One of the famous kata with the paddle (uēku) is Tsuken Sunakake no Kon (oki.: Chikin Sunakachi nu Kun). As it is generally demonstrated using the uēku (paddle) it is also referred to as Chikin Sunakachi nu Uēku-dī (Tsuken’s skills of the oar and flipping sand).
Characteristic features are the butt-end floating defense (nagashi-uke, 0:23) in the very beginning, followed by a reverse cut (gyaku-giri, 0:25) while leaning the body to the left and followed by flipping sand (sunakake, 0:26) and front strike (shōmen-uchi, 0:27). In addition, jōdan nagashi-uke and gyaku-uchi are followed by drawing a circle with the tip of the uēku (mawashi-uke) and finishing with another gyaku-uchi (1:09).
There are also many yoko-uchi while turning the body. It contains the technique of flipping sand into the face of the opponent, which is referred to as sunakake, and this is a technique of blinding the opponent known as metsubushi in Japanese.
One of the most important things in the techniques of the paddle are the hand changes and to strike as if cutting with the blade part of the paddle.
A panel exhibition sponsored by Okinawa Prefecture that introduces the history of Okinawa karate during the early Shōwa period (started 1926) began on April 8 in the lobby of the Okinawa Karate Kaikan Exhibition Room in Tomigusuku City. The kumite publication “Illustrated Basic Okinawa Kenpō Karate-dō” (Okinawa Kenpō Karate-dō Kihon Zukai) is publicly exhibited for the first time. The book details the fighting techniques (kumite) of the late Kyan Chōtoku, who was a master of Okinawa karate and who was called the “Saint of Boxing” (kensei). “This prewar manuscript of Kyan is a very valuable material,” says the person in charge from Okinawa Prefecture.
The exhibition runs until March 31, 2022. The entrance is free.
It is a folding book made from a long strip of paper that is folded back and forth in a zigzag. It consists of 26 pages including the front page with a length of 15.5 cm and a width of 9 cm. It comprises an introduction of karate on the first 10 pages, and pictures with explanations of kumite postures and stances in the latter 15 pages. Kyan Chōtoku is photographed doing kumite, explaining an outline and the postures of the techniques. Okinawa Prefecture copied the original of the book from the persons in possession of the original. A part of it is exhibited on a panel.
At the end of the book is written “Shōwa 7,” i.e., 1932. It was published as a book by a disciple of Kyan at that time. So far it has not been made public who this disciple was. It is also said that there was also a “kata edition” that was a sister book of the kumite edition. This would probably clarify many things, most importantly about kata such as Ananku, Seisan, and others. Unfortunately, the “kata edition” has not been found so far.
Moreover, for the first time, a ryūka (Okinawan poetry in classical Ryūkyūan language) has been found which was created by Kyan Chōtoku. Kyan dedicated it to the Okinawa Shrine. In the poem Kyan cites a famous ryūka once written by the poet Unna Nabī. Unna Nabī who was not an upperclass person but a female farmer of the 18th century. Her monument is erected in Onna village. The poem reads, “When you pray at the shrine and at ceremonies, even the wind stops, for the five late kings, I must say my prayer and be thankful for my fortune.” (Jinja umachiriya, kajinu kwin tumari, guhashiranu ukami, miunchi ugama).
In addition, twelve articles, including newspaper articles are also on display. They are from the time when the late Fujita Tsuguharu (1886-1968), one of Japan’s world-class painters, talked about his impression of Okinawa karate when he visited Okinawa in 1938.
The panel exhibition will be held at the Okinawa Karate Kaikan Reference Room. The Karate Kaikan collected 2385 items such as newspaper articles and materials related to Okinawa Karate so far. A part of 325 materials including newspapers from 1938 to 1940, such as newspaper articles on prewar karate, are put together on 12 panels and displayed in the lobby of the exhibition facility in the library. Sonohara Ken, chief of the Okinawa Prefectural Karate Promotion Division, said, “I want many citizens of the prefecture to come into contact with the history of Okinawa karate and use it for academic promotion.”
For inquiries, call 098 (866) 2232 at the Okinawa Prefectural Karate Promotion Division.
In the latest series of “Sensei: Masters of Okinawan Karate,” Oshiro Toshihiro Sensei talks about his journey, experience and development in karate and bojutsu. In one episode Oshiro Sensei remembers when he went for Shodan test at the age of 17.
“While I was doing the kata during the test, I did kime (tensing / focus) after techniques, but after kime, I couldn’t move on smoothly. This was a shocking revelation to me, and I thought ‘How can I fix this?’ The examiner said, ‘You’re waiting too long between movements.’ However, in reality, I wasn’t waiting. I couldn’t move (into the next technique). In budo this is known as itsuki meaning to be stuck in one place. I thought I must be doing something wrong here. I practiced endlessly but I could not find a solution.
At the Nagamine dojo I learned the intricacies of technique from Nagamine Shoshin Sensei, and also from Nakamura Seigi Sensei and Kushi Jokei Sensei, but the answer of why I couldn’t move was a still a mystery to me. It was only after extensive practice of (the bo) Yamanni-ryu with Kishaba Chogi Sensei that I realized how to use the body to avoid being stuck in one place.
For me personally, Yamanni-ryu has aided my study of karate tremendously. There’s an old saying in Okinawa, that karateka should also study bojutsu. In Okinawa, only bojutsu and karate had been practiced extensively since ancient times. Others such as saijutsu, tonfa and nunchaku, in my opinion, do not have as long a history. The connection between karate and bojutsu is very deep. It was said if an aspect of karate did not make sense, look back to bojutsu for the answer. So bo and karate have this connection.”
What is the meaning of itsuki? It means sitting, a residence, or to be (i) and to be attached or to take root (tsuki). Japanese it is written 居付き or 居着き and has the following dictionary meanings:
Among the 1935 Okinawan photos presented by the Ashi Shinbun Digital website are a few that show the use of the Ueku (paddle) as a means of transport fish and utensils. The posture is almost the same as the first posture of “Tsuken Sunakake no Ueku.”
This first photo shows Uehara Kame using an Ueku as a means of transport ropes and nets. Uehara was known as a master shark catcher. According to Ueda Fujio (74), an emeritus professor at the University of Okinawa, shark fins were used as ingredients and shark oil was used for lamps. According to Nakamoto Masahiro Sensei of Bunbukan, shark oil was also used to impregnate bō.
The next photo shows a fishing boy with an Uēku in the Itoman area. Many fishing boys were in indentured servitude as a “hired child” who lived and provided labor to a shipowner for about 10 years after the age of 10. These were not only boys, but also girls. Ueda Fujio (74), emeritus professor at Okinawa University who is familiar with this issue, said, “In modern times, this is a violation of human rights, but at that time it was considered superior to other systems of selling oneself (into bondage, esp. for prostitutes).”
Below are two more photos showing the same use of the Ueku.
Posted inBook Reviews|Comments Off on The first posture of “Tsuken Sunakake no Ueku”
Traditional “Kumi-odori” of the kingdom era presented to the younger brother of Shōwa Emperor (Hirohito)
Among the Okinawa-related photographs found this time in the Asahi Shimbun Osaka Headquarters, there was a photograph of the traditional Kabuki drama “Kumi-odori” of the Ryūkyū Kingdom. The location is believed to be the house frontage of the Nakagusuku Udun, where the royal family had moved after they had been chased from Shuri Castle during the “Disposal of Ryūkyū” (1879) by the Meiji government. There is “Tairan” (inspection by the empress or the crown prince) written on the back and therefore the photograph seems to have been taken when the Kumi-odori was presented to Chichibu-no-miya, the younger brother of the Shōwa Emperor (Hirohito), who visited Okinawa in May 1925.
The performance is Kumi-odori’s masterpiece “Nidō Tekiuchi,” and it is Tamagusuku Seijū (1868-1945) on the right end of the photo who plays Amawari, the enemy of the two boys in the play. Nidō Tekiuchi is a story of two brothers who vow to avenge of their father’s death. They go after Amawari, the murder of their father. One day, the brothers disguise themselves as girls and approach Amawari in a nearby field. The boys serve him plenty of alcohol and dance until he gets intoxicated and gives them his sword, and then they take his life.
Kumi-odori is a Kabuki drama to welcome the envoys of the Chinese emperor, and Tamagusuku Seijū was directly instructed by the official in charge of the “Ukanshin-odori” (Crownship Dances) when Ryūkyū welcomed the final envoys in 1866.
Shimabuku Kōyū (1893-1987), a dancer representative of postwar Okinawa, recalls in his book “Sekisen Memoirs” (Okinawa Times) that all the performances in 1925 were presented by “the best members of the local theater world.”
Tamagusuku Seijū studied the dances of the Ryūkyū royal government and nurtured the younger generation. In Tokyo he was introduced as the “Danjūrō of Ryūkyū” [in reference to the famous Kabuki stage name Ichikawa Danjūrō, which is bestowed upon actors since the 17th century]. Nakagusuku Udun, which was the setting for the photo, burned down during the Battle of Okinawa in 1945. The style reconstructed by Tamagusuku Seijū’s disciples after the war is the cornerstone of the current Ryūkyū classical theatre.
In the performance “Uchigumi Amakawa,” the costume was provided by the Shō family, a descendant of the last king, Shō Tai. Suzuki Kōta, an associate professor at the Okinawa Prefectural University of Arts Research Institute, paid attention to the sake tools at Tamagusuku Seijū’s feet. They look like metal and match the specifications ordered by the royal government for the crown ship dance. “If the costume is from the Shō Dynasty, the stage props may have been used in the actual crown ship dance. The stage props do not exist anymore and so the photo is valuable for learning about Kumi-odori during the Kingdom era,” he said.
According to Dan Antonsen Sensei, whose wife Masako is a student of a student of Tamagusuku Seijū,
“he disappeared during the battle of Okinawa in 1945. Nobody knows what happened to him or where his remains are. Kind of a mystery for the Ryūkyū dance society. His picture hung in Masako’s dojo all her life. This is the story as I understand it.”
Okinawa Karate, not to be defeated by discrimination
A strong-muscled man receives a thrust from a big man wearing a haramaki (bellyband). The photo is considered to have been taken around 1933 at the Ōsaka City Sports Ground (the current Yahataya Park in Minato-ku, Ōsaka).
On the back of the photo are pencil writings of “Kenjinkai” (Association of People from the Prefecture) and “Karate Kenpō Meet.” It seems that it was taken at Ōsaka City Sports Ground (currently Minato-ku, Ōsaka) around 1933. Reporters of the Asahi Shinbun and the Okinawa Times verified the persons by interviewing people involved in Okinawa Karate. Two names were identified from their faces and bodies: The young man who receives the thrust is Kanei Uechi (1911-1991), the second generation of the Uechi-ryū of Okinawa Karate, and the strongly-built person who shoots the thrust is Akamine Ka’ei (1908-1977), a businessman and also the chairman of the Okinawa Prefectural Sumo Federation.
As a technical note, relatives testified that Uechi Kanei had the habit of arching his big toe, as can be seen in the basic stance called “Sanchin” of the Uechi-ryū in the photo. Akamine had the same hair growth on his arm.
Uechi recalled meeting with Akamine in Ōsaka in an interview article with the Okinawa Times (October 9, 1960). While it is not confirmed that this article refers to this photo, Uechi said in it, “I decided to try out the real power of karate.” It is said that when the pit of the stomach was struck by Akamine, who could break seven wooden planks with his fist, the skin of the abdomen broke and bled, causing a hemorrhage. In the article, Uechi also talked about the joy of being praised for his training by officials. .
Karate is said to have its roots in the Ryūkyū Kingdom era. The two persons mentioned above were born in Okinawa and trained at a dōjō opened in Wakayama City by Uechi’s father, Kanbun (1877-1948). Kanbun is the founder of the Uechi-ryū, who had travelled to the Qing dynasty where he studied martial arts.
The time when the photo was taken was an era when the number of migrant workers from Okinawa to the Ōsaka and Kyōto regions increased. In the 1920s, Okinawa suffered a recession called “cycad hell” when people where so poor they had no choice but to eat poisonous sago palm cycads. Many people from Okinawa went to the Ōsaka and Kyōto regions, but the phrase “Ryūkyūans and Koreans refused!” spread and they faced discrimination when trying to find a job or a house.
According to Kaneshiro Kaoru (67) of the Kansai Okinawa Library, who collects materials related to Okinawa in Ōsaka City, there was a strong tendency until the 1970s to avoid performing Okinawan songs and dances in public. “As a self-defense from discrimination, I feel that Okinawan culture has been protected within circles of friends and family since before the war, and this photo is a vital outwardly expression of this.”
Kanei returned to Okinawa and opened a dōjō. He survived the Battle of Okinawa and afterwards developed and popularized Uechi-ryū. According to research by Okinawa Prefecture, there are 300 Uechi-ryū dōjōs in the prefecture, as well as in the north-eastern and south-western regions of Japan, the United States, France, and Argentina, but there are also dōjō in many other countries.
165 photographs of people and landscapes of Okinawa before the war were discovered at the headquarter of the Asahi Shimbun newspaper in Ōsaka City. Previously, a negative of Okinawa in 1935 was found also at the Asahi Shimbun and introduced as “Reviving Okinawa 1935” in print and in a photo exhibition. However, this time the photographs included some from the older Taishō Era (1912–1926), which makes them valuable.
Most of them are printed on photographic paper. As far as could be confirmed the period is from 1921 to 1944. Most of them are from the current city of Naha, but there are also some from Ishigaki Island. The investigation was conducted in collaboration with the Okinawa Times, including for those photos of which the photographer is unknown. These 165 photographs show the true faces of Okinawans who lived in such an era when the ties with Japan strengthened and the city and lifestyle of Okinawa changed drastically.
The photos below show a reenactment of the “Three Temples Visiting Procession” by the king of Ryūkyū. This was a procession with visits to Engakuji, Tennoji, and Tenkaiji temples. The procession in the photo was reproduced by the staff and students of the Prefectural 1st Middle School in Shuri in 1930 on occasion of the school’s 50th Anniversary Athletic Meet. This is the school where karate was first taken up officially as a regular curriculum. It is said that the baskets and umbrellas in the photo were borrowed from the former royal Shō Family. Participants wear a headgear called “hachimachi” and are dressed as officials of the Ryūkyū Kingdom.
In the procession various weapons are carried such as bō, naginata, and a long sasumata (刺股, spear fork).
In colloquial Japanese, “gyaku-uchi” 逆打ち refers to “to pilger along the 88 stations of the Shikoku Pilgrimage in opposite direction, i.e. from point 88 to point 1” (from Ōkuboji in Sanuki, Kagawa Prefecture to the Ryōzenji in Naruto, Tokushima Prefecture).
In the jargon or technical language of kobudō, however, “gyaku-uchi” means “reversed strike.” Donn F. Draeger called it the most important technique of bōjutsu. Indeed, without it, bōjutsu would make little sense. It is therefore interesting that neither Ufugusuku no Kon nor Shūshi no Kon Shō nor Sakugawa no Kon Shō and Dai have this technique. In fact, in the classical kata of Taira lineage, the technique first appears in Yonegawa no Kon – four times to be exact. But Yonegawa no Kon is a 4th Dan kata, so for beginners it is out of reach for about 10-20 years and thousands of dollars and hours for seminars and travel and merchandise and whatnot. Well, today everyone has video so the whole thing got a lot cheaper (pun intended).
Anyway, maybe due to its importance, the technique in question is often already taught as a basic technique. See Nakamoto Mamoru sensei (director of the Bunbukan) explaining Gedan-gyaku-uchi:
In his explanation, Mamoru sensei uses the term Gedan-gyaku-uchi 下段逆打ち, i.e. reversed strike to the lower level. He also says that the technique is initiated by Jōdan-nagashi-uke 上段流し受け, i.e. upper-level floating deflection. Floating is a figurative term. It is to be understood as in water trickling down (the Bō). Because this is the main intention of the technique: to deflect an incoming attack from above, which is intercepted and trickles down the end of the Bō, thus being neutralized. It is otherwise also called Sukui-uke すくい受け, i.e. scooping deflection. This is because you scoop up against an incoming attack, deflecting and neutralizing it.
Of course, at the time of the attack, while performing the Jōdan-nagashi-uke you move your body out of the attacking line, so you shift your body weight and use your stance intelligently. Likewise, when you continue and counter with the Gedan-gyaku-uchi, you shift the front hand towards the rear hand. Taira Shinken in 1964 referred to this as Yose-nigiri 寄せ握り or “coming-together grip”: The tripartition grip in Taira lineage, which it is often scolded for, is actually only for beginners.
Let’s take a look at terminology: Of course, all kinds of schools use this technique. It is found in manuscripts of historical European martial arts as well as in Chinese and other Asian martial arts. It is found in Japanese Budō (koryū and gendai) and of course also in Okinawa Kobudō. While it is a fact that methods of stances and body shifting substantially vary between different Taira lineage schools, here is a terminological reference:
TAIRA SHINKEN 1964:
INOUE MOTOKATSU 1972-74:
AKAMINE EISUKE 1984:
Jōdan-uke 上段受け, rarely Nagashi-uke 流し上段受け
OKINAWA KARATE KOBUDO ENCYCLOPEDIA 2008:
So while the terms are similar, they are also far from being standardized. Also, none used the terms used by Taira Shinken, the mutual source. It may, therefore, be surmised that the development of terminology for Kobudō is a more recent matter, say 2nd half of the 20th century. Miki in 1930 does not use a terminology per se, but is more of a descriptive kind, like “from the left side of the head, strike down to the lower level in direction A” etc. The descriptive kind is true for Taira Shinken in 1938, which – however – does not feature this specific technique. Therefore, the development of terminology should be considered a rather new invention.
In this connection, in the Matayoshi Kobudo of the Zen Okinawa Kobudo Renmei (2010), the techniques are found under the names of Jōdan-age-uke 上段挙げ受け and Gedan-uchi 下段打ち, and these are the closest to Taira Shinken’s terminology used in 1964. However, in Matayoshi Kobudō, this combination is rather rare it seems.
So what about the quantity of distribution? There is no standardized terminology for techniques in Okinawa kata of Bojutsu. Therefore, in order to be able to approximate the task, in the following I used Akamine Eisuke’s handwritten notes (dated 1984) as a reference (which Akamine Hiroshi sensei kindly allowed me to copy for my personal study back in 2011).
The results are as follows:
In sum, there are 78 Gyaku-uchi in all these kata.
50 of these are only Gyaku-uchi (2 Jōdan, 31 Chūdan, 17 Gedan).
28 of these are Gyaku-uchi preceded by Jōdan-uke (of the Gyaku-uchi, 1 is Jōdan, 18 Chūdan, and 9 are Gedan).
Why is there sometimes only Gyaku-uchi, and why is there sometimes Gyaku-uchi preceded by Jōdan-uke? I think it might be a looseness in terminological consistency, rather than an actual instruction as to what the original content of the techniques was. Even modern 21st century global players have their own terminology management for a reason. It is simply crucial for exact communication.
In Detail: As I already mentioned, neither Shūshi no Kon Shō nor Sakugawa no Kon Shō and Dai contain the techniques in question. A Gedan-gyaku-uchi first appears in Shūshi no Kon Dai, where it is used during the final combination. However, here it is done without the preceding Jōdan-uke (in his terminology).
So from kyū grades to 3rd Dan, the technique appears only once (!!!), and also without the preceding block.
Then, in Yonegawa no Kon, a 4th Dan kata, there are four Gyaku-uchi. These are all executed to Gedan level. Two times they are preceded by a Jōdan-uke, and two times not.
Shirotaro no Kon has six Gedan-gyaku-uchi, four of which are preceded by a Jōdan-uke.
Tsuken Sunakake has 14 Gyaku-uchi, performed to Chūdan level as well as to Gedan level.
Chōun no Kon has five Chūdan-gyaku-uchi (only one of which is preceded by a Jōdan-uke) and one Gedan-gyaku-uchi (with no preceding Jōdan-uke).
In Chinen Shikiyanaka all eleven Gyaku-uchi without exemption are performed to Chūdan level: Of these, six are preceded by Jōdan-uke, and one by Nagashi-uke.
Urasoe no Kon also has eleven Gyaku-uchi, four of which are to Gedan level, six to Chūdan level (of which four are preceded by Jōdan-uke), and one to Jōdan level.
Chatan Yara no Kun has twelve Gyaku-uchi, of which seven are aimed at Chūdan level (and of which only one is preceded by Jōdan-uke) and five are aimed at Gedan level (of which three are preceded by Jōdan-uke).
Soeishi no Kon has thirteen Gyaku-uchi. Of these, ten aim at Chūdan level (all of which are without a preceding Jōdan-uke), one aims at Gedan level (without preceding Jōdan-uke), and two aim at Jōdan level (of which one is preceded by Jōdan-nagashi-uke).
LIMITATION OF ABOVE:
The Kata used for the above analysis are those detailed in written descriptions by Akamine Eisuke exist, namely Shūshi no Kun Shō, Shūshi no Kun Dai, Sakugawa no Kun Shō, Sakugawa no Kun Dai, Yonegawa no Kun, Shirataru no Kun, Tsuken Sunakake no Uēku-dī, Chōun no Kun, Chinen Shichanaka no Kun, Chatan Yara no Kun, Urasoe no Kun, and Soeishi no Kun.
While Sueyoshi no Kun, Sesoko no Kon, Tsuken Bō, and Hantagwa Kōuragwa no Kon appear in an original Kata list of the school, they are apparetly not in use anymore and to my knowledge there is no written description. It is also questionable if Soeishi no Kun ist still in practical use. Moreover, new Kihon kata have been developed in which the Gyaku-uchi found entry. All these were not considered and not counted in the above analysis.
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In the Saijutsu kata of Taira-lineage are often found longer combinations which are almost the same, but which almost always slightly vary. This is a real issue for practitioners, particularly during the first years. I have been asked how to memorize those differences in Chatan Yara and Hama Higa. I am sure everyone who has some exposition to Taira-lineage saijutsu knows of this issue. There is no logical explanation for it. I have heard even kodansha talk about it in an almost depressed tone.
The intros and the outros to these varying combinations are also remarkably similar. Because people condition themselves with lots of repetitions and kime and all, the performances almost become autopilot, and that’s why it gets complicated. That is, once you mastered the first kata, the second will confuse you, the third even more, the fourth again, the fifth all the more, the sixths will throw you in despair, and while you probably see some light at the end of the tunnel during number seven, and after like 20 years or so, the eighth will finish you off. Or as it almost once ripped out of an unnamed saijutsu student:
“Are you kidding me?”
It is not that dramatic, but it is an important issue that even seasoned kobudoka struggle with.
Therefore, today I would like to explain the topic shortly. I will do so by looking at the kata’s broader choreography or, more specifically, at the morphology of the combinations in question within its enbusen. In this way it is possible to address this topic. This is difficult for most people because as you are wading through the beginner and intermediate kata upwards to the final ones, you simply do not see the forest for the trees.
Note that at the end of this article I have added a short movie showing the techniques.
Also note that the terminology used for techniques might differ from school to school.
So lets get started.
First of all, in Tsuken Shitahaku no Sai there is a combination of ten consecutive techniques. These appear twice in the kata: 1. r. Jōdan-barai, 2. r. Jōdan-kaeshi-uchi, 3. r. Gedan-uke, 4. l. Chūdan-zuki, 5. r. Chūdan-zuki, 6. bdh. Chūdan-kamae, 7. bdh. Gedan-uke, 8. bdh. Jōdan-zuki, 9. Jōdan Kōsa-uke, 10. bdh. Jōdan-uchi.
Chatan Yara no Sai has the same combination as Tsuken Shitahaku no Sai, but with one additional technique (r. Jōdan-mawashi-uchi) so there are a total of eleven consecutive techniques. These appear twice in the kata: 1. r. Jōdan-barai, 2. r. Jōdan-kaeshi-uchi, 3. r. Jōdan-mawashi-uchi, 4. r. Gedan-uke, 5. l. Chūdan-zuki, 6. r. Chūdan-zuki, 7. bdh. Chūdan-kamae, 8. bdh. Gedan-uke, 9. bdh. Jōdan-zuki, 10. Jōdan Kōsa-uke, 11. bdh. Jōdan-uchi
Hama Higa no Sai in turn has the same combination as in Chatan Yara but without the last two techniques so there are a total of nine consecutive techniques: 1. r. Jōdan-barai, 2. r. Jōdan-kaeshi-uchi, 3. r. Jōdan-mawashi-uchi, 4. r. Gedan-uke, 5. l. Chūdan-zuki, 6. r. Chūdan-zuki, 7. bdh. Chūdan-kamae, 8. bdh. Gedan-uke, 9. bdh. Jōdan-zuki.
Kojō no Sai has the same 11-technique-combination as in Chatan Yara no Sai. These appear trice in the kata.
Tawada no Sai has a 9-technique-combination that is a shortened variation of the 11-technique-combination of Chatan Yara and Kojō no Sai, namely, the same combo simply without techniques number 2. (r. Jōdan-kaeshi-uchi) and 3. r. Jōdan-mawashi-uchi. This 9-techniques-combination appears four times in the kata: 1. r. Jōdan-barai, 2. r. Gedan-uke, 3. l. Chūdan-zuki, 4. r. Chūdan-zuki, 5. bdh. Chūdan-kamae, 6. bdh. Gedan-uke, 7. bdh. Jōdan-zuki, 8. Jōdan-kōsa-uke, 9. bdh. Jōdan-uchi.
Yakā no Sai has an 8-technique-combination twice that can be considered either a variation of the 10-techniques-combination of Tsuken Shitahaku no Sai (variation in the first two techniques, minus the Jōdan-mawashi-uchi), or of the 9-techniques-combination of Hama Higa no Sai (variation in the first two techniques, minus the last two techniques ), but with a slight variation: 1. r. Chūdan-barai, 2. r. Chūdan-renzoku-barai, 3. r. Gedan-uke, 4. l. Chūdan-zuki, 5. Chūdan-zuki, 6. bdh. Chūdan-kamae, 7. bdh. Gedan-uke, 8. bdh. Jōdan-zuki
Next, Jigen (Manji) no Sai has another unique 8-technique-combination that can be considered a shortened veariation of the 11-technique-combination of Chatan Yara and Kojō no Sai, skipping the three techniques number 7, 8, and 9. This combination is performed twice in the kata: 1. r. Jōdan-barai, 2. r. Jōdan-kaeshi-uchi, 3. r. Jōdan-mawashi-uchi, 4. r. Gedan-uke, 5. l. Chūdan-zuki, 6. r. Chūdan-zuki, 7. Jōdan-kōsa-uke, 8. bdh. Jōdan-uchi.
Finally, Hanta-gwā no Sai has a variation of the 9-techniques-combination of Hama Higa no Sai, however there is a whole new combi embedded it in.
(By Kyuna Chōkō 喜友名朝孝, in “Okinawa Karate Kobudo Jiten,” 2008, translation Andreas Quast)
When I was a child, I used to go to the house of Kyan Chōtoku (Chan nu Tanmē, meaning senior-citizen Kyan from the samure class) together with my father when he returned from police duty. At that time, my older brother was about the same age as Chan nu Tanmē’s grandson, and both were taught the basics of karate by Tanmē.
My father studied karate under Chanmī-gwā (Kyan Chōtoku) at the Kadena Police Station together with Nagamine Shōshin, who later became the founder of the Matsubayashi-ryū.
Kyan Chōtoku said that even when he was at the advanced age of 70 years, his karate and bōjutsu skills didn’t make him feel old and it is said that it surprised the karate practitioners at that time. In particular, his kata of Chintō and his bōjutsu were splendid and it was said that even the authorities of the karate world could not imitate it. He was a master who embodied all seven major elements of karate, that is muchimi, atifa, chinkuchi, fēsa, michichī, kukuru, and churasa.
Chanmī-gwā, who was small-built and slender, was as light as a flying bird, and it is said that his keen and nimble technique and unique martial performance have reached the level of kensei (fist saint) and that his technique appeared to be “divinely skilled.”
Eventually, the name of Chan was prefixed to his Chintō and bōjutsu and it came to be called under the nicknames of “Chan nu Chintō” and “Chan nu Shichi Kun.”
Chan nu Shichi Kun holds the six-foot bō in three equal parts, then strikes twice overhead with the tip and the base of the bō, strikes the groin once from the lower-level upward, then strikes three times with the tip and the base of the bō, and then one tsuki-nuki as the finishing blow. It is a tremendous technique of defeating the opponent with a total of seven consecutive attacks (as described above).
The seven consecutive attacks are performed three times, once to the left, once to the right, and once to the front, and long and rigorous training and training are required to perform it satisfactorily. Many different schools and factions perform this kata under the name of “Tokumine no Kon.”
When I was a boy, I was taught “Chan nu Shichi Kun,” which bears the name Chan nu Tanmē, by both the masters Koja Kōtoku and Kinjō Bokuhō from Kaneku Mizugama area [in Kadena].
In other words, Chan nu Shichi Kun is a bōjutsu characteristic for Kyan Chōtoku, the master in years gone by.
It is a symbol of the admiration of the warriors of former Chatan Yara and Kadena, and the villagers, for Chan nu Tanmē, and entrusts them with the feeling of valuing the pride of their hometown.
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