Empty Hand

Long kata include about 70 different techniques, shorter ones about 20. A short kata does not take more than one minute. During kata practice literally every inch of the body moves, so that results can be seen very soon. Men get strong and well-balanced bodies and women also become more beautiful. No space, no special devices or clothing is needed. So there is no easier method to improve the state of health. Even very busy people should be able to afford the few minutes a day needed to keep fit by kata practice. Some may think that they are already too old for it. But in principle one can start practicing kata at any age. Most of the masters of karate from Okinawa and mainland Japan enjoyed a long life.

The Physical Effects of Karate

I myself could be regarded as living proof. I am now 83 years of age. I have never been seriously ill. Several times a year I travel overseas to supervise karate training. I never feel any jetlag and always start practicing with the young karateka the next morning after my arrival. 6

In 1938 my father published the book Introduction into Attack and Defense Techniques in Karate Kempō.7 He stressed the positive effects of training, writing: “Karate helps to gain more pleasure in all other activities”, “Weak persons can strengthen their body practicing at home”, “Sick and overweight persons get strong muscles and become healthy”, “One drinks less alcohol in the evenings and one works more efficiently at day”, or “Neuralgia and mental weakness get cured”.

My father actively propagated karate as an excellent means to protect and strengthen health. In cooperation with a medical university he could scientifically prove the positive physical effects by blood tests and urinalysis. In his book there are extracts from a research report on the physiological effects of karate by marine physicians. According to their report the metabolic functions and nerve reflexes, the sense of balance and the muscle power were improved. The whole physical condition was harmonized. Thus, the positive influence of karate practice on the body was sufficiently proven.8

When his book was published my father had already been living on mainland Japan and propagating karate for ten years. He had brought from Okinawa a rather spiritual and even religious karate. Present-day karate is unfortunately very far from the one he wanted to spread. In his opinion, practicing karate for self-defense did not only require the training of fighting techniques but also a supporting spiritual and mental education. At the end of the book he wrote: “Once you will be confronted with a situation that demands action you will be able to act.”

Karate in Dangerous Situations

Several times I had the experience of spontaneous reactions towards sudden danger. When I was 16 or 17 I went with a friend to the Shirahama beach in the Wakayama prefecture. We wanted to enjoy the view of the Senjōjiki cliffs. I was wearing a swimming suit, and I just turned my back to the sea and fixed my belt when I was suddenly hit by a huge wave. My friend, facing the sea, saw the wave coming and ran away. But I could not see it and was fully stricken. In this very moment I understood that a wave had swallowed me and that my body had lost its freedom, and so I clung instinctively to the rocks the breakers had thrown me against. Had I allowed the wave to draw me into the sea I would not have survived. Many people have lost their lives this way.

Towards the end of the Greater East Asia War9 I was stationed on the Philippine island of Cebu. When the American troops had landed there with considerable force, we had to flee together with the Japanese settlers to the central highlands. We had to march at night because in daylight American reconnaissance aircrafts were cruising over our heads. So we were marching in total darkness, one hand touching the belt or the shoulder of the man in front. Suddenly I slipped and fell down the slope. When I regained consciousness I found myself about 15 feet below the path, and I was gripping my knapsack. Astonishingly I had remained uninjured. I thought: “Maybe it’s not such a good idea to stay behind.” Then I climbed up the precipice as quick as I could and managed to join the others. I remember that again I thought how helpful it was to practice karate. Once more my body evidently had spontaneously reacted to the sudden danger so that I remained unharmed in spite of the deep fall.

There were many similar occasions, maybe less dramatic, in my life to make me realize that without karate I could have lost my life or at least would have been seriously injured. Some may say that my reactions were due to special training. But this is not correct because everyone can reach the same result if only the person’s karate practice is serious and continuing.

Karate as a Spiritual Martial Art

Karate has changed more and more into a competition sport. This is one of the reasons why the number of women practicing karate mainly for self-defense has recently considerably decreased. But besides health care, self-defense was the original aim and is still a very important aspect of karate.

When my father taught at the Meijō Girls College, he invented two special self-defense kata for girls. One was called Meijō kata according to the name of the school and meaning “bright star”. The other was called Aoyagi (green willow) referring to elegance and gentleness. These kata were made for real combat. They contain techniques against typical attacks towards women like embracing from the front or from behind, and punches that use the energy of the attacker. But these real-combat kata are very short and not appropriate for competition and therefore unfortunately not very popular in our days.

Recently, I read an article in the newspaper Asahi Shimbun. It was about a high school boy in Ōsaka who was at home when a burglar came in and attacked him with a knife. But the boy was clever enough to evade the attack and managed to escape. Afterwards he told a reporter, “When I saw the knife my body reacted spontaneously. If I had not practiced karate I would have been paralyzed by fear.”

To use karate for self-defense, it is not enough to study a number of techniques. One has to develop a special mental energy, ki,10 necessary to mobilize the abilities in the very moment they are needed, that is, just when one is confronted with sudden danger. No matter how often one may have practiced the techniques, without this energy one cannot make use of them. That is why the mental education is so important.

The development of ki is important for all kinds of martial arts, such as jūdō, kendō or iaidō. The mental education is needed to get rid of any inner agitation or inner tensions and to become able to focus the whole mental energy on one point. Since karate is aiming at the ability to defend the own body with empty hands flexible mental energy is extremely important. For this reason one can consider karate as martial art of the soul (ki no budō).

Of course the physical condition affects the general development of a person. It could be said that people who are lacking physical self-confidence are apt to mental and psychological weakness. Because karate practice develops the whole body, even people who begin in a rather weak condition can gain strong physical confidence after a short time, building the basis for mental and psychological strength.

Of course the physical condition affects the general development of a person. It could be said that people who are lacking physical self-confidence are apt to mental and psychological weakness. Because karate practice develops the whole body, even people who begin in a rather weak condition can gain strong physical confidence after a short time, building the basis for mental and psychological strength.

The Breathing Techniques in Karate

However timid and weak a person might have been, by regularly and seriously practicing karate – even if the practice is not very intense – one can experience how the body gradually fills with energy, how self-confidence grows from the ground of the abdomen and calmness installs in a quite natural way in the whole body. This is a particularity of karate.

Especially the breathing techniques (kisoku hō) of the Naha-te are a good example to explain how karate strengthens the spiritual and mental unity.11 It goes without saying that breathing is important for all kinds of martial arts but its deliberate and systematic training is a special aspect of karate. Breathing, and in particular inhaling (iki o suru), is closely connected with life. The Japanese verb meaning “to live” (iki ru) is said to be derived form the expression “to take breath”. People can live without food for about a month. But as is well known, it is hard to survive without breathing.

If one gets nervous in a situation of violence one will lose. Such nervousness comes from disturbances of pulse and blood pressure, which again are caused by breathing disturbances. For this reason some people get also nervous in front of a crowd. When things go wrong somehow and life is full of trouble one often feels depressed. Unconsciously breathing becomes short, flat and throat-centered. In the worst case, one breathes only with the tip of the nose, so to speak. If someone gets used to such kind of breathing he cannot expect to be blessed with a long life.

In order to harmonize the soul one must harmonize breathing. Breathing deeply into the abdomen arranges the energies in the lower abdomen. If in this area everything is “well settled”, one has good reason to hope for a long life. The effects of correct breathing will be greater the better the breathing rules are understood and followed consciously. I studied several breathing techniques like those of yoga or qigong. According to them, holding the breath (taisoku) is harmful. But in karate it is regarded to be very reasonable. It strengthens the heart and improves the flexibility of breathing. I am now more than 80 years of age but I do not have any problems climbing a staircase and never grasp for air.

The State of Total Inner Calmness

Karate practice develops body, spirit and fighting abilities. Since these three aspects of education are closely connected in the kata, kata training allows progress in all of them. This kind of learning is a real pleasure and can be a never-ending one.

In the Edo period (17th to 19th century) the samurai of the Nabeshima fief on Kyūshū Island (now Saga prefecture) were educated on the basis of the famous warrior code Hagakure12. The first rule a samurai had to follow was about his attitude towards aging. This rule demanded that learning and practicing should never end. No matter which level of abilities a samurai may have reached, how high in the hierarchy he might be, there is no reason for conceit, no reason to stop learning and improving oneself. 13

Those who learn only in order to win over others, to be better and stronger than others, are people who in fact learn for others. This is not the right way. A real master follows his way by continuously trying day by day, all his life, to improve himself. If one does not practice karate with joy so that nothing can stop oneself whatever people might say, this cannot be called true karate. Only if one enjoys practicing karate for oneself, not for others, if one cannot stop even if one would like to, one will experience karate as an endless path and reach a state of total concentration and inner silence.

About such a state of deep concentration called zanmai,14 my father once wrote the following words: “I enjoy my mind getting empty while rowing to the island of bu«.15

There is a Japanese term called gunshū meaning “learning by absorbing the smell”. It is based on the idea that the odor of an object is transmitted to the person steadily handling it. If one works with wood one will gradually acquire a wooden smell. What one does and thinks day by day finally becomes part of oneself, shapes the character and gives a certain “smell”. When my father was a policeman on Okinawa, visiting the karate masters at hidden places, teaching karate at the fishery school or attending karate performances, he always took me along and let me sit on his lap. That is maybe how I acquired his “smell”.

I always remember my father stripped to the waist practicing with his comrades in the light of a naked bulb, encouraging each other and forgetting the world around them. After he had moved to Ōsaka, he never knew what the day would bring. Nevertheless he went on with his life devoted to the study of karate, spending time with his comrades with whom he often shared his food and shelter. He also took care of the tatami mats that were always worn fast by the practice of the karateka. When one of his students came home from the battlefields of the Pacific War unharmed, he was as happy as he was when I returned. All this is the “smell” of my father my body has absorbed and I shall never lose. I also shall go the way of my father, the way of karate, which has no end. I shall practice karate as long as my body can move, step-by-step, stage-by-stage. I cannot predict how far I will come. But I know that I shall move on as long as I can. Progressing and improving oneself, that is what really makes sense, provides pleasure and joy. This is special about budō karate, that kind of karate I would like to propagate and that is the subject of this book.

I

1 The Development of Karate

1.1 Karate as Fighting Technique

Unarmed Fighting in Ancient Times

Methods of fighting without arms are mentioned in the ancient records of all peoples and therefore can be considered to be part of the common heritage of mankind. In the oldest Japanese chronicle Kojiki16, a fight between the gods Takemigazuchi no kami and Takeminakata no kami is mentioned which took place on the Inasa beach in the Izumo region. The Nihonshoki annals report about a fight between Nomi no Sukune and Taima no Kehaya. This fight is considered to be the moment when sumō was born.17 But in contrast to present-day sumō it must have been a life-and-death struggle. Although carried out without weapons it was nevertheless a fight without rules, since Sukune broke Kehaya’s hips and then kicked him to death.

Such techniques of fighting without weapons have existed everywhere in the world since ancient times. It is even reported that in ancient India Buddha has fought against his younger brother for the right to marry a beautiful girl. I saw fights in India that were very similar to sumō. In ancient China there were fist-fighting techniques called kempō in Japanese. In the Spring and Autumn Annals18 they were called “brave fist” (kenyū) or “martial art” (bugei), during the Warring States Period (475-221 BC) “punching technique” (gigeki) and in the Han period (202 BC to AD 220) simply “technique” (gikō) or “circular punching” (shubaku).

Shaolin Kempō – the Fighting Techniques of the Warrior Monks

The Shaolin-Kempō was created in the Chinese Shaolin monastery that was built in 495 (late Wei period) by order of the emperor Xiào Wén (471-499) for the Zen Buddhist priest Ba Tuo, who had come from India. The monastery is placed in the Honan province south of the Yellow River at the foot of the Songshan mountains. That is why it was also named Songshan Shaolin. It became famous because Bodhidharma19 (Japanese: Daruma), who became the founder of Zen Buddhism in China, stayed there and introduced zazen20. This might be the reason why he was – probably by mistake – considered to be the founder of the temple and the father of kempō, too.

Fighting techniques were developed particularly in the monasteries because they owned rich treasures of art and other property that the monks had to defend in this country that was ceaselessly stricken by unrest and war. The term Shaolin kempō includes all techniques that were invented in the monastery itself or came from the surrounding region. Some of them got lost in the course of time, such as the “smashing fist” (tsūhai ken), the “animated fist” (shin i ken) or the “cosmic fist” (rikugō ken).

In the Shaolin monasteries the monks were divided into prayer monks who where specialized in religious studies and warrior monks who mainly practiced fighting techniques. Those to become warrior monks had their hair shaved and wore monks’ habit immediately after entering the monastery. They spent their monastic life mostly with martial exercise rather than with Buddhist studies. The present-day Japanese style of Shaolin kempō (called Shōrinji kempō) practiced as a religious exercise is a historically new phenomenon that appeared after World War II. It was founded by Master Sō Dōshin (1911-1980).

Incidentally, since the Ming period the Shaolin monks were famous rather because of their staff fighting, kompō21 or bōjutsu, than because of their fist-fighting techniques. The Fukien kempō was developed in the Fukien and Kanton provinces in southern China. This martial art, too, is said to originate from a Shaolin monastery – not the Songshan Shaolin but another one built later in the Fukien province.

The Fukien Shaolin temple does not exist anymore. Possible remains were found at different places. That is why its location could not be determined until today. Because the Songshan Shaolin monastery was located north to the Yangtze River and the Fukien Shaolin monastery south to it, their respective martial arts were also referred to as northern and southern Shaolin or northern and southern kempō.

As in other countries, there were times when certain religions were supported and times when they were suppressed by the rulers. So the Shaolin temple, too, experienced times of promotion and prosperity and times of suppression and destruction. There might have been monks who practiced in both temples or others who had to flee the Shaolin monasteries and found shelter in other temples were they shared their knowledge and fighting experience with their hosts. It can be supposed that their knowledge and abilities were spread even among the common people. Chinese distinguished between the “monastery or house” kempō of the monks and the “outsiders” kempō of the commoners. The taijiquan is an example of the latter.

That is how present-day Chinese kempō developed in a long historical process out of different schools and styles of fighting without weapons which influenced each other. But there is no doubt that Chinese heroism in general was inspired by the monks of the two Shaolin monasteries. Like the monks of the Japanese Hieizan monastery at the end of the medieval times they took up arms and intervened in the secular world.

So did Minamoto no Yoshitsune and Musashi Bō Benkei at the end of the Heian period (794-1185) in Japan. Yoshitsune, who as a child was called Ushiwaka-maru, lived in the Kurama monastery north of the capital Kyōto. He studied esoteric Buddhist teachings (mikkyō)22,and started to practice fighting techniques. He was said to have been taught martial arts by the long-nosed mountain spirit of Kurama called Dai Tengu23. To strengthen his body he walked every day from the Kurama mountains to the center of the capital. Once he encountered the fearsome warrior monk Benkei on the Gojō bridge of Kyōto. In a great fight he achieved a victory over him.24 This episode is widely known in Japan because it is part of a famous kabuki25 theater play.

The Influence of the Chinese Kempō on the Japanese and Okinawan Martial Arts

According to old chronicles, kempō was first brought to Japan by a Chinese called Chin Gempin26 in the Edo period. He was said to have learned kempō at the Songshan Shaolin temple and was praised to be a true genius. He was profoundly knowledgeable not only about Confucianism, Buddhism and Taoism but also about arts like calligraphy, brush painting and poetry, or crafts like pottery, making of sweets and preparation of medicinal herbs, and also about acupuncture or moxibustion27. After his arrival in Nagasaki he traveled on the main island Honshū up to the region of present Nagoya. He is reported to have been received three times by the shōgun Tokugawa Iemitsu and to have met many other lords to speak about his knowledge and show his abilities. Fukuno Masakatsu Shichirouemon and Ibaragi Sensai developed the Kitō style of Japanese jūjutsu after having been instructed by Chin Gempin.

There are other styles of jūjutsu whose roots can be found in China such as the famous Yōshin ryū that was created in Nagasaki by the physician Akiyama Shirōzaemon in the beginning of the Edo period after he had studied kempō during a journey in China. The Yōshin style became the basis for the Tenshin Shinyō style, which together with the Kitō style was the material Kanō Jigorō used to create modern jūdō.

But this should not lead to the conclusion that the original jūjutsu styles were directly derived from Chinese kempō. Techniques of unarmed fighting had existed in Japan since ancient times. The Takenouchi style, which is considered to be the oldest in Japanese jūjutsu originated from shortsword techniques. These techniques were taught by Takenouchi Hisamori. According to a myth, he had learned them from a hermit with long white hair who appeared while he was praying to the god of Atago to make him a master of martial arts. This happened in the beginning of the feudal wars in the 16th century, 100 years before Chin Gempin came to Japan.

Of course Chinese kempō had a strong influence on the Japanese jūjutsu. Although it was not its origin, it nourished and inspired its development. However, in jūjutsu highly dangerous blows (atemi) are not used and thus almost not practiced in order to avoid fatal injuries. But throwing and joint-locking techniques are very important. In particular, jūjutsu was aimed for supporting the fight with weapons. Since the beginning of the age of the samurai in the 12th century sword techniques had become crucial, and the fighting techniques with bare hands only played a secondary role.

It is also often said that the origin of karate was the Chinese kempō. Because of similarities with regard to techniques and terms this might be plausible, but there are no written records supporting this assumption, and consequently it cannot be considered as proven. Since ancient times there has been a kind of kempō on the island of Okinawa which was simply called “hand” (ti; Jpn. te or de), whereas Chinese kempō was called “Chinese hand”, tōde.

Since the middle of the 14th century, the Ryūkyū kingdom was tributary to the Chinese Ming dynasty. The relations with China became closer than those with Japan. People from the Ryūkyūs who had traveled to China to study or as members of diplomatic missions were not only influenced by Chinese culture but also learned martial arts. Of course, many Chinese came to Okinawa, too, and imparted their knowledge to the islanders. The bodyguards and other escorts who accompanied the Chinese envoys seem to have played a special role in transferring fighting skills to the Okinawans. They were highly trained and experienced elite soldiers because they had to defend the missions against the almost omnipresent pirates during the sea passages. In the history of the Ryūkyū islands, 23 of such Chinese missions were reported. Altogether about 500 Chinese came to Okinawa in this way. When the Chinese diplomatic missions arrived on Okinawa, welcome ceremonies were held and the bodyguards performed Chinese kempō kata, so-called tao. There are some kata in the Shuri-te, like the Wanshū and Kōsōkun kata, which are said to have been named after the bodyguards who taught them to the islanders.

There is also the opinion that the term “hand” (te) for all Ryūkyū techniques corresponds to the general term for fighting techniques used in Japan, the “18 arts of fighting” (bugei jū happan)28 because similar to the samurai on mainland Japan, the Ryūkyū bushi29 also practiced different special fighting techniques.