The title looks odd doesn't it. People ask me, referring to the name of my dojo, the Academy of Kempo Karate, what is the difference between Kempo, Kenpo, and Karate.
Well, it can be an easy answer, but we can also make it really complicated. How about easy?
As an aside, Kenpo, with the ken being used to mean "sword" is used in the old sword disciplines of Japan to simply describe ways of using the sword. "Po" means method. However, kenjutsu, iaido, battojutsu, and kendo are more popularly chosen when referring to the style.
Ken, when using another character, means fist, so, Kenpo means methods of using your fist. In Chinese, the same characters are pronounced "Chuan Fa".
Okinawa has cultural ties to China. When Chinese martial arts were introduced to Okinawa, the term Kenpo was often used to describe what they were doing. But, Di, Ti, and Todi in the Okinawan dialect were also used. Todi means "China hand" and the implication is similar to that of Kenpo, ways of using your fist or Chinese hand techniques. However, it is not denoting a style... it is simply a way of describing a martial art in general.
The characters for Todi are pronounced "Kara Te" in Japanese.
So what is the difference? Nothing. Typically, the difference is a time period. At some time in Okinawa's history, certain terms were used to describe the martial arts.
As far as pronunciation goes, Kenpo and Kempo are the same. As an example "number 1" is "I Pon" and "number 4" is "Yo Hon". The P becomes an H depending on how the word sounds... kinda like how we use "a" before a consonant and "an" before a vowel.
Additionally, when not using kanji and using hiragana (using characters organized by syllables and not by idea) there is no "m"... but there is a "n". So, the word Kempo would be written in hiragana as "Ke N Po" instead of trying to make the m work like this: "Ke Mu Po". Again, there is no "M" syllable in hiragana. So "mu, ma, me, or mi" would have to be injected.
That's the easy...they are the same. Different teachers like using Kempo to imply or more classical approach with the word Karate being a more modern term.
It gets complicated when we start talking about Karate's migration to Hawaii in the early 20th century. They preferred to use Kempo, and further William Chow chose to use Kenpo to differentiate his art from the Kempo of James Mitose. Ed Parker, a student of Chow's, used Kenpo, thus the terms "American Kenpo" was founded. American Kenpo is different in many ways that Okinawan Kenpo, which leads to the confusion and the question "What's the difference?"
Notable Okinawans who chose to use the term "Kenpo/Kempo" are Choki Motobu, Shuguro Nakamura, Shinsuke Kaneshima, Seiyu Oyata, and Seikichi Odo.
The terms Kempo, Kenpo, Karate, and Kempo-Karate are used all over, but cannot today be distinguished from the other based on name alone as they used to be.
Monday, April 4, 2011
Monday, November 15, 2010
How "Motobu" Is Your "Motobu ha?"
What I will be discussing concerns the art of Motobu ha Shito Ryu. It is a style of karate stemming from Master Choki Motobu and extends to his student Master Kosei Kuniba (Kokuba), Kuniba’s son Master Shogo Kuniba, and to the different factions carried on by Successors and Shihan of Master Shogo Kuniba.
The name “Motobu ha Shito Ryu” comes from the fact that Shogo Kuniba studied the Motobu Ryu Karate his father learned from Choki Motobu and the Shito Ryu he learned from several Shito Ryu exponents, including the founder, Master Kenwa Mabuni.
From my expererience in other classical traditions, the terms “Motobu ha Shito Ryu” are actually a little odd... it implies the Motobu faction of Shito Ryu, implying further that Motobu was a student of Shito Ryu, which he wasn’t. Shogo Kuniba was attempting to give tribute to the influences of Motobu and Mabuni Shito Ryu on his branch of the karate tree. I am certainly not one to critique a Japanese martial arts Master with his use of the Japanese language, so I’ll just leave it as... it just sounds a little odd in this combination of terms. Regardless, I, and thousands of others all over the world, enjoy practicing this unique version of traditional karate.
Motobu ha Shito Ryu, and its organizational umbrella under Kuniba, Seishinkai, has had a wild history of development since the death of Master Kuniba. Organizational rights, familial rights, and stylistic rights have plagued the style. Today, no less than 5 different organizations represent Motobu ha Shito Ryu, all with legitimate “paperwork” to teach the style. While many choose to focus on political issues, myself and my peers choose to positively promote the style and its unique place in karate history to the students of the style who will one day carry the torch.
The idea for this little excerpt came from a topic I have discussed at clinics, seminars and camps for years now. That is, there’s a point in some martial artists’ career where a sort of identity problem materializes. I personally have wrestled with the question, with regards to Motobu ha Shito Ryu, what did I “really” know about the style? Is it really just a matter of doing a kata a certain way or holding my middle block at a certain angle. Certainly, there’s more to the art I study than this! After pondering and pondering, I boiled it down to several concepts that I needed answered in order for me to be an authority on the subject. One question in particular, that I had sort of saved for last due to its overwhelming elusiveness was “where is my “Motobu?” It is the first name in the style nomenclature, yet, nobody seemed to know anything about how the name truly identifies our style.
The reason for this realization is that when it came down to it, most of the emphasis of the Karate Do facet of Motobu ha Shito Ryu was the execution of kata, and this execution revolved around Shito Ryu methodology. Kata is one of the primary training practices of all training in Karate Do...Karate’s “soul,” if you will. While there are some stylistic differences between the different styles’ execution of kata, most kata, regardless of style, are more similar than they are different. In fact, some instructors within the same style execute their kata differently. Additionally, different students who studied with the same instructor but at different developmental stages in the Instructor’s career tend to do things slightly differently and even argue about who is more correct...when in fact they are all correct.
So I decided to forego trying to figure out whose version is right, who has the rights to what name, whose picture to put on the wall, and whose history lesson to believe and find out for myself... What does the “Motobu” mean? You see, everyone lays claim to Master Motobu being in their lineage, but who really knows... who has researched extensively... the history and training practices of Master Motobu.
The answer was, apparently, nobody.
Until one day my good friend Tom called me to say that he had made contact with Chosei Motobu’s organization and he is interested in meeting us. Chosei Motobu (formally “Soke”) is the son of Choki Motobu, our style’s namesake. If we were to find out real answers, this was a great place to start.
Fast-forward. We have since brought Master Chosei Motobu to our dojo on two 8 day trips constituting about 50 hours of training in the root art of Motobu Ryu. I even have taken the study of Motobu Ryu a step further and began studying the Kobudo of the Motobu family. I have lots of pictures, lots of “paper”, and lots of memories. But most of all, I found my “Motobu.”
My love is truly for Karate Do, styistically the Motobu ha Shito Ryu, and specifically my kai. There is no better group of practitioners who are willing to put the politics of everything aside and only worry themselves about good training, character development, and the welfare of the member students. I took up the study of a nearly forgotten discipline, Motobu Ryu, to enhance my understanding of the discipline I love, Motobu ha Shito Ryu.
So, for the benefit of Motobu ha Shito Ryu practitioners everywhere, regardless of whose flag you fly in the dojo or whose patch you wear on your chest, here are some suggestions for adding a little more "Motobu" to your repetoire.
First, when it comes to trying to understand the Karate of Choki Motobu Sensei, there is no higher authority than his son, Chosei Motobu, Sensei. He is 2nd Soke (Headmaster) of Motobu Kempo and 14th Soke of Motobu Udundi, a rarely seen Okinawan Budo. Material provided here can be found in Choki Motobu’s “Watashi no Karate” as well as articles preserved in the Motobu Ryu archives, available on the Motobukai web-site. Other information was provided to me (and others present during the visits) personally during interviews and training with Chosei Motobu, Soke here in Virginia.
The Differences
Motobu Kempo (Motobu Sensei’s prefers the term “Kempo” to “Karate”) utilizes, at its core, only two kata; Naihanchi Shodan and Naihanchi Nidan. Paraphrasing Choki Motobu Sensei, all one needs in order to understand the principles of Karate are in these two kata. This is of course, the greatest contradiction to the almost encyclopedic collection of kata boasted by Shito Ryu practitioners. Kenwa Mabuni, Sensei preserved many old fighting styles as a responsibility to the art, thus, the numerous kata contained in the Shito Ryu syllabus. While remembering all of the kata is a daunting task, it is a noble one. In no other faction of traditional karate are so many Karate based fighting principles, theories, and techniques preserved than in Shito Ryu.
Motobu Kempo utilizes “irimi” more so than Shito Ryu. Irimi means that, instead of side-stepping or angling in techniques, Motobu Kempo moves straight in whenever possible. Angling, as traditional training professes, is a compromise between moving away from an attack with a blocking sequence, only to have to move back in and moving straight in on an attack which presents a timing issue. This is not to say that I personally am against moving at angles, I am a huge proponent of it, but, it is not consistent with Motobu Ryu methodology. Choki Motobu, according to his son, taught that it is better to practice hard and get good at moving straight in, than practicing to be “safe” and moving at angles.
Motobu Kempo is not as circular as Shito Ryu. Shito Ryu contains the Naha te element of Okinawan karate which uses effective circular techniques in the execution of defense. Blocking, striking, kicking, and tuite (grappling) are very “straight,” attacking the closest target available with the closest weapon available in the straightest path possible.
Motobu Kempo utilizes a posture called “Miutudi,” meaning husband and wife hand. This would translate into orthodox kata techniques as the “Morote Uke.” Many styles call this block a “reinforcing block” but in Motobu Kempo, it is used entirely differently. The principle is that wherever one hand goes, the other is linked to it.
The position of the “middle block,” or chudan uke, is different in Motobu Kempo. The forearm is vertical rather than the approximate 45 degrees that most karate styles employ.
The range, or “ma ai” of Motobu Kempo is different. This is demonstrated in the kamae (posture) and hand position of techniques. Motobu Kempo techniques are done much closer to the opponent.
Shito Ryu contains several dachi (stances), whereas Motobu Kempo contains only a couple.
The way in which the Naihanchi kata are performed are significantly different.
Similarities
Similarities lie in the fact that the basic waza of both arts have their roots in traditional Okinawan Karate and therefore share certain characteristics in form. However, the nuances of each art, particularly in the execution of kata, are quite different.
They both have the Naihanchi kata in their curriculum.
They both place an emphasis on practical applications of kata and self defense, particularly in the softer side of the arts such as grappling, joint locking, and throwing techniques.
Thoughts
Master Choki Motobu was the teacher of the Seishinkan founder Kosei Kuniba and the progenitor of the systems that bear his name. Yet, nothing other than informational “tidbits” such as Choki Motobu’s birthdate and nickname (Saaru, which is also incorrectly explained as “monkey...” saru is Japanese. It means something different in the Okinawan dialect...) are taught within the curriculum of Motobu ha Shito Ryu.
People ask me and my peers, “Did you study under anyone from the Kuniba family?” The answer is no, I did not have the privilege. There are many practitioners in the world that I would recommend as absolute authorities on the subject of Master Kuniba and his teaching methodolgies. Master Kuniba is succeeded by his family and his Shihan, all of whom share(d) the burden of promoting Motobu ha Shito Ryu. But, I have studied under the Motobu family...
In my years of exposure to this art, most who consider themselves authorities on the subject end their level of expertise with an understanding of Master Kuniba’s and his successors’ deepest philosophies, and from these teachings, students of Motobu ha Shito Ryu have a lifetime of practice ahead of them. I appreciate their efforts, but have been personally plagued with the idea that so little was known about the technique of the art’s namesake. My hope is that this will, at the very least, promote some interest in getting to know more about this great karate Master.
For a mere blog topic, this entry contains just enough information to aggravate... on purpose. If there is continued interest in the topic, I’ll keep the ball rolling.
The name “Motobu ha Shito Ryu” comes from the fact that Shogo Kuniba studied the Motobu Ryu Karate his father learned from Choki Motobu and the Shito Ryu he learned from several Shito Ryu exponents, including the founder, Master Kenwa Mabuni.
From my expererience in other classical traditions, the terms “Motobu ha Shito Ryu” are actually a little odd... it implies the Motobu faction of Shito Ryu, implying further that Motobu was a student of Shito Ryu, which he wasn’t. Shogo Kuniba was attempting to give tribute to the influences of Motobu and Mabuni Shito Ryu on his branch of the karate tree. I am certainly not one to critique a Japanese martial arts Master with his use of the Japanese language, so I’ll just leave it as... it just sounds a little odd in this combination of terms. Regardless, I, and thousands of others all over the world, enjoy practicing this unique version of traditional karate.
Motobu ha Shito Ryu, and its organizational umbrella under Kuniba, Seishinkai, has had a wild history of development since the death of Master Kuniba. Organizational rights, familial rights, and stylistic rights have plagued the style. Today, no less than 5 different organizations represent Motobu ha Shito Ryu, all with legitimate “paperwork” to teach the style. While many choose to focus on political issues, myself and my peers choose to positively promote the style and its unique place in karate history to the students of the style who will one day carry the torch.
The idea for this little excerpt came from a topic I have discussed at clinics, seminars and camps for years now. That is, there’s a point in some martial artists’ career where a sort of identity problem materializes. I personally have wrestled with the question, with regards to Motobu ha Shito Ryu, what did I “really” know about the style? Is it really just a matter of doing a kata a certain way or holding my middle block at a certain angle. Certainly, there’s more to the art I study than this! After pondering and pondering, I boiled it down to several concepts that I needed answered in order for me to be an authority on the subject. One question in particular, that I had sort of saved for last due to its overwhelming elusiveness was “where is my “Motobu?” It is the first name in the style nomenclature, yet, nobody seemed to know anything about how the name truly identifies our style.
The reason for this realization is that when it came down to it, most of the emphasis of the Karate Do facet of Motobu ha Shito Ryu was the execution of kata, and this execution revolved around Shito Ryu methodology. Kata is one of the primary training practices of all training in Karate Do...Karate’s “soul,” if you will. While there are some stylistic differences between the different styles’ execution of kata, most kata, regardless of style, are more similar than they are different. In fact, some instructors within the same style execute their kata differently. Additionally, different students who studied with the same instructor but at different developmental stages in the Instructor’s career tend to do things slightly differently and even argue about who is more correct...when in fact they are all correct.
So I decided to forego trying to figure out whose version is right, who has the rights to what name, whose picture to put on the wall, and whose history lesson to believe and find out for myself... What does the “Motobu” mean? You see, everyone lays claim to Master Motobu being in their lineage, but who really knows... who has researched extensively... the history and training practices of Master Motobu.
The answer was, apparently, nobody.
Until one day my good friend Tom called me to say that he had made contact with Chosei Motobu’s organization and he is interested in meeting us. Chosei Motobu (formally “Soke”) is the son of Choki Motobu, our style’s namesake. If we were to find out real answers, this was a great place to start.
Fast-forward. We have since brought Master Chosei Motobu to our dojo on two 8 day trips constituting about 50 hours of training in the root art of Motobu Ryu. I even have taken the study of Motobu Ryu a step further and began studying the Kobudo of the Motobu family. I have lots of pictures, lots of “paper”, and lots of memories. But most of all, I found my “Motobu.”
My love is truly for Karate Do, styistically the Motobu ha Shito Ryu, and specifically my kai. There is no better group of practitioners who are willing to put the politics of everything aside and only worry themselves about good training, character development, and the welfare of the member students. I took up the study of a nearly forgotten discipline, Motobu Ryu, to enhance my understanding of the discipline I love, Motobu ha Shito Ryu.
So, for the benefit of Motobu ha Shito Ryu practitioners everywhere, regardless of whose flag you fly in the dojo or whose patch you wear on your chest, here are some suggestions for adding a little more "Motobu" to your repetoire.
First, when it comes to trying to understand the Karate of Choki Motobu Sensei, there is no higher authority than his son, Chosei Motobu, Sensei. He is 2nd Soke (Headmaster) of Motobu Kempo and 14th Soke of Motobu Udundi, a rarely seen Okinawan Budo. Material provided here can be found in Choki Motobu’s “Watashi no Karate” as well as articles preserved in the Motobu Ryu archives, available on the Motobukai web-site. Other information was provided to me (and others present during the visits) personally during interviews and training with Chosei Motobu, Soke here in Virginia.
The Differences
Motobu Kempo (Motobu Sensei’s prefers the term “Kempo” to “Karate”) utilizes, at its core, only two kata; Naihanchi Shodan and Naihanchi Nidan. Paraphrasing Choki Motobu Sensei, all one needs in order to understand the principles of Karate are in these two kata. This is of course, the greatest contradiction to the almost encyclopedic collection of kata boasted by Shito Ryu practitioners. Kenwa Mabuni, Sensei preserved many old fighting styles as a responsibility to the art, thus, the numerous kata contained in the Shito Ryu syllabus. While remembering all of the kata is a daunting task, it is a noble one. In no other faction of traditional karate are so many Karate based fighting principles, theories, and techniques preserved than in Shito Ryu.
Motobu Kempo utilizes “irimi” more so than Shito Ryu. Irimi means that, instead of side-stepping or angling in techniques, Motobu Kempo moves straight in whenever possible. Angling, as traditional training professes, is a compromise between moving away from an attack with a blocking sequence, only to have to move back in and moving straight in on an attack which presents a timing issue. This is not to say that I personally am against moving at angles, I am a huge proponent of it, but, it is not consistent with Motobu Ryu methodology. Choki Motobu, according to his son, taught that it is better to practice hard and get good at moving straight in, than practicing to be “safe” and moving at angles.
Motobu Kempo is not as circular as Shito Ryu. Shito Ryu contains the Naha te element of Okinawan karate which uses effective circular techniques in the execution of defense. Blocking, striking, kicking, and tuite (grappling) are very “straight,” attacking the closest target available with the closest weapon available in the straightest path possible.
Motobu Kempo utilizes a posture called “Miutudi,” meaning husband and wife hand. This would translate into orthodox kata techniques as the “Morote Uke.” Many styles call this block a “reinforcing block” but in Motobu Kempo, it is used entirely differently. The principle is that wherever one hand goes, the other is linked to it.
The position of the “middle block,” or chudan uke, is different in Motobu Kempo. The forearm is vertical rather than the approximate 45 degrees that most karate styles employ.
The range, or “ma ai” of Motobu Kempo is different. This is demonstrated in the kamae (posture) and hand position of techniques. Motobu Kempo techniques are done much closer to the opponent.
Shito Ryu contains several dachi (stances), whereas Motobu Kempo contains only a couple.
The way in which the Naihanchi kata are performed are significantly different.
Similarities
Similarities lie in the fact that the basic waza of both arts have their roots in traditional Okinawan Karate and therefore share certain characteristics in form. However, the nuances of each art, particularly in the execution of kata, are quite different.
They both have the Naihanchi kata in their curriculum.
They both place an emphasis on practical applications of kata and self defense, particularly in the softer side of the arts such as grappling, joint locking, and throwing techniques.
Thoughts
Master Choki Motobu was the teacher of the Seishinkan founder Kosei Kuniba and the progenitor of the systems that bear his name. Yet, nothing other than informational “tidbits” such as Choki Motobu’s birthdate and nickname (Saaru, which is also incorrectly explained as “monkey...” saru is Japanese. It means something different in the Okinawan dialect...) are taught within the curriculum of Motobu ha Shito Ryu.
People ask me and my peers, “Did you study under anyone from the Kuniba family?” The answer is no, I did not have the privilege. There are many practitioners in the world that I would recommend as absolute authorities on the subject of Master Kuniba and his teaching methodolgies. Master Kuniba is succeeded by his family and his Shihan, all of whom share(d) the burden of promoting Motobu ha Shito Ryu. But, I have studied under the Motobu family...
In my years of exposure to this art, most who consider themselves authorities on the subject end their level of expertise with an understanding of Master Kuniba’s and his successors’ deepest philosophies, and from these teachings, students of Motobu ha Shito Ryu have a lifetime of practice ahead of them. I appreciate their efforts, but have been personally plagued with the idea that so little was known about the technique of the art’s namesake. My hope is that this will, at the very least, promote some interest in getting to know more about this great karate Master.
For a mere blog topic, this entry contains just enough information to aggravate... on purpose. If there is continued interest in the topic, I’ll keep the ball rolling.
Wednesday, December 23, 2009
The Squish
You Budo yes, you Budo no, you Budo maybe...you get the squish, just like grape.
This is a modified quote from the Karate Kid.
When I see martial arts that are just not to my liking (through a lot of therapy and shock treatment I have learned not to say "those martial arts that suck") I have conditioned my brain to reflect on something that Niina Gosoke said once:
As long as they are having fun...but it's not Budo...
At the time he was watching a video and the participants were clearly enjoying what they do. He said nothing negative. He smiled and said it looks like fun!
But, it was not Budo.
This is a modified quote from the Karate Kid.
When I see martial arts that are just not to my liking (through a lot of therapy and shock treatment I have learned not to say "those martial arts that suck") I have conditioned my brain to reflect on something that Niina Gosoke said once:
As long as they are having fun...but it's not Budo...
At the time he was watching a video and the participants were clearly enjoying what they do. He said nothing negative. He smiled and said it looks like fun!
But, it was not Budo.
Musashi
In reading "Musashi: His Life and Writings", I've learned something interesting about the training methodology of our completely unrelated Motobu Udundi.
In the book, there are excerpts of a Kendo Sensei's writings on how he relates the study of Musashi's "single cadence strike" to kendo. The author then does his best to translate some of the esoteric material into English.
Regardless, the talk of the relationship between your right and left sides, how the cadence is different with only a single hand weapon in your right hand, how that translates into having a two handed weapon, how the diagonal tension between the upper and lower body relates to cadence, maai, and speed/ timing, and the tanden/ koshi is all quite eerie when considering the esoteric training practices of Motobu Udundi. This will require some time and thought. I love finding something new to dive into.
In the book, there are excerpts of a Kendo Sensei's writings on how he relates the study of Musashi's "single cadence strike" to kendo. The author then does his best to translate some of the esoteric material into English.
Regardless, the talk of the relationship between your right and left sides, how the cadence is different with only a single hand weapon in your right hand, how that translates into having a two handed weapon, how the diagonal tension between the upper and lower body relates to cadence, maai, and speed/ timing, and the tanden/ koshi is all quite eerie when considering the esoteric training practices of Motobu Udundi. This will require some time and thought. I love finding something new to dive into.
Tuesday, December 22, 2009
The Black Belt
Shodan, what is commonly referred to as black belt, 1st degree, does not mean first degree black belt. Black belt would be "Kuro Obi".
Shodan literally means 1st level. It implies that a student is officially at the first level, one is NOW ready to learn.
Too many young people receive their black belts and think they know enough to comment on martial arts. They think that the black belt is a huge accomplishment. It is only the beginning. These people need to just keep their mouths shut and train. As a shodan, you're not even shown anything of substance let alone have any authority to offer an opinion on anything.
Shodan literally means 1st level. It implies that a student is officially at the first level, one is NOW ready to learn.
Too many young people receive their black belts and think they know enough to comment on martial arts. They think that the black belt is a huge accomplishment. It is only the beginning. These people need to just keep their mouths shut and train. As a shodan, you're not even shown anything of substance let alone have any authority to offer an opinion on anything.
Supatsu Ryu
Supatsu is how you say "sports" in Japanese.
Sport Karate has now become traditional karate, and I f-in hate it.
The concept of "seitei kata" and tournament kumite and the intense focus people have on it nowadays is completely destroying karate. The hours spent mastering a seitei kata...a kata that is simplified and standardized simply so the judges have an easier job, could be spent actually practicing karate.
When asked for his endorsement for Karate into the Olympic Games, Morio Higanonna, Hanshi, 10th Dan, Okinawa Goju Ryu, refused.
The JKA dictated to the Okinawan karate federations what the rules for competition would be... It was argued that the JKA can dictate the rules for Kumite, as they invented that, but the standards for kata competition should be dictated by the Okinawans. The JKA over-ruled them.
When trying to determine the best way to apply kumite to karate, masters like Motobu, Mabuni, Haneshiro, Miyagi all determined that it couldn't be done. Just as the dangerous techniques were taken out of Jujutsu to make Judo and the sharp swords were taken out of Kenjutsu to make Kendo, the principles of Karate would have to be changed in order to allow competition. Many masters felt that this was not acceptible. They saw the trend of watering down everything down to make it aesthetically pleasing and competition friendly occuring in other arts. Taking the roots out of karate for the sake of competition could not be allowed for the sake of protecting the heritage of the art. But, again, the majority rules and we are where we are today.
As a side note, Kumite was taken out of the Okinawa World Tournament... why would they do that? Because sport kumite is not karate.
Competition is good. But it has to reflect the true heritage of the art.
Sport Karate has now become traditional karate, and I f-in hate it.
The concept of "seitei kata" and tournament kumite and the intense focus people have on it nowadays is completely destroying karate. The hours spent mastering a seitei kata...a kata that is simplified and standardized simply so the judges have an easier job, could be spent actually practicing karate.
When asked for his endorsement for Karate into the Olympic Games, Morio Higanonna, Hanshi, 10th Dan, Okinawa Goju Ryu, refused.
The JKA dictated to the Okinawan karate federations what the rules for competition would be... It was argued that the JKA can dictate the rules for Kumite, as they invented that, but the standards for kata competition should be dictated by the Okinawans. The JKA over-ruled them.
When trying to determine the best way to apply kumite to karate, masters like Motobu, Mabuni, Haneshiro, Miyagi all determined that it couldn't be done. Just as the dangerous techniques were taken out of Jujutsu to make Judo and the sharp swords were taken out of Kenjutsu to make Kendo, the principles of Karate would have to be changed in order to allow competition. Many masters felt that this was not acceptible. They saw the trend of watering down everything down to make it aesthetically pleasing and competition friendly occuring in other arts. Taking the roots out of karate for the sake of competition could not be allowed for the sake of protecting the heritage of the art. But, again, the majority rules and we are where we are today.
As a side note, Kumite was taken out of the Okinawa World Tournament... why would they do that? Because sport kumite is not karate.
Competition is good. But it has to reflect the true heritage of the art.
Feel 101
I get messages all day long about how to do stuff, usually related to Iaido. Unfortunately, they are questions about the "feel" of something.
I've said this repeatedly over the years. Westerners (me included...but not as often anymore...) need to know how to do a technique, every detail, before it is even attempted. If I have said it once I've said it a hundred times. Don't try to understand it. Just do it. Thousands of times. The practice combined with a little detailing by the instructor will produce a great technique.
For example, "I can't make my noto look like yours..."
20 years, hundreds of times per day... call me when you're done.
Seriously, I can't tell you how to feel something. There is a great story by Hakko Ryu Jujutsu Soke Ryuho Okuyama that rings true:
"You must tune three strings when you practice the shamisen. Most beginners cannot, so for their beginning stage, they ask their teacher to tune it for them instead of doing it themselves. But gradually, bit by bit, because they practice everyday, their feeling for the sound becomes sharper and sharper. Usually within a year or so, they have a trained ear for the sound and can tune it by themselves. So until then, teachers won't say anything very useful to their students. Teachers know there are no words to express how to feel the sound."
Amen
I've said this repeatedly over the years. Westerners (me included...but not as often anymore...) need to know how to do a technique, every detail, before it is even attempted. If I have said it once I've said it a hundred times. Don't try to understand it. Just do it. Thousands of times. The practice combined with a little detailing by the instructor will produce a great technique.
For example, "I can't make my noto look like yours..."
20 years, hundreds of times per day... call me when you're done.
Seriously, I can't tell you how to feel something. There is a great story by Hakko Ryu Jujutsu Soke Ryuho Okuyama that rings true:
"You must tune three strings when you practice the shamisen. Most beginners cannot, so for their beginning stage, they ask their teacher to tune it for them instead of doing it themselves. But gradually, bit by bit, because they practice everyday, their feeling for the sound becomes sharper and sharper. Usually within a year or so, they have a trained ear for the sound and can tune it by themselves. So until then, teachers won't say anything very useful to their students. Teachers know there are no words to express how to feel the sound."
Amen
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