journal 58 artikel mabuni kenwa

International Ryukyu Karate Research Society © 1995-2010 History * Culture * Tradition * Heritage * Kata * Pioneers * Biographies * Philosophy * Lineage * User-friendly English Translations

6 "Choosing not to follow in the footsteps of the old masters but rather to seek what they sought." - Basho

Mabuni Kenwa was born on No-vember the 14th, 1889 (Meiji 22) in Shuri on Okinawa. His father, Kenpō, worked as a con-fectionery salesman in Shuri1 and was the 16th offspring of the Oni Ōgusuku, an Okinawan aristocratic family (Keimochi)2. During the Ryūkyū kingdom, he wore the honorary title of, Peichin’. Kenpō and his wife de-cided to name their second son ‘Kenwa’ (the wise and har-monic). As a child, Mabuni was quite weakly and susceptible to ill-ness. At the early age of ten years, a servant should have introduced him into the art of Karate for the first time.3 Three years later, at the age of 13, on the recommendation of his fa-ther, Mabuni started his train-ing with the secretary and re-nowned Karate-master Itosu Ankō (1832-1915), the “holy fist of Shuri-Te”. Mabuni was very enthusiastic about Itosu’s training and did not miss any

lesson until his twentieth birth-day.4 The training with Itosu was quite intense and over the years, Mabuni learned all 23 Kata of Itosu’s system.5 During his time at ‘Okinawa’s Prefec-tual First Middle School’ (Okinawa Kenritsu Dai-ichi Chūgakkō), Mabuni trained also with Hanashiro Chōmo (1869-1945), one of Itosu’s top-students.6

In 1909 (Meiji 42) Itosu told Mabuni to expand his knowl-edge with other teachers.7 Ma-buni knew Miyagi Chōjun (1888-1953) already from school and knew him to be a Karate-student of Higashionna Kanryō (1853-1916). Finally, Miyagi made the contact in be-tween the two and Higashionna accepted Mabuni as a student. From that moment on and for the following two years, Mabuni trained parallel with Itosu and Higashionna.8

Higashionna taught Mabuni the Naha-Te9 and Mabuni returned the favour with an outstanding showing of dedication.10

In 1907 (Meiji 40) Mabuni be-gan to work as a substitute teacher at an elementary school in Naha. Two years later he was drafted into military service in Kumamoto. This experience should have induced him to start an apprenticeship at the local police academy in 1912 (Meiji 45/ Taishō 1).11 There Mabuni was also taught some Kendō and Jūdō.12 After he passed, he became a Police in-spector in Naha in 1915 (Taishō 4). It was the same year, his long-lived teacher Itosu Ankō died. To pay homage to his teacher, Mabuni practiced Kata at Itosu’s grave on a daily basis for an entire year. During this time Mabuni also started his training with Aragaki Seishō Tsuji Peichin (1837 or 40-1918 or 20) from Kume. Aragaki, who was because of

his agility also called‚ Mayā’ (the cat),13 taught the Southern-Chinese style of Monkfist-Boxing (Chin.: Luohan Quan). He had already taught Mabuni’s teacher Higashionna, as well as Miyagi Chōjun and Funakoshi Gichin (1868-1957) in the martial arts.14 Aragaki taught Mabuni his versions of Unsu, Sōchin and Niseishi Kata.15 Another important influ-ence on Mabuni during these days had the Chinese tea-merchant and Quanfa-expert Wu Xiangui (1886-1940, Jap.: Go Kenki).16 He introduced Ma-buni to the style of White Crane Boxing (Chin.: Baihe Quan) and taught him the three Kata Nepai, Happoren and Ha-kutsuru.17

In 1918 (Taishō 7), at just 29 years, Mabuni was already a highly regarded and respected member of the Okinawan mar-tial arts community and about to enter one of the most pivotal years of his life.18 On February 13th Mabuni’s first son, Kenei, was born and Mabuni decided to found the ’Karate Kenkyū-kai’.19 This ‚Society for the Re-search on the Chinese Hand’ was considered something quite unique in those days and had a considerable amount of first-class Karate-masters as mem-bers.20 In 1924 (Taishō 13) Mabuni ac-cepted several teaching posi-tions and taught Karate inter alia at the ‘Okinawan prefectual Teachers-College’ (Okinawa-ken Shihan Gakkō), the ‘Fisheries-College’ (Kenritsu Suisan Gakkō) & the ‘Police Academy’ (Kaisatsu Gakkō).21 A year later Mabuni opened his first Dōjō in the backyard of his house and founded the ‘Chinese Hand Research Club‘(Karate Kenkyū Kurabu). Following that, he closed the now need-less ’Karate Kenkyūkai’. We can guess that the members of the ‘Karate Kenkyū Kurabu’ also

空手伝説

Mabuni Kenwa & Shito Ryu By Matthias Golinski

Mabuni Kenwa Photo courtesy of Patrick McCarthy


Page 17 "Choosing not to follow in the footsteps of the old masters but rather to seek what they sought." - Basho

taught regularly in Mabuni’s Dōjō and thus that they had an agile technical and philosophical exchange. “Everybody knew that the Ma-buni house was a mecca for Ka-rate-Dō men” remembered his son Kenei.22 “Really, the elite of modern Karate”23 gathered there. In January 1927 (Shōwa 2) Dr. Kanō Jigorō (1860-1938), the founder of Jūdō, and his student Nagaoka Hidekazu (1876-1952) visited the ‘Karate Kenkyū Ku-rabu’. At this opportunity, Ma-buni Kenwa and his friend Mi-yagi Chōjun performed various Kata of Karate. 24 Kanō was quite impressed by this performance and encouraged them to spread their art on the Japanese mainland. Kanō characterized Karate as an “universal martial art, suitable for attack and de-fense” and had the opinion that “such an ideal Budō … [needed] to be spread all over the coun-try” 25. Kanō said to Mabuni: “According to your ability, you should be awared fourth Dan in Jūdō right on the spot.” 26

This conversation most likely acted as the catalyst for Mabuni to relocate to Tōkyō in 1928 (Shōwa 3).27 For the following ten months, Mabuni lived at the home of Konishi Yasuhiro Ten-shin (1893-1983), a student of Funakoshi Gichin.28 Konishi was an accounted expert of the Japanese martial arts and at that time already skilled in Kendō, Musō-Ryū Jūjutsu and Takenouchi-Ryū Jūjutsu. He had also trained Karate with Funako-shi Gichin and should later on become one of the most impor-tant figures in the development and spread of Karate on the Japanese mainland.29 Mabuni and Konishi shared a great pas-sion for the martial arts and must have liked each other right from the start. Mabuni taught Konishi evidently various Kata in those days.30 Although not proven yet, we can assume that Konishi then intro-duced Mabuni to the basic tech-niques of Musō- or Takenouchi-Ryū in return. Konishi also fre-quently joined Mabuni to Karate-demonstrations and even trav-elled with him to Wakayama-Prefecture to train with Uechi

Kanbun (1877-1948), the foun-der of Uechi-Ryū. Under the im-pression of this experience, Ma-buni and Konishi developed the Kata ‘Shinpa’ which encom-passed the defensive principles learned from Uechi. 31

Out of respect for Funakoshi,32 Mabuni moved to Ōsaka in 1929 (Shōwa 4) and completely de-voted himself to his wish to spread Karate all over the coun-try. He followed the approach of his countrymen Funakoshi Gichin and started to teach Ka-rate independently at various universities (Kansai, Doshisha) and police-academies. The ‘Club of the Chinese Hand of the Kan-sai-University’ (Kansai Daigaku Karatebu) was founded in May 1930 (Shōwa 5) and Mabuni started to teach there.33 Later on he was supported by his companion and teacher Wu Xiangui (Go Kenki).34 Other teaching places that followed, included, the ‘Higher Pharma-ceutical Technical College Ōsaka’ (Ōsaka Kōtō Yakugaku Senmon Gakkō) and the ‘Higher Medical Technical School Ōsaka’ (Ōsaka Kōtō Igaku Sen-mon Gakkō).35 In 1934 (Shōwa

Group training at the Karate Kenkyukai in the 1920's. In this photo are Miyagi Chojun, Mabuni Kenwa, Higa Seko and Shinzato Jinan. Hojo undo insert include Miyagi Chojun, Higa Seko, and Shinzato Jin’an

Photo courtesy of Patrick McCarthy



9) Mabuni finally opened his first own Dōjō in Japan, the Yōshū-kan’ (House of Proper Educa-tion’).36 His first student in these days was Sawayama Masaru (1907-1977), the later founder of Nihon-Kempō.37 Uechi Kanei must have followed shortly af-ter.38

During the mid 1930’s Mabuni gave greater focus to his own development and trained almost daily together with Konishi, Ōtsuka Hironori (1892-1982), the founder of Wadō-Ryū Karate and Ueshiba Morihei (1883-1969), the founder of Aikidō. 39

At the time there already were various styles of Karate on the mainland and the ‘Great-Japanese Society for Martial Vir-tues’ (Dai Nihon Butokukai) wanted the different schools to separate from each other. Ma-buni first decided to name his kind of Karate as ’Hanko-Ryū’ (Half-hard-style).40 But out of respect for his two main teachers, he decided to change

the name to ‘Shitō-Ryū’. This term derives from the Sino-Japanese reading of the first Kanji of the names Itosu and Hi-gashionna.41 In 1939 (Shōwa 14) the ’Dai Nihon Butokukai’ 42

registered the name whilst also awarding Mabuni the title of a ’Karate-grandmaster’ (Karate-Jutsu Renshi).43

Like the rest of Japan, the Sec-ond-World-War highly afflicted the still young Shitō-Ryū-community. Many of Mabuni’s students died or were severely wounded. Mabuni survived the war, but lost most of his prop-erty.44 His former students gath-ered bit by bit at their old train-ing place and continued their practice. Mabuni and Kobudō One aspect rather rarely re-ported about Mabuni Kenwa is the fact that he was also a pro-found expert in the traditional Okinawan weapon art Kobudō. Mabuni had already learnt the use of the Bō (6 ft. stick) and

the Sai (iron fork) from his teacher Aragaki.45 Later on, Ma-buni perfected his abilities with Chinen Sanda (1842-1928) and his especially gifted and most famous student Yabiku Moden (1882-1945). Other important sources of influence were Tawada Shimbuku (1851-1920) and Sueyoshi Jino (1846-1920).46 Mabuni always regarded Karate and Kobudō as a single entity and thus constantly taught weapon-form during his time in Japan. In doing this, Mabuni has been the first to effectively in-troduce Kobudō to the Japanese mainland. Mabuni’s most-famous Kobudō-student was probably Taira Shinken (1897-1970).47 Taira first trained in Ka-rate with Funakoshi and Kobudō with Yabiku Moden. After Yabiku awared Taira with the Shihan Menkyo (Great master-license) in 1933 (Shōwa 8), he told him to continue his studies under the tutelage of Mabuni.48 In the six

Higa Seiko

Mabuni Kenwa Miyagi Chojun

Kyoda Juhatsu

Shinzato Jin’an Tabara Taizo

Madambashi Keiyo

Okinawa c. 1920’s:

Students and instructors of the Toudi-jutsu

Kenkyukai Photo courtesy of Patrick McCarthy



years following 1934 (Shōwa 9), Mabuni taught Taira and intro-duced him both to the stickfight-ing-techniques (Bō-Jutsu) of Sensoko, Sueyoshi and Urazoe, as the Sai-Jutsu of Hantaguwa and Hamahiga.49 During the fol-lowing years Taira Shinken stan-dardized the curriculum and Kobudō’s Kata and even famous students of Mabuni, like Saka-gami Ryūshō (1915-1993) be-came students of Taira later on. Today most historians regard Taira Shinken as the most im-portant Kobudō-Master of the pre-war era. Mabuni and Koryū Jūjutsu Fighting styles and especially techniques of weaponless close combat have a long tradition in Japan. According to the ’Nihon Shoki’, already in 23 BC, ’Nomi no Susuke’ should have killed his much stronger opponent ’Kuyehaya of Taima’ with the use of vital-point techniques (Atemi-Waza).50 When Karate was publicly demonstrated for the first time on the Japanese mainland in Kyōto on the 5th of May 1917 (Taishō 6),51 Japan al-ready had a distinctive martial arts scene with a complex sys-tem of classical fighting-styles (Dai-Nihon Bugei or Koryū Bu-jutsu). These systems (Ryūha) usually hark back to ancient-Japanese noble families and en-compass training in various

weapon and weaponless fighting techniques. These have been handed on within the families for centuries.52 After Mabuni’s relocation to the mainland, you see the influence of his training in several classi-cal Japanese weaponless fight-ing systems (Jūjutsu, Yawara or Taijutsu). 53

We know that Ma-buni trained intensively and ex-changed techniques with Ōtsuka, Ueshiba, Konishi and Fujita Seiko (1899-1966), the 14th grandmaster of Kōga-Ninjutsu.54 His son Kenei reports that they gave each other “many suggestions concerning the development of their styles”.55 It is evident that they introduced Mabuni at least to some of the techniques and con-cepts of their practiced Ryūha, like Musō-Ryū, Takenouchi-Ryū, Shindō Yōshin-Ryū, Tenshin Shinyō-Ryū, Shinkage-Ryū Jū-jutsu, Daitō-Ryū Aikijutsu or Nanban Satto-Ryū. In 1941 (Shōwa 16) Mabuni in-troduced his student Iwata Manzo (1924-1993) to Fujita Seiko,56 in order to have him taught in Fujita’s Daien-Ryū Jō-jutsu.57 Mabuni had taught Bō-jutsu to Iwata, but thought that the Jō (4 ft. stick) would suite him better.58 Although Mabuni does in this case just follow the traditional Karate-mindset which

always put the knowledge above the teacher or style,59 this inci-dent does also indicate Mabuni’s open standpoint concerning the Japanese martial arts. It ap-pears like that he had a quite mature attitude about it, seeing the huge advantages of open dialogue instead of admitting in rivalry or rat-races. “Master Ma-buni Kenwa made relations with all persons and styles, with open mind and positiveness. This is how Iwata Manzo and Fujita en-gaged with Master Mabuni Kenwa.” does Iwata’s son Genzo remember.60 In fact, Iwata did not only train Daien-Ryū Jōjutsu (up to Menkyo Kaiden-level)61 with Fujita. He furthermore be-came his Uchi-Deshi (in-house student) and inheritor to Nanban Satto-Ryū, Shingetsu-Ryū Shuri-kenjutsu and Daiten-Ryū Jō-jutsu. 62

Fujita’s Nanban Sattō-Ryū Kenpō (aka Nanban Ippo Jū-jutsu) is of special interest in this case, as this style, similar to Karate, highly relies on strikes and kicks, which it combines with throws (Nage-Waza) and joint-manipulation techniques (Kansetsu-Waza). Originally taught by the Satsuma-clan, it does emphasis the use of Atemi-Waza, but does not contain any solo-forms (Kata).63

L-R An impressive gathering of Karate authorities: Toyama Kanken, Ohtsuka Hironori, Shimoda Takeshi, Funakoshi Gichin, Motobu Choki, Mabuni Kenwa, Nakasone Genwa and Taira Shinken




“He [Mabuni] studied any mar-tial art that surged at the time, always looking for the positive.” Iwata Genzo remembers.64 As pointed out before, we know that not only Mabuni’s student Iwata, but also Mabuni himself enjoyed some teaching by Fu-jita. The influence the renowned Fujita had on Mabuni becomes quite clear when you consider another quote of Iwata’s son Genzo, where he states: “Bunkai Kumite was taught by Mabuni Kenwa but some parts were changed for Satto-Ryū style. Master Mabuni then, took this style in some parts that fitted with reason, specially Gyaku-Waza [counter-techniques] and Nage-Waza.” 65

Especially because of people like Konishi and Fujita, Mabuni also came into contact with other leading exponents of the con-temporary Japanese martial arts scene, like Ueno Takashi “Chōsui” Tenshin (1899-1976). Ueno was an expert of a multi-tude of Japanese Ryūha,66 and had reportedly both a strong

‘ki’ (inner energy), a hot temper and close connections to the Japanese Mafia (Yakuza).67 Both Konishi and Fujita taught regu-larly at Ueno’s ‘Renseikan Dōjō’ in Osaki, Shinakawa, Tōkyō.68 Right in this Dōjō, Ueno also taught Mabuni, Fujita and Saka-gami Ryūshō in Shindō Tenshin-Ryū Kenpō.69 On the other hand did Fujita Seiko teach Nanban Satto-Ryū Kenpō to Ueno (in ex-change to be taught Shindō Ten-shin-Ryū Kenpō),70 Konishi 71

and, as stated before, Mabuni Kenwa.72

Possibly the most important evi-dence about Mabuni’s extensive work in classical Japanese mar-tial arts is the ’Bugei Ryūha Dai-jiten’ (Great Encyclopaedia of the Martial Arts Schools). This standard-work of the Japanese Ryūha names Mabuni Kenwa as the inheritor of the fighting tra-dition of Shinden Fudō-Ryū Kenpō.73 This school was origi-nally founded as Shinden Jigan-Ryū by Yata Onseisai Noriaki (aka Taito) and then later re-named by Yata Noriyuki (aka

Kunino Ichiro) (1822-?). Mabuni was the 17th generation Sōke of the school and passed it on to his son Kenei, who then taught Ueno Takashi.74 But by whom Mabuni Kenwa originally learned this style is unsolved yet. As Yata Noriyuki was sentenced to life imprisonment in 1872 (Meiji 4),75 it is very unlikely that Ma-buni ever received any direct teachings from him. All we can say for certain so far is that Ma-buni studied this style inten-sively and also actively taught it to his students. 76

In view of Mabuni’s connection to the Japanese Koryū Jūjutsu, these remarks could just count as a first step. But based on this information we can already state that Mabuni, besides his Karate and Kobudō, also had consider-able knowledge of Koryū Jū-jutsu. With concern to this inter-esting aspect, there is, without doubt, need for further re-search.

1934 Ikaho, Gunma Prefecture: Mabuni Kenwa [2nd from left] at the dojo of Taira Shinken [3rd from left] Photo courtesy of Patrick McCarthy



Teachings & Research Mabuni’s Shitō-Ryū Karate spread fast in Ōsaka, Kōbe and Kyōto and is today among Gōjū-Ryū, Wadō-Ryū and Shōtōkan, one of the four major Japanese Karate-styles. Mabuni wrote down his beliefs and philosophies about Karate in four significant books: ‘Karate-jutsu’ (The techniques of the Empty Hand, ca. 1933), ’Kobō Jizai Goshinjutsu Karate Kenpō’ (The Free Fist method of the Empty Hand as an Art of Self-defense, 1934), ’Sêpai no Kenkyū’ (Research on Sêpai, 1934) and together with Naka-sone Genwa (1895-1978) Karate-Dō Nyūmon (Introduction to the Way of the Empty Hand, 1st ed. 1935, 2nd ed. 1938). Mabuni also wrote for Nakasone Genwa’s ’Karate Ken-kyū’ (Research on the Empty Hand, 1934) the two chapters ’Kata wa Tadashiku Renshū Seyo’ (Practice Kata correctly) and ’Kumite no Ken-kyū’ (Research on Kumite),77 as well as for Nakasone’s mam-moth-work ’Karate-Dō Tai-kan’ (Overview on the Way of the Empty Hand, 1938) a chap-ter about the ’Aragaki Sōchin’-form,78 and various newspaper articles. Mabuni also planned a book about the ’Sōchin’ and ’Kururunfa’-forms (‘Gojū-Ryū

Karate-Dō Kenpō, Sōchin and Kururunfa’). To Mabuni these Kata have been of higher inter-est, as they contain special grappling-techniques, uncom-mon throws and reverse head-butts to the solar plexus.79 Al-though the book was advertised in other publications, it was never written. None the less, Mabuni is also, in view of his publications both qualitative and quantitative, one of his era’s leaders. All the pic-tures in his publications demon-strate his thereby outstanding technical level. His techniques appear quite mature and acutely precise in their execution. Mabuni must have been almost obsessed by the ’Art of the Empty Hand’ and must have had absorbed all available informa-tion like a sponge. “The only thing he was edacious for was Budō” reports his son Kenei.80

He knew both elements of Shuri- and Naha-Te like no other, and combined them in his unique synthesis, Shitō-Ryū. The influence of the Aragaki-school and Go Kenki’s Baihe Quan can also still be found in the style today. Mabuni’s versa-tility is clearly evident by his use of an impressive 53 Kata.81 In his time, this high amount of style-specific Kata was almost unparalleled. It is most likely

that Mabuni knew exactly about the uniqueness of his knowledge and that he made his selection especially to preserve a wide spectrum of Kata for the upcom-ing generations. Maybe Mabuni also wanted to show the com-plexity and diversity of Ryūkyū’s cultural heritage, and prevent further stereotyping of a ”farmer’s fighting style“.82

In view of Shitō-Ryū’s amount of Kata, one has to keep in mind that Mabuni himself never re-garded a deep understanding of all these Kata as really impor-tant for the mastery of his style.83 Like Funakoshi Gichin, Mabuni was also an advocate of the ’Hito Kata sannen’-maxim. Three years constant practise of one Kata was during those days the amount many masters re-garded as minimum, until they taught the next one to their pu-pils.84 Mabuni too had this opin-ion and always recommended quality above quantity. In his book ’Kōbō Jizai Goshinjutsu Ka-rate Kenpō’ he wrote: ”In the past, there were few Karate-Jutsu experts who knew many Kata. If you specialize and study only a few Kata, then you will be a serious Karate-Jutsu stu-dent.85“ Elsewhere, in Nakasone Genwa’s ’Karate Kenkyū’, Ma-buni wrote: ”If practiced cor-rectly, two or three Kata are sufficient as “your” Kata. All the others should just be studied as a source of additional knowl-edge. Breadth, no matter how great, means little without depth.86“ For Mabuni, the study of Kata contained not only tech-niques alone, but also their analysis (Bunkai) and applica-tion with a partner (Ōyō). In his Kata-article in ‚Karate Kenkyū’ he wrote: ”[…] Kata must be practiced properly, with a good understanding of their Bunkai meaning.“87 Similar to that, he wrote in Seipai no Kenkyū’ un-mistakably: ”Kata movement is meant to be used in a real en-counter [...]“.88 Most likely also

Mabuni Kenwa in Osaka with Go Kenki [right] at Kansai University Kenpo club




Photos courtesy of Patrick McCarthy

Suparinpei 摩文仁賢和



in view of the various possibili-ties of Kata-Bunkai, he advises the reader in ’Karate-Dō Nyū-mon’: ”The technique is infinite, arrogance is undesirable“.89

This unity of form and applica-tion becomes apparent in nearly every of Mabuni’s publications. In his works on Seipai, Sei-unchin or Aragaki Sōchin he does not only present explana-tions on the particular move-ments, but always also elabo-rate and fully illustrated infor-mation on their application.90 In addition to that, the four pic-tures of his article ’Kumite Ken-kyū’ can be easily traced to Shitō-Ryū’s Kata.91

Mabuni’s statements concerning the application of techniques are as always, especially in compari-son to other contemporary pub-lications, very detailed and offer both a remarkable breadth and an astonishing depth. For exam-ple in ’Seipai no Kenkyū’, he not only demonstrates striking (Tsuki-), receiving (Uke-) and kicking techniques (Keri-Waza), but also throwing- (Nage-), joint-manipulation- (Kansetsu-) and counter-techniques (Gyaku-Waza) against locks and grips.92 Also worthy of mention is Ma-buni’s counter against a ‘rear shoulder lock’ (Ushiro-Kata-Gatame) on the basis of the ’Pinan Sandan’-form, which he

presents in ’Karate-Dō Nyū-mon’.93 Additionally he wrote in the same work: ”The Kata of Gojū-Ryū contain many interest-ing throws and joint-locking techniques, which haven’t been taught in Tōkyō [so far]. The practitioners of this system should never neglect their study of these throws.“94

Mabuni shifted his focus early on in the teaching and research of Karate. Already the foundation of the ’Karate Kenkyūkai’ in 1918 (Taishō 7) [‘Karate Kenkyū Kurabu’ from 1925 (Taishō 14) on] was a novelty and lead to a remarkable association, which incorporated various styles and accomplished a quality of its members, which is still un-equalled. Beneath his enthusiasm in Kata, Mabuni also had a lot of interest in Karate’s ability to be an in-

strument of physical education. One of the major targets of his work was also to promote the spread of Karate under the as-pect of health promotion, in or-der to improve the well-being of the general population.95 Mabuni viewed Karate as an excellent practice of physical education and constantly highlighted this very important aspect. In his work ‘Karate-Dō Nyūmon’, he writes in great depth about the positive influences of Karate-training on body and mind. In co-operation with a medical uni-versity he was able to even prove these effects partly by blood- and urine-tests. 96

Another important cornerstone of his research is the first edition of the ‘Bubishi’ in 1934 (Shōwa 9). This legendary Chinese text has been transmitted over gen-erations among Okinawa’s Ka-rate-masters and has had sig-

Funakoshi Gichin [far left] Mabuni Kenwa [seated] Konishi Ya-suhiro [2nd from right] & Mabuni Kenei [far right]


Konishi Yasuhiro & Mabuni Kenwa



nificant influence on the re-search and understanding of people like Higashionna Kanryō, Funakoshi Gichin, Itosu Ankō, Shimabukuro Tatsuo (1908-1975) and many others. To Ya-maguchi Gōgen (1909-1989) the ‘Bubishi’ was the ”most treas-ured text“ and Miyagi Chōjun even called it “the bible“ of Ka-rate.97

Mabuni was without any doubt also one of Karate’s greatest vi-sionaries. During a time when women were the excluded abso-lutely in a Karate-Dōjō, Mabuni developed special concept of self-defense for them. On re-quest of the Japanese govern-ment, Mabuni, together with Konishi Yasuhiro and under the assistance of Ueshiba Morihei, devised the Kata ’Green Wil-low’ (Aoyagi or Seiryū). These special techniques of Mabuni’s Shitō-Ryū and Konishi’s Jūjutsu encompasses and takes into consideration the anatomy of ’the fair sex’.98 Mabuni’s Kata Miyojo (Venus) is another prod-uct of his research in this field, which he even wanted to dedi-cate a special book (‘Mabuni-Ryū Karate-Dō Kenpō Joshi Go-shin-jutsu’) to.99 Unfortunately this project remained unfin-ished. In view of all these accomplish-ments it is not surprising that

Mabuni was held in such high esteem among both Japanese and Okinawan Karate masters. In the field of weaponless fight-ing, he was commonly consid-ered as an “outspoken expert”, as his son Kenei reported later.100 His Kata-ability was es-pecially well respected. Accord-ing to his son Kenzo (1927-2005), Mabuni knew altogether more than 90 different Kata.101 His other son Kenei indicates an even higher amount, when he says that “70 percent of the Kata” his father “had studied are lost in Okinawa today”.102

Considering this, Funakoshi Gichin once said: ”If you want to know about Kata, ask Mabuni Kenwa“ and called him “an out-standing Budō teacher“ and “the richest source of Karate-Jutsu technique and information in this era“.103 Motobu Chōki (1870-1944), one of Ryūkyū’s Kumite-experts said: ”For tech-nique, there is none better than Mabuni Kenwa“.104 In public he was just known as “Mabuni the technician“.105 Mabuni’s out-standing dedication attracted both respect and a grudging re-spect. Because of his pleasant nature and his remarkable dedi-cation to the art of Karate, it was difficult for others to really hate or discredit him. ”Mabuni could have easily been a rich man several times over had he

ever wanted to cash in on his popularity. He was liked by eve-ryone, perhaps envied by some, but hated by no one,” said Ōtsuka Hironori once about this. 106

It is hard to form an opinion of Mabuni’s fighting ability. In con-trast to other Okinawan Karate-masters, there are not many re-ports about altercations in Ma-buni’s life. According to Saka-gami Ryūshō and Mabuni’s son Kenei, he should have had to use his skills quite frequently during his time as a police-man.107 Kenei also states that his father sometimes worked as a referee at Kake dameshi, ‘challenge fights’ or ‘exchange of techniques’ 108 These fights usu-ally took place on street corners, in backyards and other public places in the evenings or at night. There were usually wit-nesses and every technique was permitted.109 It should be pointed out that these events were primarily power struggles for the sake of the learning, so that “the opponent wasn’t beaten-up mercilessly”.110 The main idea was to “detect strengths and balance weak-nesses”.111 According to another statement of Kenei, Mabuni him-self would have been challenged frequently to such fights and usually accepted them.112

Similar to Funakoshi Gichin, Ma-buni was also a strict opponent of free sparring (Randori) in his training.113 None the less, he evidently experimented quite frequently with different kinds of protective gear (Bōgu). Mabuni also put a lot of emphasis on the practice of prearranged spar-ring. Although his main focus lay on the practice and analysis of Kata, Mabuni understood the many shortcomings of training exclusively in Kata for the mas-tery of Karate. He wrote in his article‚ Kata wa Tadashiku Ren-shū Seyo’: “The correct practice of Kata […] is the most impor-tant thing for a Karate student.

Mabuni Kenwa, Miyagi Chojun & Sawayama Masaru




However, the Karateka must never neglect Kumite- and Makiwara-practice.“114 If the Karateka however disregards Kata training and concen-trates completely on Kumite and Makiwara then this, ac-cording to Mabuni, will lead to “unexpected failure when the time comes to utilize your skills”.115 In order to get sat-isfactory results, Mabuni ad-vises to train seriously and spend fifty percent of the training time on Kata and fifty percent on additional practice.116

Influence on JKA Karate Another quite important as-pect, often overlooked is Ma-buni's strong influence on Fu-nakoshi Gichin and the devel-opment of the Shōtōkan-style. 117

Funakoshi and Mabuni al-ready knew each other from their time in the ‚Karate Ken-kyūkai’ on Okinawa and al-ways kept in close contact. Back on Okinawa Funakoshi had two main teachers: The minister of state Asato Ankō Tōnchi (1827-1906) and Mabuni’s later teacher Itosu Ankō.118 Although Funakoshi considered Asato as his most important teacher, Itosu taught him, by his own ac-count, “the Heian, Tekki and other Kata”. 119

But especially in view of the five Pinan- (Heian-)Kata, this direct line of transformation in be-tween Itosu and Funakoshi is not as definite as it might ap-pear on the first view. There are some hints indicating that Funa-koshi did not learn the Pinan di-rectly from Itosu, but rather from his student Mabuni. We know that Funakoshi started his Karate-training during primary school 120 (in between 8 and 10 years of age) and that he stud-ied for the next ten years (so up to 1888, Meiji 21) with Asato and Itosu.121

Most likely Itosu had developed the Pinan-forms by himself, on basis of Passai, Kōshōkun, Usei-shi, Chintō and Chintei,122 and published them for the first time in spring of 1904 (Meiji 37),123 quite some time after Funakoshi had trained with him. Gima Ma-koto (Shinkin) (1896-1989), a student of Itosu, Yabu Kentsū (1866-1937) and Funakoshi and one of his first black belts124 states, that Funakoshi just learned the Pinan right before his departure to Tōkyō (1922, Taishō 11).125 Opposing this is a statement by Nagamine Shōshin (1907-1997), the founder of Ma-tsubayashi-Ryū, that Funakoshi had already taught them to Oki-nawan school children in 1916 (Taishō 5).126 The renowned Japanese Karate-historian Dr. Fujiwara Ryōzō however says explicitly that Funakoshi learned the Pinan from Mabuni Kenwa in 1919 (Taishō 8).127

On basis of the available facts, the transfer of the Pi-nan-forms can’t be clearly traced back to one of those two lines of transmission (directly vs. indirectly via Ma-buni). Against a direct trans-mission speaks the fact that just Funakoshi’s own state-ment dates a performance of the Pinan by Funakoshi be-fore Itosu’s death (1915, Tai-shō 4). For a direct transmis-sion on the other hand, speaks the huge period of time of over one decade (1904-1915) in between Itosu’s first publication of the Pinan and his passing. In view of that you also have to consider that Okinawa’s Ka-rate-scene was rather clear and manageable in those days. In the humble opinion of the author, a hybrid of those theories, like a vague instruction by Itosu and a later adjustment and deepen-ing by Mabuni, appears most likely. A similar conclusion can be drawn from the state-

ment that in 1928 (Shōwa 3) Mabuni corrected the Pinan-forms Ōtsuka had been taught by Funakoshi. 128

After his relocation to the Japa-nese mainland, Funakoshi Gichin himself considered 15 traditional Kata to be enough for the propagation of his idea of Ka-rate.129 He explains those ‘big 15’ both in his first publications ’Ryūkyū Kenpō Karate’ (1922, Taishō 11) and ’Rentan Goshin Karatejutsu’ (1925, Taishō 14), as well as in the two editions of his ’Mastertext’ (Karate-Dō Kyō-han) from 1935 (Shōwa 10) and 1958 (Shōwa 33).130 In his work ‘Karate-Do Nyū-mon’ (Introduction to the Empty Hand) from 1943 (Shōwa 18) Funakoshi however writes that furthermore also the forms Ten no Kata, Chi no Kata, Hito no Kata, Rōhai (Meikyō), Sōchin (Hakkō), Unsu (Hatsuun / Kiun), Shōtō, Chintei (Chinte / Shōin),

Mabuni Kenwa and Funakoshi Gichin with Sakagami Ryusho and Nakayama

Masatoshi in the background



Gojūshiho / Useishi (Hōtaku) and Jiin (Shōkyō), have been studied and investigated in his Dōjō (Shōtōkan).131 While Shōtō, Ten, Chi and Hito no Kata are Funakoshi’s self-creations, we do not exactly know via what line of transmission the Kata Rō-hai, Unsu, Chintei, Gojūshiho and Ji’in come from. Funakoshi’s students Nakayama Masatoshi (1913-1987), Nishi-yama Hidetaka (*1928) and Obata Isao (1904-1976) founded the ‚Nihon Karate Kyō-kai’ (JKA, Japan Karate Associa-tion) in May 1949 (Shōwa 24)

and with that, no doubt, laid the headstone of the worldwide spread of both their ‘Shōtōkan’-concept and of Karate in gen-eral.132 Shortly after the founda-tion, they added next to the afore mentioned Kata, the forms Passai (Bassai) Shō, Kōshōkun (Kankū) Shō, Gojūshiho Shō, Ni-seishi (Nijūshiho) and Wankan (Hitō) to their curriculum.133 Similar to Rōhai, Unsu, Chintei, Gojūshiho and Ji’in, we do not exactly know from which teacher(s) they derived. No official publication of the ‚Nihon Karate Kenkyukai’ (Japan

Karate Association) or their de-rivatives makes any precise statements about how these ad-ditional ten Kata got into the style.134 It is quite apparent, that (at least by the name) they are all Kata that Mabuni was also teaching in his Shitō-Ryū. In view of Mabuni’s immense reputation, it is also no surprise to see that there was a lot of ex-change between Mabuni and Fu-nakoshi’s school. Mabuni’s son Kenei e.g. reports that Funako-shi himself should have send his third son Gigō (1906-1945) back from Japan to Okinawa in order to learn Kata from Mabuni.135 Right after Mabuni’s arrival in Tōkyō in 1928 (Shōwa 3), he evidently taught several of Fu-nakoshi’s top-students, like Obata Isao or Konishi Yasu-hiro.136 Even Funakoshi himself should have joined his students in training-sessions with Mabuni, especially as he advised them to study new Kata.137 Mabuni’s son Kenzo remembers that in 1945 (Shōwa 20), Funakoshi Gichin sent his students Nakayama Ma-satoshi and Obata Isao to Ōsaka in order to train with Mabuni.138 Short time after that, Funakoshi should have introduced Shōtō-kan-versions of the Unsu- (Hatsuun/Kiun), Niseishi- (Nijūshiho) and Gojūshiho- Kata.139 This is probably the same visit Nakayama Masatoshi talk about, when he says: „Master Funakoshi never stopped to study other forms of Karate. When we visited master Mabuni, he told me to learn the Gojū-shiho- and Nijūshiho-Kata, so that we could address them more intensively later one. Right after that, Mabuni Kenwa taught me these Kata.“140 Another sen-ior student of Funakoshi and founder of Wadō-Ryū, Ōtsuka remembers that many of Funa-koshi’s Kata came directly from Mabuni or were at least cor-rected by him.141

Mabuni Kenwa



When you compare the Shōtō-kan- and the Shitō-versions of the Kata Unsu, Gojūshiho Dai/Shō, Jiin, Kōshōkun Shō, Passai Shō, and Niseishi it is quite striking that they basically just vary in view of some Shōtōkan-specific adjustments.142 A close relationship is thus quite evi-dent, which suggests a strong influence by Mabuni. Such a connection can not be easily made when it comes to the Kata Rōhai, Chintei, Sōchin and Wankan. These Kata differ too much in the choice of technique and bottom-line (Enbusen). Concerning the transmission of those Kata into Shōtōkan, there remains need for further re-search. In consideration of these facts, we can say without doubt that the JKA-Shōtōkan has been heavily influenced by the foun-der of Shitō-Ryū, Mabuni. Alto-gether 12 out of the 26 Kata came directly from Mabuni or

have been corrected by him. Mabuni Kenwa was thus much more important for the develop-ment and shape of the style, than it is today usually assumed or acknowledged by their repre-sentatives. Mabuni Kenwa was without doubt an outstanding Karateka. His research and work still highly affects the world’s Ka-rate-scene. Next to his two sons and successors Kenei and Kenzo, Mabuni Kenwa had a huge amount of important stu-dents. Over the years, most of them founded their own styles and organisations. Mabuni’s Shitō-Ryū is today one of the biggest Karate-styles, with Dōjō and branches all over the world.143 Mabuni Kenwa died at the 23rd of May 1952 (Shōwa 27) at the age of 62 years.

“Those people who are truly thinking of the future of Karate should not keep a closed mind

and limit themselves to learning only an empty shell, but should strive to study the complete art.” 144—Mabuni Kenwa

A collection of Mabuni Kenwa’s many books, including his hand-written copy of

Itosu Ankoh’s Bubishi


Uke-te—Uchi-te [Receiving hand attacking hand]

Calligraphy by Mabuni Kenwa



Acknowledgements: The author would like to thanks Mr. George Kohler (Melissa, Texas) and especially Mr. Mark Tankosich, MA (Hiroshima Uni-versity of Economics) for their kind and patient help in the allo-cation and interpretation of some of the Japanese sources. Furthermore the author would like to thank Mr. Craig Roberts, BC (Sydney, Australia) for his help with proofreading and copy-editing. End notes: 1 Bittmann (2000), p. 111. 2 e.g. McCarthy (1999), p. 3. 3 Noble/McLaren/Karasawa (1988) cite Mabuni as following: “One of my ser-vants Morihiro Matayoshi once taught me kiba-dachi-no kata. [Naihanchi][...]” According to McCarthy (1999, p. 11) Matayoshi has been a student of Matsu-mura Sōkon (1809-1901). also Bitt-mann (2000), p. 111. 4 Moledzki (b). 5 Sells. These Kata were: Pinan Shōdan-Godan, Naihanchi Shōdan-Sandan, Passai (Dai & Shō), Kōshōkun (Dai, Shō & Shihō), Useishi, Chintō, Wanshu, Chintei, Rōhai Shōdan-Sandan, Jitte, Jion, Ji’in. also McCarthy (1999), p. 36 with Kuniyoshi Kōshōkun instead of Wanshu. 6 McCarthy (1999), p. 4. 7 Moledzki (b). McCarthy (1999, p. 4) writes about 1910 (Meiji 43). based on the other information he gives (“When Mabuni was twenty years of age”; “same year that Mayagi Chōjun was sent to Mi-yazaki Prefecture”), we can guess that he actually also means 1909 (Meiji 42). Bittmann (2000, p. 111) says that Ma-buni already started to train with Hi-

gashionna in 1907. 8 Bittmann (2000), p. 111. 9 The style Higashionna had learned in China and which later became, next to Shuri-Te, the second main stream of Okinawan Karate.10 Another student of Higashionna, Kyōda Juhatsu (1887-1968), reported that Mabuni had trained with him to a previously unknown inten-sity. McCarthy (1999), p. 4. 11 e.g. Bittmann (2000), p. 111. 12 Bittmann (2000), p. 111. 13 Mabuni (2007), p. 46 and Wittwer (2007), p. 146. 14 Mabuni (2007), p. 46. 15 According to McCarthy (1999, p. 6), Aragaki should have corrected the Sō-chin-Version Mabuni had originally learned from Itosu. That appears a bit strange, as Sōchin is usually not men-tioned as a Kata of Itosu’s curriculum. 16 McCarthy (1997), p. 40 et seqq. 17 These were later modified by Mabuni and taken into his style Shitō-Ryū under the names of Nipaipo, Paipuren and Ha-kucho. 18 e.g. Moledzki (b). 19 Bittmann (2000), p. 111. 20 Who exactly has been a member of the society is not clearly know yet. But we know that with Motobu Chōyū (1857-1927), Yabu Kentsū (1863-1937), Funa-koshi Gichin, Hanashiro Chōmo (1869-1945), Kyan Chōtoku (1870-1945), Yabiku Moden (1882-1945), Chibana Chōshin (1885-1969), Tokuda Anbun (1886-1945), Wu Xiangui, Kyōda Ju-hatsu, Tang Daiji (1887-1937), Miyagi Chōjun, Sokon Hōhan (1889-1982), and Gusukuma Shinpan (Shiroma Shinpan, 1890-1954) both masters of Shuri-Te, Naha-Te and Chinese Quanfa taught there. Bittmann (2000), p. 111, Sells, and McCarthy (1999), p. 8. 21 Bittmann (2000), p. 111 and Mabuni (2007), p. 54. The ‘Police-Academy’ is just mentioned by Mabuni. 22 Mabuni Kenei in McCarthy (1999), p.

8. 23 Mabuni (2007), p. 54. 24 It is said that Kanō primarily visited Okinawa to attain the opening ceremony of the “Okinawan Jūdō-Blackbelts-Club”. Mabuni (2007), p. 54. also Noble (2006b). Bittmann (2000, p. 106 et seq.) presents 1926 and 1927 as possi-ble years of that event. 25 Kanō in Mabuni (2007), p. 54. 26 Kanō in Mabuni (2007), p. 85. 27 Mabuni/McKenna (2002), p. 8 and p. 20. also Mabuni (2007), p. 56. 28 High (2006). 29 About Konishi Yasuhiro elaborately Golinski (2004). 30 High (2006). 31 McCarthy (1999), p. 19, Sells and Mabuni (2007), p. 50. Mabuni does not mention Konishi and states to have com-pleted the Kata after his father’s death. 32 Mabuni (2007), p. 56. 33 Miyagi, p. 160 and Bittmann (2000), p. 113. Bittmann writes that Mabuni started to teach there at „the beginning of the nineteen-thirties“. According to the opinion of the author, it could also be that Mabuni already supervised or even initiated the foundation of the club. 34 Mabuni (2007), p. 107. 35 Miyagi, p. 160. 36 Chambers, p. 2. According to Saka-gami Ryūshō that was the name of the school Mabuni had attained as a child. McCarthy (1999), p. 20. 37 Mabuni (2007), p. 58. 38 not to confuse with the son of the Uechi-Ryū-founder with the same name. Uechi started his training in 1926, re-ceived his Nidan from Mabuni in 1935 (Shōwa 10) and his Yondan in 1942 (Shōwa 17). In 1948 (Shōwa 23) Uechi went back to Okinawa and founded the Shitō-Ryū Kempō Karate-Dō Kai. 39 High (2006). 40 Moledzki (b). Bittmann (2000, p. 113) considers that Mabuni simply called his style ‚Mabuni-Ryū’ (style/school of Mabuni). McCarthy (1999, p. 19) writes that Mabuni’s teachers were known in Kansai-region as ‚Hanko-Ryū’ and in Kanto-region as ‚Mabuni-Ryū’. 41 糸 Ito = shi; 東 Higa = tō; 糸東流 ‚School/style of Itosu and Higashionna’. 42 It is unknown when exactly the change of the name took place. Accord-ing to McCarthy (1989), it was in 1934 (Shōwa 9), Bishop (1999, p. 106) dates 1937 (Shōwa 12) and Bittmann (2000, p. 113) says 1938 (Shōwa 13). There is no question that it was registered as ‘Shitō-Ryū’ at the Butokukai in 1939 (Shōwa 14). e.g. McCarthy (1999), p. 19 or Mabuni (2007), p. 59. 43 Mabuni (2007), p. 59. McCarthy (1989), states 1938 (Shōwa 13). 44 Moledzki (b). 45 According to Sells, Aragaki should have taught the Kata Aragaki-Bō and Aragaki-Sai to Mabuni. also Moledzki (b). 46 A precise presentation at McCarthy (1999), p. 21.

The final journey of Mabuni Kenwa …




摩文仁賢和

47 About Taira Shinken elaborately Go-linski (2007). 48 McCarthy (1999), p. 22. 49 McCarthy (1999), p. 22. 50 Aston (1998), p. 175 et seqq. and additionally also Mol (2001), p. 6. The Nihon Shoki (also Nihongi) is the sec-ond-oldest book about Japanese history and one of the most-important docu-ments of the Japanese culture. It was completed in May 720 AD and consists of altogether 30 parts. 51 e.g. McCarthy (1989). 52 The oldest traditional Jūjutsu Ryūha like Kukishin-, Nen-, Tenshin Shōden Katori Shintō-, or Kage-Ryū lead evi-dently back to the early and medium Muromachi-period (1333-1575). Some Ninjutsu-schools like Shinden Fudō- or Togakure-Ryū claim to be even older. 53 Among experts there is the ongoing discussion, if and in how far the various fighting-traditions of the Ninja-warriors (Ninjutsu) could be apportioned to the classical-Japanese fighting arts of the nobility (Nihon Koryū Bujutsu). Concern-ing the topic of this article, a differentia-tion doesn’t lead to any further insights. Relating to the weaponless aspects of those systems, the term Koryū Jūjutsu is in the following thus simply used for all styles which were developed on the Japanese mainland before 1876 (Meiji 9). 54 High (2006) and Mabuni (2007), p. 59. High names Ōtsuka, Konishi and Ue-shiba, whereas Mabuni names Fujita in-stead of Ueshiba. 55 Mabuni (2007), p. 59. 56 Hevener (2008), p. 55. 57 Hevener (2008), p. 44. 58 Moledzki (a) and Hevener (2008), p. 55. 59 In those days it was common practise for a teacher to recommend his students to other teachers, in order to enhance their knowledge. e.g. Funakoshi (1975/1993, p. 37) reporting about his teachers Itosu and Azato. Most of the great Karate-masters of those days had at least two major teachers, with some other influences. As already stated, Yabiku Mōden e.g., recommended his famous student Taira Shinken to Mabuni Kenwa. Above that, lots of Karate-masters even told their students to train other arts in order to improve their Ka-rate. Azato Anko (1828-1906 or 1829-1909) e.g. told his students to also train grappling, swordsmanship, horseman-ship, archery and military strategy in order to truly understand Karate. Ho-kama (2005), p. 15. And Aragaki Ankichi (1899-1929) said: “Of course you should concentrate primarily on your Karate, but do not overlook the value of learning as much as you can about other kinds of martial arts and sports, too. In that way you will improve your fitness level, ex-pand your range of knowledge in gen-eral, and also improve your ability to respond more effectively in self-defense”. Aragaki in Nagamine/McCarthy (2000), p. 136 et seq. 60 Iwata Genzo in Hevener (2008), p.

73. The writing of the names was changed by the author, in order to fit the Japanese-style (last-name first)-format of this article. 61 Hevener (2008), p. 44. Iwata got his Menkyo Kaiden (and maybe even the title of Sōke) already in 1943. Ettig (2004), p. 198. 62Watatani/Yamada (1978), p. 662, 509 and Hevener (2008), p. 56. 63 Ettig (2004), p. 176. The ‘Bugei Ryūha Daijiten’ names Hashimoto Ip-posai (?-1919) as founder, teaching Mi-ura Ichiro, who taught both Fujita and Uchida Shichirō Hyōei Takayasu. Iwata is named as a student of Fujita and the 4th Sōke of the style. Watatani/Yamada (1978), p. 662. Fujita himself therefore states that the started his training in 1914 (Taishō 3), at the age of fifteen, directly under Hashimoto and received Menkyo Kaiden in 1919 (Taishō 8). Ettig (2004), p. 176 et seq. 64 Iwata Genzo in Hevener (2008), p. 73. 65 Iwata Genzo in Hevener (2008), p. 73. The writing of the Japanese names and styles/techniques was changed by the author, in order to fit the format of this article. also Moledzki (a). 66 Ueno had Menkyo Kaiden e.g. in Asayama Ichiden-Ryū Taijutsu (aka Ichi-den-Ryū Torite Jūjutsu), Shintō Tenshin-Ryū Kenpō, Gyoko-Ryū Kosshi-Jutsu, Kukishin-Ryū, Bokuden-Ryū, Minuta-den and became Sōke of Hontai Takagi Yo-shin-Ryū Jūjutsu, Amatsu Tatara Kuki-shin-Ryū Bōjutsu, Hontai Kishin Chosui-Ryū Kukishinden Dakentaijutsu, Shinden Fudō-Ryū Taijutsu (all in 1954, Shōwa 29), Kotō-Ryū Koppō-Jutsu (in 1959, Shōwa 34) and Shinden Fudō-Ryū Kenpō. Apart of that, he did a study-travel to the Ryūkyū-Islands, Taiwan and China in 1926 (Taishō 15/ Shōwa 1), where he also got some experience in the Okinawan fighting arts. e.g. Ettig (2004), p. 118, 129, 160 et seq. and 214 et seq. 67 Ettig (2004), p. 118 et seqq. and 214 et seq. Ueno’s most prominent student is without doubt Dr. Hatsumi Masaaki (Yoshiaki) Sōke (*1931), the founder and international director of the Bu-jinkan Dōjō. 68 Right after the war, Konishi taught on Tuesdays and Fridays, whereas Fujita taught on Wednesdays and Saturdays. Anegawa Katsuyoshi in Kaminaga (1996), p. 8. 69 Kaminaga (1996), p. 14. Ueno taught Sakagami also in Shinden Fudō-Ryū Tai-jutsu and Asayama Ichiden-Ryū Tai-jutsu. Kaminaga (1996), p. 17 et seq. 70 Hevener (2008), p. 36. 71 Ettig (2004), p. 178. 72 To understand all this cross-training and the openness to share ideas and concepts in this era (1930-1950), one has to keep different factors in mind. Most of the participants were in their technical ‘prime’, in their late thirties to end-fifties during this time, right on the spot to name and define their own styles. Lots of later renowned schools,

like Shitō-Ryū, Wadō-Ryū, Shindō Jinen-Ryū or Akidō, developed during this era. And even after the foundation of the styles, the curricular, technical reper-toires or choice of Kata were often rather flowing than fixed. So it is not surprising that its founders had a strong desire to discuss their ideas and tech-niques among experts. On the other hand did the Japanese military apply (directly or indirectly via the Dai Nihon Butokukai) from 1932 (Shōwa 7) on un-til the end of the war, more and more pressure on the martial arts scene in order to create effective concepts for warfare ( e.g. Ettig (2004), p. 115 and 178 et seq.). That put the established martial artists into the need to review and maybe expand their repertoires. And in the first years after the war, there was a huge shortage of qualified teachers and places to train. So every-body must have been quite eager to get as much instruction as possible. 73 Watatani/Yamada (1978), p. 414. Not to be confused with Shinden Fudō-Ryū Dakentaijutsu (aka Shinden Fudō-Ryū Taijutsu Happō Biken), a style Gen-pachiro Tameyoshi founded in the 12th century and Takamatsu Toshitsugu (aka Takamatsu Jutaro) (1889-1972) taught to Dr. Hatsumi Masaaki. Shinden Fudō-Ryū Jūtaijutsu (aka Shinden Fudō-Ryū Taijutsu) is another school with a similar name, which was taught to Ueno by Ta-kamatsu. e.g. Ettig (2004). 74 Watatani/Yamada (1978), p. 414. The renowned British engineer, self-defense researcher and ‘Bartitsu’-founder Edward William Barton-Wright (1860-1951) should have also studied this style during his time in Japan at the end of the nineteenth century. 75 Watatani/Yamada (1978), p. 414. 76 Yamada Haruyoshi, student of Tani Chōjirō (1920-1998) e.g. says that his teacher was taught Karate, Kobudō and Shinden Fudō-Ryū Jūjutsu by Mabuni. Haruyoshi in Abernethy (2006). 77 Mabuni (1934a) and Mabuni (1934b). 78 Mabuni (1938), p. 143-180. 79 McCarthy (1999), p. 32. 80 Mabuni (2007), p. 53. 81 These Kata are: Pinan Shōdan-Godan, Naihanchi Shōdan-Sandan, Passai (Dai & Shō), Kōshōkun (Dai, Shō & Shihō), Gojūshihō, Chintō, Chintei, Rōhai Shōdan-Sandan, Miyojo, Wanshu, Kururunfa, Suparinpei, Sanseiru, Seipai, Seisan, Ananko, Juroku, Aoyagi, Tenshō, Sanchin, Seienchin, Shisōchin, Saifa, Niseishi, Sōchin, Unsu, Matsumura Rō-hai, Matsumura Passai, Matsumura Sei-san, Chatanyara Kōshōkun, Ishimine Passai, Nipaipo, Hakucho, Haufa, Jitte, Jion, Ji’in, Wankan, Shinsei, Anan, Paipuren and Shinpa. Mabuni/McKenna (2002), p. 104. Today there are many sub-versions and groups of Shitō-Ryū. According to the school, this number may vary. 82 The Japanese people never had a high opinion of the Okinawan population. They mainly regarded Okinawa as a cul-



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turally backward province. Thus also Ka-rate was viewed with some reserva-tions. „In the beginning, Karate was viewed in Japan in contrast to Kendō or Jūdō as a barbaric and minor martial art.“ reports Mabuni Kenei (2007, p. 59). 83 According to his son Kenzo, a Shitō-Ryū “Kōdansha should know about 30 to 40 Kata”. As he says, this might take „15 to 25 years of continuous training and dedication to master”. Mabuni Kenzo in Fraguas (2001), p. 179. 84 Funakoshi Gichin for example, by his own account, practiced the three Nai-hanchi (Tekki)-forms constantly for 10 years. Funakoshi (1958/1973), p. 38. additionally also Funakoshi (1975/1993), p. 25 et seqq. Already in view of this maxim you could see that with 53 Kata of the style, a whole life of practice just wouldn’t be enough. 85 Mabuni/McKenna (2002), p. 19. 86 Mabuni (1934a), p. 15. additionally also the translations by Mabuni/Tankosich and Wittwer (2007), p. 127. 87 Mabuni (1934a), p. 15. additionally also Mabuni/Tankosich. 88 Mabuni/McKenna (2003), p. 8. 89 Mabuni/Nakasone (1938), p. 86 et seq., also Mabuni/Nakasone (1938/2000), p. 179 et seqq. ‘Waza wa mugen’– ‘The technique is infinite’ is one of the major principles of Mabuni’s teachings. additionally also Mabuni (2007), p. 61. 90 Mabuni/McKenna (2003), p. 25- 34, Mabuni/McKenna (2002), p. 72- 79 and Mabuni (1938), p. 169-180. 91 Mabuni (1934b), p. 28-29. 92 Mabuni/McKenna (2003), p. 24-34. 93 Mabuni/Nakasone (1938), p. 176. 94 Mabuni/Nakasone (1938), p. 209. additionally also the translation by Swift. 95 Mabuni (2007), p. 12. 96 Mabuni (2007), p. 14. 97 Yamaguchi Gōgen in McCarthy (1997), p. 23 and Miyagi Chōjun in McCarthy (1997), p. 23. About the ‘Bubishi’ additionally Golinski (2005). 98 High (2006). 99 McCarthy (1999), p. 32. 100 Mabuni (2007), p. 12. 101 Mabuni Kenzo in Fraguas (2001), p. 178. As Tankosich notes, it remains un-clear if this number already contains the Kata Mabuni developed by himself. Ma-buni/Tankosich. 102 Mabuni (2007), p. 53. 103 Mabuni/McKenna (2002), p. 102, p. 9. 104 Motobu in Mabuni/McKenna (2002), p. 102. 105 Mabuni (2007), p. 12. 106 Ōtsuka in McCarthy (1999), p. 18. 107 McCarthy (1999), p. 24 and Mabuni (2007), p. 52. additionally also Mabuni/Tankosich. 108 Mabuni (2007), p. 130. 109 e.g. Mabuni (2007), p. 130. 110 Mabuni (2007), p. 130. 111 Mabuni (2007), p. 130. 112 Mabuni Kenei in Noble (2006b). 113 Mabuni (2007), p. 130. 114 Mabuni (1934a), p. 15. additionally

Mabuni/Tankosich. 115 Mabuni (1934a), p. 15. additionally Mabuni/Tankosich and Wittwer (2007), p. 127. 116 Mabuni (1934a), p. 15. additionally Mabuni/Tankosich. 117 For the time of his life, Funakoshi himself was a strict opponent of the dif-ferentiation of Karate into several styles and also dissociated himself from the term Shōtōkan-Ryū. In his autobiogra-phy he wrote: “One serious problem, in my opinion, which besets present-day Karate-Dō, is the prevalence of diver-gent schools. I believe that this will have a deleterious effect on the future devel-opment of the art. [...]There is no place in contemporary Karate-Dō for different schools. [...] Indeed, I have heard my-self and my colleagues referred to as the Shōtōkan school, but I strongly object to this attempt at classification. My belief is that all these “schools” should be amal-gamated into one so that Karate-Dō may pursue an orderley and useful progress into man’s future.“ Funakoshi (1975/1993), p. 62 et seqq. In ’Karate-Dō Nyūmon’ you can find a similar state-ment: “I have never given a name to the Karate I am studying, but some of my students call it Shōtōkan-Ryū.“ Funako-shi (1943/1988), p. 28. 118 The exact number of Funakoshi’s teachers is vague. Wittwer (2007), p. 121, names besides Asato and Itosu, with Matsumura Sōkon, Aragaki Seishō, Higashionna Kanyū (1848-1922), Kiyūna (1845-1920), Kojō Daitei (1837-1917) and Tawada (1851-1907), at least six additional ones. 119 Funakoshi (1943/1988), p. 22. 120 Funakoshi (1975/1993), p. 21 et seq. 121 e.g. Wittwer (2007), p. 40. 122 McCarthy (1989). 123 e.g. Tokitsu (1988) and Wittwer (2007), p. 138. McCarthy (1989), names 1905 (Meiji 38). According to McCarthy (1999, p. 12) Mabuni was Itosu’s major student during those days. 124 Together with six other examees, like Ōtsuka Hironori or Kasuya Masahiro (1888-1969), did Gima pass the first Karate-grading under Funakoshi Gichin on the 12th of April, 1924 (Taishō 13). Bittmann (2000), p. 100. 125 Gima in Wittwer (2007), p. 139. 126 Nagamine/McCarthy (2000), p. 71. 127 Fujiwara in McCarthy (1999), p. 12, and also the translation of a similar statement of Fujiwara in Wittwer (2007), p. 140. 128 Tokitsu (1984) and additionally also Noble (2006a). 129 Pinan (Heian) (Shōdan-Godan), Passai (Bassai) Dai, Kōshōkun (Kankū) Dai, Wanshu (Empi), Chintō (Gankaku), Jitte, Seisan (Hangetsu), Naihanchi (Tekki) (Shōdan-Sandan), Jion. 130 e.g. Funakoshi (1958/1973), p. 9 and p. 35 et seqq. He names 19 Kata at which Taikyoku Shōdan-Sandan and Ten no Kata are just forms of practice, which were created by Funakoshi and do not hold traditional Kata in the closer sense.

131 Funakoshi (1943/1988), p. 49 and additionally Wittwer (2007), p. 130 and 170. 132 Although this organisation claims to follow Funakoshi’s teachings, [ Naka-yama in Hassel (1997), p. 41 and http://www.jka.or.jp/english/about/history.html], they could not, after Funakoshi’s death, win over any of his senior stu-dents like Egami Shigeru (1912-1981), Hironishi Genshin (1913-1999) or Nogu-chi Hiroshi. 133 For any further information, please have e.g. a look at Nakayama’s ‚Best Karate’ Series, Vol. 5-11 and Kana-zawa’s two ‘Shōtōkan Karate Kata’-books. 134 The original JKA has split into sev-eral different (sub-) organisations during the last years. Former famous expo-nents, like Asai Tetsuhiko (1935-2006, 10th Dan), Kanazawa Hirokazu (*1931, 10th Dan), Kase Taiji (1929-2004, 10th Dan) or Nishiyama Hidetaka (*1928, 10th Dan) have found their own federa-tions and unions, with sometimes some, sometimes no connection to the JKA. Although all of them have written lots of Kata-books, they usually remain quite shallow when it comes to statements about the transmission of their style’s Kata. 135 Mabuni (2007), p. 55. This must have taken place in between 1922 (Taishō 11) and 1928 (Shōwa 3). 136 Chambers, p. 2. The assertion that Mabuni also taught Nakayama Masatoshi (1913-1987) in those days is wrong, as Nakayama was just 15 years of age in 1928 (Shōwa 3) and, by his own account just started his Karate-training (with Fu-nakoshi Gichin) in 1932 (Shōwa 7). Na-kayama in Hassel (1997), p. 27. 137 McCarthy (1999), p. 25. 138 Mabuni Kenzo in Fraguas (2001), p. 183. Most likely there is a falsity in the date, as Nakayama by his own account ( Nakayama in Hassel (1997), p. 49) just came back from China to Japan in 1946 (Shōwa 21). Another indicator for a wrong year is a photo, showing Ma-buni, Funakoshi, Obata, Nakayama and Sakagami at Ōsaka main station in 1948 (Shōwa 23). 139 Mabuni Kenzo in Fraguas (2001), p. 183. According to Funakoshi’s statement in ’Karate-Dō Nyūmon’ (1943/1988, p. 49) the ’Unsu-’ and ‘Gojūshiho’-forms have however already been practiced at the Shōtōkan in 1943 (Shōwa 18). There remains a need for clarification. 140 Nakayama in Hassel (1997), p. 86. 141 McCarthy (1999), p. 25. 142 Like e.g. Kiba-Dachi instead of Shiko-Dachi, Kōkutsu- instead of Neko-Ashi-Dachi, Yoko- instead of Mae-Geri, Tate-Shutō- instead of Kake-Shutō-Uke. Or the execution of Manji-Uke in Kō-kutsu- instead of Zenkutsu-Dachi. 143 E.g. Hayashi Teruo (1924-2004, Ha-yashi Ha Shitō-Ryū), Sakagami Ryūshō (Itosukai-Ryū), Gusukuma Shinpan (Shiroma Shitō-Ryū), Tani Chōjirō (1921-1998, Tani Ha Shitō-ryū) or Iwata Manzo (Shitōkai).



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144 Mabuni/Nakasone (1938), p. 209 and Swift. Bibliography: Abernethy, Iain (2006): Interview with Hanshi Haruyoshi Yamada, 9th Dan, May 2nd 2006 (http://www.iainabernethy.com/cgi-bin/ultimatebb.cgi?ubb=get_topic;f=12;t=000019) Aston, W. G. (trans.) (1998): Nihongi: Chronicles of Japan from the Earliest Times to 697 A.D., Rutland 111998. Bishop, Mark (1999): Okinawan Ka-rate: Teachers, Styles and Secret Techniques, Rutland 21999. Bittmann, Heiko (2000): Karate-Dō: Der Weg der Leeren Hand; Meister der vier großen Schulrichtungen und ihre Lehre (Karate-Dō: The Way of the Empty Hand; Masters of the Four Big Styles and their Teaching), Ludwigsburg 22000. Chambers, Damian (n.d.): Kenwa Ma-buni: The Founder of Shōtōkan? (http://www.shitokai.com/pdf/mabuni.pdf) Ettig, Wolfgang (2004): Takamatsu To-shitsugu – Die Biographie einer Kampfkunstlegende (Takamatsu To-shitsugu – The Biography of a Mar-tial Arts Legend), Schmitten/Ts. 2004. Fraguas, Jose M. (2001): Karate Mas-ters, Burbank, 2001. Funakoshi, Gichin (1958/1973): Karate-Dō Kyōhan: The Master Text, (Jap. original edition published in 1958), Tō-kyō 1973. Funakoshi, Gichin (1943/1988): Karate-Dō Nyūmon, (Jap. original edition pub-lished in 1943), Tōkyō 1988. Funakoshi, Gichin (1975/1993): Karate-Dō: Mein Weg (Karate-Dō: My Way of Life), (Jap. original edition written in 1956, published in 1975), Heidelberg-Leimen 1993. Golinski, Matthias (2004): Legenden des Karate: Konishi Yasuhiro und das Shindō Jinen-Ryū (Legend of Ka-rate: Konishi Yasuhiro and the Shindō Jinen-Ryū), 15. August 2004, (http://www.tsuru.de/geschichte/konishi/konishi.htm). Golinski, Matthias (2005): Das Bubi-shi – Eine Einleitung zur „Bibel des Karate“ (The Bubishi – An Introduc-tion to the „Bible of Karate“), 15. April 2005, (http://www.tsuru.de/geschichte/bubishi/bubishi.htm). Golinski, Matthias (2007): Legenden des Ryūkyū Kobudō: Über das Leben und Wirken des Taira Shinken (Legends of Ryūkyū Kobudō: About the Life and Work of Taira Shinken), 15. September 2007 (http://www.tsuru.de/geschichte/taira/taira.htm).

Hassel, Randall G. (1997): Gespräche mit dem Meister – Nakayama Masatoshi (Conversations with the Master – Nakayama Masatoshi), Lauda Königshofen 1997. Hevener, Phillip T. (2008): Fujita Seiko – The Last Kōga Ninja, Philadel-phia 2008. High, Howard P. (2006): The History of Japan Karate-Do Ryobu-Kai, 06. Oktober 2006 (http://jkr.com/index.php?option=com_content&task=view&id=14&Itemid=27). Hokama, Tetsuhiro (2005): 100 Mas-ters of Okinawan Karate, self-published, Nishihara 2005. Kaminaga, Shigemi (1996): Ko Ueno Takashi Sensei Nijū Shūki Tsuitō – Nihon Dentō Bujutsu Enbu Taikai (The Late Ueno Takashi Sensei 20th Anniversary Memorial – Traditional Japanese Martial Arts Demonstration Meeting), Tōkyō 1996. Mabuni, Kenei (2001): Leere Hand – Vom Wesen des Budō-Karate (Empty Hand – About the Essence of Budō-Karate), Chemnitz 2007. Mabuni, Kenwa (1934a): Kata wa Ta-dashiku Renshū Seyo (Practice the Form Correctly), in: Nakasone, Genwa, Karate-Kenkyū (Research on the Empty Hand), Tōkyō 1934 (Reprint 2003), p. 15. Mabuni, Kenwa (1934b): Kumite no Kenkyū (Kumite Research), in: Naka-sone, Genwa, Karate-Kenkyū (Research on the Empty Hand), Tō-kyō 1934 (Reprint 2003), p. 28-29. Mabuni, Kenwa (1938): Aragaki Sō-chin, in: Nakasone, Genwa (ed.), Ka-rate-Dō Taikan (Overview on the Way of the Empty Hand), Tōkyō 1938 (Reprint 1991), p. 143-180. Mabuni, Kenwa/ McKenna, Mario (trans.) (1934/2002): Kōbō Jizai Goshinjutsu Karate Kenpō – The Free Self-defense Art of Karate Kenpō, (Jap. original edition published in 1934), (www.mariomckenna.com) 2002. Mabuni, Kenwa/ McKenna, Mario (trans.) (1934/2003): Sêpai no Kenkyū’ – The Study of Seipai, (Jap. original edition published in 1934), (www.mariomckenna.com) 2003. Mabuni, Kenwa/ Nakasone, Genwa (1938/2000): Haltung des Herzens des Übenden auf dem Wege der Leeren Hand (1938) (Position of the Heart of the Practicioner on the Way of the Empty Hand), in: Bittmann, Heiko: Karate-Dō: Der Weg der Leeren Hand; Meister der vier großen Schulrichtungen und ihre Le-hre (Karate-Dō: The Way of the

Empty Hand; Masters of the Four Big Styles and their Teaching), Ludwigs-burg 22000, p. 169-187. Mabuni, Kenwa/ Nakasone, Genwa (1938): Karate-Dō Nyūmon. Betsumei: Karatejutsu Kyōhan (Introduction to the Way of the Empty Hand. Section Name: Teach-ing Method of the Art of the Empty Hand), Tōkyō 1938. Mabuni, Kenwa/ Tankosich, Mark (trans.): Practice Kata Correctly, (http://seinenkai.com/articles/tankosich/tankosich3.html) McCarthy, Patrick (1989): Chronology (http://www.koryu-uchinadi.com/irkrs/

Chronology_Informal.htm). McCarthy, Patrick (1997): The Bible of Karate: Bubishi, Rutland 41997. McCarthy, Patrick (1999): Standing on the Shoulders of Giants: The Mabuni Kenwa Story, in: McCarthy, Patrick, Ancient Okinawan Martial Arts, Vol. 2, North Clarendon 1999, p. 1-37. Mol, Serge (2001): Classical Fighting Arts of Japan – A complete Guide to Koryū Jūjutsu, Tōkyō 2001. Moledzki, Sam (n.d., a): Iwata Manzo (http://www.shitoryu.org/bios/iwata/iwata.htm). Moledzki, Sam (n.d., b): The Shitō-Ryū Karate-Dō of Kenwa Mabuni (http://www.shitoryu.org/bios/mabuni/mabuni.htm). Miyagi, Chōjun (1934/2000): Allgemeine Darstellung zum Weg der Chinesischen Hand (1934) (General Outline on the Way of the Chinese Hand), in: Bittmann, Heiko, Karate-Dō: Der Weg der Leeren Hand; Meister der vier großen Schulrichtungen und ihre Lehre (Karate-Dō: The Way of the Empty Hand; Masters of the Four Big Styles and their Teaching), Ludwigsburg 22000, p. 150-168. Nagamine, Shōshin/ McCarthy, Patrick (trans.) (2000): Tales of Okinawa’s Great Masters, Rutland 2000. Noble, Graham (2006a): Master Funa-koshi’s Karate: The History and De-velopment of the Empty Hand Art. (Pt. 1), (http://seinenkai.com/articles/noble/noble-funakoshi1.html). Noble, Graham (2006b): Master Funa-koshi's Karate: The History and De-velopment of the Empty Hand Art. (Pt. 2), 28 Feb. 2006 (http://seinenkai.com/articles/noble/noble-funakoshi2.html). Noble, Graham/ McLaren, Ian/ Karasawa, N. (1988): Masters of the Shorin-Ryu – Part One, in: Fightings



Arts International, Issue No. 50, Volume 9, No. 2, 1988, p. 24-28. (http://seinenkai.com/articles/noble/noble-shorin1.html) Sells, John (n.d.): Shitō-Ryū History (http://www.martialsource.com/shitohistory.htm). Swift, Joe (n.d.): Wisdom from the Past: Tidbits on Kata Applications from Pre-War Karate Bookp. Part One (http://www.seinenkai.com/articles/swift/swift-tidbits1.html). Tokitsu, Kenji (1984): Réflexion histo-rique sur le karate 5: Les kata et le combat (Historical Reflection on Ka-rate 5: Kata and combat), 1984 (http://www.tokitsu.com/ca/presentation/articles/fr/reflexion-historique-sur-le-karate-5/karate-kata-otsuka-funakoshi-kano-demonstration-de-combat-budo-historique.html). Tokitsu, Kenji (1988): L’historie du ka-ratè 2: La transformation des kata classiques (The History of Karate 2: The Transformation of the classical Kata), 1988 (http://www.tokitsu.com/fr/presentation/articles/fr/lhistoire-du-karate-2/transformation-modification-evolution-des-kata-pinan-et-naifanchi-par-itosu.html). Watatani, Kiyoshi/ Yamada, Tadashi (ed.) (1978): Bugei Ryūha Daijiten (Big Encyclopaedia of the Martial Arts Schools), Tōkyō 1978.

Wittwer, Henning (2007): Shōtōkan: Überlieferte Texte – historische Untersuchungen (Shōtōkan: Traditional Texts, Historical Analysis), Niesky 2007.

In Taiwan I met one of the old men of Shehequan, master Liu-Song-Shan. Hi is an uncle of my Sifu (brother of my Sifu's father, Liu Yi-Shan). At age of 83 he is still practicing Shehequan [Feeding Crane quanfa] every day. He is a headmaster of the family tradition of Shehequan.

It was Master Liu who was asked by the famous Shihan of Okina-wan karate, Patrick McCarthy, to

disclose the information about Shehequan and Shaolin Tongjien Bu [Shaolin Bronze Man manual], and the secrets of Liu family [White Crane style]. Master Liu was very helpful. Most of information about Shehequan in Patrick McCarthy's book Bubishi - The Bible of Karate comes from Mr Liu. This is what Master Liu said about their meeting.

How and when did you meet Patrick McCarthy? It was quite long ago, during my visit to China as a representative of Shehequan. The Fuzhou Mar-tial Arts Association at that time had organized a competitive gathering, and symposium in or-der to research the roots of vari-ous fighting arts, which were in fear of being lost in China. She-hequan was one of them. No one except our family and our area in Taiwan practices this system at the moment. However it is a very famous fighting system. That was why Fuzhou Wushu As-sociation was interested in it. Mr. McCarthy was also taking a part in those meetings as he was researching the roots of Okina-wan karate and other martial arts of Okinawa which come from our system. His intention was to translate into English and publish the Wuwezhi (Bubishi). He was also very interested in Shihequan.

As far as I know Mr. McCarthy is fluent in speak-ing Japanese, but I did not know that he also speaks Chinese. No, he did not speak [Mandarin] Chinese but my Japanese is quite good and so that's how we communicated.

What sort of information was Mr. McCarthy after? Everything what was associated with Wuweizhi. He was also searching for a copy of this book made outside of Okinawa. Mr. McCarthy heard about Shaolin Tongjien Bu [Bronz Man book]

and that was why he came to China. An Okinawan Bubishi ex-ists which in Chinese is called Wuweizhi. It is also not unknown book in Taiwan and Hong Kong, Singapore and China. As the Bubishi contains a lot of Crane-style quanfa information, those people interested in the Bubishi would also be interested in our style. Apart from this the con-tent of Bubishi does not vary much from our copy of the Shaolin Tongjien Bu.

What can you say about meetings and tournaments in Fuzhou? It was simply a tournament of martial arts [seminars] and meeting of many masters and coaches. I remember a very tall Yugoslavian; here I have a pho-tograph with him (Sifu is show-ing his album). He was trying to surprise me with one of his high kick, perhaps he was practising northern Shaolin, never mind. He attacked me with this kick but I defended myself this way (Sifu demonstrated this tech-niques on me). He flew a couple of metres back and after he did not want to discuss the effec-tiveness of Shehequan.

Apart from this I met many peo-ple, for example head master of Minhequan. His formal exercises looked very elegant (as oppose to my because lets face the truth Shehequan is not pretty). I

秘密の白鶴 Secrets

of White Crane By Paul Wolos

Master Liu Yin-Shan.

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