|
|
ADVANCED THROWING PRINCIPLES OF OKINAWAN BUJUTSU
by
Dr. William Durbin
When people think of the Okinawan martial arts of Karate, Kempo, and Kobujutsu,
they generally envision old Chinese martial arts masters teaching the rustic
Okinawan farmers and fishermen their Chuanfa skills. Then they picture the
Okinawans practicing these skills and developing from them the Chinese based
Okinawan Karate. But the truth is that along with the famous Chinese influences
of the Fourteenth Century and the Nineteenth Century, there were three other
points of Japanese influence, along with an indigenous art.
With the development of the martial arts in the Sixth Century, and the Buddhist
philosophy being spread throughout the Oriental world, the concept of Bu,
meaning to stop violence, would have eventually entered Okinawa, as it did
most other countries, and influence the change of fighting arts into martial
arts. The emphasis would have been changed from merely fighting and defeating
an opponent to one of making and defending peace, with an emphasis on personal
development as well.
During the Twelfth Century there was a great Buddhist revival, with monks
of many sects spreading throughout the area teaching and preaching their beliefs.
It is believed that it was during this time that Zen actually was spread to
various areas of Japan and Okinawa, which set the stage for it's acceptance
by the warriors of both countries during the Thirteenth Century. This is probably
the first time that Kempo, Chinese Chuanfa, influenced in a major way the
martial arts of Okinawa. Some believe it is this older form of Chuanfa, which
was primarily a fist and palm art, the five animal forms would not have been
invented yet, that caused the emphasis on the fist as the primary weapon of
Okinawan Karate.
Yet there was another, more important, influence on Okinawan martial arts
which occurred during the Twelfth Century. After the Hogen War in Japan, most
Minamoto leaders were put to death by their enemy the Taira. One exception
that was made was the great martial artist, Tametomo Minamoto. He had shown
such valor and skill during his fighting that the leader of the Taira decided
to let him live in exile. As a martial artist some felt that Tametomo was
without peer. He was especially famous for his Kyujutsu, archery, skill. Because
of this many felt that he was deficient in his other martial arts training,
however that is an erroneous concept. Fighting back at that time, while normally
starting with a barrage from archers, almost always ended in close quarter
combat, using swords, spears, and halberds; in Japanese, Ken, Yari, and
Naginata.
It is said that archers especially needed excellent empty hand skills, in
case their position was overrun before they had a chance to draw their swords.
And it was said that Tametomo was a truly great martial artist, being a fine
example to his students and the warriors under his command. When he was exiled,
the Taira cut the muscles in his arm so that he could not draw a bow. Then
he was sent to Oshima Island.
However the Taira reckoned without the powerful determination of this great
warrior. During his stay on Oshima Island, he took care of his arm, using
the family healing techniques to rehabilitate the arm completely. Then he
practiced the family martial arts to maintain strength and vigor for the days
ahead. For Tametomo Minamoto had a plan, one that would cause the downfall
of the Taira and avenge the deaths of his family.
Tametomo escaped from Oshima Island and traveled to Okinawa, where it is said
many Minamoto Samurai had fled to, awaiting a chance for revenge. Under Tametomo's
leadership the Samurai trained in all forms of their martial arts, developing
their skills to a high level. It is definitely known that during this time
Tametomo married a woman of the Okinawan royalty. She bore him a son named
Shunten. It is believed that other Minamoto Samurai married Okinawans, and
while it has generally been said that all Okinawan emperors are descended
from Tametomo, it is more likely that they are descended from the Japanese
Samurai, with a primary line coming from Tametomo. Those dynasties which are
suppose to be actual bloodline from Tametomo are; Shunten dynasty, Eiso dynasty,
Satto dynasty, and both Sho dynasties. The other dynasties of Okinawa are
believed to have been supporters of Tametomo's line, who accepted responsibility
during times of unpopularity, and relinquished their hold when necessary.
Much of this is speculation, but nonetheless, it is believed that the ruling
class of Okinawan does in fact date back to the Minamoto Samurai of the Twelfth
Century.
What the Okinawan royalty gained from this connection, is the most important
aspect of training in the true Okinawan Bujutsu manner. First and foremost
is the idea of training without prearranged forms. To do so was to invite
ways of motion which an enemy could perceive and counter. Thus whether in
singular form, Kata, or in multiple forms, there was never a prearranged order
to what the practitioner would do.
A second idea of training gained from the Minamoto warriors, is that all motion
is the same. Whether striking, grappling, or using a weapon, the movements
were all the same. If a person was striking, the lines of force were straighter
and harder, if a person was throwing, then the lines of force became softer
and rounder, but the essential motion was the same. These concepts formed
the foundation of the Okinawan Bujutsu which the royalty practiced. This art
was generally referred to as Bushi Te, warrior hand. The skills which were
of a Chinese influence were better known as Karate, meaning Tang hand, referring
to the Tang dynasty of China, noting the time of the greatest Chinese empire
and great developments in the martial arts. In a moment we will see how the
Okinawan put all of this together, but first let us look at the two other
Japanese influences.
The second great Japanese influence was in the Seventeenth Century, after
the Satsuma took control of the island of Okinawa in 1609. Where there was
a strong resistant during the first invasion of the island, while the Okinawa
Bushi were busy fighting the Satsuma Samurai at the primarily landing point,
a second force came from the rear and captured the Okinawan emperor. The Bushi
immediately surrendered for the safety of their king, and thus the Japanese
were never fully aware of their martial arts skills. It is believed that the
Japanese did not take the Okinawan Bushi very seriously, thinking them to
be little trained, rural bumpkins.
Eventually the Okinawans became friends with the Japanese, once they realized
that basically they would be left alone. Among the commoners the only problem
was that the weapons ban was reinforced, which added to the emphasis on empty
hand training and working with farm and fishing tools as weapons of self defense,
since the people still needed to be able to defend themselves against Wako,
pirates. This was not as big a problem as many have believed it to be, since
during the reign of Sho Shin, a weapons ban had been in place anyway.
For the royalty, they were no longer allowed to carry their weapons in public,
but they could still possess them at home and practice with them. This did
emphasize to the Okinawan Bushi the need to develop even higher levels of
empty hand skills. And they did this, with the aid of their conquerors. Many
of the Japanese Samurai took it upon themselves to 'teach' the 'ignorant'
Okinawan royalty the martial arts. The Okinawans at this time continued to
hide their martial arts skills from the Japanese, all serious training was
done in secret. Thus when the Japanese agreed to teach them their skills,
the Okinawans readily agreed. Thus the skills of Jigen Ryu were added to the
knowledge of the Okinawan Bushi. Two very famous martial artists who are known
to have learned Jigen Ryu are Sokon Matsumura and Yasutsune Azato. It is remember
that Sokon Matsumura taught Yasutsune Itosu, the man most responsible for
teaching martial arts to the Okinawan instructors who carried the art to Japan
and the world. While Yasutsune Azato is famous for teaching Gichin Funakoshi,
the father of Japanese Karate and the founder of Shotokan.
What might be thought of as the third period of Japanese influence centers
primarily on one man, Chotoku Kyan. Unlike many Okinawan masters, not many
people may be aware of this great teacher. He should be remembered however,
because he is the one who should be considered the founder of Shorin Ryu and
was the teacher of many of the great teachers who promote the Shorin Ryu line
today. Among his students were: Eizo Shimabuku, Kyan's successor and head
of Shobayashi Shorin Ryu; Shoshin Nagamine, founder of Matsubayashi Shorin
Ryu; Tatsuo Shimabuku, founder of Isshin Ryu; Joen Nakazato, founder of Shorinji
Ryu; and Zenryo Shimabuku, founder of Shorinji Ryu now known as Chubu Shorin
Ryu.
When Kyan was around the age of twelve his father went to live in Japan for
a few years. Kyan who was already training in the martial arts, journeyed
there with him. During that time it is evident that he studied some form(s)
of Jujutsu and Sumo. In his later years Kyan was famous for his unbendable
arm, which is very much a practice of the schools of Aiki. It was never recorded
which style(s) of Japanese martial arts he studied, but it is known that along
with his love of kicking, being famous for his high kicks and flying techniques,
Kyan also loved throwing techniques, many which are comparable to those in
many Jujutsu curriculum.
What must now be realized is the genius of the Okinawan people. Beginning
with their own indigenous art, the Okinawans took each influence: from the
Twelfth Century, original Shaolin Chuanfa and Minamoto Bujutsu; from the Thirteenth
Century, the Chuanfa brought over by military attaches and monks who were
a part of the Chinese thirty six family settlement; from the Seventeenth Century,
the Jigen Ryu Bujutsu; and from the Nineteenth Century, other styles of Jujutsu
and Chuanfa; and blended them all together.
What came out of Okinawa in modern times is the accumulation of skills, those
mentioned and many more unknown, that was germinated in the fertile minds
of the Okinawan martial arts masters. According to the time frame, and especially
at the beginning of the Twentieth Century, each master took what he had and
centered it on the original concepts developed during the first Minamoto influence.
The main concepts of Bushi Te, the warrior hand of Okinawa, were and are,
all movements are the same, whether striking, throwing, or holding a weapon,
and the most important principle of all, all training should be free form
to avoid patterns of movement and a lack of spontaneity.
In regard to throwing, these principles create for the martial artist an endless
number of techniques. This is because the throws are merely the applications
of the blocks, punches, and kicks, already practiced by the Bujutsuka. Then
not only are the moves applied to throws in a Honte, regular way, but also
in the Gyakute, or reverse way. From these two types of throws there are also
Henka, which means variations. Through these, and other principles, literally
there are no end to these techniques.
Okinawan Bunkai, analyzation, refers to taking basic movements and analyzing
them to see what else could be done with the motions. In example, a typical
application of a Tsuiken, hammer fist, strike is to swing it from the shoulder
downward into an opponents groin. This same motion, when softened and rounded,
can be used with a deeper footwork, to pick an opponent up and throw them
in what is sometimes called a Kataguruma, shoulder wheel. Note that basically
the movement is the same, just the throw carries the motion further.
Another example, is when a person uses a turn and Teisho, heel palm, strike
to hit an attacker on the chin. This same concept of turning and performing
a heel palm can be turned into a throw when dealing with a punching attack
from the front, to do what many would call a Taiotoshi. Names such as these
are not always used by Okinawan martial artists, simply because there are
literally thousands of potential throws, that end up too numerous to list.
Everything from Kagi Geri, hook kicks, to Tobi Yoko Geri, flying side kicks,
can be turned from strikes into throws. In examples, hook kicks can become
Ouchigari, major inner reaping throws, while a flying side kick can be Kani
Waza, crab throws. Using the Okinawan Bushi Te throwing concept known as Shuho,
taking principle, it is possible to take any striking skill and turn it into
a throw. All it takes is understanding the use of Kuzushi, 'breaking' balance,
Tsukuri, 'preparing' the throw.
The Okinawan masters learned the skills of Kuzushi and Tsukuri from their
training in the Aiki skills of the Minamoto and the Torite skills of the Jigen
Ryu. They also added the techniques gained from the Chinese masters of Hakutsuru
Chinna, white crane grappling. Then merging the movements of their Te, with
advanced motions of Chuanfa, they were able to create a system of throwing
which is without parallel in the martial arts world. It is in the throwing
techniques of the Okinawan Bujutsu that one sees the highest level of true
Okinawan genius.