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Besides to our core activities, karate and kobudo, we train Eskrima, by organizing frequently seminars (see under “Stages Corner”). Eskrima is the umbrella term for the traditional martial arts of the Philippines. This fitting system emphasizes weapon-based fighting with sticks, knives and other bladed weapons as well as various improvised weapons. It also includes disarming weapons and various hand-to-hand combat components.

Eskrima (ook wel Kali of Arnis genoemd) is de benaming voor de zeer complete Filippijnse gevechtskunst. Stokken, messen (vooral verdedigingen tegen mes) en ongewapend. Eskrima is uitermate geschikt voor het snel leren van effectieve zelfverdedigingtechnieken. Het bijzondere van Eskrima is dat het niet gaat om de hoeveelheid aan technieken maar vooral om de principes en de methodieken die worden gebruikt.

Kenso Ryu Jujutsu is een oorspronkelijke school waarbij de traditionele Samurai waarden en normen hoog in het vaandel staan. De school stamt af van Asayama Ichiden Ryu en Mukei Ryu, die in 1880 zijn samengebracht door Kamatarou Takeishi. De focus ligt op arm- en elleboogcontroletechnieken, middels het oefenen van kata. Daar ook slag-, stoot-, nage- en katamatechnieken worden beoefend, mag het als een volwaardig systeem worden beschouwd.

De genealogie is als volgt:


KENSOU RYU Jujutsu GYAKUTE DO
Founder Mr. Kamataro TAKEISHI
2nd Mr. Keiichiro SHIMIZU
3rd Mr. Shouichiro MOCHIZUKI
4th Mr. Seizou MAEHARA
5th Mr. Chushudo TANAKA


Op dit moment is Makoto Kurabe Sensei (6e dan) de hoogst gegradueerde wereldwijd. Tevens is hij voorzitter van de Europese Ko-Ryu Jujutsu Federation

Gyakute-Do is based and derived on Kenso-ryu Jujutsu, which was established in Meiji period. The founder TAKEISHI Kentaro (1878 – 1993) mastered several old style Jujutsu such as Kenso-ryu, Asayama Ichiden-ryu and Mukei-ryu Jujutsu. Gyakute Jutsu specializes more in wrist/arm joint technique).
Later, sensei Takeishi moved to Tokyo and started teaching this discipline to his students in the area.
Since its foundation, KENSO RYU JUJUTSU was transferred over 4 generations and has made a certain influence to Japanese BUJUTSU:


Founder KentaroTAKEISHI
2nd Keiichiro SHIMIZU
3rd Shouichiro MOCHIZUKI
4th Seizou MAEHARA
5th Chushudo TANAKA


Unfortunately after death of Mr. Chushudo TANAKA in 1993, no one took over Gyakute-do,
and, accordingly, ended its short life from the history of Japanese martial arts.


GYAKUTE DO uses the method of most effective lever theory to use less power to defeat the enemy and it concentrates on joint lock techniques to wrist/arm as the weakest joints in the human body. Appling wrist joint locks onto these weakest joints, one can throw or control the attacker by less power comparing to the other similar martial arts. If such wrist joint lock works successfully, the attacker should throw himself. That is the only way to escape from thestrong pain, otherwise the joint bone would be broken.
GYAKUTE DO techniques are neither so sophisticated nor beautiful as its brother Jujutsu style of AIKI DO. Its techniques are still wild and carry over the essence of old fighting epoque.
It is consist of both Hit/Kick and NAGE, KATAME techniques which makes the style a complete fighting technique.
Such being the case, from every direction such as Karate, Judo , people can master GYAKUTE DO techniques smoothly.


The most unique point of GYAKUTE DO is :
Damage level given to Attacker is quite controrable. This is ideal as Self Defence Technique because you do not hurt Attacker too much. If you release Attacker in the earlier stage there is no remaining damage.


1.Basic Techniques: KAMAE (positioning), Ukemi ( guarding technique ), Hit and Kick technique


2.Original KATA: There are 61 KATA ( techniques ) categorized into 4 types, i.e:


NUKI ( release )
NAGE ( throw )
RENKO ( arrest )
FUDOU (control)


Those KATA are classified into 4 levels such as
level A : basic and rather easy KATA
level B : needs a delicate know-how to be mastered
level C : application techniques of Level B
level D : exclusively high level and difficult KATA


Those techniques are quite unique of this Ryu( school), and differ from the other Jujutsu styles.

Introductie – Kenso Jutsu
Kenso-Ryu ook wel Gyakutedo genoemd, de weg van de omgekeerde hand, is een stijl die gericht is op het verdedigen tegen aanvallen en het controleren van de tegenstander. Daarbij is het uitgangspunt geen kracht maar techniek te gebruiken. De techniek van het manipuleren van vooral de gewrichten zoals van de vingers, pols, elleboog en schouders lijkt soms magisch: Zonder noemenswaardige kracht kan een tegenstander uitgeschakeld worden.
De toegepaste technieken zijn voor de tegenstander uiterst pijnlijk. Deze krijgkunst is dus niet geschikt voor jongere deelnemers. Omdat er geen kracht nodig is kan deze stijl tot op hoge leeftijd beoefend worden.

De oorsprong van de stijl ligt zoals gezegd in de tijd van de Samurai. Deze krijgsheren dienden zich ook onbewapend te kunnen verdedigen. Het harnas van de Samurai heeft zwakke plekken op de scharnierpunten van het lichaam waarop de technieken gericht zijn.

Omdat jujutsu een oude vorm is, leert u ook basistechnieken van alle later ontstane vormen van krijgskunst. Het schoppen en slaan van Karate, worpen en valtechnieken uit het Judo, de worpen en klemtechnieken uit het Aikido. Enige voorkennis van andere vechtsporten is plezierig maar niet noodzakelijk. De stijl wordt in traditionele kleding Gi (jasje) en Hakama (broekrok met plooien) beoefend.

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This association is a Shito-ryu Karate organization gathering a group of Shito-ryu Karate athletes, the majority being professionals under the guidance and technical supervision of master Yanunary Ishimi. Master Yasunary Ishimi, 9th Dan Shito-ryu karate, was appointed as technical director of the Shito-Kai Europe by master Iwata, President of the Shito-Kai Japan Association.

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Zondag 13 februari 2011 organiseerde de NFK een bijzondere Open Stage in Dojo Lu Gia Jen te Den Haag. Sensei Gonzalo Villarrubia (3e dan Karate, Shito Ryu) bracht prachtige technieken uit het Karate en Sensei Tom Tahitu (4e dan Kempo) liet ons interessante Kempo technieken zien.

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Shito-ryu is a combination style, which attempts to unite the diverse roots of karate. On one hand, Shito-ryu has the physical strength and long powerful stances of Shuri-te derived styles, such as Shorin-ryu and Shotokan, on the other hand Shito-ryu has circular and eight-directional movements, breathing power, hard and soft characteristics of Naha-te and Tomari-te styles, such as Goju-ryu . Shito-ryu is extremely fast, but still can be artistic and powerful. In addition, Shito-ryu formalizes and emphasizes the five rules of defense, developed by Kenwa Mabuni, and known as Uke no go gensoku, Uke no go genri or Uke no go ho:

• (rakka, “falling petals”). The art of blocking with such force and precision as to completely destroy the opponent’s attacking motion. Examples of rakka are the most well-known blocks, such as gedan-barai or soto-uke.
• (ryusui, “running water”). The art of flowing around the attacker’s motion, and through it, soft blocking. Examples are nagashi-uke and osae-uke .
• (kusshin, “elasticity”). This is the art of bouncing back, storing energy while recoiling from the opponent’s attack, changing or lowering stance only to immediately unwind and counterattack. Classic examples are stance transitions zenkutsu to kokutsu and moto-dachi to nekoashi-dachi .
• (ten’i, “transposition”). Ten’i is the utilization of all eight directions of movement, most importantly stepping away from the line of attack.
  (hangeki, “counterattack”). A hangeki defense is an attack which at the same time deflects the opponent’s attack before it can reach the defender. Examples of this are various kinds of tsuki-uke, including yama-tsuki.

Modern Shito-ryu styles also place a strong emphasis on sparring. Shito-ryu stresses speed, and fighting is generally initiated from a higher, more upright stance than Shotokan employs. On the other hand, because the style has so many kata, a great deal of time is spent perfecting any one of its 40 to 60 forms.

Zondag 17 april 2011 organiseert Lu Gia Jen in samenwerking met de NFK de 3e Open kata kampioenschappen Karate & Kempo jeugd!

Kempo: “Chan Fa and Ken Fat”
The meaning of “Kempo” in Japanese is “The Law Of The Fist” or “The Way Of Fist”. “Kempo” is read as “Chan Fa” in Mandarin and “Ken Fat” in Cantonese in China.

“Tode”
The Tang Dynasty influenced Japan in many ways. Government representatives had been exchanged during the Sui period but it was during the Tang period that the Japanese learned Chinese culture very deeply. There were many buildings built imitating Chinese design. So great was the influence by T’ang that the character “To” (also known as “Kara”) was used as an adjective meaning “T’ang=China.” For example, Kara Ningyo=China doll and To Jin=Chinese people. It is understandable that either Japanese or Okinawans named the fighting forms developed in Okinawa as “Tode” (then also read as “Karate”), not because these forms came from China but because of unknown factors. As a custom, when there was something unknown to Japanese people, they were pleased to believe that it must have come from China.

1905

In 1905 Karate was included in the physical education curriculum of Okinawa’s intermediate schools (junior high). The ideographs (Tode) were standard in Okinawa at this time. In 1905 the Okinawa Master Chomo Hanagi first used the other (Karate) ideograph for his book Karate Soshu Hen.

Meeting in 1936

In 1936 Ryukyu Shimpo, an Okinawan newspaper, sponsored a meeting of Okinawan Karate masters to discuss the status of Karate in Okinawa. Yabu, Kiyamu, Motobu, Miyagi, and Hanagi were invited to Naha, the capital city of Okinawa and also the “Mecca” of the Karate world. In this meeting, the unification of writing was discussed and it was decided to change the name of the art to “Karate” meaning “empty hand”.

Reasons For This Change

1. They would establish the new origin. They believed Okinawan fighting arts could be independent from China even though they recognized that great influence by China that existed.

2. The new ideograph also represented the meaning of “Mu” “Ku” which has a stronger association with Zen philosophy than the old.

3. This was the art of fighting methods using no weapons but only the “empty hand”.

Standardization

After the meeting, the letter was standardized and has remained unchanged to the present day. The ideograph was used occasionally by people who were reluctant to use changes even in the early 1960′s.
The Beginnings In India

According to legend, in the sixth century A.D., the Indian monk Daruma journeyed from India to China to teach the Liang dynasty monarch the tenets of Zen Buddhism. To endure this arduous journey, Daruma developed the physical and mental powers for which he was later renowned. After delivering the tenets of Buddhism, Daruma remained in China, staying in Shaolin Sze where he taught Buddhism to the Chinese monks. Here he became famous for teaching standards of Buddhism that were very strict physically as well as spiritually.

Although there are many stylistic similarities in the fighting arts of India and China, there is no solid evidence. There are Chinese texts documenting the existence of several Chinese martial art forms prior to Daruma’s journey in the 6th century.

I merely wish to affirm that the organized origins of Karate came into being during this time period, and that no known record either verifies or denies this contention.

The Chinese Influence
“Although the goal of Buddhism is the salvation of the soul, the body and soul cannot be separated. In weak physical condition one will never be able to perform the rigorous training necessary to attain true enlightenment.” So Daruma taught student monks Icchin which is regarded as the tool through which is necessary rigorous physical and mental training may be endured.

As a corollary of Daruma’s training, the monks at the Shaolin Temple won the reputation of being the best fighters in China.
Ch’Uen Yuan

Most Chan Fa systems are descendants of the one hundred-seventy hand and foot positions of Ch’ Uen Yuan and they can be traced back to Bodhidharma’s influence.
Branching Out

The Shaolin Chan Fa is listed as one of nine Wai Cha (external schools) of fighting systems and is regarded to be the first established system in China.

1. Shaolin Chan Fa…..Sui period or before
2. Hung Chuan……….Sung period (1127-1279)
3. Tau Tei Yu Tan Tui..Sung period
4. Hon Chaun………..Ming period (1368-1644)
5. Erh-Lang Men……..Ming period
6. Fan Chuan………..Ming period
7. Cha Chuan………..Ming period
8. Mi Tsung Yum……..Ching period(1699-1911)
9. Pa Chuan…………Ching period

In comparison there were the Nei Cha (internal schools), all from the Sung or post Sung Dynasties.

1. Wu Tang Pai
2. Tai Chi Chuan
3. Pa Kua Chaun
4. Hsin Yi Chua
5. Tzu Fan Men
6. Liu He Pa Fa

Japan

Sumo is perhaps the oldest known form or system of weaponless fighting in Japan and dates back beyond the mythological era (before 500 A.D.). The earliest legends tell of two god figures, Takeminakata No Kami and Takemikazuchi No Kami, who engaged in power contests. Another story relates the wrestling contests between Nomino Sikune No Mikoto and Taima NoKehaya. These contests are known to be the first between demi-gods and similar mythological beings.

In 607, during the Sui Dynasty, the first official Japanese ambassador was sent to China, and this exchange was maintained through the T’ang Dynasty. During this time Chinese influence flourished in Japan, and it is believed that Chan Fa was introduced along with many other things of Chinese origin.

Many forms of martial arts already existed in Japan during this time period which might carry the influence of Chan Fa in their fighting styles. However, these Chan Fa systems were never developed by the Japanese martial artists of the day. This lack of development was due to the structure of Japanese society. At that time, there was a very strong status system in Japan much like the caste system in India, and only the members of the samurai class were allowed to use weapons for fighting or train in the martial arts.

The samurai were respected because they protected the commoners. They were expected to behave in a respectful and courageous manner.. Through strong government control, the role of the samurai became a sacred trust, carrying “this burden of pride.” Being a member of the samurai class meant lifelong employment unless a samurai was found guilty of wrong doing. In that case, he and his family would lose their jobs permanently.

Samurai constantly practiced weaponry to better themselves and had time for little else. It is easy to see how weaponless fighting systems developed at that time would never gain enough popularity to be properly recognized. Even so, some forms of martial arts were developed like Torite and Ashikeri, and later Yawara and Jujitsu did exist among the lower class police forces. An interesting note is the similarities in the weapons (kobudo) developed in Japan and in Okinawa during this time period.
Early Stages

During the Sui and Tang Dynasties, many Japanese and Chinese representatives traveled with relative freedom between the two countries. This is also when Buddhism came to Japan and gained popularity. Interestingly, during the Heian period between 794-1184, many Buddhist monks were well trained in fighting methods and were used to maintain local law and order. Many became security guards for wealthy individuals in Kyoto. The popularity of Buddism made some temples so powerful that they became involved in many political upheavals. And because of the popularity of Buddism, the monks were untouchable by either the samurai or the government. Many temples became independent and secretive in their administration of religious matters due to the political intrigues.

This is believed to be the time when many martial arts developed in Japan. Wars and battles were still decided by the samurai, but the art of fighting systems was practiced and developed by the Buddhist monks.
Toyotomi Hideyoshi

In 1592, this great general decided to fulfill his dream of conquering the world. He had conquered Japan and sought to continue his quest by marching on to China. Many of his generals were against this plan, and it soon proved to be a disaster as the Japanese faced too many disadvantages. Ships were not powerful enough, the climate was against them, the generals in Korea were not familiar enough with the terrain to plan strategic advances, and resistance was much stronger than expected. The dream was ended with the death of Hideyoshi in 1598 without a single Japanese soldier ever setting foot on Chinese soil.

The failure of this conquest cost Toyotomi not only his life and his fortune, but also his dynasty. Once again the peace of the entire nation was in shambles. The conflict between the remainder of the Toyotomi clan and the rival clan of Tokugawa Dynasty began and was to last for the next three hundred years.

It is oral history that many warriors came back from the failed conquest of China with some kind of hand-to-hand combat system. But as history has revealed, the warriors reached only Korea and not China.
Okinawa

The basic form of self-defense are perhaps as old as mankind. The art of Karate as it is widely practiced today can be traced back to Okinawan martial arts systems called “Te”, meaning “hand”. Te later was renamed Tode, the name it held before it became known as Karate. the Japanese used the name “kempo”, which means “fist way”, and the similar term in Chinese is Chan Fa.

Okinawa is the main island of the Ryukyu Islands, located in the East China Sea between Kyushu, Japan and Taiwan. Okinawa has maintained cultural contact for centuries with both China and Japan. Through a constant influence of Chinese sailors and merchants, the indigenous Okinawan fighting forms were heavily influenced by Chan Fa. Because of its strategic location, Okinawa was invaded several times by both China and Japan. Each country sought to use okinawa as a military and diplomatic base. With these two powerful countries vying for control, it is not surprising that the Okinawan people developed high levels of proficiency in self-defense.

Okinawans have long been known as fierce fighters, and the tragic battles of World War II proved to the world that the Okinawans would rather die than live in disgrace. The spirit of the samurai was well developed in the hearts of these people.
The Legendary Sakugawa

In 1724, a man named Sakugawa journeyed to China from his home in Shuri, Okinawa. He was gone for many years, and his friends and relatives thought him lost or dead. One day to everyone’s surprise, Sakugawa returned home a much changed man. He possessed a mysterious physical strength and a complex form of Chan Fa.Soon many people wanted to become his students. This was the start of the Sakugawa style of Karate.
Thirty Six Families

The emperor of China sent Okinawa an imperial gift of skilled artisans and merchants. These people soon formed into a community known as the Thirty-Six Families. This community was responsible for the rapid spread of Chan Fa throughout Okinawa. It should be noted that “thirty-six” often means “a great many” and may not mean thirty-six numerically.
Chinese Numbering

One Whole, absolute, first

Two Pair, comparison, front and back,

top and bottom, etc.

Three Sanchin, top-middle-bottom, fate,

Mother Nature

Four Directions, square, objects

Eight Multiple directions, many, plenty

Thirty-Six Great many
Sho Hassi

In 1429, Sho Hassi united the kingdom of Okinawa under his rule and renamed North and South. During the era of his grandson Sho Shin, the policy of “Bunji-Kokka”, or government by culture not military force, was put into effect. At this time all weapons were banned except for those used by military forces. The objective was to restore peace and to disarm rival clans.
Civil War In Japan And The Satsuma

After Toyotomi died, Japan was split into two massive forces. One force was the remainder of the Toyotomi clan from the West and the other was controlled by the new leader Tokugawa from the East. In 1600, these two powers met head-to-head at Sekigahara Field to decide the control of Japan. Although most of the Western generals and the Satsuma clan controlled most of Kyushu joined the Toyotomi, the Tokugawa forces won.

Tokugawa allowed the Satsuma-Shimazu family to retain their territories under the edict of unconditional loyalty to Tokugawa. The reason he allowed the Shimazu family to keep their lands was that they were so powerful that trying to destroy them might have proven self-defeating and was not in the best interest of Tokugawa. So instead Tokugawa took the Shimazu family as his allies and sent them to punish Okinawa for refusing to send supplies during the Japan-China war of 1592. It was also a useful way to smooth the honor of the frustrated Satsuma warriors by giving them a new target while keeping them too busy to make any further plays against Tokugawa.

A Ban On All Weapons

Upon seizing control of Okinawa, the Shimazu clan instituted numerous rules of martial law, one of which was a ban on all weapons. This time, however, the ban was on a much larger scale than that instituted by Sho-Shin. Only the Satsuma samurai, who were the invaders and conquerors of Okinawa, were allowed to have weapons.

The methods used by the Satsuma for enforcing the weapons ban were ruthless. Any weapons found in an Okinawan’s possession were immediately confiscated and the owner was severely punished. As part of the ban, the Shimazu also prohibited the Okinawans from participating in the study or practice of the martial arts.

This ban had a number of serious effects on the Okinawan martial arts. All study and participation was forced underground, and all teaching was done by word of mouth only.No written records exist which would allow us to trace the development of the Okinawan arts during this time period. This has led to the creation of many false legends due to the inability to document facts.

Secrecy became such an obsession that instructors hid true techniques from rival schools, as in the changing or hiding of moves in kata. this eventually led to the development of new and unique fighting techniques and systems including the modification of farming and work tools into weapons for combat use. The fighting attitudes in the martial arts schools became very violent due to the suppression of civil liberties and the general sentiment of the times.

And above all, the ban made Karate one of the most practical and effective hand-to-hand combat systems ever developed. The need for practical application kept Karate from degenerating to a mostly theoretical art or a simple or obscure form of exercise.

It is impossible to pinpoint when the secrets of Karate began to be revealed long after rules were changed. However, there was a gradual but steady unveiling and interaction of this magnificent art. Luckily, some schools were not as attached to secrecy as others, and slowly the major schools of Karate became less suspicious and more open. Officially, the Satsuma’s control ended in 1875, but Karate did not become popular or even well known as being an Okinawan art until around 1903.

Intense rivalry within Karate schools did not help to promote the discovery of the art. Karate, primarily developed to maim or kill opponents, was no longer needed in actual combat as conquering Satsuma samurai had departed for Japan.

Most Western students of Asian martial arts, if they have done any research on the subject at all, will surely have come across references to Bodhidharma. He is known as “Daruma” in Japan and as often as not, this Indian Buddhist monk is cited as the prime source for all martial arts styles or at the very least, for any style which traces its roots back to the fabled Shaolin Temple. However, the question of his contributions to the martial arts and to Zen Buddhism and even of his very existence has been a matter of controversy among historians and martial arts scholars for many years (Spiessbach,1992).

As legend has it, the evolution of karate began over a thousand years ago, possibly as early as the fifth century BC when Bodhidharma arrived in Shaolin-si (small forest temple), China from India and taught Zen Buddhism. He also introduced a systematized set of exercises designed to strengthen the mind and body, exercises which allegedly marked the beginning of the Shaolin style of temple boxing. Bodhidharma’s teachings later became the basis for the majority of Chinese martial arts. In truth, the origins of karate appear to be somewhat obscure and little is known about the early development of karate until it appeared in Okinawa.

Okinawa is a small island of the group that comprises modern day Japan. It is the main island in the chain of Ryuku Islands which spans from Japan to Taiwan. Surrounded by coral, Okinawa is approximately 10 km (6 mi) wide and only about 110 km (less than 70 mi) long. It is situated 740 km (400 nautical mi) east of mainland China, 550 km (300 nautical miles) south of mainland Japan and an equal distance north of Taiwan. Being at the crossroads of major trading routes, its significance as a “resting spot” was first discovered by the Japanese. It later developed as a trade center for southeastern Asia, trading with Japan, China, Indo China, Thailand, Malaysia, Borneo and the Philippines.

In its earliest stages, the martial art known as “karate” was an indigenous form of closed fist fighting which was developed in Okinawa and called Te, or ‘hand’. Weapons bans, imposed on the Okinawans at various points in their history, encouraged the refinement of empty-hand techniques and, for this reason, was trained in secret until modern times. Further refinement came with the influence of other martial arts brought by nobles and trade merchants to the island.

Te continued to develop over the years, primarily in three Okinawan cities: Shuri, Naha and Tomari. Each of these towns was a center to a different sect of society: kings and nobles, merchants and business people, and farmers and fishermen, respectively. For this reason, different forms of self-defense developed within each city and subsequently became known as Shuri-te, Naha-te and Tomari-te. Collectively they were called Okinawa-Te or Tode, ‘Chinese hand’. Gradually, karate was divided into two main groups: Shorin-ryu which developed around Shuri and Tomari and Shorei-ryu which came from the Naha area. “It is important to note, however, that the towns of Shuri, Tomari, Naha are only a few miles apart, and that the differences between their arts were essentially ones of emphasis, not of kind. Beneath these surface differences, both the methods and aims of all Okinawan karate are one in the same” (Howard, 1991). Gichin Funakoshi goes further to suggest that these two styles were developed based on different physical requirements Funakoshi, 1935). Shorin-ryu was quick and linear with natural breathing while Shorei-ryu emphasized steady, rooted movements with breathing in synchrony with each movement. Interestingly, this concept of two basic styles also exist in kung-fu with a similar division of characteristics (Wong, 1978).

The Chinese character used to write Tode could also be pronounced ‘kara’ thus the name Te was replaced with kara te – jutsu or ‘Chinese hand art’ by the Okinawan Masters. This was later changed to karate-do by Gichin Funakoshi who adopted an alternate meaning for the Chinese character for kara, ‘empty’. From this point on the term karate came to mean ‘empty hand’. The Do in karate-do means ‘way’ or ‘path’, and is indicative of the discipline and philosophy of karate with moral and spiritual connotations.

The concept of Do has been prevalent since at least the days of the Okinawan Scholar Teijunsoku born in 1663, as this passage from a poem he wrote suggests:

No matter how you may excel in the art of te,
And in your scholastic endevours,
Nothing is more important than your behavior
And your humanity as observed in daily life.

(Nagamine,1976)

The first public demonstration of karate in Japan was in 1917 by Gichin Funakoshi, at the Butoku-den in Kyoto (Hassell 1984). This, and subsequent demonstrations, greatly impressed many Japanese, including the Crown-Prince Hirohito, who was very enthusiastic about the Okinawan art. In 1922, Dr. Jano Kano, founder of the Japanese art of Judo, invited Funakoshi to demonstrate at the famous Kodokan Dojo and to remain in Japan to teach karate. This sponsorship was instrumental in establishing a base for karate in Japan. As an Okinawan “peasant art,” karate would have been scorned by the Japanese without the backing of so formidable a martial arts master (Maliszewski, 1992).

Today there are four main styles of karate-do in Japan: Goju-ryu, Shito-ryu, Shotokan, and Wado-ryu:

Goju-ryu developed out of Naha-te, its popularity primarily due to the success of Kanryo Higaonna (1853-1915). Higaonna opened a dojo in Naha using eight forms brought from China. His best student, Chojun Miyagi (1888-1953) later founded Goju-ryu, ‘hard soft way’ in 1930. In Goju-ryu much emphasis is placed on combining soft circular blocking techniques with quick strong counter attacks delivered in rapid succession.

Shito-ryu was founded by Kenwa Mabuni (1889-1952) in 1928 and was influenced directly by both Naha-te and Shuri-te. The name Shito is constructively derived from the combination of the Japanese characters of Mabuni’s teachers’ names – Ankoh Itosu and Kanryo Higaonna. Shito-ryu schools use a large number of kata, about fifty, and is characterized by an emphasis on power in the execution of techniques.

Shotokan was founded by Gichin Funakoshi (1868-1957) in Tokyo in 1938. Funakoshi is considered to be the founder of modern karate. Born in Okinawa, he began to study karate with Yasutsune Azato, one of Okinawa’s greatest experts in the art. In 1921 Funakoshi first introduced Karate to Tokyo. In 1936, at nearly 70 years of age, he opened his own training hall. The dojo was called Shotokan after the pen name used by Funakoshi to sign poems written in his youth. Shotokan Karate is characterized by powerful linear techniques and deep strong stances.

Wado-ryu, ‘way of harmony’, founded in 1939 is a system of karate developed from jujitsu and karate by Hienori Otsuka as taught by one of his instructors, Gichin Funakoshi. This style of karate combines basic movements of jujitsu with techniques of evasion, putting a strong emphasis on softness and the way of harmony or spiritual discipline.

These weapons are linked in their usage and action and naturally compliment corresponding open hand techniques. It is important to understand these links, as this allows progression and continual enhancement of the understanding of their usage and deployment.

Here you can learn about the weapons of Ryukyu Kobujutsu, the history of each weapon, their strengths and weaknesses and their usage within the Ryukyu Kobujutsu system.
kobujutsu-buki

BO : There are 4 kinds of Bo or Kon used in the system, San Shaku or Jo Bo, Roku Shaku, Kyu Shaku and Eiku or Suna Kake no Kon. The Bo is the main stay of Ryukyu Kobujutsu attributing 22 kata to the syllabus and its usage and posture is almost the same as the sword. The Roku Shaku Bo is the predominant kind of Bo used and attracts the main interest by practitioners.

Its length is 6ft, or as is sometimes customary, cut to the height of the user. The wood used is usually Red Oak or White Oak and the Bo is tapered from the tip ends for better blocking and smoother usage. The weight is dependent on the wood used and is a critical factor for students, too heavy and the techniques become cumbersome, too light and there is not enough power. The weapon is classified as a synthetic one and attracts the greatest distance training between opponents. It magnifies the areas of development needed with empty hand and encourages Tai Sabaki/Yoko Sabaki at all times. The practitioner is taught to hold the weapon initially divisible by thirds and then openly encouraged to develop a more flexible holding style allowing full use of the weapons potential distance.

SAI : There are 2 types of Sai used in the system, Tsuujo no Sai and Manji Sai. This weapon is the supporting mainstay of Ryukyu Kobujutsu and attracts 8 kata to the syllabus. This weapon is not the result of agricultural creativity as commonly written. Records from China prove its original existence although in a much more elongated form. The weapon is metal and of the truncheon class with its length dependent upon the forearm of the user. When held it should be about 3cm longer than the forearm and generally Sai are used in pairs.

Advanced Sai uses 3, with one held in the belt behind ready for, and used for throwing. The tang is of the Korean classification and the pommel is variant to round, square or multi angled types much dependant on the emphasis of the makers usage. The basic holding manner ‘Honte-Mochi’ (Natural) and ‘Gyakute-Mochi’(Reverse) is prevalent with basic Sai whereupon the advancement to ‘Toku-Mochi’(special grip) is introduced. This brings the usage and actions of the Sai into the same family as Tonfa and Kama. The Manji Sai which was made by Shinken Taira has a half reversed tang looking much like a swastika and a pointed pommel end denoting Sensei Taira’s preference to a stabbing motion instead of the smashing techniques dominant with the Tsuujo Sai.

The efficient use of the weapon is much reliant on the dexterity of the practitioner with his thumbs, which the tang is balanced and rotated on along with the loosening and tightening of the grip from the small finger for striking and consolidating power. The early use of the weapon makes the user appear stiff and robotic but as the training advances the flow and unity with body movement becomes ever more apparent. Sai is the practise of ‘Shuto’ in empty hand and emphasises the need for ‘Koshi no Chikara’ (Hip power) and ‘Suri Ashi’ (sliding movement). The importance of body movement and good footwork is ever more apparent as the weapon is of a smaller classification than Bo. Advanced practitioners must learn to throw the Sai, a difficult requirement in view of the weight. The Sai explores the weakness of Bo, thus making Bo-jutsu stronger.

TONFA : There is in principal only one kind of Tonfa although the shaft varies in shape from round to rectangular. History has also shown the butt ends to be pointed but this is extremely rare. The weapon attracts two kata in the Ryukyu Kobujutsu syllabus but because of its exposure with the police in the baton form it is a very popular weapon to practise with.

The weapon is used in pairs and is of wood, again red oak or white oak preferably in keeping with the Bo. The length of the weapon is also the same requirements as the Sai, about three centimetres past the elbow when gripped. The weight like the Bo is paramount to the efficient usage of the weapon. Too light and it lacks power in Kumite, too heavy and the techniques lack speed and become ponderous. Again like the Sai there are three grips, Honte-Mochi (Natural), Gyakute-Mochi (Reverse) and Tokushu-Mochi (Special grip). The latter is not commonly used but is very effective and relates strongly to the techniques of Kama.

The usage is prevalent in the kata Yaraguwa. Tonfa is the practise of Uraken(back fist) and Hiji waza (elbow techniques) in open hand fighting. Good body movement like the Sai can make this weapon formidable, combining the speed it needs and generates along with the skilful footwork for evasion and attack. Although there are stories of Rice millstone grinding implements and horses bridles etc. as being the origins of this weapon, these are merely coincidental. The weapons origins can clearly be traced back to China and be found in Indonesia and surrounding geographical locations.

KAMA : The bladed weapon of the Ryukyu arsenal, this weapon brings to the practitioner the feel of steel and the hint of fear a live blade gives. Used, as a pair there is one style of Kama with varying sizes of blade length and shaft size. The corner of the blade to the shaft should have a groove cut into it for catching the Bo and other weapons without the blade digging into and getting stuck into the attacking weapon.

The weight of the shaft is dependent upon the strength of the user and should be tapered to the butt end with increasing thickness. This allows for ease of catching and sliding when changing grip. The blade should add sufficient weight to ensure it is the heaviest point in the weapon. This also allows for ease of usage. The length of the weapon should extend to about 3cm passed the elbow when held in reverse grip. The handling of the weapon is the same as the Sai with the following grips, ‘Honte-Mochi’ (Natural), ‘Gyakute-Mochi’ (Reverse) and ‘Tokushu-Mochi’ (Special grip). Kama is the practise of ‘Kuride’ and ‘Kakede’ (hooking and gripping) in open hand technique

The Ryukyu Kobujutsu syllabus has three kata of Kama, which emphasise body unity with the weapon to obtain power along with demanding footwork. The dexterity of the fingers is paramount to the changing grips the weapon affords and needs in kumite. Most students commence with wooded Kama to ensure safety and aclimatisation before moving to the more demanding live blades. This weapon known as the sickle in the west has a derivative from the farming implements.

TEKKO : Legally the most controversial of the Ryukyu weapons the Tekko is the smallest weapon, bringing the exponent closest to open hand techniques. The term ‘knuckle duster’ creates images of darker methods of fighting but in actuality attacks clearly defined points vulnerable to the taste of metal. The Tekko should be made to the width of the hand with anything between one and three protruding points on the knuckle front with protruding points at the top and the bottom of the knuckle. They can be made of any hard material but are predominately found in aluminium, iron, steel, or wood.

Due to the size of the Tekko the techniques are of the open hand family. The Ryukyu Kobujutsu syllabus has one kata, which is a combination of the ‘Naha’, ‘Shuri and Tomari’ feeling combined. The kumite focus on attacking the bony areas of the body such as the wrist, elbow, collar bone, ribs, and ankle. On impact this slows done the opponent drastically and allows for the quick changes of angle and height so apparent when studying Tekko. Gripping techniques prior to and at the time of ‘Zanshin’ teach the exponent the emphasis on pressure points, which the Tekko takes great advantage of due to its structure. Muscle and bone have to succumb to its efficient design and usage. This weapon is undoubtedly not a farming implement and was clearly design for the purposes of combat.

NUNCHAKU : The most controversial of the weapons of the Ryukyu but in essence the least properly explored. There are three types of this weapon taught in the Ryukyu Kobujutsu syllabus, the 2 section, 3 section and the 4 section. Made preferably of red or white oak, or a heavy wood, the sections are tapered from the chord end (2.5cm) to the predominant strike end (3.3cm).

The shafts vary from octagonal to round in shape and the weight is dependent on the strength of the user. Again too light and there is no power, and too heavy and the movement is slow and ponderous. Traditionally this weapon is not used in pairs, as the actions of the one should be sufficient. The grips are similar to that of the Sai in name, Honte-Mochi- (Natural), – Gyakute-Mochi- (Reverse) and Tokushu-Mochi- (Special grip). The special grip falls into – Ippon-Tsuki- (single thrust) and – Tatami-Tsuki- (folding thrust). Nunchaku belongs to the family of Bo and is known as the – portable Bo- .

History has not endowed this weapon with traditional kata as shown by the content of those handed down. They are by design training kata to enable better handling and combination work. The essence of the weapon is the kumite, exploring distance, angles and footwork. Impact should be on the tip of the weapon or it will bounce back on the user. Whilst it is noted that there is a farming implement of the Nunchaku design, it should be pointed out that again China was using this weapon concept long before it was recorded as a Ryukyu weapon.

TINBE-ROCHIN : This weapon is the most glamorous of the Ryukyu system and exudes a feeling of history long gone. The usage however is more akin to a combination of Zulu fighting and European sword and small shield fighting.

The Tinbe (Shield) can be made of various material but is commonly found in vine or cane, metal, or for presentation, in turtle shell. The shield size is generally about 45 cm long and 38 cm wide. The Rochin (Short spear) is cut with the length of the shaft being the same distance as the forearm to the elbow if it is being held in the hand. The spearhead then protrudes from the shaft and can be found in many differing designs. The favoured style has an expanded middle section before the point, which is twisted upon insertion to make the wound larger. The weight of the blade is critical for the spear usage, which is swivelled between the fingers to use both ends, smashing with the butt end and stabbing with the blade end.

The techniques are circular to avoid too much direct contact on the shield and the short spear is predominantly used in an upward stabbing motion, piercing armour under the rib cage, armpits, and throat. Good knees are essential for the kumite along with a proficient understanding of Ukemi. The Ryukyu Kobujutsu syllabus has one kata, which exuded posturing, speed with agility, and balance. The techniques of the Tinbe-Rochin are unique to shield and spear usage. Clearly the origins of design and usage bear little resemblance to agricultural needs.

SURUJIN : This weapon is taught as the last in the Ryukyu system of the classical eight weapons. Found in two kinds, Tan Surujin (short) and Naga Surujin (long) the lengths are about 150-152 cm and 230-240 cm respectively. It is a weapon with the essence of concealment prior to use, which can extract a substantial price from the victim. Traditionally found with a bladed instrument at one end and a weighted end at the other, the Surujin techniques are very akin to those of the Nunchaku.

For kumite training the cord is usually made of leather allowing more speed and agility. Kata however tends to be demonstrated with a chain link Surujin to emphasise the potential in the weapon. The difficulty in usage is the control of the swing and the awareness of the length required in respect of the fighting distance. The hips need to be centrally fixed with a low centre of gravity and the swing should be through the arm to the shoulder without moving the head. The recovery from the swing is dependent on the dexterity of the user, as it is critical to the final attack before the stab. Historically this weapon is very prevalent and can be found attached to a weapon or used separately. It is undoubtedly a weapon designed for warfare and not for agricultural usage.

In 1477, the new king Sho Shin implemented complete and overall prohibition of all metal weapons. Prohibition included both the noble class Shizoku and farmers, Heimin. All weapons had to be handed over to storage in Shuri. Noble class was moved to the capital, were they lived under strict supervision in order to minimize danger of rivals. Most historians see this prohibition as generator of Kobujutsu. Farmers and fishermen began to develop new martial art style by using simple farming tools which evolved into lethal weapons. At the same time Te gained on importance as it was intensely practiced by Shizoku class, who perfected the art of empty hands. Both styles were practiced in utmost secrecy, mostly at night. Although many great martial art masters don’t argue Chinese influence of Kempo on both arts, there is as well a strong parallel between both arts and traditional Okinawan art of dance, Odori.

Most kata known in Kobujutsu holds footprints of the early masters. Despite the many grand masters who appeared in 18th, 19th and 20th century lack of instructors and students caused great decay of the art. In the history of Ryukyu Kobujutsu Grand Master Shinken Tiara clearly stands out. Disciple of Yabiku Moden Sensei perfected 42 weapons kata, which covers 8 different weapons. This is still taught nowadays in the Ryukyu Kobujutsu fighting system, mainly due to his highest direct disciple Motokatsu Inoue.
The ancient martial arts of the Ryukyu Islands consist of Toshu-jutsu, the way of the empty hand and Emono-jutsu, the way of weapons. The former is called Karate and the latter, Ryukyu Kobujutsu.

The Ryukyu Kobujutsu appeared in history approximately 700 years ago. It is said that it was the use of weapons in the periods of heroes holding grand. Most Kata of Weapons remaining now are footprints of old masters approximately 200-400 years ago. With the prosperity of Kobujutsu many grand masters appeared in the 1700, 1800, and 1900 centuries. As time went on however, the lack of instructors and people to carry on the tradition caused the decay of Ryukyu Kobujutsu, at one time it faced the prospect of dying out all together.

In the Taisho era some masters who were deeply worried about the situation made great efforts to restore and promote Ryukyu Kobujutsu. One practitioner who stands out in history is the late Master Shinken Taira. He was a disciple of Yabiku Moden Sensei and compiled and authenticated 42 Weapons kata, which consist of eight kinds of weapon.

Continuing the Traditions

Inoue Sensei’s life in Budo was shaped by the masters of Kobujutsu to provide him with unique knowledge and ability. This enormous knowledge is continued today in Yui Shin Karate and Ryukyu Kobujutsu.

The society preserves and promotes the 42 weapons kata and the way of using the weapons in Kihon Kumite and Kata Bunkai Kumite. The late Motokatsu Inoue Hanshi at the request of Master Taira formulated many of these explanations and usage. Inoue Hanshi’s son, Kaicho Inoue, is now the world Headmaster of Ryukyu Kobujutsu.

These teachings and traditions are continued today by the generations of students who have devoted themselves to the study of Ryukyu Kobujutsu. Affiliated branches of the Honbu dojo exist in South Africa, Finland, Sweden, Holland, Belgium and now the United Kingdom. Sensei Julian Mead formed the Great Britain Branch in 1986 following his return from Japan.

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