History of Toshu Jutsu

by Julie Bickerton
Karate today is seen very differently than it was hundreds of years ago.  Today it is a worldwide activity commonly seen as self defense and a sport, whereas before it was more of a way of life, physically, mentally and spiritually.  Students dedicated their whole lives to the study.
Karate involves punching; kicking, grappling, joint manipulations, locks, throws and vital point striking.  However it is known as a defensive system, and all katas start with a defensive move rather than an attacking move.
There are many variations surrounding the historical facts of this subject and my opinion is that there is some truth in all the stories.
'Martial arts' was often taught to the hierarchy of the population as these were the people who had spare time to be able to study such practices.  They were also the people who had the opportunity to travel which enabled other forms of martial arts to be brought back to Okinawa and form the basis of what we know today.  Many pupils studied in temples which were what we would call today 'martial art universities'.
Karate Jutsu originated from the island of Okinawa, which is the largest of the Ryukyu Islands, in between China, Japan and Taiwan.  On the island martial arts were heavily influenced by China.  Three villages played an important part in developing these arts; they were Naha, Shuri and Tomari.
Naha (original name Naba) was the capital of the island.
Shuri this village was developed around Shuri castle, (the palace) and was later merged into Naha.
Tomari was a village which was later to become part of Naha.
From the 7th century Chinese martial arts were introduced to Okinawa by both Taoist and Buddhist monks.  These arts included Te (karate), Kata (forms), Torite (locks), Tegumi (grappling) and
Buki'gwa (weapons).  With this they practiced and developed the system known as Te or Okinawa-te.  This is the basis of modern karate-do (the way of the empty hand). 
The Chinese also taught Kempo (way of the fist), and the Okinawans combined this with Te and introduced the form To-Te.  By the 18th century three different styles of Te had developed.  These styles were from the three villages on the island.  Each style had its own name -
Naha-te - this was based on Fujian White Crane (China) and was introduced from the early 19th century.  Successive styles are Goju-ryu and To'on-ryu and Shorei-ryu.  Masters - Kanryo Higashionna. 
Shuri-te - this was similar to Tomari-te.  Successive style Shorin-ryu.
Tomari-te - this was based on Wang Ji, Anan and Ason and was introduced in late 17th century.  Successive styles Tode jutsu, To-de and Shorin-ryu.  Masters - Matsumora Kosaku, Oyadomari Kokan and Yamazato Gikei.  Important katas - Ananku, Wankan, Tomari Passai.
In the early 20th century Okinawan martial arts became known as karate-jutsu.  It then changed its name to karate-do.  This originally meant 'Chinese hand' which reflected the Chinese influence, but was changed in 1935 to 'empty hand' in Japanese, so it would sound less foreign.  

There are four traditional styles of karate.
Shotokan founded by Gichin Funakoshi.   Shotokan is the name Funakoshi used when he used to write poetry as a teenager.  This karate is characterized by powerful linear techniques and deep strong stances.
Shito-ryu was founded by Kenwa Mabuni and was influenced directly by both Naha-te and Shuri-te. The name is derived from a combination of the Japanese characters of Mabuni's teachers' names - Ankoh Itosu and Kanryo Higaonna.  Shito-ryu schools use approximately 50 kata, and are characterized by an emphasis on power in the execution of techniques.
Goju-ryu was developed out of Naha-te and founded by Chojun Miyagi.  Known as the 'hard soft way'.   Emphasis is placed on combining soft circular blocking techniques with quick strong counter attacks delivered in rapid succession.
Wado-ryu founded in 1939 by Hienori Otsuka and was developed from a combination of jujitsu and karate.  Known as 'way of harmony'.  This style combines basic movements of jujitsu with techniques of evasion, with an emphasis on softness and the way of harmony or spiritual discipline.
There are many more styles around today and all are acceptable, however these four are seen as the original four styles from which others have evolved from.
In 1477 the King Sho Shin banned all forms of martial arts.  This meant the art needed to be taught in secret and often at night.  It is thought people used to practice in the pajamas which is where the 'gi' originated from. 
This ban led to the development of kobudo ('old martial way'), which allegedly uses farming utensils as weapons.   These included:
 
Kama (sickle) - a traditional farming tool. 
Nunchaku - 2 pieces of wood connected with either a cord or chain.   This could have been a Chinese weapon or a threshing flail. 
Tonfa (baton) - this is similar to the truncheon which is used by the police today.  It could have originated from the handle of a millstone.  Commonly made from oak. 
Sai (3 pronged knife) - this is similar to a short sword, but it is blunt.  It has two short prongs at either side of the blade which can be used for both trapping and hooking your attacker or his weapon.  These were often carried in threes, one for throwing and two for combat.  There is a 2 pronged version which is known as a jutte.
Bo (6' staff) - possibly originated from the tenbin (carrying stick).  This is one of the first weapons and generally made from oak.
Jo (4' staff) - a shorter version of the bo, could have been developed from walking sticks.
Notable kobudo masters included Taira Shinken, Kenwa Mabuni, Motokatsu Inoue, Chotoku Kyan, Shigeru Nakamura and Shinko Matayoshi.
Okinawan Kobudo was most popular around the 1600's, however many of the original katas have now been lost.   Karate katas can often be adapted to use a variety of weapons.
 
MASTERS
 
Minamoto no Tametomo 1139 - 1170
Minamoto no Tametomo was a samurai warrior and archer who fought in the Hogen Rebellion with his father, but against his brother.  This took place at the Shirakawa Palace in Kyoto, Japan and   involved the Fujiwara, Minamoto and Taira clans after the death of Emperor Toba.  The palace was destroyed and Minamoto was exiled to Oshima.  Whilst exiled he made his way to Okinawa and founded their Kingdom.  He married a princess and had a son who later became King Shunten. It is thought that he was the first warrior to commit seppuku.
 
Peichin Takahara 1683 - 1760
Peichin Takahara was born in Akata-Cho, Shuri, Okinawa. He was a Shaolin monk, mapmaker, astronomer and martial art expert who dedicated his life to karate.
His masters - Chatan Yara
His students - Kanga Sakukawa, Tode Sakugawa.
 
Kanga Sakukawa 1782-1838 (1862?)
Kanga Sakukawa was born in Akata village, Shurie, Okinawa.  He was also known as Tode Sakukawa. 
He was an Okinawan martial artist who developed Te and was known as 'the father of Okinawan karate'.
His Master - Peichin Takahara
His students - Sokon Matsumura
 
Sokon Matsumura 1797 -
Sokon Matsumura was born in Yamagawa village, Shuri, Okinawa.  He was also known as Bushi (warrior).  He served as an advisor and bodyguard to three kings - Sho-Ko, Sho Iku and Sho Tai. This position enabled him to travel extensively enabling him to study forms of Chinese boxing and Jigen-ryu sword fighting. Sokon Matsumura was the founder of shorin-ryu karate.
His Master
His students  - Anko Itosu,  Kentsu Yabu, Gichin Funakoshi,  Chomo Hanashiro, Nabe Matsumura, Chotoku Kyan,   Anko Asato, Kiyuna Pechin, Sakihara Pechin.
 
Anko Itosu      1831 - 1915      
Anko Itosu was born in the Yamagawa village, Shuri, Okinawa.  He studied Chinese and Japanese classics and calligraphy.  He is known for splitting Matsumura's Pinan kata into Pinan Shodan, Pinan Nidan and Pinan Sandan. He is referred to as 'Grandfather of modern karate'.
His Master - Sokon Matsumura.
His students - Gichin Funakoshi, Kenwa Mabuni, Motobu Choki
 
Gichin Funakoshi 1868 - 1957
Gichin Funakoshi was born in Shuri, Okinawa.  He is the founder and father of Shotokan karate and also studied Shorin-ryu and Shorei-ryu in Okinawa and kendo in Japan.
The name Shotokan comes from when he wrote poetry as a teenager.  He would not allow free fighting in karate as he considered this as disrespectful to karate.   He adopted the dan system from Judo and began using the coloured kyu/dan belt system in 1924.
1921 introduced karate to Tokyo and built a Shotokan dojo in Tokyo in 1936.
He taught 16 kata, though there were at least 40: 5 pinan, 3 naihanchi, kushanku dai, kushanku sho, seisan, patsai, wanshu, chinto, jutte and jion.  Funakoshi changed the names of katas, giving them Japanese names (to be politically correct).  Pinan became heian, naihanchi became tekki, wanshu became empi etc.
His Masters - Yasutsune Azato, Anko Itosu, Arakaki and Sokon "Bushi" Matsumura
His Students - Takagi, Nakayama, Kyokai, Yoshida, Obata, Shigeru Egami, Hironishi, Noguchi and Hironori Ohtsuka.
 
Kanryo Higaonna  1853 - 1915
Kanryo Higaonna was born in Naha, Okinawa.   In 1869, as a teenager he decided to study martial arts and travelled to Fuzhou, China and studied under Master Ryu Ryu Ko for 13 years.  He became experienced in the use of weapons. On his return to Okinawa his martial arts became known as Naha-te.  He was noted for dedicating his whole life to karate and bringing his knowledge he had gained in China and teaching it to his people.
His Masters - Ryu Ryu Ko
His students - Chojun Miyagi
 
Chojun Miyagi  1888-1953
Chojun Miyagi was born in Naha, Okinawa.  He was the founder of Goju-ryu karate and combined the systems of Shaolin (boxing), Pa Kua (boxing) and Naha Te to create the style, also known as Ronin Goju.  He created the following katas Tensho, Gekisai Dai Ichi and Gekisai Dai Ni.
He was noted for introducing karate into law enforcement and schools.
His Masters - Kanryo Higashionna, Ryuko Aragaki
His students - Gogen Yamaguchi, Seiko Higa, Seikichi Toguchi, Ei'ichi Miyazato, Meitoku Yagi
 
Kushanku  1700 1790 (?)
Kushanku (or Kwang Shang Fu) was born in the Fukien province, China. He was a Chinese martial arts expert and was renowned for his fighting skills.  Kushanku was a master of Quanfa and Ch'uan Fa (boxing) and he influenced the development of Shorin-ryu karate.  He was noted for introducing  hikite (to pull back the fist). 
1756 he came to Okinawa as an ambassador of the Chinese Ming-Emperor.  A number of ambassadors of varying occupations were sent to teach the Okinawan people their trades.
Kata Kusanku was created in honour of him by his student Sakugawa.
His Master
His students -  Satunuku Sakugawa, Shionja, Chatan Yara, Tode Sakugawa
 
Aragaki Seisho 1840-1918 (or 1920)
We do not know for definite where he was born, it was either in Kumemura village, Okinawa, or on the nearby island of Sesoku.  He was also known as Aragaki Kamadeunchu and Aragaki Maaya.
He was an interpreter for Okinawan royalty, translating Chinese.  He studied Monk Fist gungfu, Tote and kobudo.  
Aragaki Seisho did not create a style of karate though he did leave behind karate and kata techniques which are seen throughout karate and kobujutsu today.  He created bo and sai katas Aragaki-no-kun, Aragaki-no-sai and Sesoku-no-kun.
His Masters - Wai Xinxian ( Wai Shinzan)
His students - Kanryo Higashionna, Gichin Funakoshi, Mabuni Kenwa, Uechi Kanbum, Chitose Tsuyoshi
Luluko (Ryu Ryu Ko)
Due to the limited history regarding this man and his identity it is not known where he was born or when he died.  It is thought he studied White Crane Kung Fu and studied in a Shaolin Temple in Fujian Province, China.  He became  accomplished in bare hand martial arts and weaponry and herbal medicine and is the predecessor of Goju-ryu karate.  He worked as a bricklayer and builder, then later making cane ware and furniture.
Students - Kanryo Higaonna

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History of Toshu Jutsu

by Jamie Tozer

As a relative newcomer to the world of 'Martial Arts', and largely ignorant of its history and development, this body of work aims to cover a range of topics regarding karate; it creators and early influences, through to its modern standing in contemporary society.   I regard this essay to be a brief but accurate account of Karate from the early 1600s, but understand that Karate as a discipline has been developed over many hundreds of years prior to this time.  However it must be understood that there are many political and cultural developments, i.e. the Meiji `Restoation of the late 19th century  to name but one, which are beyond the scope of this particular work, and indeed would create a whole new essay in itself.

Kara means empty or void, and Te means hand.   Do means "Way of'. Therefore, Karate means 'Empty Hand', and Karate-do is 'Way of the Empty Hand'.

The beginnings of Karate can be dated back to the tiny island of Okinawa around 1600AD.  This small island forms part of the Ryukyu islands, and is located between both China and Japan, and has such been affected and shaped by the politics, cultures and economies from the larger land. The fighting methods particularly Chinese Taoist and Buddhist monks, and also Japanese Samurai, were hugely important to Karate's development, alongside the indigenous Okinawan art of 'Te'

In his book, "Barefoot Zen - The Shaolin Roots of Kung Fu and Karate", Nathan J Johnson writes,

"…Several misconceptions and difficulties arise with regard to Kung Fu, Karate, and related arts as a result of considerable emphasis placed on the way in which they are perceived and taught.  For example, Karate has been promoted as a cultural product of Japan, yet its technical repertoire is essentially an Okinawan development of Chinese Kung Fu."

The Okinawan upper classes were an important part of the introduction of outside influences, both spiritual and physical.  The upper classes were the people who could afford the time and money to travel and train, and also mingle with authorities, dignitaries and masters.  The upper classes would then import the knowledge they had gained, which was then disseminated to the lower classes and peasants of the island.

One of the many styles that were imported to Okinawa, was Fukien White Crane Kung Fu.  Developed by Fang Qi Nang, it is based of the attack and defence of the Crane.  It is understood that Fang tried to scare the bird whilst doing her chores, then tried to hit its head, followed by the wings and body.  Each time the bird would dodge and counter, and from this encounter, Fang studied the movements of Cranes and combined them with martial arts she learnt off her father.

Other imported styles were Chinese Kempo and Hakuda, and Japanese Yawara. These forms of fist fighting, and kicking and striking, along with grappling were important in the development of Jujutsu, Judo and Aikido, along with Karate, and it is important to note that there are many similar elements and fundamentals between each art.  The Okinawan combined these many forms with their own Te, and three different forms were developed over time, throughout the island, namely Naha, Shuri, and Tomari. Naha-Te was based on White Crane Kung Fu.; Shuri-te is believed to have been based on Shoalin Temple Boxing, whilst Tomari-te is based on Wang-Ji

An interesting point to note here is the use of weapons which were banned on the island from the 15th century. The ruling party of the time took this measure to stop it being easily overthrown.  However, the Okinawans are a farming community, and it is thought that many of the weapons used today, are those similar to tools used by the peasants - Nunchaku, Sai, Tonfa and Jo/Bo being the most recognised.  These can be interpreted as a scythe, potting and holing tools, and also walking sticks respectively. 

Karate is regarded as a defensive system.  Gichin Funakoshi, perhaps one of the most influential masters/creators Karate, states in his book ' My Way of Life' that there is "no first strike in Karate", and it is from this statement that's Karate is regarded as defensive.  An attack by an opponent may not necessarily be in physical form, and intention of attack can stem from verbal, or even body language suggestion.  Modern sport karate is highly bases on punching and kicking, but traditional karate is much more devastating, as it also utilises grappling, joint manipulation, locks, throws and vital point striking

Modern Karate has four principle styles; Shotokan, Goju-ryu, Wado-ruy and Shito-ryu, each of which can be traced to the village from where it originated, and also their creators. For instance… 

Shotokan Karate was developed by Funakoshi Gichin, and its translation means "House of Waving Pines"..  It is a very stylized, powerful and linear form which has strong stances.  The lineage of Shuri-te to Shotokan is as follows:

Ji Ji Ke, Wang Ji, Hama Higa, Takahara Peichin, Tode Sakugawa, Soken 'Bushi' Matsumura, Yatsutsune Itosu, and Gichin Funakoshi.

Goju-ryu was developed by Chojun Miyagi, and is translated as the "hard soft way" It uses very circular techniques with rapid counters and is based on Naha-Te Its lineage from Naha-te is as follows:

Ryu Ryuko, Kanryo Higaonna, and Chojun Miyagi.

It is worth noting however that there are crossing influences with the introduction of Arigaki Seisho, the creator of Kata Hangetsu.  Seisho trained both Itosu of Shuri, and Higoanna of Naha, and created.  Following this, Funakoshi of Shuri, and Miyagi of Naha, were also good friend.  There must have been collaborations and developments between these influential masters, while keeping a discernible separation.

Wado-ryu, and Shito-ryu are relatively young styles of Karate. Wado being created in 1939 by Hienori Otsuka.  It translates as "Way of Harmony".  It is essentially a combination of basic jujitsu and karate, and is perhaps a more spiritual discipline. Shito-ryu was officially founded in 1the 930s by Kenwa Mabuni.

At this point it would be simpler to individually describe several fundamental characters in the development of Karate, but also noting that there were many other significant individuals who will inevitably be omitted.

Ji Long Feng, also known as  JiJi Ke was born in 1620, and was a master of boxing, shaolin boxing and spear fighting. Died 1680.

Wang Ji - 1653-1750 -Tomari, Okinawa.  Shoalin Temple Boxing.  It is not known for certain whether he was the creator of the Kata Wansu (also known as Empi), or  if it was created by his students as a tribute.  Either way, it can be described as having the up and down movements that mimic the flight of a swallow, with a grab and throw combination where the opponent is picked up and 'dumped' to the ground.  Wang Ji taught many Tomari gentry an upper-class.

Hama Higa (1600's) - Not much can be unearthed  about Hama Higa, and he often gets confused with  a certain Matsu Higa. What is known however, is that Hama Higa Peichin perormed Toudi and Sai-Jutsu before the 4t Shogun Tokugawa Tsunayoshi.  The sai kata is still performed today under the name Hama Higa no Sai.  Hama Higa also played the tactical game 'Go', and whilst on a trip to Edo played a famous game with the Japanese Master Hon'inbo Dosaku on 17th April 1682.

Takahara Peichin - (1683-1762)  - Born in Southern Shuri into the upper-class.  An astronomer and cartographer, he was well travelled and educated.  Trained Sakugawa. who became known as Tode Sakugawa at the request of Takahara whilst on his deathbed.  Takahara required Sakugawa to fulfil his legacy, and philosophy of Karate.

Kushanku -  Born in 1700, in Fukien Province of China, Kushanku is well known for developing Hikite (pulling back the fist), and also prominent in the development of Shorin-Ryu, and master of Kung Fu .  Kushanku settled in Okinawa for some time, as part of a Chinese envoy.  His principle student was Tode Sakugawa, but he is also thought to have taught Shionja and Chatan Yara. It is guessed he died in China around 1790 .

Tode Sakugawa - 1733 -1815-  Sakagawa was firstly a student of Takahara Peichin, who gave permission, and possibly advised him to train with KushankuIt is believed Sakugawa became a student of Kusanku in 1756.  Sakugawa soon started to teach the Chinese hand way in Okinawa.  The advantage of having the tutelage of these two masters, enabled Sakugawa to combine both styles into his own Tode.  Sakugawa is also credited with creating several 'Bo' Kata which are present in modern karate.
Tode Sakugawa taught Sokon 'Bushi' Matsumura, who is regarded as the forefather of many styles of karate.

Chinto - Had a battle with Sokon 'Bushi' Matsumura who was sent to capture him after he spent time stealing from Okinawan villagers, the ensuing fight left Matsumura respectful of Chinto's skills, and they became friends.

Masumura Soken  (1797- 1889)- Creator of Bassai Dai, Heian Shodan and Heian Neidan. The bodyguard of the King of Okinawa.  Had a battle with Chinto who he befriended, and respected.  He was so impressed with Chinto that he wanted to study his art.
Yasutsune 'Anko' Itosu - 1831-1915.   Yasutsune Itosu was born in the city of  Shuri, Okinawa.  At the age of 16 he started to train in Karate with Master Sokon "Bushi" Matsumura.  He was a very close friend of Matsumura's private student, Yasutsune Azato. He is famous for being instrumental in the introduction of Karate in the public school system curriculam in 1901, and developing the Pinan kata. . One of his most famous students was Gichin Funakoshi.

Higaonna, Kanryo (1853-1910) - born in Naha.  A very poor upbringing  despite a prominent lineage., and began his training at age 14 in the Fukien style of Chinese Kenpo in Okinawa.  What followed was an immense hunger for knowledge, and a desire to travel to China to study the arts. Which he was able to do in 1877 in Foochow (Fuzhou), under the tuelage of Master Liu Liu Ko.   The following 13 years  of intense training, required a  true test of will.  On his return to Okinawa, Sensei Higaonna taught Tou-di to many students, but his severe training meant only a dedicated few dedicated stayed for a long periods.

.Chojun Miyagi - Born in 1888, Chojun Miyagi  began his Karate training in Shuri-te and at the age of 14 was introduced to Kanryo Higaonna with whom he began his study of Naha-Te. Chojun Miyagi became uchi deshi of Kanryo Higaonna.  He studied with his teacher for 14 years before his teacher's death in 1915,  after which he journeyed to Fuzhou, China, the city where his teacher had studied martial arts to further his research.  He was responsible for structuring Naha-te (which he later named Goju-Ryu) into a systemized discipline which could be taught to society in general.

Kenwa Mabuni (1889-1952) - The founder of Shito-Ryu,  who like most of karate's old masters, was descended from Okinawa's warrior class or aristocracy. Having started learning karate at the age of 13, he was a student of both  from Ankoh Itosu, and Kanryo Higashionna.  He was also friendly with Chojun Miyagi. Well versed in Naha-te  Mabuni travelled to Japan and became a highly respected police officer and made several trips to Japan after Funakoshi introduced karate there in 1922. In 1929, Mabuni moved permanently to Osaka in 1929 and registered his school of Shito-ryu in the 1930's .  It is difficult to describe Shito-ryu, but it is seen as a blend of Shotokans 'hard'  a and Goju-ryu 'soft' techniques, but has also never forgotten the Okinawan history of weapon skills.

Funakoshi Gichin - born in 1868 in Shuri., Funakoshi is the founder of Shotokan Karate, and widely considered the "father" of modern karate.  He started his journey in Karate at age 11 as a student of both Azato and Itosu. Funakoshi gave several demonstrations  to leading dignitaries between 1916 and 1922,  in both Japan and Okinawa.  He travelled between Japan and Okinawa for a time but was eventually  persuaded to move and live in Tokyo, and open a dojo. Gichin Funakoshi died in 1957, having never returned to Okinawa after his move

In summation, it is fair to say that Karate enjoys  a rich, and diverse history.  There are probably many techniques which have been lost over time, particularly since Karate has turned into a sport and leisure activity.   Karate has effectively been 'dumbed down' since World War II, and with increasing Health and Safety issues (particularly in the sporting sphere), and also because of the teaching of children. However, there are many secrets which have been unlocked, and will continue to be unlocked with the study of kata and bunkai.

Karate is multi function discipline, not restricted to one set of moves.  It can develop self-awareness and discipline with huge health benefits, and self-confidence.  When practised properly, it becomes a 'Way of Life'.

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History of Toshu Jutsu

by Ben Gaunt

Okinawa's first recorded contact with the Chinese was during the Sui Dynasty in 607 A.D.  However, unable to understand the Okinawan dialect (Hogen) the Chinese envoys returned without establishing substantial commerce. (McCarthy 1995, p. 46)

The Tang Dynasty directly followed the Sui Dynasty, and lasted from 618-907. Early Okinawan martial arts were strongly influenced by Chinese martial arts, which may have been introduced to Okinawa in the 6th Century.

Hakuda Kempo Toshu Jutsu is influenced primarily by Karate and Jujutsu. Karate began as the Okinawan fighting system known as te.

The Okinawans developed their own unique art of self-defence; te literally means hands. (Nagamine 1976, p. 20)

Minamoto no Tametomo (1139-1170), a member of the Japanese Minamoto clan, fought in the siege of Shirakawa-den as part of the Hogen Rebellion - a Japanese civil war, fought in 1156, that was crucial in establishing a Samurai government in Japan. In the siege, Shirakawa Palace was burnt to the ground, and Tametomo was exiled to Oshima Island.

During his exile, Tametomo moved to Okinawa and married the sister of Ozato Aji, the ruler of Urazoe Castle. They had a son, Shunten, who defeated Riyu of the Tensonshi in 1186, thus ending the Tenson Dynasty. Shunten became the first king of Chuzan, and established the Shunten Dynasty.

Island folklore maintains that the Tensonshi (lit. "the grandchildren from heaven") governed the Ryuku archipelago for twenty-five generations before Shunten. (McCarthy 1995, p. 57)

King Satto of Chuzan (c. 1320-1395) of the short-lived Satto Dynasty (1349-1407), which followed the Eiso Dynasty (1260-1349), which followed the aforementioned Shunten Dynasty (1186-1253), developed trade relations with the rest of Asia, and specifically the Ming Dynasty of China (1368-1644) in 1372.

From the end of the 14th Century, and throughout the 15th Century, these trade routes flourished. The Okinawan art of te further developed as a consequence of the influence of Chinese martial arts, which were systematically introduced to the capital of Okinawa (Naha) as part of a Chinese mission, which is now referred to as the "Thirty-six Families."

Previously, Okinawa was divided into three kingdoms - Hokuzan, Chuzan, and Nanzan. In 1422, Sho Hashi (1371-1439) succeded his father as king of Chuzan, and in 1429, unified all three kingdoms to form a centralised government, founding the Ryuku Kingdom and the Sho dynasty (1407-1469) which followed the aforementioned Satto Dynasty.  During Hashi's reign, the Ryuku Kingdom continued to absorb Chinese and Japanese influences.

Sho Shin (1465-1526) of the Second Sho Dynasty (1470-1879) developed a more organised system of governance, which saw the aji (local chieftain warriors) gradually lose influence.

In 1507…Sho Shin commanded that his aji withdraw from their fortresses and reside at his side in the castle district of Shuri, hence strengthening his control over them.  Nearly a century before the Edo keisatsu (policeman of the Tokugawa period, 1603-1868) ever established the civil restraint techniques using the rokushaku bo and the jutte (iron truncheon), the Ryuku pechin-class officials had already cultivated a self-defence method based upon the principles of Chinese gongfu. (McCarthy 1995, p. 49)

Toyotomi Hideyoshi (1526-1598), a daimyo who had previously unified Japan, attempted two invasions of Korea (in 1592-1593 and 1594-1596), with the eventual aim of conquering Ming Dynasty China. He ordered the Ryuku Kingdom to support his campaign, but the Ryukuans were unwilling - possibly because of their trade relations with China. 

Without the support of the Ryukuans, Hideyoshi failed to conquer Korea (despite a major Japanese victory at So-chon), and eventually died on September 18, 1598.  Shimazu Yoshihisa (1533-1611), of the Satsuma clan, had supported Hideyoshi throughout the campaign, and consequently faced financial difficulties. In 1609, the Satsuma clan invaded the prosperous Ryuku Kingdom as a means to recoup financial losses.

The development of the art of te accelerated with the subjugation of the Ryukus in 1609 by the Satsuma clan of Japan. The Satsuma clan banned the use of all weapons and the practice of martial arts by the Ryukuans. Despite the enforcement of this ban for over three hundred years, the art of te was not lost. The forbidden art was passed down from father to son among the samurai class in Okinawa. Training went on in secret; devotees practiced in hidden and remote places, meeting between midnight and dawn for fear of informers. Having to study secretly and at great risk did not discourage those of martial and enterprising spirit; rather, it inspired them to greater efforts. (Nagamine 1976, p. 21)

Okinawan folklore speaks of a boy who, at 17, witnessed his father return home injured, the victim of a vicious attack.

Dying, his father said "Son, take a good look at me. I want you to promise me one thing. Take up the martial arts and don't be like your father. Don't ever let yourself be a subject of ridicule and abuse from bullies and men of that ilk." (Kim 1974, p. 20)

The protagonist was Kanga Sakugawa (1733-1815) who, motivated by the fate of his father, moved from Shuri (formerly the capital of the Ryukyu Kingdom, and now a district of Naha) to the nearby village of Ataka, to study with Peichin Takahara (1683-c. 1760) a master of Chinese martial arts who imparted to Sakugawa three principles: -

do - a road or way of life
ho - law, the performance of kata
katsu - use of the kata in the actual fighting
(Kim 1974, p. 20)

Kanga Sakugawa became commonly known as Tote Sakugawa. Etymological study of the word "tote" reveals that it is derived from two separate words - "to" and "te". "To" refers to the aforementioned Chinese Tang Dynasty. "Te" refers to the aforementioned Okinawan martial art, and literally translates as "hands". Hence, the word "tote" is a fusion of Chinese and Okinawan words - in the same way that the martial art that Sakugawa practiced is a fusion of Chinese and Okinawan fighting systems. In kanji, the character for the word "Chinese" is "kara" - resulting in the more familiar word "karate".

Without reservation, we can say that Sakugawa was the first teacher and master of the style that is commonly called true Okinawan and Japanese karate. The true karate master is a general practitioner well versed in all aspects of the art, and not a specialist in only one aspect. (Kim 1974, p. 22)

Hakuda Kempo Toshu Jutsu closely adheres to the above philosophy.

Owing to the secretive nature of karate during the 18th century, there were no formal classifications or standards to which karateka had to adhere to. A sensei would teach a class of students. Students would subconsciously adapt what they had learned to suit their physique (i.e. if a short, stocky student and a tall, thin student were to perform the same kata, there would be noticeable differences.) These students would eventually become teachers and pass their knowledge (with all the adaptations and modifications) onto a new generation. Consequently, Karate was in a constant state of flux - with many different styles evolving independently of each other.

Gradually, however, karate was divided into two main groups or types - Shorin-ryu or Shuri-te, and Shorei-ryu or Naha-te. Shorin-ryu developed around Shuri and Tomari, while Shorei-ryu came out of the vicinity of Naha. (Nagamine 1976, p. 21)

The development of Shuri-te is attributable to Sokon Matsamura (c. 1800-1890). Sokon's father, Sofuku, organised for Sokon to commence training with Tote Sakugawa. By 1816 (at approximately the age of 16) Matsumura found employment in service of the Sho Dynasty as a chikudon. Eventually, Matsamura became the principle bodyguard for three consecutive Okinawan kings. Matsamura was permitted by the royal family to travel to China, specifically Fujian and Satsuma, where he studied a variety of martial arts, (including gongfu with Master Iwah.) In recognition of his services to the royal family, Sokon Matsamura was presented with the title "Bushi", meaning warrior. Eventually, he retired from Imperial service and, utilising his wealth of experience, began to teach karate in Sakiyama village, Shuri (hence Shuri-te, or "Shuri hand".)

His (Matsamura's) principle disciples included Azato Anko (1827-1906), Itosu Anko (1832-1915), "Bushi" Ishimine (1835-1889), Kiyuna Pechin (1845-1920), Sakihara Pechin (1833-1918), Matsumura Nabe (1850-1930) Tawada Pechin (1851-1907), Kuwae Ryosei (1858-1939), Yabu Kentsu (1866-1937), Funakoshi Gichin, Hanashiro Chomo (1869-1945), and Kyan Chotoku (1870-1945). (McCarthy 1995, p. 51)

The development of Naha-te is attributable to Higashionna Kanryo (1853-1916).  Whilst he was still young, Kanryo began to study with Arakaki Seisho (1840-1918). Legend speaks of Kanryo, in his youth, working for a tea merchant who made frequent trips to China.

On one of these trips, the merchant was badly beaten by Chinese bandits. Kanryo, who adored the merchant, made up his mind to study the martial arts. (Kim 1974, p. 95)

In the late 1860s, Kanryo sailed to Fujian (where Matsamura had himself travelled) and began to study a wide variety of Chinese martial arts. Kanryo developed a martial arts system that combined hard and soft techniques (no doubt influenced by methodology learned in Okinawa and China.) Kanryo's system became known as Naha-te or "Naha hand".

There are significant practical differences between Shuri-te and Naha-te. It is claimed by some karateka that Shuri-te is better suited to those of a small physique (and is ideal for developing speed) and Naha-te is better suited to those of a large physique (and is ideal for developing strength). However, Shoshin Nagamine (1907-1997) believes that the fundamental differences between the two systems lies in the method of movement, and the method of breathing.

The basic approach in Shuri-te stems from certain training forms linked to natural movements… Speed and proper timing is essential in the training for kicking, punching, and striking. Breathing is controlled naturally during training. No artificial breath training is necessary for a mastery of Shuri-te.

Naha-te is characterised by the steady and rooted movements… In Naha-te kata there is a rhythmic, but artificial way of breathing in accordance with each of the movements. Compared to the movements in Shuri-te, Naha-te seemingly lacks swiftness in kata practice. (Nagamine 1976, p. 22)

Kanryo's most well known pupil was Miyagi Chojun (1888-1953). Miyagi followed in the footsteps of his teacher and travelled to Fujian where he studied a variety of Chinese fighting systems. Miyagi returned to Naha and developed a martial art system that combined hard Shaolin gongfu techniques, soft pa kua techniques, and Naha-te techniques. In 1929, Miyagi named this system Goju-ryu, meaning "hard soft", a phrase he had taken from the Bubishi: -

Inhaling represents softness while exhaling characterises hardness. (McCarthy 1995, p. 160)

Gogen Yamaguchi (1909-1989) was a pupil of Miyagi, and is credited with bringing Goju-ryu to international prominence. In 1930, Yamaguchi co-founded Ritsumeikan Karate-do Kenkyu-kai at Ritsumeikan University (where he had met Miyagi for the first time.) Eventually, Miyagi entrusted Yamaguchi with the responsibility of raising the profile of Goju-ryu in mainland Japan. Yamaguchi's contribution to the world of karate has been immeasurable - notable achievements include registering Goju-ryu with the official Japanese governing body, unifying Japanese karate schools into a single federation, and developing Goju-ryu into an art that is celebrated world wide.

As the influence of Naha-te is apparent in Miyagi's and Yamaguchi's Goju-ryu, the influence of Shuri-te on Funakoshi's Shotokan is equally noticeable.

It was nearly four decades ago that I (Funakoshi) embarked upon what I now realise was a highly ambitious program: the introduction to the Japanese public at large of that complex Okinawan art, or sport, which is called Karate-do, "the Way of Karate." These forty years have been turbulent ones, and the path that I chose for myself turned out to be far from easy: now, looking back, I am astonished that I attained in this endeavour even the quite modest success that has come my way. (Funakoshi 1975, p. xiii)

Gichin Funakoshi (1868-1957) was a frail, sickly child. He began to study martial arts in order to overcome his poor physical condition.  Both his parents and grandparents agreed that it was unlikely he would live long, and consequently he was somewhat overprotected. Shortly after his birth, he lived with his grandparents (on his mother's side.) As he grew older, his grandfather taught him Chinese classics.  Eventually, Funakoshi attended primary school and whilst there, befriended the son of Yasutsune Azato (also known as Azato Anko), who hailed from the village of Azato, located between Shuri and Naha.

Master Azato not only was unsurpassed in all Okinawa in the art of karate, but also excelled in horsemanship, in Japanese fencing (kendo), and in archery, He was, more-over, a brilliant scholar. (Funakoshi 1975, p. 3)

After two years of training with Azato, Funakoshi began to notice significant improvements in his health - something he attributed to the study of karate. 

I enjoyed karate, but - more than that - I felt deeply indebted to the art for my increased well-being, and it was around this time that I began to seriously consider making Karate-do a way of life. (Funakoshi 1975, p. 3
4)

By his late teens, Funakoshi had become well versed in Chinese classics (attributable to the education he received under the tutelage of his grandfather and Azato, who was a scholar in his own right.) Consequently, Funakoshi decided to become a schoolteacher, and in 1888 at the age of 21, Funakoshi delivered his first full lesson, a profession he followed for thirty years.

During the day, Funakoshi would teach students, and at night he would travel to Azato to receive karate tuition (always under the cover of dark, because of the aforementioned ban on martial study.) Azato was a particularly strict master, who forced Funakoshi to perform the same kata many times (over a period of months) before he was satisfied. Azato was also a philosopher, who would discuss his theories on Karate- do with Funakoshi after intense training sessions.  Occasionally, Azato would be joined by a friend who also contributed to philosophical discussions, and eventually became another of Funakoshi's teachers.

This was Yasutsune Itosu (also knows as Itosu Anko.) Itosu, Azato and, eventually, Funakoshi were all students of Sokon Matsamura. Itosu was born in Shuri in 1831 and was (like Funakoshi) a student of Chinese classics, and calligraphy.

While Master Azato was tall with broad shoulders and had sharp eyes and features reminiscent of the ancient samurai, Master Itosu was of average height, with a great round chest like a beer barrel. Despite his long moustache, he rather had the look of a well-behaved child. It was a deceptive look, for his arms and hands possessed quite extraordinary power. (Funakoshi 1975, p. 16)

Itosu (along with Funakoshi) is often credited as being the father of modern karate. He introduced the Heian katas, because he felt existing forms were too difficult for children to learn, which lead to the creation of Heian Shodan, Heian Nidan and Heian Sandan (which form an integral part of Hakuda Kempo Toshu Jutsu.) 

At the turn of the century, Funakoshi was studying with a number of different karate masters - Master Kiyuna, Master Toonno of Naha, Master Niigaki, Master Matsumura, in addition to Itosu and Azato. Funakoshi studied a variety of arts, including Shorin-ryu and Shorei-ryu, essentially fusing Shuri-te and Naha-te (which became significant to Funakoshi's career as a karate teacher in Japan.)

By the end of the first decade of the 20th century, Funakoshi had amassed a large number of students, and had become reasonably well known in Okinawa as a teacher of karate. In 1921, The Ministry of Education (of Japan) announced that there would be a demonstration of martial arts, to take place at a school in Tokyo. The general public of mainland Japan was largely unaware of the existence of karate, so when Funakoshi was asked to demonstrate his art at the event, he eagerly accepted.

The entire demonstration turned out to be a great success, but I think that this was particularly true of my introduction of the Okinawan art of karate to the people of Tokyo. (Funakoshi 1975, p. 69)

Funakoshi had planned to return to Okinawa, but was instead asked by Jigoro Kano (1860-1938) to stay in Japan to deliver a short lecture on karate to his students. Kano was the founder of Judo, and credited with the widespread introduction of white belts and black belts. Following this, Funakoshi was asked to by Hoan Kosugi to teach the Tabata Popular Club. The response to his tuition was universally positive, and it dawned on Funakoshi that he should try and expose the entire population of mainland Japan to karate.  (Kosugi later asked Funakoshi to write a karate reference book - this became Ryuku Kempo: Karate (1922), Funakoshi's first published work.)

Funakoshi moved into the Meisei Juku, a dormitory for students (specifically designed for Okinawan students, studying in Japan.) It was intended only to be a temporary dojo, but Funakoshi was financially poor, and so became the Japanese home of karate for thirteen years - out of necessity. Eventually, the dojo was no longer able to support Funakoshi's growing number of students, and he decided to construct a new dojo, specifically for karate. He was nearly seventy at the time.

It was around 1935 that a nationwide committee of karate supporters solicited enough funds for the first karate dojo ever erected in Japan. It was not without a trace of pride that, in the spring of 1936, I entered for the first time the new dojo (in Zoshigaya, Toshima Ward) and saw over the door a signboard bearing the dojo's new name: Shoto-kan. (Funakoshi 1975, p. 84)

Shoto-kan karate was the name given to the martial art that Funakoshi taught (though Funakoshi never called his art by this name, instead always referring to it as karate.) The etymology of the word Shoto-kan is somewhat confusing. Shoto was Funakoshi's poetic pen name, and translates as pine waves. "Sho" is also present in the word Shorin-ryu - and the character for "Sho" can also be read as matsu, which could be a reference to Matsamura (who was one of Funakoshi's masters.) The Japanese word "kan" means hall, and refers to the dojo itself and not the martial art. In addition to this, Funakoshi refused to believe that "kara" in karate referred to Tang Dynasty China (despite the obvious links between Chinese boxing and karate, and the historical links between the Okinawan art of te and the Tang Dynasty.) He homophonically altered the meaning of the word "karate" to mean "empty hand". This is somewhat of a misnomer, given that any part of the body can be used to defend oneself (and many karateka also practice with weapons.) However, Funakoshi felt that the word "empty" might possess a different meaning.

The kara that means "empty" is definitely the more appropriate. For one thing, it symbolises the obvious fact that this art of self-defence makes use of no weapons, only bare feet and empty hands.  Further, students of Karate-do aim not only toward perfecting their chosen art but also toward emptying heart and mind of all earthly desire and vanity. Reading Buddhist scriptures, we come across such statements as "Shiki-soku-ze-ku" and "Ku-soku-zeshiki," which literally mean, "matter is void" and "all is vanity." The character ku, which appears in both admonitions, may also be pronounced kara, is in itself truth. (Funakoshi 1975, p. 35)

It is quite possible that, in addition to his deeper philosophies, Funakoshi simply thought that an art called "Chinese hand" would not appeal to the Japanese. Not only did Funakoshi deny any strong association with Chinese boxing, he emphasised the Japanese quality of karate when he suggested that the art be renamed Dai Nippon Kempo Karate-do (which translates as Great Japan Fist-Method Empty-Hands Way.")
After the Second World War, Funakoshi was asked to meet with American publishers in the Imperial Hotel.

His remark on the subject, as it was translated to me, was to the effect that while we in Japan were turning Karate-Do from a martial art into a sport, in America it would be valued as a key to longevity. (Funakoshi 1975, p. 125)

Funakoshi began meeting with a variety of visiting and occupying Americans, and was eventually asked to teach karate at the U.S. Air Force Base in Tachikawa. On September 8th 1951, The Treaty of San Francisco was signed, that secured peace between Japan and the U.S.

"Karate made its own peaceful way to the American mainland. This was brought about when I was asked by a high-ranking American officer to make a three-month tour of mainland bases, demonstrating Karate-do to American airmen. (Funakoshi 1975, p. 126)

Funakoshi died in Tokyo, in April 1957. His legacy was a style of karate that is now practiced worldwide - the system of martial art that is the most major influence on Hakuda Kempo Toshu Jutsu, and The Bushinkai Method.

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History of Toshu Jutsu: From Motobu to Machida

by Dan Sanchez

When the word Karate is mentioned most people envisage children in white pyjama's with tangerine coloured belts, chopping and performing flying kicks through a dojo whilst screaming "Hiiyaah!!!". This is could not be further from the original concept of Karate Jutsu. The founder of modern day karate, Gichin Funakoshi, believed it was more than just a method of defending oneself against an aggressive opponent but a way of life. Karate teaches respect, discipline and dedication, all of these principles can be directly transferred into modern life.

It is widely regarded that karate is a strike based martial art, consumed with punches, kicks, elbows and knees. In a practical sense modern karate differs from school, to association to style. Some styles are solely based on striking, others incorporate sweeps, locks and throws, some styles block hard others soft. Within each different school differing sensei's will approach their style in a different way, often favouring vastly different training methods from other schools of the same style, forming differing levels of importance on kata, kumite and kihon.

For training purposes karate is taught with three basic concepts in order for students to acquire a well rounded knowledge of the art; kata, kumite and kihon. Kata in a literal sense means "form" or "shape". Kata is a sequence movements composed of various stances, blocks and attacks, in this respect kata teaches correct posture, application, speed, power and breathing. Kata is widely regarded as vital to most disciplines of karate with varying degrees of difficulty in performance of the form reflected in grade, higher grades performing the more difficult kata. This is particularly the case in Shotokan where emphasis was based in correct performance of the kata, stressed by Funakoshi. In most styles of karate the heian/pinan forms are the first to be taught to students in order to gain a basic understanding of various techniques. As the student progresses up the ranks a new kata is taught of greater difficulty than the previous. The importance of kata can sometimes be overlooked by many practising martial artists, some believing the intricate movements merely reflect a martial "dance routine", this is not the case. Where kata distinguishes itself is in the application of each particular movement, perhaps the most important aspect of kata is its teaching of applicable self defence. Again the applications of the kata vary from school to school, with some schools choosing to look at the kata in its most basic form of blocking and striking. However this is not always the case. In the instance of the kata Tekki Shodan or Naihanchi, the kata can be performed as a two-man grappling drill from beginning to end, in this way teaching a more practical self defence system than merely blocking and punching. As the application of kata is open to interpretation, differing depth and ideas can arise from student to student, believing that each movement  could in fact be a throw rather than a basic strike.

Kumite in a literal sense means "meeting of hands" and in karate usually means sparring or fighting. Again in differing schools differing level of importance is given to the application of kumite, Choki Motobu and Masutatsu Oyama believing it was of the utmost importance to the art as it was based on the practical application of the art. Here all of the techniques of karate jutsu are put to the test striking, blocking and grappling against and opposing participant. Kumite can take many differing forms within the art itself, in particular the differing levels of contact afforded to its participants, in styles such as Kyokushin each participant is afforded full contact in striking their opponent, with the only limitation of no punching to the head. However in most stlyes of karate for example, Shukokai and Shotokan most contests are carried out in a semi-contact point scoring basis, whereby the object of the competition would be to out score the opponent by landing clean blows. There are however various criticisms of kumite in karate, with point scoring karate competitions the winner is the fighter who lands the most clean blows regardless of damage caused or often where the blow was landed, in practise this could mean the winner of the kumite could have conceeded the much heavier blows in more devastating places than the loser of the contest. Also with most sport karate the emphasis of the contest is purely stand-up based, by this I mean the contest often turn into mini kick boxing matches and the if the participants are either taken to the floor or take their opponent to the floor the contest is restarted with both fighters in a standing position, which neither shows the true depth of the art nor the realistic fighting application

Kihon in its English translation means "basics" or "fundamentals". In karate kihon manifests itself as routine floor excerises such as stepping punching, reverse punching and various kicking techniques. Again from varying styles differing levels is place on kihon. In  many dojo's karate-ka will practise for hours at a time repeating the same tachniques in order to ingrain the technique into the muscle memory of the student, in that the technique almost becomes automatic. For example breaking down a simple gedan barai, the leading hand  (for arguments sake the left) comes upto the right ear usually as the left leg moves forward crescent motion, as the right hand comes out in order to perform a hikete and the hips twist into the block. A technique which can easily confuse the martial novice is a matter of course for a karate-ka due to endless practising by the student. Styles|such as Shotokan and Shukokai place the utmost emphasis on kihon. Kihon is very similar to kata in many ways in that more is required from the progressing student through each belt in terms of focus, power and general crispness. Also the techniques themselves become more difficult, perhaps involving freestyle techniques or comprising of several differing strikes. The practise of kihon is similar to that of most sports, requiring dedication and commitment to your sport or style. In the same way a boxer shadow boxes or a tennis player wil practise a serve over and over again in order to perfect his technique in search of his next ace, a karate-ka will practise kihon repeating the stepping punch over and over again, readjusting his stance, fine tuning his hikete, twisting the hips, adding that little more crispness, focusing breathing until each punch is the maximum it can possibly be and comes as naturally as walking.

The origins of karate jutsu are far from straight forward and simple as some people believe. Althought it is generally accepted that karate intially came from Okinawa, the progression of the art to what it is today has taken a long and intricate route. Modern day karate has influences from Chinese kung fu and even Japanese judo. The Chinese came to Okinawa in the 1300's and brought with them kung fu integrating it into the Okinawan art. Also in 1609 the Japanese invaded Okinawa and forced a ban of the practise of all weapons, again making alterations to the style that already existed. Intially karate was not the one and only style around in early Okinawa, there were three. Shuri-te, Naha-te and Tomari-te all with differing approaches to combat and teaching, from differing kata's, techniques and approaches. Perhaps the first person to unite the style under one formal art was Sokon Matsumura, who taught a mixture of Tomari-te, Shuri-te and Chinese Shaolin. This style would late become known as Shorin-ryu. Matsumura  is one of the most influential person in the early formation of what we know today as Karate. Matsumura was nick named the "bushi" or "warrior", such was his ferocity and aggression in fighting. He was said to be undefeated in many duels and was the personal body guard to the last two serving Okinawan kings. Today perhaos the biggest singular style of Karate is Shotokan which ca be traced back directly to Matsumura's teachings, Matsumura's student Anko Itosu teaching Giching Funakoshi and Matsumura's grandson Tsuyoshi Chitose helped Funakoshi in the foundation of his art. Matsumura's influence did not stop there as he also passed on the kata's naihanchi/tekki, passai, seisan, chinto, gojushiho, kusanku and hakutsuru.

Anko Itosu carried on his teachings from Matsumura. Itosu managed to achieve something with his teachings that Matsumura never did. Whilst Matsumura taught royalty and was the private martial arts teacher to the king, Itosu managed to teach his art in Okinawan public schools introducing his stlye to a much bigger audience. Due to Itosu teaching his style to children he needed simplify elements of training in order to accomodate his younger students, he did this by incorporating new kata's in his classses and so created the pinan/heian forms. Which went on to be the basis of most forms of karate beginning the students with the heian/pinan kata's and progressing them on to the more difficiult forms as the techniques improve. Itosu went on to teach some very well known students in Choki Motobu, Gichin Funakoshi and Kenwa Mabuni.

Gichin Funakoshi is generally credited with the massive popularisation of Karate with his style Shotokan, which he introduced to Japan in the early 1900's. Although Funakoshi was no better a martial artist than either Matsumura or Itosu he did something which the others had failed to do in his branding and commercial success of Karate. He did this in many ways. Intially changing the name to karate-do. Karate meaning "empty hand" as opposed to "china hand", as this would be much more accepting to his new Japanese students bearing in mind their conflicts with China. He also changed the "jutsu" to "do" meaning the study was more a way of life rather than just a fighting style. This was similar to judo moving from jiu jitsu and aikido moving aiki-jiujitsu. Funakoshi also gave kata's Japanese names changing the pinan forms to heian, naihanchi to tekki, wanshu to empi and seisan to hangetsu. When karate came to Japan it had an amateuristic look to it, it did not have the uniformity or organisation that Jigoro Kano had brought with Judo. There was no formal ranking system as far as coloured belts went and no strict attire. In this way Funakoshi attempted to modernise karate in Japan by following Kano's lead copying the belts system and introducing a ranking belt system. This was perhaps Funakoshi's greatest gift to karate, he made it recognisable, professional and commercial. It is worth noting Funakoshi was not the first Okinawan teacher to come to Japan and teach an early form of Karate but he was the first to gain massive commercial success, leading him to opening the Shotokan dojo in Tokyo in 1936.

Over the course of this essay I have looked at the main principles of Karate, its early formation and some of the early pioneers of the art. It is now occurring to me I have left out lots as I am drawing to the end of my word count. So here goes a few interesting bits with blatantly no structure.

Although I have looked at the formation and a few of the more well known styles there are lots more, one being Kyokushin-kai. Kyokushi was founded in 1957 by Masutatsu Oyama. Kyokushin is perhaps the most physically demanding of any other syle of Karate as it emphasises full contact sparring. The legend goes that Oyama was fought Thai boxers and was so impressed by their toughness and fighting he made a style his stlye based around their attitude.Oyama was very much the typical weakling until martial arts entered his life. In a similar way to Funakoshi, Motobu, Kano and Gracie (I had to), Oyama was a loner and physical weak child. His brother thrust boxing on him to "toughen" him up and he experimented with Judo before Karate captured his imagination. Due to its physically demanding style and emphasis on full contact sparring Kyokushin is often favoured by most full contact fighters of a karate back ground. Perhaps most notably Bas Rutten (UFC heavyweight champion), Georges St.Pierre (current UFC welterweight champion), Semmy Schilt (3 time K1 grand prix champion and current K1 heavyweight champion) and Dolph Lundgren (2 time European heavyweight champion).

Even today in the era of MMA and the UFC, karate still shows its relevance in competition. It was once thought that Karate was not applicable in many open style combat tournaments, its fancy kicking, impractical gi's and endless repetition of kata and basics was not relevant in a real fight situation. Karate has once again shown its usefulness in timing, striking and speed, demonstrated by current UFC light heavyweight Champion Lyoto Machida. Unbeaten in 15 MMA contests, Machida puts his success solely down to his style of Shotokan Karate, he is now regarded as one of the top 5 pound for pound fighters on the planet. Machida uses the full array of weapons not typically associated with karate including knees (once epitomised with Thai), throws (dominated by judo) and effectives grappling (almost exclusively dominated by brazilian jiu jitsu) in order to beat his opponents. It seems quite clear the future of karate is safe.

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Heian Yondan Kata Study

by Julie Bickerton

There are many differing accounts of the history and very little evidence to support them. Here is a summary of the information available.

Historical
The creator of Heian Yondan is Anko Itosu.  He was born in 1831 in the Gibo Village, Shuri in the Ryukyu Kingdom (an island in the Pacific Ocean).  He studied the Chinese and Japanese classics and calligraphy.  He studied under the following masters Gusukuma, Nagahama Chikudon Peichin, Sokon Matsumura, practicing the martial arts Shorin-ryu and Shuri-te.  During his lifetime he had many students including Choyu Motobu, Choki Motobu, Kentsu Yabu, Chomo Hanashiro, Gichin Funakoshi, Moden Yabiku, Kanken Toyama, Chotoku Kyan, Shinpan Gusukuma (Shiroma), Anbun Tokuda, Kenwa Mabuni, Choshin Chibana and was referred to as the 'Grandfather of modern karate'.  He died on March 26, 1915 in Shuri, Okinawa, Japan. 
Early katas that were taught to students before the evolvement of the Pinan katas included Empi (the earliest kata known), Chatan Yari, Kushanku, Sanshin and tekki.  Tekki was previously known as the Naihanchi kata, which Itosu adapted into three katas Naihanchi Shodan, Nidan and Sandan.  Gichin Funakoshi was later to rename the Naihanchi as Tekki, the name they are known by today.
Anko Itosu is renowned for creating the five Pinan katas to which the Heian Yondan Kata belongs (though some experts debate whether he created all five katas).  It is thought that originally Itosu created one long kata, then changed his mind and broke it down into five separate katas which would confirm the theory of the Pinan katas being a fighting system.  This is discussed later in the study. 
 
Anko Itosu
Pinan katas to Heian katas
The five Pinan katas created were named: - Pinan Shodan, Pinan Nidan, Pinan Sandan, Pinan Yondan and Pinan Godan. They were created to teach karate in the Okinawan schools and enabled a master to teach a class full of students at anyone time rather than the common one-on-one method which had been used previously.      There are two opinions about the origins:-
a.from the Kushanku kata (Kanku-Dai). 
This kata was created in 1761 by master Kushanku a Chinese diplomat.  It is studied in many karate styles and has links to White Crane Kung Fu.  It is an advanced kata taught to senior students due to its complexity and difficulty.  The kata was renamed around 1930 by Gichin Funakoshi.  The Pinan/Heian katas contain similar sequences as this kata.

b.from the Channan kata. 
This kata was taught to Itosu by a Chinese man living in Okinawa. 
Whichever kata was used or whether Itosu created his own kata, some of the techniques were changed  and the forms simplified, creating the new Pinan katas. 
Although it is thought that these were beginners' katas this is not quite so.  He created katas which were easy enough for children to learn, the block and punch scenarios and exercise routine without the applications, but they could also be used to teach adults and more experienced students the true fighting techniques behind the katas.  It is also thought that when these katas were created it was actually a fighting system (how a fight evolves through various stages E.g.  Verbal exchanges, to the attacker being in the defenders range, to attacker taking hold of, through to grappling).  (This is not quite the case) in modern karate (as) the order of the katas has changed over the years as it was deemed that Pinan Shodan, the first kata in the series, was too difficult to learn first so it was switched with Pinan Nidan kata.  Later this led to Gichin Funakoshi to rename Heian Nidan as Heian Shodan and visa versa.
The Pinan katas are not only taught in Shotokan karate but also in Shito-ryu, Wado-ryu, Shorin-Ryu, Shorei-ryu, Matsubayashi-ryu, Shukokai and Kosho Ryu Kempo.  This is because Anko Itosu was part of their karate ancestry.  Whereas he was not involved in the Goju-ryu history hence this style does not study the Pinan katas.  Though these different styles of karate study the Pinan/Heian katas there are some differences in the katas which have evolved over the years of training, however the do follow the same 'I' shaped sequence of movements.
Later Anko's student Gichin Funakoshi introduced the Pinan katas to Japan and he renamed them from Pinan to Heian.  He did this so that the Japanese would be able to pronounce the word more easily and to distance the katas from the Chinese history and acknowledge the developments which were being made by both the Japanese and Okinawan masters.  However the karate styles Wado-Ryu and Shito-Ryu have kept the pronunciation of Pinan.
There has been much debate about the meaning of Pinan and Heian.  And there seems to be no definative conclusion.  The most probable meanings are: Pinan meaning safe, free from harm; and Heian meaning peaceful mind.

Kata content

As Heian Yondan is one of the first katas to be learned it covers many of the basic techniques which a new student will need.  The footwork covered in the kata includes, Kokutsu Dachi (back stance), Zenkutsu Dachi (front stance), Fumukomi (cross legged stamp) and Geri (kicks).  The combination of these stances teaches how to move from one stance to the other easily.  The kata also teaches how to attack and defend at different levels for example jodan (head), chudan (body) and gedan (groin or lower body). 

Below is a diagram of the Heian Yondan kata. In the breakdown which follows is the kata sequence and applications along with the circumstances when these might be used against habitual acts of physical violence, also known as HAPV's.
                  
Kata breakdown, Bunkai and HAPV

Moves 1, 2 and 3

Kaisho haiwan uke= double handed block
Kaisho haiwan uke= double handed block
Gedan juji uke = x block

Bunkai

The attacker strikes with a head butt and uses the kaisho haiwan uke (double handed block) as a flinch to block its path.  The response is a strike to the neck for the second flinch and then a move of the hand around the attacker's neck and into a headlock in front of the defender's body and break the attacker's neck. 

HAPV

Kaisho haiwan uke= double handed block = flinch = can be used against a spit or head butt
Gedan juji uke = x block = can be used to break a lapel grab

Moves 4, 5, 6 and 7   

Morote uke = supported fist
Koshi gamae = hip strike
Jodan uraken uke = back fist
Yoko geri keage = side kick
Mawashi empi = roundhouse elbow

Bunkai

The attacker throws a roundhouse punch which is blocked with the morote uke (supported fist).  From the block a hold is taken of the attacker's wrist and he is drawn into the defender's hip.  This causes imbalance and close contact.  Then the attacker is struck with the uraken (back fist) to the temple whilst at the same time as taking his knee with the yoko geri (side kick).  As he is struck with the back fist take hold of his head or hair and return with the mawashi empi (elbow strike) to the head.

HAPV

Morote uke = supported fist = can be used as an upper cut punch.
Koshi gamae = hip strike = can be used when you have hold of the attackers head as a strike to the nose.
Uraken = back fist = can be used against an ankle grab
Yoko geri keage = side kick = can be used to as a kick to take out the knee.
Mawashi empi = roundhouse elbow = can be used against a lapel grab (as a distraction).

Moves 8, 9 and 10       

Koshi gamae = hip strike
Jodan uraken uke= back fist
Yoko geri keage = side kick
Mawashi empi = roundhouse elbow

Bunkai

The attacker's head is struck on the defender's hip with koshi gamae (hip strike).  His knee is buckled by the yoko geri (side kick) and an arm lock is applied with the mawashi empi (roundhouse elbow).

HAPV

Morote uke = supported fist = used against a lapel grab proceeding to a shoulder throw.
Koshi gamae = hip strike = can be used against an ankle or leg grab.
Jodan uraken uke= back fist can be used against an ankle grab
Yoko geri keage = side kick = can be used against a straight kick as a strike to slide down the attackers shin bone.

Moves 11 and 12

Gedan shuto uke / jodan age shuto uke = double handed knife hand block and strike
Mae geri keage = right leg front snap kick

Bunkai

The attacker strikes with a right handed punch which is blocked (jodan) with the left arm and simultaneously struck with the right hand, with a knife hand strike to the carotid artery in the neck.  Then kick to the attacker's groin with a front snap kick.

HAPV

Gedan shuto uke / jodan age shuto uke = double handed block/strike = can be used against any punch e.g. straight, round house or uppercut and counter attack with a strike.
Mae geri keage = right leg front snap kick = can be used as a flinch (distraction) to get an attacker to double over.

Move 13

Osae uke = pressing block
Jodan uraken to chudan = back fist to the head moving downwards to the body.

Bunkai

The attacker strikes with a straight punch which is blocked with the osae uke (pressing block).  This is followed through with the uraken (back fist) in a downwards movement along the bridge of the attackers nose.

HAPV

Osae uke = pressing block = can be used to parry a straight punch.
Jodan uraken to chudan = back fist = can be used to grab the lapels and turn into a throw (osoto gari).

Moves 14, 15, 16 and 17

Kakiwake uke = wedge block
Mae geri keage = right leg front snap kick
Oi tzuki = stepping punch
Gyaku tzuki = reverse punch

Bunkai

As the attacker grabs the shoulders the kakiwake uke (wedge block) is used by grabbing his jacket and applying a choke.  He is distracted with a mae geri keage (right leg front snap kick) and using both the oi tzuki (stepping punch) and gyaku tzuki (reverse punch) take him off balance (using the theory of push and pull) and throw him to the floor with an osoto gari (major outer reap throw).

HAPV

Kakiwake uke = wedge block = use against a front double shoulder grab.
Mae geri keage = right leg front snap kick = can be used against a shoulder grab as a sweep
Oi tzuki = stepping punch / gyaku tzuki = reverse punch = use against a shove as a twist and apply a choke.

Moves 18, 19, 20 and 21

Kakiwake uke = wedge block
Mae geri keage = right leg front snap kick
Oi tzuki = stepping punch
Gyaku tzuki = reverse punch

Bunkai

As the attacker grabs the shoulders the kakiwake uke (wedge block) is used by grabbing his jacket and applying a choke.  He is distracted with a mae geri keage (right leg front snap kick) and using both the oi tzuki (stepping punch) and gyaku tzuki (reverse punch) take him off balance (using the theory of push and pull) and throw him to the floor with an osoto gari (major outer reap throw).

HAPV

Kakiwake uke = wedge block = use against a lapel grab.
Mae geri keage = right leg front snap kick = use against a shoulder grab as a sweep.
Oi tzuki = stepping punch / Gyaku tzuki = reverse punch = use against a shove as osoto geri.

Moves 22, 23 and 24

Morote uke = supported fist
Morote uke = supported fist
Morote uke = supported fist

Bunkai

Block the attacker's straight punch with the first morote uke (supported fist) then use the second morote uke (supported fist) as a strike to the chest and the third morote uke (supported fist) to slide up to the attacker's hair and grab it with both hands.

HAPV

Morote uke = supported fist = use against as straight or roundhouse punch.
Morote uke = supported fist = use as a grab to the lapels to throw (tai toshi).
Morote uke = supported fist = use against a punch as an arm lock.

Move 25

Hiza geri = knee strike

Bunkai

After grabbing the attacker's hair with both hands, his head is brought down and then a hiza geri (knee strike) applied / directed to his nose.  As he falls to the floor turn into Kokutsu Dachi (back stance) and stamp on his neck or to the ribs depending on the angle at which he has fallen.

HAPV

Hiza geri = knee strike = use against a bear hug.

Moves 26 and 27

Chudan shuto uke = knife hand strike
Chudan shuto uke = knife hand strike

Bunkai

As the attacker strikes with a straight punch, move to the outside of the punch and block with the shuto uke (knife hand strike).  Trap his arm with yours and apply the second shuto uke (knife hand strike) as an arm lock and finish in kiba dachi (horse stance).

HAPV

Chudan shuto uke = knife hand strike/block = use against a straight punch.
Chudan shuto uke = knife hand strike/block = use against a roundhouse punch.

 
At the Bushinkai Academy I continue to study under Sensei Simon numerous styles:- karate, aikido, iaido, jiu jitsu and judo. At the core of this is the Shotokan karate style, which underpins our lineage and is why we study the Heian katas the Shotokan way.

This karate style is characterised by deep strong stances and hip movements which enabled the King's bodyguards to power through the crowds to the King's protection. 

The style I am currently studying is a modern version of Toshu Jutsu which is an old Okinawan karate style, and as Okinawa is the birth place of Shotokan karate we are still following our ancestry.

---

 

Tegumi

by Jamie Tozer

Put bluntly, tegumi is wrestling. Whether you're in Britain, America,
China, Japan or anywhere in between, it is one of the simplest forms
of fighting; two opponents at close quarters, grabbing each other and
trying to gain an advantage. But it is also more that this, and I hope
to introduce and explain tegumi in a little more detail, but
particularly its relationship with Karate.

Karate and Wrestling? Many karateka unknowingly practice wrestling and
grappling, even those that camp themselves in the field of kick-punch-
block 'sport' karate. Fortunately, what was becoming an increasingly
lost art is know being unlocked and explored once again.

Two things should be noted....

* Wrestling has been a part of Okinawan culture for much longer than
what we now know as karate
* Karate is a creation from Okinawa

The beginnings of Karate can be dated back to the tiny island of
Okinawa around 1600AD. Located between China and Japan, this small
island has been affected and shaped by the politics, cultures and
economies of the larger lands. The Okinawan fighting methods,
particularly the indigenous art of 'Te', have also been developed by
the influences of its surrounding areas.

In his book, "Barefoot Zen - The Shaolin Roots of Kung Fu and Karate",
Nathan J Johnson writes,

"...Several misconceptions and difficulties arise with regard to Kung
Fu, Karate, and related arts as a result of considerable emphasis
placed on the way in which they are perceived and taught. For
example, Karate has been promoted as a cultural product of Japan, yet
its technical repertoire is essentially an Okinawan development of
Chinese Kung Fu."

With this in mind, we should remember that many styles were imported
to Okinawa, such as Fukien White Crane Kung Fu, Chinese Kempo and
Hakuda, and Japanese Yawara. These forms of fist fighting, and kicking
and striking, along with grappling were important in the development
of Jujutsu, Judo and Aikido, along with Karate, and it is important to
note that there are many similar elements and fundamentals between
each art. The Okinawan combined these many forms with their own Te,
and three different forms were developed over time, throughout the
island, namely Naha-te, Shuri-te, and Tomari-te. Naha-Te was based on
White Crane Kung Fu; Shuri-te is believed to have been based on
Shoalin Temple Boxing, whilst Tomari-te is based on Wang-Ji. The
names Naha, Shuri and Tomari relate to the three principle villages on
Okinawa, with Naha being the largest.



Variations of wrestling have been seen in all parts of the world for
centuries. For example, Greek wrestling, Roman wrestling, English
(Lancastrian) Wrestling, Chinese Shuai jiao, and the Egyptians
depicted wrestling. In the terms of tegumi, and the martial arts of
the 'east', Japan, China, Okinawa, Taiwan, Korea and many other place
would have had their own forms of wrestling and boxing, and other
native fighting styles. These styles were then imported and exported
via economic development, and perhaps improved international relations
and transport, or even through war, and then learnt, stolen,
introduced, simply integrated by whichever means into new systems.

'Tegumi', which has become the favoured term, is familiar to the Naha
region, while 'Mutou' from the Tomari and Shuri regions of Okinawa is
basically wrestling and grappling, of a form similar to Sumo
wrestling. 'Tegumi' is the term now used to describe the grappling or
wrestling elements of martial arts. Perhaps the Okinawans were simply
open minded enough to realise they could combine wrestling with the
Chinese systems; perhaps Shuai jiao, or from something even earlier....

"In 509 BCE, Confucius suggested to Duke Ding of Lu that people
practice the literary arts as well as the martial arts; thus, wushu
began to be practised by ordinary citizens external to the military
and religious sects. A combat wrestling system called juélì or jiolì
is mentioned in the Classic of Rites (1st c. BCE).[ This combat system
included techniques such as strikes, throws, joint manipulation, and
pressure point attacks." - from Classic of Rites. Chapter 6, Yuèlìng.
Line 108. (via wikipedia, and http://kaleidoscope.cultural-china.com)

Tegumi is often regarded as 'Okinawan Sumo', and it would be easy to
suggest that it is the equivalent to 'Japanese Sumo', particularly
when considering the relationships between Japan and Okinawa within
the Martial Arts. However, there are several differences to the
Japanese version.

Participant in tegumi were clothed in shorts of a thick cloth, or
mawashi, tied around the waist, and sometimes coplimented with a judo
gi, along with the mawashi. It was generally considered that the
fighting arena could be anywhere, as there were no particular rules or
regulations regarding its size or configuration, but with the
condition that the surface had to be free of hazard or obstruction
that may endanger the opponents. As such, bouts could be taken on a
lawn, field or sand.

Tegumi resembled more of a wrestling match, rather than a shoving/
slapping contest and also participants tend to be smaller than the
giant, rotund Japanese. Unlike Japanese Sumo, the contest isn't to get
your opponent out of the ring, it is merely to get your opponent on
their back.....

Refering back to my opening paragraph, there is nothing simpler than
two opponents at close quarters, grabbing each other and trying to
gain an advantage, however tegumi requires an understanding of
leverage and off-balancing, and having the ability to trip, throw,
control and pin.

It also has to be taken in ts context. There is tegumi as a sport,
and tegumi and an aspect of self defence, very much as we find Karate
today. There are many schools that teach the sporting aspects of
Karate because this is a simple way of becoming a commercial success,
and also to expand as it is more accessible, but equally there are
true practioners of classical, or tradition Karate that utilise the
specialist aspects.

I believe that tegumi as a sport is arguably only a mildly useful tool
in terms of real combat, but then it is also perhaps just competitive
entertainment without the need of 'hurt'. However, the Okinawans
combined tegumi with the Chinese influenced arts and it became
integrated into a larger, more rounded style. This added the spice of
poking and pulling, joint manipulation, pinching and gouging, and
vital point (kyosho) striking created a dirty and unpleasant type of
fighting. In this context, we need to remember that tegumi has become
a method of self defence, and as such, perhaps in a real
confrontation, we need to abide by street rules, not sport rules....
hence, there are No rules.

"Techniques of percussive impact include punching, kicking, elbowing,
kneeing, striking, stomping, butting, and bumping. Seizing techniques
include throwing, restraining, pressing, choking, wrestling, and the
grabbing of an opponent to augment the effectiveness of impact
trauma." - Patrick McCarthy's article 'Thinking Outside the Box'

Equally we need to realise there are many ranges of attack in a
confrontation - throwing distance, kicking, punching, grappling,
taking-down, or on the floor. In a real situation, we need to lose
our sporting nature, and develop a survival instinct, and this means
instead of punching and kicking, we should consider gauging the eyes,
attck the throat, bite twist and pinch te skin, and use fish-hooking
to name a few. As Geoff Thompson states....

"You can be a 10th Dan on your feet, and a white belt on your back"

You can have nasty and nice Tegumi, very much as you have nasty and
nice Karate. Nasty is for real life defending oneself, and Nice is
competitive and sporting.

Tegumi probably lost it importace with the changing landscape of the
Okinawan martial arts during the early 1900's, as this was a time when
karate was beginnging to spread, particularly through the education
system. With this, there was a change in what should be tought,
particularly to school children which led to a de-emphasis on the use
of tegumi and kyosho (the devastating aspects of karate), and placing
an increasing importance on sport and general fitness. In turn, the
other skills generally became watered down or forgotten, and with each
generation that lack of knowledge was passed on.


Many of these changes are traced back to the early 1900's when karate
began to make its way into the Okinawan school system having been
introduced by notables such as Sokon Matsumura, Itosu Ankoh and
Gichin Funakoshi.


* Yasutsune Itosu was born in the city of Shuri, Okinawa in 1813 and
trained with Master Sokon "Bushi" Matsumura. He is famous for being
instrumental in the introduction of Karate in the public school system
curriculum in 1901, and developing the Pinan katas. Itosu died in 1915

* Born in 1797, Masumura Soken was the bodyguard of the King of
Okinawa, and also the creator of Bassai Dai, Heian Shodan and Heian
Neidan. He died in 1889.

* The founder of Shookan karate, Funakoshi Gichin was born in 1868 ,
and is widely considered the "father" of modern karate. He started
training at age eleven, as a student of Itosu. His job as a
schoolteacher, at a time when karate was being introduced to the
school system (1901-03), allowed him to utilise his skills, and
develop karate as a form of physical education. Funakoshi gave
several demonstrations in Japan, at the request of Kano Jigoro, the
founder of Judo, and was eventually persuaded to move and live in
Tokyo, and open a dojo. Funakoshi made it his work to promote Karate
as far and wide as possible until his death in 1957.


Fortunately, many masters trained private students, and were able to
pass on what have now become the secrets of karate - the holds, locks,
pressure points and wrestling - by forming and utilizing 'kata'. Kata
can best be described as a series of moves , and are used as a
pnemonic aid to training the techniques that exist within karate. With
tegumi in mind, Yabu Kentsu and Hanashiro Chomo are understood to
have been active participants, and became masters of Okinawan martial
arts in their own right, and it is worth noting that these were the
students of Matsumura and Itosu.

"Yabu, big and broad shouldered, was regarded throughout Okinawa as a
powerful karateka and genuine expert. He once defeated Choki Motobu -
"the feared Choki Motobu" as Shinken Gima called him - although again,
the details are not clear. The American martial artist and author Dave
Lowry has written that this was not in a karate contest but rather in
a bout of tegumi - an Okinawan form of wrestling. In Lowry's account
Yabu was able to pin Motobu after a contest lasting twenty minutes."
Via http://www.msisshinryu.com/masters/yabu/


If I may use some text from Iain Abernathy's document 'Karate
Grappling : Did It Really Exist?'.....

"One of the first things we need to explore is what type of grappling
we are talking about when referring to "karate grappling". In 1908 the
purpose of traditional karate was clearly defined by the great Anko
Itosu. In a letter to the Okinawan education authority outlining the
nature of karate he wrote, "[Karate] is not intended to be used
against a single opponent but instead as a way of avoiding injury by
using the hands and feet should one by any chance be confronted by a
villain or ruffian". What Itosu is telling us is that the original
karate was not designed for dealing with a single skilled martial
artist in a ring or in the dojo, but is instead a means of keeping
ourselves safe in civilian self-protection situations.......

.....In the same letter Itosu also states, "Enter, counter, withdraw
is the rule for torite." Torite is an old term for grappling and means
"seizing hands". Itosu is therefore telling us that the karate way of
dealing with civilian grappling is to get in there (enter), do some
damage (counter) and then, once it is possible, flee (withdraw)......"

Tegumi is receiving even more attention recently with the increased
popularity in jujutsu, brazilian jujutsu, and mixed martial arts.
Martial artists are realizing the power and importance of clinching
and ground fighting and are taking more active steps in at least
becoming competent in those arenas.

I think it would be fair to say that Tegumi was a skill of its own, as
are Karate, Judo, MMA, Wrestling, Ju-Jutsu,Tai Chi, KungFu etc etc. In
the same vein MMA is ultimately a sport, but very adaptable. Karate
has been able to utilise the different aspects of many styles, and
incorporate them into a fighting system that can cope with a variety
of situations. That doesn't mean to say that it is 'complete', but it
has elements of punching (boxing), kicking and elbows (kickboxing),
with wrestling (Tegumi/Sumo), Throwing and locking (Judo/Ju-Jutsu) and
it has been able to adapt, add and remove elements from styles, and
intrinsically these combined elements allow us to be adept at self
defence, which is the very purpose of karate in the everyday civilian
life, not the sporting environment.