The “Wado” story officially began in May 1934 when Hironori Ohtsuka registered his own style of Karate, which he called “Wado Ryu” and was recognized as an independent style. However, its origins were developed by Ohtsuka’s continuous study of all martial arts, formulating the “Wado” techniques by combining his own innovations and natural movements found in the other martial arts.

The full “Wado” story began on 1st June 1892 when Hironori Ohtsuka was born. He was born in Shimodate City, Ibaragi, Japan, the first son of Dr. Tokuiuro Ohtsuka, a Doctor of Medicine. Ohtsuka was first introduced to the Martial Arts by his great uncle Chojiro Ebashi who began teaching him Jujitsu. This marked the starting point of his life-long fascination and obsession with the Martial Arts.

On the 1st April 1897 Ohtsuka started school where he studied Shindo Yoshin Ryu Jujitsu, under the supervision of Shinzaburo Nakayama Sensei, the third Grand Master of this style of Jujitsu. The essence of this art lays emphasis upon the nature and the grace of movement. It was originally inspired by Yoshitoki Akiyama Sensei after observing how the willow tree laden with snow yielded to the elements of nature, yet maintained its versatility and flexibility to outside forces without damage. This study of movement impressed upon the young Ohtsuka the importance of natural flowing movements. These lessons play a major part in today’s “Wado” karate. In defense and attacking techniques the use of the opponent’s body and weight and movement play an equally significant role in defeating your enemy as your own body movements,

Ohtsuka continued his studies of Shindo Yoshin Ryu Jujitsu whilst at Waseda University from 1910 to 1917 reading commerce. Ohtsuka also studied different styles of Jujitsu, experimenting between styles concentrating on their “positive quality”. During his period at University he was able to examine the techniques of most Martial Arts. He developed and improved certain techniques of the existing arts combining them with other “innovative” techniques. Whilst studying Jujitsu, Ohtsuka learned a great deal about the body’s “vital points” both for attacking and healing purposes, he also studied the art of “bone setting”.

In 1917 Ohtsuka joined the Kawasaki Bank, during the year he is believed to have met Morihei Ueshiba Sensei, the founder of Aikido and this began a deep founded influential friendship. After two years at the bank Ohtsuka Sensei decided to become a full time Martial Artist. His mother, however, opposed this, wishing her son to continue his career in banking. Out of respect for this mother and family he postponed his ambitions, but continued to study Jujitsu.

Ohtsuka was awarded on 1st June 1920 the highest degree of Shindo Yoshin Ryu Jujitsu, which allowed him to succeed his master’s position as fourth Grand Master.

The 1922 sports festival in Tokyo was to continue his obsession with all Martial Arts. For the first time Ohtsuka was to encounter Karate. Gichin Funakoshi Sensei was invited by the Japanese Education Department to demonstrate his style of Okinawan Karate (Tode). Kano Sensei, a renowned Martial Arts Instructor, accepted that the spirit behind karate was the same as Japanese Martial Arts, which served to promote its message and style.

Ohtsuka was impressed with this newly promoted Martial Art. He visited Funakoshi Sensei on numerous occasions during his stay, discussing techniques and other aspects of Karate. Funakoshi Sensei prolonged his visit by invitation from the Japanese Education department. He was “impressed” by Ohtsuka’s enthusiasm and determination to understand Karate and agreed to teach him all he knew about Karate. Within the space of a year Ohtsuka Sensei had studied all the Katas that Funakoshi had brought from Okinawa, although he found certain movements and techniques difficult to implement and understand. This led Ohtsuka in his search for a deeper understanding of Karate to practice Kata with Mabuni Sensei the founder of Shuto-Ryu Karate.

In 1925 Ohtsuka’s mother died and he was left in a period of indecision about his career. After three years of deep philosophical thought, he left the Kawasaki Bank and set up a “bone setting” practice, similar to a small hospital. His prowess in the Martial Arts had led him to be the Chief Instructor of Shindo Yoshin Ryu Jujitsu and an assistant instructor at Funakoshi Sensei’s dojo. By the year 1929 Ohtsuka was a registered member of the Japan Martial Arts Federation. At this time Okinawan Karate only concentrated upon Kata, Ohtsuka thought that the full spirit of Budo, which concentrates both upon defense and attack, was missing. Ohtsuka Sensei meanwhile had been developing Yakusoko Kumite to compensate for the lack of attacking techniques. He thought there was a need for a more fluid type of Karate and decided to leave Funakoshi Sensei to concentrate on developing his own style of Karate, “Wado”.

The year of 1934 proved to be a major year for Ohtsuka and “Wado” Karate. On February 28th Ohtsuka the 2nd was born. It is uncanny that during this year Wado-Ryu Karate was also “born” and officially recognised to be an independent style. This recognition meant a departure for Ohtsuka from his hospital and a fulfillment of his life’s ambition, to become a full time Martial Artist. In 1935 Karate received a further promotion upon Kano Sensei’s recommendation to be accepted as a Martial Art, but at first only as an extension of Judo by the Japan Martial Arts Federation.

Ohtsuka Sensei’s personalised style of Karate was officially registered in 1938 after he was awarded the rank of “Renshi-go”. He presented a magnificent demonstration of “Wado” Karate for the Japan Martial Arts Federation who were impressed with his style and commitment and successfully acknowledged him as a high ranking instructor. The next year the Japan Martial Arts Federation asked all the different styles of Karate to register their names. Ohtsuka registered the name of “Wado-Ryu”. Other styles to register included Shotokan Ryu, Goju Ryu and Shito-Ryu. The next few years witnessed Wado Ryu karate growing from strength to strength, new dojos were opening and karate was being taught at the Universities. Ohtsuka himself was becoming a recognised figure within the World of Martial Arts. In 1942 he was awarded the title of Kyoshi-go. During that year a future great master Tatsuo Suzuki began training in Wado-Ryu Karate. In 1943 Ohtsuka the 2nd began his pursuits in the field of the Martial Arts. He began Kendo under the strict instruction of an army officer called Miyata Sensei. In 1944 Ohtsuka Sensei was appointed Japans Chief Karate instructor and in 1945 Ohtsuka the 2nd began to receive expert instruction from his father. In 1947 Teruo Kono began Karate but did not start training with Ohtsuka Sensei until 1951 and in 1955 the first all Japan Wado-Ryu Karate championships were held.

Until the 1960s Martial Arts and especially Wado-Ryu karate remained upon the small islands of Japan. It was hardly recognised outside of the East. This was soon to change. In 1963 a three-man team left Japan to conquer America and Europe. The team was composed of Mr. Arakawa, Mr Takashima and Mr. T. Suzuki. The impressions they left upon America and Europe were tremendous, Wado-Ryu Karate became recognised worldwide for its true merits.

Back in Japan in 1966 Ohtsuka Sensei was awarded the title “Kun Goto Suokuo Kyoku jujitsu Shou” by the late Emperor Horohito. It was presented by the Emperor for his dedication to the introduction and teaching of karate.

By the early 1970s karate had become truly established worldwide. Ohtsuka continued to train and instruct in Japan, whilst a team of highly qualified Japanese Sensei’s continued to spread the doctrines of Wado-Ryu Karate worldwide.

Ohtsuka Sensei in 1972 was historically awarded with an honor never before bestowed upon any Karate master, the president of the International Martial Arts Federation, a member of the Japanese royal family, presented Ohtsuka with the title of “Meijin” – the first excellent Marital Artist in Karate (10th Dan) it was the greatest title possible and bestowed upon him.

In 1980 Ohtsuka Meijin began to think about retirement as the head of Wado Karate and wanted his son to succeed him as Grand Master. However other high level Wado Karateka were not in favor of this and wished for a different leader to be appointed. Although many negotiations took place no agreement could be reached and some of these Wado Karateka broke away and formed their own association.

Ohtsuka Meijin continued to lead the World of Wado-Ryu Karate until the 20th November 1981, when he finally decided to abdicate his possession as Grand Master of Wado-Ryu Karate and nominated his son Hironori Ohtsuka 2nd as his successor. Hironori Ohtsuka Meijin peacefully passed away on 19th January 1982, two months later. Throughout the entire world where Marital Arts are practiced he will always be remembered for his enormous contribution and individual devotion to Wado Karate.

References


http://www.wikf.com/wado.htm

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.

Karate history can be traced back some 1400 years, to Daruma, founder of Zen Buddhism in Western India. Daruma is said to have introduced Buddhism into China, incorporating spiritual and physical teaching methods that were so demanding that many of his disciples would drop in exhaustion. In order to give them greater strength and endurance, he developed a more progressive training system, which he recorded in a book, Ekkin-Kyo, which can be considered the first book on karate of all time.

The physical training, heavily imbued with Daruma’s philosophical principles, was taught in the Shaolin Temple in the year 500 A.D. Shaolin (Shorin) kung-fu, from northern China, was characterized by very colorful, rapid, and dynamic movements; the Shokei school of southern China was known for more powerful and sober techniques. These two kinds of styles found their way to Okinawa, and had their influence on Okinawa’s own original fighting method, called Okinawa-te (Okinawan hand) or simply te. A ban on weapons in Okinawa for two long periods in its history is also partly responsible for the high degree of development of unarmed fighting techniques on the island.

In summary, karate in Okinawa developed from the synthesis of two fighting techniques. The first one, used by the inhabitants of Okinawa, was very simple but terribly effective and, above all, very close to reality since it was used throughout many centuries in real combat. The second one, much more elaborate and impregnated with philosophical teachings, was a product of the ancient culture of China. These two origins explain the double character of Karate–extremely violent and efficient but at the same time a strict and austere discipline and philosophy with a nonviolent emphasis.

Master Gichin Funakoshi was the first expert to introduce karate-do to mainland Japan, in 1916. One of the few people to have been initiated into all the major Okinawan karate methods, Master Funakoshi taught a synthesis of the Okinawan styles, as a total discipline. This method became known as Shotokan (literally “House of Shoto,” Funakoshi’s pen name). Because of the great popularity of the style in Japan and, later, around the world, Funakoshi is widely considered to be the “father of modern karate-do.”

Tsutomu Ohshima was one of Master Funakoshi’s last direct pupils (1948-1953), studying under him while attending Waseda University in Tokyo, Japan. In 1955 Mr. Ohshima came to the United States and was the first person to teach karate to the US public. By 1959 the Southern California Karate Association (SCKA) was formed, which has grown over the years to become a nationwide organization, Shotokan Karate of America, and Mr. Ohshima’s influence on karate is felt around the world.

Despite the secluded nature of Mr. Ohshima’s early US practices, knowledge of his teachings quickly spread and membership steadily increased. In August of 1957 Mr. Ohshima was asked to demonstrate Karate during the intermission of the annual Nisei Week Judo Tournament, held in Koyasan Hall in Little Tokyo, Los Angeles. This was the first public demonstration of traditional Shotokan karate in the United States, and has since become an annual SKA activity. In 1958 a separate karate tournament was added as part of Nisei Week under the direction of Mr. Ohshima. The Nisei Week tournament is now the oldest annually held karate tournament in the United States, and is still presided over by Mr. Ohshima.

In addition to the formation of the SCKA, several other events of historical importance to Shotokan Karate of America occurred in 1959. In July the first US Special Training was held. In December Mr. Ohshima awarded six of his students the rank of shodan (first degree black belt), making them the first American-trained black belts in Shotokan karate. (These honored six were Caylor Adkins, George Murakami, Mas Norihiro, Jordan Roth, Roe Suzuki, and George Takahashi.)

In 1960, three years after the death of Master Funakoshi in Japan, Mr. Ohshima led the Waseda Karate Club black belts on a tour of Okinawa and its karate experts. This was the first official visit by students from the Japanese mainland since before the Second World War.

References


http://216.232.47.236/history/

http://www.ska.org/

While Matsubayashi-Ryu karate did not exist before Nagamine Sensei founded it, it’s beginnings had existed for hundreds of years before. According to Patrick McCarthy of the International Ryukyu Karate Research Society, Matsubayashi-Ryu karate can trace it’s lineage from Chinese Gung-Fu to the original Okinawan karate; Koryu Uchinadi-Ryu karate & Yamaneryu Kobudo. This “original” Okinawan karate then developed into Te. Te grew and divided into Naha-Te, Shuri-Te and Tomari-Te. Shuri-Te (Also generically known as shorin-ryu) then divided into Kobayashi-Ryu (Chosin Chibana), Matsubayashi-Ryu (Shoshin Nagamine), Shobayashi-Ryu (Chotoku Kyan) and Matsumura orthodox Hohan Soken). It was not until 1936 that the Okinawan masters met and adopted the term “karate” or “open-hand” to replace the earlier term of Tote (abbreviated to Te) which meant “Chinese Hand”. They felt the new term, karate, better reflected the art’s unique Okinawan development.
Following World War II Nagamine Sensei encountered a book by Ginchin Funakoshi, entitled “Introduction to Karate”. He later stated it was this book that helped him make up his mind to pursue karate as a life’s ambition. Although there is no documentation of it, one cannot help but wonder if Nagamine Sensei’s service as an infantryman in China in 1928 may not also have influenced his subsequent development of the Matsubayashi-Ryu style.
1947 was the first time the public world heard of Matsubayashi-Ryu karate, this occurring when Nagamine Sensei opened his first dojo and named it the “Matsubayashi-Ryu Kododan Karate and Ancient Martial Arts Studies”. Matsubayashi is the Okinawan pronunciation of the characters for “Pine Forest.” “Matsu” means “pine” and “Hayashi” means “forest.” When the two are placed together, the “H” of Hayashi is pronounced as “B,” making it Matsubayashi. “Shorin” is the Chinese pronunciation of the same characters. The origin of the name “Shorin-Ryu” is the Shaolin Buddhist Temple in China. “Ryu”, roughly translated, means style or system. More literally, it can mean “river,” which Nagamine Sensei said reflected his thoughts that the art of karate, and specifically Matsubayashi-Ryu, is a living, flowing thing.
Nagamine Sensei created the name “Matsubayashi” out of respect for two great Karate-ka’s who taught two of his most influential teachers (Chotoku Kyan and Choki Motobu). These two masters were Bushi Matsumura and Kosaku Matsumora. As a side note, the World Matsubayashi-Ryu Karate Association website reports Nagamine Sensei’s nickname growing up was “Gaajuu Maachuu” sometimes pronounced “Chippai Matsu”, which means “tenacious pine tree.”
In the years that followed it’s opening, his dojo grew in both fame and size. Soon selected nearby American servicemen began to train at his school.
In 1960 the United States was introduced to Matsubayashi-Ryu karate when James Wax, an ex-American serviceman, became the first westerner to open a Matsubayashi-Ryu dojo in Dayton, Ohio. Later, in 1962, Nagamine Sensei dispatched a senior student, Ansei Ueshiro to the United States with the intent of firmly establishing Shorin-Ryu, Matsubayashi-Ryu karate in North America.
In the 1980’s Ueshiro Sensei branched off from Nagamine and formed the Shorin-Ryu Karate USA (Matsubayashi-Ryu) branch.
With the untimely death of Ueshiro Sensei in May of 2002, Shorin-Ryu karate USA broke off into two divisions; that headed by Scaglione Sensei (Shorin-Ryu Karate USA) and a new organization headed by Sensei Maccarrone – Karate USA – Terry Maccarrone.
Before Nagamine Sensei’s death, the U.S. Matsubayashi-Ryu Karate-Do Federation petitioned him to start their own federation in the United States. The federation received his written authorization and the federation was born, under the auspices of the parent Okinawan organization.
Nagamine Sensei, in addition to being the founder of Matsubayashi-Ryu karate, was the unifying figure that kept it together, at least until his death in 1997.
With Nagamine Sensei’s death, Matsubayashi-Ryu separated into the separate organizations seen today. Master Nagamine’s original school remains open today in Naha, Okinawa. As a matter of courtesy, any Matsubayashi-Ryu stylist or school wishing to train in Okinawa at Nagamine Sensei’s dojo should first write the dojo and request permission.
Reference
http://www.okinawan-shorinryu.com/history.html

Karate has been taught outside of Japan for almost 40 years, and was exported to the rest of the world along both stylistic and organizational lines. By now, the namesof most karate styles have become familiar to martial artists everywhere.

Of all the traditional karate systems Shotokan, Goju-ryu, Wado-ryu, Shorin-ryu, Kyokushin, Isshin-ryu, and Shito-ryu among them Shito-ryu remains the most obscure. Several of its leading practitioners, such as the charismatic Fumio Demura and the prolific Touro Hayashi, do have widespread fame, yet Shito-ryu remains little understood outside its own schools. Shito-ryu had been most often described as a combination of Shotokan and Goju-ryu. It is also generally known that its teachers utilize formal exercises (kata) from many Okinawan sources. Unfortunately, such explanations fail to adequately describe just what Shito-ryu really is.

In truth, Shito-ryu, along with Goju-ryu, Wado-ryu and Shotokan, is one of the four major karate systems of Japan proper (the Japanese islands excluding Okinawa). It was founded by Kenwa Mabuni (1889-1952), who, like most of karate’s old masters, was descended from Okinawa’s so-called warrior (bushi) class or aristocracy. Members of his family served Okinawan lords for hundreds of years. Mabuni started karate training at the age of 13 under Anko Itosu (1830-1915), the man who organized early karate in the Okinawan school system. Itosu was a student of one of Okinawa’s most famous karate masters, Sokon Matsumura (1792-1887), the forefather of Shorin-ryu. Itosu took a strong liking to his young pupil and Mabuni learned some 23 kata before the elder man died. Itosu’s death so grieved Mabuni that he built a shrine in front of the master’s grave and stayed close by for a year, practicing his kata daily.

Itosu was not Mabuni’s only teacher, however. While still in his teens, Mabuni was introduced by his friend, Chojun Miyagi (the founder of Goju-ryu karate) to Kanryo Higashionna (1853-1915). From Higashionna, Mabuni learned Naha-te, a Chinese-influenced karate style. Mabuni also trained under the reclusive Arakaki Kamadeunchu (1840-1918), who taught a style similar to Higashionna’s. Arakaki also taught Tsuyoshi Chitose, the founder of Chito-ryu, Gichin Funakoshi of Shotokan, and Kanken Toyama of the Shudokan school. Arakaki, who was an acknowledged bo (staff) expert, taught Mabuni the unshu, sochin, niseishi, arakaki-sai and arakaki-bo forms. During the 1920’s the insatiable Mabuni participated in a karate club operated by Miyagi and Choyu Motobu, with help from Chomo Hanashiro and Juhatsu Kiyoda. Choyu Motobu was a master of Shuri-te (the antecedent of Shorin-ryu) and gotende, the secret grappling art of the Okinawan royal court. Hanashiro was also a Shuri-te expert, while Kiyoda came from the same Naha-te background as Miyagi. Known as the Ryukyu Tode Kenkyu-kai (Okinawa Karate Research Club), this dojo (training hall) was one of history’s gems. Experts from diverse backgrounds trained and taught there, and it was there that Mabuni learned some Fukien white crane kung fu from the legendary Woo Yin Gue, a Chinese tea merchant living on Okinawa.

By this time, Mabuni had become a highly respected police officer and made several trips to Japan after Funakoshi introduced karate there in 1922. Mabuni spent many of his early traveling years with Koyu Konishi, a friend and sometimes student who later founded Shindo-Jinen-ryu karate. In 1925 Mabuni and Konishi visited Japan’s Wakayama prefecture where Kanbum Uechi, the founder of Uechi-ryu, was teaching. It was after training with Uechi that Mabuni devised a kata called shinpa. But Mabuni actually spent most of his time in Osaka, where he taught at various dojo, including the Seishinkai, the school of Kosei Kokuba. Choki Motobu also taught at Kokuba’s dojo. It was Kokuba who later formed Motobu-ha (Motobu faction) Shito-ryu. In 1929, Mabuni moved permanently to Osaka. Shortly thereafter, the Japanese martial arts sanctioning body, the Butokukai, pressured all karate schools to register by style name. At first, Mabuni called his style hanko-ryu (half-hard style), but by the early 1930’s Shito-ryu was the official name. It was coined from alternative renderings of the names of Mabuni’s two foremost teachers, Itosu and Higashionna. Not everyone agreed with separating Okinawan karate into factions through the use of style names. In fact, shudokan headmaster Toyama questioned Mabuni and others about their use of what he called “funny-sounding names.” Mabuni countered that giving the style a name would not only satisfy the Butokukai, but would give people something they could identify with and feel a part of.

Among Mabuni’s earliest students was Kanei Uechi (not to be confused with Kambum Uechi’s son of the same name), who by 1935 was also teaching in Osaka. In 1950, Uechi returned to Okinawa and established the Shito-ryu Kempo Karate-do Kai. On Okinawa, Uechi is considered the true successor to Mabuni’s art, but internationally, Mabuni’s eldest son, also named Kanei, is acknowledged as the head of shito-ryu and runs the Shito-kai. Younger brother Kenzo Mabuni also aknowledged as the head of Shito-ryu was asked by his mother Kamae Mabuni to take over the style. Kenzo Mabuni was unsure and could not decide at the time what to do. So he went into seclusion in the city of Nagoya to train diligently and contemplate the great responsibility of carrying on the karate of his father. At the end of what became a two year retreat – most of it spent living in a utility-less dwelling, though he did spend some time training with Ryusho Sakagami and Ken’ichi Watanabe, Kenzo Mabuni decided to accept this great responsibility and hence became the inheritor of his father’s lineage. Kenzo Mabuni lives in the original family home in Osaka, where he headquarters his organization the Nippon Karate-Do Kai.

Kanei Mabuni and his younger brother Kenzo head the karate programs at several universities, a task inherited from their father. Still other early students of Mabuni have their own distinct organizations and followings. Ryusho Sakagami, a contemporary of Kanei Mabuni, established the Itosu-kai just after Mabuni’s death. Sakagami’s son, Sadaaki, now oversees the Itosu-kai from the Yokohama area. In 1948, Chojiro Tani organized the Shuko-kai, where he taught Tani-ha Shito-ryu. Ever innovative, the Shuko-kai, under the present leadership of Shigeru Kimura in the United States, appears somewhat different in technique from the other Shito-ryu groups.

Since the 1970s, several other Shito-ryu factions have formed. Most prominent Hayashi-ha Shito-ryu under Teruo Hayashi. Hayashi was a protégé of Kosei Kokuba and also trained directly under Mabuni. Hayashi became president of the Seishin-kai sometime after Kokuba’s death. For awhile, he co-led that organization along with Motobu-ryu style-head Shogo Kuniba. Together they integrated the Tomari-bassai kata into their systems. The assertive Hayashi even studied in Okinawa under Kenko Nakaima, head of the longtime secret family art of Ryuei-ryu. Ryuei-ryu is derived from the same Chinese teacher who taught Kanryo Higashionna, a man named Liu Liu Kung. Another, younger member of the Motobu-ha group, Chuzo Kotaka, established Kotaka-ha Shito-ryu in Hawaii, revising all the kata and devising many new ones which he taught to his American students. And in Europe, a Tani-ha Shito-ryu student named Yoshiano Nambu broke off on his own, first founding the Sanku-kai and later the Nambudo. But possibly the world’s most famous Shito-ryu exponent is Fumio Demura, a former sparring champion who has taught Itosu-kai Shito-ryu in southern California since 1965.

Technically, the karate of most Shito-ryu factions looks pretty much the same. Not surprisingly, there are minor differences in the kata between the various groups, mostly due to the proclivities of their founders. Regardless, all Shito-ryu looks a lot like Shorin-ryu in application. A long, linear style, even its Goju-ryu-type kata (those derived from Higashionna) are performed in a lighter, more angular and rangy fashion than they are in schools derived from Naha-te alone. Shito-ryu is much like Shotokan in that it relies heavily on the reverse punch and front kick. The style also seems to place a strong emphasis on sparring. In so doing, 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.

Shito-ryu has never forsaken its Okinawan roots when it comes to kobujutsu (weapons arts). While Mabuni trained under weapons experts such as Arakaki, many of today’s Shito-ryu teachers learned most of their kobujutsu from Shinken Taira, the man responsible for popularizing kobujutsu during a time when interest in this peculiarly Okinawan art was at its lowest. It seems that Shito-ryu schools were the most receptive to Taira’s art. Both the younger and elder Sakagami, Demura, Hayashi, Kuniba and Kanei Mabuni all trained with Taira at one time or another.

References


http://www.martialsource.com/shitohistory.htm

shitokai.org/wskfesp.html

Sosai Masutatsu Oyama was born on July 27th, 1923, in a village in Southern Korea. At the age of 9 whilst staying on his sister’s farm in Manchuria, he first learnt the Martial Arts, studying the southern Chinese Kempo form known as “Eighteen Hands.” In 1938 Mas Oyama traveled to Japan with the desire to enter an aviation school and become a fighter pilot, but he was forced to abandon his dream and find work. He continued practicing judo and boxing and his interest in Martial Arts led him to the dojo of Gishin Funakoshi and thus, he started practicing Okinawa Karate. With his dedication, Mas Oyama progressed quickly and by the time he was 20 years old he had obtained his fourth Dan. It was at this time that Mas Oyama entered the Japanese Imperial Army and began studying judo in the hope of mastering its holding and grappling techniques. When he stopped training in judo, after about 4 years, he gained a fourth Dan.

Following the defeat of Japan after the second world war, Oyama like all other young Japanese, was thrown into a personal crisis. He found a way out of his despair by training with So Nei Chu, a Korean Master of Goju-Ryu Karate. This great teacher, renowned for the power of his body, and deep spiritual inclination had a profound influence on young Mas Oyama. Master So taught him the inseparability of budo and the spiritual fundamentals of Buddhism. After a few years of training, Master So advised Mas Oyama to make a firm commitment to dedicate his life to the Martial Way and retreat to a mountain hideout and train his mind and body. In 1946, Mas Oyama went into training, at a remote spot, on the Mt. Kiyosumi in Chiba Prefecture. He was accompanied by one of his students named Yashiro and a friend Mr. Kayama brought them food supplies every month. Through vigorous training, Mas Oyama learnt to overcome the mental strain caused by solitude but Yashiro could not bear it and fled after 6 months. About fourteen months later Mr. Kayama told Mas Oyama that due to unforeseen circumstances he could no longer sponsor Mas Oyama’s retreat in the mountains and thus Mas Oyama’s original plan of remaining in solitude for three years was brought to an end.

In 1950, Mas Oyama began his famous battles with bulls; partly to test his strength and also to make the world sit up and notice the power of his karate. All together, Oyama fought 52 bulls, killing 3 instantly and taking the horns of 49 with knife-hand blows. Mas Oyama opened his first “Dojo” in 1953 in Mejiro, Tokyo. This was the time that Mas Oyama’s karate strength was at its peak so the training was severe. Many students were members of other styles and Mas Oyama would compare styles and build on his karate. He would take what he felt were the best techniques and concepts from any Martial Art and gradually fit them into his training; therefore, laying the foundations of Kyokushin Karate.

The first “School of Oyama” outside Japan was opened in 1957 by Shihan Bobby Lowe in Hawaii. In 1952, Mas Oyama gave his first demonstration in Hawaii. After the demonstration Shihan Bobby Lowe met Mas Oyama and arranged to train with him. Bobby Lowe’s father was an instructor of Kung Fu so he had done much training in the Chinese Martial Arts. He had participated in any fighting Art he could; by the time he was 23 he had earned his 4th Dan in judo, 2nd Dan in Kempo, shodan in Aikido but Mas Oyama’s powerful demonstration had stunned him. Mas Oyama invited Bobby Lowe to Tokyo to train with him and Bobby Lowe did and trained for over a year and a half. In this way Shihan Bobby Lowe became the first “uchi-deshi” of Kyokushin, a tradition that later grew to be known as the “Wakajishi” or Young Lions of Mas Oyama, where a select few are chosen each year to devote themselves to Karate for one thousand days.

The building of the World Headquarters started in 1963 and was officially opened in 1964. It was at this time that Mas Oyama adopted the name Kyokushin “The Ultimate Truth”. Kyokushin had started its spread around the globe and at present is one of the largest martial art organization in the world. It goes without saying that a style is only as strong as the students who represent it. This is why it is the responsibility of all those who have chosen to follow Sosai, to train hard and forge and indomitable spirit so that the tradition of strength in Kyokushin Karate may be recognized by all for many years.

It was with much sadness that in late April of 1994, the Kyokushin family across the globe learnt that its founder Sosai Masutatsu Oyama had died in a Tokyo hospital. He is missed by not only the masses who have followed in his footsteps but by the Martial Arts Community as well. His successor Kancho Shokei Matsui (8th Dan) was named by Sosai himself to carry on the task of building and preserving the name of Kyokushin. Kancho Matsui was born in 1963, and commenced his illustrious karate career at the age of 13. He quickly established a firm reputation for being a karate man of exceptional skill and ability, with a highly individual, technically superior style of fighting. He took the basics he learnt in the dojo, and through intense and dedicated training, he made these techniques work for him. Students around the world continue to try and capture some of the essence of Kancho’s style of fighting in their own training. His exceptional tournament record, over three successive years in particular, led Sosai Oyama to call him “a true champion”; in 1985, at the age of 22, he won the 12th All Japan Open Tournament; in 1986, he won the 13th All Japan Open Tournament; and in 1987, he won the 4th World Open Karate Tournament.

Additionally, in 1986 he succeeded in the 100 man kumite, achieving the highest rate of knockdowns and wins in this ultimate challenge, which only a select few have managed to complete. Ultimately, the stature of the man is confirmed in his designation as Sosai Oyama’ successor in Sosai’s last will, and he now heads arguably the largest karate organization in the world.

References


http://www.adnantarsha.com/kyokushin_history2.htm

Isshin-ryu was founded by one of the great karate masters, Tatsuo Shimabuku, and is derived from several of the other, older classical styles.

Master Tatsuo Shimabuku, began learning karate at the age of 14 and devoted the rest of his life to its study and teaching. For 26 years he studied the other styles, Shuri-te, Shorin-ryu and Goju-ryu, each one under the master of its style.

Master Shimabuku took the best of each style, improved it and founded Isshin-ryu. From Master Motobu, Master of Shuri-te, he took the kumite; from Master Kiyan, Master of Shorin, he took the Kata and added improvements; from Master Miyagi, Master of Goju, he took Sanchin, the basis of all Okinawan karate.

Isshin-ryu, with roots going back 500 years, is a postwar development, modernized to meet the needs of today’s world. It was founded in the 50’s and has been taught ever since to American Marines stationed in Okinawa.

Shimabuku’s reputation throughout Okinawa had reached its peak when WorldWar II struck the island. A business man as well as a karate teacher, the sensei’s small manufacturing plant was completely demolished and he was bankrupt almost from the war’s outset. He did his best to avoid conscription to the Japanese Army by escaping to the countryside where he worked as a farmer. As the situation grew more and more desperate for the Japanese and as the need to press the Okinawans into service became urgent, he was forced to flee.

As his reputation in karate spread among the Japanese, many soldiers began a thorough search as they wanted to study karate under him. The officers who finally caught up with him agreed to keep the secret of his whereabouts if he would teach them karate; it was in this manner that Master Shimabuku survived the war.

After the war, his business ruined and little chance of earning a living by teaching karate on the war-ravaged island, Master Shimabuku returned to farming and practiced karate privately for his own spiritual repose and physical exercise. Throughout Okinawa, he was recognized as the island’s leading practitioner of both Shorin-ryu and Goju-ryu Karate.

In the early nineteen fifties, the sensei began to consider the idea of combining the various styles into one standard system. He could forsee the problems that were developing out of the differences among styles; he sagely concluded that a unification or synthesis of styles would enhance the growth of karate.

He consulted with the aged masters on the island, and with the heads of the leading schools. At first there was general agreement, but later his idea met resistance as the leaders of the various schools began to fear loss of identity and position. Sensei Shimabuku decided to go ahead on his own; thus Isshin-ryu Karate was born. On May 30,1975, Master Shimabuku passed away, leaving a legacy to the world of karate, and to all the future Isshin-Ryu students.

References


httphttp://www.nyseibukan.com/Intro/Karate/Ish_hist/ish_hist.html

At the end of the 19th century Shuri-te and Tomari-te were subsumed under the name Shorin ryu, which developed into several slightly different styles. Naha-te was later renamed Goju ryu (the hard and soft style).

Grandmaster Kanryo Higaonna was born on March 10, 1853, in Naha, the capital city of Okinawa. His father, Kanryo, worked as a merchant sailing between the small islands of Okinawa trading everyday goods. From a young age Kanryo Higaonna helped his father in his work and through the physical labor that was involved he developed a strong body.

Kanryo Higaonna was still in his teens when his father suddenly died. Kanryo decided he wanted to study the martial arts and he set his heart on traveling to Fuzhou, China for this purpose. He travelled to Fuzhou, China in the year 1869. Once in Fuzhou he studied the Chinese martial arts under the great Master Ryu Ryu Ko. He soon became “Uchi Deshi” (private disciple) and he remained in China under the severe instruction of his teacher for approximately 13 years. In addition to studying empty handed martial arts he became proficient in weapons techniques and Chinese herbal medicine. Master Ryu Ryu Ko held his pupil in high esteem and sanctioned Kanryo’s mastery of these arts – an honor which is accorded rarely. Such was Kanryo’s skill in the martial arts that his fame became widespread throughout Fuzhou and the surrounding area.

Chojun Miyagi (founder of Goju-Ryu and successor to Kanryo Higaonna) said of Kanryo Higaonna, “My Sensei possessed incredible strength; the severity of the training he underwent in China is beyond comprehension…. Kanryo Sensei’s speed and power were truly superhuman; his hands and feet moved faster than lightening.” Words are not enough to express his real ability. We can only say that his skill was incredible but even this fails to do him justice.

In the year 1881, after 13 years of diligent study with his teacher he returned to Okinawa and Naha where his martial arts became known as Naha-te (these arts were also referred to as “Tode” meaning martial arts from China). Kanryo Higaonna taught these martial arts to the people of Okinawa and at the same time continued his own research and practice. In order to teach the youth of Okinawa he developed a teaching method which was specifically designed to develop the mind and body; to improve both physical and spiritual well-being.

Previously secretive art of Naha-te was “opened” to society in general, in October 1905, when Kanryo Higaonna began teaching at the high school.

Kanryo Higaonna was an extremely hard task master while teaching. However in his everyday life he was a quiet and humble man and was known for his virtuous character. He was a man who had no need or desire for worldly things. He led a simple life which was completely devoted to the study and practice of the martial arts.

There are many stories which relate tales of Kanryo Higaonna’s life and training. The power of his legs was legendary, so much so that he was often referred to as “Ashi no Higaonna” (”Legs Higaonna”) in Okinawa. His virtuous character was widely known and respected, and because of his popularity the people of Naha bestowed him with the name, “Obushi Higaonna Tanrnei”, a name which reflected the affection and respect they had for this great man and supreme martial artist.

Kanryo Higaonna’s unparalleled skill in the martial arts aside, his great and distinguished work was in bringing the Chinese martial art forms from China to Okinawa, and spreading these arts among the people of Okinawa.

Kanryo Higaonna is now bestowed with the title, “Kensei (sacred fists) Higaonna Kanryo”, a title which is eminently fitting. His name is synonymous with Okinawan martial arts and Naha-te, and his spirit is destined to live on forever as a great and valued treasure within Okinawan culture.

Kanryo Higaonna’s whole life was devoted to karate. He passed away in December 1915 at the age of 63.

Grandmaster Chojun Miyagi was born on April 25, 1888 in an aristocratic family. His family was in the import/export business, and owned two ships which made regular trips to mainland China, placing them among the wealthiest families in the area.

He began training in karate under Kanryo Higaonna at the age of 14, in 1902. Like his teacher before him, because of his great natural talent and fierce determination, he progressed very rapidly. The training was severe beyond belief at times but he practiced ever harder with an enthusiasm unmatched by any of the other students. Chojun Miyagi became “uchi deshi” (private disciple) of Kanryo Higaonna. He studied with his teacher for 14 years before his teacher’s death in 1915.

Chojun Miyagi, as successor to Naha-te pushed himself to the limits of endurance in his desire to emulate the extraordinary skill of his teacher. To this end, that same year (1915) he journeyed to Fuzhou, China, the city where his teacher had studied the martial arts, to further his research. This was one of three trips he made to China during his lifetime.

On his return to Okinawa he began to teach the martial arts at his home in Naha. Later, he also taught at the Okinawan Prefecture Police Training Center, at the Okinawan Master’s Training College, and at the Naha Commercial High School (where his teacher had once taught).

Chojun Miyagi worked hard to spread karate throughout Okinawa and mainland Japan, and to earn Naha-te a status equal to that of the highly respected Japanese martial arts of Judo and Kendo. To achieve this he traveled frequently to mainland Japan where he was invited to teach karate at Kyoto University and Ritsumei Kan University. In 1933 karate was registered at the Butokukai, the center for all martial arts in Japan. This was a milestone for karate as it meant that it was recognized on a level with the highly respected martial arts of Japan.

Chojun Miyagi dedicated his whole life to karate. He was responsible for structuring Naha-te (which he later named “Goju-Ryu”) into a systematized discipline which could be taught to society in general. This teaching system that he formulated enabled karate to be taught in schools for the benefit of the young, and to reach vast numbers of people throughout the world. However, his private teaching at his home remained strictly in adherence to the principles of his teacher, Kanryo Higaonna, and his teacher before him, Ryu Ryu Ko.

Chojun Miyagi died on October 8th, 1953, of either a heart attack (the most popular explanation) or a cerebral hemorrhage at the age of 65.

The naming of Goju-Ryu came about more by accident than design. In 1930, one of Chojun Miyagi’s top students, Jin’an Shinzato was attending a Martial Arts convention in Tokyo. He was asked by numerous martial arts masters as to what school of martial arts he practiced. As Naha-te had no formal name he could not answer this question. Feeling his art would be looked down upon and given amateur status, he quickly picked Hankry-ryu, which means the Way of Half Hard. On his return to Okinawa he reported this incident to Chojun Miyagi. He liked Shinzato’s idea and took it one step further. After much consideration, Chojun Miyagi decided on the name ‘Goju-Ryu’ (hard and soft school) as a name for his style. He took this name from a line in the Bubishi (a classical Chinese text on martial arts and other subjects). This line, which appears in a poem describing the eight precepts of the martial arts, reads “Ho Goju Donto” (the way of inhaling and exhaling is hardness and softness).

Jin’an Shinzato was exceptionally talented. Chojun Miyagi had chosen him as his successor to the Goju school in Okinawa. Shinzato was tragically killed during the Second World War. Later, after the war, Chojun Miyagi chose Meitoku Yagi Sensei to succeed him in Okinawa and Gogen Yamaguchi to succeed him in Japan under the Goju-Kai school, to pass on Goju-Ryu to the next generation.

Chojun Miyagi passed away on October 8th , 1953, leaving a great legacy behind. He predicted that during the twentieth century karate would spread throughout the world. Today we can see that this prediction has been realized, karate is not only practiced in Japan, but it can be found throughout the world. Karate can no longer be referred to as a solely Okinawan or Japanese martial art, but it has become an art with no boundaries, an art for all nations and all people of the world.

Gogenen Yamaguchi was born on January 20, 1909, in Kagoshima city in southern Kyushu. As a youngster he showed great interest in the Martial Arts. During his early school days he trained kendo (Japanese fencing) and it was during this time that he started his karate training under the tutelage of Mr Maruta, a carpenter from Okinawa. Mr Maruta who was a Goju practitioner was drawn to the young Yamaguchi’s serious attitude and his willingness to train hard. Mr Maruta taught Yamaguchi all he knew about the Goju system.

During his college days as a law student, Yamaguchi established his first karate club at the Ritsumeikan University in Kyoto. Soon the dojo became famous in the city, known for it’s hard training and fierce breathing exercise. In those days karate men practiced only kata (formal movements) and yakusoku kumite (prearranged sparring). They were unable to have matches between each other since they did not hold back their techniques. It was during this period that Yamaguchi established the rules for jiyu kumite (free fighting) and to decide the winner of a match. Some of the rules are still in use today in sport or competition karate.

In 1931, at the age of 22, Gogen Yamaguchi was introduced to the founder of the Goju style, – Master Chojun Miyagi. This meeting proved to have a profound effect upon Yamaguchi’s outlook on karate. Previously he had only considered the hard aspect of Goju but after his meeting with Master Miyagi he was determined to train himself spiritually as well as physically. Master Miyagi thought highly of Yamaguchi who seemed to have mastered the hard aspect of Goju so well and gave him the nickname Gogen, meaning `Rough’. He then appointed Gogen Yamaguchi as his successor of the Goju school in Japan.

In the years to follow Gogen Yamaguchi often spent time at Mount Kurama where he subjected himself to ascetic exercises and hard training with sanchin, meditation and fasting. Between 1938-1945 he was sent to Manchuria on government and military assignments. On several occasions during his stay there, he could thank his skills in karate and his mental training that he stayed alive. During the Japanese-Russian war -45 Yamaguchi was taken prisoner of war and sent to a prison camp in Mongolia. He was kept there under harsh conditions for two years. Once again his strength and skill were severely put to the test. During all these years he still continued to train and develop Goju karate.

After his release and return to Japan, Yamaguchi became one of the most exciting figures in karate history. Known throughout the world as the `cat’ because of his grace and speed in movement and because of his favorite fighting stance which is called neko ashi dachi (cat stance).

Master Yamaguchi’s contributions to Goju-karate and to karate in general have been enormous. Under his leadership the International Karate-do Goju-kai Association (I.K.G.A) emerged. The organization has increased in popularity both in Japan and other Asian and western countries around the world. Today Goju-kai karate is being practiced in about 35 countries. Master Yamaguchi succeeded in uniting all the karate schools in Japan into a single union, which resulted in the formation of The Federation of All Japan Karate-do Organization (F.A.J.K.O.) in 1964. He added to the Goju system the Taikyoku Kata forms – training methods for the beginner students to prepare them for the more advanced kata’s.

In combining his religious practices with karate training, he incorporated both Yoga and Shinto into Goju-kai karate and founded in his last years Goju-Shinto. He stated that both body and mind are interrelated and through proper breathing and concentration we will be able to understand the essence of the Martial Arts. This is the reason why the Goju school uses the unique breathing exercise called ibuki. Concentrating all the muscular strength at one point, bringing mind and body into a coherent whole.

The Kokusai Budo Renmei – The International Martial Arts Federation in Japan, whose chairman was Prince Higashikuni of the Japanese Imperial Family had appointed Master Yamaguchi as Shihan (master) of the organizations karate division. Never before has a single man had such profound effect on the development and propagation of karate-do. Master Gogen Yamaguchi, 10th dan, a man of intense dedication and determination can truly be called a karate legend. A master of Yoga and a Shinto priest, a man that truly has united both aspects of go and ju into a concerted union.

References


http://www.gojuryu.com/history.htm

http://www.things-japan.com/Miyagi.JPG

www.shimogo-kyosaikai.org

Professor Henry Seishiro Okazaki, founder and Master of the Kodenkan Danzan Ryu Jujitsu System and the American Jujitsu Institute of Hawaii, was born in the town of Kakeda, Fukushima Prefecture, on the island of Honshu, Japan, January 28, 1890. At the age of 16 he moved with his family to the island of Hawaii, and when he was 19 he was diagnosed as having tuberculosis.

In the early 1900’s tuberculosis was called “consumption” and “black lung disease”, and Okazaki was convinced he was going to die. Okazaki writes that “Because of this, I committed ’sutemi’, self-abandonment to death.” Fortunately, he came under the care and guidance of a great Jujitsu master and healer by the name of Kichimatsu Tanaka at his Shin Yu Kai Dojo in Hilo. Okazaki goes on to say: “Assuming I was a dead man, I practiced Judo with all my strength at the risk of my life. During this time, strangely enough, I had a complete recovery of health from the sickness, and I became the owner of a body as if made of iron! Therefore, I was convinced that my whole life was a gift from Judo and thereafter my whole life should be devoted in behalf of Judo.”

In addition to his constant study of Jujitsu under Professor Tanaka, Okazaki also studied under various masters in Hilo, Hawaii, and mastered the Jujitsu styles of Yoshin Ryu, Iwaga Ryu, and Kosogabe Ryu. Furthermore, he learned the Okinawan form of the Chinese hand techniques known as Ryukyu Karate Jutsu, as well as Philippino knife arts, Spanish dirk fighting, Mushi Jutsu (the Chinese Praying Mantis Style of Kung Fu), and Hawaiian Lua (the “touch of death” techniques practiced by the ancient Hawaiian warriors. He also studied American boxing and wrestling in order to understand how his Oriental arts compared and contrasted with the American styles of pugilism. In 1922, after 13 years of exhaustive study of martial arts, Tanaka Sensei finally promoted Okazaki to Black Belt.

In 1924, with a letter of introduction from his Sensei, Okazaki toured Japan, where he deeply studied and researched the ‘okugi’ (the very secret techniques), at more than fifty Jujitsu and Judo schools including Shibukawa Ryu, Yoshin Ryu, Namba Shoshin Ryu, Take No Uchi Ryu, and many others, as well as Kodokan Judo. At the Kodokan he studied Judo under Dr.Jigoro Kano, and was promptly promoted to 3rd Degree Black Belt. During his tour he states that he acquired 675 different kinds of techniques and forms. He also made a special study of kappo and seifukujitsu (restorative body therapy), resusitation, bone setting, and herbology, because he recognized that the virtue of jujitsu lay in the possibility of reversing the effects of deadly or disabling arts by restorative massage and therapeutics.

Upon his return from Japan, Henry Okazaki taught Judo and Jujitsu on the Hawaiian island of Maui. Gradually, he evolved a system of self-defense Jujitsu comprising courses for men, women, and children, including methods of defense against punching, kicking, and grabbing attacks, as well as defenses against the knife, gun, rifle, sword, and bayonet. In his system, which he called Danzan Ryu, “Sandalwood Mountain Style”, he stressed the ancient principles of philosophical and moral training while retaining the best of the arts of self-defense, and restoration therapy, and combined these with the system of physical culture and mental cultivation now known as sports Judo. He thus achieved a true synthesis of ancient and modern elements which is a complete system of Judo and Jujitsu.

Professor Okazaki decided to call his style Danzan Ryu for two reasons. The first was to keep alive the memory of one of his teachers, Wo Chung, who taught him Mushi Jutsu, because he used to call the Hawaiian Islands “Danzan”, which means “sandalwood mountain”. Sandalwood is a sweet smelling cedar tree that the Chinese exported from Hawaii during the 1800’s which they used to build their Buddhist temples. In view of this, the Chinese named Hawaii ‘Danzan’ – Sandalwood Mountain. The other reason is because most of Okazaki’s studies took place in Hawaii.

In 1929 Okazaki moved his family to Honolulu, on the island of Oahu, and established the Okazaki Seifukujitsu Institute (also known as the Nikko Sanitarium of Restoration Massage), where he subsequently earned an international reputation for his skill as a physical therapist. His fame brought him patients from all parts of the world for relief from so-called “incurable” nerve and muscular disorders. Among his more famous patients were President Franklin Roosevelt, Olympian Johnny Weismuller, actor Charlie Chaplin, and entertainer George Burns.

Also in 1929, Professor Okazaki established his Jujitsu school, which he called Kodenkan, “The School of the Ancient Tradition,” which later became known as the American Jujitsu Institute of Hawaii. His life from that time forward was devoted to instructing worthy Americans, without regard to race, color, national origin, or sex, in the arts and science of Judo, Jujitsu, and Restorative Body Therapy, and to the development of disciples who would introduce his system throughout the world. It is safe to say that when Professor Okazaki died in July, 1951, thousands of students had studied in his school. His system, Kodenkan Danzan Ryu, remains today the most widely taught, and widely imitated, system of self-defense Jujitsu in the United States.

THE ESOTERIC PRINCIPLES OF DANZAN RYU JUJITSU
Translated by Professor Bill Morris (circa 1961?) borrowed from chicokodenkan.com/ ChiKo-instructors.html

“Since the fundamental principle acquired through the practice of Jujitsu has been elevated to a fine moral concept called Judo, ‘The Way of Gentleness,’ it may well be said that the primary objective of practicing Judo is perfection of character. And to perfect one’s character, one must be grateful for the abundant blessings of Heaven, Earth, and Nature, as well as for the great love of parents; one must realize his enormous debt to teachers and be ever mindful of his obligations to the general public.

As a member of a family, one’s first duty is to be filial to parents, to be helpful and harmonious with one’s wife or husband, and to be affectionate to brothers and sisters, so that the family may be a sound successful and harmonious unit of the community.

As a member of a nation one must be grateful for the protection which one derives as a citizen; one must guard against self-interest and foster a spirit of social service. One must be discreet in action, yet hold courage in high regard, and strive to cultivate manliness. One must be gentle, modest, polite, and resourceful, never eccentric, but striving always to practice moderation in all things. One must realize that these qualities constitute the secret of the practice of Judo.

Anyone who practices Judo should have no fear of facing stronger opponents, nor should he scorn weaker ones. With the skill which he develops, he does not oppose the strength of his opponent. For example, if a boat is floating on water, then a single man’s strength is sufficient to maneuver it freely because the boat floats on top of the water. If the boat is on dry land, then even several men cannot move it. When a weak person faces a strong one, he should understand this principle.

Having developed skill in the forms and techniques, which constitute the basic art of Judo, one should never use these arts against anyone without sufficient justification. Therefore, refrain from arrogance and do not despise a small or weak opponent.

Every student of Judo should realize that sincerity is the foundation of all virtues, that kindness is the secret of success in one’s work, and that amiability is essential to success. Working pleasantly is the mother of health. Strenuous effort and diligence will overcome adverse circumstances. Simplicity, fortitude, and vigor are the keys to happiness; and service to humanity is the foundation of mutual existence and common prosperity.

As aptly expressed in the poem ‘The boughs that bear hang lowest,’ one should never forget the virtue of modesty as one attains proficiency in the art of Judo. Do not disdain or regard lightly either literary or military art; each is important and deserves equal cultivation and respect. Within constant motion and change there is tranquility; and within tranquility, there is motion and change. There is a stillness in the midst of movement, and movement in the midst of stillness.

One must not forget parental love and one’s enormous indebtedness to teachers, nor fail to value those who come after us. Be grateful for the protection of heaven and Earth. Be a good leader to younger students, to lead younger students well will in the long run mean to attain proficiency in the skill of Judo.

Like a drawing in India ink of the whispering of wind in the pines, the secrets of Judo can only be suggested. Only through personal experience can one comprehend the mystic ecstasy of such secrets. It is said of Jujitsu that it would require ten years of practice to win victory over one’s self and twenty years to win victory over others.

Whatever the trials or dangers, even ‘Hell under the upraised sword,’ remain calm and remember the doctrine imparted to you by your teacher.

A noted verse reads: ‘For the lotus flower to fall is to rise to the surface.’

Only by cultivating a receptive state of mind, without preconceived ideas or thoughts, can one master the secret art of reacting spontaneously and naturally without hesitation and without purposeless resistance. Emptying the self, one enters into the realm of dispassion and openheartedness, and for the first time is able to comprehend the secret art of benefiting both oneself and others in perfect harmony.

These then are the keys to the esoteric secrets of Kodenkan into which I have had the honor to initiate you.”

H. Seishiro Okazaki
Judo Master
Director of Kodenkan
*This text is a translation of the hortative portions of a torah-no-maki or scroll diploma awarded to graduates of the Kodenkan American Judo Institute of Hawaii by professor Henry S. Okazaki.

References


chicokodenkan.com/ ChiKo-history.html

www.ocf.berkeley.edu/ ~monkey/jujitsu.htm

hsouffran.free.fr/…/ accueilmartial.html

http://www.geocities.com/Tokyo/Pagoda/6968/Jujitsu.htm

www.shimogo-kyosaikai.org/ history/1842photo.htm

http://www.kyudo.com/

In Japan, the MUROMACHI period (1333-1600) was a time of unrest and civil war, as a new line of SHOGUNS fought for control. AKECHI Mitsuhide succeeded ODA Nobunaga, but only a year later TOYOTOMI Hideyoshi displayed Mitsuhide’s severed head in public, as a grisly warning, that he was the one in power. During his reign Hideyoshi, who from humble birth, had risen through the ranks of ODAS army to become a general, conquered many parts of Japan and attempted an invasion of Korea.

In 1588 he ordered the surrender of all weapons and forbade the possession of swords by anyone not of Samurai birth. To offset the outcry, Hideyoshi declared that the weapons would be melted down and used in the construction of a statue in the Great image of Buddha. This was a clever ploy that could not be easily refused, as the Shogun was simply collecting weapons of war in a time of peace and using them to honour Buddha.

From this time on, only Samurai were allowed to carry swords and the rest of the Japanese population were left virtually defenseless against the BUSHI who often resorted to KIRISUTE-GOMEN, the right of the Samurai to slay a commoner where they stood for an insult or a show of disrespect.

However Hideyoshi had not established the basic foundations of a government in his Shogunate and on his death, his son TOYOTOMI Hideyori, was left in a very precarious position. Two years later Hideyori and his supporters were challenged by TOKUGAWA Ieyasu and suffered defeat at the battle of SEKIGAHARA in 1600. Thus began the TOKUGAWA period (1600-1868) which was to see its military domination over Japan for the next two hundred years and which virtually closed the shores of Japan to the outside world.

To ensure the succession of his heirs Ieyasu did something of great importance, but not always included when recounting his military exploits. He created a Bureaucracy within his BAKUFU, to ensure his hold over any rivals and maintain the house of TOKUGAWA. To eliminate any lasting threat, he needed to remove Hideyori forever. So he laid siege to OSAKA castle which ended with the SEPPUKU or ritual suicide of TOYOTOMI Hideyori.

Another problem that faced Ieyasu were all the soldiers that had fought in the many battles and campaigns at home or in Korea. His solution was to absorb them into a governing class and 1615 he introduced his BUKE SHO-HATTO or laws for military families. These Samurai Officials were trained in the Classical Arts as well as the Martial Arts. They were supplied with endless tasks to keep them busy, leaving no time for them to consider overthrowing the SHOGUN.

It is during this EDO period that the mixing of the doctrines of the Classical Arts with the Martial Arts took place. JUTSU’S (arts of self-protection) were refined into DO’S (Arts of self-perfection) and a lot of the battlefield, tried and tested techniques were altered until they bore no resemblance to the originals.

Some of the Samurai officials that had been created by Ieyasu’s BAKUFU were turned into Officers of the Peace and their duties were to maintain law and order and enforce the prohibition of weapons. They supplemented the lower ranked feudal police called MEAKASHI and OKAPPIKI who could not carry swords, but who faced an ever-growing problem of RONIN or masterless Samurai who now roamed the land. It was for these peace officers that a system was created called YAKU KOBUJUTSU or martial art techniques for officials, which was drawn from the teachings of jujutsu and aikijutsu.

YAKU KOBUJUTSU consisted of a number of disciplines that had to be mastered by the officials. There was BO JUTSU, the art of the six-foot stave, an awesome weapon in the hands of an expert, but limited if used indoors. HANBO JUTSU was the use of the three-foot stick; a very versatile weapon that could be employed practically anywhere. JUTTE JUTSU taught the use of the iron truncheon that had a tine protruding from above its handle to trap and break sword blades. KOGUSOKU or unarmed grappling techniques covered everything from arrest holds and restraints to ATEMI strikes aimed at vital areas of the body. Finally, HOJO JUTSU which is the art of tying a prisoner with rope in ways to secure them and prevent escape.

The use of these techniques continued into the MEJI era (1868-1912), when Japan was thrust in to the modern age. Civil disruption sprang from clashes between factions, who struggled to keep Japan feudal and closed to the rest of the world, against those who wanted to embrace the new age and could see trade and prosperity. 1874 saw the foundation of a National Police Force and in 1876 the total ban on the wearing of swords ended the special status of the Samurai warrior.

As Japan emerged into the twentieth century so did its martial arts, with KANO Jigoro (1860-1938) creating KODOKAN JUDO in 1882 from old styles of JUJITSU such as TENJIN SHINYO RYU and KITO RYU. Then in 1931 UESHIBA Morihei (1883-1969) left his teacher of DIATO RYU AIKIJUTSU and began developing AIKI BUJUTSU, which later became known as AIKIDO. Whilst in 1936 FUNAKOSHI Gichin (1868-1957) took Okinawan Karate and changed the meaning of the word from China hand to empty hand thus creating Shotokan KARATE.

YAKU KOBUJUTSU was also affected by these changes and in 1924 the Tokyo police asked a group of Bujutsu Sensei to form a committee and review the current system. They were given instructions to synthesize a martial art to replace it, which took into account the needs of the Japanese police at that time. The Sensei produced a system of techniques that comprised heavily of KORYU or old ways of Jujitsu and Aikijutsu as these were the type of techniques needed by the police. These were approved by the police and incorporated into the police training for evaluation and stringent testing to be carried out. After world war two a prohibition on the practice of martial arts was enforced by SCAP (Southern Command Army Pacific). The Japanese police still needed their martial art system to maintain law and order, so the Japanese government asked permission to review and develop the current police system of self defence. All the previous techniques were studied and the resulting system renamed TAIHO JUTSU, as the allied occupation of Japan had forbidden the practice of Jujitsu a lot of its techniques were preserved in the new system.

TAIHO JUTSU or Arresting Art was born in 1947 and an official manual produced. Since then the system has been subjected to a number of revisions by other Sensei which have taken into account the changing requirements of the police. Officers were taught to use a five foot staff called a JO and the KEIBO or police baton approximately fourteen inches long was introduced in a number of techniques called KEIBO SOHO. Then in 1966 the Japanese police adopted the use of an extending tubular baton called TOKUSHU KEIBO.

In 1973 TAIHO JUTSU was introduced to the United Kingdom by Sensei Brian EUSTACE, when he was asked to review the self defence system for the British police officers. Finding that officers only received tuition in unarmed combat moves at the start of their service, with no refresher courses, Eustace taught a series of Basic techniques that were to be practised regularly. The grades attained were recognised in Japan. These techniques were subject to the same revision process as its Japanese counterpart, which has resulted in a number of changes to the basic techniques as some fell in or out of favour with the authorities.

Today TAIHO JUTSU is used to describe a martial art that until recently was taught and practised almost exclusively by police officers. Officers who used its teachings and techniques to deal with real encounters, some potentially lethal, during their tours of duty tested its effectiveness on a day to day basis.

Finally TAIHO JUTSU remains a window into the past with its teachings still drawn from the KORYU, tried and tested on the battlefields of Japan centuries ago.

References


http://www.taiho-jutsu.eu.org/about.htm

http://www.jujutsu.org/yokohama/yokohama_club_philosophy.htm

http://users.adelphia.net/~kyoshi/aikijut.htm

Budoshin Ju-Jitsu is the gentle art of self-defense. It incorporates Judo [throws, pins & matwork], Aikido [leverage, momentum, pressure points & joint locks] and Karate [hits & kicks] into an extremely effective self-defense system. Budoshin Ju-Jitsu will allow you to have absolute control over your attacker[s] in a wide variety of situations. All techniques are taught for self-defense situations with one or more attackers; there are no katas or forms practice in which you are dealing with an imaginary enemy. Budoshin Ju-Jitsu also teaches the art of Ju-Jitsu. As you progress you learn the intricacies of the art and why techniques work as they do. Not only will you acquire technical expertise but you will also develop a sound theoretical and philosophical background in the art.

Most dojo that have Budoshin Ju-Jitsu trained sensei teach a common core of basic techniques for testing purposes. However, this core only touches the surface of what a Budoshin Ju-Jitsu student or sensei knows. Many sensei teach a wide variety of additional techniques that compose the Budoshin ryu [over 850 techniques & variations] including the core techniques. This allows students to find additional techniques that work best for them. Students thus develop an extremely effective and personalized self-defense system that is individualized to their abilities. As a result the defensive techniques of Budoshin Ju-Jitsu, students or black belts in any street situation is completely unpredictable.

The history of the martial art of Ju-Jitsu (Gentle Art) can be traced back over 2,500 years. Ju-Jitsu developed from many individual teachings that either started in Japan or found their way to Japan from other oriental countries. Going far back into Japanese mythology it is possible to trace Ju-Jitsu to the ancient Japanese gods, Kajima, and Kadori, who supposedly used Ju-Jitsu to punish the lawless inhabitants of an eastern province of Japan.

The first dated mention of Jujitsu was during the period of 772-481 B.C., when open-hand techniques were used during the Choon Chu era in China. In 230 B.C. the wrestling sport of Chikura Kurabe developed in Japan and was integrated in JuJitsu training. A number of Jujitsu schools started from 230 B.C. on. During the time period around the B.C.-A.D. change in dating, it is also noted that wrestling and related techniques served as the origin of Ju-Jitsu. There is also evidence that empty-hand techniques were used during the Heian period (ca. 784 A.D.) in Japan, but included with weapon training as part of the samurai warrior’s training. In 880 A.D. Prince Teijun founded the Daito Ryu Aiki Ju-Jitsu Dojo.

Most of the actual credit for founding the formal art of JuJitsu goes to Tenenuchi (or Takenouche) Hisamori, who founded the school of Jujitsu in Japan in 1532. In 1559, Chin Gen Pinh (a monk) migrated to Japan, from china, bringing Kempo (China Hand) with him. Parts of Kempo were integrated into Ju-Jitsu . Hideyoshi Toyotomi, also Chinese, migrated to Japan shortly thereafter. He brought Ch-an Fa and Korean T’ang Su (punching and nerve striking skills) to Japan, both of which became part of Ju-Jitsu. During the Tokugawa era, (ca. 1650 and on), Ju-Jitsu continued to flourish as part of the samurai warrior’s training.

With the passing of the Tokugawa era, (ca. 1800), Japan became somewhat united and there were many changes in Japanese society. One of the results was the reduction of the samurai warrior to the status of the common citizen. In his new position the samurai could no longer carry a sword. He was forced to rely solely on empty-hand techniques as a means of defending himself.

The next mention of Ju-Jitsu is in 1882, when Dr. Jigaro Kano developed the sport of Judo (Gentle-Way) from Ju-Jitsu. He did this to increase the popularity of the martial arts and to provide a safe sport using selected techniques taken from the effective self-defense system of Ju-Jitsu.

Although Jack Seki’s father, Sanzo Seki [1888 - d:?], was a Ju-Jitsu master himself, he sent Jack to study directly under the legendary Dr. Jigaro Kano, an expert in Kitoryo [a.k.a. Kito Ryu] and Tenshishinyo [a.k.a. Tenjin-Shinyo Ryu] Jiu-Jitsu. After studying under Kano, Seki returned to master the art as taught by his father. Prior to World War II, Seki was given the option of being drafted into the Japanese army or emigrating to the United States. Fortunately he chose the latter and returned to the U.S. in the mid-1930’s. With his martial arts training current information says that he worked for the U.S. Army Air Force as a weaponless defense instructor. It is also possible that he may have served as a translator in the Pacific theatre during the war.

Prof. Seki eventually settled in the southern California area after the war. In the 1960’s Seki started a ju-jitsu program at the Burbank YMCA. He then started another program at Los Angeles Valley College which became extremely popular. Although I started at the Burbank YMCA I soon also began classes directly under Seki at Valley College. In the fall of 1967, the sensei at the Burbank YMCA had to leave. Seki, in his usual manner, approached William Fromm and myself [George Kirby], both 1st degree brown belts at the time. He called both of us aside at one class and told us that we would take over the Burbank YMCA program. We both protested as we were only Brown Belts. Seki’s response was, “Now you are black belts. Act like it.” Both Bill and I took over the Burbank YMCA program without any further comments. Our sensei had spoken.

The history of Budoshin Ju-Jitsu itself is rather unique and recent. When Profs. William Fromm & I took over the Burbank YMCA Jujitsu program for our instructor, Prof. Sanzo “Jack” Seki, in 1967 it was a relatively small program. Within a couple of years we had an extremely large and solid program which took up an entire gymnasium. By this time other martial artists wanted to know what “style” of Ju-Jitsu we taught. Prof. Seki’s attitude was that there was only Ju-Jitsu and that ultimately there weren’t any styles — just variations on the theme. With that thought in mind we came up with the name Budoshin, which means to conduct oneself in an honorable and respectable manner. The concept of “Budoshin” is covered in much greater detail in the Black Belt Handbook and my two Ohara books. This was acceptable to Prof. Seki as “Budoshin” was seen as an appropriate attitude and not a “style”. In the mid 1970’s I had the opportunity to also study under Prof. Harold Brosious who taught Ketsugo Ju-Jitsu. Although Prof. Brosious had a radically different approach to teaching the art, many of his techniques supplemented enriched what I had learned from Prof. Seki. Both Prof. Seki’s and Prof. Brosious’s teachings have been effectively incorporated into Budoshin Ju-Jitsu.

There are different paths up the mountain. Many times they cross and parallel each other. But the ultimate goal is the same. Both Profs. Seki and Brosious taught every technique from a street situation. Ju-Jitsu was taught for self-defense. As students progressed and their technique improved both Professors helped the students make Ju-Jitsu an art; to understand the theory and mechanics behind every move, how the human body acted and reacted, and incorporate that understanding into an extremely effective personalized self-defense system. Budoshin Ju-Jitsu will teach you the art of Ju-Jitsu as well as how to effectively defend yourself in any situation.

References


http://budoshin.com/bjjfact.html

The Daito-ryu scrolls issued by Takeda Sokaku (beginning just before the turn of the century) include a lineage that traces the art back to the Emperor Seiwa, who, legend has it, won his throne when his sumo champion defeated his elder brother’s champion. The actual founder of the art is said to have been Seiwa’s descendant Shinra Saburo Minamoto no Yoshimitsu [1045-1127], who lived in a mansion known as Daito, hence the name Daito-ryu. The art was then handed down through his descendants, the Takeda family of Kai Province (modern-day Yamanashi Prefecture), until that family’s destruction five years after the fall of the its most famous member, general Takeda Shingen, in 1573. A distant relative of Shingen’s, Kunitsugu, made his way to Aizu in 1644, where he was taken on as a karo (senior councilor) under the Aizu lord Hoshina Masayuki [1611-1673], son of the second Tokugawa shogun, Hidetada. Daito-ryu tradition asserts that Kunitsugu taught his family’s secret techniques to his lord Masayuki, who combined them with the principles of court etiquette that he had learned as oshikiuchi, into a system of self-defense for use within the palace. This amalgamation, together with the Itto-ryu Hoshina later studied, became the basis for the martial arts training of the succeeding lords of the Aizu clan, as well as for its highest ranking members.

The original Takeda family art continued to be passed down in secret within the family itself, eventually to Sokaku’s grandfather, Soemon, where the earliest written lineages in Sokaku’s mokuroku end. Presumably, however, Soemon then taught Sokichi, who in turn taught his own son, Sokaku.

Arts such as sumo, judo, karate, and wrestling, are often called “fighting arts.” While it is not our purpose here to argue whether or not this term is appropriate for these budo and sports, we can state definitively that Daito-ryu aiki jujutsu is not at all a “fighting art” in the sense that these others might be considered to be. A look at the history of Daito-ryu shows clearly that it was developed in large part as a means of self-defense, particularly one to be used by warriors while inside the palace. This may be seen in the inclusion and emphasis on oshikiiuchi. In short, Daito-ryu was developed as a way to effectively and efficiently neutralize violence, not cause it. This is in perfect agreement with the Chinese character for the “bu” in budo, one interpretation of which is “to stop halberds.” This is why that although we have forms used to demonstrate aikijutsu, there are no competitive matches.

One distinctive feature of Daito-ryu is that it has incorporated many of the essential elements and principles of other schools of budo, most notably the Ono-ha Itto-ryu. This was done to better allow the student to capture the essence of budo and to transform the art into a comprehensive one.

Daito-ryu goes beyond being a simple means of self-defense, and aims at putting mind and body in balance with the spirit that pervades the universe, developing oneself as a person, and contributing to society. One might recall that while Shinra Saburo Yoshimitsu, the distant founder of Daito-ryu, was skilled in martial techniques and the arts of war, he was also a skillful player of the sho. One story tells that while accompanying the shirabyoshi dancers on this instrument, he came to understand that despite the dancers’ elegant, fluid and ever-changing movement, they admitted no openings (suki). From this he perceived the principle of non-form (mukei) and mastered the deepest essence of aiki. It is in this anecdote, perhaps, that we find a hint of the true essence of Daito-ryu.

References


http://www.daito-ryu.org/history.html

http://www.daito-ryu.org/Images/toki1.jpg

www.daito-ryu.org/Images/gallery.html

www.aikiaustralia.com.au/ newsletter.htm

www.daitoryu.fi/fudoshin.htm

In our modern society, however, Nihon Tai-Jitsu has also become a Budo, integrating personality development as part of our goal, a deep respect for human life and a principle of proportionality of the defense toward the attack.

Nihon Tai-Jitsu is a pure art of self defense: a research of the highest effectiveness with minimum efforts in any situation. Tai-Jitsu is used by many police forces in Japan, France, Hungary, Spain, Portugal, North Africa… etc.

NTJ is a very structured system; It has specific fundamentals techniques (Kihon), 24 basic techniques, 3 Atemi Kata, 5 fundamental Kata, several types of Randori, Shiai and Bunkai. Each level of study is organized with a specific program and a progressive approach.

NTJ has a large number of techniques; However the system is kept open in order to let each Budoka to choose the techniques that best fit their personal body type, age or personal preferences.

Emphasis is put on fundamentals and key points rather than a rigid form. For this reason, many martial artists from other style decide to study Nihon Tai-Jitsu to add more efficiency or to complete their own style. Each person will adapt NTJ to him/herself rather than following a pre-defined corporal expression. Efficiency, concepts and minimum efforts for maximum effects are the guidelines.

Tai-Jitsu is one of Japanese oldest style (Ryu) of Ju-Jitsu whose origins date from 11th century to 16th century. Other names were also used such as Jujutsu, Koshi no Makari, Yawara…

The actual techniques of Nihon Tai-Jitsu were strongly influence by the ancient Daito Ryu from Takeda Clan conserving their original effectiveness.

During the first part of 20th century, the style was enriched with numerous technical components of Mochizuki Shihan’s Yoseikan Dojo. The prestigious Master Minoru Mochizuki brought it for the first time to Europe in 1951, beginning its expansion outside of Japan, by means of his disciple, the French Jim Alcheik.

After WW2, as Japan was loosing interest in its traditional martial arts, it is in Europe that the Nihon Tai-Jitsu became an even more complete Martial Art (Budo) under the influence of Jim Alcheik and his student Roland Hernaez.

References


http://www.ktadventure.com/budo/EWtai%20jitsu_en.htm

The Japanese combat techniques of Jujutsu (also commonly known as Jujitsu and other spellings) date back at least 2000 years. The exact origins of jujutsu are unclear, as most of it’s history was only passed on in the oral tradition. The few early written references show that it’s origins date back to mythology. Jujutsu was formalized and most popular during the Edo period of Japan. This was the era of the Samurai. Jujutsu was the samurai’s main set of combat techniques, after the sword that is. There have been many, many styles (or ryu) of Jujutsu throughout the history of Japan and more recently the rest of the world.

The origins of Small Circle JujitsuTM are based on the 2000 year old classical jujitsu, but the revelation of the small circle emphesis dates back to approximately 1944. The founder, Professor Wally Jay studied a style known as Kodenkan Jujitsu from Professor Henry S. Okazaki in Hawaii. Professor Okazaki had studied classical jujutsu styles of yoshin, kosagabe and iwaga, as well as studying Okinawan karate, Filipino knife fighting, Hawaiian lua, the art of throwing a Spanish dirk, boxing, wrestling and kung fu. Professor Okazaki was somewhat of a rebel, as he broke away from tradition on several occasions. He developed his own style of jujitsu called Kodenkan Jujitsu, as well as teaching non-Japanese, which was unheard of.

Professor Jay had studied boxing, weightlifting, judo and jujitsu from various instructors before 1944, when he received his black belt in Kodenkan Danzan Ryu Jujitsu from Okazaki. Professor Jay became aware of the fact that there was something missing with Jujitsu, the way he learned it. The knowledge he gained from the other disciplines and Okazaki’s own multi-disciplinary background gave him the perspective to see how classical jujitsu could be improved. It was his two years of judo study under Ken Kawachi that gave him the key to small circle. Sensei Kawachi stressed the use of the wrist action to gain superior leverage. Wrist action is the key to Small Circle Jujitsu. Over the years he made radical changes in the jujitsu techniques he acquired, believing that this was what his teacher, Professor Okazaki would have wanted. A point in fact is that Professor Okazaki himself was somewhat of a rebel, as he broke away from tradition on several occasions. He taught non-Japanese as well as developing his own style of jujitsu, called Kodenkan Jujitsu.

Professor Jay’s years of experience in classical jujitsu, judo, boxing, weightlifting, wrestling, aikido, kung fu, other martial arts training, and many periods of trial and error, led him to develop his theory known as Small Circle Theory. His goal was to refine and improve upon the techniques by combining the best of everything he learned in different disciplines. The small cirle theory is a proven scientific method that rapidly became accepted by the martial arts world as an acclaimed and accredited system. The small circle theory is not only applicable to jujitsu, but it blends in beautifully with other styles of martial arts. In fact, Professor applied the small circle theory to his judo teaching and led his team to become a winning team. In 1960 he was voted Northern California Judo Coach of the Year by Hokka Judo Yudanshakai. Throughout the 60’s and 70’s he produced national champions and team winners in Hawaii, Canda, USA, and Mexico.

In 1978 Professor Jay, Willy Cahill, John Chow-Hoon and Carl Beaver created Jujitsu America. They seceded from the Hawaiian based American Jujitsu Institute (which was the Kodenkan organization) because they had conflicting ideologies and methodologies. This group represented the mainland jujjitsuka who decided to break away from the old organization. The Hawaiian leaders wished to perpetuate the traditions of the kodenkan system while the statesiders, being modernists, wanted to update and improve their fighting skills to reflect certain modern realities.

This Small Circle Theory improved and cummilated until 1987, when it offically became recognized as a complete jujitsu style on it’s own, now known as Small Circle JujitsuTM. Many had recognized the small circle system as being a seperate style for many years, but after an article in Black Belt magazine, it was official.

Professor Jay’s small circle jujitsu techniques are smooth and functional because of his creation of the flow, which interchangeable techniques are used to counterattack the moves of the attacker.

Small Circle JujitsuTM evolved from combining many sources and elements, and continues to evolve as Professor Jay and others enhance the style with their knowledge.

References


http://ishh.net/founders_files/jaysigned.jpg

http://www.smallcirclejujitsu.com/

JKD was created by the late Bruce Lee. Lee felt discontented with the traditional martial arts. He felt that the traditional styles were unrealistic and more ornate than pragmatic. One story has it that Bruce Lee was challenged by a member of the Chinese martial arts community because Lee was openly teaching caucasions his unique brand of Wing Chun, Jun Fan. Lee accepted the challenge under the conditions that if he lost he would stop teaching caucasions martial arts, and if he won, he would teach whomever he pleased.

Lee eventually won the fight, but he felt the fight took too long. It was at this point that Lee decided to revolutionize the martial arts world and make history. Lee began investigating and researching, and eventually he developed many principles and techniques based upon these principles. In the end, Lee blended the footwork and combinations of western boxing with the principles of fencing, Wing Chun and Jun Fan Gung Fu, and Northern Style kicking. What he developed he later coined, “Jeet Kune Do,” or “Way of the Intercepting Fist,” translated from its native cantonese.

The Most Important Principle in JKD is Simplicity! Here at the institute, you will learn a core set of techniques, and the rest of your training will be spent in a “daily decrease.” JKD practitioners refine and remove excesses. Hack away the inessentials! Efficiency is the calling card of the JKD artist.

An unusual, but scientificly grounded principle, is that of putting your power side forward. This means that right-handed individuals will lead with their right foot and right hand, unlike traditional orthodox boxing. Yes, it is possible to hit incredibly hard with your power hand without a wind-up! Put your closest weapon to use on the opponents closest target. “Intercept them!”

Foot work is essential! Mobility is of the utmost importance. A great example is that of the foot soldier: he is constantly in motion, never staying static. A static target is always easier to hit than a moving one. Without foot work, techniques are worthless. A martial artist without footwork is a car with no wheels. The car may be powerful, fast, or even beautiful; however, it won’t take you to your destination.

JKD bends to fit you, you do not bend to fit the art. Learn a core set of principles, and then use what works best for you. Use what is most effective and suits your unique characteristics the best.

JKD was developed to fight in all three ranges of fighting:close, medium, and far. Its principles apply equally well in any range.

JKD was developed for the street! JKD is not a ring or tournament art. It is brutal, it is lethal, it is efficient. Here at the institute, we do not just practice against our own art. We have street confrontations in mind. We train against everything from the “haymaker and biscuit cutter,” to traditional karate, softer kung fu, and even western boxing.

References

www.4erasjkd.8k.com/whatisjkd.htm
http://www.personal.psu.edu/users/a/j/ajr220/art/lee.jpg
jeet-kune-do.gungfu.com/
www.elitejkd.net/

The origins of kickboxing can be found to date back two thousand years in Far East Asia. Kickboxing as we know it today developed under various influences. The first time anything resembling kickboxing was seen, was in the USA in the early 1970`s and was introduced as ‘Full Contact Karate’.

A new generation of martial art practitioner’s disillusioned with the traditional martial arts like karate wanted to experience full contact bouts fought to the knockout. In some of earlier tournaments the rules where unclear with no clear weight divisions. A good example of this was a tournament won by a very young Benny Urquidez, who weighing ten stone beat the fourteen stone Dana Goodson by pinning Goodson to the floor for more then ten seconds. The rules at the time allowed this!

The development of specialised protective equipment and regulation came from a new controlling body, the PKA that also set a defined set of rules and clear weight divisions. Kicks were only scored if they landed above the waist. Kicking below the waist was considered a foul, of course today this is allowed under standard kickboxing rules, while above the waist kicking only, remains under the full contact karate rules. In September 1974 in Los Angeles, the first ever world championships of full contact karate were hosted. The bouts took place on mats (no ring) it was only late in the 1970’s that the sport moved into the ring. Initially there were only four divisions. The first World Champions where Jeff Smith, Isuena Duenas, Joe Lewis & Bill Wallace, some of whom became legendary figures in the sport.

In 1975, George Brukner created the first European amateur organization. This was named WAKO it soon became a very strong rival to the Original PKA group. Control switched from its German foundations to Italian Ennio Falsoni Who developed WAKO into the most highly recognised amateur federation of kickboxing in the world and it is still in the forefront today.

On July 1976, Howard Hanson, a Shorin Ryu Karate Black Belt and student Of Mike Stone founded the WKA (World Kickboxing Association) This Association had the foresight to develop it regulations to introduce low kick and champions such as Rob Kaman and Ronnie Green emerged to give this body prominence. Later in 1991 the WKA was sold to Canadian Dale Floyd who in turn sold it to British Paul Ingram. The WKA is still very active on a global basis.

On July 1986, ISKA was formed as a result of many legal problems within the PKA, the ISKA (International Sports Kickboxing Association) was Founded By Five promoters and PKA executives including Tony Thompson, John Worsley, Karyn Turner and Mike Sawyer. In more recent year the association has been headed by Oliver Muller, based in Europe, only to see the power base return to the USA under the guidance of Mike Sawyer.

In more recent years the IKF (International Kickboxing Federation) has emerged as a major Player based in the USA it has developed into a global organization under the direction of Steve Fossum. Other world bodies are now emerging such as the German based WKU.

References

http://www.ko-kickboxing.com/features/History/kbhistory.htm
www.completemartialarts.com
Martial Arts Listings

Akiyama Shirobi Yoshitoki was a doctor from Nagasaki Japan who travelled to China to study Chinese Medicine. During his stay he also studied some techniques from various Chinese Martial Arts. Upon his return to Japan he taught the techniques he learned in China. He found it hard to keep students, as the number and effectiveness of these techniques were limited. As a result, Akiyama retired to the temple of Temmangu at Tsukusai around the year 1723.

There he felt he could furthur study these techniques in depth and attempt to expand on them. During his winter stay, he noticed the snow piling up on the branches of the trees outside the temple. He noticed that whereas the snow piled heavily on the stiff branches of the mighty Oak tree, that it slipped harmlessly off the pliable branches of the Willow tree. Eventually the branches of the Oak tree began to break under the weight of the heavy snow, but the Willow branches simply yielded and allowed the snow to fall off, thereby saving the tree. This brought a great enlightenment to Akiyama, and he used the concept of JU (supple / gentle) to greatly increase the number and effectiveness of the techniques.

He decided to name his style of JuJitsu (Gentle Art) “YoShin-Ryu Jujitsu” or (Willow Heart School / Willow Spirit Style). This RYU (School / Style), is also known as Yanagi-Ryu and Miura-Ryu, after two of its most famous teachers.

The Yoshin system taught that many illnesses were the result of a disproportionate use of mind and body. Miura devised several Jujitsu methods involving “arresting devices”. After a lengthy study with two of his disciples, he developed fifty-one arresting methods, His students, following his death, established systems of their own, further expanding his teachings.

References


http://www.amfedjujitsu.com/yoshin_ryu_history.htm

http://www.usjujitsu.net/articles/jujitsuP1.htm

Drunken kung fu began in Buddhist and Taoist folklore. The Buddhist version says that during the Song Dynasty, a well known martial artist named Liu Chi Zam mistakenly killed a man. He then became a monk to evade the authorities. One day Liu got drunk on powerful Chinese rice wine and was banned from the monastery. In a drunken rage he challenged and defeated over 30 monks in hand-to-hand combat. Still not satisfied, Liu continued on his path of destruction until he tore down the monastery gates. The next morning, Liu remembered his drunken condition and vividly recalled the odd rolling and tumbling techniques he used against the 30 monks. He practiced those techniques diligently’ and taught them as drunken kung fu. His particular style was referred to as drunken lohan. Lohan describes the first stage of Buddha-hood and only refers to Liu’s brief Buddhist encounters.


Years later, with the advent of Taoism in China, a new drunken kung fu story emerged, known as the legend of the eight drunken immortals. This story ultimately became the foundation for most drunken kung fu forms.


Immortality is one goal of Taoism, and the story says that eight people who happily achieved that goal got uproariously drunk while crossing the ocean. In this particular ocean existed a crystal palace belonging to the ocean’s gods. The behavior of the drunken immortals completely disrupted life in the crystal palace. A fight between the drunken immortals and the ocean gods took place, with each of the eight immortals using his or her own brand of drunken kung fu.


Drunken kung fu has moves that other styles might consider odd. For instance, if you’re on the ground, it’s natural to kick your opponent’s face if you’re a drunken kung fu stylist. A typical kung fu strike to the jaw would come straight in. But with drunken kung fu, it can often rise sharply from beneath, totally surprising your adversary.


Although only a folktale, the drunken immortal story let people use their imagination in developing a drunken kung fu that displayed a high level of martial arts expertise. Since each drunken immortal had a distinctive character, inventive martial arts instructors created a diverse form of drunken fighting. It became so advanced that it was kept highly secretive. In Taoist folklore, the eight immortals achieved immortality through rigorous self-discipline and worthiness. They are said to travel occasionally into the human world to continue their good work, which often appears in comic and bizarre forms, such as the drunken story.


This style is also known as these following names: Zui Quan, Jui Quen, Drunken Style, Drunken Fist, Drunkard Boxing, Drunkard Style, Drunkard Fist, Drunken Gods & Drunken Immortals.

References


www.angelfire.com/retro/drunken/history.html

www.chinavoc.com/kungfu/schools/cata_zui.asp

http://www.karatebushido.com/pictures/photos/shaolin.jpg/

Toward the end of the 5th Century AD an Indian Buddhist monk by name of Ba Tuo was traveling through China teaching Buddhism, helping and guiding. His great wisdom and kindness came to the ears of the Emperor who summoned Ba Tuo to come to him.


Exact details of what happened at this meeting is not entirely clear but is seems that Ba Tuo was offered a place in the palace and riches, and encouraged to continue his teachings. Ba Tao kindly declined this offer and asked for a piece of land far away from any ‘civilised place in the province of Henan on the side of the Song sang Mountain. There was given a large piece of land and resources to build a monastery in an area called ‘Wooded Hill or Small Forest which translates to Shaolin in Mandarin or Sil-Lum in Cantonese.


Introduction of Physical Exercise

In about 539 AD, a holy man named Bodidarama (later called Ta Mo by the Chinese) left his monastery in Southern India to spread the Buddhist faith to China, later called Ch’an Buddhism. (Ch’an is the Chinese translation for the Sanskrit word “dhyana” meaning Yogic concentration, also known as Zen in Japanese to where it migrated from China.). After traveling hundreds of miles to reach Northern China and crossing the Himalayan mountains and the Yangtze River, he headed North to Loyang, the capital of Henan Province.


There of course he found the Shaolin Ssu (Temple). It was, 40 years after it’s founding, and had become famous for scholarly translations of Indian Buddhist scripture into Chinese. Bodidarama sought entrance to Shaolin but the abbot of the day, Fang Chang would not let him into the temple (as many sought entrance for various reasons).


Bodidarama was determined to enter and see the Shaolin Ssu. He located to a nearby cave on the side of a mountain (this cave can be visited when in Henan/Shaolin as well as climbing to the top where a 40 foot Buddha is erected in honour of Ta Mo), where (it is said) he sat in meditation facing a stone wall. From this event many versions exist including;


That he sat facing a wall for most of the next nine years at the end of which Bodidarama’s deep blue piercing eyes had apparently drilled a gaping hole in the cliff wall. (we did not find such a hole but we did find what seemed to be a permanent shadow)


That he fell asleep meditating and his eye lids closed and when he awoke he was so distraught that he cut of his eye lids so that this would not happen again (but this would be against Buddhist teaching and he was a devoteBuddhistt!).


That he was visited by monks (initially secretly as they were interested in the ‘foreigner’) and was even supplied with food and water; and that he in this way was able to demonstrate his knowledge and skill of Buddhism to such a degree that he was finally (after 9 years?) admitted to the into the temple.


Irrespective of which stories was true, it is clear that Fang Chang at some time relented and allowed Bodidarama entry into the temple Shaolin.


Upon gaining entrance to Shaolin. Ta Mo (as he was now called by the Chinese) saw that the monks were weak and could not perform the rigorous meditations he expected that Buddhist Monks should be practicing. Whilst meditating they often fell asleep or were very restless and were not achieving inner calm or peace (which is required to reach Enlitenment, that for which all Buddhist strive!).


He spent some time in seclusion pondering the problem. Considering the time and health awareness at the time Ta Mo came to a staggeringly accurate conclusion, that the monks were not fit to meditate. With this in mind he started working on a solution; he created three treaties of exercises.


These in-place exercises were later transcribed by monks as;


• “The Muscle Change Classic” or “The Change of the Sinews,”

• “The Marrow Washing”

• “The Eighteen Hand Movements later named The Eighteen Lohan Shou (Lohan meaning enlightened)


and marked the beginning of Shaolin Temple Kung Fu (meaning hard work and perfection). Ta Mo later devised some self-defense movements based on his knowledge of Indian fighting systems (Bodidarama was born an Indian Prince and was well versed in Yoga and Indian Kung Fu).

Many of the Shaolin priests were retired soldiers and generals thus Ta Mo’s teachings were enriched and refined by these martial art masters and thus it slowly developed in to a martial art of the hands also known as Shaolin Ch’uan [Shaolin Fist] or Shaolin Ch’uan Fa [Way of the Shaolin Fist]).

Shaolin was not a poor temple by this time and was regularly attacked by peasant armies (since individuals had no chance to penetrate Shaolin defences and walls). Often to enrich it’s knowledge Shaolin would invite wandering healers, scholars and now also martial art masters into it’s walls to learn from these by sharing knowledge and skills!

Shaolin became very apt at kung fu and in repelling the attacking bandits. And slowly but surly the Shaolin became renown for their martial arts prowess and fighting ability. It is to be noted that not all Shaolin Monks were warrior monks but that monks choose to specialise in areas of expertise, much like university professors. Although at this time all practiced kung fu, not all were totally focused on the practical aspect of the art, only the Warrior Monks. It is also interesting to note that Shaolin preferred not to hurt their assailants as this would have ramifications for their spirituality in this life and the next!

Only a further 30 years later Shaolin was closed and forbidden and it took some 30 years, around 600AD, before it was reopened.

The Second Temple

Built around the same time as the Henan Temple, the Fukien Temple was integrated into mainstream Shaolin around 650 AD and became the ‘Second Temple” of Shaolin. It was/is a much larger temple than the one in Henan and served as the second main temple in times where Henan was destroyed or occupied by other than Buddhists and Shaolin.

The 13 Champions

In 698 AD Emperor T’ai Tsung of the Tang dynasty called upon the fighting monks of Shaolin to aid him in his war against General Wang-Shih-Chung, who had gathered a large army in an attempt to oust the Tang emperor from the Imperial throne. Li Shimini, the Emperors son was leading the army against Tang. Tang managed to capture the Emperors son and was inflicting great damage to tangs army.

Tang sent a message to the Shaolin temple to help him and save his son. 13 monks were sent to answer their emperor’s plea although in fact it may have been a much larger force (113 monks or so). Even though this amount of Shaolin monks sent was small (the enemy’s army counted 10,000 men) the remaining Tang army was victorious, the enemy was beaten back and decimated and the Emperors son was saved.

In recognition of their great action T’ai Tsung awarded the monks land, and bestowed upon the temple the title, ‘Number One” temple in China.

Later that so saved son, Li Shimini, succeeded his father and a very strong bond was forged between the Imperial court and Shaolin. Regular interchange and training between high ranking soldiers and graduate Shaolin Warrior Monks saw further development of Shaolin Kung Fu and the integration of the secret Imperial (Eagle) Kung Fu into Shaolin knowledge and skills.

72 Movements

< span class="enso12-6B6523">A couple of hundred years later a rich young noble and experienced martial artist, entered the Shaolin Monastery and assumed the name of Chueh Yuan. He soon devoted all his studies to the further development of Shaolin kung fu and fitness training. Within a few years he revised the 18 Fists of Lo Han and created what he called the 72 Styles or Movements. His methods and teaching were so successful that his 72 fists were adopted by all Shaolin monks very quickly. The 72 movements were very effective for both internal and external fitness. They incorporated much of what is being taught today. But Chueh Yuan was still not fully satisfied with this and he went out to teach and learn, looking for Masters of other styles.

This later than become common practice for Shaolin. Shaolin adepts were sent out to share Buddha’s teaching and help the poor(much like the founder of Shaolin). It was also a test though as many would be Shaolin were tempted by worldly pleasures and did not return. Those that did became the Priests and bough many new skills, knowledge and wisdom from their travels!

It’s also around this time that the third temple was integrated into the Shaolin order. The Wutang Tiger Temple was located in the politically unstable area near Manchuria and the Korean Peninsular. It was often being besieged or attacked, and the monks there were very versed with the practical aspect of war, weaponry and defence. The Wutang (Wutang, Wu Tang . . . ) temple was very old and integrated into Shaolin around 800 AD.

170 Movements

On his travels Chueh Yuan witnessed how a 60 year old traveler was being attacked by a bandit. He saw how the attacker landed an apparently very strong kick to the body of the traveler with very little or no effect. And yet the old man only used two fingers against the bandit’s leg sending the attacker to the ground, seemingly unconscious by the time Cheuh reached the old traveler.

This maneuver obviously impressed Chuen enormously and he introduced himself to the senior. Much to his surprise the old man did not know much of martial arts and what little he knew was taught to him by the local master Pai Yu-feng.

Pai Yu-feng was a friendly 50 year old and Chuen convinced him to accompany him back to his temple. Over the next few years they, using the 18 fists, the 72 movements and these ‘pressure point techniques’ redeveloped Shaolin Kung Fu into the 170 exercises that became one of the foundation of Shaolin Kung Fu as we know it (and is still taught first before the 5 Animal Styles are taught).

The Time of the Ming Dynasty

The time of the Ming Dynasty was a (so called) golden area in China’s arts history. Many works of art were created that still exist and are now considered priceless. Philosophy and knowledge was thought in all to a fairly equal degree. During this time the Shaolin Temples also grew and prospered becoming the centre for teaching, philosophy, history, Buddhism, mathematics, poetry and of course martial arts. Many monks, wise persons and travelling martial artists would gain entrance to Shaolin and share their knowledge in return for Shaolin knowledge and shelter.

At this time, Shaolin reached it’s peek. Each Temple was like university of Buddhism, health and the finer arts. Each temple had several Shaolin Masters who were experts or specialists in a particular area of training, well being or philosophy. Rich Chinese would send their sons (and later even Daughters) to Shaolin to become students (no priests) and learn from the best in every field.

Shaolin adepts would also undergo a rigorous test before they were considered ready to leave the temple on their journey years. In order to graduate from the temple, they would have to exhibit phenomenal skills and pass through 18 testing chambers in the temple (which were possibly more symbolic in nature as no evidence was found in any of the Shaolin Temples of any such rooms). Although it is dramatised in movies, Shaolin would actually be brought to the brink of exhaustion through a serious of 18 tests, 6 each physical, mental and spiritual (thus the 18 chambers). It is even possible that one of these physical tests, the last one was the lifting of a hot cauldron with their bare forearms (each temple had traditionally such a cauldron, unique for each temple). This cauldron would not have been plain and would possibly have the raised relief of symbolic animals which would thus be burnt into the graduating monks arms (as a reminder to them of their trials). Varied accounts suggest that these cauldrons may have had the following symbols on them;

• Wutang Temple- A Tiger and Dragon for Martial Art Prowess
• Henan Temple- Dragon and Phoenix for universal balance/Yin Yang
• Kwan Tung Temple – Two Dragons for their clones to the Emperor
• Mai Shan Temple – Two Cranes as they were close to the Tibetan border and a healing temple
• Fukien Temple – (no record or anything found for this temple)

These marks were the signs of a Shaolin graduate. (Not all who entered Shaolin graduated in the full 18 chambers, many were only lay priests or guests, especially towards the end of the Ming Dynasty).

This is also the time when the original 170 movements were redefined into the 5 Animal Style, Ng Ying Ga Kung Fu.

A martial art expert named Zhue Yuen joined the Shaolin. He noticed that the kung fu practiced in Shaolin was unbalanced, tending strongly to the hard external style. Zhue Yuen traveled China in search of martial art styles and found many that he learned and evaluated. But it wasn’t until he reached the town of Lan Zhau and met Li Sou that anything happened.

Li Sou introduced Zhue Yuen to Bai Yu Feng who was another famous martial artist practitioner. Zhue Yuen was able to convince both to come back with him to Shaolin to develop kung fu. Together they redeveloped Shaolin kung fu to the 5 animal style (Tiger, Snake, Dragon, Leopard and Crane).

Although originally just exercise and kung fu styles. Over the next few hundred years the Shaolin were able to discover and develop the 5 Animal Style system to be metaphors for human situation handling, interaction, problem solving, planning and much much more (much of which was lost with the second burning of Shaolin and only the external kung fu aspect was cultivated and maintained; but more to that later).

The Fourth Temple

It is at around this time that the 4th temple was added to the order of Shaolin. The O Mei Shan (Great White Mountain) was a devoted library and medical temple. It was located in a very inaccessible area of Szechwan province. Very much like the other temples used to import kung fu masters, the O Mei Shan temple imported healers.

O Mei Shan was in close contact with the Crane Temple in Tibet and a major medical temple with books, tombs and scrolls from east and west. It is probably the temple that burnt in the symbols of 2 Cranes on to the forearms instead of having the traditional Dragon one of the two animals, as in the other three temples in the 18th Chamber principle!

The Invaders

The Great wall and Chinas army was mostly successful in repelling invaders but around mid 17th century, invaders from Manchurian, lead by the Ching Family, ended China’s Golden area, and the Ming Dynasties reign. They slowly but surly and brutally took control of China and systematically eradicated all resistance. Many Chinese nobles, warriors and commoners were forced underground where they sought to oust the invaders and reinstate the prosperous Ming Dynasty.

There were a significant number of factions among the Chinese who aided the Manchus against Ming loyalists, in large part because the Manchus held to the same ideology, governmental patterns, and social organization as the Ming. By the early 1600’s the Ming dynasty was significantly weakened. It was unable to cope with both its own internal tensions and the militarily strong 50’s to the northeast.

An internal rebellion was the direct cause of the downfall of this dynasty (Chinese rebel Li Tzu-ch’eng seized Peking in 1644). That the Dutchmen were able to capitalize on this by being invited to put down the rebellion by a frontier general is largely coincidental. The Great Wall was hardly so impregnable that they would not have been able to invade and conquer the area in its weakened state.

Thus the Manchus found the entrance to China and slowly but steadily conquered China. Those that did not wish to conform had to either migrate or go underground, some also sough refuge in the Shaolin temples.

Shaolin initially only offered passive resistance against the invaders seeking to remain above the political matters. It helped anyone who sought refuge and thus involuntary became a safe haven for refugees and resistance fighters. The Manchu’s also had 5 classes of people clearly defined;

• The Manchu Ruler and his family
• The Manchu Nobles and their families

• Manchurians in general
• Northern Chinese
• Southern Chinese
Many Ming loyal soldiers and nobles sought refuge and help in Shaolin. Shaolin, although themselves passive became a enter of resistance. This was a thorn in the invaders side and needed to be dealt with, drastically, but . . .

Shaolin was strong, their reputation great and their support from commoners even stronger. But finally in 1647 AD, through betrayal of an insider and large amounts of Ching loyal troops, armed with cannons, the original Shaolin temple in Henan was almost utterly destroyed. The monks who remained to defend were slaughtered, many fled to the Fukien Temple and for 30 years continued their resistance and their support of resistance fighters. This in turn led to the destruction of the Fukien temple, the remaining major temples and most of the lesser temples as well as the destruction of Shaolin text’s. (these events have inspired many ‘Shaolin Temple’ movies including Shaolin Mystagogue!)

From this time onwards Shaolin were outlawed and any practice of Shaolin Kung Fu punishable by death. Much was lost. Most of the priceless scrolls of Shaolin Kung Fu and teaching and many treasures of knowledge and wisdom. Shaolin monks and lay persons were now split into many directions, all initially operating in secret. These were those that;

• continued their resistance and taught Kung Fu for the sole purpose of fighting and defeating the Chins. They were the fathers of secret resistance organisations know as the ‘Triads’, so named after a gift of the Ming Dynasty Emperor to the Shaolin of a jade triangle.
• were devoted to the art. These passed down their learning from father to son or most apt student. In this process much was lost but enough was maintained. Non of these styles is all of Shaolin but each have key elements.
• reverted to being ‘just’ Buddhist priests.
• migrated to many other countries including the US, and many oriental countries including Japan, Indonesia, Malaise, Taiwan, etc…

Many great Chinese Fighting Martial Artist cam to be famous during this time of strife and resistance (mid 17th Century to 1899), some gaining great notoriety. Among these were Hung Hei-Kwun and his teachers from the temple, the Monk Sam Tak and the Abbot Chi Zin. But Shaolin monks were now outlawed. They had to go into hiding and could no longer be ‘Shaolin’ monks openly. This is a time when Tai Chi ’styles’ flourished, a way of secretly training and teaching Kung Fu. The techniques were disguised, movements slowed, stances and toughness hidden.

The Reopening of Shaolin

Around a century or more later, towards the start of 19th Century, the Shaolin Temples were reopened and included the 5th Shaolin Temple Kwantung (located around 200 km’s southwest of Fukien).

But the rulers of the day were still fearful of the power of the Fighting Shaolin Monks. They only allowed Shaolin to be used as a purely religious purposes without allowing any Kung Fu or other martial art training. The underground, no longer Shaolin but Ming loyalists, were still very busy making life hard for the Chings. The final big overthrow was to be the Boxer Rebellion in 1899 AD.

The Boxer rebellion was to overthrow the Ching Dynasty and reinstate the original descendant of the Ming Dynasty. The Boxer rebellion was a total disaster. The Manchu’s now armed with hand guns and rifles totally destroyed the Boxers (the Brits called this ‘funny’ style of fighting Boxing and it stuck!)only armed with their Kung Fu. This was the death of the Chinese resistance. Some triad members escaped to other countries, including the US, Korea, etc. Without a focus some/many triad members went into a new line of business . . . This caused another influx of Chinese martial arts into the Orient, the US and now also the new continent Australia.

The 3rd Burning of Shaolin

As with the previous times, Shaolin influence, power and Kung Fu (although officially forbidden and punishable by death) was still feared and forbidden. This possibly led to the 3rd Burning of Shaolin in 1927 AD during Chiang Kai Check’s reign.

Chiang Kai Check himself was a great believer of Kung Fu and although he forbade all martial art practice he surrounded himself with Kung Fu fighting masters as his body guard. When he was being threatened and ousted by the new forming Chinese Republic he packed up as much of Chinese treasure as he could, took his wife (who recently died in the US aged 105) and 100 masters and moved to Taiwan. His arrival had a key influence on that country

The Cutural Revolution

The cultural revolution was against all matter of religion and martial arts or anything that would allow individually, resistance or free thought. If you were seen to be preaching or teaching any other than Mao’s’ words, you were immediately re-educated or imprisoned.

This was more disastrous to Shaolin Kung Fu than any of the other times as it attacked Shaolin teachings and style on all fronts not just Kung Fu but also Buddhism and any type of organization other than Mao’s. This was the final death of Shaolin!

After many successful Chinese Kung Fu movies by Bruce Lee (opening Kung Fu to the world) and Jacky Chan (introducing the concept of Shaolin) and in particular Jet Li in the movie Shaolin Temple, Officials in Beijing (means Northern capitol originally know as Peeking) started to realize the potential of Shaolin a a marketing tool but also as heritage! But the fear and distrust of Shaolin, its Kung Fu and power was deep. They knew though that they needed some type of ‘replacement’, some type of art other than Tai Chi and Chi Kung that was hard, external and athletic to fill this emptiness. This was the ‘popular’ birth of Wu Shu.

A respected Chinese official was given the task of breathing life back into Shaolin. As with many Chinese decisions it was both a pragmatic decision as well as a financial and historical. The key was to have an art that was dynamic and in spirit of Shaolin but not Kung Fu. Wushu was ideal for this purpose. it embodied the spirit of Shaolin by providing all the requirements for health and well being that Kung Fu did but focused more on flow and athleticism rather than technique and fighting. Wu Shu has grown and developed and with the many versions and adaptations of kung fu, in some cases there is very little difference between the two.

There was a problem though as Shaolin and it’s idea was already ‘occupied’ by a whole thriving industry called Shaolin Village and many so called Shaolin temple training Schools! The reopening of the Shaolin temple by the “Grand Abbot” Master Su Xi who’s kindness and dedication seem so much similar as the original founder of Shaolin, gives hope to a new era of Shaolin teaching and Spirit. But for all his good teaching and kindness he was also being used.

Animal Wu Shu is being practiced, but not the Shaolin 5 Animals but a new breed of modern, very athletic and well developed Animal styles including;

• Monkey
• Eagle
• Crane
• Snake
• Mantis

The current Abbot of Shaolin the venerable . . . . has been in place for 10+ years now. He or the Chinese government have just cleared all the schools and the village surrounding Shaolin allowing only one to be there, the official Chinese Government Shaolin Temple training School. All schools, some numbering up to 8000 students, have been moved to the near by major city of Kerfeng (wrong spelling, right sound). Shaolin and the area around it is being prepared to be . . . possibly a tourist and martial art trap or a heritage site. Time will tell.

There are possibly many other styles and flavours emerging in this new era of martial art Renaissance. Also a new era of Shaolin has started again with many martial artists, tai chi, kung fu and chi kung practitioners travelling to Henan where they can learn modern Shaolin Wu Shu!

Golden Era

Shaolin’s 1st Golden Era started with the ascension to the throne of the Tang Dynasty son who they saved. During the Ming Dynasty was the second Golden era of Shaolin with much cooperation between the Emperors Palace and Shaolin. Now with the full force of the Chinese Government behind them, efforts to have Wushu in the Olympics and over 1 billion people training Wushu, Kung Fu, Tai Chi and Chi Kung we can consider this the third golden era not only for Kung Fu and Wu Shu but for all peaceful martial arts (i believe that violent and aggressive MA are a recessive breed). As a martial artist at body, heart and spirit, it is a good time to be alive!

References

www.lo-man-kam.de/ wingchun.htm

www.shaolins.com/

http://www.shaolin.com.au/history.htm

Feng Shou is an all round self-defence system. It is an internal or ‘soft’ martial art, which means that we use the principles of relaxation, giving greater control over movement, balance and speed. Add to this the Tan Tien force (internal energy Chi), this enables you to overcome force with gentleness, as the opponent’s strength is redirected to work against them. This makes Feng Shou suitable for men and women of all ages.

Initial practice is performed slowly to ensure safety in training. Sensitivity and speed is developed through the practice of I Shu, the art of Forms and Sets and partner practice. Practical, effective and adaptable, Feng Shou helps develop confidence and self-control.

Feng Shou Ch’uan Shu means Hand of the Wind Boxing. The name comes from the ‘Earl of the Wind’, who in Chinese mythology was called Feng Po. He is depicted as an old man with a long flowing white beard, who stands on the green grass of the heaven’s highest pinnacle, dressed in a yellow cloak and wearing a red and blue hat. In his hands he holds the open end of a cotton sack, and wherever he points the mouth of the sack, the wind blows in that direction. He can turn a full circle, and send the winds unhindered across the whole world. If he moves slowly, then the wind from his sack will hardly move and it will feel like the gentleness of a morning breeze. But if he becomes angry or is surprised then he may turn very fast, and the wind will hurtle across the universe to create the devastation of a tornado.

So don’t upset him by becoming aggressive, for the one thing he hates is violence. No matter what force he may use, you will never see it, although you will see the results or its after effects, like the leaves rustling in the trees, or in his more serious moods, the roots of a tree being pulled out of the ground. He never gives his intentions away so you can never anticipate his actions and as you can never see him, you never know if he is near you.

Chi Shu

Chi Shu ‘energy’ or ‘breath’ art is the Li Family throwing art. Whether applying a ward-off, counter-striking or breakout from a lock or a hold, it can become a throw. We use the extending or contracting of muscles, pressure or release of bones and the opening or compression of the joints. If necessary, arteries, nerves and meridians points can be used.

The opponents force is redirected, throwing them to the ground or into something else, a wall perhaps. Locks can be applied before during or after the throw, as can counter strikes. Student learn to roll, fall safely and how to nullify a throw. Chi Shu combines a devastating self-defence system with the softness, sensitivity and balance that epitomise the Li family system. With regular practice, practitioners develop spirit and agility.

References


http://www.taoistarts.co.uk/selfdefence

Among China’s well kept secrets, one caught the imagination of Americans – Chinese wushu. Wushu is an important component of the cultural heritage of China, with a rich content that has remained untarnished over the centuries. Literally translated, “wu” is military, “shu” is art. Wushu therefore means the art of fighting, or martial arts.

Previously, wushu figured significantly in the simple matter of survival through China’s many wars and political upheaval. Today, wushu has been organized and systematized into a formal branch of study in the performance arts by the Chinese. It reigns as the most poular national sport in the country of 1.1 billion people, practiced by the young and old alike. It’s emphasis has shifted from combat to performance, and it is practiced for its method of achieving heath, self-defense skills, mental discipline, recreational pursuit and competition.

To describe wushu, it is best to understand the philosophy of its teaching. Every movement must exhibit sensible combat application and aestheticism. The wealth of wushu’s content, the beauty of wushu movents, the difficulty factor, and the scientific training methods are the song of the elements that set wushu apart from martial arts. Routines are performed solo, paired or in groups, either barehanded or armed with traditional Chinese weaponry. In short, wushu is the most exciting martial art to be seen, felt, and ultimately practiced.

How is wushu related to kung fu and taijiquan? “Wushu” is the correct term for all Chinese martial arts therefore kung fu and wushu were originally the same. During the last thirty years, wushu in Mainland China was modernized so that there could be a universal standard for training and competing. In essence, much emphasis has been placed on speed, difficulty, and presentation. Consequently, wushu has become an athletic and aesthetic performance and competitive sport, while “kung fu” or traditional wushu remains the traditional fighting practice. Taijiquan is a major division of wushu, utilizing the bodies internal energy or “chi” and following the simple principle of “subduing the vigorous by the soft.”

Although still in budding stages in many countries, wushu is an established international sport. In 1990, wushu was inducted as an official medal event in the Asian Games. Since then World Championships have taken place with 56 nations participating. Wushu is also vying for the Olympic games in the 21st century.

References


http://www.beijingwushuteam.com/#whatiswushu