* translates to "Spirit Dragon"
Isshin Ryu Migami (symbol of Isshin Ryu) |
Ryuseikan Dojo
offers the following:
 | Traditional Isshin Ryu Karate |
| Traditional Isshin Ryu & Okinawan Kobudo |
| Street-based Self Defense |
| Physical and mental conditioning |
SENSEI
Mushotoku
"This expression denotes non-desire to achieve an aim, & non-desire for profit or reward for performing an action. It is a feeling which must guide anyone who acts, both in Zen, and in the practice of martial arts. Only a person with a pure mind can reach this state, the ultimate state in life. It is non-consciousness, non-meditation (Zazen), which renders the mind perfectly open."
(From A Dictionary of Martial Arts by Louis Frederic.)
Class times, days, locations
Welcome to the website of Ryuseikan Dojo. We are a small, part-time dojo currently offering instruction at the Tolono Township Hall, 111 E. Holden, Tolono, IL. As of July, 2007 - our class schedule is as follows:
| Wednesday | 6:30 - 8:00pm. |
Those interested in studying at Ryuseikan are always welcome to come & observe a class.
DOJO FEES - Tolono dojo
fees at the Ryuseikan main dojo are as follows:
| For the first 3 months at Ryuseikan, the dojo fee is a lump-sum payment of $22500 (this includes several hours of private lessons during class time) The first three months (a "provisional" period) is the only time you will be required to sign a contract at Ryuseikan. At the end of the 3 month period, you may elect to cease training or, with the approval of the sensei, continue at the dojo on a monthly basis. |
| Those with previous (and relatively current) Isshin Ryu experience start at $5000 for their first month. |
| All subsequent months - $5000 per month (Wednesday classes only) |
| We do NOT require lengthy contracts! |
| There are NO additional fees for uniforms or testing! |
| All checks for dojo fees are to be made out to John Moore. |
| We DO NOT pro-rate dojo fees for partial attendance! |
KIHON
Kihon are the basic upper and lower body techniques upon which Isshin Ryu is based. Think of them as the alphabet that will then be used to build more complex words & sentences.
CHART I (Te Waza)___STRAIGHT PUNCH
___UPPERCUT
___DOWN BLOCK / STRAIGHT PUNCH
___SIDE BLOCK / STRAIGHT PUNCH
___KNIFE EDGE BLOCK / GOUGE
___OPEN ARC SWEEP / UPPERCUT
___RISING BLOCK / STRAIGHT PUNCH
___BACKFIST / STRAIGHT PUNCH
___TWO CHOPS
___HOOK PUNCHES
___ELBOW STRIKE TO REAR
____KNEE KICK
___FRONT KICK
___ANGLE KICK
___CROSSOVER KICK
___HEEL PUSH KICK
___SQUAT KICK
___SIDE KICK (knife edge)
___SIDE KICK (ball of foot)
___roundhouse kick
___thrust kick
___back kick
A note on names & terminology. Many dojo use the Japanese/Okinawan terms for various techniques taught in the dojo. The problem with doing this is that no two dojo seem to use the same terms - even within the same style of karate! Additionally - slight mispronunciations can lead to serious definition changes - which are often quite humorous to native speakers.
CONTRACTS?
While there are no "contracts" required for training, all members of Ryuseikan dojo are required to sign the following waiver:
1) Due to the nature of karate training, Ryuseikan Dojo cannot be responsible for injuries incurred during physical training. Although the instructors strive to prevent injuries in every way possible, we cannot control the human factor involved in such a program.
2) In consideration of my acceptance to this program for karate training, I hereby waive, release, and discharge Ryuseikan Dojo, its employees, and its instructors, from any and all claims for damages or death, personal injury or property damage which I may have, or which may subsequently accrue to me, as a result of participating in this activity. I AM AWARE THAT KARATE TRAINING IS AN INHERENTLY HAZARDOUS ACTIVITY, AND AM VOLUNTARILY PARTICIPATING IN THIS ACTIVITY WITH KNOWLEDGE OF THE RISKS INVOLVED AND HEREBY AGREE TO ACCEPT ANY AND ALL SUCH RISKS.
3) I, the undersigned, fully understand that many of the techniques taught to me in this training are likely to cause serious physical injury and possible death when used effectively against another person or persons. I further understand that it is my legal responsibility to study the penal law and criminal procedure law statutes which apply to my jurisdiction. I will use the techniques taught to me only in a legal and responsible manner and only when necessary to protect myself or another, and I agree to indemnify and hold harmless Ryueseikan Dojo, its employees, and its instructors, from any and all claims of any nature whatsoever which may be brought by any third party as a result of my use of the karate techniques taught to me by Ryuseikan Dojo instructors.
4) If possessing any physical injuries or limitations, I have received approval from my physician to attend this training. I will inform the instructors and any training partners of any such injuries and/or limitations.
5) I, the undersigned, agree to follow all instructions. Failure to do so could result in injury, or dismissal from the class.
REMEMBER: NO ONE KNOWS YOUR ABILITIES AND LIMITATIONS AS WELL AS YOU DO. IF, FOR ANY REASON, YOU DO NOT WANT TO PARTICIPATE IN ANY PORTION OF THE TRAINING, PLEASE FEEL FREE TO OMIT THAT PORTION.
PARENT OR GUARDIAN MUST SIGN FOR PARTICIPANTS UNDER 18
If a parent or guardian signing on behalf of a minor child, I acknowledge that I have read and understand the foregoing waiver, have made the informed judgment to allow the minor child to participate in this activity and agree to bind myself and the child to the terms set forth above.
NAME (print) ___________________________________________________________
ADDRESS ______________________________________________________________
PHONE ________________________________________________________________
NAME (sign) _____________________________________ DATE __________________
INSTRUCTOR PROFILES
Your instructors (sensei) are John Moore (Go-Dan/5th degree blackbelt) & Andrea Morden-Moore (Yon-Dan/4th degree blackbelt). As part of their most recent testing, they have been approved on all Isshin Ryu empty-hand and kobudo (weapons) kata. In addition, both are Certified Rape Prevention Instructors through the American Women’s Self Defense Association (AWSDA).
Andrea is a practicing DVM in Champaign, Illinois. Andrea has also studied Danzan Ryu Jujitsu. In addition to AWSDA, Andrea maintains membership in the Okinawan Karate-do Union (OKU) and the United Isshin Ryu Karate Association (UIKA).
John is a Professor at Parkland College, where he has taught for the last 25 years. His major subjects are Anatomy, Physiology, Pathophysiology, and Forensic Pathology. John has also studied Danzan Ryu Jujitsu & Shinkendo, and was an active competitor in Combat Pistol Shooting for several years. John is a graduate of the Gunsite Shooting Academy, and has studied directly under Jeff Cooper, the founder of modern pistolcraft. In addition to the OKU, UIKA, and AWSDA - he is an NRA member, and life-member of the International Okinawan Kobudo Association (IOKA).
John & Andrea own and are the instructors for THE DEFENSIVE EDGE - a company specializing in Self Defense workshops & lectures. They have taught both self defense and weapons defense classes for various organizations at the national level.
Andrea received her original training in Isshin Ryu at Black Dragon Dojo, under the instruction of Master Dan Jones. After initially starting with Master Joe L. Smith, John also trained for several years with Master Jones at Black Dragon. In recent years, both trained under the guidance of Master Smith. Smith Sensei was a "first-generation" Isshin Ryu practitioner who studied directly under Grandmaster Tatsuo Shimabuku - founder of the style. Unfortunately, he passed away in June of 2001. Master Smith is dearly missed by all who knew him. Master Dan Jones can be contacted via his Black Dragon homepage. Additional information on the life of Master Smith, as well as information on the Okinawan Karatedo Union can also be found there.
Master Dan Jones - 9th Dan
Black Dragon Dojo
Master Joe L. Smith
9th Dan Isshin Ryu
1944 - 2001
The following was pulled from the AOKA webpage.
I find that it very much matches my own feelings on the matter
- jm
There Was a Time...
There was a time when students approached masters and were accepted on the basis of their desire and tenacity. The master would accept students, one at a time, to be taught over a lifetime. Because the history of the system was to be handed down (verbally and demonstrated physically) by the chosen student, the master taught not only the striking, kicking, kata and kumite, but the values of an honorable life.
There was a time when students studied one kata for five years, learning the intricacies of bunkai, mechanics, physics, pressure points, breathing and striking, without questioning the repetition. There was a time when rank and knowledge were points along your life’s journey to perfect the martial arts. And since life is a journey, not a destination, there was no rush to perfect, just a need to persevere. There was a time when karateka lived the martial way with no hidden agenda. This time should be now. There was a time when rank was obtained because of ability and desire, not politics and longevity. This time should be now.
There was a time when the greatest accomplishment was not a trophy, but the praise obtained from your sensei for a well-performed kata. There was a time when your greatest asset was your reputation; when honor was held above all things except loyalty; when rank was carried in your heart, not around your waist; when the greatest honor was to be bested by your student. There was a time when you evaluated yourself not on your strengths, but on how well you improved upon your weaknesses.
This time should be now. And there is a time when one earns the honor not to merely be called an instructor, teacher, warrior or competitor, but to be called Sensei. This is the time for which to strive. Written by - Tim Boykin
Rank Advancement
Ryuseikan dojo uses only 4 belt colors; white, green, brown, and black. (Many commercial dojo use a veritable rainbow of belt colors, due to the fact that they must charge for testing and promotion to each level. This is necessary due to the high overhead associated with running a full-time commercial dojo.) In addition to acceptable performance on Kihon & Kata, promotion is judged on the following:
character/attitude/effort knowledge of karate history knowledge of & application of technique (bunkai) development of control, precision, and power assistance rendered to others self defense applications length of time actively studying Isshin Ryu karate
You are not required to test for promotion! Everyone does not need to strive for, nor can everyone attain, the rank of blackbelt. You will progress as far as your motivation, practice, and body will allow. While green belt (go kyu) is often awarded without formal testing, all other ranks require both a physical and written examination. It is your obligation to request testing if you feel that you are ready, and if you desire to be tested/promoted. In many cases, a pre-test will be required, such as performing kata and kihon in front of the class members & sensei.
A student is eligible for green belt after the first four empty-hand kata are learned, and for brown (ik kyu) after the second four. After at least one year at brown belt, the student is eligible for shodan (ho). The shodan ho is a provisional ranking for one year. At that time, and assuming adequate attendance and performance in the dojo, the grading is changed to shodan. Each subsequent dan testing should generally be no sooner than every 2-3 years.
A note to incoming yudansha:
If you are entering Ryuseikan as a Dan-ranked karateka from a different style, you will enter as a white belt. Depending on your previous martial art/s, you will most likely advance at a faster rate than most - although this is not guaranteed. If you are entering with a bonafide grading in Isshin Ryu, you will be recognized at that grade. If you eventually seek grading at Ryuseikan, it will be in accordance with established dojo guidelines.
Please bear in mind that entering a "new" dojo is similar to a child changing schools. There will be a definite period of adjustment. Depending on the dojo you enter and your background and previous experience - you may find that the contact is either too hard, or too soft; that the discipline is either too strict, or too lax; or that the overall emphasis is overly-weighted towards either competition, traditional kata, or street defense.
For the experienced yudansha - you will most likely be able to determine all of the above by the end of the first month or two. It is highly unlikely that Ryuseikan will exactly mimic the dojo you are accustomed to! You must decide if the overall style, focus, and day-to-day routines are something you can either adapt to or, at the least, tolerate. If such is the case - then we will welcome you to Ryuseikan Dojo! If you decide that this is not the type of learning environment for you - we still thank you for your interest. There are many other dojo in the area (some of them Isshin Ryu) - and we would be glad to help you locate something more in keeping with your interests.
Addendum: To give you an idea of what Ryuseikan is about, please review the following statements that describe the dojo:
we are open to adults of any age, sex, race or lifestyle
the main requirement to be a dojo member is a desire to learn
we spar - but not frequently
sparring is very controlled, and with only light-to-moderate contact
all "heavy" contact is with focus pads, air shields, or the heavy bag
we are an "older" group of karateka (i.e., we don’t heal as well as we used to!)
we are respectful to each other, but are not militaristic in our discipline
we alternate between studying basic Isshin Ryu karate & kobudo, and street defense
we gladly "borrow" techniques and concepts from other styles
we are NOT competition oriented, although members can compete if they so desire
we attempt to blend the "do" and the "jutsu" of karate
we have only white belt, green belt, brown belt, and black belt rankings
we do not charge for testing
we emphasize basics, kata, and kata applications (bunkai)
although we may use some Japanese/Okinawan terminology - class is taught in English
we expect students to know basic Isshin Ryu history, but not to the extreme
we promote cross-training once a student is established in Isshin Ryu
we always encourage questions (The following quotes are from the answers to questions from a written Shodan (blackbelt) exam. I feel that they are representative of the general feelings in Spirit Dragon Dojo - jm.)
About the dojo... "I love the comradery; I am pleased our dojo has always felt a safe and respectful place for people of both genders, all ages, sizes, abilities. Frankly, I am glad that it is an adult dojo; kids are great, but they would sure change the whole dynamics and atmosphere of a class. I like that we are nonpolitical regarding all the factions in Isshinryu." About the Sensei....
"I will take this opportunity to thank you, Sensei, for your time and energy. Your creativity and strong teaching skills are a bonus! You are very knowledgeable about lots of MA/SD (Martial arts/Self Defense - jm) stuff, as well as anatomy/physiology. I always enjoy coming to class, whether we work on basics, kata, SD, something new, or a even a new game. You have a playful spirit that makes things "funner" too. I like that you are open to information and skills from other MAs, and welcome them into the dojo. I also like that we have moved from multi color and striped belt system, to the simple and basic white, green, brown and black."
THE HISTORY OF KARATE TO DATE
(Acknowledgement - The following information on the history of Karate, and of Isshin Ryu, is derived from material presented by Master Dan Jones Sensei at the original Black Dragon Dojo.)
The first thing that every new karate-ka learns is the unique history of Karate. It is unique because of the way it has been handed down through the centuries. There were no books written about it, and the only way a student learned was to listen carefully while his/her instructor repeated what their instructor had said when they first started. And now, by way of the printed page, this information will be passed on to you.
Approximately 5,000 years ago there lived in India a rich prince who developed the first crude version of self-defense. The prince watched the movements of animals and studied their methods of self-defense. He noted the stealth the tiger used before successfully killing prey. He studied how the birds of the forest fought, noting their wing and foot movements. The prince applied these fighting techniques to the human body and found that many of them could be successfully employed.
The prince then experimented on slaves to discover the weak points of the human body. He did this by jabbing needles into the body of the slave until a puncture site resulted in death. Legend says that over one hundred slaves were used in this bizarre experiment. All of the pressure points and weak points of the human body were found. The prince used the fighting techniques of the animals and directed them to the weak points of the human body in formulating his weaponless form of self-defense.
*****
The next figure of importance was a Buddhist monk named Bohidharma (also know to the Japanese as Daruma Taishi). He gave karate the most important contribution it ever received: the spirit of Zen. Bodhidharma studied Buddhism and possibly self-defense in India. During his time there were many thieves who would rob and kill a traveler for his money, whether he was a peasant or a Buddhist monk. Since monks were not allowed to carry weapons, they were taught self-defense at their monasteries along with Buddhism.
Bodhidharma went to China to teach at the Shaolinszu (Shorin-ji in Japanese), a temple in the Honan Province. There he found the Chinese people unable to grasp the complicated aesthetic Indian style of Buddhism, so he taught a natural, more easily understood religion: Zen Buddhism. Even though the Zen doctrine was simpler than Indian Buddhism, the Chinese peasants still found it difficult to comprehend. The mental exercises used in Zen proved to be too difficult. The peasants tired of the exercises and found their minds constantly wandering. Bodhidharma then instituted a system of self-defense exercises that would condition their bodies so that they could better experience the Zen "enlightenment."
Ordinary exercises did not work because they conditioned the body but had no effect on the mind. Bodhidharma devised a series of movements that, when done nearly perfect, would give the performer the experience of enlightenment. Once he had accomplished this and knew internally what enlightenment was, they could apply or practice this feeling in everyday life. Even though these exercises were designed mainly to give the experience of enlightenment. Once he had accomplished this and knew internally what enlightenment was, they could apply or practice this feeling in everyday life. Even though these exercises were designed mainly to give the experience of enlightenment to Zen practitioners, it came to be the foundation of the Chinese Ch’uan-fa (literally "fist-way"), which the Japanese cam to call Kempo. The exercises came to be called by many different names and, because of the seemingly simple and meaningless movements, eventually came to be disregarded by the majority of later Karate proponents.
Fortunately, a few of the Chinese Masters recognized and understood the importance of these exercises. As time passed, however, Zen and Karate became less and less associated. These few masters passed the exercises on to their students, telling them that they should never be altered or left out of a training session. They told their students that these exercises were the foundation of Karate, although seldom did they explain why. The masters believed that the students should experience the importance internally and not be told why it was so important. If the student was told, he would take the exercise for granted. But, if he experienced it on his own, the impression would be far greater.
In modern-day Karate, many schools recognize the need of Zen in the movements and even go so far as to tell their students what parts of Zen are most important. But, they fail to give a practical method of attaining theses principles. Knowing that Karate is performed with a mind that is completely aware yet thought-free and non-grasping is fine, but thoughtlessness cannot be attained by thinking that your mind should be thoughtless. Knowing that your body should focus all of its power into a thrust, a kick, or a strike is one of the main principles that makes Karate effective. But how is this accomplished while the mind is clear and not thinking about this focus?
The exercises that Bodhidharma invented were passed down in original form and shaped the foundations of the Chinese style of Kempo known as Pangai-noon. In 1900, Mr. Uechi, an Okinawan, went to southern China and studied the three foremost styles of Kempo. He studied for ten years under one of the greatest Kempo Masters living at that time. At the end of the ten years, Mr. Uechi took the best kata (formal exercises) from the three styles and returned to Okinawa. From the Pangai-noon style itself he retained the exercises that Bodhidharma developed: the exercise called Sanchin. From the Pangai-noon and the other two styles he adapted the kata of Seisan and San-ju-roku (San-shih-liu in Chinese). These three kala became the foundation for the famous Uechi-Ryu Karate Association in Okinawa, a member of the Okinawan Karate Association.
THE HISTORY OF ISSHIN-RYU KARATE
By the Twentieth Century, Okinawan Karate consisted of two major styles, Shuri-te and Naha-te. Techniques in both styles primarily evolved from the original Okinawan art of "Te" and from various Chinese martial arts which had been introduced to the Okinawans. Shuri-te emphasizes natural movements utilizing linear steps, speed, and naturally controlled breathing.
Naha-te emphasizes steady, rooted movements utilizing semi-circular steps and rhythmical breathing with respect to body movement (Sanchin). Both styles share the common factor of advocating movement from natural stances.
Tatsuo Shimabuku was the first man to master both Shuri-te and Naha-te. As a result of this unique accomplishment, he created Isshin-ryu which serves as a combination of what he felt were the best aspects of each style.
Tatsuo Shimabuku began studying Shuri-te as a child when he visited one of his relatives who was an instructor of this style. As a young man Shimabuku began to study under the legendary Shuri-te (Shorin-ryu) Master, Chotoku Kyan. Within a short time, Shimabuku became Master Kyan’s best student and, under Kyan’s instruction, learned the kata known as Seisan, Naihanchin, Wansu, Kusanku, and Tokumine no kun no dai (Issinryu’s first Bo kata).
Shimabuku was also fascinated by Naha-te (Gojo-ryu) and began studying under the founder of Goju-ryu, Master Chojun Miyagi. Shimabuku also became Miyagi’s best student, and from him learned Seiunchin and Sanchin katas.
Shimabuku studied both Shuri-te and Naha-te under two of the most respected masters on Okinawa. He later studied under yet another famous Shorin-ryu master, Choki Motubu. Motubu was widely known for his fighting prowess, and his instruction greatly improved Shimabuku’s combative skills.
After his apprenticeship under these three masters, Shimabuku entered a special martial arts festival on Okinawa. His performance of both Shorin-ryu and Goju-ryu katas impressed the spectators, and by 1940 he was recognized of Shorin-ryu and Goju-ryu.
By the 1950's, Shimabuku began to unite the Shorin-ryu and Goju-ryu styles. In 1954, Isshin-ryu was officially created and the Mizu-Gami was chosen to be its symbol. The new style combines the best techniques of both Shorin-ryu and Goju-ryu.
In 1955, the 3rd U.S. Marine Division was stationed on Okinawa and the Marine Corps chose Shimabuku to provide instruction to Marines on the island. As the result of this instruction, Isshin-ryu was to be spread throughout the United States by Marines who returned home. Master Shimabuku’s dream of one style encompassing Shorin-ryu and Goju-ryu has been attained as evidenced by the large number of students now practicing his style.
ISSHIN-RYU: ONE HEART WAY
"One Heart Way" is the actual translation of Isshin-ryu. It is also the definition of the very spirit of Karate. The oriental symbols or characters that spell out the word Isshin-Ryu can also correctly be translated as "concentration" in Japanese. This remarkable similarity actually adds greatly to the meaning.
Isshin-ryu is the ability to clear your mind of all useless thoughts, allowing your mind to concentrate with single-minded purposefulness on your ultimate goal. Success in Karate, or any field, can be obtained by unswerving dedication to the tasks involved. It must be a complete dedication. It is similar to the principles of Zen involving the coordination of mind and body.
The principles of Zen, beautiful in themselves, are used in Karate with the same single purpose, i.e., making the person into a well coordinated unit. The mind and the body becoming as one. The "oneness" of mind and body is another way of saying "Isshin-ryu." Although these concepts are at first difficult to understand, through continuous practice of and devotion to Karate these concepts will become clear. Without this sense of concentration or determination, Karate becomes empty, weak, and lifeless. Always remember that concentration makes you more intense, stronger, and purer; the paths to Isshin-ryu.
One of the doctrines of Buddhism is also most true of Karate:
"IT CAN BE COMPREHENDED ONLY AFTER A LONG, HARD DISCIPLINE AND BY ENDURING WHAT IS MOST DIFFICULT TO ENDURE, AND BY PRACTICING WHAT IS MOST DIFFICULT TO PRACTICE. THOSE OF INFERIOR VIRTUE AND WISDOM ARE NOT ALLOWED TO UNDERSTAND ANYTHING ABOUT IT. ALL THE LABORS OF SUCH ONES WILL COME TO NAUGHT."
Migami (also known as the MIZU-GAMI) - THE SYMBOL OF ISSHIN-RYU
The traditional symbol of Isshin-ryu karate is the Migami. It was created as the result of a dream which Master Shimabuku had. The emblem is very complex in meaning and represents several aspects of Isshin-ruy karate.
1. MIGAMI REPRESENTS:
the Shinto Water Goddess from which the patch name originates.
the strength and power available thorugh Karate (shown through the clenched right hand and the serpentine lower half).
the peaceful nature of the Karate-ka (shown throught the open left hand and human upper half).
Master Shimabuku as the protective mother and guardian of Isshin-ryu (the ascending dragon).
2. THE TURBULENT WATER REPRESENTS:
the trials and tribulations of the Karate-ka.
the purity, strength, and goodness of the Karate-ka.
3. THE GREY SKY REPRESENTS:
the trials and triulations of the Karate-ka.
serenity, and implies that Karate is to be used only in a defensive manner.
4. THE ASCENDING DRAGON REPRESENTS:
good luck
Tatsuo (which means DRAGON BOY)
Isshin-ryu, the offspring of the Mizu-Gami (Master Shimabuku)
the enlightenment that we all seek through the knowledge and practice of Isshin-ryu.
5. THE 3 STARS REPRESENTS:
the birth of Isshin-ryu: Shorin-ryu (the mother spiritual) on the left, Goju-ryu (the father physical) on the right, and Isshin-ryu (the child mental) in the center.
the 3 instructors of Master Shimabuku: KYAN, MIYAGI, and MOTUBU.
good, better, and best.
6. THE JAPANESE CHARACTERS CAN BE TRANSLATED TO:
Isshin-ryu Karate.
One Heart Way of the Empty Hand.
Concentration.
7. THE ORANGE BORDER REPRESENTS:
the flame that surrounded Master Shimabuku in his dream.
fire, signifying evil and impurity that can be overcome by Isshin-ryu karate.
8. THE OVAL SHAPE REPRESENTS:
the vertical fist of Isshin-ryu karate.
the wholeness of the complete Martial Art.
ADVANTAGES OF ISSHIN-RYU
Isshin-ryu’s main objective is the perfection of oneself through both physical and mental development. You will not be able to use Isshin-ryu, or any style of Karate, as self-defense until you can react without thinking; your movements must become instinctive. Isshin-ryu combines a well-rounded exercise program with some important advantages over other styles of Karate.
1. Isshin-ryu punches and kicks are thrown from natural stances, eliminating wasted motion and giving split-second advantages over opponents.
2. Isshin-ryu stresses proficiency with both hand and foot techniques, making it more versatile.
3. Isshin-ryu is one of the most realistic styles of Karate, stressing street fighting techniques.
4. Isshin-ryu stresses snap-punch and snap-kick techniques that permit one to move in and out quickly.
5. Isshin-ryu is more adaptabe to the American physique, designed to follow natural body movements.
6. Isshin-ryu may help one in the job or studies because the mental and physical conditioning provides one with an opportunity to "wind down" from daily tensions and frustrations.
THE PRINCIPLES OF ISSHIN-RYU KARATE
1. All movements are based on rapid and natural reactions.
2. The goal of each technique is to strike with maximum power using minimum effort.
3. Yin and Yang: the body remains relaxed until contact is made. At that point, it becomes hard.
4. Offense and defense is based on angular movements.
5. The use of the vertical punch with the thumb positioned on top of the fist.
6. Equal balance and mobility should be maintained in all directions.
7. Offensive techniques should be executed with naturally hardened parts of the body while defensive technqiues should be executed with the naturally padded parts of the body.
8. "Sanchin" should be practiced regularly as it aids in meditation, breath control, and body tension.
9. All movement centers around a point located three inches below the navel.
10. The triggering mechanism for all movements is proper breathing.
11. Offensive movements utilize outward gripping stances while defensive movements utilize inward gripping stances.
The Code of Isshin Ryu Karate
A person’s heart is the same as heaven and earth.
The blood circulating is similar to the moon and sun.
The manner of drinking and spitting is either hard or soft.
A person’s unbalance is the same as a weight.
The body should be able to change direction at any time.<
The time to strike is when opportunity presents itself.
The eye must see every way.
The ear must listen in every direction.
The Kobudo of Shimabuku Tatsuo
By Joe Swift, 1998
Shimabuku Tatsuo (1908-1975) was the founder of Okinawa Isshinryu karatedo. He studied martial arts under his uncle Ganeku, Kyan Chotoku (1870-1945), Motobu Choki (1871-1944), Miyagi Chojun (1888-1953), and Taira Shinken (1890-1970), among other possible influences. His Okinawan students include, among others, his sons Kichiro and Shinsho, Kaneshi Eiko, Shikema Genyu, his son-in-law Uezu Angi, and Tokumura Kensho. Shimabuku's kobudo was mainly influenced by his primary teacher Kyan Chotoku as well as the famous kobudo teacher Taira Shinken. From these two teachers he learned the arts of bojutsu (wooden cudgel 180 cm long), saijutsu (3-pronged iron truncheon), and tuifajutsu (wooden, L-shaped weapon consisting of a shaft and a handle set at 90 degrees)
Isshinryu Kobudo Kata
Tokumine no Kon
This kata was passed down from Kyan to Shimabuku. Kyan is said to have learned the kata from a direct student of Tokumine Peichin. According to the story, Tokumine Peichin was said to have been a teacher of Motobu Choki. Tokumine loved to drink liquor, and one day got into a drunken brawl in which he injured 20 to 30 constables to the point where they could not even stand up. For this he was exiled to Yaeyama Island. Kyan, wishing to learn the cudgel tradition of Tokumine, traveled to Yaeyama to seek out his instruction. Upon arriving, Kyan learned that Tokumine had already passed away, but had taught his kata to the old man who acted as the landlord of the place where Tokumine had lived. It was from the landlord that Kyan had actually learned this form. (Jahana, 1978) Uezu Angi stated that Shimabuku studied this kata from Kyan, but later relearned it from Taira (Uezu, 1997). This author, however, has found no evidence to date that Taira ever taught or even knew this kata. It is one possibility that Shimabuku studied Tokumine no Kon under Kyan, but later when re-modifying the kata to fit his vision of kobudo, may have been influenced by Taira's method of utilizing the bo.
Urashi Bo
This kata came directly from Taira, and was modified by either Shimabuku or Taira. This kata is called Urasoe no Kon in Taira's syllabus, and can be found in Inoue's series. Urasoe is the standard Japanese pronunciation of the name whereas Urashi is the old Okinawan pronunciation. According to Nakamoto (1983) Taira supposedly learned this kata from Mabuni Kenwa (1889-1952), founder of Shitoryu, which went on to become one of the "big four" styles of modern Japanese karatedo. Mabuni gained most of his influence from the likes of Itosu Anko (1831-1916), Higaonna Kanryo (1852-1915), Aragaki Seisho (1840-1920), etc. By sheer coincidence, Mabuni's karate, like that of Shimabuku, is a unique blend of the various kata traditions that were formerly practiced in and around the three main "karate areas" i.e. the Shuri, Tomari, and Naha districts.
Shishi no Kon no Dai
This kata was quite difficult to trace the origins of. The kanji (Sino-Japanese ideogram) for this kata in Isshinryu are usually written in a manner that is very similar to the name for a separate bojutsu tradition called Shushi no Kon. However, upon witnessing these two kata being performed, one can immediately see that they are two different kata. In Matayoshi Kobudo there appears a kata named Shishi no Kon. However, the form is quite different from Isshinryu's Shishi no Kon, and the kanji for the Matayoshi kata are the same as the kata that in the Taira lineage this is pronounced Soeishi no Kon (Matayoshi, 1996). Observing this, this author immediately looked up the kata Soeishi no Kon in Inoue's series. The similarities are striking. Upon further investigation, it was found that Shishi is the Okinawan pronunciation of the kanji. Based upon these observations, this author concluded that the Shishi no Kon no Dai of Shimabuku Tatsuo is based upon the Soeishi no Kon Dai of Taira. As with Chatan Yara no Sai, Taira learned this kata from Kamiya Jinsei. As with the other Taira-based kata within the Isshinryu Kobudo curriculum, it is unclear whether Shimabuku or Taira made these changes, or if it was a collaborative effort. This kata is named after the Soeishi family, who, according to Miyagi (1987) were the instructors to the King. The kata itself, again according to Miyagi (1987) uses the bo in a horizontal manner, different from other cudgel traditions. According to Nakamoto (1983), this kata, along with the previously mentioned Shushi no Kon, as well as Choun no Kon, are said to have been developed by a certain Soeishi Sensei, who was a high ranking lord in Shuri.
Kusanku Sai
This kata was created by Shimabuku himself, based upon the Kusanku kata he had learned from Kyan. The following information was gleaned from a personal communication from A. J. Advincula (1998), who studied with Shimabuku in Okinawa. Before studying with Taira Shinken in the late 1950s and early 1960s, Shimabuku only knew the cudgel tradition of Tokumine that he had learned under Kyan, as well as a sai kata called Kyan no Sai. It is unknown whether this sai kata was created by Kyan or created by Shimabuku from techniques that he learned under Kyan. Kusanku was, along with Chinto and Passai, Kyan's specialty, and this may have influenced Shimabuku's decision to create a sai kata from this form. According to Advincula (1998), Shimabuku originally included kicks in the kata, but later removed them. Upon being asked why, Shimabuku stated that when he first created Kusanku Sai, he knew little about kobudo, but after gaining more experience apparently removed the kicks.
Chatan Yara no Sai
This kata was also passed down by Taira, who is said to have learned it from Kamiya Jinsei. It was either created by a master called Chatan Yara or based upon his teachings. Yara was, according to Nakamoto (1983), a karateka who lived before Bushi Matsumura (1809-1901), and studied under Kusanku who came from China in 1762. He also states that Yara, who held the title Peichin, lived during the time of King Sho Boku who reigned from 1752-1795, and held a stipend of land in Chatan, where he carried out the last years of his life. This kata can also be found in Inoue's series.
Hama Higa no Tuifa
This was another kata taught to Shimabuku by Taira. In the now-famous 1966 film taken of Shimabuku during his second and last visit to the United States, this kata is often denoted as Chie-fa in English. However, this is nothing more than a misspelling of a misspelling. It is said that Shimabuku always referred to the weapon as tuifa. On the 1966 film, the katakana syllabary for this kata reads Tsuifa, an innocent misspelling, apparently made my the Japanese translator, which was then misspelled again as Chie-fa in English. According to Perkins (1998) Tokumura Kensho, a direct student of Shimabuku, stated in an interview that Shimabuku never taught the kata on the film in Okinawa. There is speculation that this kata is what bits and pieces Shimabuku remembered from the longer, older Hama Higa no Tuifa as taught by Taira. This longer, older version can be found in Inoue's series as well as in Taira's own book. On the film, one can clearly see him fumbling for movements and techniques. However, there are still Isshinryu groups in the United States and elsewhere who still refer to this kata as Chie-fa no Tonfa, apparently because that's what it says on the film. The following account of Hama Higa Peichin is a summary of an essay written by Taira Shinken, and can be found in the 1998 republication of his 1964 Ryukyu Kobudo Taikan (pages 183-184). Hama Higa accompanied King Sho Shin and Prince Nago Chogen on their trip to Edo, where he played a game of go with the famous Japanese master Hon'inbo Dosaku on 17 April, 1682. It is also said that with the permission of Shimazu Hidehisa of Satsuma, Hama Higa also performed Toudi (Karate) and Saijutsu in front of the 4th Shogun Tokugawa Tsunayoshi. This sai kata later became known as Hama Higa no Sai, and is still practiced in Okinawa kobudo today. (Taira, 1998)
Other "Official" Isshinryu Kobudo Kata
In addition to the solo kata exercises, Shimabuku, like many other kobudo teachers, also developed a series of two-man weapons exercises, to teach practical applications of the kobudo implements. These are Bo tai Bo Kumite and Bo tai Sai Kumite. Each teaches a set of ten basic but important applications to the bo and the sai. The Okinawa Isshinryu Karate Kobudo Association (OIKKA) founded by Uezu Angi in 1990 and taken over by Uechi Tsuyoshi upon Uezu's retirement in late 1995, also teaches what is known as Nunchaku Kihongata, a basic form for the nunchaku. This kata is the same as found in Sakagami Ryusho's booklet Nunchaku (1966), and teaches the basic aya-furi (figure-8) and reverse figure-8 swinging pattern of this formidable weapon.
Conclusion
Shimabuku Tatsuo's life work is exemplified in his karate and kobudo system. While retaining the kata from his teachers, he modified them, sometimes subtly, sometimes radically, until Isshinryu took on the shape recognized the world over today. However, when examining Okinawan martial arts, one should not look at the differences in the "styles" propagated today, but at their common roots and the principles upon which they rest. There is only one kobudo, but many ways of teaching it.
References
* Advincula, A.J. (1998) Personal Communication.
* Inoue M. (1972) Ryukyu Kobudo Vol 1. Tokyo: Sekibundo.
* Inoue M. (1974a) Ryukyu Kobudo Vol 2. Tokyo: Sekibundo.
* Inoue M. (1974b) Ryukyu Kobudo Vol 3. Tokyo: Sekibundo.
* Jahana K. (1978) "Buyu Motobu Choki." Aoi Umi No. 70, pp. 106-110. Naha.
* Matayoshi S. (1997) Ryukyu Ocho Jidai Kobudo Karatedo (video). Tokyo: BAB
Japan.
* Miyagi T. (1987) Karate no Rekishi. Naha: Hirugisha.
* Nakamoto M. (1983) Okinawa Dento Kobudo: Sono Rekishi to Tamashii. Naha:
Bunbukan.
* Perkins, J. (1998). Personal Communication.
* Sakagami R. (1966) Ryukyu Kobudo Series I: Nunchaku. Tokyo: Tokaido.
* Sells, J. (1993) "The Kobudo of Taira Shinken, the Pied Piper of
Weaponry." Budo Dojo Magazine, Spring 1993, pp 23-26. California: Pacific
Rim Publishing.
* Taira S. (1998) Ryukyu Kobudo Taikan (1964). Revised, expanded and
republished by Gajumaru Shoten, Naha, Okinawa.
* Uezu A. (1982) Encyclopedia of Isshinryu Karate, Volume One. California:
Panther Productions. With Joseph Jennings.
* Uezu A. (1997) Personal Conversation. Gushikawa, Okinawa.
Thank you
