History of Japanese Martial Arts - WebStartssidekickpublications.webstarts.com/uploads/History_of_Japanese... · History of Japanese Martial Arts Written by Allen Woodman 3 Dedication

HISTORY OFJAPANESE

MARTIAL ARTS

Written by

Shihan Allen Woodman

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History of Japanese Martial Arts Written by Allen Woodman

1stprinting Copyright– 2011 Printed in Japan 2011

2nd Printing 2014

History of Japanese Martial ArtsWritten by Allen Woodman

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Dedication

I thank all those who have supported and

nourished the martial arts around the world.


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About the cover

Designed by Allen Woodman

Photography Allen Woodman


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Table of Contents

About the Author Page 6

Chapter 1 The art of our fathers Page 15

Aikido Page 23

Judo Page 37

Jujitsu Page 47

Karate Do Page 67

Shotokan Page 81

Goju Ryu Page 115

Kyokushin Page 132

Wado Ryu Page 142

Chapter 2 Ranking & Kyu Page 153

Chapter 3 Looking for Our selves Page 169


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ABOUT THE AUTHOR

SHIHANALLEN WOODMAN

When I first began my training at the age

of four, I had no thought of the length of time

that I would continue my training. My father

was enlisted in the military and we moved

quite often. One day the order came to pack

our belongings once more as we were heading

overseas for the next duty station. My family

and I had to move to Japan that year. I was not

there too long before I was offered an amazing

chance to train in karate. I was offered to

attend a karate class with my next door

neighbor. I went, excited to see those kicks,


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punches and throws I had seen on television

with my father early on Saturday afternoons.

My first class was a much needed break

from daily life on a military base with little to

do and for me to get excersice as well as a way

for my parents to get me out of the house for a

couple hours a week. Before long it had filled

my life attending classes several times a week

and hours at a time. I hadn’t understood the

validity or the opportunity I was given at the

time however; it’s the basis of all my martial

arts today.

I began my training with a true martial

arts legend Shihan Ryuichi Sato. Sensei Sato

was a long time student of the founder of

traditional Japanese karate do Osensei Gichin

Funakoshi. A direct student of Funakoshi

Sensei but was ultimately pushed out during

the takeover of the Hombu dojo in Tokyo by the

newly commissioned Japan Karate Association

(J.K.A.) in the late 1950’s. Because of the


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politics involved with the organization after

Osensei Funakoshi’s death in 1957, Sensei

Sato decidedly stepped away and stayed away

from the inner workings and union of the

Hombu dojo and began his own school outside

Atsugi, Japan. This is where I started my

training. At age four, I didn’t know that it

would lead me to a lifetime of study and

learning. After forty years I am still learning

more about myself and my art through my

training and my association with my karate

family.

Training in Japan with Sensei Sato


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I left Japan at age fourteen but returned

several times to test for promotions and train

with my sensei back in Japan. Those days were

the most memorable for me as I was a grown

adult with a Dan ranking. I could comprehend

more and understand in a better light what

karate and its inner techniques meant. The

fundamentals of karate do are a never ending

supply of information. To understand the basic

movements and kihon of karate will develop

into the more advanced stages of Karate. The

understanding of karate is the fundamental

foundation to all that a good karate ka will ever

learn in a lifetime.

In 1988 I was received the sad news that

Sensei Sato had died in Japan. It was a sever

loss to me as well as many other students. The

Dojo outside Atsugi, Japan would be closed

and that I was to receive my 4th degree Black

Belt from him posthumously, as well as the

title Renshi (Master Instructor).


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Sensei Allen testing for 3rd Dan at the Atsugi

Dojo in 1986

In 1988 I was welcomed in to the training

hall of a well respected instructor of Shotokan

karate, Sensei Walter Todd. Todd Sensei was

also a direct student of OSensei Funakoshi in

Japan just after World War Two. In 1946 when

the American occupying forces lifted the ban

for martial arts training in Japan, Todd Sensei

began training at the Hombu Dojo in Tokyo,

Japan. Sensei Walter Todd later was granted

his 5th Dan certificate directly from Funakoshi

Sensei in 1956.


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Sensei Walter Todd & Allen Woodman at the

Dojo in Oakland, Ca.

Sensei Todd receiving his Ni Dan Certificate in

Tokyo, Japan 1947

It was fantastic training and a time of

learning for me to be able to study under such

a great teacher as Todd Sensei. He was a

wealth of knowledge and unencumbered skill.

I would later receive my 3th Dan under his


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direct tutelage in 1991 in the arts of Aikido and

Wado Ryu.

1998 I returned to Japan full time. I

settled down, lived and worked in and around

Tokyo for the next fourteen years. I returned to

my training but due to location and time I

enrolled in the Hombu Dojo in Tokyo, Japan. It

was a blessing to train with many students

from around the world and learn from some of

the most noted teachers available. I am proud

and happy to have had that opportunity to do

so.

In January, 2011, I was promoted to 6th

degree black belt and continued my title of

Renshi or master instructor. Soon after, there

was a world altering event in Japan that

would once again change my life. A

catastrophic tsunami and earthquake shook

the country of Japan. Thus my return to the

United States was inevitable. I toured

throughout the United States upon my return


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and began teaching seminars and informative

lectures to willing participants. I recently

settled down and am now living, working and

teaching in lower Pennsylvania. I was offered a

great job opportunity with the Central Bucks

County YMCA as the Coordinator for the

martial arts programming for the YMCA in

Doylestown, Pennsylvania beginning in 2012. I

happily accepted and am now working toward

other personal goals in my martial arts career.

Since my leave from the YMCA position I

have returned once again to what I know best.

Teachign martial arts has always been my

passion and a responsibility that I willingly

accept. Travelling the world to sharre my

knowledge and skills with others is a dream

come true and one that I hold in the highest

regard.


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CHAPTER 1

THE ART OF THEFATHERS

This is History of Japanese Martialarts. This book has been put together overyears of training and years of research. Insidethese pages is information that will enlightena few and reinforce the knowledge of others.

The stories contained in this materialare not my personal beliefs or my opinions ofthese arts. They are with the best offoundations the authentic and hopefully


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accurate accounts of martial arts from thestudents, schools and teachers of theirrespective arts.

With very due diligence I have talked,interviewed and researched these subjectsover a 40 year period. It is not my in myinterest to deny some parts of their history ororigins to make some arts look better. Inparticularly not to make them look better thananother martial arts practice either.

While my foremost study has been inthe traditional Japanese karate systems, Ihave had extensive training outside mycomfort zone. Travelling and training in arts inChina, Hong Kong, Thailand, and PhilippineIslands and all over the United States. I havedelved deep in to the roots and foundations ofsome arts in this book to find the arts trueorigins and in some cases why they began andby whom.

It is my personal belief that the peopleresponsible for beginning an art form must begiven credit. Without their dedication and trueleadership we would all be lesser martial artistourselves.


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The select few individuals in this textare only a handful of peoplethat havededicated their entire lives to the preservationand the practice of their arts. They must alsobe praised for the benefit to mankind as awhole. Because of their sacrifices we havethe opportunities to learn the most ancient ofart forms today.

That to me is the true essence of a realmartial art. Any art that has lasted throughyears of turmoil, hidden practices and orpolitical refuge is an authenticated art foprmas far as Iam concerned.

As you will read forward you will findthat often art forms were disallowed bygovernments and even outlawed by politicalmeans.

Some arts have been lost due to theseissues, yet others still remain and are vibrantand active arts practiced around the world.

While researching this book I have comeacross finer aspects of the arts in questionthat may or may not be taught at otherlocations.It is with these fine points that I


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point out that it really is not the art you learnbut the learning of the art that is more themeaning of martial arts.

Martial art is the study of militarytactics, of defense and attack in various forms.Less we forget that the second word of this isART. With that is the ideal that these systemshave a science and nuance that is undefinedby specific rules of military engagement!

They are the search for self in analtruistic manner. It is quit amusing to notethat although martial arts are the techniquesof defense and attack,hit, punch, kick, throw.Every art form I have come in contact with inmy travels and learning all have the samebasic philosophy of non aggression towardothers.

Some arts make it their path to learn apeaceful way without confrontation and othersaccept the confrontation as a mere obstacle topeace.

Oddly, in comparison the arts that mostpractice will never use these martialtechniques for anything other than


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development of self through practice andexercise.

When you think of the concept yourself,you can imagine that learning how to punchsomeone as a way to learn to never punchsomeone is a very strange approach to self-defense. Most arts have this same simpleideology however. The act of aggression is notpromoted and often not tolerated. I have seenpersonally students have been kicked out ofschools for bad destructive behavior and atpoint karate tournaments; I personally havedisqualified students for excessive contact orunsportsmanlike conduct. The pure concept ofmartial arts is a peaceful serene life filledwith-out conflict and with-out the use of theart they train years to master.

Ideology aside, I believe this to be a validapproach to conflict in most cases. To avoidconflict in yourself and others is the extremeideal of a martial arts practitioner.

“It is what I strive for in my daily life andtraining”.


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Looking back, it is hard to imaginewhen martial arts were not a part of my life. Irealize that I started training at a younger agethan most people. I am positive that it reflectsnow in my actions and decisions for my life. Iteffects how I relate to others on a day to daybasis, make choices in stressful conditions aswell holding back on wanting to strangle theidiots who cut me off on the freeway. Butpatience is a virtue or it can be a waste of time.

It all depends on your perspective of thegiven situation.”

It is much like choosing a martial artand a martial arts training school appropriatefor you. It all depends on your perspective.

“All martial arts are not the same”.

Martial arts come from many differentcountries and many different cultures. Theyare all born from the sole instinctive purposesof defense. Martial arts literally means intranslation Military Warfare. It is the abilityand skill to attack and defend.


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The difference between each individualart or another is the dynamics of its use andthe techniques that it incorporates.

Before I begin, I wish to stress afundamental point. There is no style, systemor art form that is greater than another. Allarts are equal in their entirety. Some artsmay punch and others may not. Some kickwhile others throw their opponent. Each style,system or art form stresses a differentviewpoint, idea or perspective. The end resultof all real martial arts is the same,self-defense.Being able to ward off an attack from variousangles with pre-trained re-actions is theultimate and ending objective of all truemartial arts. Different arts have their owndifferent history, philosophy and techniques.That is what makes them different and that iswhat makes them good.

It is my personal view that there is noart or style that can state it was the first. Itwould only be the shear arrogance and ego ofman to believe that one specific style or formwas the beginning of all others. As long asman has existed on this small planet, he has


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needed and developed the skills to defendhis/her home, family, property and life againstinvading predators of all kinds.

I will start in alphabetical order todisregard any potential arguments ormisunderstandings later on as to which one isbest or first. I would not care to even begin aconvoluted discussion of who thinks whatculture or race was the forward to any other.It is a pointless argument that has no value ortrue meaning to the history or development ofmartial arts. These are not the only martialarts available. These are just a few select artsthat I have trained in or have personalfirsthand knowledge of.

Not to mention they are some of myfavorites.


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AIKIDO


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Aikido; is a Japanese art form that originatedfrom the ancient Japanese art ofJujitsu .Founded by the great Osensei MoriheiUeyashiba.

In the early part of 1910 UeyashibaSensei already had earned a sixth degreeblack belt in traditional Daito-ryu Jujitsu. Hehad once served in the Japanese (Jeitai) Armyas an officer and soldier. Later in life, after thedeath of his father he became a devoted


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Shintoist. A true Shintoist is above all else apacifist. The story, or more legend has it thatone day while taking a shower, UeashibaSensei shook the water from his body by asingle movement. This movement is said to behis time of enlightenment. Osensei Moriheibecame one with his universe and understoodit principles of balance and movement.

Whether you personally believe thisconcept is true or not is up to your personalbeliefs and of your understanding of theuniverse around you. The late Great O’SenseiUeyashiba probably is the closest thing I haveever heard of.

Aikido was introduced as the only truepassive martial art in the world. By usingattackers own force against them-selves. TheAiki practitioner maintains his center (Ki) andblends or harmonizes with his opponents’attacks and movements. This is the onlypassive martial art known to have ever beendeveloped. The translation of AI KI DO isharmonizing your mind and body with theuniversal spirit of energy (Ki)


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Osensei Morihei Ueshiba 1883-1969

This is the true nature and spirit ofAikido. It is a deeplyspiritual artform thatrelies on its truly passive nature. On the otherhand however Aikido is the culmination, studyand strategy of leverage and balance. Aikidopractice is rigid in its training style.Learningto fall (Sutemi) and roll (Ukemi) is its own artform and takes years to master.

Aikido technique uses small and largecircular movements to avoid, counter andmaneuver an opponent off balance. This artcreates great dynamic throws and sweepingturning techniques to disable, disarm andeven lock an aggressor in to submission.


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This art form is passive in its intent;however do not mistake its true nature for theability to inflict severe damage to an oncomingattacker.

The founder of Aikido, Master UeshibaMorihei, was born on December 14, 1883.Living in the turbulent time of Japan'smodernization, he dedicated himself toestablishing a martial art that would meet theneeds of contemporary people but would notbe an anachronism. The following factors wereat the core of Master Ueshiba's primaryconcerns: an abiding love for traditionalmartial arts, the care that it not bemisunderstood and a deep wish to revive thespiritual quality of budo.

He sought to achieve his goal through arelentless quest, given substance by constanttraining in the martial arts, for the truth ofbudo throughout the vicissitudes of modernJapanese history.

Ultimately, Master Ueshiba concludedthat the true spirit of budo is not to be foundin a competitive and combative atmosphere


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where brute strength dominates and victory atany cost is the paramount objective.

He reasoned that it is to be realized. It isthe quest for perfection as a human being,both in mind and body, through cumulativetraining and practice with kindred spirits inthe martial arts. For him only such a truemanifestations of budo can have a raisond’être in the modern world, and when thatquality exists, it lies beyond any particularculture or age.

His goal, deeply religious in nature, issummarized in a single statement:

“The unification of the fundamentalcreative principle, ki, permeating the universe,and the individual ki, inseparable from breath-power, of each person”.

Through constant training of mind andbody, the individual ki harmonizes with theindividual ki, and this unity appears in thedynamic, flowing movement of ki-power whichis free and fluid, indestructible and invincible.This is the essence of Japanese martial arts asembodied in aikido.


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After Ueshiba left Hokkaidō in 1919, hemet and was profoundly influenced byOnisaburo Deguchi, the spiritual leader of theOmoto kyo religion (a neo-Shinto movement)in Ayabe.One of the primary features ofŌmoto-kyō is its emphasis on the attainmentof utopia during one's life. This was agreatinfluence on Ueshiba's martial arts philosophyof extending love and compassion especially tothose who seek to harm others. Aikidodemonstrates this philosophy in its emphasison mastering martial arts so that one mayreceive an attack and harmlessly redirect it. Inan ideal resolution, not only is the receiverunharmed, but so is the attacker.

In addition to the effect on his spiritualgrowth, the connection with Deguchi gaveUeshiba entry to elite political and militarycircles as a martial artist. As a result of thisexposure, he was able to attract not onlyfinancial backing but also gifted students.Several of these students would found theirown styles of aikido.

Aikido was first brought to the rest of the

world in 1951 by Minoru Mochizuki with a visit to


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France where he introduced aikido techniques to

judo students.

Onisaburo Deguchi

He was followed by Tadashi Abe in 1952 whocame as the official Hombu representative,remaining in France for seven years. KenjiTomiki toured with a delegation of variousmartial arts through fifteen continental statesof the United States in 1953. Later in thatyear, Koichi Tohei was sent by Aikikai Hombu


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to Hawaii, for a full year, where he set upseveral dojos. This was followed up by severalfurther visits and is considered the formalintroduction of aikido to the United States.The United Kingdom followed in 1955; Italy in1964; Germany and Australia in 1965.. Todaythere are aikido dojos available throughout theworld.

The biggest Aikido organization is theAikikai Foundation which remains under thecontrol of the Ueshiba family. However, aikidohas many styles, mostly formed by MoriheiUeshiba's major students.

The earliest independent styles toemerge were Yoseikan Aikido, begun byMinoru Mochizuki in 1931, Yoshinkan Aikidofounded by Gozo Shioda in 1955, andShodokan Aikido, founded by Kenji Tomiki in1967.The emergence of these styles pre-datedUeshiba's death and did not cause any majorupheavals when they were formalized.Shodokan Aikido, however, was controversial,since it introduced a unique rule-basedcompetition that some felt was contrary to thespirit of aikido. This concept was not within


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the founder of Aikido’s ideology of theadvancement of the art. Osensei Ueashiba didnot feel that competition could benefit the Aikipractitioners’ universal center andunderstanding. It was never an acceptedsystem of Aikido practice.

After Ueshiba's death in 1969, two moremajor styles emerged. Significant controversyarose with the departure of the Aikikai HombuDojo's chief instructor Koichi Tohei, in 1974.Tohei left as a result of a disagreement withthe son of the founder, Kisshomaru Ueshiba ,who at that time headed the AikikaiFoundation. The disagreement was over theproper role of ki development in regular aikidotraining. After Tohei left, he formed his ownstyle, called Shin Shin Toitsu Aikido, and theorganization which governs it, the Ki Society(Ki no Kenkyūkai).

A final major style evolved fromUeshiba's retirement in Iwama, Ibaraki, andthe teaching methodology of long term studentMorihiro Saito. It is unofficially referred to asthe "Iwama style", and at one point a numberof its followers formed a loose network of


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schools they called Iwama Ryu. AlthoughIwama style practitioners remained part of theAikikai until Saito's death in 2002, followers ofSaito subsequently split into two groups; oneremaining with the Aikikai and the otherforming the independent organization theShinshin Aikishuren Kai, in 2004 aroundSaito's son Hitohiro Saito.

Today, the major styles of aikido areeach run by a separate governing organization,have their own headquarters (honbu dōjō) inJapan, and have an international breadth.

In aikido, as in virtually all Japanesemartial arts, there are both physical andmental aspects of training. The physicaltraining in aikido is diverse, coveringbothgeneral physical fitness and conditioning,as well as specific techniques.Because asubstantial portion of any aikido curriculumconsists of throws, the first thing moststudents learn is how to safely fall or roll. Thespecific techniques for attack include bothstrikes and grabs; the techniques for defenseconsist of throws and pins. After basictechniques are learned, students study


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freestyle defense against multiple opponents,and in certain styles, techniques withweapons.

Physical training goals pursued inconjunction with aikido include controlledrelaxation, flexibility, and endurance, with lessemphasis on strength training. In aikido,pushing or extending movements are muchmore common than pulling or contractingmovements. This distinction can be applied togeneral fitness goals for the aikido practitioner.

Certain anaerobic fitness activities, suchas weight training, emphasize contractingmovements. In aikido, specific muscles ormuscle groups are not isolated and worked toimprove tone, mass, and power

Aikido-related training emphasizes theuse of coordinated whole-body movement andbalance similar to yoga or Pilates. For example,many dojos begin each class with warm-upexercises (junbi taisō), which may includestretching and break falls.


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Aikido training is based primarily ontwo partners practicing pre-arranged forms(kata) rather than freestyle practice. The basicpattern is for the receiver of the technique(uke) to initiate an attack against the personwho applies the technique—the tori, or shite,(depending on aikido style) also referred to asnage (when applying a throwing technique),who neutralises this attack with an aikidotechnique.

Both halves of the technique, that of ukeand that of nage, are considered essential toAikido training. Both are the Aikido principlesof blending and adaptating. Nage learns toblend with and control attacking energy, whileuke learns to become calm and flexible.

In the disadvantageous, off-balancepositions in which nage places them. This"receiving" of the technique is called ukemi.Uke continuously seeks to regain balance andcover vulnerabilities (an exposed side), whilenage uses position and timing to keep uke off-balance and vulnerable. In more advancedtraining, uke will sometimes apply reversal


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techniques (kaeshi-waza) to regain balanceand pin or throw nage.

Unlike other arts that take a heavy tollon a person’s physical well being in later years,Osensei Ueshiba was still actively teaching atthe main (Hombu) school until his death in1969. He was 81.

The Hombu Dojo for Aikido is still veryactive today. The head instructor of the schoolis the Doushou who happens to be theGrandson of Ueshiba Osensei.


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柔

道JUDO


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Judo; The founder of Judo, Jigoro Kano wasborn in 1860, he graduated with a degree inliterature from Tokyo Imperial University in1881 and took a further degree in philosophythe following year. Apart from being thefounder of judo, Kano was a leadingeducationalist and a prominent figure in theJapanese Olympic movement.

When Kano began his study of ju-jutsuas a young man, the ju-jutsu masters of themartial arts were struggling to earn a living.


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Although they were willing to teach the skillshanded down to them over many generations,there was little interest among people of thesucceeding generation Inaddition, the demiseof the samurai (warrior) class had reduced theneed for instruction. People of the newwestern idealogical lifestyle soon gave way tothe traditions of the past. Those past customsincluded such martial training and / or a needto protect oneself or family in a new legalsociety of law and order.

At the age of 18 Kano studied the ju-jutsu of the Tenshin Shinyo Ryu under thegreat masters Fukudo and Iso, bothinstructors were the highly prestigious KomuSho. Following the death of Fukuda, Kanoremained briefly with master Iso beforefinishing his study with master Ikubo.

By 1883, Kano had clarified his analysisof ju-jutsu and related methods to the point atwhich he felt able to instruct the publicthrough a school of his own. To that end heborrowed a small room at Eishoji temple andopened the first school which he called theKodokan for the study of Kano judo.


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Judo although a new art was not initselfnew. It was a culmination of not only thetraditional Jujitsu practice of Osensei Kanosyouth but also his professorship study ofphysiology, body movement and humanengineering that led him to the creation of thisnew art of Judo.

Professor Jigoro Kano 1860-1938

Judo is an art that derives its birth fromthe traditional Japanese art of Jujitsu. It wasthe sole theory of Professor Jigaro Kano of theImperial University in Tokyo, Japan around


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the turn of the last century. In approximately1898 when the first paper was published onJu-Do By Dr. Kano, He was an attending sixthdegree black belt of Jujutsu at the maintraining school (Hombu Dojo). At the sametime he was the head professor at the TokyoUniversity in the field of anatomical theoryand physiology.

It is the study and research of thebody’s movement and muscular bio-structure.In short he was a true master ofunderstanding the body and how it moves.

Ju-Do or the supple way in itstranslation, is the practice of leverage and off-balancing your advisory with throws andlocking movements. By using a push and pull(Suri-Komi) method to throw and pin anattacker it relies a great deal on balance andstrength training to hone the principles that itso greatly uses with such effortless grace.

With-in the first ten years of its initialconception the style of Judo became anational sport in Japan.


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The country at this time was alreadygeared up to increase its push into the foreignlands of China and Korea. Looking for a trueJapanese art, the politico of Japans monarchydecided to introduce the new system in to themainstream populace as the national sport. Amove designed to heighten the moral of theJapanese public and mobilizing troops for theintellectual premise of supposed superiority.

Originally, Judo had in its make-upthree forms (Katas) as well as striking(Tsukiwaza) techniques. However, since itsmain inception in to the 1956 Olympics, theart of Judo discontinued the practice andtraining of strikes, kicks and punches as wellas its original three forms. There are fewpeople left alive today that remember or haveever been taught the original katas of Judo.

When the first dojo of Judo had openedin 1883, a number of machi dojo (backstreetgyms) decided that the Kodokan was conceitedand ought to be put in its place. They visitedits premises and caused damage so that ifhonor were to be satisfied a challenge match


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Prof. Jigaro Kano demonstrating his Judo

would have to be arranged. At such matchesthe Kodokan was represented by SakujiroYokoyama, the outstanding player of his day,and the result was invariably a win for Kanojudo.


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To gain acceptance from the provincesKodokan representatives travelled all overJapan giving lectures and demonstrations onthe principles behind the new method. Thefinale of these lectures was a contest, withlimb locks and striking excluded, betweenthe Kodokan lecturer and a member of thelocal training school.

A particularly important match tookplace in 1886 to decide which system of ju-jutsu should be approved for use in military


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academies, police departments and publicschools. The 15 strong male Kodokan teamdefeated all opponents and judo became agovernment approved sport.

The aftermath of the 2nd World War wasa dark era for Japan and all things Japanese.As part of Japan's war effort, instructors hadbeen ordered to teach unarmed combat. Afterthe end of World War II with occupationalforces in the land and governing over thenewly recovered country, and in retaliation theoccupation forces prohibited almost allpractice of the martial arts in schools andpublic institutions. The ban remained in placeuntil 1951.

In1949, however the occupationauthorities indicated that the yudanshakai(dan grade society) of the various privateschools and training halls could bereconstituted as a single democraticorganization.

As a result the Japanese JudoFederation was formed under the presidencyof Risei Kano, only son of Jigoro Kano, withheadquarters at the Kodokan. Today the All


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Japan Judo Federation has Jigoro Kano'sgrandson as its President.

Although there had been a gradualrelaxation of the rule during allied forcesoccupation, private instruction in judo wastolerated and the police were exempted fromthe general prohibition. The Kodokan waslargely left to re-establish itself unhindered.

Kano had taken a stand against theworst aspects of militarism in pre-war Japanand that, together with new draft rules whichremoved the vestiges of judo's martial originand made Kodokan Judo practice and trainingacceptable to the authorities.

Whatever political backing might havedone to push it to the outward world, it is anart form that commands respect as a practicaland applicable martial art and highly effectivemethod of self-defense.


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柔

術JUJITSU


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Jujitsu; formally known as Jiujitsu-do. Alsoseen spelled as Jiujitsu, Jujutso, Jiujutsu,and Jijitsu, Jujitsu is one Japan's oldestmartial arts. Through the ages it has beenknown by many different names, such as"yawara," "taijutsu," "wajutsu," "torite,""kogusoku," "kempo," "hakuda," "kumiuchi,""shubaku," and 'koshinomawari."

The word Jujitsu means "gentle art" ("ju"means flexibility or gentleness and "jitsu"means art or technique). Jujitsu is a system of


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combat where a smaller person may defeat amuch larger person by adding the largerperson's strength and momentum to theapplication of his or her own technique.

Although it is considered the "gentleart," Jujitsu is not a delicate art. It was theprimary unarmed combat method of thesamurai and could be devastatingly brutalwhen used on the battlefield. Westerners tendto misinterpret "gentle" to mean weak or theuse of little strength or power.

This was never the case with combatJujitsu where great strength was frequentlyneeded to defeat an enemy. Not all Jujitsutechniques are gentle, though sometimes theyare done with such swiftness and efficiencythat they appear to be so. Therefore,gentleness is more correctly interpreted asflexibility, where the mind and body unite andflow with the power and motion of anopponent to defeat the opponent. Sometimesthis results in great force being used.

Most Jujitsu techniques cause greatpain and some may break bones with littleeffort. This is especially noticeable when


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applying techniques to pressure points whereminimum effort may cause maximum pain.Using pressure points allows you to makesomeone move where you want him or her togo, or you can use them to cause enough painto make your opponent surrender.

The term "gentle art" really refers to theprinciples and techniques that are thefoundation of the art. In Jujitsu, you learn notto resist. When pushed, you pull. When pulled,you push. This is the principle of "Ju no ri."


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Jujitsu's origin is lost in the mists ofantiquity. Some say it originated in Chinaaround the 7th century BC, while others say itoriginated in Japan. In either case, theJapanese perfected the art.

Legend has it that Jujitsu was originallyintroduced to Japan by a Chinese namedChen Yuan-ping, in the mid 1600's, but alarge amount of evidence disproves this. Forinstance, there are reliable records of theJapanese Jujitsu masters, such asHitotsubashi-Joken or Sekigushi-Jushin, whothrived years before this date. Authenticdescriptions of Jujitsu are found indocuments such as Yukisenjo-Monogatari,Kuyamigusa, and in old Jujitsu "Densho," theinstructions and records of secrets by thefounders of various Jujitsu schools, whichalso predate the legend.

Many factors led to the development ofJujitsu. Carrying bladed weapons wascommon during ancient times and successfulunarmed defense against them was a greatasset. The Japanese soldier was trained froma young boy to be skilled with many weapons,


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like the Japanese katana, a two-handed,razor-sharp sword. They also trained with thehalberd, javelin, combat-scythe, bow andarrows, and other smallerweapons. Sincewarriors of the time wore armor, kicks andpunches had little effect, so chokes and jointlocks were used to attack unprotected areas,such as the neck, arms, and legs.

Other factors are: Before the advent offirearms in Japan, bows and arrows were usedin warfare, but in close combat, warriors usedspears and swords. Occasionally, they had tofight with their bare hands using (Kumiuchi).The more advanced techniques of Kumiuchicontributed to the development of JujitsuFor centuries,

Japanese warriors wore two swords, onelong and one short. However, warriors in thepresence of high personages had to appearwithout long swords.


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Jujutsu is the Martial Art invented by the Samurai.

In the Tokugawa period, long swordswere taboo in the court of the Shogun, whilethe retinu on guard and minor officials wereallowed to wear short swords. These warriorsand guards, as well as prison guards, neededa way to defend themselves without resortingto the deadly sword. Special methods, such aspunching, poking, chopping, kicking, andbending and twisting the joints, were studied


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and developed so that an unarmed person, ora person who was restrained from using hisweapons, could subdue an adversary.

For several hundred years before theMeiji era, and throughout the feudal age, classdistinction was rigidly enforced between thewarrior and the commoner, the latter beingforbidden to wear any sword. So, for self-defense, commoners had to learn the art ofbare-handed fighting. The afore mentionedfactors are closely interlocked and cannot beclearly separated from one another.

For a historical study of Jujitsu thereare two main sources: (1) historical andliterary works in general, and (2) the variousDensho.

History books contain comparatively fewreferences to Jujutsu, but there are more to befound in the miscellaneous writings of eachperiod. As for the Densho, each school, intheir eagerness to enhance their schoolprestige, they often adorned their origins andrecords with flowery rhetoric, so some timestheir contents are not reliable. Moreover, someDensho, while of ancient origin, are actually


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manuscript copies so their authenticity isdubbious. Nevertheless, it may be safelydeduced from the records available thatJujutsu began to take a systematized form inthe latter half of the 16th century and that thevarious schools came into being from the 17thto about the beginning of the 19th centuries.

The Nihon Shoki, "The Chronicle ofJapan," a history compiled by the Imperialcommand in 720 AD, refers to a tournamentof "Chikara- Kurabe", a contest of strength,which was held in the 7th year of the EmperorSuinin, 230 BC.

Some historians regard this as thebeginning of Sumo (Japanese wrestling) whichhas some aspects in common with Jujutsu.Although it is questionable whether Chikara-Kurabe bore any relation either the Sumo orJujitsu of later years, the recorded event ishistorical proof of their embryonic stage.

The first instance of the word "yawara"occurring in Japanese literature is found inthe Konjaku-Monogatari, the Once-upon-a-time Stories, which are said to have beenwritten during the latter half of the 11th


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century. Since the word is found in a storyabout Sumo, it cannot be directly linked toJujutsu, but it deserves the attention ofJujutsu historians.

Jujutsu's tenets (doctrinal principles),the instructions of the various schools mostlydwell on the ideas which may be seen in thefamous old book on strategy selected by theChinese strategist, Hwang-Shihkon, whichwas the Bible of warriors in the feudal age.They also carry echoes of Chinese philosophyrepresented in the Book of Lao-tsze, whopreached non-resistance and gentleness, or inthe Yi-King (or I Ching), the Book of Changes.There is little original thinking in the schoolwritings, although occasionally oneencounters passages which indicate anaspiration to the ideal of Bushido.

Around 1100 AD, Shinra SuburoYoshimitsu created Daito ryu-Aiki-Ju-Jutsu,which involved techniques where a smallperson may control a bigger, more powerfulperson with soft, simple movements. This wasa new concept to the Japanese, since powerfultechniques were the norm. Since Yoshimitsu


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was a General for the Minamoto family, hisJujutsu was kept a secret inside that familyfor centuries. Through the centuries, thepublic gradually gained knowledge of itstechniques.

From 1333 to 1573, Jujutsu waspopular in Japan and many styles, or "ryus,"developed. More than 700 styles wereofficially accounted for in Japan during the17th century. The first Ryu opened in 1532 bythe Japanese Takenouchi Hisamori. Hissystem, based on combat Sumo-wrestlingtechniques, gave Jujitsu an identity.

Some styles involved weapons, whileothers were purely unarmed. When ShogunTokugawa rose to power around 1600,commoners were forbidden to carry weapons,so unarmed self-defense was popular amongthem.

Jujutsu was very popular with thesamurai since empty hand fighting wascommon in battle. Also, if a lesser samuraiever had to subdue a higher ranked samurai,he could do it using Jujitsu with impunity.Whereas, if he used a sword, which could


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result in a death of either of the samurai, theLord would be angered and might seekpunishment for the lesser samurai.

Some claim Takenouchi Ryu was thecore ryu (school) from which all Jujutsu ryussprang. This ryu was founded in 1532 andborrowed substantially from Sumo.Takenouchi Ryu adapted combat methodsfrom various sources that came to be knownas "Kogusoku." This method and others werelater classified under the common heading ofJujutsu.

One problem with Jujutsu was that itwas so violent that was difficult to practice.Tournaments usually ended with seriousinjuries and even death. However, this wasalso a time when new techniques weredeveloped since people could fight to the death.

Gradually, wars decreased in numberand peace became more common. Duringthese times, Jujutsu developed into a more ofa weaponless martial art, although schoolstaught both armed and unarmed combat.Some schools were based either hard or softtechniques, some focused on kicking and


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punching, some focused on throwing, and yetothers focused on joint-locks and takedowns.

According to the Bujutsu-Ryusoroku,the Biographies of the Founders of VariousMartial Exercise Schools, in the 1800's sometwenty schools of Jujutsu (ryu) existed, suchas the "Takenouchi Ryu," "Sekiguchi Ryu,""Kyushin Ryu," "Kito Ryu," "Tenshin-ShinyoRy," " Tenjin-ryu," and "Daito-ryu."

The differences between these variousschools were chiefly attributable tospecialization in certain techniques, but itseemed that a few Jujitsu masters merely


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founded new schools simply for their ownpurposes, for there were schools that differedin name but were practically identical insubstance.

Two main styles of Jujitsu weredeveloped, Ju-jutsu and Aiki-Jutsu. UnlikeJu-Jutsu, Aiki-Jutsu was kept secret. Only afew people were taught this art, Jujutsu hasspawned a number of martial arts, includingJudo, Aikido and possibly Korean Hapkidoand Kuk-sool. In 1882, Jigoro Kano, who hadstudied Kito Ryu and Tenshin-Shinyo Ryu,founded Kodokan Judo (gentle way). MoriheiUyeshiba was one of the few Aiki-Jutsustudents and he used what he learned todevelop Aikido (way of universal power) in1898.

In 1871, the Decree Abolishing theWearing of Swords, which forbid samurai fromwearing swords in public, was devastating forall martial arts. People no longer needed toknow how to defend themselves from armedenemies since swords were now prohibited inpublic, so martial art school attendance


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dropped rapidly. It was a difficult time for allmartial art schools.

In 1886, the Japanese policedepartment was looking for a martial art toteach all their employees. They arranged acompetition between the Jujutsu school andthe Judo school. The ferocity of jujutsubecame its downfall. Kano had removed mostof the extremely violent moves from Jujutsuwhen he developed Judo so it could bepracticed without the risk of seriously hurtingpeople. The Judo students were better athletesand defeated all but two of the Jujutsustudents. Those two matches ended in a tie.Therefore, the Japanese police choose Judo.However, they later reinstated most of theJujutsu strikes because they were needed.This new art became known as "Taiho Jutsu,"which was only taught to the police andmilitary. After this competition, Judo wasrecognized as the better art and Jujutsu wasleft to fend for itself.

Beginning in the early 1900's, JapaneseJujutsu masters began visiting the UnitedStates and Europe exhibiting their skills and


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techniques. In the 1930's, Jujutsu began togrow and be recognized in the United States.

Jujutsu has evolved into an art that ismuch safer to practice today than it was in thetime of the samurai.

Modern Jujutsu is not a contest ofmuscular strength, nor does it attempt tomaim or kill. It uses throws, locks, kicks, andpunches to gain release from an attacker andto temporarily incapacitate him or her. It isapplicable to women and men of all ages andsizes. It places priority on practicing self-defense, while adhering to local laws relatingto self-defense.

One large strength of Jujutsu is thatyou can learn and choose techniques to usewithout concern about competition rules andtheir limitations. It covers the entire spectrumof different realistic types of attacks, includingkicks, punches, knees, elbows, throws, take-downs, joint-locks, ground-fighting and more.

Jujutsu is an excellent form of exercise,especially when considering the importance ofmaintaining or increasing one's flexibility,


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endurance, and strength, and is also goodpractice for children. It builds up self-confidence, co-ordination, and it teaches themrespect, discipline and other social benefits.Although Jujutsu is categorized mostly as asystem of self-defense, competitions,especially in Brazilian Jujutsu (as popularizedby the Gracie family), have become morecommon.

Jujutsu theory is derived from the waytechniques are applied. Each technique isapplied to cause pain compliance (thus theterm weeping) before moving into anothertechnique. This means the defender must useproper form in the technique for it to bepainful to the attacker. It also helps attackingstudents develop pain tolerance.

Some of types of techniques found inmodern Jujutsu are: Atemi-Waza (strikingtechniques) Nage-Waza (throwing techniques)Kensetsu-Waza (joint manipulation) Shime-Waza (strangulation or choking techniques)Katami-Waza (ground techniques), Vital andnerve point striking and manipulation


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This art goes back farther than its ownrecords do. Before the feudal period of Japansnotorious history, the leading family (Diamyo)of traditional Jujutsu was said to be the familyof Takenouchi.

The Takenouchi house was a rulingfamily of the Japanese period around the year345 A.D. The Takenouchi clan taught andtrained imperial troops (Teino-No-Keibi) orSamurai and Warlord militia (Shogun-noBushi) for several hundred years.

The most popular and better knownstyle of Jujutsu however, was the Daito Ryusystem taught by the Daito family house(Diamyo), popular around the year 465 A.D.

The many different styles and systemsof Jujutsu uses leverage, locking and throwingtechniques to disable, strike and even kill anassailant. There is very little kicking involvedin this art. If any kicks are delivered they arelow and direct only. This art is oftenassociated with grappling and ground fightingpractice as its basic techniques are taughtfrom a kneeling or siting position.


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The basic reason for developing most ofthese lower grounded techniques are becauseof the position of the sword carrying warriorsthat practiced the art. Most guards andwarriors sat in a kneeling position (Seiza)while in the presence of their commander.Bent on their knees with their feet crossedslightly at the toes and tucked under theweight of their body and armor they might bewearing. So any defense would first need tobe learned from that sitting position.

From this father art there came amultitude of other off shoots and singular artssuch as Aikido and Judo. Their foundationsare solidly with in the practice of traditionalJujitsu but have in some way moved awayfrom the original principles of Jujutsu to formtheir own identity.

Goshin, HakkoRyu, Taizan Ryu, SmallCircle and many others have over time beendeveloped through traditional training informal Jujutsu

Some arts have denied or lost theirconnection with the parent art but if youresearch the history of most grappling arts


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you would surely find the traditional art ofJujutsu to be somewhere in its history.


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空手道

KARATE-DO


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Karate; is the Japanese art of self-defensecreated by the basic principles and roots ofChinese Kung Fu. This art draws itsfundamental tools of use from power andbalance. Karate is a direct, linear martial artutilizing force and focus to disable and defendagainst any would be attacker.


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Actual Karate history can be tracedback some 1400 years, to Daruma, founder ofZen Buddhism in Western India. Daruma issaid to have introduced Buddhism into China,incorporating spiritual and physical teachingmethods that were so demanding that many ofhis disciples would drop in exhaustion. Inorder to give them greater strength andendurance, he developed a more progressivetraining system, which he recorded in a book,Ekkin-Kyo, which can be considered the firstbook on karate of all time.

The physical training, heavily imbuedwith Daruma's philosophical principles, wastaught in the Shaolin Temple in the year 500A.D. Shaolin (Shorin) kung-fu, from northernChina, was characterized by very colorful,rapid, and dynamic movements; the Shokeischool of southern China was known for morepowerful and sober techniques. These twokinds of styles found their way to Okinawa,and had their influence on Okinawa's ownoriginal fighting method, called Okinawa-te(Okinawan hand) or simply te. A ban onweapons in Okinawa for two long periods in itshistory is also partly responsible for the high


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degree of development of unarmed fightingtechniques on the island.

In summary, karate in Okinawadeveloped from the synthesis of two fightingtechniques. The first one, used by theinhabitants of Okinawa, was very simple butterribly effective and, above all, very close toreality since it was used throughout manycenturies in real combat. The second one,much more elaborate and impregnated withphilosophical teachings, was a product of theancient culture of


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China. These two origins explain the doublecharacter of Karate--extremely violent andefficient but at the same time a strict andaustere discipline and philosophy with anonviolent emphasis.

Karate today is popularly known as aJapanese martial art of unarmed combatutilizing dynamic strikes and kicks to subduean aggressive opponent. The mixed origins ofthis art however lie - geographically - muchfurther away than mainland Japan, through theisland of Okinawa in the Ryukyu island chainand ultimately to the south-east area of Chinain the Fujian province (Fukien). Time andcircumstance have also played important rolesin the formulation and development of the art,with influence from Japanese martial artsstretching back to the Heian period. To cap it alloff, both the armed and unarmed arts weretested and made practical on the battlefield overseveral centuries of inter-tribal warfare.

All of these influences - and more - havefathered the birth of karateOkinawa wasmilitarized long before the advent of recordedhistory and localized war was as common there


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as anywhere else where competing tribes foughtto protect themselves. Mainstream Japanesefighting techniques and philosophies enteredthe island from the Heian period (794-1185)onwards through visiting aristocratswhobrought with them a retinue of bodyguardsthat were skilled in the use of the halberd,spear and sword, and who could performarchery (the chosen art of the samurai beforethe sword gained ascendancy) and grappling.

This knowledge was absorbed byindigenous warriors exposed to it and put togood use in violent territorial disputes amonglocal warrior chieftains between the seventhand fifteenth centuries.One such example citedby Patrick McCarthy (though it is disputed bysome historians) was the influence ofMinamoto Tametomo of the Minamoto clan.According to McCarthy, in his career Tametomooverran Kyushu (the southernmost area ofmainland Japan) after being exiled to OshimaIsland (in the Izu Island chain) following defeatby the Taira clan and his subsequent escape.From Kyushu, Tametomo moved further southto Okinawa. Marrying into the family of a localwarlord Tametomo's son, Shunten, went on to


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become the most powerful warrior chief on theisland with his dynasty lasting until 1253, aperiod in which martial arts from the Japanesemainland became further embedded into theOkinawan way of fighting. This is the storybelieved by certain residents in Okinawa, buthistorians argue the events are fictitious andwere created at a later date to attempt tolegitimize Japanese dominion over the RyukyuIslands.

MinamotoTametomo was famed for hisskill with the bow, the 'badge' of the samuraiclass before the katana and wakizashi emergedas the more famous signifiers of the warriorelite.For the next two centuries localizedwarfare continued between three primary areasuntil, in 1429, Sho Hashi was able to emergevictorious and form a centralized government.

Though 1429 is a significant date in theoverall history of Okinawa, a date of moreimportance to the history of karate is 1507when Sho Shin-O ratified the 'Act of ElevenDistinctions', one of which prohibited theownership and stockpiling of private weapons.Suddenly there was no access to weapons as a


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means of personal self-defense and, at a deeperlevel, the techniques and martial strategies thathad developed under the influence of the armedwarriors from mainland Japan had no apparentmeans of expression. Without a physical swordthe technique and strategy of using a blade incombat appear to become redundant. From1507 onwards then the people of Okinawaturned to the investigation of unarmed combattechniques in lieu of the possibility of makingan armed response to an aggressor. Theseweaponless fighting approaches would, manychanges later, one day become various schoolsof karate.

As important is the date of 1507. It is inimportant date the historical development ofkarate, It was the year that the Governing bodymade the ban on the ownership of weapons inJapan and its outlaying island territories.

The earliest recorded contact betweenOkinawa and China occurred in the early 7thcentury. Commerce and cultural exchange wereslow to develop though and it was not until1372, shortly after the demise of Mongoldominance in China, that an envoy was sent


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from China to Okinawa to invite the latter tobecome a tributary. Under the terms of thealliance trade between the two nations wouldincrease and by the close of the 14th century aChinese trading mission (known as the 'Thirty-Six Families') had been established in thecapital city Naha. For the next five centuries,until the Ryukyu Islands were annexed byJapan in the 1870s, Chinese language andculture, including martial arts, wasdisseminated through Okinawa and the islandchain. Close relations between the twocountries also led to outstanding youngOkinawan scholars being given the opportunityto travel to China to further their studies,opening the door for Chinese martial arts to belearned at the source and then transmittedback to the island.

One class within feudal Okinawan societythat did perpetuate the practice of Chinese-influenced combative arts was the Pechin. ThePechin were middle-ranking warriors, somewhatequivalent to mainland Japanese samurai. Likethe other classes, the Pechin were created bySho Shin and served in an official capacity from1509 to 1879. Unlike the higher ranking classes,


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the Pechin occupied positions and conductedaffairs that brought them into direct contactwith lower ranking citizens. For example, thePechin could be employed in civiladministration or law enforcement. It wasmembers of the Pechin class pursuing a careerin maintaining a lawful peace who can takemore credit that any others for sustaining thepractice of unarmed combat under directJapanese authority.

The Shimazu clanwere firmly entrenchedin the Satsuma peninsula approximatingmodern-day Kagoshima prefecture in theextreme southern area of Kyushu Island.

The clan was famous for their strongsword style of Jigen ryu. They were sufferingafter failed campaigns in Korea under ToyotomiHideyoshi and after defeat at the Battle ofSekigahara in 1600, the final great battle thatled to the establishment of the TokugawaShogunate. With a high number of samurairetainers and little in the way of spoils of war torepay them Shimazu Yoshihisa, the leader ofthe Shimazu clan, turned his eyes southwards.The Shogunate was only too happy to bleed the


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Shimazu further and distract them from anythoughts of rebellion. Thus, in 1609, aninvasion fleet set sail and swept down theRyukyuan island chain defeating all oppositionas it went and occupying the islands taken.

Victory was swift. The Shimazu samuraiwere battle-hardened and there was little theOkinawans could do, moreso given thatsignificant portions of the populace had had noaccess to weapons for 100 years. After threemonths of fighting Shuri castle was capturedand the Shimazu took control of Okinawanpolitical affairs. One result of this was the strictenforcement of a weapons ban, therebyfinalizing the policy initially set forth by ShoShin-O almost one hundred years earlier.

Jigen ryu is the battlefield sword art ofthe Satsuma samurai. As peace was establishedthroughout the Ryukyu Islands select Pechintraveled to Satsuma peninsula and receivedtraining in this art. One such person was"Bushi" Matsumura, an important figure in thehistorical development of karate. Matsumurasynthesized indigenous Okinawan fightingtechniques with those of China arts and Jigen


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ryu. Notable among his students were ItosuAnko and Asato Anko, two men that would playa later crucial role in formalizing andpopularizing Shuri te, while also heavilyinfluencing Funakoshi Gichin, a man whowould go on to do more than anyone to spreadkarate around Japan and beyond.

Another interesting historicaldevelopment occurred much earlier when thesecond generation headmaster of the Jigen ryu,Togo Bizen no Kami Shigekata, was ordered bythe head of the Shimazu clan to teach somerudimentary fighting skills to the farmingpopulation of Okinawa in case of an invasion;the peasant population could operate as amilitia. This influence has been recorded in afolk dance known as the Jigen ryu Bon Odori.

Finally, it was also under Shimazu rule thatkobudo developed. Kobudo is the combative useof common everyday implements such as theeiku (boat oar), the Kama (sickle) and thefamous nunchaku (rice flail).

Contrary to popular belief then, Shuri te(the forerunner of the Shotokan style created by


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Funakoshi Gichin and which spawned offshootssuch as Wado ryu, Kyokushinkai and Shotokai)was not a simple amalgam of Chinese martialarts and Okinawan te.

This is in contrast to the Naha te styleintroduced to Okinawa by Kanryo Higaonnawhich was most definitely a Chinese martial art(most likely some kind of Crane school)modified to a certain degree on Okinawa butfree from the influence of the Jigen ryu. TheShimazu invasion and subsequent exposure toJigen ryu that some masters had was a vitalevent in the development of what has become


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modern day karate do.

Shimazu control of Okinawa ended in1868 with the Meiji Isshin (the restoration orrevolution) that put the Emperor back incontrol of Japan curtailing the rule of theTokugawa shogunate). This event signaled thebeginning of the modernization of Japan.Within just a few decades Japan went from anon-industrialized economy with little to nomodern accoutrements to be on the world stage.Industry changed radically along with thepolitical scene; the army and navy weremodernized ending the age of the samurai onceand for all.


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CHAPTER 9

RANKING AND KYUSYSTEM

Throughout the course of karatedotraining, it is often taken for granted thegrading system that awards belt ranking andtitles. Sometimes this system is manifestlypersonal, with the headmaster--and only hebestowing each promotion directly, accordingto his own standards. Often, the testing forand awarding of rank is a more bureaucraticaffair, with a committee exercising aperfunctory duty in a formally standardizedand even routine mannerless ceremony, yetsomehow more officious.

The writings of Hanshi Richard Kim ofthe Butoku-kai (Dojo Fall 1993) taught how


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the dan/kyu (degree) system was adopted bymodem budo systems, promulgated by theButoku-kai, and codified in its final form forJapanese karatedo by the Federation of AllJapan Karatedo Organizations (FAJKO). Totruly understand this ranking system, it isimportant to gain a clearer insight into howthe various masters obtained their ranking,since that forms the basis for your rank.

This much we know for certain: On April12, 1924, Gichin Funakoshi, the "Father ofModern Karate," awarded karate's first blackbelt dan upon seven men. The recipientsincluded Hironori Ohtsuka, founder of wado-ryu karatedo, Shinken Gima, later of gima-hashoto-ryu, and Ante Tokuda, Gima's cousin,who received a nidan (second degree) blackbelt. Like Gima, Tokuda had trainedextensively in Okinawa before coming toJapan proper. The others were Kasuya, Akiba,Shimizu and Hirose. This beginning was ahighly personal, yet formal ceremony in whichFunakoshi is said to have handed out lengthsof black belting to his pupils. Still there is noevidence that Funakoshi himself had rankingin any budo under the dan/kyu system.


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Actually, Funakoshi was greatlyinfluenced by Jigoro Kano, aristocraticfounder of judo, and originator of the dan/kyusystem. Kano was a highly respectedindividual, and Funakoshi prided himself onbeing an educated and "proper" man whorightly believed that he was acting correctly.Kano's system was not only being applied tojudo, but to other budo as well under theaegis of the Butoku-kai and the JapaneseMinistry of Education. Funakoshi, then, justadopted the order of the day: a ranking systemofficially sanctioned by Japan's greatestmartial arts entities. Funakoshi's own rankwas of no consequence, since it seems thatbelt ranking was really just something for thestudents, not for headmasters.

For its part, the Butoku-kai issuedinstructor's licenses: the titles renshi (thelowest), kyoshi, and hanshi (the highest). Itwould be a while before the dan/kyu systembecame universal in karate. By the end of the1930s, each karate group was called upon toregister with the butoku-kai for officialsanctioning, and in 1938, a meeting of the


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Butoku-kai's official karatedo leaders was heldin Tokyo. Its purpose was to discuss thestandards for awarding rank within their art.Attending, among others, were,

Photographed at a meeting to amlgemate ranking

credentials for martialArts

Gichin Funakoshi, Chojun Miyagi, Hironori

Ohtsuka, Kenwa Mabuni, Kensei Kinjo,

Sannosuke Ueshima, Tatsuo Yamada, and Gogen

Yamaguchi

Hironori Ohtsuka of wado-ryu, Kenwa Mabuniof shito-ryu Kensei Kinjo (Kaneshiro) andSannosuke Ueshima of kushin-ryu, TatsuoYamada of Nippon kempo, Koyu Konishi ofshindo-jinen-ryu, and a young GogenYamaguchi of goju-ryu.


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Most of these men were founders oftheir own styles, and as such automaticallybecame the highest rank that their agreed-onrespective standards allowed. Yamaguchiassumed leadership of goju-ryu because, weare told, goju-ryu's founder, Chojun Miyagi,personally asked him to take the leadership ofthe style in Japan. Around the same timeFunakoshi had finalized the grading standardsfor use at his shotokan dojo. Of course, theButoku-kai continued to sanction headteachers directly. This was not withoutcontroversy, however, since Konishi sat on theboard that awarded Funakoshi his renshi andKonishi had been Funakoshi's student. Ofcourse, Konishi had inside ties to the Butoku-kai by virtue of birth, something theOkinawan Funakoshi could not have.

Back on Okinawa, the dan/kyu systemdid not become universal until after WorldWar II. It was not unknown there, however,and some individual teachers did utilize theblack belt. Judo had been practiced onOkinawa at least since the 1920s. In fact, itwas at a Judo Black Belt Association(Yudanshakai) meeting on Okinawa that


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Miyagi and shito-ryu's Kenwa Mabunidemonstrated karate kata (forms) for JigoroKano garnering praises from the judo founder.Miyagi, it should be noted, became the firstkarate expert given the title of kyoshi (master)from the butoku-kai in 1937. Miyagi was thenappointed chief of its Okinawan branch

After the ravages of war in the Pacific,the surviving karate leaders had to begin anew.With the Butoku-kai administration shutdown for years to come, each karate groupwas on its own. The acknowledged leaders ofeach faction, as well as individual dojo chiefs,gave out dan ranks based upon all originalsanctioning by the Butoku-kai or mandatesinherited directly from the ryu's founder.

Rushing in to fill the vacuum left by theButoku-kai, various dojo coalesced toperpetuate the art and legitimize its members'ranks. In the late 1940s and early 1950s, eachnew association, including the Gojukai, Shito-kai, Chito-kai, Shotokai and Japan Karateassociations codified their rules and issuedrank accordingly. Generally, severalinstructors created a board of directors or


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council to govern the association. Some officer,be it the chief instructor, president, director orchairman would have signature authority onmenjo (rank certificates). In this way, thesenior-most members would attain their rankby being acknowledged and "signed off" by theboard or committee. Other times, a seniormember of one faction would attain highenough rank from the faction-head to then goout and form his own style or organization.Supposedly, the famous Masutatsu Oyamareceived his eighth dan from Goju-kai headGogen Yamaguchi. Oyama later formed hisown style that was not completely a type ofgoju-ryu.

Usually in a legalistic and officious waythese groups would simply adopt or adhere tosome even higher authority or granting agencyto further legitimize their actions. Recognitionby the Japanese Ministry of Education wasthe ultimate sanction for individuals andgroups in these times. Also new associations -- both in Japan proper and in Okinawa --appeared. These became the grantor rankingauthority, much in the way the Butoku-kaihad acted previously. These new organizations


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were to set the pattern and be the originalsource for today's ranking. As with the single-style clubs, the head instructors oftenassumed the rank for which they werequalified, based on criteria they wrotethemselves.

One of the first was the All JapanKaratedo Federation, which seems to havestarted shortly after World War II as aconfederation of headmasters such asFunakoshi, Chitose, Mabuni, Yamaguchi andToyama. They regularized the dan/kyu systemto some extent, and with this group themodern Japanese karate ranking systembecame the norm. This unity did not lasthowever. For example, the ranking was notconsistent from group to group in the upperlevels. The shotokan associations such as theJKA and the Shotokai only used up to godan(fifth rank) at this time. As a result, somegroups had ceased to participate by the early1950s.

Even more reminiscent of the Butoku-kai was the International Martial ArtsFederation (IMAF), known as the Kokusai


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Budoin. Originally named the National JapanHealth Association, IMAF was launched in1952 by powerful martial artists from severaldisciplines. From judo there was KyuzoMifune, Kazuo Ito and Shizuo Sato. Fromkendo came Hakudo Nakayama and HiromasaTakano, and from karatedo there was HironoriOhtsuka. Its first chairman was PrinceTsunenori Kaya. From the start, IMAF was setup by senior martial artists to preserve andpromote various budo to create a mutuallysupportive network. A ranking systemconsisting of first through tenth dan, as wellas the title system of renshi, kyoshi andhanshi, was adopted. Now highly respectedand skilled instructors could have a directavenue for promotion themselves. Severalkarateka including Gogen Yamaguchi,Hironori Ohtsuka (I and II), and more recently,Hirokazu Kanazawa of shotokan, receivedtheir highest grades through IMAF.

For Okinawa, the dan/kyu system didnot really take hold until 1956, with theformation of the Okinawa Karate Association(OKF). Chosin Chibana, first to name hissystem shorin-ryu, was the first president.


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According to the historical data of theShudokan (a Japanese group started byKanken Toyama in Tokyo), Chibana andToyama were officially recognized by theJapanese Ministry of Education to grant anyrank in the art of karate, regardless of style.Chibana helped organize the OKF, and it wasthen that the mainstream Okinawan groups,on a widespread basis, began differentiatingtheir black belt ranks as other than simpleteacher and student demarcations.

A talented and, some say, colorfulcharacter, Toyama gave several certificationsas a largess to dojo heads in Okinawa andJapan proper. These were usually shibucho("superintendent," from the feudal areacommander title) diplomas. Thesecertifications set up the individuals so namedas head of their own branch of the All JapanKaratedo Federation and, by extension, oftheir own groups. Eizo Shimabuku, founder ofthe shobayashi-ryu/shorin-ryu faction, traceshis own tenth dan to a Toyama certification.

Shimabuku's assumption of the tenthdan, and his wearing of a red belt, was notwithout dispute, and it was controversies of


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this type that led most Okinawan leaders toeschew the red belt altogether.

The AJKF did not last as a unified groupof different styles in Japan proper. Toyama'sforay back to Okinawa did lead later to theformation of the AJKF-Okinawa Branch withthe organizing help of Isamu Tamotsu.Tamotsu became a student of Okinawa'sZenryo Shimabuku (of Kyan-type shorinryu)and would become known as the soke (stylehead) of the Japanese faction of Shorinji-ryu.In 1960, the Okinawan branch of the AJKForganized with Zenryo Shimabuku aspresident. A constituent group of this AJKFwas the Okinawa Kempo League headed up byShigeru Nakamura and Zenryo Shimabuku asa loose confederation of various techniquesharing dojo.

Like other associations, the AJKFOkinawa Branch provided for the ranking ofits member instructors. It operated as a rivalto the Okinawa Karate Federation. However, itdid not last long either and its memberschools drifted away and formed otheralliances. Its emblem did not die, however.


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The same patch is still used by TsuyoshiChitose's Chito-kai.

The central karate leaders continued ontheir own or became part of other groups,using authority inherited mostly frommembers of one of the original Okinawanorganizations, the most significant is the AllOkinawa Karate and Kobudo Rengokai.Formed by Seitoku Higa as a successor to theOkinawa Federation in 1967, the Okinawadetail of the emblem was used to distinguisheach member group. Seiyu Oyata can be seenwearing this patch in Dojo, fall 1993, page 13.

Chitose was a founding member of theoriginal Japanese AJKF, but his tenth danwas issued in 1958, according to the Chitokai,by the All Okinawa Karate Kobudo Rengokai.His hanshi title was issued by the same groupin 1962. This is confusing however, since theAOKK-Rengokai was not formed until 1967. Itgrew out of an earlier group: the OkinawaKobudo Federation that was organized in 1961.This later group was organized by SeitokuHiga (of various lineages related to shorin-ryu)and Seikichi Uehara (molobu-ryu). Higa had


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been ranked by Toyama while living in Japanand may have been connected with theoriginal AJKF.

The most significant event in the use ofthe dan/kyu system in karate was theformation of the FAJKO in 1964. All the majorgroups and factions of Japanese karatedowere brought under FAJKO's umbrella. By1971, a ranking structure was adopted thatstandardized all the systems. High rank wasissued to FAJKO member instructors by theorganization's board. In this way, heads ofconstituent organizations could be upgraded,much as in earlier attempts at confederacy.An earlier, but smaller, confederacy of schoolswith rank-sanctioning authority was theJapan Karatedo Rengokai, which still existsand is a member of FAJKO.

After the birth of FAJKO, the JKAupgraded its own ranking requirements toconform. Sixth and eighth dans were awardedin the JKA back in the mid-1960s, andHidetaka Nishiyama in Los Angeles was one ofthose upgraded at that time. Though not allgroups participate in FAJKO these days, most


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still are tied to that organization in terms ofrank structure and sanction. Others, not sotied, have conformed to the FAJKO criteriaand standards nonetheless.

Shortly after FAJKO was launched, theOkinawans formed the All Okinawa KaratedoFederation as a successor to the old OKF.Members of both the OKF and AJKF-OkinawaBranch became part of the new association.Some of Okinawa's most mainstream karateleaders formed the AOKF board. Theseincluded Nagamine, Zenryo Shimabuku,Meitoku Yagi of gojuryu, Kanei Uechi of uechi-ryu and Yuchoku Higa of shorin-ryu. Theyadopted a dan/kyu and renshi, kyoshi, hanshi(plus a hanshisei) system almost identical toFAJKOs.

Other karate leaders continued on theirown or became part of other groups, usingauthority inherited mostly from members ofone of the original Okinawan organizations.The most significant is the All Okinawa Karateand Kobudo Rengokai. Formed by Seitku Higaas a successor to the Okinawa KobudoFederation in 1967, the Okinawa Rengokai


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also adopted very similar standards to theAOKF. Higa's organizations had certified ashanshi--and hence supreme instructor--several who were style or group heads in theirown right. These included ShinsukeKaneshima of Tozan-ryu from shurite, HohanSoken of matsumura shorin-ryu, ShinpoMatayoshi of matayoshi kobudo KenkoNakaima of ryuel-ryu, ShianToma of shorin-ryu (Kyan type) and motobu-ryu, TatsuoShimabuku of isshin-ryu, Shosei Kina ofuhuchiku kobudo, and Zenryo Shimabuku ofshorin-ryu.

It is clear that karate ranks sprang fromseveral original sources. It was a relativelymodem construct on an old martial art ideal.It was issued by individuals and institutionswith set standards that were recognized byother prestigious groups and individuals. Andthis is the crux of the matter: For rank to berecognized, the bestower must be recognizedwithin karate's mainstream community. Itmust be based in tradition, and linked to abody or sanctioned individual who is perceivedas beyond reproach. The standards by whichrank is achieved and given must berecognizable, and conform to already existing


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norms in the Okinawan/Japanese martial artshierarchy. Anyone can print up or write afancy certificate, but absent of anygovernmental or legal guidelines, it is therecognition and acceptance by existing groupsand institutions that give each ranking groupor individual its legitimacy.

The development of the ranking systemis a typically human development, withrivalries and contradictions, and our ownmasters received their rank in different ways.The highest-ranked of the old masters did not-could not-receive the tenth dan from their"style." They were invariably ranked bysomeone else and applied this grade to theirown group. This is still true. As in a medievalEuropean knighting, originally any knightcould dub another, then regal institutionstook over. However, it is the skill andknowledge that gains the rank, not vice versa.

The quest for rank, misses the point.

CHAPTER 10


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LOOKING FOROURSELVES

"First know yourself, and then know others."Gichin Funakoshi, founder of karate

After many years of research and studyand with the advent of the internet and massmedia the true history of Budo can bedefinitive. The clarity of the roots and itsstrong foundations only keep the arts inquestion true to their own traditions and tothe founding fathers ideologies of the arts theycreated.

When we look back as humans in thetime slip of evolution this may seem a trite


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and insignificant matter to discuss. However,learning where we all have come from, thepeople and places that our great ancestorsderived their lives and the culture from, onlystrengthen our resolve to keep their faithsalive and protected. With these ideals inmind I sat down to write these stories of whatI believe to be true masters as well as thepatriarchs of our societies today. These fewbrave men and women from our past directedsuch an understanding and complete form ofexpression that would ultimately continuethrough not only hundreds of years but yet tobe seen thousands of years to come.

The future is yet to be written, yet it iswith these few people that our destiny hasbeen entrenched and secured. The unknowncountless hours and years of dedication andcommitment that each person devoted to hisor her style is what we as martial artist striveto recreate in their image.

These few are not gods; they were notpoliticians nor were they business men orwomen. They only believed in the martial artthey taught to each and every student. They


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would become our masters and teachers. Theyare the founders of thousands of new systemsand additional art forms that have arisensince their inception of each art respectively.

Martial artist are rarely goodbusinessmen. The sense of making andearning or a living was never a consciousthought of their pursuit of perfection inthemselves or their arts. I feel it should neverbe either. The Martial arts are just that, an artform like any other art form, like that ofpainting or dancing or writing. Theselibertarians did more than create a selfdefense system that could dismay and disarman opponent. These arts were the gift left to usas humans inhabiting the same earthly soil.We as humans all inherently share the samegoal of self betterment through one’s ownactions and abilities. These abilities take timeto master and even more resolve tounderstand in full. But that was the legacy ofeach art. To find your own path to a richerand better understanding of ourselves in thefootsteps of those who walked before us andshowed us a path to follow.


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It has never been a rule to do as theyhave done but rather understanding the rulesthey put forth to do what we must, continueon in their endeavors and in their spirit. Wemust be true Martial Artist. Even moreimportantly true to ourselves.

Understanding where we came from asthe direction to know where we may ultimatelygo.


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