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Manual Of Isshin-Ryu Karate-I

BY

 

Masters Donald Bohan and Glen Webb

 

1978


PREFACE

 

    The Manual of Isshin-Ryu Karate is designed to serve as an introduction to Isshin-Ryu.  It is not a comprehensive work and is not intended as a final authority.  The manual will acquaint the beginning student with a sound, basic knowledge of Isshin-Ryu, and can serve as an instructional aid for beginning students.

 



TABLE OF CONTENTS

 

 

           1.   The Vital Points  

           2.   Kobu Jitsu  

           3.   Japanese Number System  

           4.   The History of Karate

           5.   Kata Kiai Points  

           6.   Self Defense Techniques  

            a.   Dai-Nihon Karate-Do Ten-No-Kata  

            b.   Ippon Kumite  

            c.   Yakusoku Kumite #1, 2, & 3  

            d.   Sweeping Block Against Front Kick From Seisan  

            e.   1—Step  

            f.   2—Step  

 

  


 

THE VITAL POINTS

 

The most widely used names for the vital points have been used, and those points that did not already have names were given names for convenience.  Since actual tests cannot be made in the classification of points into Cause of Death and Cause of Unconsciousness, knowledge transmitted through written notes and knowledge transmitted by word of mouth from the past have been used as the source.  The following classification is considered to have more credibility than similar classifications that have been published so far.  (Numbers in parentheses correspond to those in figures 1 and 2 of attached sheet.)

 

 (Figure 1)

 (Figure 2)

 

 

Front:   HEAD AND FACE

 

(1)               Suture, coronal (tendō):  line of juncture of the frontal bone and the parietal bones.  Cause of death is severe trauma to the cerebrum and disruptive stimulation of cranial nerves.

 

(2)               Frontal fontanel (tendō):  the region of the head between the forehead and the coronal suture that is exposed and seen to pulsate in a newborn infant.  Cause of death is concussion and trauma to cranial nerves.

 

(3)               Temple (kasumi):  especially suture of cheek bone and frontal bone.  Loss of consciousness is due to trauma to cranial nerves resulting in loss of sensory and motor function.

 

(4)               Circumorbital region (seidon):  upper and lower parts of eye socket.  Loss of consciousness results from cerebral trauma and resulting loss of nervous control.

 

(5)               Eyeball (gansei):  loss of consciousness produced by severe trauma to cerebrum resulting in disruptive stimulation of cranial nerves and loss of sensory and motor function.

 

(6)               Glabella (uto):  the point at the base of the nose between the eyes.  Loss of consciousness results from severe trauma to cerebrum leading to disruptive stimulation of cranial nerves and loss of sensory and motor function.

 

(7)               Suture, intermaxillary (jinchū):  juncture of left and right upper jawbones below nose.  Loss of consciousness and results from trauma to cranial nerves and loss of sensory and motor function.

 

(8)               Lower jaw, center (gekon):  one-half inch below lower lip.  Loss of consciousness results from trauma to cranial nerves and loss of sensory and motor function.

 

(9)               Mandible, base (mikazuki):  lower ridge of lower jaw; also the articulation below and in front of the ears.  Loss of consciousness results from concussion and loss of nervous coordination.  (This is a vital point in karate, although it is not so considered by some schools of judo.)

 

A blow to any of the vital points of the face causes trauma to the cranial nerves resulting in loss of nervous coordination and consciousness as well as vascular shock.  There are twelve cranial nerves, possessing sensory, motor or mixed function, as follows:  olfactorius, opticus, oculomotoris, trochlearis, trigeminus, abducens, facialis, acousticus, glossopharngeus, vagus, spinal accessories, and hypoglossus.

 

 

FRONT:  MIDDLE SECTION

 (10)           Neck, side (matsukaze):  the length of the sternocleidomastoid muscle covered by the platysma.  Cause of loss of consciousness is trauma to the carotid artery and the     pneumogastric nerve leading t shock and to loss of sensory and motor function.

 

 (11)           Supraclavicular fossa (murasame):  front portion of the throat on either side, just above the collar bone at the origin of the lateral head of the sternocleidomastoid muscle.  Cause of loss of consciousness is trauma to the artery located below the collar bone and to the sublingual nerve, producing shock and loss of motor function.

 

(12)           Suprasternal notch (hichū):  the concavity on the ventral surface of the neck between the sternum below and the hyoid bone above.  Cause of loss of consciousness is blocking of the windpipe.

 

(13)           Sternal angle (tanchū):  just below the juncture of the manubrium and the sternum.  Cause of loss of consciousness is trauma to the heart, bronchus, arteries supplying the upper body, and the pulmonary artery, leading to malfunction of the respiratory system and shock.

 

(14)           Xiphoid process (Kyōsen):  lowest part of the sternum.  Cause of loss of consciousness is severe trauma to the liver, stomach and heart, leading to shock and to disturbance of the nervous system followed by loss of motor function.

 

(15)           Solar plexus (suigetsu):  concavity just below the sternum.  Loss of consciousness is caused by trauma to the stomach and liver, leading to damage to adjacent regions above and below and in turn to effects on the nerves that produce loss of function of internal organs.

 

(16)           Point about one-inch below the umbilicus (myōjō, tanden):  Loss of consciousness is caused by trauma to the small intestine and bladder and in turn to the large blood vessels and nerves in the abdomen, producing shock and loss of motor function.

 

(17)           Subaxillary region (kyōei):  fourth intercostals space.  Loss of consciousness results from severe trauma to the lungs and associated nerves, leading to loss of lung function and stoppage of breathing and circulatory failure.

 

(18)           Region below the nipples (ganka):  between the fifth and sixth ribs on either side.  Cause of loss of consciousness is similar to that in the preceding case, i.e., loss of lung function, stoppage of breath and circulatory failure.

 

(19)           Abdomen, hypochondriac region (denkō):  seventh intercostals space.  Cause of loss of consciousness is different for the left and right sides.  On the right side, it is severe trauma to the liver, leading to loss of nervous function associated with the liver and lungs.  On the left side, it is severe trauma to the stomach and spleen with effects on the heart and lungs, producing loss of nervous function associated with the heart and lungs.

 

(20)           Abdomen, lumbar region (inazuma):  eleventh intercoastal space.  Cause of loss of consciousness is different for the left and right sides and is nearly the same as that for the hypochondriac region.

 

Attacks to the vital points mentioned up to this point, which are located in the chest and abdominal regions, all result in primary trauma to internal organs with disruptive effects on the spinal cord and sympathetic nervous system.  This in turn affects cranial nerves, leading to loss of consciousness caused by shock and by loss of sensory and motor function and consequent stoppage of breathing.  It is noteworthy in this connection that attacks to vital points located in the head do not always lead to loss of breathing in spite of loss of sensory and motor function.

 

(21)           Wrist, inside (uchi shakutaku): between brachioradialis and flexor muscles of the fingers.  An attack to this point produces trauma to the underlying nerve and artery, leading to an unusual type of pain affecting the chest and throat regions and causing loss of motor function and loss of consciousness.

 

(22)           Hand, back (shukō):  especially points between thumb and index finger and between middle and ring fingers.  Cause of loss of consciousness is shock to the median nerve leading to an unusual type of pain in the chest and throat regions that produces loss of motor function.  A similar result is to be expected from striking any one of the bones located at the back of the hand.

 

 

FRONT:  LOWER SECTION

 

(23)           inguinal region (yakō):  inner region of the upper thigh; part of the musculature of the pubic bones.  Cause of loss of consciousness is trauma to the underlying artery and nerve, as well as to the closing nerve, causing an unusual type of pain in the hip and abdomen that produces loss of motor function.

 

(24)           Thigh, lower, lateral part (fukuto):  middle part of lateral vastus muscle.  Cause of loss of consciousness is cramping of the muscle in the thigh leading to pain in the lower abdomen and loss of motor function in the leg.

 

(25)           Medial malleolus (naike, uchikurubushi, uchikurobushi):  the point just below the medial tuberosity of the tibia.  Although this term usually indicates the lowest part of the shinbone, i.e., the inside surface of the ankle, uchikurobushi as used to identify a point of attack denotes a point on the medial surface of the tarsal bone just below the ankle.  Cause of loss of consciousness is trauma to the tibial artery, causing an unusual type of pain in the hip area that leads to loss of motor function.

 

(26)           Instep (kōri):  medial portion of top of the foot.  The point of attack is slightly to the inside of the medial line between the tendons of the big toe and the second toe.  Cause of loss of consciousness is trauma to the nerve located in the inside portion of the sole, the tibial artery and the deep fibular nerve, causing an unusual type of pain the leg, hip, and abdomen and leading to loss of motor function.

 

(27)           Foot, top, lateral part (Sōin, kusagakure):  just below the heads of the fourth and fifth metatarsals.  Cause of loss of consciousness is similar to that in the preceding case.

 

(28)           Fibula, middle (kōkutsu, mukōzune):  an attack to this point produces trauma to the fibular nerve, leading to severe pain and loss of upright posture.

 

(29)           Testes (kinteki):  cause of loss of consciousness is trauma to the nerves and arteries of the testicles and groin, inducing the testicles to rise and in turn producing loss of motor function and inability to breathe.

 

 

BACK:  UPPER SECTION

 

(30)           Concavity behind the ear (dokko):  between the mastoid process and the lower jaw.  Cause of loss of consciousness is trauma to cranial nerves and spinal cord, resulting in loss of sensory and motor function.

 

(31)           Neck, back (keichū):  third intervertebral space.  Cause of loss of consciousness is severe trauma to cerebrum, cranial nerves and spinal cord, producing loss of sensory and motor function.

 

 

BACK:  MIDDLE SECTION

 

(32)           Scapular ridge, middle (hayauchi):  the level of the third intercostals space.  Cause of loss of consciousness is severe trauma to lungs and spinal cord, producing difficulty in breathing and blood circulation combined with loss of motor function.  

 

(33)           Space between fifth and sixth thoracic vertebrae (kassatsu):  cause of loss of consciousness is trauma to the spinal cord, aorta, heart and lungs, leading to loss of sensory and motor function and in turn to stoppage of breathing.

 

(34)           Lumbar region (ushiro denkō):  left and right sides of ninth and eleventh thoracic vertebrae.  The two sides of the ninth thoracic vertebra are generally designated shakkatsu denko, and it is said the pressing on these two point with the thumbs can relax a spasm.  However, the two sides of the eleventh thoracic vertebra are more effective points for attack.  Cause of loss of consciousness is severe trauma to the kidneys and associated nerve and blood vessels leading in turn to shock and loss of motor function.

 

(35)           Spine, tip (bitei):  cause of loss of consciousness is trauma to the entire spinal cord, leading to cerebral trauma and loss of sensory and motor function.

 

(36)           Upper arm, dorsal surface (wanjun):  middle part between biceps and triceps.  Cause of loss of consciousness is trauma to ulnar and median nerves and blood vessels of upper arm, producing an unusual type of pain in the chest and neck and loss of motor function.

 

(37)           Elbow, lateral surface (chūkitsu, hijizume):  cause of loss of consciousness is trauma to the ulnar nerve producing an unusual type of pain in the chest and neck with loss of motor function.

 

(38)           Wrist, dorsal surface (sotoshakutaku:  space between ends of radius and ulna.  Cause of loss of consciousness is trauma to the median nerve and loss of motor function.

 

 

BACK:  LOWER SECTION

 

(39)           Gluteal fold (ushiro inazuma):  central portion of the back of the upper thigh just below the buttock.  Cause of loss of consciousness is trauma to the sciatic nerve producing an unusual type of pain in the abdomen and hip regions and loss of motor function.

 

(40)           Soleus muscle, lower part (kusanagi):  cause of loss of consciousness is trauma to tibial artery and tibial nerve, producing an unusual type of pain in the abdominal and hip regions leading in turn to loss of motor function.  

 

 

 


 

KOBU JITSU

 

Kobu jitsu is the art of weapons.  It was developed on the island of Okinawa when the Satsuma Clan from Japan occupied Okinawa and forbade the possession of all tools and weapons.  The Okinawan people improvised new weapons fashioned from simple farming implements, among them the Kama (sickle), Tui fa (Rice Grinder), Nunchucku (Flail), Sai (Short Sword), and the Bo (6 ft. pole).  By this stroke of ingenuity, they were able to continue fighting their Japanese oppressors.

 

After the Satsuma Clan left Okinawa, the Okinawan people continued to train themselves intensively in order to gain complete mastery of Kobu Jitsu.  What was once a means of self defense only gradually evolved into a way of life.  Today, after 470 years, this art is preserved within the Okinawan Karate Teaching System.

 

 


 

 

JAPANESE NUMBER SYSTEM  

 

1

ICHI

 

2

NEE

 

3

SAN

 

4

CHI

 

5

GO

 

6

ROKU

 

7

SHICHI

 

8

HACHI

 

9

KU

 

10

JU

11

JU-ICHI

 

12

JU-NEE

 

13

JU-SAN

 

14

JU-CHI

 

 

15

JU-GO

 

 

 

16

JU-ROKU

 

 

17

JU-SHICHI

 

 

18

JU-HACHI

 

 

19

JU-KU

 

20

NEE-JU

 

21

NEE-JU-ICHI

 

 

22

NEE-JU-NEE

 

23

NEE-JU-SAN

24

NEE-JU-CHI

25

NEE-JU-GO

 

30

SAN-JU

 

40

YON-JU

 

 

50

GO-JU

 

60

ROKU-JU

70

SHICHI-JU

80

HACHI-JU

 

90

KYU-JU

100

HYAKU

1000

SEN

 

10,000

MAN

 

1,000,000

HYAKU-MAN

 

 

 


 

 

THE HISTORY OF KARATE

 

 

The story of Karate is as old as man himself.  Struggling for survival in a hostile world, early man soon learned that his life depended on his ability to kill and evade.  Through centuries of painful evolution man broadened his knowledge, studying the fighting habits of his enemy and his prey, establishing systematic techniques and training methods.

 

Having defeated the greatest reptiles and most cunning animals in the battle for world domination, man encountered his most formidable opponent – MAN.  In defense of hunting territory, his home, his village or his country, man maintained a constant quest for knowledge and skill in the ways of combat.  Young men sought the knowledge and technique of old warriors, adding to them and passing the compounded knowledge on.  Spawned by generations of experience, a highly specialized art was born.  Families having knowledge of the art guarded it closely and generally exercised a place of prominence in the community.

 

The first true milestone in karate philosophy came in 563 B.C., with the birth of an Indian Prince named Siddhartha Gautama.  Born to royalty and great wealth, he rejected all worldly possessions to live the life of a monk.  He came to be known as the Buddha (“enlightened one”), founder of the gentle religion that bears his name.  Ultimately, one-third of the worlds’ population would be converted to Buddhism.  Buddhist theory credits the shortcomings of all humanity to man’s rebellion against the laws of nature.  An important part of Buddhist development was the study of birds, animals, insects and reptiles.  It was reasoned that Man could learn much from God’s creatures since they were in complete harmony with nature and the universe.

 

Traveling from village to village teaching the gentle ways of Buddhism, early monks often delivered mail and valuables as a service to their devoted.  For this reason they were often attacked and robbed.  Forbidden to bear weapons, they turned to nature with their need.  Knowledge of ancient unarmed combat techniques became a part of their training.  The fighting habits of birds, animals, insects and reptiles, as they applied to the human body, were incorporated and a complete new concept of combat was born.  It was to be known as Vajaramushti (meaning:  one whose first is unyielding).  Siddhartha Gautama’s (The Buddha) teachings were destined to have great influence on the fierce fighting art and it’s philosophy.  He died, a penniless monk in 483 B.C., at the age of 80.

 

In 500 A.D., responding to the death wish of his aging teacher (Prajnatara), a Buddhist monk by the name of Taishi Daruma journeyed from India across the Himalayan Mountains to Tibet and into China.  His prior purpose was to unite the various Buddhist schools of thought that had sprung up there and to establish a monastery.  Daruma was born the son of an Indian King (Su-Gan-Dha) and a member of the warrior caste.  He was therefore highly skilled in the deadly combat art of Vajaramushti.

 

Daruma (also known as Tamo and Budhidarama) found that the monarchs of the Liang dynasty were not perceptive to Buddhist Tehents.

 

Returning to the wilderness, he and a small group of disciples constructed the now famous Sholin (or Shaolin) Monastery (Monastery of the young Bamboo Forest) which was to be the birth place of the Zen Buddhism and the forerunner of modern day Karate.

 

The first written reference to the Chinese fighting art known as Kung-Fu (Cong-Fu, Ken Fat, Ch’uan Fa, Kenpo, Kempo and Tode) dates back to 2600 B.C., it’s development was stimulated at and during the time of the Sholin Temple.  Early forms of Kung-Fu which simply means “practitioner of excellence” were originally an art form taken from the frolics of animals and practiced primarily for health purposes.  In theory, the practitioner sought to experience, tap or participate in the flow “ch’i” which was believed to be the power of the universe.  In 180 A.D., the Chinese surgeon “Huo To” wrote of the frolics of the tiger, deer, leopard, crane and snake.

 

Finding his Chinese followers weak from long hours of traditional meditation and physical neglect, Daruma established a system of physical and mental discipline that was to be known as I-Chin (inner-conflict) and would later be called San-Chin (three-conflicts).  The concept of San-Chin is founded on the realization that man’s most powerful body forces lie virtually untapped.  The term “conflict” applies to the independent, undisciplined function of the body’s three most powerful elements:  controlled breathing, mental awareness and physical concentration.  In application, the San-Chin practitioner seeks complete coordination of these forces, greatly improving and enhancing the mind-body relationship.

 

When delivering a blow (which is a very small part of the total spectrum of San-Chin) the practitioner begins to exhale as his hand or foot starts forward.  Mental concentration is greatly increased and muscles begin to tighten.  The San-Chin state is brought to climax just prior to the point of impact.  All air is suddenly expelled from the body.  Mental concentration reaches an absolute maximum and every muscle is locked.  An explosion of super-human force is suddenly created lasting only a fraction of a second followed by relaxation, the entire move being performed with the suddenness of a lightening bolt.  This spontaneous explosion of life force was developed through close observation and imitation of the great cats and reptiles, especially the snake (the San-Chin theory is basically the same instinctive action that the snake executes as he hi-s-s-s-ses and strikes).

 

Also developed at the Sholin Temple were the techniques known as the “Eighteen Hands of Lo-Han” (Lo-Han meaning:  those who have achieved Nirvana, the spiritual goal of all Buddhists).  The study and practice of San-Chin and the Eighteen Hands of Lo-Han soon established the monk of Sholin as the most formidable fighters in China, absolutely above conventional acts of violence, which of course, was their goal.

 

Later, in approximately 1500 A.D., the Eighteen Hands of Lo-Han were expanded to seventy-two forms.

 

Then in 1522, a monk known as Kwok Yuen and two of China’s greatest teachers who had been invited to the Temple to assist; a master Li and a master Pak-Yook-Fong, expanded the seventy-two forms to one-hundred and seventy and classified them into what were known as the “Five Original Styles” (dragon, tiger, leopard, crane and snake).

 

The most important step in the development of modern day Karate came with the introduction of Zen Buddhism and Chinese culture to the Ryukyuan Islands, the largest of which is “Okinawa”.  These islands are scattered like stepping stones from the southern island of Kyushu, Japan seven-hundred miles south to Taiwan in the East China Sea.

 

A popular Okinawan legend states that in the year 1296, a shipwrecked Chinese mariner named “Chinto was washed ashore on Okinawa during a raging Typhoon.  Seeking shelter from the storm in a nearby cave, he found himself alone and penniless in a strange land.  Venturing out only at night to gather food, he was soon detected.  A soldier, in service of the King named Pechin Matsumura (NO relation to Kyan’s teacher Matsumora) was sent to capture the fugitive.  He tracked Chinto to the cave and there confronted him.

 

When Chinto refused to surrender, Matsumura attempted to physically restrain him.  Though a battle seasoned warrior, skilled in the Okinawan fighting art, Matsumura was unable to penetrate the derelict’s defense.  Having blocked every technique the soldier attempted, Chinto did not counter-attack but chose to run away.  Instead of persuading, Matsumura returned to the King and reported that this man would harm no one.  He then went back to the countryside and once again sought out Chinto who was hiding in a cemetery, there he befriended him and becamae his student.  From Chinto, Matsumura learned the primary defensive kata that today bears his name.  The style taught by Chinto was South China Kung-Fu.  Other famous students of Chinto were Teguchi, Yamazato, Nakazato, Yamada, Gusukuma, Kanagusuku and Oyatomari, all of the port city of Tomari.

 

In 1316 the Chinese Military Attache Iwah came to Okinawa.  Three famous Okinawans who became his students were Pechin Matsumura (who had also studied with Chinto) from Shuri, Kogusuku from Kume and Maesato from Kume.

Also arriving on Okinawa during this period were the Chinese Military Ambassador Ason and Waishinzan.  Ason’s better known students were Tomoyori, Sakiyama, and Gushi, all of the Port Naha.  Waishinzan taught Aragaki, Nagahema and Hijaunna of Kunenboya.  And Shimabuku, Higa, Senaha, Gushi and Kuwsu all of Uemonden.

 

In 1372, the Okinawan King Satto requested and was granted admission to the Chinese Empire.  As a gift Emperor Hung Wu-Ti sent thirty six families of skilled Chinese artisans including teachers, merchants, Buddhist priest and skilled military advisors.  The effect of these thirty-six families was a stimulation of Ryukyuan cultural and economic development and of course, the introduction of Chinese Kung-Fu.

 

Then flourishing on Okinawa was the native fighting art known as Tode (Toe-day) Te (tay) or Okinawa-Te, which was characterized by brutal offensive techniques, not common to Kung-Fu which capitalized on it’s sophisticated defense.  The philosophy and superior defense of Kung-Fu, characterized by open hand technique, and the devastating superior offense of Okinawa-Te, characterized by the closed fist were destined to become one.  Evolution of the world’s deadliest fighting art was nearing its peak!

 

In 1429, the famous King Hashi succeeded in uniting the Ryukyuan Islands into one kingdom.  To insure rule by law, all weapons were seized from the people and it was made a crime against the state to possess weapons.  King Hashi, having knowledge of Chinese culture and trade, set out to improve the economic conditions of the islands by expanding trade relations with other countries.  Since Ryukyuans had long been able seafarers Okinawa commercial sea trade soon extended throughout southeast Asia and the Indies, China, Korea and Japan.  Between 1432 and 1570 Okinawa established forty-four official embassies on foreign soil.  Trade was far-reaching and successful.  The people planted their crops (rice, pineapples and sugar), fishing was good in the warm China sea and Pacific ocean, cattle were fat and barns were full.  Temples, homes and gardens were great beauty, such as the famous “Tea House of the August Moon”.

 

During 1400 and 1500 Okinawa-Te and forms of Chinese Kung-Fu were practiced throughout the islands, especially by royalty.  Early in 1500, the Okinawan master Thwanku, who had journeyed to China to study Kung-Fu, returned and further expanded Ryukyuan technique.  In 1588, the famous Chinese Kung-Fu master Seisan arrived on Okinawa and remained until early 1600.

 

Then in 1609, the powerful Satsuma Samurai clan of the southern Japanese Island of Kyushu, invaded and occupied Okinawa.  The imperial forces had to contend with extremely self-reliant, fierce, and proud people.  Their hostile stubbornness would not allow anyone to break their spirit, even though the Japanese, through superior numbers, armor, and swordsmanship, had conquered their home land.

 

By means of guerrilla warfare, the Okinawans were able to harass the Japanese troops.  Due to the distance between Japan and Okinawa, the occupying forces had great difficulty in continuously replacing their materials and their steadily depleting forces.  In an effort to strengthen their position and subjugate the Okinawans, the Japanese ordered the confiscation of all metals on the island.  This meant all weapons, tools, cutlery, and every source of replacement, including cooking pots and pans.  All forges were dismantled and removed.  The Okinawans were disarmed; possession of any weapon was forbidden.  The Japanese now thought that they had eliminated the strength of the opposition and that their task would be considerably easier.  It was, but only for a short time.

 

The confiscation of metal caused many problems for the Okinawans.  As fighters they felt very insecure without their weapons.  Also, unlike the Japanese, they were primarily meat and fish eaters and could not butcher their food.  It was difficult to prepare their food and do their work efficiently without proper instruments.  They endured these hardships for a while, but their will to resist gradually strengthened and they finally formed a delegation to present their grievances to the imperial forces.

 

The Japanese commander, Iehisa Shimazu recognized not only the validity of the complaint, but the possible consequences if he did not compromise.  He knew that the success of any occupation is largely dependent on the continuation of the occupied people habits and ordinary functioning.

 

It was necessary that he make some allowances that would benefit the Okinawans and at the same time enforce the original mandate.  It was decided that villagers would have a community knife which would be kept in an open square attached to a heavy anchored chain and which would be guarded by two Japanese soldiers.  This plan seemed to prove satisfactory.  Since the troubles and apparently ceased, the occupying forces began to relax their guard.

 

But the Okinawans did not relax.  Among the old patriarchs there was discussion of old stories remembered from their youth.  Some of their people had been to China and brought back information and stories about the incredible unarmed fighters in Cathay, who were able to defeat armed and armored opponents with nothing but their hands and feet and occasionally with the use of unusual wooden fighting instruments.

 

In 1629, the three major Dojos (Te-Schools) which were located in Shuri, Naha, and Tomari, held a series of secret meetings which resulted in their banding together.  Training was conducted at night in secluded places such as caves and cane fields.  In order to carve wooden weapons, knives were, of course, needed.  In a single night throughout the Island, guards were attacked and killed and all village knives were taken.

 

Common wooden weapons of the day were the “Bo” (long hard wood staff), the “Nanchaku” (root puller) which was actually a farming tool used to pull dead rice stalks and foreign roots from the mud of the rice paddies.  It consisted of two short (approximately a foot and a half long) hard wood sticks or handles which were linked by a short piece of rope or chain (approximately one foot long) at one end.  The techniques of the Nunchaku were based on the original Okinawan fighting art known as “Obi-waza” (belt techniques) which usually employed a metal weight, blade or star knife on the end or in the middle of the belt.  Still another wooden weapon was the “Tui-Faa” (handle) also a farm tool used as a handle for a grinding wheel and as a husking implement to remove the rice head from the stalk.  The Tui-Faa was a hardwood shaft some fifteen to twenty inches long with a round handle projecting at a right angle about six inches from one end.  Techniques with the Tui-Faa were also based on Obi-waza and the Okinawan “Sai” (pronged metal shaft).  In the hands of a skilled Okinawan, these simple wooden weapons were as deadly as swords and spears, capable of smashing military armor and the men wearing it.

 

Temeshi-wari (hardening the weapons of the body) became one of the primary elements of Te training.  Parts of the body such as the elbows, inner and outer forearms, knuckles, sides of the hands, knees and feet were toughened, calloused and eventually hardened by systematically pounding or striking the “Makiwara” (punching board or pad) usually consisted of a post wrapped with rice rope.  Callouses raised along the bone of the inner and outer forearm were necessary when blocking the wooden and metal weapons of the day.  Callouses on the first two knuckles of the fully developed Te fist had density of cattle horn, capable of penetrating the lacquered bamboo armor warn by the Samurai.  Fingers were strengthened for ripping and tearing by driving them into sand or rice.  Some practitioners are known to have developed the two major or inside toe joints by running on the under-turned toes.

 

Because of strict secrecy surrounding Okinawa-Te from 1610 to 1800, little factual information on its development is available.  However, because the sole objective of the art during this period was to kill, one important fact is known; it was during this period that the world’s deadliest fighting art reached its’ peak.

 

Possibly the most amazing consideration of the Okinawa-Te history is that the Japanese never discovered who the teachers were or where training was conducted.  Perhaps the unique Okinawan security system explains this phenomenon.  Anyone suspected of being an informer was kidnapped at night and taken along with a small goat or pig, about a mile off shore.  There the animal’s throat was cut and it was thrown overboard, when the sharks arrived, the informer invariably lost his balance and fell into the water.

 

Though the Okinawan’s succeeded in overthrowing occupation forces on several occasions they were no match for the armed might of the Japanese empire.

 

During this period many Okinawans traveled to China where they expanded their knowledge of the Chinese martial arts.  Many systems of Kung-Fu, including both the northern and southern styles, were introduced.

 

In 1635, the Okinawan Master Sakugawa of Akata in Shuri went to China to study.  He later returned having mastered still another unique form of the art and established the famous Sakugawa Dojo.

 

By 1700, two distinctive TE styles of “Ryus” had developed on Okinawa; Shuri-Te; and Naha-Te, named for the village in which they originated.

 

Shuri-Te was based on original Okinawa-Te with northern Kung-Fu influence.  It was later to be known as Kobayashi-Ryu (after the famous Master Kobayashi) and finally as Shorin-Ryu, Shorin is the Okinawan pronunciation of the Chinese word Sholin, which refers to the famous Sholin Temple.  However, this term is misleading since Naha-Te actually resembles the Kung-Fu of the Sholin Temple more than did Shuri-Te.  Shuri-Te stressed agility and quickness of movement but did not adopt the Chinese theory of San-Chin controlled breathing.  Pronounced hip-twist punching was not a characteristic of early Shuri-Te but later developed in many Shorin-Ryu related systems.

 

Naha-Te was also based on original Okinawa-Te but heavily influenced by southern Kung-Fu theory.  It was characterized by forceful movements but its’ major characteristic was the practice of San-Chin controlled breathing.  The system was later to be modified and re-named Goju-Ryu (Go-hard, Ju-soft, Ryu-way).

 

Today, practically every major Karate system in the world can trace its’ beginning directly to either the Shuri-Te or Naha-Te school.

 

In 1784, the Okinawan Master Shinja of Shuri returned from China accompanied by a Chinese friend, the legendary Kushanku, for whom the famous night fighting kata is named.  (The movements of the Kushanku Kata are based on responses to sound and touch rather than sight.)

 

Still another famous Okinawan to journey to China was Matsuma who returned in 1792 after studying at the famous Sholin Temple.

 

One of the most famous Okinawan Masters was Kanyo Higashionna, born in 1845.  As a young boy, he was taken to Fukien Province in China where he entered the home of a merchant, Wooluchin, as a student of trade.  Wooluchin was a Master tea merchant but he was also a Master of Kung-Fu and taught the art to the young Higashionna.  After eleven years, he returned to Okinawa and opened a Dojo (training school) across the street from the island newspaper in Naha.  Among others, Nigashionna taught Chojun Miyagi, who later founded the Goju-Ryu system, Kenwa Mabuni, who also studied from Itosu and later founded the Shito-Ryu system, and Kyoka.

 

The Japanese occupation ended in 1875.  The practice of Okinawa-Te retained it strict secrecy for over twenty-five years.  The most significant year in later Okinawa-Te history was 1903, which brought the first "public" demonstration or the art in over two hundred years.  These famous demonstrations were followed by the introduction of Okinawa-Te through- out the Okinawan public school system and universal acceptance of the term Kara-Te (Kara at that time meant eight China or Empty, and Te meant Hand.)

 

Though he was a farmer of common birth, the name selected to coordinate the introduction of the art to the school system was Master Yasutsune Itosu, who had been a student of Sokan Matsumura and Okinawan Master Gusukume.  Itosu s Master students were Kentsu Yabu, Kenwa Mabuni (who also studied from the Master Higashionna and later founded one of the Shitoh-Ryu related systems), Choku Motobu, who was Co become one of the island's most fierce fighters and later established the Kosho-Ryu Dojo (Koold Sho-pine tree, Ryu-Way Dojo-school).

 

In 1917 the Japanese association of martial arts Masters or Butokai was sufficiently interested in Karate to invite the Okinawans to demonstrate the art in Japan.  At that time the island's best-known fighter was Choku Matobu.  When news reached Matobu, he was enthusiastic.  However, being from a proud Okinawan family of royalty chat was famous for having fought the invaders, Motobu was radically anti-Japanese.  He refused to bow Co Japanese people under any circumstances.  He was crude in manner and speech and did not dress well. Motobu was high in stature for as Okinawan and extremely stronger   His strength and size made it almost impossible for another fighter to hurt him.  It was obvious to the Okinawan officials that Motobu could not be sent to Japan, chough "ears later he went as a guest of the Japanese.

 

Among the schools in Okinawa, which caught Japanese reading and writing, there was a certain preparatory school for Okinawans who wanted Co Qualify for Japanese Civil service.  The school called "Shoto Gakko", caught customs, manners, social graces, all the things necessary for success in the Japanese milieu.

 

The professor of this institution was an Okinawan of genius. He was astute in all things Japanese and could emulate the Japanese in every way.  His manner and speech were impeccable and he wore fine Japanese clothing.  He commanded the utmost respect from the well-educated Japanese gentleman.  His name was Gichin Funakoshi was a third Dan (Black Belt grade) of the Shorin-Ryu system.  Although Funakoshi was by no means considered a Master of Karate by the Okinawans, it was clear that he would go to Japan.  At a meeting of the high-ranking Masters, the little professor was promoted to fifth Dan.  Arrangements were made, and Funakoshi was off to Japan.  What he did there made history in the Japanese martial arts world for he flabbergasted the Masters of the Butokai.  The little professor, so modest and “only a fifth Dan”, defeated every fighter he was matched against, often defeating his opponents with the superior techniques which subsequently were copied by Jigoro Kane (founder of Judo) and became standard Judo forms:  the Judo throw commonly called “Uchimata” and the dumping techniques referred to as “Osote-gari”.  They were originally Karate forms and were, of course, much more deadly in the original.  

 

Because of his affinity to Japanese culture and the respect he won in Japan, professor Funakoshi felt very much at home during his stay and decided to remain.  He attracted quite a few students with his magnificent performance in the exhibitions, and he began teaching Karate in a Kendo-Dojo.

 

It was extremely difficult in the beginning to make Karate understandable to the Jiu-Jitsu and Kendo conditioned public.  There were many excellent would-be Karate students who shied away from it in the early years primarily because it was foreign, and therefore distasteful, according to the mentality of the times.  A great Karate professor at one time observed that even the clothes of the Japanese obstructed kicking and punching movements.  Their open-toed wooden shoes (geta) and their long sleeved garments with constricting robes hindered long strides, wide stances, and sudden jumping movements.  For this reason the Samurai warriors had developed a method of arranging their clothing to accommodate the particular technique they were using.  They did this as casually as if they were in front of their own mirror, while actually fighting for their lives in the heat of a battle.  The Chinese, on the other hand, had shoes that looked like sneakers and baggy, loose fitting trousers which facilitated all sorts of movements, and kicks.  Their dress allowed them to punch and use their hands freely.  The Okinawans were too poor for fine constricting clothing and consequently, were also at home with any type of movement.

 

Through his superior teaching, Gochin Funakoshi did eventually transcend the barriers of misunderstanding and prejudice against Karate.  He was treated with the highest possible respect and was soon able to establish his school as a separate Dojo, which he called the “Shoto-Kan” after the name of his polishing school in Okinawa.  From Funakoshi’s teaching sprang the Japanese Karate system known as Shotokan.  Though other Okinawan Masters also traveled and taught in Japan, including Chojun Miyagi and Choki Motobu, Karate did not reach national prominence in Japan until 1937.

 

 


 

 

KATA KIAI POINTS

 

 

SEISAN             THE FIRST KIAI IS ON THE FIRST STEP OVER KICK.

                           THE SECOND IS JUST BEFORE YOU THROW THE KICK ON THE SHUTO BLOCK

               AT THE END OF THE KATA.

 

SEIUCHIN        THE FIRST KIAI IS ON THE ELBOW BLOCK AFTER THE SECOND DRAWING

               BLOCK.

                           THE SECOND IS ON THE RAKE TO THE EYES JUST BEFORE YOU THROW THE

               BACK FIST PUNCH.

 

NAIHANCHI   THE TWO KIAIS ARE ON BOTH DOUBLE PUNCHES.

 

WANSU            THE FIRST KIAI IS ON THE PUNCH AFTER YOU RAKE TO THE EYES.

                           THE SECOND IS ON THE LAST KICK.

 

CHINTO           THE FIRST KIAI IS ON THE DOUBLE FRONT KICK.

                           THE SECOND IS ON THE PUNCH AT THE END OF THE DATA WHEN YOU GO

               DOWN ON YOUR RIGHT KNEE.

 

KUSANKU       THE FIRST KIAI IS ON THE CRESCENT KICK.  THE SECOND IS ON THE

               DOUBLE JUMP KICK.

 

SUNSU              THE FIRST KIAI IS ON THE KICK BEFORE THE DOUBLE DOWNWARD BLOCK.

                           THE SECOND IS ON THE LAST KICK.

 

NOTE:            ALL KIAI’S ARE TO BE DONE BEFORE THE MOVE IS EXECUTED, IN OTHER

            WORDS, THE SECOND BEFORE YOU THROW THE MOVE.

 

 


 

--------------- SELF DEFENSE TECHNIQUES ---------------

DAI-NIHON KARATE-DO TEN-NO-KATA
 

1.                                    Right foot forward, right hand body punch.

2.                  Right foot forward, right hand face punch.

3.                  Left foot forward, right hand body punch.

4.                  Left foot forward, right hand face punch.

5.                  Right foot back, left leg block, right body punch.

6.                  Right foot back, left side block, right body punch.

7.                  Right foot back, left shuto, right Nukite Solar Plexus.

8.                  Right foot back, left open head block, right face punch.

9.                  Right foot back, left head block, right body punch.

10.                Right foot back, left hammer block, right body punch.

(Alternate each movement and practice from both sides).

 

NOTE:  In the performance of all these hand exercises, remember to breath out at the same time you strike.  These exercises

should be done slowly and with spirit.  Strive for good form at all times.  Be especially careful of position of hands when blocking.  Maintain a good stance at all times.  Keep wrists straight when punching.  Keep shoulders down.

   

 

IPPON KUMITE  
 

 

In this exercise, the Karate-Ka’s will face each other in the closed ready, Rei, step into the open ready.  The attacker will step back with his right foot first placing his right hand in the ready to punch position.  The attacker will then step forward and punch at the pre-arranged place with a lunge punch.  The defender will step back or to the side as designated and block and counter as arranged.

 

Set #1

 

1.                  A – RFF – Right down punch

B – RFB – Left down block – right punch to solar plexus

 

2.                  A – RFF – Right chest punch

B – RFB – Left chest block – right punch to solar plexus

 

3.                  A – RFF – Right chest punch

B – RFB – Left open hand block – right nukite to solar plexus

 

 

4.                  A – RFF – Right face punch

B – RFB – Left open hand head block.  Grab, pull and right punch to

face.

 

5.                  A – RFF – Right face punch

B – RFB – Left head block – Right punch under armpit

 

6.                  A – RFF – Right chest punch

B – RFB – Left hammer block – Right punch lower ribs.

 

7.                  A – RFF – Right face punch

B – RFB – Left hammer block – Right punch to ribs.

 

8.                  A – RFF – Right face punch

B - *** - Squat to punch side – Squat punch.

    

 

YAKUSOKU KUMITE #1, 2 & 3  
 

 

The attacker will always start by stepping forward with his left foot and thrusting a lunge punch.

 

The defender will always use outside blocks in the first three moves.  The fourth counter is the only one that is different in set #2 & #3.

 

SET #1

 

A – Punch – Head, Chest, Groin

B – Block – Head, Chest, Groin

 

SET #2

 

A – Punch – Head, Chest, Groin, Head

B – Block – Head, Chest, Groin, Step back in a straddle – punch to chest.

 

A – Punch – Head, Chest, Groin, Chest

B – Block – Head, Chest, Groin, Outside Block – Reverse punch to ribs.

 

A – Punch – Head, Chest, Groin, Groin

B – Block – Head, Chest, Groin, Outside block – Reverse hammer fist to

    temple.

 

A – Punch – Head, Chest, Groin, Head

B – Block – Head, Chest, Groin, Outside block – Reverse punch to solar

    Plexus.

 

A – Punch – Head, Chest, Groin, Chest

B – Block – Head, Chest, Groin, Outside block – Reverse punch to eye.

 

A – Punch – Head, chest, Groin, Groin

B – Block – Head, Chest, Groin, Outside block – Reverse uppercut to

    throat.

 

SET #3 – All blocks in set #3 are done in a Cat stance.

 

A – Punch – Head, Chest, Groin, Head (Step forward in a front stance)

B – Block – Head, Chest, Groin, Squat kick to solar Plexus (block in Cat).

 

A – Punch – Head, Chest, Groin, Chest

B – Block – Head, Chest, Groin, Front snap kick under armpit.

 

A – Punch – Head, Chest, Groin, Groin

B – Block – Head, chest, Groin, Roundhouse kick to face.

 

A – Punch – Head, Chest, Groin, Head

B – Block – Head, chest, Groin, Side kick under armpit.

 

A – Punch – Head, Chest, Groin, Chest

B – Block – Head, chest, Groin, Side kick to the lower ribs.

 

A – Punch – Head, Chest, Groin, Groin

B – Head, chest, Groin, Side kick to the knee.

 

 

SWEEPING BLOCK AGAINST FRONT KICK FROM SEISAN  

   

A – throws a front kick.  Then steps back in Seisan, blocks punch

B – Blocks kick in Seiuchin oblique hammer fist block.  Throws a reverse

    punch and a front kick.

 

A – Steps forward in Seiuchin.  Throws a backhand to opponent’s head.

B – Side step in Cat stance – Shuto block.  Throw a side kick.  Follow up

    reverse punch.

 

A – Steps forward in Seisan.  Throws head punch then low punch.  Steps

    back in Seisan.  Blocks head punch.

B – Step back in Seisan.  Block head punch and low punch.  Same arm.  Step

    forward – throw head punch, mid punch and low punch.

 

A – Steps forward in Seisan.  Throws an upward elbow strike, then across

    elbow strike.  Steps back in Seisan.

B – Steps back.  Blocks with cross elbow strike then upward strike.

    Follow up bridge to nose front kick – land forward. Reverse punch.

 

A – Steps forward in Seisan.  Throw shuto to collar bone.  Step back.

B – Steps back.  Block X-block, step forward.  Throw shuto to the neck and

    a ridge hand to the ribs.

    

 

1 - STEP  

 

 

BOTH STUDENTS FACE EACH OTHER.

ATTACKER IN SEISAN STANCE.  DEFENDER IN HACHI DACHI.

 

A – Throws a head punch

B – Steps back, does rising block and reverse punch

 

A – Mid-section punch

B – Steps back, performs inside block and reverse punch

 

A – Throws low punch

B – Steps back and delivers down block and reverse punch

 

A – Throws mid-section punch

B – Steps back in Seiuchin and delivers outside block and back-hand to

    opponent’s face.

 

A – Throws mid-section punch

B – Steps back in neko ashi dachi and performs shuto block and delivers

    front snap kick to groin.

 

A – Throws front kick

B – Steps to the side in Seisan stance and performs down block with hammer

    fist to the outside of the leg.

 

 

2 - STEP

 

 

A – Step forward in Seisan stance.  Throw rising punch, step forward again

   throw mid-section punch.

 B – Step back in Seisan, throw rising block.  Step back again in Seisan –

    throw inside block.  Follow up backhand to face followed by a reverse

    punch.

  

A – Step forward in Seisan.  Throw mid-section punch.  Step forward again,

    throw low punch.

B – Step back in Seisan.  Throw outside block.  Step back again use lower

    knuckle block.  Follow up punch to head, then uppercut mid-section.

 

A – Step forward in Seisan.  Throw mid-section punch, repeat other side.

B – Step back in Seisan.  Throw outside palm heel block, repeat other

   side.  Follow up shuto to neck, reverse punch.

 

A – Step forward in Seisan.  Throw rising punch.  Repeat other side.

B – Step back in Seisan.  Throw X-block open hands.  Repeat on the other

    side but grasp on the second and follow up with front kick to the mid-

    section.

 

A – Step forward in Seisan.  Throw upper cut.  Reverse other side.

B – Step back in Seisan.  Throw forearm block.  Repeat on the other side.

    Follow up elbow strike to chest using the same arm.  Backhand to the

    head.

 

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