 14

Photo 14: Analysis of the kake te in the Shuri-te: The hand blocks and grabs.

In present-day kata the differences between Shuri-te and Naha-te are hardly recognizable. However, the original styles differ significantly from each other. But there are not only differences with regard to the principles of kicking and thrusting but also to single techniques. The blocking technique “laying or hanging hand” (kake-te)may serve as an example (photos 12 to 15). This technique is used in Shuri-te as well as in Naha-te. But it is used in different ways. Because Shuri-te is distance fighting, the thrusting arm of the opponent is caught in a distance. The laying or hanging of the hand is carried out with a grabbing and pulling movement (photos 12 and 14). In the infight-focused Naha-te, the distance is reduced and the laying of the hand is carried out with the palm being raised deviating the attack with the back of the hand (photos 13 and 15).

Photo 15

Photo 15: Analysis of the kake te in the Naha-te: The hand blocks and deviates the attack.

The Origins of the Tomari-te

There are no written records about the early Tomari-te but it is said to have been brought to the Ryūkyū Islands by a monk from the Chinese Shandong province called Anan42. Nothing else is known about it. The modern Tomari-te was founded by Matsumora Kōsaku (1829-1898). He is said to have learned it from Teruya Kise (1804-1868) and Uku Karyū (1800-1850), who both were students of Anan. There are a lot of kata in the Itosu style which were named after master Matsumora. Most of them are close to the Shuri-te, some of them similar to the Naha-te.

The Shitō Style as Heritage of the Okinawa-te

Modern karate on the Japanese main islands comprises four major currents: Shōtōkan ryū, Gōjū ryū, Wadō ryū and Shitō ryū . The Shōtōkan style contains parts of the Shuri-te. The Gōjū style teaches only Naha-te. The Wadō style partly includes Shuri-te but rearranged as jūjutsu. The only school to represent all of the Okinawa-te is the Shitō karate.

On Okinawa today there are three major currents: The Shōrin ryū originating from Shuri-te, the Okinawan Gōjū ryū, created on the basis of the Naha-te, and the Uechi ryū, a style derived from southern Chinese kempō. The Uechi style is even closer to the original patterns of Chinese kempō than the Naha-te. Uechi Kanbun (1877-1948) developed the Uechi style after his studies in the Fukien province.

Photo 16: Uechi Kanbun (1877-1948)

In the early 1920s master Uechi went to mainland Japan and opened a karate club in the Wakayama prefecture where his style was practiced. After my father had come to mainland Japan, he from time to time needed the help of his fellow countrymen in Wakayama and there was a rather intense exchange between my father and master Uechi Kanbun. That is why some of the kata typical for the Uechi style were integrated into the Shitō karate. One is called Shimpā. Because the second half of this kata was missing, I completed it after my father had died.

Uechi Kanei (1911-1991), the son and successor of master Kanbun, lived in Ōsaka close to the Nishinari district where the Okinawa countrymen fellow association had some rooms. I remember that after my arrival in Ōsaka I often visited them in Nishinari; the rooms of the association were also used for regular karate training.

2 Shitō-Karate – the Teachings of Mabuni Kenwa
2.1 “Captured” in the World of Budō
Striving for a Healthy Body

Some time ago I went to India as a supervising coach. There, a student came to me and told me full of joy that his son, who had practiced karate already since he was a child of six, had reached the black belt. I myself was also quite happy about this and we enjoyed a little chat. He asked me when I had started karate. I answered slightly amused that I had probably started kicking in my mother’s womb. And this was not mere joking. Because wherever my mother was indoors with me, my father was somewhere nearby, fiercely practicing karate. So I was educated in karate since my birth. I was born into a world of karate and I grew up in this world. After my father had died in 1952 at the age of only 53 I practiced every day for four hours without any break, and even today all I can think of and think about is karate.

My father was born in 1889 in Shuri, which is a town in the Okinawa prefecture. Among his ancestors was a lord of the old Ryūkyū kingdom called Ōshiro Kenyū who was famous for his courage and called “demon Ōshiro”. He belonged to a clan called Ka (Ka uji). The names of the Okinawan natives include a character indicating to which family the person belongs. The names of the members of the Ka clan contain a character with the meaning “clever” and the reading ken. The Mabuni family is the main family of the clan to which I belong in the 18th generation. I am the head of the family. But because I am living in Ōsaka, the families of the Ka clan founded an association to take care of the clan’s shrine.

My father was a very frail child. His family was really worried about him. Whenever possible, he was told stories about his brave forefather, and my father seems to have been deeply impressed. It is reported that when he was a small child he was already determined to gain a strong and healthy body.

A Life Without Selfishness and Greed

After my father had graduated from middle school he served in the army and later became a policeman. But more than anything else he was interested in his beloved karate practice. He often told me that karate had been of great help to arrest criminals or in other difficult situations of his work.

In those days one needed influential warrantors to become a karate student and be accepted by a karate master. Then the decision of the student was examined several times. Finally he had to place some incense sticks in front of the Buddhist altar, sit there for a long time and do an oath. At that time one could not chose a teacher freely and enter a karate club easily. The karate itself, so to say, chose the people by whom it wanted to be studied.

As a policeman, my father got around a great deal and often he had the chance to come into contact with other kinds of budō. Here and there in the villages he could meet people with expert abilities not only in the Shuri-te or Naha-te but also with regard to other local forms of karate and old kata.

My father was a man of high character. He was generous, very sociable and popular among people. He was without selfishness and greed. Often he helped others and from time to time this brought him into trouble. After the feudal domains had been abolished and a new administrative structure based on prefectures had been introduced, the nobility rank of the Mabuni family was confirmed. This happened in the beginning of the Meiji period in the 1870s. My grandfather got a financial compensation which he used to build a sweets shop. But this shop went bankrupt after a short time. A joke was told that my grandfather had spread the sweets among his friends too generously.

My father had no special talents by nature. He did not like to play Go or Japanese chess and was not interested in betting or gambling. When he had reached a middle age he stopped drinking alcohol. But he liked cigarettes. “Golden Bat”43 was his favorite brand. Since shortly after the war all goods were rationed, tobacco was rare and of course cigarettes were very hard to get. But from time to time my father managed to get some and he used to share them with his students. He passed the packet around although often in the end not a single cigarette was left over for him. In fact he was not interested in material things at all.

The only thing he felt a strong greed for was budō. Maybe he was also driven by the unconscious fear that the Okinawa-te could disappear in the waves of modernization like many an old tradition. So he tried hard to study all kinds of traditional Okinawa techniques. Meanwhile many people realize and highly valuate his contribution to the preservation of traditional Okinawan culture. By now 70 percent of the kata my father had studied are lost even on Okinawa.

Praised by Kanō Jigorō

My father’s passion for karate did not become weaker. Not for one day. In 1918, the year I was born, he founded the “Society for Karate Studies” in his flat. He was then 29. All day people who had something to do with karate were coming and going. Already when I was a small child I was always at my father’s side watching him teaching karate. I still can remember that his visitors and students were making fun with me and giving me sweets and that I was trying to copy their kata movements. When my father went to his karate lessons at schools or to budō performances he always took me along. Like the “novice in front of the temple gate” could read the holy books without having studied them, I was able to do karate without having learned it.

Photo 17:Kanō Jigorō (1860-1938).

In 1924 my father quit his police career to become a karate-teacher at the Okinawan Fishery School, at the Teaching Staff Seminar and at the local Police Academy. The following year he founded the Society for Okinawan Karate Studies, opened the first dōjō on Okinawa and began to teach karate in his own school. The dōjō was right behind the house and perfectly equipped with all training devices typical for the Okinawan karate practice. Besides my father other budō masters were teaching here like Miyagi Chōjun, Kyoda Jūhatsu, Motobu Chōyū, Hanashiro Chōmo, Ōshiro Chōjo, Chibana Chōshin and Go Kenki, who was teaching Chinese kempō. The whole elite of modern karate had gathered here.

In 1921 the Princes Kuninomiya and Kachōnomiya visited Okinawa, and in 1925 a visit of Prince Chichibunomiya followed. They honored my father and his colleagues by watching their karate performances. One day, when my father and some other teachers were just discussing the daily training program, Kanō Jigorō (1860-1938), the founder of jūdō came into the dōjō to invite them to the opening ceremony of the Association of Okinawan Jūdō Masters. This was probably in 1927. Miyagi Chōjun and my father Mabuni Kenwa took the chance to give a karate performance and some explanations which deeply impressed master Kanō and made him say: “This kind of budō including attack and defense is ideal and should be spread all over the country.”

Funakoshi Gichin Learned Kata From My Father

Already five years before, in 1922, Kanō had watched a karate performance at the 1st Exhibition on the Education in Traditional Budō organized by the Japanese Ministry of Cultural Affairs in Tōkyō and voiced his strong interest in karate. This performance had been given by master Funakoshi Gichin (1869-1957) who later was called the “father of modern karate”. At that time he was regarded in mainland Japan to be representative for the Okinawa karate. He stayed in Tōkyō and was the first to make efforts to spread karate in an environment characterized by aloofness, and under poor living conditions. What had kept him stay in Tōkyō was master Kanō. This extraordinary budōka was farsighted and clearly recognized the potential of karate to develop from a local to a universal art of fighting.

Master Kanō was even more impressed when he saw the performance carried out by master Miyagi and my father in the center of the karate culture coming in touch with its mainstream. This is comprehensible because at the time he had presented karate for the first time in Tōkyō master Funakoshi knew only a few of the Shuri-te kata.

In order to expand his knowledge he decided to send his son Gigō44 to study kata in my father’s dōjō on Okinawa. Master Funakoshi Gigō was a karate teacher at the Taku­shoku and Waseda Universities. My father already had a good reputation in the world of karate but he was 20 years younger than master Funakoshi Gichin. This might have been the reason why my father was grateful and felt honored that master Funakoshi – represented by his son – had accepted lessons from him. Later he always was very rigid in his criticism against students who made depreciatory remarks about the kata of the Shōtōkan style master Funakoshi had founded. My father did not tell me anything about master Gigō’s visit but my mother revealed it to me in her late years.

Photo 18: Funakoshi (Yoshitaka) Gigō (1906-1945) hitting the makiwara.

Urged by master Kanō my father quit his work as a teacher on Okinawa and went to mainland Japan without his family. This happened in 1929 when he was 41 years of age. At first he lived together with fellow countrymen in the Wakayama prefecture and then moved to Ōsaka where he settled in the south-western ward called Nishinari.

The reason my father chose Ōsaka but not Tōkyō was surely his respect and consideration towards his fellow countryman and elder colleague master Funakoshi who was trying hard to make karate popular in the Tōkyō area. At that time karate was absolutely unknown to the people in the Ōsaka area. When they saw karate performances they thought this to be a kind of “fighting dance”. But when the karate activists started to smash tiles and break wooden boards they began to understand the power of the karate fist. One of the performances especially popular at that time was the smashing of beer bottles. This could of course not be left to the assistants but using the right technique it was a rather easy exercise. The bottle should not be fixed too tightly. It was half filled with water. When the edge of the hand chopped off the bottle-neck it jumped away with a plopping sound.

Sitting in the center: Mabuni Kenwa. Standing from left to right: Funakoshi Gichin (1869-1957), Nakasone Genwa (1895-1978), unknown, Konishi Yasuhiro (1893-1983), Mabuni Kenei. Photograph from 1930.

There was a lot of public criticism on karate because it was feared to be misused by ruffians as a means for street-fighting and for injuring people. Others warned not to teach karate to policemen because they could be provoked to use inappropriate force for example when arresting criminals. It was not easy to make karate popular in such an atmosphere. This time could be considered to be a preparatory period of the development of karate, although it was a rather long time.

In the summer holidays – I had just finished the 6th grade at primary school – we got my father’s call from Ōsaka we had been longing for: “Come over here!” Later when I faced military service the family decided to be registered at the new residence. This was important because as long as I was registered on Okinawa I would have been called for service on the far away island of Kyūshū.

In Ōsaka I started practicing karate and it was my independent and conscious decision to do so. I was 13 – the same age my father was when he had started karate under master Itosu. I must stress that my father had never tried to force me to practice karate, not in the least.

₺476,71

Türler ve etiketler

Yaş sınırı:
0+
Litres'teki yayın tarihi:
22 aralık 2023
Hacim:
348 s. 114 illüstrasyon
ISBN:
9783938305249
Tercüman:
Telif hakkı:
Автор
İndirme biçimi:
Metin
Ortalama puan 0, 0 oylamaya göre
Metin
Ortalama puan 0, 0 oylamaya göre