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SOKON MATSUMURA:
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Okinawa, Japan is the birthplace of karate. This small island is also the birthplace of Sokon Matsumura, Okinawan warrior and founder of karate. Sokon Matsumura (1797-1889), also known as Bushi (warrior) Matsumura and Shuri Matsumura, was one of the most renowned and colorful martial artists of his time. He was known as a master par excellence of karate and kobujutsu (weaponry). Matsumura was of noble birth and he was as skilled at literature and the Chinese classics as he was at military arts. He is considered the founder of the Shorin Ryu school of Okinawan Karate. He organized the Shuri-Te style (native Okinawan martial art and prototype of Shorin Ryu) into a more refined system of the martial arts. This system, Matsumura Shorin Ryu karate has endured to the present day.
Matsumura was born in Yamagawa Village, Shuri, Okinawa in 1797. There are some contradictions as to Matsumura’s exact birth date. Some authorities claim 1798 or as late as 1809, but for the purposes of this writing the 1797 date will be accepted as the correct one. In 1810, as a young boy, Matsumura began the study of karate under the guidance of Tode Sakugawa (1733-1815). Sakugawa was an old man at the time and reluctant to teach the young Matsumura. However, Sakugawa had promisedSofuku Matsumura, Sokon Matsumura’s father, that he would teach the boy. The venerable Sakugawa was seventy eight years old at the time. Matsumura spent four years studying underSakugawa. Eventually, Matsumura’s skill as a warrior became widely known throughout Okinawa and even in China. As a young man, Matsumura had already garnered a reputation as an expert in the martial arts. Many legendary stories are told about him in Okinawan folklore. In fact, in addition to being a “daijo” or major figure in karate’s history, Bushi Matsumura is an Okinawan folk hero as well.
Matsumura was recruited into the service of the Royal OkinawanSho family in 1816 and received the title Shikudon, a gentry rank. He began his career by serving the 17th King of the Ryukyu Shodynasty, King Sho Ko. In 1818 he married Yonamine Chiru, who was a martial arts expert as well. Matsumura eventually became the chief martial arts instructor “Shihan Yaku” and bodyguard for the Okinawan King Sho Ko. He subsequently served in this capacity for two other Okinawan Kings, They were the 18th and 19th Kings of Ryukyu, King Sho Iku and King Sho Tai, respectively.
Bushi Matsumura not only became the chief martial arts instructor but an official of the Ryukyu Kingdom. As such,
Matsumura traveled as an envoy to China and Japan in the service of the Okinawan King. On these sojourns, he sought out other martial artists and trained with them.
Around 1839 he went to China and studied the Shaolin style of Chinese boxing and weaponry. Legend has it that he actually trained at the famed “Shoreiji” or Southern Shaolin Temple at this time. It is not known how long Matsumura remained in China but tradition has it that he stayed for some time. In 1832 he went to Satsuma, Japan and stayed there for two years. While in Japan it is believed that he studied the Jigen
Ryu style of swordsmanship. This is a very aggressive style practiced by the Satsuma samurai. His sensei in Jigen Ryu was a samurai by the name of Yashichiro Ijuin. It is perhaps at this time when Matsumura’s ideas about Bushido, the way of the warrior, and martial ethos were formed. Is also known that around 1860 Matsumura traveled to Foochow in Fukien Province, China, on a diplomatic mission for the Okinawan King. In the 1860’s he brought back the Chinese KenpoMaster Iwah and together they taught many Okinawans. He is also thought to have studied with the Chinese warrior Wai Shin Zan while in China. After his return from China he organized and refined Shuri-Te. His organizational efforts would eventually serve as the basis for the Shorin Ryu System of Okinawan Karate. Some authorities credit Matsumura with adopting the name “Shorin Ryu” while others say Anko Itosu (1830-1915), Matsumura’s student, is actually responsible for adopting this terminology. Shorin is the Japanese pronunciation of Shaolin. Even though this style is a blend of native Okinawan techniques and Chinese kenpo, it is named after the famed Shaolin Temple of China, renowned for its fighters.
Matsumura is credited with passing on the kata or formal exercises known as Passai Dai (Matsumura No Passai), Naihanchi, Chinto, Seisan, Gojushiho (Fifty Four Steps of the Black Tiger) and Kusanku. A set of Chinese kata known as Chanan in Matsumura’s time are said to have been modified by Matsumura and were the basis for Pinan I & II. These kata are the essential forms of allShorin Ryu styles today. He is also said to have brought back theHakutsuru or White Crane system of Chinese boxing back to Okinawa. Aunique feature of the Matsumura Shorin Ryu style is the
teaching of the White Crane or Hakutsuru kata, although white crane techniques are woven throughout most of the kata of the style and are especially evident in Gojushiho and Kusanku. However, the Hakutsuru kata is one of those elusive and esoterickata of karate. According to the late Hohan Soken (1889-1982), the White Crane style was learned by Bushi Matsumura while he was in China. He then brought the style back to Okinawa in the 1860’s. From then on, the system was a secret style only taught to immediate members of the Matsumura family. The White Crane style was passed on from Bushi Matsumura to Nabe Matsumura, his grandson, and then to Hohan Soken, Nabe’s nephew (Nabe’s sister’s son). Hohan Soken did teach the White Crane to some members of the Ryu. These people were not family members but were a chosen few. Keep in mind the concept of a hereditary Ryuis a closed social nexus, like a family or a clan. Its membership is restricted to blood relatives, whereas a Kai or association is a group that practically anyone can get into, like a bowling league or a “self defense” studio. The family blood lineage of Matsumura Shorin Ryu seems to have been broken though and has become what is known as a Ryu Ha. It is my understanding that Hohan Soken’s grandson now lives in New York City and has no interest in karate.
The White Crane system is still in existence and being taught today, but it is rare and still underground.
The White Crane style is of Chinese origin and its techniques imitate the delicate movements of the crane or white heron. TheHakutsuru technique manifests the Chinese concept of the soft fist as opposed to the power-oriented native Okinawan techniques. The soft fist is defensive and relies on speed and evasion as its primary tactic.
Therefore the Matsumura family style has both the power oriented linear Okinawan technique as well as soft circular Chinese techniques. A perfect combination! Actually there are a set ofHakutsuru kata handed down that are the jewel of the system. The more fundamental Hakutsuru Kata are sanchin-like training forms called Hakutsuru So & Ton. There is another one called Ryuken or dragon fist Sanchin. Finally there is the Matsumura No Hakutsuru Kata itself. The kata is taught in two forms, a sort ofsho (minor) and dai (major) format. The sho version of the katahas the same embusen (pattern) as the dai version but it is simplistic in its techniques. The dai version of the Hakutsuru kata is very elaborate with many intricate hand techniques which make use of the wing (hane) of the crane. The wing is used in blocking to either trap, cover or repel a blow. Spearfinger thrusting to vital points is the main means of attack and counterattack taught within the framework of the kata as well. TheMatsumura Hakutsuru kata also features a unique low level kicking sequence and its embusen relies on footwork from the Kusankuand Naihanchi kata. Its intricate and complex movements make the performance of the Matsumura No Hakutsuru kata unique among karate kata. It certainly deserves to be the secret kata of the Ryu. However, other versions of the Hakutsuru kata
exist. These include Shito Ryu’s Hakucho, a fragment of the original kata, the Matayoshi version and the rare and beautiful Kumemura Hakutsuru. This version is derived from Kume Village, a Chinese settlement which was a suburb of Naha and home of the sanjuroku seito, the thirty six families from Fukien Province,
China. These families came from China with the purpose of enhancing the cultural and economic development of Okinawa. Although the transmission of Chinese martial arts to the Okinawans was also accomplished here.
Bushi Matsumura was tall and thin with deep-set eyes. He was also extremely fast because of his constant practice. He believed that speed was essential in order to develop power. Matsumura was an innovator and he practiced every technique so that it could be performed as fast as possible. Legend has it that he was able to generate enormous power in his techniques even though he was slender and wiry. The reason for this was that he followed a scientific theory with respect to martial arts i.e.,“torque plus speed equals true power”. The concept of twisting and rotating the hips when delivering a technique is the method he used. Matsumura is credited with developing this concept in karate. Matsumura simply knew that the basic elements of physics apply to and enhance karate technique. He was known to have superb kicking skills and a great jumping ability. His expression was “as a warrior one must developthe speed of a bird and the power of a tiger”.
Matsumura was given the title “Bushi” meaning warrior by the Okinawan King in recognition of his abilities and accomplishments in the martial arts.This was a title reserved only for those possessing the highest martial skill and the samurai qualities of honor and loyalty. This elevated him to full samurai status. In fact, Matsumura
was the last person ever to be granted this title by the Okinawan king. After this, Matsumura referred to himself as Bucho, military leader. He was extremely clever and an excellent military strategist. He accepted challenges from the top martial artists of his time. According to legend he fought many times but was never defeated, Among his many exploits, he was even known to have fought and defeated a wild bull. The most often told story about Matsumura is the tale ofMatsumura defeating a wild bull. In the time of King Sho Ko, whose reign began in 1804, the King’s soldiers were violent and showed no mercy to the local people. They were lawless and no more than robbers and murderers. When the King found out about the improprieties of the soldiers, he ordered an “Uta Kai” or poem meeting. The King filled out part of a scroll and he wanted the soldiers to fill out the rest. None of the soldiers would try so the King got angry. He drew his sword and chased everyone out of the room except forMatsumura.
The King asked why Matsumura did not flee and was not afraid like the others. Matsumura answered by saying: ” You are my King and I am your servant. If you wish to kill me or do anything else to me you wish, I don’t mind.” Even though Matsumura’s answer was profound, the King was still angry. He said: “I am going to kill you anyway. You will be killed by a wild bull.” The King then set the date for the bull fight.
Matsumura found out that the King had selected the strongest bull for him to fight. Everyday, Matsumura visited the barn where the bull was kept. On each visit, he would strike the creature soundly in the temple. After a while, the bull would anticipate Matsumura’sarrival and it became fearful of him.
Finally, the day of the contest arrived. Matsumura stood in the middle of the ring. When the bull was let into the ring it immediately charged him. Matsumura sidestepped using taisabaki (body shifting) and struck the bull in the temple as he had done in the barn. The bull stared at Matsumura for a brief moment and then turned
around and ran away. Matsumura said to the King. “I’ll fight the bull again if someone can catch him and bring him back.“ The King was convinced that Matsumura had fought and defeated the strongest bull in Okinawa. Because of this feat, the King gaveMatsumura the title “Bushi, meaning warrior, and Matsumurabecame the “Shihan Yaku” (martial art instructor) at Shuri Castle and bodyguard to the King. In another famous encounter preserved in Okinawan folklore,Matsumura fought another samurai by the name of BushiKushigawa Uehara. Uehara was known to be a highly skilled karateman and very dangerous. It is not exactly clear why the challenge was issued by Uehara. One version of the story states that they fought in front of the king to determine who would be the King’s Chief Bodyguard. Yet another version of the story, and probably the correct one, implies Uehara was jealous of the young Matsumura’s
outstanding martial arts abilities and his position as Shihan Yaku or martial arts instructor to the king. Therefore, Uehara sought to defeat Matsumura and discredit his reputation. Uehara was in his forties at the time and Matsumura was still in his twenties. In any case, Matsumura accepted the challenge. When they fought, both men threw only one punch. Matsumura won the bout by adeptly punching Uehara’s punching hand and breaking it, thus ending the contest.
Matsumura’s martial arts endeavors, specifically the organization of Okinawan Shorin Ryu Karate have had far reaching effects. The Shorin Ryu system has been the progenitor of many contemporary martial arts styles, Shotokan Ryu and Shito Ryu, for example. Ultimately, all modern styles of karate that evolved from the Shuri-Te lineage can be traced back to the teachings of BushiMatsumura. This includes Taekwon Do (Korean Karate) whose original kata syllabus was derived from Shotokan Karate, the Japanese version of Shorin Ryu. (see Okinawa Island of Karate, p. 45.).
As a teacher, Matsumura was without equal. His fame attracted many students and he produced and abundance of skilled martial artists. His most notable students included Anko Itosu (1830-1915), Yasutsune Azato (1827-1906), Yabu Kentsu (1863-1937), Chomo Hanashiro (1871-1945) [Hanagusuku Nagashige inHogan, the ancient Okinawan dialect], Chotoku Kiyan (1870-1945), Megantou Tawada, Peichin Kiyuna, Chinen Yamanne, Ishimine (b.1826),
and Nabe Matsumura as well as others. Inhis later years, Matsumura wrote a letter or makimono (hand written scroll) expounding on the elements of Bushido,the way of the warrior, and martial ethos. The letter was written to his student Ryosei Kuwae on May 13, 1882. This was the only surviving document in Matsumura’s own hand. The document has been handed down by the Kuwae family of Okinawa. In this letter, Matsumura’s writings relate warrior ethics to social science and Confucian ethics (see Okinawa: Island of Karate, p.43). He states that knowledge and martial arts have the same theory. In the area of knowledge, Matsumura indicated that poetry, or creative writing and reading, hence literature, as well as teaching others along with an understanding of Confucianism constitutes Bun(knowledge). This knowledge helps one to understand the matters of life and to make the mind pure and true. Therefore, the ability to govern the family well and administer the nation well are gained from this
knowledge. These are no doubt Confucian ethics typical of Matsumura’s time. Remember, Okinawa and the Ryukyu Islands had always been under the cultural influence of China. Therefore, the ethical framework and teachings of Confucius were borrowed from China.
Regarding the martial arts, Matsumura states that there are three main areas of understanding. The three areas are Gukushi No Bugei (martial arts of intelligence), Meimoko No Bugei (martial arts without self-control) and Budo No Bugei (true martial way). Gukushi No Bugei refers to having a technical knowledge of the martial arts but with no real substance. It is only a superficial understanding with no depth. He also makes a comment that I think is as relevant today as it was one hundred years ago when he wrote it. Matsumura said “a style is only as good as the man who practices”. Meimoko No Bugei refers to a person who has a physical understanding of the martial arts and can defeat other men. They are violent and dangerous and have no self control. Budo No Bugei refers to the true way of the warrior. In this true martial way, a person has the physical understanding of the martial arts and is powerful. He has a strong sense of loyalty and would do nothing that is unnatural or contrary to nature. According to Matsumura, the true way of the warrior is characterized by seven virtues of Bu (military mind). They are as follows:
Matsumura’s letter continues with the idea that a warrior who follows the way of Budo No Bugei waits for the enemy to defeat himself. He says this is what he admires the most. He says “you must deal with your own mind well and wait for others to fall apart mentally. Win the battle by remaining calm and steal the mind of your opponent”.
This certainly sounds like Japanese samurai philosophy and the fighting strategy of Go No Sen, i.e., waiting for the opponent to commit himself and make a mistake and then counterattack. He goes on to say that “maturity promotes harmony and that a master of the martial arts should stay away from violence, deal well with people, be self confident, keep peace with people and accrue wealth”. Finally, Matsumura concludes the letter with a message to his student Kuwae to promote Budo No Bugei, adapt to change and keep training with these principles in mind. Quite a letter! It certainly provides numerous bits of wisdom and some thought-provoking ideas for today’s martial artists as well as insight intoMatsumura’s philosophy. The letter was written late in life, perhaps just before his death, a time for reflecting and philosophical thinking.
Matsumura also wrote a book about the sai which included his kata, Matsumura No Sai. By the time Matsumura retired, his son had died, so his grandson, Nabe Matsumura (1860-1930) succeeded him. Matsumura gave his menkyo kaiden (certificate of proficiency) to him, which entitled Nabe Matsumura to carry on the teaching of Bushi Matsumura and Matsumura Shorin Ryu.
Hohan Soken(1889-1982), who was Nabe Matsumura’s nephew, wasselected to carry on the teaching of the Ryu. He was a highly respected karate master and the third generation successor in the
lineage of Matsumura Shorin Ryu Karate. He was instrumental in passing on a martial arts legacy from Bushi Matsumura and Nabe Matsumura to his students. When Soken began his training underNabe Matsumura karate practice was still done in secret. All thekata and techniques he learned were inherited from BushiMatsumura. The style lives on today and is preserved by the International Shorin Ryu Karate Kobudo Federation and Dojo's like Summit Martial Arts. Its followers are keeping alive the traditions and philosophy of “Bushi”Sokon Matsumura, ancient warrior of Okinawa.
Matsumura was born in Yamagawa Village, Shuri, Okinawa in 1797. There are some contradictions as to Matsumura’s exact birth date. Some authorities claim 1798 or as late as 1809, but for the purposes of this writing the 1797 date will be accepted as the correct one. In 1810, as a young boy, Matsumura began the study of karate under the guidance of Tode Sakugawa (1733-1815). Sakugawa was an old man at the time and reluctant to teach the young Matsumura. However, Sakugawa had promisedSofuku Matsumura, Sokon Matsumura’s father, that he would teach the boy. The venerable Sakugawa was seventy eight years old at the time. Matsumura spent four years studying underSakugawa. Eventually, Matsumura’s skill as a warrior became widely known throughout Okinawa and even in China. As a young man, Matsumura had already garnered a reputation as an expert in the martial arts. Many legendary stories are told about him in Okinawan folklore. In fact, in addition to being a “daijo” or major figure in karate’s history, Bushi Matsumura is an Okinawan folk hero as well.
Matsumura was recruited into the service of the Royal OkinawanSho family in 1816 and received the title Shikudon, a gentry rank. He began his career by serving the 17th King of the Ryukyu Shodynasty, King Sho Ko. In 1818 he married Yonamine Chiru, who was a martial arts expert as well. Matsumura eventually became the chief martial arts instructor “Shihan Yaku” and bodyguard for the Okinawan King Sho Ko. He subsequently served in this capacity for two other Okinawan Kings, They were the 18th and 19th Kings of Ryukyu, King Sho Iku and King Sho Tai, respectively.
Bushi Matsumura not only became the chief martial arts instructor but an official of the Ryukyu Kingdom. As such,
Matsumura traveled as an envoy to China and Japan in the service of the Okinawan King. On these sojourns, he sought out other martial artists and trained with them.
Around 1839 he went to China and studied the Shaolin style of Chinese boxing and weaponry. Legend has it that he actually trained at the famed “Shoreiji” or Southern Shaolin Temple at this time. It is not known how long Matsumura remained in China but tradition has it that he stayed for some time. In 1832 he went to Satsuma, Japan and stayed there for two years. While in Japan it is believed that he studied the Jigen
Ryu style of swordsmanship. This is a very aggressive style practiced by the Satsuma samurai. His sensei in Jigen Ryu was a samurai by the name of Yashichiro Ijuin. It is perhaps at this time when Matsumura’s ideas about Bushido, the way of the warrior, and martial ethos were formed. Is also known that around 1860 Matsumura traveled to Foochow in Fukien Province, China, on a diplomatic mission for the Okinawan King. In the 1860’s he brought back the Chinese KenpoMaster Iwah and together they taught many Okinawans. He is also thought to have studied with the Chinese warrior Wai Shin Zan while in China. After his return from China he organized and refined Shuri-Te. His organizational efforts would eventually serve as the basis for the Shorin Ryu System of Okinawan Karate. Some authorities credit Matsumura with adopting the name “Shorin Ryu” while others say Anko Itosu (1830-1915), Matsumura’s student, is actually responsible for adopting this terminology. Shorin is the Japanese pronunciation of Shaolin. Even though this style is a blend of native Okinawan techniques and Chinese kenpo, it is named after the famed Shaolin Temple of China, renowned for its fighters.
Matsumura is credited with passing on the kata or formal exercises known as Passai Dai (Matsumura No Passai), Naihanchi, Chinto, Seisan, Gojushiho (Fifty Four Steps of the Black Tiger) and Kusanku. A set of Chinese kata known as Chanan in Matsumura’s time are said to have been modified by Matsumura and were the basis for Pinan I & II. These kata are the essential forms of allShorin Ryu styles today. He is also said to have brought back theHakutsuru or White Crane system of Chinese boxing back to Okinawa. Aunique feature of the Matsumura Shorin Ryu style is the
teaching of the White Crane or Hakutsuru kata, although white crane techniques are woven throughout most of the kata of the style and are especially evident in Gojushiho and Kusanku. However, the Hakutsuru kata is one of those elusive and esoterickata of karate. According to the late Hohan Soken (1889-1982), the White Crane style was learned by Bushi Matsumura while he was in China. He then brought the style back to Okinawa in the 1860’s. From then on, the system was a secret style only taught to immediate members of the Matsumura family. The White Crane style was passed on from Bushi Matsumura to Nabe Matsumura, his grandson, and then to Hohan Soken, Nabe’s nephew (Nabe’s sister’s son). Hohan Soken did teach the White Crane to some members of the Ryu. These people were not family members but were a chosen few. Keep in mind the concept of a hereditary Ryuis a closed social nexus, like a family or a clan. Its membership is restricted to blood relatives, whereas a Kai or association is a group that practically anyone can get into, like a bowling league or a “self defense” studio. The family blood lineage of Matsumura Shorin Ryu seems to have been broken though and has become what is known as a Ryu Ha. It is my understanding that Hohan Soken’s grandson now lives in New York City and has no interest in karate.
The White Crane system is still in existence and being taught today, but it is rare and still underground.
The White Crane style is of Chinese origin and its techniques imitate the delicate movements of the crane or white heron. TheHakutsuru technique manifests the Chinese concept of the soft fist as opposed to the power-oriented native Okinawan techniques. The soft fist is defensive and relies on speed and evasion as its primary tactic.
Therefore the Matsumura family style has both the power oriented linear Okinawan technique as well as soft circular Chinese techniques. A perfect combination! Actually there are a set ofHakutsuru kata handed down that are the jewel of the system. The more fundamental Hakutsuru Kata are sanchin-like training forms called Hakutsuru So & Ton. There is another one called Ryuken or dragon fist Sanchin. Finally there is the Matsumura No Hakutsuru Kata itself. The kata is taught in two forms, a sort ofsho (minor) and dai (major) format. The sho version of the katahas the same embusen (pattern) as the dai version but it is simplistic in its techniques. The dai version of the Hakutsuru kata is very elaborate with many intricate hand techniques which make use of the wing (hane) of the crane. The wing is used in blocking to either trap, cover or repel a blow. Spearfinger thrusting to vital points is the main means of attack and counterattack taught within the framework of the kata as well. TheMatsumura Hakutsuru kata also features a unique low level kicking sequence and its embusen relies on footwork from the Kusankuand Naihanchi kata. Its intricate and complex movements make the performance of the Matsumura No Hakutsuru kata unique among karate kata. It certainly deserves to be the secret kata of the Ryu. However, other versions of the Hakutsuru kata
exist. These include Shito Ryu’s Hakucho, a fragment of the original kata, the Matayoshi version and the rare and beautiful Kumemura Hakutsuru. This version is derived from Kume Village, a Chinese settlement which was a suburb of Naha and home of the sanjuroku seito, the thirty six families from Fukien Province,
China. These families came from China with the purpose of enhancing the cultural and economic development of Okinawa. Although the transmission of Chinese martial arts to the Okinawans was also accomplished here.
Bushi Matsumura was tall and thin with deep-set eyes. He was also extremely fast because of his constant practice. He believed that speed was essential in order to develop power. Matsumura was an innovator and he practiced every technique so that it could be performed as fast as possible. Legend has it that he was able to generate enormous power in his techniques even though he was slender and wiry. The reason for this was that he followed a scientific theory with respect to martial arts i.e.,“torque plus speed equals true power”. The concept of twisting and rotating the hips when delivering a technique is the method he used. Matsumura is credited with developing this concept in karate. Matsumura simply knew that the basic elements of physics apply to and enhance karate technique. He was known to have superb kicking skills and a great jumping ability. His expression was “as a warrior one must developthe speed of a bird and the power of a tiger”.
Matsumura was given the title “Bushi” meaning warrior by the Okinawan King in recognition of his abilities and accomplishments in the martial arts.This was a title reserved only for those possessing the highest martial skill and the samurai qualities of honor and loyalty. This elevated him to full samurai status. In fact, Matsumura
was the last person ever to be granted this title by the Okinawan king. After this, Matsumura referred to himself as Bucho, military leader. He was extremely clever and an excellent military strategist. He accepted challenges from the top martial artists of his time. According to legend he fought many times but was never defeated, Among his many exploits, he was even known to have fought and defeated a wild bull. The most often told story about Matsumura is the tale ofMatsumura defeating a wild bull. In the time of King Sho Ko, whose reign began in 1804, the King’s soldiers were violent and showed no mercy to the local people. They were lawless and no more than robbers and murderers. When the King found out about the improprieties of the soldiers, he ordered an “Uta Kai” or poem meeting. The King filled out part of a scroll and he wanted the soldiers to fill out the rest. None of the soldiers would try so the King got angry. He drew his sword and chased everyone out of the room except forMatsumura.
The King asked why Matsumura did not flee and was not afraid like the others. Matsumura answered by saying: ” You are my King and I am your servant. If you wish to kill me or do anything else to me you wish, I don’t mind.” Even though Matsumura’s answer was profound, the King was still angry. He said: “I am going to kill you anyway. You will be killed by a wild bull.” The King then set the date for the bull fight.
Matsumura found out that the King had selected the strongest bull for him to fight. Everyday, Matsumura visited the barn where the bull was kept. On each visit, he would strike the creature soundly in the temple. After a while, the bull would anticipate Matsumura’sarrival and it became fearful of him.
Finally, the day of the contest arrived. Matsumura stood in the middle of the ring. When the bull was let into the ring it immediately charged him. Matsumura sidestepped using taisabaki (body shifting) and struck the bull in the temple as he had done in the barn. The bull stared at Matsumura for a brief moment and then turned
around and ran away. Matsumura said to the King. “I’ll fight the bull again if someone can catch him and bring him back.“ The King was convinced that Matsumura had fought and defeated the strongest bull in Okinawa. Because of this feat, the King gaveMatsumura the title “Bushi, meaning warrior, and Matsumurabecame the “Shihan Yaku” (martial art instructor) at Shuri Castle and bodyguard to the King. In another famous encounter preserved in Okinawan folklore,Matsumura fought another samurai by the name of BushiKushigawa Uehara. Uehara was known to be a highly skilled karateman and very dangerous. It is not exactly clear why the challenge was issued by Uehara. One version of the story states that they fought in front of the king to determine who would be the King’s Chief Bodyguard. Yet another version of the story, and probably the correct one, implies Uehara was jealous of the young Matsumura’s
outstanding martial arts abilities and his position as Shihan Yaku or martial arts instructor to the king. Therefore, Uehara sought to defeat Matsumura and discredit his reputation. Uehara was in his forties at the time and Matsumura was still in his twenties. In any case, Matsumura accepted the challenge. When they fought, both men threw only one punch. Matsumura won the bout by adeptly punching Uehara’s punching hand and breaking it, thus ending the contest.
Matsumura’s martial arts endeavors, specifically the organization of Okinawan Shorin Ryu Karate have had far reaching effects. The Shorin Ryu system has been the progenitor of many contemporary martial arts styles, Shotokan Ryu and Shito Ryu, for example. Ultimately, all modern styles of karate that evolved from the Shuri-Te lineage can be traced back to the teachings of BushiMatsumura. This includes Taekwon Do (Korean Karate) whose original kata syllabus was derived from Shotokan Karate, the Japanese version of Shorin Ryu. (see Okinawa Island of Karate, p. 45.).
As a teacher, Matsumura was without equal. His fame attracted many students and he produced and abundance of skilled martial artists. His most notable students included Anko Itosu (1830-1915), Yasutsune Azato (1827-1906), Yabu Kentsu (1863-1937), Chomo Hanashiro (1871-1945) [Hanagusuku Nagashige inHogan, the ancient Okinawan dialect], Chotoku Kiyan (1870-1945), Megantou Tawada, Peichin Kiyuna, Chinen Yamanne, Ishimine (b.1826),
and Nabe Matsumura as well as others. Inhis later years, Matsumura wrote a letter or makimono (hand written scroll) expounding on the elements of Bushido,the way of the warrior, and martial ethos. The letter was written to his student Ryosei Kuwae on May 13, 1882. This was the only surviving document in Matsumura’s own hand. The document has been handed down by the Kuwae family of Okinawa. In this letter, Matsumura’s writings relate warrior ethics to social science and Confucian ethics (see Okinawa: Island of Karate, p.43). He states that knowledge and martial arts have the same theory. In the area of knowledge, Matsumura indicated that poetry, or creative writing and reading, hence literature, as well as teaching others along with an understanding of Confucianism constitutes Bun(knowledge). This knowledge helps one to understand the matters of life and to make the mind pure and true. Therefore, the ability to govern the family well and administer the nation well are gained from this
knowledge. These are no doubt Confucian ethics typical of Matsumura’s time. Remember, Okinawa and the Ryukyu Islands had always been under the cultural influence of China. Therefore, the ethical framework and teachings of Confucius were borrowed from China.
Regarding the martial arts, Matsumura states that there are three main areas of understanding. The three areas are Gukushi No Bugei (martial arts of intelligence), Meimoko No Bugei (martial arts without self-control) and Budo No Bugei (true martial way). Gukushi No Bugei refers to having a technical knowledge of the martial arts but with no real substance. It is only a superficial understanding with no depth. He also makes a comment that I think is as relevant today as it was one hundred years ago when he wrote it. Matsumura said “a style is only as good as the man who practices”. Meimoko No Bugei refers to a person who has a physical understanding of the martial arts and can defeat other men. They are violent and dangerous and have no self control. Budo No Bugei refers to the true way of the warrior. In this true martial way, a person has the physical understanding of the martial arts and is powerful. He has a strong sense of loyalty and would do nothing that is unnatural or contrary to nature. According to Matsumura, the true way of the warrior is characterized by seven virtues of Bu (military mind). They are as follows:
- Bu prohibits violence.
- Bu keeps discipline in soldiers.
- Bu keeps control among the population.
- Bu spreads virtue.
- Bu gives a peaceful heart.
- Bu helps keep peace between people.
- Bu makes people or a nation prosperous.
Matsumura’s letter continues with the idea that a warrior who follows the way of Budo No Bugei waits for the enemy to defeat himself. He says this is what he admires the most. He says “you must deal with your own mind well and wait for others to fall apart mentally. Win the battle by remaining calm and steal the mind of your opponent”.
This certainly sounds like Japanese samurai philosophy and the fighting strategy of Go No Sen, i.e., waiting for the opponent to commit himself and make a mistake and then counterattack. He goes on to say that “maturity promotes harmony and that a master of the martial arts should stay away from violence, deal well with people, be self confident, keep peace with people and accrue wealth”. Finally, Matsumura concludes the letter with a message to his student Kuwae to promote Budo No Bugei, adapt to change and keep training with these principles in mind. Quite a letter! It certainly provides numerous bits of wisdom and some thought-provoking ideas for today’s martial artists as well as insight intoMatsumura’s philosophy. The letter was written late in life, perhaps just before his death, a time for reflecting and philosophical thinking.
Matsumura also wrote a book about the sai which included his kata, Matsumura No Sai. By the time Matsumura retired, his son had died, so his grandson, Nabe Matsumura (1860-1930) succeeded him. Matsumura gave his menkyo kaiden (certificate of proficiency) to him, which entitled Nabe Matsumura to carry on the teaching of Bushi Matsumura and Matsumura Shorin Ryu.
Hohan Soken(1889-1982), who was Nabe Matsumura’s nephew, wasselected to carry on the teaching of the Ryu. He was a highly respected karate master and the third generation successor in the
lineage of Matsumura Shorin Ryu Karate. He was instrumental in passing on a martial arts legacy from Bushi Matsumura and Nabe Matsumura to his students. When Soken began his training underNabe Matsumura karate practice was still done in secret. All thekata and techniques he learned were inherited from BushiMatsumura. The style lives on today and is preserved by the International Shorin Ryu Karate Kobudo Federation and Dojo's like Summit Martial Arts. Its followers are keeping alive the traditions and philosophy of “Bushi”Sokon Matsumura, ancient warrior of Okinawa.
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Okinawa’s Ancient Samurai Weapon Arts by Sensei George Alexander
The weapons system of Okinawan martial arts, known today as kobudo, meaning the way of ancient weapons, uses chiefly agricultural tools in the execution of its tactics. It was both practical and expedient. Kobudo, formerly referred to as Kobujutsu, was created out of a need for self preservation and its use dates back to antiquity in Okinawa. In fact, between the years 1100 and 1314, the Okinawans fought amongst themselves a great deal using all sorts of weapons. The use of staffs is particularly noted during this time. This was a time of civil strife and political unrest in Okinawa when many warring local chieftains sought to control various fiefs and villages.
In addition, subsequent events in Okinawa’s history played a crucial role in the further development of kobudo. In 1429 King Sho Hashi of the Central Kingdom united the three kingdoms of Okinawa by defeating the opposing lords of the Northern and Southern Kingdoms. Later, around 1480, King Sho Shin prohibited the private ownership and use of arms. He confiscated all weapons and placed a ban on the possession of any weapons to insure the safety of the Sho Dynasty. In 1609 Lord Shimazu of the Satsuma clan of southern Japan conquered all of the Ryukyu Islands. The practice of all martial arts and the possession of all weapons was banned. However, as it has been stated many times before, the Okinawans still practiced their martial arts in secrecy. These successive bans on the possession of weapons, which were meant to curtail martial arts practice, served to greatly increase its development. For over three hundred years Okinawan Kobudo was practiced secretly and handed down from one generation to the next with no written documents to record this period of development.
The kobudo or weapons system of Okinawa uses the same stances and theory of movement as karate. Major tactics in kobudo include the use of taisabaki or body shifting, trapping and hitting and simultaneous blocking and hitting. The practice of kobudo is also a beneficial weight training regimen. It uses light weights, the weapons themselves, and a high number of repetitions. The five principle weapons of Okinawa Kobudo include the Bo, Sai, Nunchaku, Kama and Tonfa. Some other lesser known weapons are Ekku, Nitan Bo, Surichin, Tekko and Tenbei. Incidentally, in mainland Japan, kobudo refers to the weapons of the Japanese samurai. These weapons include the sword (katana), halberd (naginata), spear (yari), bow and arrow (yumi and ya), etc. In order to avoid confusion, Okinawa’s weapons system is referred to as Ryukyu Kobudo or Okinawa Kobudo.
The Bo is one of the foremost traditional arms in Okinawa’s arsenal of kobudo weapons. The Bo is a six foot wooden staff and is probably “the oldest weapon known to man other than a flung rock”. No doubt its use dates back to antiquity and there are many “classical” Okinawan Bo kata, numbering twenty five or more. Its agricultural use involves carrying loads such as a bundle of harvested rice or a water jug on either end. The Okinawan Bo is designed to be constructed so that it is tapered at either end. This aids in balance and manipulation of the weapon. The oldest existing Bo kata is Sakugawa no Kon. This form dates back to the mid-seventeen hundreds and was formulated by Tode Sakugawa (1733-1815). According to the Shinken Taira (1902-1970) kobudo lineage, there are actually three forms or versions of the Sakugawa no Kon kata: Dai (major), Sho (minor) and Koryu (old style). Another Bo kata is Sunakake no Kon. This form is generic in that it is practiced widely and does not appear to be attributable to any one person, family style or village. The name of the kata means flipping sand and in fact its principle technique is to flip sand into the eyes of an opponent with the end of the Bo and then dispatch him with two quick blows. The Chikin Bo kata from Nishihara village dates back to the 1800s and features the reverse grip or left-handed use of the Bo. Perhaps the most advanced Bo kata is Chatan Yara no Kon.
This kata dates back to Yara of Chatan Village who was active about the same time as Sakugawa. The kata is quite long and features an extension strike at the end. It was mentioned earlier that Okinawa’s Kobudo system uses chiefly agricultural implements. However, the Sai is not one of the kobudo weapons derived from an agricultural source. The Sai is a metal trident-shaped truncheon whose military use has long been documented in Asia. The Sai used by the Okinawan samurai was a military weapon used in various other Asian cultures. Versions of the Sai appear in China, the Philippines and Indonesia. The Sai is a defensive weapon and is the symbol of the spirit of Okinawan Kobudo. The weapon is used in pairs to block and catch a sword or staff in its tines or quillions. Offensively, the weapon is used to strike an opponent with the shaft, spear with the tip or punch with the handle. Sometimes a third Sai was carried hidden in the belt at the small of the back. If one of the original Sai was lost or thrown a third one could be quickly withdrawn from the belt to replace the lost weapon. An interesting point to set straight here is that contrary to common belief the Sai was rarely used to defend against a sword. Okinawa Kobudo weapons were largely used against one another by Okinawan samurai. A primary example of this is the Sai versus the Bo.
As with the Bo, the Sai has many “classical” kata. There are fifteen or more “classical” forms which are named after various villages or individuals who specialized in the weapon. Bushi Matsumura (1797-1889), one of Okinawa’s most famous warriors developed his own Sai kata called Matsumura no Sai. Another noteworthy kata is Chatan Yara no Sai. It contains many blocks, strikes, punches and flips with the weapon but it also has a unique defense. Towards the end of the kata it feigns a retreat or escape but then turns and immediately blocks and counters with a double strike. The kata also includes a hidden movement whereby a third sai is drawn from the belt and thrown into an opponent’s foot, pinning it to the ground. This was a Sai tactic used by many Okinawan masters of the weapon.
The Nunchaku (not numchucks) is no doubt the most widely known weapon in Okinawa Kobudo. Some authors have suggested that the Nunchaku was derived from a horse bridle. Although I have no empirical evidence to submit, I know deep in my soul this is not the case. It is well documented that in European cultures an agricultural flail was the basis for a Nunchaku-like weapon which could reach over an enemies shield and strike him in the head. Perhaps an Okinawan horse bridle was later converted to a nunchaku but it had to have originally been fashioned from a flail. The weapon gets its power from centrifugal force by swinging it in a large arc while either blocking or striking an opponent. It can also be used in a grappling fashion to tie up an opponent’s attack and apply a crushing grip. There seems to be no “classical” kata with the weapon but rather informal kata and drills.
A weapon most certainly derived from agricultural sources is the Kama or razor-sharp sickles. It is ubiquitous throughout Asia and is used in the harvesting of rice. The weapon is used in pairs similar to the Sai. Fighting techniques and kata for the Kama are found in various villages throughout Okinawa. Kanegawa no Nichogama and Gushikawa no Kama are examples of these village traditions. One of the most well known kata is Toyama no Kama, supposedly named after Kanken Toyama’s (1887-1969) grandfather. Most kata using the Kama feature punching, blocking and cutting using the reverse grip, and blocking and chopping using the forward grip. During the performance of kata the weapon is twisted so that it continuously cuts during offensive movements. Although it is a short range weapon its shinken (sharp) edge make it formidable. There are modified versions of the Kama which have a cord or kusari attached to the handle so the weapon can be twirled or thrown and then retrieved. This is an attempt to increase the range of the weapon.
The Tonfa or Tuifa is yet another ingenious weapon devised from agricultural sources. It was originally a handle which was inserted into a millstone to turn it. The weapon is used in pairs to punch, block or twirl and strike making use of centrifugal force similar to the Nunchaku. Two grips with the weapon include honte mochi, natural or extended grip and gyakute mochi or reverse hand grip. The reverse grip positions the shaft of the Tonfa so that it is held along the forearm to facilitate blocking These are the same grips used in the manipulation of the Sai. Kata for the weapon include Hamahiga no Tonfa from Hamahiga Island and Yaraguwa no Tonfa devised by Chatan Yara .
Some of the lesser known weapons of Okinawa Kobudo include the Ekku or boat oar. It is classified as a type of Bo because its manipulation and tactics are very similar to the Bo. Two “classical” kata for the Ekku include Akahachi no Ekku and Tsuken Sunakake no Ekku. Its tactics include flipping sand (suna) into the eyes of an opponent and then striking or cutting with the edge of the oar. The Ekku is sometimes used in odori, Okinawan folk dance. Nitan Bo, meaning two short sticks, is another weapon used in pairs. It is very similar to Filipino stick fighting and its kata emphasize flowing circular movements. The Surichin is a length of chain or rope with a weight on either end. It was worn as a belt and was used in a similar fashion as the Nunchaku, twirling to strike or ensnare and grapple. One method handed down is that a favorite Surichin tactic was to entangle an opponent’s legs. Another lesser known and esoteric weapon is the Tekko. These are a form of brass knuckles used in pairs and are more of a street fighting weapon as opposed to a pure Okinawan samurai traditional weapon. However, there is a formal kata known as Maezato no Tekko passed on by Bushi Maezato of Naha. Finally, another unusual weapon is the use of a shield and knife collectively known as Tenbei. In ancient times the shield was fashioned from a turtle shell or even a straw hat called zinkasa. The Matayoshi kobudo tradition includes a Tenbei kata as part of its syllabus of forms.
It is the belief of the International Shorin Ryu Karate Kobudo Federation (ISKKF) that in kobudo, as well as its empty-hand counterpart karate, sparring or kumite is the ultimate expression of the essence of the martial arts. “Kumite is the creative process by which one applies everything learned in basics and kata and uses it while under the pressure of combat. This is done by pitting one weapon against another in combat, making it totally spontaneous and putting one in touch with an ancient warrior spirit”. The ISKKF method of doing this is by matching one weapon against another in two-man prearranged sparring drills or kata. This is quite similar to modern kendo, Japanese sport swordsmanship. For example, there are a series of six kata known as Kumi Bo (literally harmonizing Bo against Bo), a Sai Bo kumite kata, Tonfa Bo kumite, Kama Bo kumite and Ekku Bo kumite. These kata are made up of a series of attacking and blocking movements extracted from the “classical” kata. Each series of blocks and counters is ended with one of the kata participants assuming a kamae or fighting posture before the next series of attacks and counters begins. This simulates the natural shift in the tide of battle which occurs in real combat. Since there is an inherent danger and risk of injury in free sparring with weapons, initially the drills are done in a totally prearranged manner to a cadence call or count in order to develop technique and timing. Eventually, in order to simulate Jiyu style or free sparring, there is a departure from the count. In Jiyu style the count is given only at the kamae points. The embusen or pattern of the sparring drill is then allowed to drift as opposed to moving in a completely linear mode. This is because the opponents stalk each other at the kamae points. They shift around looking for an opening and wait for the right psychological moment to attack. The idea is to alter the timing and the pattern of the kata at the kamae point (this is where it would normally occur in real combat) in order to get closer to actual free sparring.
This “Kumi” system does not use full contact with weapons (although it appears quite violent to the uninitiated especially in the Kumi Bo and Sai Bo Kumite kata) but rather relies on a practitioner’s skill to focus and control his weapon during an attack and at the point of impact. Usually each attack is blocked so no contact is made to the body of an opponent with a weapon. However, the final blow or “coup de grace” in each kata is stopped or focused at a vital point just before impact. Other contemporary systems have been used for free sparring with weapons which make use of protective gear and/or foam weapons. In Okinawa in the 1920s full contact Bo fighting tournaments where held in the central part of the Island. The participants used headgear, gauntlets or gloves and kendo-like bamboo armor as well as sune ate (shin protectors similar to those used in naginata do). Since many serious injuries were incurred by the fighters the tournaments were discontinued. Perhaps the use of protective gear or foam weapons is the only safe way to spar with weapons in a tournament situation because of the danger involved, especially when one’s fighting spirit is aroused. But the “Kumi” system mentioned above is more in line with the traditional Okinawan spirit of kobudo and its samurai legacy of weaponry as an art form.
The weapons system of Okinawan martial arts, known today as kobudo, meaning the way of ancient weapons, uses chiefly agricultural tools in the execution of its tactics. It was both practical and expedient. Kobudo, formerly referred to as Kobujutsu, was created out of a need for self preservation and its use dates back to antiquity in Okinawa. In fact, between the years 1100 and 1314, the Okinawans fought amongst themselves a great deal using all sorts of weapons. The use of staffs is particularly noted during this time. This was a time of civil strife and political unrest in Okinawa when many warring local chieftains sought to control various fiefs and villages.
In addition, subsequent events in Okinawa’s history played a crucial role in the further development of kobudo. In 1429 King Sho Hashi of the Central Kingdom united the three kingdoms of Okinawa by defeating the opposing lords of the Northern and Southern Kingdoms. Later, around 1480, King Sho Shin prohibited the private ownership and use of arms. He confiscated all weapons and placed a ban on the possession of any weapons to insure the safety of the Sho Dynasty. In 1609 Lord Shimazu of the Satsuma clan of southern Japan conquered all of the Ryukyu Islands. The practice of all martial arts and the possession of all weapons was banned. However, as it has been stated many times before, the Okinawans still practiced their martial arts in secrecy. These successive bans on the possession of weapons, which were meant to curtail martial arts practice, served to greatly increase its development. For over three hundred years Okinawan Kobudo was practiced secretly and handed down from one generation to the next with no written documents to record this period of development.
The kobudo or weapons system of Okinawa uses the same stances and theory of movement as karate. Major tactics in kobudo include the use of taisabaki or body shifting, trapping and hitting and simultaneous blocking and hitting. The practice of kobudo is also a beneficial weight training regimen. It uses light weights, the weapons themselves, and a high number of repetitions. The five principle weapons of Okinawa Kobudo include the Bo, Sai, Nunchaku, Kama and Tonfa. Some other lesser known weapons are Ekku, Nitan Bo, Surichin, Tekko and Tenbei. Incidentally, in mainland Japan, kobudo refers to the weapons of the Japanese samurai. These weapons include the sword (katana), halberd (naginata), spear (yari), bow and arrow (yumi and ya), etc. In order to avoid confusion, Okinawa’s weapons system is referred to as Ryukyu Kobudo or Okinawa Kobudo.
The Bo is one of the foremost traditional arms in Okinawa’s arsenal of kobudo weapons. The Bo is a six foot wooden staff and is probably “the oldest weapon known to man other than a flung rock”. No doubt its use dates back to antiquity and there are many “classical” Okinawan Bo kata, numbering twenty five or more. Its agricultural use involves carrying loads such as a bundle of harvested rice or a water jug on either end. The Okinawan Bo is designed to be constructed so that it is tapered at either end. This aids in balance and manipulation of the weapon. The oldest existing Bo kata is Sakugawa no Kon. This form dates back to the mid-seventeen hundreds and was formulated by Tode Sakugawa (1733-1815). According to the Shinken Taira (1902-1970) kobudo lineage, there are actually three forms or versions of the Sakugawa no Kon kata: Dai (major), Sho (minor) and Koryu (old style). Another Bo kata is Sunakake no Kon. This form is generic in that it is practiced widely and does not appear to be attributable to any one person, family style or village. The name of the kata means flipping sand and in fact its principle technique is to flip sand into the eyes of an opponent with the end of the Bo and then dispatch him with two quick blows. The Chikin Bo kata from Nishihara village dates back to the 1800s and features the reverse grip or left-handed use of the Bo. Perhaps the most advanced Bo kata is Chatan Yara no Kon.
This kata dates back to Yara of Chatan Village who was active about the same time as Sakugawa. The kata is quite long and features an extension strike at the end. It was mentioned earlier that Okinawa’s Kobudo system uses chiefly agricultural implements. However, the Sai is not one of the kobudo weapons derived from an agricultural source. The Sai is a metal trident-shaped truncheon whose military use has long been documented in Asia. The Sai used by the Okinawan samurai was a military weapon used in various other Asian cultures. Versions of the Sai appear in China, the Philippines and Indonesia. The Sai is a defensive weapon and is the symbol of the spirit of Okinawan Kobudo. The weapon is used in pairs to block and catch a sword or staff in its tines or quillions. Offensively, the weapon is used to strike an opponent with the shaft, spear with the tip or punch with the handle. Sometimes a third Sai was carried hidden in the belt at the small of the back. If one of the original Sai was lost or thrown a third one could be quickly withdrawn from the belt to replace the lost weapon. An interesting point to set straight here is that contrary to common belief the Sai was rarely used to defend against a sword. Okinawa Kobudo weapons were largely used against one another by Okinawan samurai. A primary example of this is the Sai versus the Bo.
As with the Bo, the Sai has many “classical” kata. There are fifteen or more “classical” forms which are named after various villages or individuals who specialized in the weapon. Bushi Matsumura (1797-1889), one of Okinawa’s most famous warriors developed his own Sai kata called Matsumura no Sai. Another noteworthy kata is Chatan Yara no Sai. It contains many blocks, strikes, punches and flips with the weapon but it also has a unique defense. Towards the end of the kata it feigns a retreat or escape but then turns and immediately blocks and counters with a double strike. The kata also includes a hidden movement whereby a third sai is drawn from the belt and thrown into an opponent’s foot, pinning it to the ground. This was a Sai tactic used by many Okinawan masters of the weapon.
The Nunchaku (not numchucks) is no doubt the most widely known weapon in Okinawa Kobudo. Some authors have suggested that the Nunchaku was derived from a horse bridle. Although I have no empirical evidence to submit, I know deep in my soul this is not the case. It is well documented that in European cultures an agricultural flail was the basis for a Nunchaku-like weapon which could reach over an enemies shield and strike him in the head. Perhaps an Okinawan horse bridle was later converted to a nunchaku but it had to have originally been fashioned from a flail. The weapon gets its power from centrifugal force by swinging it in a large arc while either blocking or striking an opponent. It can also be used in a grappling fashion to tie up an opponent’s attack and apply a crushing grip. There seems to be no “classical” kata with the weapon but rather informal kata and drills.
A weapon most certainly derived from agricultural sources is the Kama or razor-sharp sickles. It is ubiquitous throughout Asia and is used in the harvesting of rice. The weapon is used in pairs similar to the Sai. Fighting techniques and kata for the Kama are found in various villages throughout Okinawa. Kanegawa no Nichogama and Gushikawa no Kama are examples of these village traditions. One of the most well known kata is Toyama no Kama, supposedly named after Kanken Toyama’s (1887-1969) grandfather. Most kata using the Kama feature punching, blocking and cutting using the reverse grip, and blocking and chopping using the forward grip. During the performance of kata the weapon is twisted so that it continuously cuts during offensive movements. Although it is a short range weapon its shinken (sharp) edge make it formidable. There are modified versions of the Kama which have a cord or kusari attached to the handle so the weapon can be twirled or thrown and then retrieved. This is an attempt to increase the range of the weapon.
The Tonfa or Tuifa is yet another ingenious weapon devised from agricultural sources. It was originally a handle which was inserted into a millstone to turn it. The weapon is used in pairs to punch, block or twirl and strike making use of centrifugal force similar to the Nunchaku. Two grips with the weapon include honte mochi, natural or extended grip and gyakute mochi or reverse hand grip. The reverse grip positions the shaft of the Tonfa so that it is held along the forearm to facilitate blocking These are the same grips used in the manipulation of the Sai. Kata for the weapon include Hamahiga no Tonfa from Hamahiga Island and Yaraguwa no Tonfa devised by Chatan Yara .
Some of the lesser known weapons of Okinawa Kobudo include the Ekku or boat oar. It is classified as a type of Bo because its manipulation and tactics are very similar to the Bo. Two “classical” kata for the Ekku include Akahachi no Ekku and Tsuken Sunakake no Ekku. Its tactics include flipping sand (suna) into the eyes of an opponent and then striking or cutting with the edge of the oar. The Ekku is sometimes used in odori, Okinawan folk dance. Nitan Bo, meaning two short sticks, is another weapon used in pairs. It is very similar to Filipino stick fighting and its kata emphasize flowing circular movements. The Surichin is a length of chain or rope with a weight on either end. It was worn as a belt and was used in a similar fashion as the Nunchaku, twirling to strike or ensnare and grapple. One method handed down is that a favorite Surichin tactic was to entangle an opponent’s legs. Another lesser known and esoteric weapon is the Tekko. These are a form of brass knuckles used in pairs and are more of a street fighting weapon as opposed to a pure Okinawan samurai traditional weapon. However, there is a formal kata known as Maezato no Tekko passed on by Bushi Maezato of Naha. Finally, another unusual weapon is the use of a shield and knife collectively known as Tenbei. In ancient times the shield was fashioned from a turtle shell or even a straw hat called zinkasa. The Matayoshi kobudo tradition includes a Tenbei kata as part of its syllabus of forms.
It is the belief of the International Shorin Ryu Karate Kobudo Federation (ISKKF) that in kobudo, as well as its empty-hand counterpart karate, sparring or kumite is the ultimate expression of the essence of the martial arts. “Kumite is the creative process by which one applies everything learned in basics and kata and uses it while under the pressure of combat. This is done by pitting one weapon against another in combat, making it totally spontaneous and putting one in touch with an ancient warrior spirit”. The ISKKF method of doing this is by matching one weapon against another in two-man prearranged sparring drills or kata. This is quite similar to modern kendo, Japanese sport swordsmanship. For example, there are a series of six kata known as Kumi Bo (literally harmonizing Bo against Bo), a Sai Bo kumite kata, Tonfa Bo kumite, Kama Bo kumite and Ekku Bo kumite. These kata are made up of a series of attacking and blocking movements extracted from the “classical” kata. Each series of blocks and counters is ended with one of the kata participants assuming a kamae or fighting posture before the next series of attacks and counters begins. This simulates the natural shift in the tide of battle which occurs in real combat. Since there is an inherent danger and risk of injury in free sparring with weapons, initially the drills are done in a totally prearranged manner to a cadence call or count in order to develop technique and timing. Eventually, in order to simulate Jiyu style or free sparring, there is a departure from the count. In Jiyu style the count is given only at the kamae points. The embusen or pattern of the sparring drill is then allowed to drift as opposed to moving in a completely linear mode. This is because the opponents stalk each other at the kamae points. They shift around looking for an opening and wait for the right psychological moment to attack. The idea is to alter the timing and the pattern of the kata at the kamae point (this is where it would normally occur in real combat) in order to get closer to actual free sparring.
This “Kumi” system does not use full contact with weapons (although it appears quite violent to the uninitiated especially in the Kumi Bo and Sai Bo Kumite kata) but rather relies on a practitioner’s skill to focus and control his weapon during an attack and at the point of impact. Usually each attack is blocked so no contact is made to the body of an opponent with a weapon. However, the final blow or “coup de grace” in each kata is stopped or focused at a vital point just before impact. Other contemporary systems have been used for free sparring with weapons which make use of protective gear and/or foam weapons. In Okinawa in the 1920s full contact Bo fighting tournaments where held in the central part of the Island. The participants used headgear, gauntlets or gloves and kendo-like bamboo armor as well as sune ate (shin protectors similar to those used in naginata do). Since many serious injuries were incurred by the fighters the tournaments were discontinued. Perhaps the use of protective gear or foam weapons is the only safe way to spar with weapons in a tournament situation because of the danger involved, especially when one’s fighting spirit is aroused. But the “Kumi” system mentioned above is more in line with the traditional Okinawan spirit of kobudo and its samurai legacy of weaponry as an art form.