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Breaking News! Tobey Stansbury Sensei translation of a classic book by Toyama Kanken Dai Shihan is nearing completion

2/22/2019

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Finally the time has come!
I would like to recommend to all of you a book that all non-Japanese students in the Toyama Kanken lineage have been waiting for more than 50 years.
Tobey Stansbury Sensei took on this Mammoth project years ago. In recent years, I have witnessed the hard work and effort Stansbury Sensei has put into this project.
I had the honor to read his translation before the release and I am thrilled. For those who practice karate in the tradition of Toyama Kanken, this book is the new bible.
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Introduction to Karate-Do: Its Inner Techniques and Secret Arts

The groundbreaking words of Toyama Kanken (1888-1966) are presented for the first time ever in English. Introduction to Karate-Do: Its Inner Techniques and Secret Arts contains information from not just one, but multiple publications of Toyama Sensei's captivating text. Featuring pictures from different books at different points in Toyama Kanken Sensei's life, you will be able to compare the progression of his art through each page. This book is extremely rare even in its native Japanese language, so it makes a treasured addition to the canon of books on the Okinawan art of Karate-Do.
Featuring:
  • The Origins of Karate
  • The Moral Code of Karate-do
  • His thoughts on Styles and factions
  • Detailed explanations of Karate's Foundational Skills
  • How to use and make a Makiwara punching post
  • Kata: Naifanchi Shodan & Koryu Gojushiho
  • Kumite: Partner Training Drills
  • The transcript of a Round Table discussion of Okinawan Masters
  • Itosu Sensei's Dying Instructions
  • Inner Techniques and Secret Skills including: The Double Style Breath Method, The Lion's Method, The Tiger's Method, Methods for a Strong Grip, Methods to Train the Eyes, The Bear Claw Technique, and the Triangle Jump
  • And More!!
If you want to preorder the book now, it is best to contact Stansbury Sensei directly at emeraldcitykarate@gmail.com.
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Jitte, Jiin, Jion

1/28/2019

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In 2006 I wrote a book about the kata group Jitte (temple hand), Jion (temple sound) and Jiin (temple floor). Today I would like to share some thoughts on the historical development of these three kata.
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Historical Overview

Regrettably, very little is known about the history of the kata group Jitte, Jiin and Jion. On closer examination it can be seen that these three kata share some similarities:
  • same beginning with the Shaolin greeting
  • partially identical or similar techniques
  • the same initial syllable „Ji“ in the name
The three kata thus seem to be related both technically and historically to each other and come from the same source or school. Allegedly, the origin of the kata lies in a Chinese Shaolin monastery called Jion-ji.
On Okinawa the kata for the first time appear in the kata curriculum of Itosu Anko Sensei (1830 – 1915), in whose school the kata are said to have played a minor role. Unfortunately, it is not known how these kata found their way into the karate of Itosu Sensei. Which theories are conceivable?
Did Itosu Sensei's teacher Matsumura Soken Sensei (1797-1889 or 1809-1901) already know these kata and was he responsible for their transmission? At least Jion could be a kata Matsumura Sensei was familiar with. Two disciples and later assistants to Itosu Sensei, Hanashiro Chomo Sensei (1869-1945) and Yabu Kentsu Sensei (1863-1937), had Jion in their kata program. Both are known to have not greatly appreciated the changes that Itosu Sensei made, for example the group instruction, the development and introduction of the Pinan kata, and the associated transformation of martial arts into physical exercise.
As we know, the kata Jion was one of Hanashiro Sensei's favourite kata. Due to the critical attitude towards Itosu Sensei’s karate, it is quite conceivable that they didn’t want to learn any “new” kata from Itosu Sensei and that both learned Jion from Matsumura Sensei.
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Itosu Sensei
Yabu Sensei
Hanashiro Sensei
The kata Jion can also be found in Toon-ryu by Kyoda Yuhatsu Sensei (1887 - 1968). Kyoda Sensei learned this kata from Yabu Sensei. Although Kyoda Sensei's main teacher was Naha-te master Higashionna Kanryo (1853 - 1915), from whom he learned the kata Sanchin, Seisan, Sanseiru and Peichurin, Kyoda Sensei must have seen something special in the kata Jion or in Yabu Sensei, otherwise he would have not incorporated the kata in his “small” Naha-te based kata curriculum.
Sells (2000) suggests that the kata came to Itosu Sensei via a master of the Tomari-te lineage named Gusukuma, but a master named Gusukuma is not found on any of the popular Tomari-te charts.
Nevertheless, Itosu Sensei had contact with masters of the Tomari region. He and Matsumora Kosaku Sensei (1829-1898) had been training together around 1873 and he could have learned the three kata from Matsumora Sensei in addition to Wankan, Wanshu, Wandou and Rohai. On the one hand, however, this theory contradicts the fact that Jitte, Jiin, and Jion kata can’t be found in Tomari-te, and on the other hand, Kyan Chotoku (1870 - 1945) should have integrated the three kata into his kata curriculum. Kyan Sensei not only studied under Matsumora Sensei but also under Oyadomari Kokan Sensei (1827 - 1905) and Maeda Peichin Gichio Sensei (1826 - 1890). If Jitte, Jiin, and Jion were actually Tomari-te kata, then it's surprising why Kyan Sensei should not have learned these set of kata. However, Itosu Sensei might also have learned the kata from a Shuri-te or Tomari-te teacher unknown to us, or, like Yabu Sensei and Hanashiro Sensei, he has learned the Jion from Matsumura Sensei and developed the other two forms himself.
In the preceding paragraphs, we discussed some possible theories about the early history of this kata group, and we were able to see that many details can’t be clearly reconstructed today.
Jitte, Jiin and Jion have survived in the schools of some of Itosu Sensei’s students. Today these kata are trained among others in the following schools: Shito-ryu by Mabuni Kenwa (1888 - 1952), Kobayashi-ryu by Chibana Choshin (1885 - 1969), here only the Jion, in the Shudokan by Toyama Kanken (1888 - 1966) and Shotokan by Funakoshi Gichin (1868 - 1957).
The following chart is intended to summarize the previously discussed:
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A comparison of the techniques

Kosa Dachi – Gedan Juji Uke (from Jion)
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Hanashiro Chomo and Gichin Funakoshi perform the same technique of Jion. However, it is noticeable how the techniques have changed. Hanashiro Sensei performs Morote Gedan Tsuki. The same technique is performed by Funakoshi Sensei as Gedan Juji Uke (Cross Block).
Nekoashi Dachi – Morote Soto Uke – Mae Geri – Tsuki (from Jiin and Jion)
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The Morote Soto Uke of Gichin Funakoshi is very „exact“. The movements of Hanashiro Chomo are on the other side more realistic and his fists reminds us to the movements of the 19th century western boxers.
Zenkutsu Dachi – one hand Soto Uke the other hand Gedan Barai (from Jiin and Jion)
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The illustrations show the initial movements of the Jion (Hanashiro) and the Jiin (Konishi). Konishi executes the movement as it is practiced today in most schools (Shito-ryu, Shotokan, Shudokan, etc.). Hanashiro Chomo generally performs the Kata much more combative. From the point of view of self-defense, it makes more sense to make kata more combative than to focus solely on a clean and stylized execution of the techniques.
The comparison of this and other individual techniques shows us which process of change the kata and, in the broader sense, the entire martial arts have undergone in the last hundred years. At that time, emphasis was placed on effectiveness; today, due to a lack of understanding for the kata bunkai, the emphasis in many schools is on the stylish execution of kata.

Jitte, Jiin and Jion in Shotokan

When Funakoshi Sensei began teaching karate in Japan in 1922, he taught a total of 15 kata, subdividing kata into Shorei or Shorin kata. It is interesting to see how he associated the kata Jitte and Jion in his books in 1922, 1925, and 1935.
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The table shows that the he clearly assigned Jion to be Shorei-ryu, the kata Jitte, however, 1922 and 1935 the Shorei-ryu, 1925 but the Shorin-ryu was assigned. At that time Jiin was not part of Funakoshi Sensei's official teaching program.
This different and obviously wrong assignment - all kata start with the Shaolin greeting and the techniques of all three kata whites clearly on a Shorin origin - shows us that Funakoshi Sensei had not been aware of the origin of the kata and that he did not recognize Jitte and Jion as part of a kata set.

Jitte, Jiin and Jion in the Shudokan Dojo

Although Toyama Sensei did not present these three kata in his books, these kata have been preserved in some of his students' schools, as shown in the table below.
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  • There are only three students who have taught all three kata: Hiramatsu Sensei, Ichikawa Sensei and Tsuchiya Sensei
  • Jion is the kata taught by a great number of Toyama Sensei students.
  • Jiin is the kata that only a small number of Toyama Sensei's students have received.
It is perhaps interesting that Higa Seitoku Sensei (Bugeikan) also had the Jion in his very extensive Kata curriculum. Higa Sensei, born in Nahama in 1921, gave the first public karate demonstrations together with Toyama Sensei in Japan in 1940. In 1945, Toyama Sensei awarded him the Shihan Menkyo. Although Higa Sensei expanded his knowledge with many masters of Okinawan Karate, the contact with Toyama Sensei was always very strong. Even after Toyama Sensei’s death Higa Sensei visited many Shudokan Embukai meetings in Japan. In 1951, Higa Sensei went back to Okinawa. There Higa Sensei also studied under Chibana Sensei and under Nakama Sensei. Higa Sensei could have learned the Kata Jion from Toyama Sensei, but also from Chibana Sensei or Nakama Sensei.
The last few paragraphs have shown that the kata group Jite, Jiin, Jion has also spread among the students of Toyama Sensei and that the Jion for many masters was a very important kata and that Jion is the most widespread kata of the kata group.
Further information can be found in my unpublished book on Jitte, Jion and Jiin (2007) and in my book "The Kata of the Shudokan", planned for the year 2022.
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Channan no kata - My theory

10/23/2018

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As we know, the Pinan kata were developed by Itosu Sensei between 1902 and 1907 and introduced into the Okinawan school system. Like no other, he influenced the development of modern karate.
Besides the Pinan kata, Itosu Sensei developed among others the three Naifanchin kata, the Passai Sho and Kushanku Sho. In my opinion, a significant part the worldwide spread of karate is due to him and thereby the possibility for us to practice this wonderful art.
So, on which basis did Itosu Sensei develop the Pinan kata (and Kushanku Sho)?
It is supposed that Itosu Sensei developed the Pinan kata basing in particular on the Kushanku kata. Because of the length and technical complexity of the Kushanku and other old kata, these forms were unsuitable for pupils and beginners. So, Itosu Sensei allegedly removed many dangerous techniques from the kata, like fingertip strokes in the eyes, in order to make karate suitable to be taught in school lessons. He also reduced the length of the long old kata or split them.
So far, so good! Now I present my assumption regarding Channan:
  • The Channan no kata is the archetype, so to say the DNA of Shuri-te. Kushanku Sensei brought it to Okinawa in the second half of the 18th century.
  • The Channan no kata is a very complex kata that consists of 90% open-hand techniques and since it even back then was too long and technically too complex, Kushanku Sensei split it into parts. He then taught his student these parts of the Channan no kata.
  • There are several of these split kata around today. However, all bear the name Kushanku (e.g. Sakugawa no Kushanku, Yara no Kushanku, Kushanku Dai, etc.).
  • Some students got taught the Channan no kata in their entirety.
  • The Channan no kata has been handed down to only a handful of students because of its complexity.
  • Itosu Sensei knew the entire Channan no kata.
  • It is understandable that techniques have been extenuated before introducing them to elementary school to make the training safer for children. Considering the Kushanku kata, there are no dangerous techniques; the use of the fingertips or the open hands is not more distinct in the Kushanku variants than in the five Pinan kata.
  • In my opinion, Itosu Sensei did not create the Pinan kata based on Matsumura's Kushanku or any other kata. Rather the base of the Pinan is the Channan no kata.
  • Also, I belief that Itosu Sensei developed the Kushanku Sho based on the Channan no kata.
I plan to publish a book in 2020, treating the Channan no kata. I will describe the Pinan kata and the Kushanku variants of Shudokan and further I will give a more detailed justification regarding the Channan no kata theory. Please be patient while waiting!
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1969, when Doshinkan was practiced in France

10/10/2018

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My book currently gives me the opportunity to get in contact with many different people. On one hand, I get interesting questions and on the other hand wonderful stories are shared with me. In the current blog article I would like to share the experiences and stories of Albert Thai Sensei with you. In the late 1960s Albert Thai Sensei practiced Karatedo Doshinkan in France and Austria. Let's listen to his stories:
It was coincidence or fate that my brother came to France in 1969/70 for a sabbatical and talked me into taking up karate. I was a bookworm, and built like a worm, and never liked any physical activity.
My brother invited Hanshi. He was then in contact regularly with his sensei, Walter Todd, and Walter Todd wrote to him and told him about Hanshi, Kanken Toyama's youngest disciple, who was in Austria. I remember my brother quoting from the letter "Hanshi is very proficient in karate", so my brother got in touch with Hanshi and invited him to Clermont (France). The karate club was part of the Michelin all-sports club of the ASM, and part of the Judo section, there was no federation of karate then. They took kindly to my brother and had no objection when he asked them if he could invite Hanshi and they provided with the travel expenses for Hanshi who waved any teaching fees.
The second year, I was in charge of the karate section (me, I had only one year of karate!!! Of course, my brother showed me things at home too, there was no holiday from karate, but still, I was a very beginner), and I also asked if we could invite Hanshi again, and again, they said yes and provided us with the funds. Again, Hanshi did not ask for any teaching fees.
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The old masters were different then, and so were we. We were young, college kids most of us, not naive, but eager to learn, to respect, to worship even. They were the stuff that legends are made of. Travelling, let alone flying, was expensive. So when a legend comes knocking ...
Oh, I remember Hanshi well, I saw him only three times (and his brother Ichikawa Nobuo, once), but he first impressed me as a very nice person. 
Now, even with hindsight, when I remember him in the dojo, I still remember the feeling of awe we felt. He was so impressive, such a short man, and such power! When he did his ushiro geri, with his body almost parallel to the ground, I thought he could break a wall. 
And his flying yoko geri! I remember once, in his demonstration, and our friend Patrice was the target, standing there with his arm raised as if he had done jodan tsuki, Hanshi did it several times, and there were silent ohs and ahs, our looks could tell it all, and then once, his heel got slightly into Patrice's sleeve, and Hanshi did not drop as smoothly, but he spun around and landed and went up with an ura tsuki, and stopped in time. His face then was the face of a fighter, but a split second later, he was laughing again.
In the comments on YouTube about some of the videos that were posted, Doshinkan has often been accused of being all show and no substance, a style for college professors who are afraid of contact. Sadly, and honestly, I don't think those videos should have been posted. And true, Hanshi was against competition, and even jiyu-kumite in the club. But in those days, only a fool would think that Hanshi could only do things for show.
For his demonstration of a block followed by a counter, he had to have a partner, and he would ask my brother on his first visit, or one of us (boy, were we scared!), but with us, he had always been gentle, it was only when he was hitting the air that he really unleashed all his power. And that, to me, is also the mark of a great master. What's the point of hitting and hurting your own students? But in Tulln (Austria), we noticed that when he demonstrated with his brother, Shihan Ichikawa Nobuo, it was not the same thing. Once, his brother staggered back after being hit and Hanshi said "Nobuo, come here, again!", and for once, I was happy I was not Hanshi's brother! Again, they were both masters, they knew each other's strength.
And to this day, I still quote Hanshi, not in a slavish way, but because I believe in the truths that he told us. He said that in the dojo, the beginner is the equal of a 10th degree master, in the sense that if the beginner does everything he can, if he gives it everything he has, then he can be sure that the master cannot do more than is possible for him. And I remember his "must try", or "must brush up" when it comes to katas. And sometimes he does something different in a kata, because he is really fighting, he is not just performing a choreography, then he stops, shakes his head, waves his hands, and then starts again. With the same kime, the same power.
And one thing we dreaded, he would tell us to sit in seiza, and if too tired, to rise on our knees, when we are to listen to him. And sometimes, he would explain katas for 10, 15 minutes, then up we go and he would expect us to do things as fast and as strong as we can, so I told my friends beforehand, ok, Hanshi is a great master, he is a pro, he can do it, but we have to be careful and not stretch a muscle. But in that atmosphere, it was difficult to hang back, even for self-preservation!
Hanshi went to the U.S. several times I think, and for reasons that are not for me to mention mainly because I don't know them, some of the clubs decided to remain as they were and not go over to Doshinkan.
But we always remember Hanshi as a very nice person and a great master, we remember his big laughter, and his caring for both advanced learners and very beginners like us. 
Ichikawa Hanshi died over 20 years ago. The memories of him live on in all who knew him and in his students. Thank you, Thai Sensei, for sharing your memories. These stories are a wonderful way to get an impression of the training in the old days and they give us a feeling of the man Ichikawa Isao.
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All photos and the newspaper article are courtesy of Albert Thai Sensei.
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Thoughts on the kata Shimpa (tan)

9/2/2018

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Recently I shared some pictures of the kata Shimpa on Facebook. In this article I would like to share my knowledge of this kata from my upcoming book "The Kata of Shudokan". Let's look at some theses on the history of this kata:
To study the techniques of Pangai-noon, Mabuni Kenwa Sensei and Konishi Yasuhiro Sensei visited the dojo of Uechi Kanbun Sensei in Wakayama in 1925. Pangai-noon is the style Uechi Sensei has learned in China from the monk Chou-tzu-ho (jap .: Shu Shi-wa). This style unites the movements of the tiger, the crane and the dragon.
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For what happened in the dojo at the time, I have various information.
The following story was told to me by Tsuchiya Hideo Sensei: Uechi Sensei wondered how he could best explain the techniques of his school to his visitors. Finally, he decided to teach them a simple kata - the Kata Shimpa (tan). Mabuni Sensei trained the kata with Uechi Sensei and learned the techniques. Konishi Sensei did not practice with them, instead he wrote down the techniques, positions and the course of the kata.
The question that inevitably arises here is why should Uechi Sensei have taught outsiders a kata that he did not include in his school curriculum. Well, Mabuni Sensei had a great deal of kata knowledge and was open to their demonstration and transmission. It is quite possible that Uechi Sensei recognized an advanced master in Mabuni Sensei and thus showed him another kata. Doubtful in this thesis seems to me that Uechi Sensei shows a kata to almost strangers and obviously did not teach this kata to his son Uechi Kanei Sensei, otherwise he would not have founded additional kata (Kanshiwa, Kanshu, Kanchin, Seichin and Seiryu) and added them to Uechi-ryu. This leads us to the much more probable thesis. This assumes that Mabuni Sensei founded the Kata Shimpa after the inspiring visit to the dojo of Uechi Sensei, based on what he saw and learned there.
Today the Kata Shimpa is practiced in the Shito-ryu, Shindo Jinen Ryu Karate-Jutsu and in some Shudokan schools (Doshinkan, Keishinkan, Yoshinkan and Tsuchiya-ryu). Tsuchiya Sensei did not learn the Shimpa (tan) from Toyama Sensei, but from Konishi Sensei. On one of my visits to his dojo in Odawara, he demonstrated the kata to me. It was very exciting to see that in his demonstration, the Uechi-ryu typical movements were very clear. If you look at some of the internet videos of Shimpa, most of the versions have no similarities with Uechi-ryu. I do not know if Toyama Sensei learned this kata from Mabuni Sensei, Konishi Sensei or any other teacher.
Interesting seems to me that Toyama Sensei practiced another form of Shimpa, the Shimpa cho. According to oral tradition the kata Shimpa cho was next to the Koryu Gojushiho the actual favorite Kate of Toyama Sensei. The technical level of Shimpa cho is much higher than that of Shimpa tan, and indeed it has similarities to Koryu Gojushiho in many areas. How did Shimpa cho get into the Shudokan?
In this regard, I can only provide theses?
  1. Shimpa cho is an old kata that Toyama Sensei had known from his days in Okinawa.
  2. Shimpa cho was also developed by Mabuni Sensei and passed on to Toyama Sensei. For whatever reason, Mabuni Sensei did not pass on this kata in Shito-ryu.
  3. Toyama Sensei developed Shimpa cho based on the Shimpa tan. While this thesis is fundamentally possible, Toyama Sensei is more known as a keeper of the martial arts he learned in Okinawa and Taiwan. As far as I know, he himself did not create any kata (though he did support his students in developing their own kata).
  4. Today Shimpa cho is known exclusively in Doshinkan and its splits. There is also the possibility that Toyama Sensei’s later master student Ichikawa Sensei based on the Shimpa (tan) developed the Shimpa cho.
As we can see, both the history of Shimpa (tan) and the history of Shimpa cho are fraught with many open questions.
The name of the kata can be translated as "heart waves", whereby "heart" does not mean the organ, but an inner feeling (mental attitude).
  • Shimpa tan "Short heart waves"
  • Shimpa cho "Long heart waves"
During the initial movement of the Kata, press with the ankle of the ring finger of the right hand into the hand pit of the left hand. According to Chinese medicine, "energy (ki, chi)" flows through the human body through a variety of meridian lines. This point (Point 8, Ro Kyu - "Palace of Concern") is located on the cardiovascular (pericardial) meridian. The pericardium energy ensures the circulatory system, ie the circulation and the blood pressure. It gives us the ability to keep calm in times of excitement.
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Figure taken from: YU SEN - Sprudelnder Quell, Rappenecker Wilfried, Felicitas Hübner Verlag
So, there could be a connection between the translation of the kata and the pericardium meridian. However, it seems important that the stimulation of this point has a positive effect on the concentration and inner peace. A similar initial movement can also be found in some other kata (Passai, Seiryu, ...).
More about this kata in my book “The Kata of Shudokan”, which is expected to be published in 2020.
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A comparison of Naifanchin kata (Toyama, Motobu, Funakoshi)

8/13/2018

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The concepts of martial arts were handed down from generation to generation through kata. Traditionally, the secret kata, the secret techniques encoded in these kata, and the historical background of the style were taught only to a small circle of students. As the generations passed, the secret kata were modified, and therefore some of the old techniques and parts of the historical knowledge were lost. Today, our knowledge is based on folk memory and on a small number of books written in the beginning of the 20th century by martial arts experts such as Hanashiro Chomo, Funakoshi Gichin, Mabuni Kenwa, Nakasone Genwa and Choki Motobu. Despite these books, we must realize that our knowledge of the times and the work of the masterssuch as Kushanku, Matsumura, Itosu, Higashionna is merely anecdotal. Thus, the information about the lives of these masters and the essence of their martial art available today is reliable only to a limited degree. However, even though it may be hard to trace back and reconstruct this information, studying these masters, their lives, and the kata they taught greatly enriches day-to-day training. As a comprehensive art and path of personal development, Karatedo encompasses all aspects of life. It allows practitioners to explore their art in all stages of their lives, not only physically but also from philosophical and historical perspectives.
Let's go to Naifanchin kata.
The Naifanchin kata is one of the oldest kata in Okinawa karate and was known in Shuri-te and Tomari-te. Together with Passai, Kushanku, Useishi, Chinto, Seisan, Channan and Hakutsuru kata, Naifanchin kata belongs to the forms which had already been passed down by Matsumura Sokon. Along with Seisan kata, Naifanchin was one of the basic kata used to introduce novices to the training of technique and physical fitness. 
By introducing karate as a means of physical education at elementary schools in Okinawa, Itosu brought to public attention an art previously trained only by a select few. This process was accompanied by a thorough reform of teaching methods and led to an expansion of the kata curriculum.
Above, we saw which kata had already existed in the time before Itosu. Itosu revolutionized karate, he adapted it to meet the requirements of group training and created a variety of new katas. (Pinan I-IV, Passai sho, Kushanku sho, Rohai I-III, Naifanchin I-III). 
Similar to the three Naifanchin kata, Pinan (5), Kyoku (7) und Rohai (3) are trained in groups of kata with different stages. In these groups of kata, the different stages represent different degrees of difficulty. However, an analysis of the three Naifanchin kata shows that Naifanchin Shodan is the basic form and Naifanchin Nidan and Sandan are only variations which, from a technical point of view, include no major innovative elements and technical advances compared to Naifanchin Shodan. Many believe that training only Naifanchin Shodan is sufficient to gain deeper insight into the underlying concepts of the kata. Itosu expanded Matsumara’s kata curriculum on a large scale. Looking back from today’s vantage point, however, we can say that this expansion caused the “tradition” to be diluted. Nowadays, many more katas are being taught in the different schools than in the days of Matsumura, which invariably means that less time can be devoted to each individual kata. We must not overlook, however, that it is precisely Itosu’s revolutionary spirit and his courage in breaking with tradition that made the global spread of karate possible.
The following pictures show Naifanchin Shodan performed by Toyama Kanken, Funakoshi Gichin and Motobu Choki. I hope you enjoy analyzing the pictures.
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Higashionna Kamesuke (1905-1968) - Toyama Sensei awarded the title "Hanshi Shihan" to him

7/9/2018

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There are several karate masters who, although they have not trained in the Shudokan dojo, have received high dan-grades and titles from Toyama Kanken Sensei or the AJKF. These masters included: Gima Makoto, Izumikawa Kanki, Kinjo Hiroshi, Akamine Shosuke, Higa Seitoku, Shimabukuro Eizo and Walter Todd.
In my book "Toyama Kanken - The Heritage of Shudokan" there are short biographies of these masters. However, I have forgotten the biography of one master, that of Higashionna Kamesuke (1905-1968).
Higashionna Sensei's surname can also be read as Higaonna. Later, he also used his nickname Hiroshi (quasi as a first name). Therefore, you can find this master in the karate literature as Higashionna Kamesuke, Higaonna Kamesuke or Higashionna Hiroshi and Higaonna Hiroshi.
Higashionna Sensei was born in Okinawa in 1905. We do not know when he started karate. He was, inter alia, a student of Motobu Choki (1870-1944), who described him as his favorite student. Higashionna Sensei was one of the pioneers who contributed to the worldwide spread of the karatedo. Together with Mizuho Mutsu (1898-1970), he traveled to Hawaii for more than 5 months in 1933, where they gave karate demonstrations. Higashionna published several articles on karate in the Ryukyu Shinpo in 1935, and in the same year he wrote a book about his time in Hawaii. Later he went back to Okinawa and headed a dojo in Naha. He gave his dojo the same name that Motobu Choki used for his former dojo in Tokyo: "Daidokan" (building of the great way). In 1968 Higashionna Sensei was involved in a traffic accident in Hawaii and died in the same year at the age of 63 due to his injuries.
How intense the contact from Toyama Sensei to Higashionna Sensei was I do not know. Higashionna Sensei received the title "Hanshi Shihan" from Toyama Sensei. The reasons could be one of the following:
  • Toyama Sensei appreciated Motobu Choki very much. Perhaps he saw it as his obligation to graduate Motobu Sensei's favorite student. I do not know if he graduated him before or after Motobu Sensei's death.
  • The karate historian, Toyama disciple and Toyama confidante, Nakasone Genwa, wrote in the book" Karate Kenpo "about the Hawaii trip of Higashionna Sensei:" Mr. Higashionna Kameseku is the deserved one, who started with a Hawaii expedition for us as the first step in the worldwide spread of karate.” Toyama Sensei also had plans to bring karate into the world, so he may have appreciated the efforts and enthusiasm of Higashionna Sensei.
For more information, I recommend the book "Higaonna Kamesuke: On Karate in Okinawa, Japan & Hawaii Paperback - January 18, 2017" by Henning Wittwer.
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In honor of Herbert Z. Wong Sensei (1940 - 2018)

6/22/2018

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A few weeks ago an extraordinary karate master left this world forever. Unfortunately, I never met him personally. However, he supported my book project with a lot of information and an interview. I am talking about Herbert Z. Wong Sensei (1940 - 2018). Wong Sensei was a student of Todd Sensei, Shimabukuro Eizo Sensei, and thus trained under Ichikawa Sensei. In 1965, Wong Sensei had the opportunity to visit the Shudokan dojo and talk to Toyama Sensei.
In the following interview, Wong Sensei shares his indescribable knowledge and experiences with us.

Interviewer: Did you ever talk to Shimabukuro Sensei about his 10th dan promotion from Toyama Sensei? Was it just the promotion or was there any deeper relationship between Toyama Sensei and Shimabukuro Sensei?
Wong Sensei: O'Sensei Shimabukuro has on many occasions talked about receiving his Judan and Shibucho certificate from Toyama Dai Shihan. O'Sensei was very clear that he had never learned any of his karatedo from Toyama Dai Shihan. In 1959, Toyama Dai Shihan under the auspicious of the Minister of Education of Japan invited representatives of all Okinawan karate "styles" to Tokyo to demonstrate and to be certified as karate masters in Japan. O'Sensei Shimabukuro discovered that he was the only Okinawan instructor to attend, and he performed his Kyan karatedo katas and Taira weapons katas to Toyama Dai Shihan and other Japanese dignitaries. Toyama Dai Shihan appointed O'Sensei as the Okinawa Shibucho for the All Japan Karatedo Federation (Zen Nihon Karatedo Renmei) and awarded him his Judan.

Interviewer: I read that Toyama Sensei had sent you a letter of recommendation for the dojo of Chibana Sensei. However, the letter reached you too late. Do you regret that you had not ended up in his dojo?
Wong Sensei: When I was scheduled to go to Okinawa in 1963, Todd Sensei wrote a letter to Toyama Dai Shihan asking for a letter of recommendation for me. Because of the slowness of international mail, the letter of introduction for me to attend Choshin Chibana Sensei's dojo did not arrive until many months later. By that time, I had been in O'Sensei Shimabukuro's dojo for many months already. It was fortunate that I did not attempt to visit Chibana Sensei dojo at that time since I believe my teacher O'Sensei Shimabukuro was getting instruction from Chibana Sensei on some of his Itosu katas which he felt did not have the Itosu principles and foundations in the way that Kyan Sensei had taught him. Until that time, I have still not seen the practice of kata as practiced in the Kyan style with the dynamics, speed, precision, etc. of this style. As such, I have never regretted not training with Chibana Sensei. I have, however, in the past referred other senior students to Chibana Sensei for instruction.

Interviewer: As far as I know you have also visited the Shudokan dojo in Tokyo. What was your impression of Toyama Sensei?
Wong Sensei: I visited Toyama Dai Shihan's Sohonbu Dojo in July 1965. It was during early evening when I arrived. There were about 20 students on the floor of varying levels of training with more senior students working with more junior students. Toyama Dai Shihan was not on the training floor. One of the black belts greeted me and asked who I was. I introduced myself indicating that I was visiting from Okinawa with Shimabukuro as my Sensei, and that I was also a student of Todd Sensei in the United States for whom I was carrying his greetings to Toyama Dai Shihan. Within minutes, Toyama Dai Shihan was on the training floor, and he invited me to sit next to him in the Shomen area. The black belt who greeted me sat close by and provided assistance in translation. Toyama Dai Shihan spoke to me in Japanese, and although I took several courses in accelerated Conversational Japanese, I was not able to communicate clearly without the black belt's assistance (I do not remember the name of this person; however, he was neither Ichikawa Isao or Takahashi Youkou). Toyama Dai Shihan was dressed in a summer yukata, soft-spoken, very courteous, and careful and deliberate in his movements. We talked for an hour or more about what was happening in Okinawa and in Oakland, California. Toyama Dai Shihan asked many questions about training, katas, exercises, etc. with Shimabukuro Sensei and with Todd Sensei. Toyama Dai Shihan introduced me to the class, and he asked several of his higher-level students to perform some kata for me. Some of the katas looked familiar and were those in his book (others I recognized because of the Itosu lineage). I did see several katas that were different because of the high roundhouse and sidekicks in them. I asked the names of those kata, and Toyama Dai Shihan said they were special katas of his. Toyama Dai Shihan asked if I would perform a kata for his students. I performed Itosu Kushanku (which we now call Kushanku Dai as taught by Chibana Choshin Sensei to my teacher Shimabukuro Sensei). Toyama Dai Shihan seemed to have liked my kata and had the translator tell me that he was very happy to see "te" again. We talked some more, and as it was getting late, the class ended. I thanked him for allowing me to visit, and told him that Todd Sensei had wanted me to bring him greetings from the United States (and I gave him an envelope with 75,000 Yen -- about US$200 at that time -- told him that this was from Todd Sensei). We bowed and said good-byes and Toyama Dai Shihan went back upstairs. As I was saying thank you to some of the students before leaving, Toyama Dai Shihan and his wife came back down, bowed deeply, and asked that I thank Todd Sensei for his kind gift and to extend his welcome to Todd Sensei and his wife to visit him the next time.

Interviewer: Do you remember the students of Toyama Sensei of these days? Was Toyama Sensei conducting the training? Who was teaching?
Wong Sensei: Toyama Dai Shihan was not teaching the class. The students were of varying levels of proficiency, with more advanced students helping those who were less advanced. At the time of my visit, I had seen students from Naha-te, Shuri-te, Tomari-te, etc. in Okinawa and students from U.S. dojos of Joon Rhee, Richard Kim, Nishiyama Hideteka, Yamaguchi Gogen, Ajari Yosh, Walter Todd, etc. Toyama Dai Shihan's students were not much different than other karatedo students that I had seen. They did use deeper stances and did kick higher than most Okinawan styles, however. 

Interviewer: Do you remember the structure of the training in the Shudokan? 
Wong Sensei: I did not see any entire-class exercise (although I was not there when the class started). Training was very individualistic and resembled more like the kung fu classes in the Chinese martial arts. Senior students helped junior students. A variety of emphases were made (e.g., kata, bunkai, kumite, power, technique, etc.).

Interviewer: In Japan I met many Toyama-students who believe that Toyama Sensei was teaching just the kata he mentioned in his book Karatedo Daihokan (Pinan 1-5, Naifanchi 1-3, Chinto, Passai Dai, Chibana no Kushanku, Koryu Gojushiho, Tenryu no kon and an unnamed sai kata). Do you know which kata Takahashi Youkou Sensei taught Todd Sensei?
Wong Sensei: As mentioned, I saw katas at Toyama Dai Shihan's Sohonbu Dojo when I visited in 1965 that were not in his Karatedo Daihokan book. Todd Sensei first learned his karatedo kata under Otsuka Sensei (Wado-ryu) in 1948-1949 during his work assignment with the Tokyo PX. He was six months short in time-in-grade to qualify for his Shodan examination. In 1953, during the six-month tour with the judo and karate masters from Japan to the different U.S. Air Force Strategic Air Command Bases, Todd Sensei relearned his karatedo kata (Shotokan style) with Obata Sensei, Kamata Sensei (who was the President of the Shotokan), and Nishiyama Sensei. At the end of the SAC Tour, Obata Sensei said that he would recommend Todd Sensei for his Shodan in Shotokan Karatedo to Funakoshi Sensei (although the certificate was never awarded as far as I can tell). In 1960, Todd Sensei was awarded his Sandan in Karatedo simultaneous with his appointment as United States Shibucho for the All Japan Karatedo Federation (Zen Nihon Karatedo Renmei). I believe that it was Youkou Takahashi Sensei who recommended Todd Sensei to be the U.S. Shibucho to Toyama Dai Shihan, and Toyama Dai Shihan awarded Todd Sensei the same rank (Sandan) that Takahashi Sensei held at the time. During this early-1960's time, Todd Sensei was teaching mainly the Shudokan karatedo katas, and he also referred to Toyama Dai Shihan's book (Karatedo Daihokan) often. All of these katas must have been from Takahashi Sensei to Todd Sensei. Todd Sensei did teach katas that were not in Toyama Dai Shihan's book. For example, I was taught Empi no kata (Flying Swallow) from the Wado-ryu style and Jion from the Shotokan style - two of Todd Sensei's favorite katas. Todd Sensei asked that I perform Empi no kata when Otsuka Sensei visited his dojo in Oakland, CA (and I was asked to be uke for Otsuka Sensei on that visit). Todd Sensei taught the Pinan katas from Shudokan (although he pointed out differences when these katas are performed in Shotokan and Wado-ryu). I learned Naifanchi Shodan and Sandan from Todd Sensei; however, he was not able to fully teach me Naifanchi Nidan. In 1963, I learned Naifanchi Nidan from a South Korean officer (Lieutenant Sang Kim who was a teacher of Tang Soo Do) assigned to the U.S. Army Engineering School at Ft. Belvoir, Virginia for training at the same time that I was there. During one of my short leaves back to the Bay Area, I was able to share my Naifanchi Nidan with Todd Sensei; however, shortly after that, he did have the Shudokan version of Naifanchi Nidan - I assumed that he got that from Takahashi Sensei. Starting in the Fall of 1965 after my return from Okinawa, Todd Sensei had asked that I take over the teaching of Karatedo based upon what I had learned from Shimabukuro O'Sensei (Shorin-ryu). I continued to teach karatedo for Todd Sensei until the fall of 1970 when I had to leave for my doctoral program at the University of Michigan, Ann Arbor. Todd Sensei returned to teaching the Shudokan katas after visits to his dojo by Ichikawa Hanshi (in the early 1970's) which became Doshinkan Karatedo.

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My next project: The Kyoku Kata

6/5/2018

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Dear readers of my blog,
 
I like to introduce you to my next project. My next book deals with the Kyoku kata (1-7), which were developed by the late Hanshi Ichikawa Isao.

While one chapter will deal with the history of this kata group, the main focus is on the description of the kata. I will show all techniques of the seven kata with pictures and describe the sequences in detail.
 
The 7 Kyoku kata are extraordinary, beautiful and technically very advanced kata (especially Kyoku 6 & Kyoku 7). Hanshi Ichikawa has been teaching these kata unchanged for several years. Around the mid-1970s, he began to work on these kata and has varied and changed the sequences and techniques over and over again.

In my book I will represent the original forms. I write the book primarily for myself and my students. I will decide at a later date if I will make this book available to a wider audience. I'll keep you updated.
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Niikura Katsumi Sensei (1942 - ), another student of Toyama Sensei

5/4/2018

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It's a bit strange. I searched for Toyama Sensei's students for more than 30 years, and I thought I was relatively complete in my research, and then the unthinkable happened. When my book was printed, I found another student of Toyama Sensei on the Internet.

I would like to share a mini-biography about Niikura Sensei. At the age of 12 Niikura Sensei began studying karate and judo. Unfortunately, it is not known when and how long he trained with Toyama Sensei. However, he probably started training in 1961 in the Shudokan Dojo and received his 3rd Dan in 1963.

Niikura Sensei also practiced aikido and iaido. In 1973 he founded International Ryokukai Karatedo, a new karate style based on the best of what he had discovered through his study of a variety martial arts. In 1984 Niikura Sensei came to the USA and opened the honbu dojo of International Ryokukai in Sterling Heights, Michigan.

Throughout his life, Niikura Sensei worked intensively with ki. He used it on the one hand as a healing method and also incorporated it into his martial arts training. In 2017, Niikura Sensei returned to Japan to intensify his ki work.

Niikura Sensei also told his American students stories about his time with Toyama Sensei. Daniel Cikota, one of his students, shared one of these stories with me:
​
Toyama Sensei’s students practiced their reverse punches on watermelons. All of the students punched through the watermelons. When Toyama Sensei demonstrated his reverse punch, the following happened: Toyama Sensei punched the watermelon but he didn’t punch through it. Some of the students were snickering to themselves that he was unable to puncture it.  Toyama Sensei had one of his students cut the watermelon in half and what they seen was pretty incredible. The watermelon was completely mangled inside. All of the students were amazed and couldn’t believe it. Their watermelons looked nothing like his.

I think that's a nice story. Was it really that way? Maybe, but maybe not.
​
If you have more information about Niikura Sensei's time in the Shudokan, I would be glad to hear from you.
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    In this blog I would like to answer some of your questions about the book. In addition, there are a variety of photos and interesting stories that have not found entry into the book.  Furthermore, the blog should serve to give you new historical insights immediately, so you do not have to wait for the second edition of my book.

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