Myth Busting

Everyone has an inalienable right to think what they're practicing is "better" than what another is practicing, learning or teaching. It's only human. What I find naive about most folks who say that they're learning/teaching and practicing an "original" or "ancient" style of Karate today is their willingness to blindly accept the propaganda about lineage and pedigree or omnipotence. Few have little or no idea that karate styles, however unique the propaganda may be, are little more than the reinterpreted product of 3K-based practices.  

As far as "best style" goes, well, it's actually a relevant term and I'd probably want to ask, "best for what?" Simply put, there is no "best" karate. The term is foolish at best and self-serving at worst, usually aimed at attracting supporters. "Fighting" has to do with individual attributes and not "styles." If such a thing was true then everyone and anyone who embraced such a style would be "deadly," to coin a phrase.  

Many Karate styles can, to a greater or lesser extent, trace their origins back to some pioneer. I think that keeping this heritage alive is vital to the legacy of our art, especially when it is done tactfully with historical accuracy. However, propaganda that such and such a modern style is the exclusive quintessence [read superior] of one or all of its pioneers is simply naive or a blatant misrepresentation. 

The First Dan Accreditations
Kano awarded the first Shodan ranks in 1883 to his two most senior students; Saito and Tomita. By 1886 the innovator required his yudansha to wear a black obi to hold their practice kimono closed. Kendo supported Kano's dan/kyu system by awarding their first shodan ranks in 1883. Later, in 1907, Kano formally introduced the official practice uniform and modern-style belt. The idea of different coloured belts, representing various kyu grades, was not developed until the mid-1930's by Kano's student, Kaiwashi Mikonosuke, who was sent to France to teach judo. By 1908 Kendo's curriculum had completely standardized as had their ranking structure. Based upon Kano's dan/kyu system it was successfully introduced into Tokyo's school system. By 1917, and with the support of the Monbusho [Ministry of Education] and the *Dai Nippon Butokukai [DNBK], Kano's dan/kyu system [employing 10 dans and 6 kyus] became the national standard used throughout Japanese Budo.

The Dan/Kyu System in Karate 
An aristocrat and an educator, the celebrated innovator of Judo [Japan’s first modern fighting art], Asia's first representative of the IOC, and an experienced world traveler, Kano was an influential and highly respected member of Japanese society. To say that his pedagogical innovations helped get the karate movement recognized on the mainland of Japan would be to grossly understate his influence. Funakoshi admired this man of vision, sought out his guidance and liberally applied his innovative contributions thereby improving the overall image of Okinawa’s plebeian fighting art.  

The Dai Nippon Butokukai
Established in 1895, the Dai Nippon Butokukai [DNBK] was Japan's sole organization responsible for overseeing both modern and ancient [Koryu] fighting arts. Additionally, it accredited teachers and issued rank certification. Its authority was abruptly ended in 1945 when the DNBK was cited as being a source of militarism and officially closed down. As Koryu-based traditions did not have a history of using the dan/kyu accreditation structure [only teaching titles; Tasshi & Hanshi---later changed to Renshi, Kyoshi & Hanshi], such rank was the exclusive domain of Budo [modern fighting arts; Judo, Kendo, and Naginatado, etc.] of which Karate-do had become a part in December of 1933.  

With Nippon Karatedo as a new Japanese Budo, the DNBK requested that *schools, styles & teachers formally establish a common standard through which to use the dan/kyu system and register themselves. 

Karate's First Dan Certification 
Two years after his arrival on the mainland, and more than a decade before a formal grading structure had even been established in Karate, Funakoshi Gichin awarded the first Dan certificates to his karate students. Without recognized accreditation himself, and much like Kano did with his Judo students before him, Funakoshi presented Shodan accreditation certificates to seven of his students on 10 April, 1924. Ohtsuka Hironori, Gima Shinken, Tokuda Anbun, Professor Kasuya, Hirose, Akiba, and Shimizu must have highly valued their certificates as Funakoshi charged them each 5-yen for their accreditation---the average wage in Japan during that era was 50 yen per month. Beyond the oral testimony of students like Ohtsuka Hironori, Gima Shinken and Konishi Yasuhiro, etc., who maintained that Funakoshi only taught kata, not "fighting," one is left to wonder about what criteria he used to accredit those seven recipients.

As such, Kano's dan-kyu system, and the technical competencies concept he'd established for grading his Judo students, served as the informal template through which karate's early ranking structure was loosely based.

New Age - New Rules - New Organization
When Japan unconditionally surrendered in 1945 its fighting arts were banned. When the ban was finally lifted in the early 1950's Japan's martial art's community struggled to get reestablished. The war had consumed many of its leading martial arts authorities and new leadership, differences of opinion, and foreign occupation all played a role in reshaping the direction of Japan's fighting arts. Some of the lesser-known fighting arts, as well as several of the smaller karate groups, formed loose knit groups and interacted with each other. There were [and still are to this day] those who were content to remain completely independent. Seeking to duplicate the credibility of the Butokukai more prominent groups joined forces and established the Kokusai Budoin [aka, International Martial Arts Federation; IMAF]. In the same way that the Emperor had presided over everything in Japanese culture, including the DNBK, the IMAF recruited [in name only] a member of the Emperor's family to chair [i.e. a titular position] the newly formed organization, hence, establishing the guise of credibility through association. Senior martial art authorities, such as Mifune Kyuzo [Judo] and Nakayama Hakudo [Kendo] were recruited to oversee the Judo and Kendo divisions of the IMAF while Ohtsuka Hironori [Wado Ryu] took charge of the Karate section.  

In spite of the one-style harmony that Judo and Kendo had successfully cultivated in the pre/post-war years, personality conflict, conceptual and philosophical differences prevented the independent factions of Karate from achieving the one-style-fits-all-mentality in early post-war Japan. This did not prevent various pre-and-post-war interpretations of modern Karate from continuing to use varying aspects of the dan/kyu accreditation system to their own benefit. In the decade which followed the ban being lifted from Japan's fighting arts Kendo and Judo were successfully resurrected and found their way back into the public school system with the full support of the Monbusho [Ministry of Education]. By the time Judo was introduced at the 1964 summer Olympic Games, in Tokyo, Karatedo had generated a large enough following to support its own governing body...FAJKO [The Federation of All Japan Karatedo Organization/Zen Nippon Karatedo Renmei]. 

The First Karate Organizations
Few excelled beyond the political prowess and business acumen of Nakayama Masatoshi in his bid to build a successful school when he established the Nihon Karate Kyokai [Japanese Karate Association; JKA]. By 1957, the same year they held their first national championships, the JKA surfaced as the technical and political example by which all others would follow for decades to come. Wado Ryu, under the guidance of Ohtsuka Hironori, Shito Ryu, led by Mabuni Kenwa, and the Goju Kai, headed by Yamaguchi Gogen, successfully formed productive working relationships with each other and went on to gain national recognition alongside 'Nakayama's' JKA. Lesser known styles such as Kenyu Ryu, Nippon Kempo, Kushin Ryu and To On Ryu did little to attract much national attention in spite of establishing loyal followings, while other styles like the Kyokushin Kai went on to generate huge publicity and worldwide followings. 

* In spite of the current DNBK tracing its roots directly back to the pre-war organization of the same name it is a different group no longer with any government authority to oversee the Japanese fighting arts. In spite of its [paid] titular association with Higashi Fushimi Jigo and Jiko, making it on the surface appear as if it is connected with the Emperor [which it is not], rank certificates and teaching titles issued by the DNBK are done so through a "recommendation system" and generate sizable revenue for the Kyoto-based ["non-profit"] group. 

* Most of the so-called "original" schools and styles we see today were not actually established until the 1930s and 1940s; Shorin Ryu, Shotokan, Wado Ryu, Goju Ryu, Shito Ryu, Kenyu Ryu, Uechi Ryu, Motobu Ryu, Matsubayashi Ryu, and Kushin Ryu, etc. 

Here are a few of the many kata-related comments I've collected over the years from various authorities: I think rather than render an opinion myself perhaps it's best if you be your own judge as to who knows/knew what about kata. 

"The various Kata were created by Masters and experts of the past whose names are largely unknown. The methods of attack and defense that they used in creating these Kata were born, forged and tested through personal experience. ----- originally there were no written records relating to Karate, so perpetuation of a Kata depended entirely on the personal recollections and skills of those who practiced it. It is only reasonable to assume that lapses in memory or misunderstanding of Kata would have contributed to errors in transmission. - Funakoshi Gichin

It would take at least a year to master Naihanchi and Kusanku. - Funakoshi Gichin's reply to a question asked by Kano Jigoro after the 1922 private [Kata] demonstration at the Kodokan by he and Gima Shinken. 

"Even in the forty years that I have been practicing [Karate], the changes have been many. It would be interesting to be able to go back in time, to the point when the Kata were created, and study them. - Egami Shigeru

"Clapping your hands together above your head can cause your assailant to launch a sudden and uncoordinated kicking attack." - Nakayama Masatoshi  

Kyoda Juhatsu did not teach me any kata application. He said it was entirely up to me to figure-out what the kata meant and how to apply it. - Kanzaki Shigekazu

"Our teachers did not give us a clear explanation of the forms from old times. I must find the features and meaning of each form by my own study and effort by repeating the exercises of form through training." - Chitose Tsuyoshi

"It must be admitted that when compared with the judo kata the karate kata tends to appear monotonous and lacking the latter's spectacular appeal and dynamism." - E.J. Harrison  

“I had occasion to speak frankly with my old teachers and discovered that they had only been repeating what their predecessors had told them." - Kenji Tokitsu

"In Okinawa I don't think bunkai is as important as in Japan. In Japan everything is bunkai, bunkai, bunkai and I think this stems from the judo person asking the karate person many things." - Nohara Koei 

Master Tomoyose dropped a gem of information at last summer camp. In front of a crowd enthusiastic Uechi-ka, he was asked why the other 5 kata were developed. ... He proceeded to tell us that after WWII they were all so poor that it was often a struggle to find the money necessary to feed their families. One of the things they could do was hold karate demonstrations and charge spectators an entrance fee. Problem was, they'd do 3 kata, some breaking, some sparring and they'd be done ... the spectators were miffed because they felt that they had not gotten their money's worth. So Kanei Uechi, R. Tomoyose and their contemporaries got together to develop additional kata so their demos would be longer and people would be willing to pay money to see it ... ! " - Bruce Hirabayashi - Uechi-Ryu.com discussion forum 

Quanfa pioneers responsible for establishing early ways through which to impart their lessons found success using mnemonic-like physical rituals. By recreating the kind of violent scenarios common to their society and era, quanfa teachers introduced learners to real-life contextual premises and prescribed fighting techniques through ritualized two-person drills. Using the safety of a practice venue learners rehearsed their prescribed fighting techniques against passive resistant partners until growing familiarity, indomitable fortitude and physical skill afforded them combative functionality against unpredictable aggressive resistance. Separating the two-person drills into identifiable attack scenarios and prescribed response sequences, quanfa teachers successfully established solo-reenactment models and called the ritual practices Hsing [型 Kata in Japanese]. By linking together individual models into collective routines quanfa innovators developed unique and complex solo exercises through which to not only culminate the lesson imparted but also express one's individual prowess while strengthening their overall mental, physical and holistic conditioning. 

Introduced to Okinawa during the later part of its Ryukyu Kingdom it was the simplification process in its school system that ultimately witnessed the old art and its contextual premise-based two-person drills, fall quietly dormant. With the focus upon form over function kata became a vehicle through which to cultivate physical fitness and social conformity in support of Japan's war efforts during a radical era of military escalation. Kata practiced in modern karate have been so affected by the simplification process, and the reverse influence of pre-war Japanese Budo culture, that their introduction and practice throughout the 20th century has been without a contextual premise. Not surprisingly, my insights have been ridiculed by some and opposed by others before a general consensus argued such conclusions were self-evident. For a while there I almost believed there was a prize being awarded for trying to discredit my work. Because of this, I came to better understand Shopenhauer's "Three stages of truth." 

Formula Simplified
#1. Each act of physical violence is methodically introduced to the learner in order of distance and simplicity [i.e. kicking, punching, trapping and clinching distance]. There are 36 habitual acts of physical violence and no fewer than 72 variations on these common themes.

#2. The acts of physical violence are taught first [and individually] so each learner can understand why it's dangerous and which prescribed defensive tactics are possible.

#3. A single prescribed application is practiced with a partner back and forth at passive resistance, before variations are considered, thereby promoting familiarity with both the act of physical violence and its prescribed counter. Once an acceptable level competency is accomplished the attacker is instructed to gradually increase the intensity of the attack until the two-person scenario can be performed with aggressive resistance and confidence about understanding and effectively negotiating unpredictability is established.

#4. Learners are then asked to practice the prescribed application by themselves in solo re-enactment rehearsals. Shaped into template-like rituals these solo rehearsals become the individual composites which, when linked together into choreographed routines, become something greater than the sum total of their individual parts -- kata.

#5. In spite of the diametrically opposite way that kata are taught today, I believe this formula represents the way they were originally conceived and passed on.

Rediscovering this lost contextual premise awakens a sleeping Dragon and breathes life back into an otherwise dormant ritual. When I finally worked out how mnemonic mechanisms not only culminated the lessons already imparted but, when linked together, clearly offered something greater than the sum total of their individual parts, the mystery was solved. Sadly, some disbelievers need these words to be uttered by an Okinawan to ring true. For those of you who don't and are interested in learning how to better understand kata, the way I believe it was originally conceived, please read the Habitual Acts of Physical Violence Theory [HAPV Theory], and its corresponding two-person drill concept, as the formula with which to put the fight back into kata. 

"Truth will always be truth, regardless of lack of understanding, disbelief or ignorance." - W. Clement Stone, 1902-2002

Clowns? Denigrating the value of this important document simply shows one's ignorance. 

BTW, Charles E. Tuttle will be publishing a revised edition of my Bubishi, under the new name, "Classical Manual of Combat," in early June '08 ... in hard cover. 

Even ignoring the term "original," few need look any further after contrasting the HAPV contextual premise with "existing" traditional kata application practices [that's assuming a style even has such a thing...many do not, even worse are those who say such things as, "it's up to the student themselves to figure such things out!" How intelligent is that?] as the results are unequivocally obvious.