Style Research

Stratton Lobdell
Kenshusei Research Paper March 08


In researching different styles of modern karate many similarities quickly become apparent. Most, if not all, styles of hand to hand fighting can trace their roots back to a similar beginning. If one goes back for enough in written and verbal tradition the common ancestor is a Buddhist monastery in China where they practiced extreme physical feats to prepare themselves for longer meditation. These exercises had been brought to China by a monk from India.
As to the truth of this story there is unlikely to be any final resolution since so many karateka today have little real understanding of what they do and rarely look further than the surface, the superficial movements of the art they practice. As these arts have been passed down there are few who are truly capturing the fighting essence, or budo spirit of the art. The practitioners who teach by rote, repeating the same nonsense they were told by their instructor, further dilute this spirit and over the generations much has likely been lost. In looking back to the past it is important to consider the source of information and to approach all teaching with our own analytical abilities. This is not to say that all modern practitioners are lost, or that ancient monks had perfected the martial arts in 800 AD.
In fact, most of the techniques that were created and perfected centuries ago are no longer even applicable. Movements designed to counter sword and spear must now be adapted for the knife in the back alley. As guns have become more of a part of self defense the karateka has been forced to move toward tai-no-sen, anticipation and diffusion of aggression, because the human body can never be hardened to stop a bullet. I merely point out that we must consider the source of information and that in training we must break down each technique and make it applicable to our situation.
Modern karateka look to the past for inspiration and spirit but every year brings new technologies, new training methods, and new ideas. As we move forward and incorporate these new ideas into our training and into our art, we should still keep an eye on the past. Through a true understanding of the path that has led our chosen art to its current syllabus we can see the true budo spirit that the art was founded on. The styles of Goju-ryu, Kyokoshinkai, Shoren-ryu amd Ryuei-ryu have common ancestry in Okinawa.
The history of karate itself is one of cultural and social exchanges with China going back to the Tang dynasty—-hence the Korean name for karate, "Tang Soo" or "Chinese hands." Before the development of modern Karate started by Gichin Funakoshi, Okinawan karate styles generally took after the names of the towns they came from, thus "Naha-te," "Shuri-te" and "Tomari-te" were karate styles that came from the towns of Naha, Shuri and Tomari, respectively.
The late 19th century saw the great karate masters going back to China for a "martial-arts pilgrimage" of sorts. The great Chinese pugilist Liu Liu Ko ("Ryū Ryū Ko" in Japanese) in Southern China taught a handful of these Okinawan students who went on to become karate legends. One of the primary methods of this kara-te cultural exchange was through the teaching of kata.
A kata is a set of techniques organized as pre-arranged movements that simulates a fight. Okinawan kata have traditionally been used to preserve sets of techniques and fighting principles, and they have also served as the basis upon which Okinawan fighting systems are taught. In kata, each movement can be interpreted as different techniques and its applications. Kata is to be understood as a "living textbook" in which karate proper—its techniques and philosophy—is passed down. The practice of kata itself provides the practitioner a sense of structure and possibilities to use in a real fight. Bunkai, on the other hand, is the analysis—or interpretation (oyo-bunkai)—of kata movements. After the analysis of bunkai, karateka usually practice drills to ingrain the application in the muscle memory, which makes sense of sequences of movements in kata forms. Techniques-within-techniques are revealed through constant practice of kata and bunkai.
Gōjū-ryū (剛柔流), (Japanese for "hard-soft style") is one of the four traditional styles of karate, featuring a combination of hard and soft techniques. It is commonly believed that the concept of combining the two extremes originated in a Chinese martial arts doctrine known as wu bei ji (pronounced bubishi in Japanese.) Gōjū-ryū combines hard striking attacks such as kicks and punches with softer circular techniques for blocking and controlling the opponent, including locks, grappling, takedowns and throws. Major emphasis is given to breathing correctly. Gōjū-ryū practices methods that include body strengthening and conditioning, its basic approach to fighting (distance, stickiness, power generation, etc.), and partner drills. Gōjū-ryū incorporates both circular and linear movements into its curriculum. "Go" means hard; "jū" means soft. which literally means hard soft karate.
The naming of Gōjū-ryū came about more by accident than design. In 1930, numerous martial arts masters asked Chojun Miyagi’s top student, Jin’an Shinzato, while in Tokyo as to what school of martial arts he practiced. As Naha-Te had no formal name he came up with the impromptu name Hanko Ryū (Half-Hard Style). On his return to Okinawa he reported this incident to Chojun Miyagi. After much consideration Chojun Miyagi decided on the name Gōjū-ryū (hard and soft school) as a name for his style. This name he took from a line in the Bubishi (a classical Chinese text on martial arts and other subjects). This line, which appears in a poem, the Hakku Kenpo (roughly, "The eight laws of the fist"), describing the eight precepts of the martial arts, reads, “Ho wa Gōjū wa Donto su” (the way of inhaling and exhaling is hardness and softness, or everything in the universe inhales soft and exhales hard).
The development of Gōjū-ryū goes back to Kanryo Higaonna, (1853–1916), a native of Naha, Okinawa. As a teenager he trained with an Okinawan master named Arakaki Seisho. Later in life he travelled to Fuzhou in Fujian Province, China, where he studied Wushu and kempo from various teachers, primarily a kung fu master called Ryu Ryu Ko (or Liu Liu Ko, or To Ru Ko; the name is uncertain.) Some sources have identified him as Xie Zhongxiang, second generation master of Whooping Crane Kung Fu and student of Pan Yuba.
Higaonna returned to Okinawa during the middle of the Meiji Era (1868–1911) and continued in the family business of selling firewood, while teaching a new school of martial arts, distinguished by its integration of gō-no (hard) and jū-no (soft) kempo in one system. The word karate (empty hand) was not in common use at that time, and Higashionna's style was known as Naha-te. It is accepted that Chinese Nanpa Shorin-ken was the strain of kung fu that influenced this style. As such, this style and that of Uechi Ryū were built upon a similar foundation.


Gōjū-ryū founder Chōjun Miyagi.

After Higaonna's death Miyagi sailed to China and studied there for several years, returning to Naha in 1918. Many of Higaonna's students continued to train with him, including Higa Seiko (1898–1966). However, Higaonna's most senior student Juhatsu Kyoda, who studied under Higaonna one month longer than Miyagi, formed a school he called Tōon-ryū (Tōon is another way of pronouncing the Chinese characters of Higaonna's name, so Tōon-ryū means "Higaonna's style"), preserving more of Higaonna's approach to Naha-te.
From White Crane, Gōjū takes the circular movements and fast strikes. From Tiger Style, Gōjū takes the strong linear attacks and the tiger claw pinching (especially in kyusho-jitsu). Also, one of the main components and sources of Okinawan karate is the native tradition called "tuite": grappling, joint locks and breaks, throws, sweeps, which often led to ground fighting. These techniques were widely practiced in Ryūkyū's small villages and were blended with Chinese martial arts to give birth to karate. In kata, usually low stances and/or hands in chambers are the signs of a technique of this kind.
The kata taught in Gōjū-ryū are rather traditional and in most organizations are emphasized more than actual kumite (or free sparring). This emphasis in kata is also an emphasis in bunkai, the actual self-defense application of the kata movements. The self-defense approach explains why Gōjū-ryū does not emphasize free sparring and its limiting rules.
Sanchin kata is the foundation to all other Gōjū kata, it is also the foundation of body conditioning. First variation of Sanchin-kata (sanchingata dai-ichi) serves as Kihongata. Sanchin kata (三戦, サンチン) has the simplest techniques, and yet is arguably the most difficult to master of all Gōjū kata. Sanchin is often taught as a black belt kata, yet it is simple enough to teach at the white belt level. This is often done in order to prepare the student for this kata by the time he or she reaches black belt.
Only one stance is used—the sanchin (meaning "three battles") stance, from which a name of the kata is derivative now (initially it was named as Peppuren. Sanchin-dachi is a practical stance, and yet is the most difficult stance to master. The legs protect the body from sweep kicks, the thighs are to trap low kicks. According to a tai chi manual ("Zhengzi 13 postures"), the punch draws its power from the earth through the legs—the flip of the hips enables the strength of the whole body to be channeled and focused into one punch.
Properly employed, Sanchin kata follows the "hard" style of karate—all the muscles are to be flexed and tensed throughout the kata—actually making it the most strenuous kata. This type of strength training, taught for thousands of years, is only recently understood in Western science and is known as "isometric training" in bodybuilding.
In Chinese training, Sanchin kata also introduces the student to the use of "qi" (Japanese "ki") for training and fighting applications. It can be understood to be a form of "qigong" as employed in Chinese Wushu. Many western interpretations of qi/ki explain it as an enhanced understanding of internal body dynamics and muscle control through repeated and strenuous training.
In Gōjū, there are two sanchin kata: the first one, Miyagi's sanchin (or "sanchin dai ichi"), the most widely taught as initial and Kihongata, was created for such purpose by Chojun Miyagi, and has no turns so the karateka goes forward and then backwards. The second sanchin, Higaonna's sanchin (or "sanchin dai ni") is a full-version Sanchingata and is older and was taught by Higaonna Kanryo. In this kata the karateka always goes forward, but turns 180 degrees twice. Initially it was taught with open hands, as sanchin-kata still is in Uechi-ryu, but later it was also revised to closed fists by Miyagi's co-student Juhatsu Kyoda, founder of To'on-ryu, and adopted by Chojun Miyagi as well. This kata was adopted by other styles such as Isshin-ryū.
Kyokushin kaikan (極真会館, Kyokushin kaikan?) is a style of stand-up, full contact karate, founded in 1964 by Masutatsu Oyama (大山倍達, Ōyama Masutatsu?) who was born under the name Choi Yong-I (최영의). Kyokushinkai is Japanese for "the society of the ultimate truth." Kyokushin is rooted in a philosophy of self-improvement, discipline and hard training. Its full contact style has had international appeal (practitioners have over the last 40+ years numbered more than 12 million[1][2][3]).
Kyokushin has influenced many of the "full-contact" schools of karate, emphasizing realistic combat, physical toughness, and practicality in its training curriculum. Many other martial arts organizations have "spun-off" from Kyokushin over the years, with some adding additional techniques, such as grappling, but continuing with the same philosophy of realistic and practical training methods.
As a young child, Oyama enjoyed fighting watching fighters studied Korean Taekkyon. In 1938, he emigrated to Japan and studied Okinawan Karate under Gichin Funakoshi, eventually gaining 2nd dan. Later, Oyama also trained under Yoshida Kotaro, a famous Daito-ryu jujutsu/Yanagi-ryu Aiki-jujutsu master, from whom he received his "Menkyo kaiden" - an older form of grade, a scroll signifying mastery, from Kotaro. This scroll is still on display at the Honbu dojo in Tokyo.
Also, upon the advice of his mentor and well-known Member of the National Diet, Matsuhei Mori, around this time the young master took his Japanese name, Masutatsu Oyama, the name he would use for the rest of his life. After World War II, Oyama began his training in Goju Ryu karate under a Korean master in Japan, So Nei Chu, who ran a dojo in Tokyo along with the renowned Goju teacher, Gogen Yamaguchi. He would finally attain 8th Dan in Goju ryu karate. Another influential master he met whilst training at the Goju school was Masahiko Kimura, the renowned champion of judo. Kimura encouraged Oyama to take up judo so that he would have an understanding of the art's powerful ground skills. Kimura introduced Oyama to the Sone Dojo in Nakano, Tokyo, where he trained regularly for four years, eventually gaining his 4th Dan.
It was after this time that Oyama first retreated into the mountains for one of his well-known solitary training periods, yamagomori. He completed two such retreats for a total of almost three years of solitary training in accord with the ascetic traditions of many of the great warriors of Japan through the centuries. During this period of isolated training, Oyama engaged in intense shugyo, or spiritual discipline.
In the early fifties, Oyama traveled to the USA, visiting 32 states and demonstrating the power of his karate against all comers.


Founder of Kyokushin Karate, Sosai Masutatsu Oyama.

In 1953, Oyama opened his own karate dojo, named "Oyama Dojo," in Tokyo but continued to travel around Japan and the world giving martial arts demonstrations, including bare-handed challenges. His first 'dojo' was a vacant lot in Mejiro, Tokyo. In 1956, Oyama moved the dojo into the ballet studio attached to the Rikkyo University. Oyama's own curriculum soon developed a reputation as a tough, intense, hard-hitting, and practical style which he named "Kyokushin" in a ceremony in 1957. As the reputation of the dojo grew, students were attracted to come to train there from Japan and beyond and numbers grew.
In 1964, Oyama moved the dojo into a building he refurbished not far from the ballet studio at Rikkyo. Oyama also formally founded the "International Karate Organization Kyokushinkaikan" (commonly abbreviated to IKO or IKOK), to organize the many schools that were by then teaching the Kyokushin style. This dojo at 3-3-9 Nishi-Ikebukuro, in the Toshima area of Tokyo, remains the world headquarters to this day.
After formally establishing the Kyokushinkaikan, Oyama directed the organization through a period of expansion. Oyama hand-picked instructors who displayed ability in marketing the style and gaining new members. Oyama would choose an instructor to open a dojo in another town or city in Japan. The instructor would move to that town and usually demonstrate his karate skills in public places, such as at the civic gymnasium, the local police gym (where many judo students would practice), a local park, or conduct martial arts demonstrations at local festivals or school events. In this way, the instructor would soon gain students for his new dojo. After that, word of mouth would spread through the local area until the dojo had a dedicated core of students. Oyama also sent instructors to other countries such as the Netherlands (Kenji Kurosaki), Australia (Shigeo Kato), the United States of America (Tadashi Nakamura, Shigeru and Yasuhiko Oyama, Miyuki Miura) and Brazil (Seiji Isobe) to spread Kyokushin in the same way. In 1969, Oyama staged the First All Japan Full Contact Championships and in 1975, the First Open Full Contact World Karate Championships, which took Japan by storm. From that time, world championships have been held at four-yearly intervals, although under the current confusion of self-proclaimed representative organizations, there are up to five so-called "world championships" claiming to represent Kyokushin.
Upon Oyama's death, the International Karate Organization (IKO) splintered into several groups, primarily due to conflict over who would succeed Oyama as Chairman and the future structure and philosophy of the organization. Currently, the issue remains unresolved, although a series of court cases over the last 13 years appears to be coming to an end with a result finally due in the near future. Based on what was quickly proved to be a false and invalid will, Shokei (Akiyoshi) Matsui was named as his successor, even though Matsui was junior to many others in the IKO organization. Matsui claimed that he personally owned the intellectual rights to all Kyokushin trademarks, symbols, and even the name Kyokushin. However, the Japanese legal system consequently ruled against Matsui in this matter, returning the ownership of Oyama's intellectual property to his family.
Existing as a single organization under the leadership of the founder, Mas Oyama, the Kyokushin organization, after the Master's passing, broke down into various groups, each claiming their own authority as representing the original Honbu.
Various other organizations have stemmed from Kyokushin and teach similar techniques but go by different names. Also, numerous dojos throughout the world claim to teach a Kyokushin curriculum without formal connection to the organization. Although difficult to quantify, it is conjectured that the number of students and instructors involved in learning or teaching the style or one of its close variations around the world is significant and numbers in the millions.
Oyama's widow passed away in June 2006 after a long illness. According to the Japanese legal system the Custodian of Oyama's intellectual property and legacy is the youngest of his daughters, Kikuko (also known as Kuristina) who now operates the original IKO Honbu.
Kyokushin training consists of three main elements: technique, forms, and sparring. These are sometimes referred to as the three "K's" after the Japanese words for them: kihon (technique), kata (forms), and kumite (sparring). The Kyokushin system is based on traditional karate like Shotokan and Goju-ryu, but incorporates many elements of combat sports like boxing and kickboxing in kumite. Many techniques are not found in other styles of karate. Today, some Kyokushin fighters (like Francisco Filho and Glaube Feitosa) appear in kickboxing events like K-1, but apart from some exceptions, Kyokushin does not allow its students to appear in paid fights and remain with the style. In the past this has caused many high-ranking competitors to leave the organization, even if they continue to practice the art and skills of Kyokushin.
In this form of karate the instructor and his/her students all must take part in hard sparring to prepare them for full contact fighting. Unlike some forms of karate, Kyokushin places high emphasis on full contact fighting which is done without any gloves or protective equipment. This apparent brutality is tempered somewhat by the fact that you are not allowed to use a non-kick or non-knee strike to hit your opponent in the face, thus greatly reducing the possibility of serious injury. Knees or kicks to the head and face, on the other hand, are allowed.
In the earliest Kyokushin tournaments and training sessions bare knuckle strikes to the face were allowed but resulted in many injuries, and, thus, students who were forced to withdraw from training. Mas Oyama believed that wearing protective gloves would detract from the realism that the style emphasizes. Therefore, it was decided that hand and elbow strikes to the head and neck would no longer be allowed in training and competition. Furthermore, many governments don't allow bare knuckle strikes to the head in sanctioned martial arts competitions. The vast majority of Kyokushin organizations and "offshoot" styles today still follow this philosophy.
Technically, Kyokushin is a circular style. This is in opposition to Shotokan karate, which is considered a linear style, and closer to Goju-ryu, which is considered a circular style. Shotokan and Goju-ryu were the two styles of karate that Oyama learned before creating his own style. However, Oyama studied Shotokan for only a couple of years before he switched to Goju-ryu where he got his advanced training. This is reflected in Kyokushin where the early training closely resembles Shotokan but gradually becomes closer to the circular techniques and strategies of Goju-ryu the higher you advance in the system.
The northern kata have their origins in Shotokan karate, which Oyama learned while training under Gichin Funakoshi. The URA, or 'reverse' kata were developed by Oyama as an aid to developing balance and multi-direction combat skills. These Katas include Taikioku and Pinans as well as Shotokan’s signature kata Kanku dai.
The southern kata have their origins in Goju Ryu karate, which Oyama learned while training under So Nei Chu and Gogen Yamaguchi. Sanchin and Gekisai katas as well as Seienchin were incorporated.
The kata Garyu is not taken from traditional Okinawan karate but was created by Mas Oyama and named after the village where he was born in Korea. The kata Yantsu is also often believed to be an original Kyokushin kata but there is enough evidence to suggest it finds its roots in Okinawa before Oyama created Kyokushin.
Several kata are also done in "ura". This means that on every other step forward, the practitioner slides his back leg behind his front leg and around to the position it would have been in had he stepped forward. This in effect produces a spin on one foot.
Sparring is used to train the application of the various techniques within a fighting situation. Sparring is usually an important part of training in most Kyokushin organizations, especially at the upper levels with experienced students.
In most Kyokushin organizations, hand and elbow strikes to the head or neck are prohibited. However, kicks to the head, knee strikes, punches to the upper body, and kicks to the inner and outer leg are permitted. In some Kyokushin organizations, especially outside of a tournament environment, gloves and shin protectors are worn. Children always wear head gear to lessen the impact of any kicks to the head. Speed and control are instrumental in sparring and in a training environment it is not the intention of either practitioner to injure his opponent as much as it is to successfully execute the proper strike. Tournament fighting under knock-down rules is significantly different as the objective is to down your opponent.
Tournament competition is an important part of Kyokushin, and most Kyokushin organizations sponsor local, national, and international competitions. Kyokushin tournaments are held throughout the year on every continent in the world, but the largest are held in Japan where they are televised on Japanese television and draw crowds of thousands. Tournaments are organized as either weight category or open tournaments. The Kyokushin World Tournaments are known as the Karate Olympics.
Kyokushin culture believes that accepting a "challenge" represents a Kyokushin practitioner's commitment to the principles of the art. One way to participate in a challenge, in which a Kyokushin student tests his/her courage and desire to defeat one's adversary, is through tournament competition.
Most Kyokushin tournaments follow "knock-down" rules in which points are awarded for knocking one's opponent to the floor with kicks, punches, or sweeps. Grabbing and throwing are generally not allowed in Kyokushin tournaments. When they are, they are legal only if performed in less than a second. Hooks are usually legal if performed for a 'split second.' Arm or hand strikes to the head, face, neck or spine are usually not permitted, but kicks to the head are allowed. If, however, the opponent turns his back while the opponent is throwing a technique, there is no penalty. Outside of Japan straight kicks to the front of the knee are usually disallowed. Knock-outs do sometimes occur and minor to moderate injuries are common, but serious injuries are rare. The most common injuries are concussions, broken clavicles, and fractured limbs and sternums. Many Kyokushin tournaments follow an "open" format that allows competitors from any martial-arts style, not just Kyokushin, to enter and compete.
Shorin-ryu (小林流 (松林流, 少林流), Shōrin-ryū?) is one of the major modern Okinawan martial arts. Said to have been founded by Sokon Matsumura during the 1800s, Shorin-ryu combines elements of the traditional Okinawan fighting styles Shuri-te and Tomari-te. Shorin-ryu is widely considered to be one of the two major modern styles of Okinawan karate, along with Goju-ryu, which is rooted in the other traditional Okinawan style, Naha-te.
Sokon Matsumura was a renowned warrior of his time; bodyguard to three kings of Okinawa, he has been called the Miyamoto Musashi of Okinawa and was dubbed bushi, or warrior, by his king. However, while he is often referred to as the "founder" of Shorin-ryu, he did not invent all the components of the style, and perhaps didn't refer to it as Shorin-ryu himself. It is quite possible that he synthesized his knowledge of Okinawan arts with Chinese fighting styles that he learned on his travels and taught it as a coherent system to some eager students, who subsequently refined it, labeled it, and passed it on. Shorin is the pronunciation of the Chinese Shaolin in Hogun ("Hogen" is standard Japanese for "dialect"; the suffix "-ben" is also used, but the modern use of the word "Hogen" is current Okinawan local "slang" for Uchinanchuguchi, TFA.) The primary dialect of Okinawa (error); and ryu means "style". Therefore, Shorin-ryu ("Shaolin style" or "small pine forest") reflects the Chinese influences intrinsic to the art.
Along with being a style on its own, Shorin-ryu is also perhaps the most influential single ancestor of modern Japanese karate. One of Matsumura's best-known students, Anko (or "Ankoh") Itosu became a great practitioner and teacher of Okinawan karate and developed the five Pinan kata, which are now taught not only in Shorin-ryu, but also in a wide variety of Okinawan, Japanese and derived martial arts. It is also believed by some that the first three Pinan kata were actually developed by Matsumura and the last two by Itosu. In addition, Itosu and another student of Matsumura's named Anko Azato were among the primary influences on a fellow Okinawan named Gichin Funakoshi. Funakoshi introduced his Okinawan martial arts to mainland Japan in 1922, and in subsequent decades was instrumental in developing what he termed simply karate or karate-do into a popular Japanese martial art. The style Funakoshi taught on mainland Japan is now called Shotokan karate.
Shorin-ryu is generally characterized by natural breathing, natural (narrow, high) stances, and direct, rather than circular movements (with the exception of Shorin-Ryu Kyudokan, which makes extensive use of circular movements). Shorin-ryu practitioners will say that deep stances are not important for powerful moves, and that only correct motion matters.
There is not a known, whole system of Shorin Ryu except for Matsumura Shorin Ryu. There are many dojos who use the term however for simplicity's sake. Some of the best known schools of Shorin-ryu were started by Matsumura's students keeping with Okinawa's tradition of successorship each of Matsumura's Deshis (students) changed the name of their system when they took over, so the branches began Shobayashi-ryu, Ryukyu Hon Kenpo, Matsumura Orthodox Shorin-ryu, Seidokan, Kobayashi Shorin-ryu (Shido-kan and Shorinkan), Kyudokan, and Matsubayashi-ryu, Okinawa Kenpo, and Sukunaihayashi (Shorin-ryu Seibukan), but there are many others, most with long and distinguished histories that trace back to Matsumura and his students.
There are different sets of kata, ranging from kihon (exercise kata) to rohai (vision of the crane kata). This is a list of the main kata series studied in Shorin-ryu karate. Not all kata are practiced by all schools. In some styles of Shorin-Ryu Kihon Kata or Kihongata is taught before Fukyugata or it takes the place of Fukyugata.
Kihon series (basic form)
Fukyu series (fundamental/universal class form, also called Fukyugata)
Taikyoku series (full hearted way kata)
Naihanchi series (iron horse form)
Pinan series (peace and meditation form), (riceline form)
Channan series (valley kata, these kata are thought to have evolved into the Pinan kata)
Passai series (breakthrough form)
Kūsankū series
Ananku (southern light kata or Swallow on the beach form)
Chintō (east-fighting kata)
Chintē (east village kata)
Gojushiho (54 move kata, also called Useishi)
Rōhai (crane on rock form)
In 1924, Gichin Funakoshi adopted the Dan system from judo founder Jigoro Kano using a rank scheme with a limited set of belt colors. Other Okinawan teachers also adopted this practice. In a Kyū/Dan system, the beginner grade is a higher-numbered kyū (e.g., 9th Kyū) and progress is toward a lower-numbered Kyū. The Dan progression continues from 1st Dan (Shodan, or 'beginning dan') to the higher dan grades. Kyū-grade karateka are referred to as "color belt" or mudansha ("ones without dan"); Dan-grade karateka are referred to as yudansha (holders of dan rank). Yudansha typically wear a black belt.
Requirements of rank differ among styles, organizations, and schools. Kyū ranks stress stance, balance, and coordination. Speed and power are added at higher grades. Minimum age and time in rank are factors affecting promotion. Testing consists of demonstration of technique before a panel of examiners. Black belt testing is commonly done in a manner known as shinsa, which includes a written examination as well as demonstration of kihon, kumite, kata, and bunkai (applications of technique).
Ryuei-ryu (劉衛流, Ryūei-ryū?) is an Okinawan style of karate. It was originally a closely-guarded family style of the Nakaima family of Naha and is now one of the internationally recognized Okinawan karate styles. It is practiced in the United States, Argentina, Venezuela, Europe, and Okinawa.
This style of karate was first introduced to Okinawa around 1875 by Norisato Nakaima. Born of wealthy parents in Kume, Okinawa, Nakaima was a good scholar and, at the age of 19, went to Fuchou, China for advanced studies in the martial arts. There a former guard to the Chinese embassies in the Ryukyu islands introduced him to a Chinese boxing teacher known as Ru Ru Ko, who also taught Sakiyama Kitoku and, according to some sources, many years later Kanryo Higashionna. Nakaima was accepted as a disciple, and, after over 7 years of training, received a certificate of graduation from the master. He was trained in a variety of arts and skills ranging from physical combative techniques to Chinese medicine and herbal healing remedies. Just before leaving China, in order to further his experience in the martial arts, Nakaima traveled to the Fujian, Canton, and Beijing areas, where he collected a number of weapons and scrolls to bring back home with him.
Back in Okinawa, Nakaima passed this Chinese boxing style in secret to his son Kenchu Nakaima, who then went on to teach it only to his son, Kenko Nakaima (founder of the Ryuei Ryu Karate and Kobudo Preservation Society). In 1971, at the age of 60, Kenko Nakaima realized that in today's world there was no longer a need to keep his family's fighting system a secret, and so, with some hesitation, he took on a group of 20 school teachers as karate students. It was at this point the name "Ryuei Ryu" was first used to describe the art.
There are relatively few schools of the Ryuei Ryu outside of Japan. Currently two groups that teach Ryuei Ryu in North America. One group, the Okinawa Ryuei Ryu Karate Kobudo Ryuhokai, led by Tomohiro Arashiro of San Diego, California. Arashiro Sensei,(an Okinawan that claims to have been taught while as enrolled as a middle school student for a few years in Okinawa) teaches a very popular sport based version of the art, modified for competitive situations by Tsuguo Sakumoto, a former student of Kenko Nakaima. The other group, led by Grant Campbell Sensei of New York City (Practitioner of Oriental Medicine, World Karate Champion,& International Champion of both Kata & Full Contact Kumite), The Ryuei Ryu Karate Kobudo Association is a private organization that more closely maintains the original teachings of the Nakaima family.
Among the kata of Ryuei-ryu which are also practiced by the other styles are (サンチン, Sanchin?), Seiunchin (セーユンチン, Seiunchin?), Suparimpei (スーパーリンペイ, Suparimpei?).
Within these different styles it is easy to see similar backgrounds. Many of the styles founders shared students and even teachers. In examining these styles we see patterns which emerge between them all. Most use similar kata and by examining the differences in emphasis that have developed with each, it is possible better understand the fundamentals of our own style. Unfortunately we can not go back and watch Bushi Matsumura or Ru Ru Ko perform their kata so we must try to learn be watching the best aspects of each of their students.
As a word of caution to beginners who wish to transcend the teachings of their instructors: A good instructor has years of experience and analysis behind every technique. Although their understanding of each movement may be different from yours, it is much deeper. The challenge of karate is that there is no one “true path” and we can learn from everyone. Much of the information in this paper was found easily through internet searches and large portions of the text were lifted directly from Wikipedia. There is a wealth of information available to us today that has never been available before. We are in the unique position as modern karateka to be able to draw on hundreds of years of tradition and training to improve our own fighting art. Train in the now with all the knowledge of the past and the technology of the future.

Style Definitions

Instructor Certification Course
Feb. 16, 2008
Style Definitions

Wendy Mach


Ryuei-ryu (Style of the Nakaima family of Naha)

Explosive
Driving into
Linear and Circular
Open-handed
Percussive

Shorin-ryu (Small Pine Forest Style)

Natural breathing
Linear
Percussive
High stances

Shotokan (Hall of Shoto)

Dynamic
Percussive
Forward
Linear
Closed-handed

Goju-ryu (Hard/Soft Style)

Hardened body
Soft Circular Sticky
Hard Linear Percussive
Muchimi
Close-range

Kyokushin (To Master the Truth)

Full-contact
Realistic
Multi-directional
Circular


Ryuei-ryu

This style is characterized by LINEAR and CIRCULAR, OPEN-HAND, PERCUSSIVE techniques that are designed to GRAB AND THROW an opponent. Combinations of techniques that are unique to this style are performed EXPLOSIVELY in a forward direction always DRIVING INTO an opponent. Some techniques have simultaneous defense and attack applications. Generally the stances are NARROW and HIGH for MID-RANGE fighting, but when performing kata the hips CHANGE LEVEL between high and low stances. The training emphasis is on repetition of techniques until they can be performed without conscious effort. Tournament competition is encouraged. The signature kata of this style is Annan.


Shorin-ryu

This style is characterized by LINEAR, PERCUSSIVE techniques and NATURAL BREATHING. Natural stances are used that are NARROW and HIGH. The training emphasis is on developing strong techniques through solid basics. Emphasis is also placed on the details of kata performance so that each movement is hard, sharp, and powerful. The signature kata of this style is Seisan (Thirteen).


Shotokan

This style is characterized by DYNAMIC, LINEAR, CLOSED-HAND, PERCUSSIVE techniques that are performed EXPLOSIVELY in a FORWARD direction. Each technique is intended to end a confrontation. The training stances are LONG and LOW. When performing kata the hips REMAIN LEVEL. Fighting stances are shorter and higher for greater mobility when executing LONG-RANGE techniques. The training emphasis is on development of strong, coordinated body movement so that one technique will devastate an opponent and end a confrontation. The signature kata of this style is Kanku-dai (To View the Sky).


Goju-ryu

This style is characterized by the development of a HARDENED, RESILIENT body that can absorb attacking techniques allowing the practitioner to continue and defeat the opponent. Soft (STICKY) CIRCULAR blocks facilitate grabbing the opponent, followed by successive, hard (PERCUSSIVE) LINEAR attacks that are intended to end the confrontation. HIGH stances are used to facilitate CLOSE-RANGE fighting. Breathing exercises are practiced during the performance of the kata Sanchin in order to focus the breath in the lower abdomen making the stance and posture more stable. Techniques are performed slowly with heavy, sticky hands (MUCHIMI) as in isometric training. The training emphasis is on developing a strong, resilient body and mind so that the practitioner can withstand attacks without distraction, and can continue fighting to defeat an opponent. The signature kata of this style is Sanchin (Three battles).


Kyokushin

This style is characterized by FULL-CONTACT, MULIT-DIRECTIONAL, REALISTIC fighting techniques. STRIKING and GRAPPLING techniques are included in the style. CIRCULAR blocking techniques are intended to make contact with an opponent and immediately GRAB AND THROW him, followed by grappling (strangulation or joint-locking) groundwork techniques to IMMOBILIZE him. The training emphasis is on conditioning for full-contact, realistic fighting. Tournament competition in fighting is encouraged. The signature kata of this style is Garyu (Reclining Dragon).


Bunkai Oyo

The art of interpreting kata techniques and movements as responses to various realistic acts of physical violence such as uppercuts, grabs, and holds. These responses transform the punches, kicks, strikes, blocks, and movements of the kata into self-defense applications such as grabs, joint-locks, throws, strangulation, or other close-range fighting techniques that are intended to subdue an attacker. The response continues with as many techniques as necessary to immobilize the attacker or otherwise end the confrontation.





One word that defines each style:

Ryuei-ryu Explosive
Shorin-ryu Powerful
Shotokan Devastating
Dynamic (Masatoshi Nakayama’s definition)
Goju-ryu Muchimi
Kyokushin Intense (physical, spiritual)
Soul Spirit Karate (Masutatsu Oyama’s definition)

References:

Unante: The Secrets of Karate by John Sells

Wikipedia.org

Bugeisha magazine

Feb instructor training

Stratton Lobdell
Kenshusei Research Paper
JKA Shotokan vs. Best Karate Shotokan


Shotokan karate was created through the combination of various styles of Okinawa-te by Gichin Funakoshi. When he brought his newly re-named Karate to Japan he brought 16 kata and the basics that our style is built on. Funakoshi Sensei had many students over the years and most went on to found there own organizations. The first few years after Funakoshi Sensei’s death Nakayama Sensei created and led the Japan Karate Association. The JKA produced many of the great karate men of the last 50 years. The JKA and Nakayama sensei put forth the texts that have become the definitive modern standard for Shotokan karate. First came “Dynamic Karate” and then the “Best Karate” series which encompass the basic kicks, punches, blocks and strikes that make up out art. The also cover the 26 recognized kata and make reference to the 27th.
Yoshiharu Osaka was, in his prime, referred to by some as the prototype of JKA shotokan but each of the JKA shotokan masters has his own style. The standard as set forth by Nakayama sensei was linear and based very much on the idea of ikken hissatsu, the one attack kill. Others, like Asi sensei, took those principals of power generation and added more circular movement, changing vertical distance, throwing and jumping techniques were more heavily emphasized. Yahara sensei emphasizes raw power, kime and intensity. The JKA produced many great karateka but only a few were able to take the base of JKA shotokan and build further upon it. There are four main differences I have identified that set McClary/Robinson Shotokan apart from the JKA mold.
In the last three years of training under Shihans Robinson and McClary the emphasis for beginners was similar to the basic Best Karate JKA system. As we have advanced and our level of understanding and physical skill has improved, Shihan has incorporated more dynamic movement. These differences have begun to be more apparent during the Kenshusei course of study. These differences are not so pronounced as to radically change the form of the movements. The differences lie in the emphasis of the movement.
To be able to execute the dynamic, electric movements that set McClary/Robinson Shotokan apart, there must first exist a solid foundation. Through rigorous kihon training we develop the low stances and smooth hip rotation required to generate power. As with Nakayama/JKA shotokan all beginners spend months and years practicing the three primary stances that all others come from. Kiba-dachi, kokutsu-dachi and zenkutsu-dachi are drilled until the legs are strong and coordinated.
McClary/Robinson Shotokan moves through less static postures. Tai-sabaki, body shifting, plays a large role. Shihan Robinson is constantly in motion, up and down, cutting and changing the angle of attack. While each movement in itself is a complete attack, there is another behind it and another to follow. Often as Uke I find myself overwhelmed by the first two attacks and unable to even react to the third and fourth as each one comes, each from a different direction. Shihan McClary has also go to lengths to make sure we understand that no matter where in the movement you are, you are always prepared to attack and defend simultaneously. There is no transitional movement. All movements are constant offense throughout. This is the first difference; constant movement, there is no show boating, no posing.
The second, and perhaps most pronounced, difference in style is the greater focus on kanku; the loading/contracting to create maximum possible power through expansion/explosion. This is accomplished sometimes in large obvious ways; bending knees and ankles, sinking the body lower, rotating the hips away from the target to allow maximum rotation with the strike. Other times this contraction and expansion are condensed. The result is vibration.
Two specific parts of Bassai Dai illustrate this very effectively. In the early part of the kata after the first series of movements, the karateka is standing in heiko-dachi with left hand extended in kake shuto-uke, from here he delivers the most basic strike in our curriculum, choku-tzuki. This movement performed by a beginner may look simple and have little effect. When delivered with proper kime and hip vibration the strike is dynamic and powerful. The vibration of the hip allows the entire body to participate and generate power with the punch.
After that series of punches there is another example of McClary/Robinson shotokan hip rotation; the move from left hand uchi-uke in han-zenkutsu-dachi to kokutsu-dachi shuto-uke with a ninety degree turn in the middle. As performed by Shihan Robinson this movement contains a full contraction of the body and sweeping shuto strike with the right hand as the left reaches out toward the eventual target for defense. The hips rotate completely around during this movement and add power to the sweeping shuto. The knife hand block is then delivered with vigor. The greatest emphasis is on the rotation and load and virtually creates an additional movement in the kata.
The third difference I have found is the emphasis on “electric movement.” Shihan Robinson often says that anywhere you touch; your opponent should feel pain. As beginners we learn to “deflect and re-direct.” As we have become more advanced karateka that same principal is applied to strikes. Every block becomes a strike. Gedan barai is no longer a downward block to fend off a kick; it has become a hammer fist strike to the inside of the thigh. The rising blocks in Heian Shodan become age empi uchi. We often drill self defense techniques and applied bunkai on Friday nights and at instructor training. Within all the kata there are many hidden applications, strikes, eye gouges, soft tissue strikes, that beginners never see. These applications are not taught under the traditional JKA system. Any time an opponent gets close enough to touch, he must pay for it. As a deterrent we do not simply break the opponents hold on our wrist, we strike the wrist or arm in a way that he cannot grab at us again. Striking with open hands to the face and neck to distract or incapacitate the opponent and make it possible to follow with another attack or to escape. The concept of Tai no sen should not be overlooked.
Tai no sen, to avoid or suppress the attack before it begins, is sometimes expressed as the ultimate aim of all martial arts. This is an aspect of McClary/Robinson Best Karate that is an undercurrent through all our training. We say the Dojo Kun and these are ideas that come from Funakoshi sensei but at Best Karate in Raleigh it is particularly important. Shihan Robinson has shared with us his reasons for training and the great gratitude he has to Shihan McClary and to Karate from helping him practice tai no sen throughout his life. This was one of my own personal goals with karate training and is part of the reason I train McClary/Robinson Best Karate. Through constant practice and training, through the banging and bruising of daily karate practice we have learned to control our tempers. We have learned to curb our aggressive tendencies and channel them into karate. Conflict avoidance and character development was one of the main precepts of Funakoshi sensei’s karate. In looking at other current leaders in the world of karate, some seem to hold up these ideals and others do not. We do.
Karate throughout the word has been infused with the personality of its practitioners. Each person who has trained long enough to begin to understand the true principals of karate adds some of their own flavor. Just as each karateka eventually chooses or is given a special kata to be their own, each person will have special techniques that work and feel the best. Karate becomes an outgrowth of our personality and with proficiency comes the ability to express our personality through our movement. Shihans McClary and Robinson have certainly reached that point and the karate we practice is filled with their personality, their own style.

The Evolution of Karate: A comparison of JKA Shotokan and Best Karate Shotokan

JKA Shotokan karate is the result of many decades of refinement of individual techniques and a systematic approach to training. It has developed clearly defined guidelines for what is considered correct or incorrect technique, as well as a blueprint for the training of an individual from white belt up through Shodan and beyond. This excerpt taken directly from the official JKA website describes their approach:

“The foundation of karate is the kihon (basic techniques), the kata (forms), and the kumite (sparring). Upon these three rest all technique, all speed, all strength and all progress in karate. They are, in essence, one. And they must be studied as one: without the kihon basic techniques, there can be neither kata nor kumite. Likewise, kata separated from kumite is simply rote movement unseasoned with the knowledge that comes from application. Finally, kumite without kata loses the characteristic agility and effortless smoothness inherent in karate. Kihon is kata is kumite.

At the JKA, we emphasize all three of these equally and simultaneously.

Through years of training and experience, we've developed a unique and unrivalled system of kihon techniques. We put tremendous focus on the fundamentals, teaching scientifically and step-by-step the proper posture, balance and angle of each specific movement. As with most things, continuous repetition is essential, for if you get the fundamentals wrong, there can be no further progress.

After mastering the kihon, you move on to the kata, the core of all karate skills. In kata, there is no wasted or meaningless movement. So we emphasize repeating them over and over again. Through constant repetition, your body learns to move automatically, effortlessly and efficiently. Over time, the techniques become unconscious, rather than deliberate mechanical movements. You can do them without thinking, which frees your mind to be still and experience the dynamics of that moment.

At the JKA, we've refined the kata to be more applicable in kumite sparring. Through the techniques learned in the kihon and practiced in the kata, you discover how to respond to situations naturally and freely, and apply your techniques appropriately as the circumstances demand.

And that's when the true power of karate can be known. When your entire being —body and mind—explodes forward and downs the opponent with one blow, it is called kime. Kime is the ultimate purpose of the kihon-kata-kumite trinity.”

This approach towards karate training, which removes personal preferences and requires strict adherence to it’s training methods, has produced some of the worlds strongest and finest karate-ka. Another benefit to this approach was that it was easy to duplicate and allowed for the rapid spread of JKA Shotokan from it’s creation in 1949 to it’s presence in over 100 countries around the world today. The basic movements of a properly trained karate-ka should be almost identical to that of another karate-ka that lives and trains thousands of miles away. That is the goal of the formal, systemized training that the JKA is famous for.

When we are asked, “what style of karate do you train?” , our broad answer is “JKA style Shotokan”, which to me is defined as having a heavy emphasis in kihon, or basics, with countless hours of repetition of core techniques in low stances which build strength and power which translate into precise kata and effective kumite skills. After years of training, a karate-ka begins to infuse their karate with their own style or “flavor”. That’s what this assignment is about. We were asked to identify the characteristics that set Shihan John McClary / Shihan Steve Robinson Best Karate Shotokan apart from JKA Shotokan. During our last session, Shihan McClary asked us to define Best Karate; does it have a set number of kata; do we recognize outside influences? He spoke directly to this by asking Sensei David Kremin, a Tang Soo Do practitioner, to teach a specific concept during our last class. He went on to remind us that we don’t just tolerate techniques and teaching from other styles, we are happy to experience them and incorporate them into our own training!

I consider myself fortunate in that I had no training experience prior to becoming a student at Best Karate, so I didn’t have to make adjustments to techniques or break any bad habits because I was starting from scratch. This benefit however, has proven to be difficult in putting this assignment together because I don’t have a physical point of reference to compare with. I do have a visual point of reference from dozens of hours of reviewing video and watching students from other schools performing at tournaments. One thing that I have been able to do, even with my limited experience, is to identify students from the same school simply by the way they move. Students tend to take on the characteristics and style of their Sensei and so to define our particular brand of Shotokan, what would an outside observer see in our movement that would identify us as students of Best Karate?

Quoting Shihan McClary, “the key is a word that Nakayama used in his first English publication, Dynamic Karate”. He then asked us to look up the definition of the word “dynamic”. This definition, along with the observations of our instructors, would help us define what Best Karate Shotokan was all about. The definition of the word is as follows:

1. energetic; vigorous; forceful

2. marked by usually continuous and productive activity or change.

Best karate’s trademark is this “dynamic” movement which can also be described as “electric” movement. Everything we do is done with the intention of stopping our opponent immediately. Defensive movements become offensive, blocks become strikes, and our whole body is engaged to the point that any contact with our opponent is painful for them and they are either defeated or deterred from any further action. It is important to note that this is not a departure from traditional training. Beginners are strictly drilled in basics with occasional hints of what is to come. Proper placement of the feet, hips, tanden, hands, shoulders, knees, etc. are the focus of their training. After months of training, the individual karate-ka has hopefully developed the strength, stamina, and technical precision required to fully appreciate the advanced concepts that will begin to be shared with them. The emphasis begins to shift to the concepts of expansion, contraction, vibration, rotation, and kime. It is these concepts, when properly drilled, that provide the “electric” movement that becomes our signature.

When performing kata, our movement is again characterized as dynamic. As a style, Shotokan’s signature kata is Kanku-Dai, and taken a step further, the signature kata for Best Karate is Bassai-Dai because it provides the perfect opportunity to show the emphasis that we place on hip rotation and forceful, rapid movement. Of particular note is the movement from the left arm uchi uke from a high zenkutsu dachi to the first right arm shuto uke in kokutsu dachi. While other karate-ka would be satisfied with simply stepping forward into the stance, we are taught to emphasize rapid and forceful rotation of the hips 180 degrees, while contracting the body down, and finally exploding into the shuto uke. This type of movement is carried on throughout the kata, with every technique having the potential to inflict pain or stop the opponent. It is not simply performing the movements quickly, but with intention and purpose that defines our brand of Shotokan.

While consistently training in the traditional 26 (27) Shotokan kata, Best Karate has taken this a step further by incorporating several other kata, most of them created by Asai Sensei, into our curriculum. Asai Sensei was well known for his “unorthodox” fighting style which was also described as being dynamic, constantly moving and shifting, using the whole body as a weapon. The kata that he developed are designed to develop this ability and most importantly, allow us to train to move in directions that the original 26 kata do not emphasize thereby expanding the possibilities of movement for us during kumite. Again, it is this willingness to “look outside of the box” and learn from individuals outside of our direct lineage that makes us different from the JKA. There have been other incredible karate-ka that embraced this philosophy, among them, Asai, Kanazawa, and Yahara to name a few, and of course our direct instructors, Shihans McClary and Robinson. All are rooted firmly in the traditional JKA style of instruction, but have taken their karate to a whole new level by incorporating effective techniques from outside of the JKA.

Earlier, I gave one of the definitions of “dynamic” as being marked by usually continuous and productive activity or change. Nothing can better describe Best Karate kumite than that! Instead of the posing and occasional one or two step frontal attack, Shihans McClary and Robinson like Asai Sensei are also well known for rapid and continuous shifting of the body, left, right, front, back, up, down, and the flurry of attacks that accompany this movement.

When giving the definition for dynamic, I purposely bolded the words continuous and productive. This is because the movements that we attempt to emulate are not done just for the sake of jumping around, but like our kata, also have purpose and intent behind them. The rapid shifting of the body makes us a difficult target and gives us an opportunity for our opponent to make an error in judgment and become vulnerable to our attack. When we do attack, each technique has a purpose behind it and are almost always done in rapid succession causing confusion and retreat. Having experienced this first hand while training with Shihan Robinson I can attest to the effectiveness of this.

While still remaining true to our JKA roots and our traditional training, we are part of the evolution of Shotokan karate by sharing the teachings of Shihan John McClary’s and his flavor and style as passed down to his top student, Shihan Stephen Robinson who is teaching and inspiring a whole new generation of students. As Kenshusei, we have the distinct honor of being part of that legacy.

Luis Santana

Triangle’s Best Karate

February, 2008

BEST Karate Shotokan

Instructor Certification Course
Jan. 19, 2008
BEST Karate Shotokan

Wendy Mach


BEST Karate Shotokan is the equivalent of the Japan Karate Association that was developed and maintained by Sensei Masatoshi Nakayama after the passing of Sensei Gichin Funakoshi. Through his books Dynamic Karate and the BEST KARATE series, Sensei Nakayama formalized and standardized the basic techniques and official 26 kata of the JKA karate system. This syllabus is still used today by traditional Shotokan karate organizations including B.E.S.T. Karate.

While researching this topic one idea became prominent above all others. The Shotokan karate that Sensei Nakayama resided over was based first and foremost on the karate-do of Sensei Funakoshi. Its primary objective was to develop the spirit and to work toward a good moral character of it’s participants through the physical expression of hard, diligent training. Adhering to the values of courtesy, respect, sincerity, effort, etiquette, self-control and humility were of utmost importance. The development of strong, physical techniques was of secondary importance. Sensei Nakayama was insistent that his JKA karate mold the mind, body, and spirit of it’s participants as was initially designed by Sensei Funakoshi. By following this philosophy, karate-do becomes a way of life, and not just a physical exercise.

When Americans started asking questions about karate techniques, Sensei Nakayama began studying physiology, anatomy, psychology, and physics. He learned about body mechanics and discovered that the traditional techniques that had been practiced by the Japanese for years were scientifically sound. Scientific research into karate techniques continues to this day and this is exactly what Sensei Funakoshi would have wanted. He never believed that karate should become stagnant. It should continue to change and grow with the knowledge and experience of its participants so that techniques could become stronger.

The JKA training methods under Sensei Nakayama were based on the kihon, kata, and kumite formula. A solid foundation would be developed through kihon and kata first, and then the karateka would begin kumite training to test these techniques against each other. Every part of training had physical, mental, and spiritual elements to it. This started with the plain, white gi that everyone wore. White symbolized the purity of the intentions of the karateka, and removed any class distinctions of the person wearing it.

The fundamental method of kihon training was to practice each technique again and again while marching up and down the dojo floor. Practicing each technique by itself developed the mental attitude of ikken hisatsu (To kill with one blow). The karateka must execute his fastest, strongest, most powerful technique each time. This also developed the spirit of the karateka who must believe that he had only one chance to end a physical confrontation. Over time each technique would be repeated thousands of times until it became a natural response. Conscious thought was no longer necessary. The karateka would learn to respond automatically, appropriately, efficiently, and effectively to any given situation. The goal was to transcend the technique, posture, and strategy and to respond without conscious thought.

The spiritual value of courtesy was reflected in the bow that was made at the beginning and end of each kata. Sensei Funakoshi believed that “Karate-do wa rei ni hajimari, rei ni owaru koto wo wasuruna.” (Karate-do begins with courtesy and ends with courtesy.) The karateka should always be courteous and respectful to everyone, including those that he disagreed with. For Sensei Nakayama the bow reflected a desire for harmony among all people, and this spirit was embodied in every kata.

The first technique in every kata was a defensive block symbolizing that someone else had initiated the physical confrontation. One of the fundamental precepts of JKA karate was “Karate ni sente nashi.” (There is no first attack in karate.) The karateka should control his emotions and refrain from carelessly using his karate techniques or from fighting. He should never start a confrontation with others, and should only fight for the sake of justice as stated in the precept “Karate wa gi no tasuke.” (Karate is a great assistance to justice.) At the same time in almost every kata the initial movement was toward the attacker, symbolizing the conviction of the karateka to decisively resolve the confrontation. Even when moving away from the attacker, the initial movement was designed to increase the stability of the stance. It was never meant to be interpreted as a retreat from the confrontation. The karateka would be resolved to end all conflict by use of his “Shin Ku I” (Behavior, speech, and thoughts). The bow at the end of each kata represented zanshin (Remaining spirit). The karateka remained relaxed, but kept a heightened external awareness and spiritual focus of what might occur next.

I believe that it is important to note that Sensei Nakayama interpreted the first movement in Kanku Dai as a connection with nature, the tranquility of mind and body, and the wish for harmony. He chose to give this movement a spiritual meaning rather than a martial one. This further confirms that karate should never be just a physical activity. It should incorporate one’s entire essence of being.

Under Sensei Nakayama kumite became in integral part of karate training. But once again this training was for physical, mental, and spiritual development of the karateka. As with kihon the emphasis in training was to develop the mental attitude of ikken hisatsu. The karateka must fully commit himself to each technique. The attacker must attack decisively with single-minded concentration. The defender had only one chance to make a powerful block and counter-attack that would be effective enough to stop an attacker in a real fighting situation. This demonstrated the concept that there was no second chance. Each technique must be performed perfectly the first time or in theory the person would die. This philosophy was firmly embedded in Japanese culture. The Japanese warrior believed that he must kill his enemy or be killed.

Simultaneously the karateka was developing his spirit by controlling his techniques. He had to fully commit himself to every technique, but still have the mental and emotional control over himself to arrest the technique before contact was made with his training partner. Stopping a technique with perfect control and precision demonstrated compassion for a training partner. This process of controlling the emotional self was endless because no one was perfect.

Part of the mission of the JKA was to expand the practice of Shotokan karate throughout the world. To do this they began an Instructor Training Program to teach instructors how to teach the art of karate to others. They also set standards for instruction so that people could find a qualified teacher. It was very important to Sensei Nakayama that JKA karate be transmitted correctly to future generations of karateka all around the world.

Sensei Nakayama believed that karate-do development was like climbing a set of endless stairs. As the mind and body would grow, the karateka moved upward one step at a time. Even while the karateka was aging and his physical attributes declined, there was still more steps ahead in mental development and character improvement. This was an endless journey that was reflected in the training precept “Karate no shugyo wa issho de aru.” (It will take your entire life to learn karate; there is no limit.)

Sensei Nakayama also organized the JKA syllabus based on budo philosophy. The purpose of budo training was not to gain some knowledge of a wide range of techniques and weapons for the purpose of fighting; rather it was to develop very deep experience and understanding of the art in order to improve the karateka’s character and to look into the nature of his existence. The karateka would examine the techniques of karate-do and try to truly master them. This was done over a lifetime of constant study and hard work. The foundation of budo training was to develop spiritual strength and good quality of character in order to live an ethical life. Sensei Nakayama realized that the true conflict was not with others, but with ourselves. Budo training enabled the karateka to conquer himself.

Through a lifetime of diligent training and self-examination, Sensei Nakayama believed that the karateka could learn to live by the philosophy known as “Heijo-shin kokoro michi” (The way of the composed mind). The karateka should keep the same outward appearance all the time no matter what he was doing or how stressful the situation was. Whether preparing dinner, waiting for a bus, correcting an erroneous bill from the electric company, or avoiding a car accident, he must remain calm, confident, and in control of his actions and emotions. Internally he must be constantly fully alert to his surroundings.


B.E.S.T. Karate has been interpreted in a couple of different ways. Better Education through Spiritual Training and Backing Education with Strong Training both focus on training, but this is not just physical training. The intellectual training of the mind and the emotional training of the spirit have equally important roles in the effort exerted in the dojo during each class.

“Perfect practice makes perfect” has been a frequent theme during training. I heard it during my first evening class at B.E.S.T. Karate Philadelphia. Over and over it was stressed that we were not just waving our arms and legs around. We were performing karate techniques that should be able to stop another human being cold. We needed to perform these techniques a million times in order for them to become automatic, and most importantly, each one had to be performed perfectly. Attention to the technical details of each stance and technique ensured that we learned the system correctly. Focusing on the biomechanics of how the human body moves, gave us insight so that we could improve the speed and power of our techniques. During every class we worked on maximizing our dynamic core movement in order to facilitate each technique. It was constantly emphasized that karate is dynamic and alive; never stiff or rigid.

At any point during class if someone’s mind began to wander, we would get the “karate is the way of the empty hand, not the way of the empty head” lecture. Mental concentration training was just as important as physical training. Every technique had to be performed with the mental intension of stopping an attacker. The eyes had to be focused in the direction of the attacker and should clearly reflect your commitment to the technique.

Even though each class was different, they were always intense. It was not possible to simply coast through class and only give half effort to the training. Each karateka was expected to give 100% spirit and effort, and there was no slowing down just because you “hit the wall”. It was understood that if you physically ran out of energy, then your spirit should take over and you just kept going. Strong, spiritual training goes beyond what you think that you are physically and mentally capable of. In class you went until you broke down, and then you just kept going beyond what you thought your limits were. This was training your “never give up, never say die” commitment to yourself. By the end of every class at B.E.S.T. Karate, there should be no reserves left. All of your energy and spirit should have been used up on the dojo floor.

The traditional techniques of Shotokan karate, and the teachings of Sensei Funakoshi are the foundation of the B.E.S.T. Karate system, but ongoing scientific research has always been welcomed. “Tradition embraces science” ensures that we are training with improved techniques and updated training methods. We are always ready to incorporate new ideas for ways to use the body more efficiently and effectively. Personal research is also encouraged so that we can learn about the history of our art, and also to improve our own personal training.

The Instructor Training Program allowed karateka to take the next step in their karate development. Future instructors learned how to teach the next generation of karateka through their advanced level of understanding of the relationship between physiology, anatomy, and karate techniques. They learned how to watch students in order to be able to improve incorrect posture and movement. They also learned how to conduct a class with enthusiasm to inspire the students to perform at their best. Written assignments such as this one allow future instructors to research deeper into karate-do and to strive to achieve “Ken zen ichi” (The fist and pen are one.)


After over eleven years of training together, it is hard to know where to start to try to describe John McClary Karate. His enthusiasm for the art of Shotokan karate and his passion for teaching are immediately obvious. His spirit is infectious. Every single class he gives his spirit to his students encouraging them to try harder and to improve beyond their current capabilities. In turn the students fire up their own spirit and send the energy back to Sensei. No two classes are ever alike, keeping the training fresh and alive. Even when we train a specific kata over and over, the emphasis of the lesson is different each time. In this way the students learn to constantly look for new jewels that they can discover in each kata.

During class Sensei McClary teaches everything to everyone regardless of age, ability, or time training. Children, adults, white belts, and Nidans could all be learning an “advanced” kata in the same class. Sensei McClary has the ability to teach so that even beginners can understand and learn some of the jewels of any kata. At the same time the more “advanced” karateka are also challenged to look into the techniques of the kata more deeply.

During my personal training time in the mornings, Sensei McClary would often stop by and ask what I was working on. If I was concentrating on kihon, he would remind me to make sure that I did not neglect my training in kata. If I was working on a specific kata over and over again, he would watch it once, and then point out one technique that I could improve on. He would remind me that I did not always have to perform the entire kata; I could concentrate on a few movements at a time. Sometimes he would stop by just to talk about a magazine article or book that he had been reading. It became obvious quite quickly that all aspects of karate training should be given constant attention, and nothing could be neglected. I would often think about Sensei Funakoshi’s precept “Karate wa yu no goto shi taezu natsudo wo ataezareba moto no mizu ni kaeru.” (Karate is like hot water. If you do not give it heat constantly, it will again become cold water.) Sensei McClary expected me to keep multiple pots boiling on the stove at once, and not to let any of them cool.

Outside of class Sensei McClary always has time to listen to his students on any topic. When I went to him to discuss the subject of facial contact during kumite, he didn’t say that I was wrong, and he didn’t brush me aside. He didn’t simply give me his answer and end the discussion. Instead he took the time to fully listen to my side and the reasons for how I felt. Then he asked me a few questions so that I would think more deeply into the subject. He gave me different viewpoints without saying that any were right or wrong. Then we discussed our beliefs back and forth for over an hour, ultimately giving me more to think about. It did not matter that we had differing views on the subject; we were still able to openly discuss it. I always enjoy talking with Sensei McClary and always leave with a positive, enlightened feeling. The main point here is that this was after the last class of the night and he still made time to talk with me for as long as I felt necessary.

Sensei McClary has adopted a holistic approach to teaching. He deals with each and every student on an individual level, and has an uncanny ability to know exactly why you are training, and what you need as an individual to be able to reach your full potential as a human being. He doesn’t just work with his students teaching them karate. He teaches them about life. He encourages his students to succeed in every endeavor in and out of the dojo. He doesn’t let his students define themselves by their limitations; rather he assists them to work beyond any real or perceived boundaries. He always remains positive, letting students know that with effort they will be able to reach their goals and continue beyond.

In over eleven years of classes with Sensei McClary, there has been only once that I ended class with a negative perception of myself. Usually I leave class feeling physically exhausted, but mentally energized and spiritually rejuvenated. This one class I had been the example of what not to do during kumite for three instances. Now, I am the first to say that my kumite is not very good, but after this class I felt hurt on an emotional level, and I did not want to leave the dojo feeling that way. So after class I went over to Sensei McClary and asked “So what did I do right?” Without taking a breath or blinking an eye, he rattled off three things that I had done well that I had been working on to improve. I immediately felt better and returned to my personal training.

The hardest lesson that I ever learned from Sensei McClary was also the most important. It literally took me months before I fully realized what was going on because I kept misinterpreting what he was trying to teach me. I understood the philosophy of Shu-Ha-Ri and knew that I had developed my karate ability to the Ha stage. What I did not realize was that at that point Sensei McClary would be treating me differently. I like to be able to ask questions and have someone answer them directly, telling me what I should do next. What I didn’t realize was that it was time for me to work on my own to discover my own answers, and that Sensei McClary wasn’t going to respond to my questions with direct answers anymore. I kept asking questions and became more and more confused by the answers until I finally stopped asking. I misinterpreted the situation thinking that Sensei McClary was getting tired of my constant questions, and didn’t want to deal with them anymore. This was where I was totally wrong.

Everyone has heard of the expression “When the student is ready, the teacher will arrive.” What I finally discovered in my thick head was that “When the student is ready, the teacher will go away.” Sensei McClary knew that I was ready to go off on my own and work through personal training to discover new jewels about karate. He was the smart one and I was the novice taking a while to figure out what the real lesson was. Now I look forward to my own personal training time, so that I can work on aspects of karate training that are important to me.

Sensei McClary reminds students to take personal responsibility for their thoughts, words, and actions. Through his teachings on and off of the dojo floor, he changes people by working with the essence of their being, improving the quality of their character, and molding them into better members of society. Once Sensei McClary touches your heart, you are transformed into a different human being. He is more than just a teacher or mentor; he is a healer of souls. I have been fortunate enough to witness this over and over again.




References:

Shotokan History: Its History and Evolution by Randall G. Hassell

Conversations With The Master: Masatoshi Nakayama By Randall G. Hassell

Dynamic Karate By M. Nakayama

Comparison of JKA and Shihan McClary’s Shotokan Karate

The intent of this paper is to compare and contrast several different aspects of JKA and Shihan McClary Shotokan karate. Shihan McClary’s primary instructor, Teruyuki Okazaki, was a long time member of the JKA and one of the founders of the JKA Instructor Training program, and a student of Master Funakoshi. My instructor, Shihan Robinson, is one of Shihan McClary’s top students, having been with him for more than 20 years. While Shihan Robinson’s school, as well as Shihan McClary’s, is no longer directly affiliated with the JKA (the “why” of the split from the JKA is not the purpose of this paper and will not be covered), we still practice a “JKA karate style”, meaning that anyone observing our karate would know where our roots came from. This is true for many of the schools and organizations that have splintered from the JKA over the years. Even before the bonds with the JKA were broken, Shihan Robinson (having learned from Shihan McClary) was teaching his students elements of karate above and beyond the core teachings within the JKA. It is these differences that will be highlighted in this paper.

Brief History

Master Gichin Funakoshi brought what is known today as kara-te do (literally translated as “the way of the empty hand”) to mainland Japan in 1922 from Okinawa. Through his teachings, perseverance and character the popularity of karate blossomed. Some 27 years later (1949) the first formal organization tasked with the promotion of karate was established, the Nihon Karate Kyokai – the Japan Karate Association (JKA). Master Funakoshi was appointed as the JKA’s emeritus Chief Instructor (Master Masatoshi Nakayama, a student of Funakoshi’s, was the actual Chief Instructor), and taught his style of karate, named Shotokan by his students. After more than 50 years in existence, and having had many different Chief Instructors, the JKA is still operating based firmly on the teachings of Master Funakoshi.

Throughout the lifetime of the JKA many traditional karate dojos have spawned within Japan and across the world, many being started by the early leaders within the JKA, including Master’s Kanazawa, Okazaki, and Mikami. Many of these schools, being led by direct students of Funakoshi’s, continued to follow the many different practices they had learned from the original master; however, over time different teaching styles and emphasis on different aspects of movement, thinking and philosophy, conditioning, and exposure to different arts began to infiltrate these schools. Some of the changes caused the schools to break away from the JKA, but continue follow the path Funakoshi blazed.

Philosophy

Master Funakoshi taught that the mind and character had to be trained as well as the body. Based on the teachings of bushido (the way of the samurai) he developed the dojo kun and niju kun. The dojo kun, 5 guiding principles, are general precepts to help one achieve the perfection of character. The niju kun are 20 more detailed principles which expound on the dojo kun. While we do not live in the age of samurai anymore, or even in times similar to those of Funakoshi’s era, these guidelines still apply today. Which is why in traditional Shotokan schools, such as Shihan Robinson’s, or in a JKA-sanctioned school, the dojo kun is recited, in unison, at the end of class by all the students. Without the pursuit of perfecting one’s character the karate-ka will not fully achieve their potential in his life or in his karate training. This philosophy has been passed along through the generations of instructors beginning with Master Funakoshi, and is alive and strong within traditional Shotokan schools, whether a part of the JKA or not.

Training

In the JKA, the physical part of karate training focuses on developing the mind, body and spirit. This is done through extensive training of kihon (basic techniques), kata (forms), and kumite (sparring). All three aspects rely on each other; one cannot be improved without improvements in the others. When karate was beginning to gain popularity in the early 20^th century there was little to no written documentation of the art. Knowledge (including movements, explanations, lineage and history) was passed from instructor to student by word of mouth and demonstration.

No one knows how much valuable information was lost, forgotten, or misinterpreted over the centuries that martial arts have been practiced. The JKA worked to remedy this situation through the introduction of its Specialist Instructor Training Program and by documenting the 3 main aspects of Shotokan Karate, kihon, kata and kumite. With Master Nakayama as the Chief Instructor, the JKA began to create a repeatable set of instructions for Shotokan karate, which would ultimately lead to a consistency within the many different dojos across the world.

Kihon

By formalizing the training aspects of Shotokan karate the JKA was able to focus on and hone a set of instructions which they rigidly adhere to. As stated in their own words, the JKA “knows the correct way to perform a karate technique.” While this could be interpreted as a bold statement based on a long tradition and years of exploration, it also seems to be limiting.

On the surface, this position seems to express that there is only one way to correctly perform a particular technique. What we have learned from the teaching of Shihan Robinson is that there may be several ways to achieve the same end result from a technique. Physical differences between individuals require adaptation of techniques, the age old adage “no one size fits all” applies here. Moreover, we are taught that we need to understand the basic elements of the movement, and then experiment with our bodies to find the optimal solution for ourselves. It is this personal exploration that ultimately leads an individual to the best result.

In our dojo developing strong kihon is highly emphasized. However, we do not just train the individual movements, but also sequences which help develop explosive, dynamic movement in our hips and torsos, our tanden, and in turning and stepping. For example, a drill we do with partners has us each starting in kiba dachi facing each other close enough to punch and block each other. We then, on count, shift our stances (for this example each shifts to their left first) to zenkutsu dachi in a diagonal direction, punching (right) gyaku zuki. The purpose is to focus on the hip movement, snapping the hip around between the two stances. The next movement is shifting back to kiba dachi, where one student blocks and the other punches. Again, the shift in stances is done rapidly, concentrating on keeping consistent height and strong connection to the floor. On the next count the punch and block again with their right hands while maintaining kiba dachi. Here the focus is on the tanden, utilizing it to ensure a strong foundation and connection to be able to execute powerful blocks and punches. The last movement is the same as the first, except this time the students shift to their right into zenkutsu dachi and punch gyaku zuki with their left hand. Once again the students are to concentrate on their hip movements.

There are many other drills we do which aid in quick, stable and powerful movements. Some drills include stepping and turning in the opposite direction to the norm and at the same time performing a basic kihon technique. These types of drills help the students develop better fluidity and speed in more uncommon movements, which, in turn, builds the student’s ability to move more dynamically in different situations.

Kata

Within Shotokan karate there are 27 kata (some say there are only 26, and are excluding Hyaku Hachi Ho) which were derived from many different sources and styles. However, all have been “shotokan-ized”, meaning they have been adapted to be more in line with typical shotokan movements. This makes it easier for a karate-ka to learn new katas because the movements are all very similar, for the most part. It also means that if a karate-ka in the Shotokan system only learns these kata they only move in a specific, predictable way.

In our dojo we go beyond the 27 kata, incorporating kata from different styles and kata that have been recently created (such as by the late Sensei Asai) in order to teach new types of movements. Usually these new kata have a similar theme to them: dynamic movement. Shihan Robninson places a strong emphasis on dynamic movement within kata, based on the feeling that performing a kata should be like being in a fight. The whole body must be used with fast, explosive movements, overwhelming the imaginary opponents. The focus is on rapid hip rotation, contraction of the abdomen and tanden, and overall contraction and expansion.

Traditionally, Kanku Dai is the signature kata of Shotokan, and we observe that fact in our dojo. However, the signature kata of our school is Basai Dai. This is because it has more sequences of moves in which dynamic movement is required. It has most of the same basic elements as Kanku Dai, but has additional areas in which, through extensive training, builds the student’s ability to demonstrate explosive power and quick movement.

Traditionally katas are practiced and performed in a very strict and controlled manner, sometimes done to be “pretty”, as for a competition. This is not how we are taught to practice and perform kata. While our student’s kata might not be as pretty, it is expected to be strong, explosive and dynamic. An opponent is not going to appreciate the “perfect-ness” of stance or a movement, but they will understand when a Robinson/McClary student hits them with a killing blow derived from dynamic movement.

Kumite

Fighting, or kumite, as part of the JKA follows a very strict tradition and practice. Following the philosophy of “one blow, one kill”, the JKA emphasizes that the karate-ka attack an adversary with the intent to deliver a killing blow. Of course in modern society this is not a common practice, but instead the karate-ka demonstrates to an opponent that they could do this.

In observing our students interacting (such as in kumite or drills) with students from other schools (or students who come to us from other schools) it is easy to see many differences, most notably in how they move and they power they are able to generate. Some of these other students have strong kihon but lack dynamic, fluid movement. Others move well and quickly, but lack the ability to demonstrate truly powerful techniques. With the concentration on movement and power in the training at our school, our students (to varying degrees based on their level and time in training) are more advanced in both of these regards.

Shihan Robinson teaches that in the process of getting to the point of delivering a finishing blow, any part of an opponent that is touched by the karate-ka should hurt, meaning that for example a block or a deflection should cause injury or pain to the opponent. He refers to this as being “electric.” By using this principle a karate-ka could dissuade an opponent from further attack without actually having to inflict a devastating injury or death. Most of these techniques come from existing shotokan movements, with a slight adaptation; however, several of the techniques used come from other types of martial arts.

In our dojo it is not uncommon to have classes (sometimes with guest instructors) on different styles of karate or on completely different art forms, such as jiu jitsu, judo or aikido. By learning from these different styles we are able to enhance our arsenal of attacks and defenses. Shihan Robinson has always emphasized that knowledge is power, and knowledge can come from many different sources, even outside your ryu or art form. We are encouraged to learn from any source we can, about martial arts, anatomy and physiology, health, training, and many more areas critical to our karate training.

In the end, whether you are a karate-ka at a JKA dojo or a student of Shihan Robinson’s or McClary’s, you are practicing and following the long standing traditions of Shotokan karate, as prescribed by Master Funakoshi. With the JKA you get concise and formalized karate training; with Shihans Robinson and McClary you experience the same fundamentals with the added emphasis on dynamic movements, electric encounters and growth of knowledge, as well as very experienced and enthusiastic instructors.

Craig Lawton
Triangle's Best Karate
February 12, 2008