Martial Arts Of The World - Webs
Martial Arts Of The World - Webs Martial Arts Of The World - Webs
Japanese men and women practicing Kenpô, ca. 1955. (Hulton Archive) 256 Kenpô outside of Naha, Okinawa. It is believed that they brought with them the knowledge of several quanfa systems, which they taught on Okinawa. Two distinct styles of kenpô developed within Okinawa over the course of time: Jû-no-kenpô (soft style) and Gô-no-kenpô (hard style). Modern Systems of Kenpô Nippon Kempô and Goshidô Kempô are modern Japanese arts that combine Okinawan kenpô roots with jûjutsu and kendô (modern Japanese fencing). Both arts have blended techniques from the older Japanese arts to form new and effective modern self-defense systems. Blending weapons techniques with empty-hand arts is not a new idea in Japan. As Oscar Ratti and Adele Westbrook note, it is “possible to detect techniques clearly inspired by the use of swords, sticks, parriers and whirling blades” in several Japanese empty-hand arts such as jûjutsu, aikidô, aikijutsu, and kenpô (1973, 344). As Karl Friday demonstrates in his study of the Kashima-Shinryû, the traditional ryûha (Japanese; systems or schools) developed sciences of combat that provided frameworks for both their armed and unarmed disciplines. Other continuities are manifest in the modern karate hand weapons known as the yawara stick descendants of the Hindu vajara. The vajara, according to Ratti and Westbrook, was held within the fist; it con-
sisted of sharpened prongs at both ends that could be used “to inflict paralyzing damage on the opponent’s vital organs in accordance with the techniques and strategic dictates of kenjutsu [martial use of the sword] and tessen-jutsu [martial use of an iron fan]” (324). Later, after World War I, Nakano Michiomi Sô Dôshin founded the Nippon Shôrinji Kenpô (NSK) system. The art blends an older form of Shaolin Boxing with jûjutsu and Daitô-ryû aikijutsu. The emphasis of NSK is on joint locks and throws that incapacitate the opponent but do not inflict serious bodily injury or death. Older Okinawan masters maintain a tradition of the Chinese origin of kenpô. One such master is Motobu Chôki, who stated in 1926 that “Ryukyu Kenpô-Karate originally came from China. Sanchin, Go-jushi-ho, Seisan, Seyuchin [kata from various Ryukyu systems at the time of the publication of his book] have been used there for many centuries.” Motobu wrote, “I am inclined to believe that this art was taught by Chinese men since there were many contacts made between Ryukyu and China from ancient days” (1926, 17). Despite Motobu’s assertion of the historical importance of the traditional kata, however, one of Motubu’s earliest Japanese students, Yamada Tatsuô, founded Nippon Kempô Karate, a system that stressed kumite (“sparring”) over kata (“forms”). Contemporary Kenpô Karate The kenpô variants are derivatives of the systems that were first taught in Hawaii by Dr. James M. Mitose and William Kwai Sun Chow, beginning in the late 1930s. Under the leadership of William K. S. Chow, the modern Hawaiian kenpô styles added more circular motions to the art than were taught under the Koshô-ryû Kempô-Jujitsu style of Dr. James Mitose. Professor Chow opened his first school in 1949 under the name of Kenpô Karate. This was the first time that the two words had been combined. The modern era Hawaiian kempô/kenpô styles owe their existence to the Japanese and Okinawan based Koshô-ryû Kempô-Jujitsu system of Dr. James Mitose. The Okinawan connection is through his uncles, Motobu Chôyû and Motobu Chôki. Dr. James Mitose (Kenpôsai Koshô) was born in pre-statehood Hawaii in 1916. At the age of 4, he was sent to Japan to be educated and trained in the family tradition that would eventually culminate in his being named the twenty-first headmaster of the Koshô-ryû Kempô System. It is most likely that he was educated and trained at a Buddhist temple on Mount Kinai, in a village called Izumi. According to Dr. Mitose, the Koshôryû Kempô-Jujitsu style was brought directly from the Shaolin Temple to Japan in the late 1500s by members of his clan. The art was modified by successive family masters until the new Koshô-ryû (Old Pine Tree Style) was developed. According to Thomas Barro Mitose, the current Koshô-ryû Kenpô 257
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sisted of sharpened prongs at both ends that could be used “to inflict paralyzing<br />
damage on the opponent’s vital organs in accordance with the techniques<br />
and strategic dictates of kenjutsu [martial use of the sword] and<br />
tessen-jutsu [martial use of an iron fan]” (324). Later, after <strong>World</strong> War I,<br />
Nakano Michiomi Sô Dôshin founded the Nippon Shôrinji Kenpô (NSK)<br />
system. <strong>The</strong> art blends an older form of Shaolin Boxing with jûjutsu and<br />
Daitô-ryû aikijutsu. <strong>The</strong> emphasis of NSK is on joint locks and throws that<br />
incapacitate the opponent but do not inflict serious bodily injury or death.<br />
Older Okinawan masters maintain a tradition of the Chinese origin of<br />
kenpô. One such master is Motobu Chôki, who stated in 1926 that<br />
“Ryukyu Kenpô-Karate originally came from China. Sanchin, Go-jushi-ho,<br />
Seisan, Seyuchin [kata from various Ryukyu systems at the time of the publication<br />
of his book] have been used there for many centuries.” Motobu<br />
wrote, “I am inclined to believe that this art was taught by Chinese men<br />
since there were many contacts made between Ryukyu and China from ancient<br />
days” (1926, 17). Despite Motobu’s assertion of the historical importance<br />
of the traditional kata, however, one of Motubu’s earliest Japanese<br />
students, Yamada Tatsuô, founded Nippon Kempô Karate, a system<br />
that stressed kumite (“sparring”) over kata (“forms”).<br />
Contemporary Kenpô Karate<br />
<strong>The</strong> kenpô variants are derivatives of the systems that were first taught in<br />
Hawaii by Dr. James M. Mitose and William Kwai Sun Chow, beginning<br />
in the late 1930s. Under the leadership of William K. S. Chow, the modern<br />
Hawaiian kenpô styles added more circular motions to the art than were<br />
taught under the Koshô-ryû Kempô-Jujitsu style of Dr. James Mitose. Professor<br />
Chow opened his first school in 1949 under the name of Kenpô<br />
Karate. This was the first time that the two words had been combined.<br />
<strong>The</strong> modern era Hawaiian kempô/kenpô styles owe their existence to<br />
the Japanese and Okinawan based Koshô-ryû Kempô-Jujitsu system of Dr.<br />
James Mitose. <strong>The</strong> Okinawan connection is through his uncles, Motobu<br />
Chôyû and Motobu Chôki.<br />
Dr. James Mitose (Kenpôsai Koshô) was born in pre-statehood<br />
Hawaii in 1916. At the age of 4, he was sent to Japan to be educated and<br />
trained in the family tradition that would eventually culminate in his being<br />
named the twenty-first headmaster of the Koshô-ryû Kempô System. It is<br />
most likely that he was educated and trained at a Buddhist temple on<br />
Mount Kinai, in a village called Izumi. According to Dr. Mitose, the Koshôryû<br />
Kempô-Jujitsu style was brought directly from the Shaolin Temple to<br />
Japan in the late 1500s by members of his clan. <strong>The</strong> art was modified by<br />
successive family masters until the new Koshô-ryû (Old Pine Tree Style)<br />
was developed. According to Thomas Barro Mitose, the current Koshô-ryû<br />
Kenpô 257