Creating chances for experience A Brief History and Overview Several weeks ago I organised a workout While there are a number of books and numerous articles about reunion for my former and present the various unarmed systems of Okinawan , there is students and the focus of this special workout little quality written material in English about the various armed was on close combat mass attacks. During the workout I slowly worked towards arts of the island. There are a small number of sources looking at a fighting scenario where we ultimately had the performance of various , and some on application of these hardly any space to manoeuvre, often standing kata, but there are a dearth of sources that clearly examine the shoulder to shoulder as in a huge packed content and history of any of the island's major systems. crowd of hundreds and where everybody was This article is an attempt to begin to fill some of that gap in the fighting everybody. At its climax people were pushed back in the fighting crowd when they literature by more carefully examining the history and content of escaped the centre of fighting and medicine the Matayoshi kobudo. balls were constantly being thrown in to add another dimension. A scenario with an extre- - Frederick W. Lohse III - mely chaotic and uncontrollable nature. Some of my former students were not familiar with this type of mass attack training where all attacks can be initiated at any time, totally The armed arts of Okinawa have always communal impact. These techniques and unexpected and unseen. A direct and for some been an integral part of the martial heritage systems remain a valuable part of a new confronting way to see in which direc- of the island. Indeed, an earlier term for Okinawa’s martial heritage, no matter tion fear leads them, being it fight, flight, the , Tode, makes how limited their provenance. However, freezing or flow, as described in an excellent no distinction between armed and un- starting in the middle of the last century article from Kevin Secours in this edition. In experiencing close combat mass attacks it armed technique. Along with the unarmed two main lineages of arts deve- became very clear to some of my students arts, the island’s bushi have always passed loped on the island, and, along with attrac- that they used their body differently than down a variety of armed techniques. ting their own body of students, started expected and often differently than they were Many remain extant today, ranging from to draw students from karate lineages that trained to do. Some students told me that, the bojutsu of “Tode” Sakugawa to the had no armed component. Taira , among other things, they used more basic motor skills than any complex motor skills bo and of Chatan Yara, the bo and originally a student of Funakoshi Ginchin, and in order to survive’ used more of their from Tsuken jima, and to a number began collecting various kobudo kata and natural and instinctive way of reacting than of Chinese based weapons techniques techniques in the early 20th century. He they ‘normally’ were used to. The most practiced on the island. Traditionally, went on to found the Society for the important thing and my primary goal, was these weapon skills were passed down Preservation and Promotion of Ryukyu that they learned something about themselves. Why things were different, what fear did to along with unarmed technique, preserved Kobudo ( Hozon Shin- them in this setting and at the point of self- and taught (and adapted) by various defence, what changed their way of reacting individual teachers. Also, much like the “While it has spread world-wide, and has compared to others scenarios. To be short, island’s karate kata, many exist in a had a profound affect on the Okinawan what reflection they received from this number of variations, passed down by martial arts, most available information experience. different teachers but connected to the From the point of self-defence, I think that about the system is hearsay, or a small th every martial artist should train or at least same root. In the mid-20 century this smattering of book chapters, short articles, experience all kinds of possible self-defence more organic method of instruction began and biographies on websites.” scenarios if the opportunity exists. Expe- to change. As Okinawa’s karate began rience is our best teacher and it gives us a to be codified in “ryu”, or formal lineages, kokai), now well known world-wide. direct feedback. Personally I think that every the same thing happened to the weapon Earlier, in the late 1800’s, another lineage martial art school should do more to let the student experience out the box practise, which arts. that today practices primarily armed broadens our view of things and even gives While there are a number of lineages still technique began to develop, the Mata- new insights into our self and our martial art extant on the island, many, like the yoshi family kobudo. This is the other systems. I hope the mass attack scenario Honshin-ryu, Yamane-ryu and Ufuchiku main armed system on the island. example sparks some of our readers to kobudo, remain very small, even after experiment. having been codified. Still other weapon Little exists in English, or in Japanese, skills remain small parts of individual about the Matayoshi kobudo system. Lex Opdam Editor in chief karate systems, preserved but having little While it has spread world-wide, and has

House of the Pure Martial Arts WWW.MEIBUKANMAGAZINE.ORG No 9 JULY 2007 2 it was later transplanted to Japan. Gima also imported and propagated sugar cane, as a cash crop. These two imported plants dramatically changed the course of Okinawan history, the potato providing a secure sustenance crop suited to the climate and high in nutritional value, and the sugar cane providing a valuable cash crop, jump starting the island’s economy.

Gima and Noguni’s reputations have remained important on the island. A monument was built to them in a park in Naha in 1937, to honor their work for Okinawa, and Gima’s tomb, which was moved from Sumiyoshi Cho in 1959 to make room for the expansion of a US Courtesy of ZOKR, pp. 4. Kokusai Karate Kobudo Renmei main dojo Founding Members, December 17, 1962. Taira Shinken, base, was rebuilt in 1993, using state seated 2nd from left. Higa Seiko, seated, center. Matayoshi Shinpo, standing 4th from left. funds. The current Matayoshi family is a had a profound affect on the Okinawan yoshi since 1962. It is informed by nume- collateral line of the Gima family, splitting martial arts, most available information rous casual conversations with all of these off some 16 generations ago. Many of about the system is hearsay, or a small people, as well as more directed questions smattering of book chapters, short articles, about the content and history of the and biographies on websites. Some of system, including a planned interview this information is contradictory, and some with Sensei Matayoshi for another project is incorrect. While this article is not meant in 1995. Finally, it draws on the small to be definitive, it is an attempt to more amount of written information about the completely convey some of the history system in Japanese. It is my hope it will add and content of the Matayoshi kobudo. clarity to the existing information about In writing it, I draw from my more than system, and help to bring a treasure of Oki-

20 years of experience in the system, nawa’s martial heritage more fully into the Courtesy of Fred Lohse. under Matayoshi Shinko in Okinawa, light. Shinjo Gima's Tomb. under Sakai Ryugo- a student of Sensei the male members of the family retain the Matayoshi from the early 1960’s- in Background shin (c) character from Shinjo to honor Japan, under Gakiya Yoshiaki, and under The Matayoshi family traces its lineage their famous ancestor; this is the shin in Kimo Wall, a student of Sensei Mata- back to a famous figure in Okinawan Shinko and Shinpo. (Interview with history, Gima Shinjo, or Mashi Gima Matayoshi Shinpo, 1995.) Oyakata Shinjo (1557-1644). (ab cd) Gima was a descendant of Oshiro At some point in their history, the Mata- (Ufugushiku) Anshi, the head of the family yoshi family became associated with the line. While not known as a martial artist, martial arts. It is unclear just what this Gima had a profound effect on the association was- they were not famous development of the island. He was a noble on the island as teachers, or closely asso- in the Ryukyunan feudal government, an ciated with the Ryukyu government or official of Ryukyu Agriculture (Smits, military- but by the time Matayoshi Shin- 1999), and was the patron of Noguni ko was young there was a long tradition Sokan, who brought the sweet potato of martial arts within the family, a tradition back from Fujian, in 1604 (see stretching back an unknown number of Kerr, 2000). Gima took the product his generations. Sensei Matayoshi Shinko’s vassal brought back and promoted its first teachers were his father, Matayoshi development as a crop. Within a few Shinchin, and his paternal grandfather, years, it became one of the most impor- Matayoshi Shintoku. They initiated him

Courtesy of Kimo Wall. tant crops on the island. From Okinawa, into the family Kenpo and weapon tech- Shinjo Gima.

House of the Pure Martial Arts WWW.MEIBUKANMAGAZINE.ORG No 9 JULY 2007 3 a Chinese tea merchant, Wu Hein Kui, soon began to receive instruction in Fujian called Gokenki in Japanese. Go was Shaolin Fist from him. Another in the long proficient in a Chinese form of White list of connections in Matayoshi Shinko’s Crane Kenpo, and shared what he knew training was soon made, and seeing the with the young Matayoshi.2 Shinko had promise in the young man Go Koki intro- heard stories of the great martial arts of duced him to a friend, a well known China from his family, and from Gokenki, martial artist called Kingai.4 Kingai Roshi and with the latter’s encouragement he was an older man, a lifelong student and decided to go abroad to study. In the teacher of the martial arts, and is said to Spring of 1905, at the age of 17, he left be a senior to the same Zhou Zei He Okinawa for Hokkaido, planning on (Shushiwa), who taught Uechi Kanbun. entering China through Manchuria.3 He (ZOKR, 1999.) traveled through Hokkaido and Sakhalin Kingai Roshi called his style Kingai Noon, Island on his way and in Manchuria, at or Kingai-ryu (efg). He said the

Courtesy of Fred Lohse. that time a rather lawless place, he joined Shinko Matayoshi. a group of mounted nomads for a while. “In 1915 he was invited by Funakoshi niques. According to the family, Tsuken Some stories suggest these nomads were Ginchin to demonstrate kobudo on the Akachu no Eku di is a good represen- also bandits, and while living with them mainland, possibly the first demonstration tation of these family techniques, and was Shinko learned how to ride, and use the of Okinawan kobudo in mainland Japan.” the technique Matayoshi Shinchin was lasso, bola (suruchin), and various other most proficient in. throwing weapons (), as thrown name implied Kin(e)- reacting supply weapons were essential to how the group to change, and Gai(f) - hard or solid The current Matayoshi kobudo has its hunted and fought. This was a very aus- like metal; therefore it embodied the hard- start with Matayoshi Shinko. He was tere time in Shinko’s life- the living was soft ideal. (ZOKR, 1999.) The first is an born in the Kakinohana area of Naha, hard, and it is said he also learned a great idiosyncratic reading of the character, on May 18, 1888, and grew up in Shin- deal about actual combat at this time. which is usually translated as metal or baru village. He was the third son of gold, and the system has also been Matayoshi Shinchin, and the only child After 2-3 years with the group (it is referred to as a Golden Bird style. Kingai’s to take a deep interest in the martial arts. unclear how long he stayed in Man- instruction was very severe, but Shinko As a boy, he began studying under his churia), he moved south. Stopping first felt lucky to be learning from such a great father and grandfather, learning (among in Shanghai, he practiced a form of master, and applied himself to the practice other things) Tsuken Akachu no eku di, Shaolin Kenpo for a time, though it is (ZOKR, 1999). Along with his martial and from his father the bo kata Kubo no unclear exactly what this was. It is possi- studies, at this time he also began learning Kon, Yonegawa no Kon, and Yara no ble he practiced at the famous Jing-wu acupuncture, moxibustion, and Chinese Kon. (ZOKR, 1999.) Later, his father association as some authors have said, herbal medicine from Kingai. introduced him to a friend and training but as the Jing-wu was founded in 1909 partner of his from Gishikawa village, or 1910, that seems unlikely. From there In this period, Shinko traveled to Taiwan Agena Chokubo, who was also known to see their martial arts, and returned to as Gushikawa Tigaguwa and Higa no “This was a very austere time in Shinko's Okinawa for a few visits between 1910 tanmei. From Agena he learned sai and life- the living was hard, and it is said he and 1918. In 1915 he was invited by techniques, and deepened his also learned a great deal about actual Funakoshi Ginchin to demonstrate knowledge of the eku and bo. He conti- combat at this time.” kobudo on the mainland, possibly the first nued his weapon studies with another demonstration of Okinawan kobudo in family acquaintance, Ire Okina, (old man he headed to his initial destination, mainland Japan. Then, sometime around Ire, also known as Jitoudi Moshigua), Fuchow city, in Fujian province. At the 1920, he took up residence again in from Nozato village in Chatan.1 Under time, there was a large Okinawan com- Okinawa for a number of years. At that Irei, he studied the and nunchiyaku. munity in the trading port, and it is unclear time, he acted as a Chinese doctor to the why he took such a roundabout way to Okinawan community, and founded a Throughout his childhood and teenage get there when travel was common martial arts study group (kenkyukai) that years, Matayoshi Shinko focused ex- between Okinawa and Fujian, but even- brought together a number of the famous clusively on the martial arts. He continued tually he arrived at the address Gokenki martial artists of the day. It is probably at to seek out different teachers, and had given him for the family home. There this time that he trained with Chinen Sanra through this pursuit became friends with he met Go Koki, Go Kenki’s father, and (1842-1925)5, Shishi Ryoko (1852-1925),

House of the Pure Martial Arts WWW.MEIBUKANMAGAZINE.ORG No 9 JULY 2007 4 and Oshiro Chojo (1887-1935), all of Chatan, and Kadena. He was very highly with a number of other Okinawans. whom he learned bo techniques from. In respected in the Okinawan martial arts Okinawa was a very difficult place to be 1921, along with Miyagi Chojun, he parti- community, and was given a variety of after the war, and he made the move in cipated in a demonstration of Ryukyu nicknames, including Shinbaru Mateshi order to make a living at the time. While martial arts for the then crown-prince (Matayoshi from Shinbaru), and Kama in Kawasaki, he taught kobudo in the Hirohito in the grand hall of Shuri Castle. nu ti Mateshi (Matayoshi of the Kama)8. Okinawan community, and practiced with In 1929 Shinko participated in a memorial He passed away in May of 1948, at the a number of other Okinawan martial demonstration for Emperor Meiji, at the age of 59, and his passing was seen as a artists who were also living there. He Meiji shrine in Tokyo as a representative great loss to the Okinawan martial arts finally returned to Okinawa in 1960. for Okinawa prefecture; he did kama and community. tonfa techniques and Funakoshi Ginchin When he returned to Okinawa, he first did karate, and he was presented with a After his death, the leadership of the took up residence in the dojo of Higa medal by the government for this demon- system he had founded passed to his son, Seiko. His first students on the island were stration.6 Shinko was married during this Matayoshi Shinpo. Shinpo was born on time in Okinawa, and his son, Matayoshi December 27, 1921, in Yomitan. He Shinpo, was born in 1921. began training under his father when he was 4 years old. His father also furthered In the late 1920’s or early 1930’s he his martial education in much the same retur-ned to Fuchow to see his teacher way his had been nurtured, introducing Kingai Roshi again, and to further his Shinpo to a number of his friends and Courtesy of Fred Lohse. studies in the armed elements of the fellow teachers. In this way, Shinpo began Kimo Wall and Shinpo Matayoshi with Manji sai, system- tinbe, nunti, sansetsukon, and studying under Kyan Chotoku in 1928, Massachusetts, 1995. suruchin. Before his return to Okinawa at age 8, as well as briefly under his fa- members of Higa’s dojo. In 1962, Higa he was given two scrolls about the style founded the Kokusai Karate Kobudo from Kingai, which the family still has; the “In this way, Shinpo began studying under Renmei (International Karate Kobudo upper and lower scrolls of Kyomo Taigen Kyan Chotoku in 1928, at age 8, as well Federation) , and Shinpo became a mem- Roshi (Guang-ming Da Yuanshuai), as briefly under his father's friend Miyagi ber, along with another noted kobudo Kingai-ryu’s patron saint.7 He returned Chojun, and then with Higa Seiko, with instructor, Taira Shinken, who was vice to Okinawa for good in 1935. whom he became close friends.” president of the organization. Shinpo lived in the Higa dojo for a number of years, After his return to Okinawa, he lived in ther’s friend Miyagi Chojun, and then with teaching in the dojo, outside in the yard, Naha, and opened an import/export Higa Seiko, with whom he became close and at various places around the island. business. He continued to act as a Chi- friends. In 1935, he also began training He also spent a good deal of time traveling nese doctor, and started another martial with his father’s old friend Gokenki. about the island, talking to and training arts research group. He also taught the with various kobudo practitioners, in arts he had learned, working them into Shinpo maintained this training until the particular other former students of his the system that would become Matayoshi end of WWII, when he moved to Kawa- father. Martial artists who knew him at kobudo, and running dojo in Naha, saki city, in Kanegawa prefecture, along that time, like Sensei Kimo Wall, recollect Courtesy of Bushinkan.com. Kodokan Dojo.

House of the Pure Martial Arts WWW.MEIBUKANMAGAZINE.ORG No 9 JULY 2007 5 that it was very important to him to re- partners, immediately joined. In the years connect to people he or his father trained leading up to the founding of the organi- with before the war. zation Shinpo and the senior members of the Renmei, students and training partners Over time, Shinpo saw that the island’s of his, had spent a good deal of time karate was getting more and more po- refining and formalizing the system, and it pular. It was well entrenched with the local is this formalized system that became the population, and had been gaining popu- kobudo of the Zen Okinawa Kobudo larity with foreigners, in particular the Renmei. American servicemen stationed on the island, for years. However, it did not seem Starting on his return to Okinawa in 1960, that the armed arts of the island were Matayoshi Shinpo was a very important getting the same level of recognition. He figure in the Okinawan martial arts felt this was a loss to Okinawa’s martial community. Of course, he was primarily heritage, and began working to coun- known as a martial arts instructor. How- Courtesy of ZOKR pp. 2. teract this trend. By the mid-60’s he had ever, he was also a well known public Shinpo Matayoshi, Houshu Taira, Seiko Kina, gathered together a number of kobudo figure in the martial arts community. He Seiko Higa, Kanki Izumigawa , Seiko Fukichi. practitioners, and was teaching in the Higa participated in virtually every important Photo commemorating Izumigawa's departure. dojo as well as a number of other places. public event in and about Okinawa, most were recognized by that body. In 1987, In the mid-60’s he founded the Ryukyu notably demonstrating at both the gala he was formally recognized for his ability Kobudo Organization, a group dedicated event in Kagoshima to celebrate Okina- and his efforts in promoting and preserving to the practice and preservation of the wa’s return to Japan, and the athletic and the Okinawan martial arts, receiving his Okinawan weapon arts. In 1969 he open- 10th dan on October 10th of that year, ed his dojo, the Kodokan, which he “Matayoshi Shinpo was primarily known from His Imperial Majesty Higashi named in honor of his father, taking the as a martial arts instructor. However, he Fushimi Jigo, President of the Dai Nippon ko (h), meaning light or brightness, from was also a well known public figure in Butokukai. He was also recognized as his father’s name as the first character. the martial arts community.” an important cultural treasure by the Butokukai. Additionally, he was an active In 1970 he renamed his organization the sports festival on the Ryukyu island of member of the administrative council of Ryukyu Kobudo Federation, and in 1972 Amami Oshima to commemorate the the Japan Kobudo Foundation. it became the All Okinawa Kobudo Fe- same event. His dojo and Renmei main- deration (Zen Okinawa Kobudo Ren- tained a steady schedule of demonstra- Through his efforts both in Okinawa and mei), and received official recognition in tions, television appearances, and other abroad, Shinpo was instrumental in Okinawa and from the Dai Nippon Buto- public presentations throughout his life. bringing the weapon arts of Okinawa into kukai. Shinpo became the president of He believed the Okinawan martial arts more public prominence, and in promo- the Renmei, and the Kodokan dojo the were an integral part of Okinawan culture, ting them around the world. Shinpo main dojo. A number of other dojo, and should maintain their connection to mostly of his students and training the larger community, and their visibility in it. To that end he also stayed active in a number of Okinawan organizations, including remaining active president of the Renmei he founded until his death, Kancho of his dojo, a member of the Oki- nawa Karate-do Federation, and acting as an advisor to the Naha City Karate Kobudo Association.

Shinpo also believed in the importance of maintaining connections across Japan. He was instrumental in developing Okinawa’s connection to the Dai Nippon Butokukai, acting as the Okinawa repre- Courtesy of Shinpo Matayoshi.

Courtesy of Fred Lohse. sentative, and his dojo and organization Shinpo Matayoshi with awards from the Zen Okinawa Kobudo Renmei patch. Butokukai.

House of the Pure Martial Arts WWW.MEIBUKANMAGAZINE.ORG No 9 JULY 2007 6 believed both in the deep connection between the Okinawan martial arts and Okinawan culture, and that the pursuit of these arts would lead to a better human being. The Renmei he founded was dedicated to promoting and preserving the Okinawan weapon arts, and to that end did demonstrations around Japan and the world, as well as teaching stu- dents from many countries.

He maintained a close connection to the training methods of the past, and to that end resisted the push towards display and competition that started becoming popular in Okinawan karate in the 60’s and 70’s. He also was considered a hard task-master, pushing the students in his dojo hard, and training with a deep inten- sity. However, he was open to the chang- ing world, inviting in new training methods like the sets of kihon he and his students developed, and open both to bringing his art around the world, and to inviting inter- national students into his dojo. He also deeply believed in the martial arts’ connec- tion to Okinawan culture, and to that end fostered relationships with Ryukyu dance and music practitioners. A number of traditional dancers trained in the dojo, and Shinpo supported their artistic efforts, for example working with Miyazato Eiko to develop the “rope kama” dance that has become famous over the years. Courtesy of ZOKR, pp. 0. Shinpo Matayoshi. One hallmark of the traditional teaching and a close personal relationship with an important figure in the development of style he saw essential to the art was crea- Sensei Matayoshi. This is a traditional the Okinawan martial arts after the war, form of training, and one that centered and in maintaining Okinawa’s connection “He maintained a close connection to the around the type of relationships through to its martial heritage. He left behind a training methods of the past, and to that training Sensei Matayoshi wanted to number of senior students who carry on end resisted the push towards display and build, more like an apprenticeship than the tradition, and the formal leadership competition that started becoming the strictly hierarchical student-teacher of the system (soke) was passed to his popular in Okinawan karate in the 60s relationship more common in, say, a son, Matayoshi Yasushi. In 1997, the title and 70s.” western classroom. of 3rd Kancho of the Kodokan, the teaching and technical head of the dojo, tivity. He was a creative and open practi- Matayoshi Shinpo, Soke of the Ryukyu was passed to Gakiya Yoshiaki, a long tioner, working with his seniors to conti- Kingdom Period Weapon Arts (Matayo- nue to develop and grow his art right up shi Kobudo), Soke of Kingai-ryu Tode “One hallmark of the traditional teaching until he passed away. He also encouraged Jutsu, and Soke of Nanban Shorin style he saw essential to the art was this in his students, working with them to Hakutsuru Kenpo Tode, passed away creativity. He was a creative and open th develop kata and application. This on September 7 , 1997. His death was practitioner, working with his seniors to required a personal knowledge of the a blow to the Okinawan martial arts continue to develop and grow his art right material, an ability to be creative with it, community. He will be remembered as up until he passed away.”

House of the Pure Martial Arts WWW.MEIBUKANMAGAZINE.ORG No 9 JULY 2007 time student. The leadership of the Zen he took the various Ryukyu kingdom “In years leading up to the founding of Okinawa Kobudo Renmei passed to period techniques, as well as Kingai’s mate- the Zen Okinawa Kobudo Renmei, Miyahira Shoshin, a member of the Ren- rial. From there he studied karate and bo- Shinpo and his students and training mei for many years, around the same time. jutsu with Kyan Chotoku, Goju with Miyagi partners spent a good deal of time refining but primarily with Higa Seiko, and White and formalizing the system.” Crane with Gokenki, as well as participa- ting in a variety of exchanges with different bers of the dojo in the start of the 1960’s, practitioners around Okinawa, including people like Kimo Wall and Sakai Ryugo, other students of his father. When he remember 10 or 11 bo kata being taught, came back to Okinawa in 1960, he began but by the mid-70’s the dojo had refined to shape these various influences into the this to the 5 that were taught in the late more coherent system that was current 90’s. At the same time, certain students in his dojo in the last years of his life. were bringing different forms in for exa- mination and practice. Yogi Jyosei relates While the development of the system that he and a number of other seniors went becomes easy to understand by simply at Matayoshi’s direction to a member of stating that Matayoshi Shinpo got it from his Uechi dojo to learn the kata Ufutun bo, his father and taught it to his students, that which they later modified to fit the charac-

Courtesy of Fred Lohse. eliminates much of the true depth and teristics of the Matayoshi methodology. Shinko Matayoshi. cultural value in it. In years leading up to Technical Development the founding of the Zen Okinawa Kobudo A number of kata were formalized in these In many ways the Matayoshi kobudo tra- Renmei, Shinpo and his students and trai- years, or even created out of techniques dition is a classic example of the syncretic ning partners spent a good deal of time that had been passed down. Some stu- development common to most Okinawan refining and formalizing the system. A few dents relate that the tinbe, sansetsukon, martial arts. The technical elements of the of the original members had trained under and possibly guwa forms were developed system have their base in the Ryukyu his father, or under other students of his early in this period, from the body of tech- Kingdom period martial arts that Mata- father (for example Odo Seikichi was a niques passed down to Shinpo. Indeed, yoshi Shinko studied. These have their base student of Kakazu Mitsuo, a student of many students from the early days have in the family traditions, including ekujutsu Shinko’s), as well as under other kobudo differences in how their kata appear. from Tsuken jima and Okinawan bo forms teachers. Others had been training with Sensei Matayoshi encouraged creativity like Yonegawa. Together with this are the him for more than a decade. While Shinpo in his students (particularly at demonstra- sai, kama, bo, and eku techniques from was the leader, main teacher, and technical tions, so video references often show a Agena, the tonfa and nunchiyaku from director, at this time there was a good great deal of variety in performances9), Ire, and bo techniques from Yamane, deal of collaborative work on the content working with them to develop the kata Shishi, and Oshiro. However, added to of the system. Together, under his direc- and applications, and students may have the more native Okinawan elements are tion, they formalized the kata system, made taken different things from their training, the techniques Shinko learned in Man- decisions about what was going to be particularly if they trained with him at churia, whatever he studied in Shanghai, included and excluded, and put together different times. Sakai Ryugo, for example, the White Crane of Gokenki, and most sets of kihon for the basic weapons, among taught a slightly different sai and kama importantly the unarmed and weapon other things. kata. When I asked him about this, he techniques from master Kingai, including told me “the techniques are what Sensei the nunti, tinbe, sansetsukon, and suru- Some of the decisions made at this time Matayoshi taught me, but there were so chin. Matayoshi Shinko took these dispa- are rather surprising. For example, mem- many I wanted to keep the ones I thought rate elements and forged them into a more were the most important in the kata I did. coherent whole, a body of knowledge that “Sensei Matayoshi encouraged creativity Also, some of these kata are not so old, he passed on to a few students, and to in his students (particularly at they were being worked on while I was his son. demonstrations, so video references often a student, so I think its okay to adapt them show a great deal of variety in to maintain techniques in this way. That’s However, the development of the system performances ), working with them to what Sensei did.” (Conversation with did not stop there. Much like his father, develop the kata and applications, and Sakai Ryugo, 1992.) Sensei Matayoshi and indeed like most every founder of students may have taken different things also worked with his students to help them Okinawa’s current systems, Shinpo also from their training, particularly if they learn- for example he would sometimes had a number of teachers. From his father trained with him at different times.” allow students with a strong karate back-

House of the Pure Martial Arts WWW.MEIBUKANMAGAZINE.ORG No 9 JULY 2007 ground to use their karate stances in the Shinpo’s lifetime, as evidenced by diffe- 1990’s, near the end of Matayoshi kodubo, though these stances are diffe- rences in syllabi and content in different Shinpo’s life; a snapshot, as it were, of it rent to those of the Matayoshi tradition. dojo in the Renmei. In looking at the at that time. This snapshot is of the system syllabi of other senior students, people as taught at the Kodokan dojo, as at this This more creative approach to working like Kanei Katsuyoshi, one can see kata time there were already differences be- with the material is in many ways a created or changed by these teachers tween different dojo in the Renmei. Depen- hallmark of the system. The process was with what they had been taught, kata like ding on how you look at it, it may repre- the jo form Kanei developed, the slightly sent the peak of the development of the “Unlike many kobudo systems, paired different kihon sets different teachers use, system; after Sensei Matayoshi’s death work is central to the practice of the or the different introductory kata a num- the cohesion between different students Matayoshi kobudo. If you can't apply it, ber of students have created. While in declined, and there is no longer a single you can't do it would be one way to state some organizations this type of variation group that can be said to solely represent the training ideal.” might be seen as moving away from the the tradition, to the exclusion of other dojo, core, provided that the base technical the way Sensei Matayoshi himself could. also a continuous one: a shorter sanse- elements and kata were preserved and tsukon form was developed by one of done properly, within the Zen Okinawa As an aside, it is interesting to note that Sensei Matayoshi’s students teaching in Kobudo Renmei, it seems to have been there are also some discrepancies between France, and Matayoshi liked it enough treated more as a strength. what the family published at Matayoshi to have it demonstrated at a number of Shinpo’s death, and what was taught major events in Okinawa, and in the late This creativity and variety is, I believe, during his life. Looking at the list on page 90’s one of his senior students was wor- evidence of a system true to Okinawa’s 9, taken from page 25 of the pamphlet king with him on developing a kata from martial heritage. Change has been a published for Matayoshi Shinpo’s the techniques passed down for the constant in systems on the island, and the memorial celebration, a number of these kudamonbo. Continuous growth was a strong technical base of this system allows weapons said to be preserved from the part of the training, and understanding the for innovation without altering the core. Ryukyu Kingdom period were never material well enough to work with it, not This technical core also allows for inter- just on it, is a core element of the practice pretation and creativity with the material Ryukyu Kingdom Period and teaching of the system. without needing to leave the system, Buki Jutsu

Unlike many kobudo systems, paired “As an aside, it is interesting to note that Kata work is central to the practice of the Mata- there are also some discrepancies Bojutsu (3 shaku, 6 shaku, 8 yoshi kobudo. If you can’t apply it, you between what the family published at shaku, 12 shaku) can’t do it would be one way to state Matayoshi Shinpo's death, and what was Shushi no kon the training ideal. An essential part of this taught during his life.” Sakugawa no kon emphasis on application was the way Choun no kon Tsuken no kon much of the paired work was developed. provided the practitioner truly under- Shishi no kon Instead of simply teaching a uniform stands the core material and its principals. Eku jutsu paired set, many of the kumi waza would Essentially, it is a living martial art, one Tsuken Akachu no eku di be developed by two or more students that is being adapted and changed in small Kama Jutsu working together under the guidance of ways by the senior practitioners. It is I cho gama (nagagama no ti) Matayoshi. They would create, he would attached to the technical base and dedica- Ni cho kama make sure the content stayed true to the tion to preservation passed down from Suki kama jutsu (chichi) Tonfa justu system. This engendered a deep under- the Matayoshi family, but is also alive, able Sai Jutsu standing of the material, and also required to give its practitioners material with Ni cho sai a very close relationship between student which to grow and develop, to express San cho sai and teacher. While formal pared sets for their understanding of it, not just copy the Suruchin jutsu the bo kata eventually became more previous generations. Uni suruchin jutsu standard, the paired sets for most of the Nunchiyaku weapons in the system remained fairly Content Sansetsukon (dai, chu, sho) Yonsetsukon individual between students, and between As noted above, the content of the Mata- Kudamon bo 10 different teachers in the Renmei. yoshi kobudo system has always been a Tinbei slightly shifting thing. Here, I will present Jutsu This variety existed during Matayoshi the content of the system as of the mid Tecchu Jutsu

House of the Pure Martial Arts WWW.MEIBUKANMAGAZINE.ORG No 9 JULY 2007 seen by any of the seniors I know, inclu- Shoren village on Tsuken island. It is said ding the technical successor to the system to contain reverse techniques, and tech- Gakiya Yoshiaki. Matayoshi Shinpo, niques for fighting against a spear. Mata- unlike many other Okinawan teachers, yoshi Shinko learned it from Agena was not overly enthralled with creating Chokubo. clear and concise lists of material, or of who knew what. According to his seniors, Shishi no kon: This kata is said to be over he was constantly working with his mate- Courtesy of Jim Baab. 300 years old, and to have been created rial, growing his technique, and would add Various bo. by Shishi Oyakata, a daimyoko (noble) to it from the store of what his father taught techniques taught as basics with the bo. and martial arts instructor to the Ryukyu him. At the end of his life, a number of his These were drawn from the base classical king. It was passed down only within the seniors state, there were still many things kata, and were formalized some time in family and to the royals, and Matayoshi that he had not taught anyone. Indeed, the early 1970’s. They were developed Shinko learned it from a descendent of some of the weapons listed in the Ryukyu by Matayoshi Shinpo, working with a the Shishi family, Shishi Ryoko. 12 Kingdom Period Weapon Arts seem to number of his senior students, though it is be currently unknown on Okinawa. unclear exactly who. The sets of hojo Kumi waza and Oyo: paired sets for undo are practiced both solo and paired, Shushi, Choun, and Sakugawa were However, by the late 1970’s, the bulk of giving a basic understanding of some of done in the dojo regularly, and sets for the material in the Kodokan dojo was the movements in the kata. the other kata occasionally. There were fairly well formalized, and remained also bo vs. bo sets using techniques from essentially the same until his death in 1997. Shushi no kon: This kata is said to have various kata that different students This is the material presented here. been made by “old man Shushi” (Shushu developed with Matayoshi, varying in no tanmei), a Chinese Kenpo and bojutsu length from complete runs through the Bo expert who immigrated from Shanghai to kata to ippon-style techniques. Except for The bo is the base weapon of the system. Naha in the early 1800’s, and lived near the kihon, the paired sets were considered Technically, it forms the foundation for Shugen temple, in Anzato, Naha. The less formal than the kata. Along with the most of the other material, and it has the kata is named after him, and it is the first longer paired sets, short sets of paired greatest amount of material associated kata of the system. techniques were developed at different with it. It also forms the closest connection times, and much attention was given to between the Matayoshi lineage kobudo Choun no kon: The characters for Choun the individual techniques in the kata. and the other kobudo schools on the imply interrupting or ending the morning island. All the kata taught are taught in mist. This kata was created about 250 There were, at different times, other bo different versions in other systems, much years ago by a warrior from Tomari known kata taught also by Matayoshi Shinpo, as different versions of the karate kata as Choun Oyakata, and it is named after or practiced by his students. These Seisan are common to Goju, Uechi, and him. He passed this kata on, and it became included: Kubo no kon (named after the Shorin schools. While at times much is popular both in Tomari and with military Kubo area of Gushikawa village), Yone- made of the differences between the personnel, as it was thought to give tech- gawa no kon (named after the Yonegawa various Okinawan methods of bojutsu, nical advantages when faced with oppo- area of Shuri), and Yara no kon (possibly the connection they have in content points nents on three sides. a variant of Chatan Yara no kon), all to, if not a common ancestor, a great deal taught by Matayoshi Shinchin, the of cross-pollination over the years. Sakugawa no kon: This kata was Tokumine no kon Matayoshi Shinpo developed by Yamashiro Aburaya (Chi- learned from Kyan Chotoku, and Ufugu- The material taught in the Matayoshi nen Kana). He is said to have researched shiku (Oshiro) no Sakugawa, a variation system includes: village bo techniques. His technique was of Sakugawa no kon that came from greatly respected by the ruler at the time, Oshiro Chojo. At some point Matayoshi Kihon/Hojo Undo: There are 3 sets of 5 and he was given the nickname “Saku- Shinpo decided to stop teaching these gawa”, after his teacher of that name. kata, though some teachers retain one or “This kata is said to have been made by Matayoshi Shinko learned this kata from more of them. Some seniors of the dojo 11 "old man Shushi" (Shushu no tanmei), a Chinen Sanra (Yamane Chinen). also practiced Ufutun bo, a village kata a Chinese kempo and bojutsu expert who few seniors of the dojo learned from a immigrated from Shanghai to Naha in the Tsuken no kon/Tsuken bo: This kata was local teacher. At the time of Matayoshi early 1800s, and lived near Shugen passed on by Tsuken Oyakata Seisoku Shinpo’s death, only the 5 main kata were temple, in Anzato, Naha.” and was compiled by fishermen from considered formally part of the system.

House of the Pure Martial Arts WWW.MEIBUKANMAGAZINE.ORG No 9 JULY 2007 The Matayoshi system also included This is just very difficult to practice in the techniques for an 8 or 9 foot bo, which dojo. was occasionally demonstrated using Sakugawa no kon, though this kata does The Matayoshi system also works with not represent all the variant techniques a manji sai, though this is something only for the longer weapon. Some dojo in the a few seniors have learned, and is not Renmei also maintained a jo form that commonly taught. In this tradition, the was developed by Katsuyoshi Kanei, weapon is built like a normal sai with a with input from Matayoshi Shinpo. handle on one end, but with one tine turned down, covering the handle of the Sai weapon. There is no separate kata for The sai techniques taught in the Matayoshi the manji, though it is sometimes practiced system stem from those taught to Mata- in Shinbaru no sai, and there are a few yoshi Shinko by Agena Chokubo. A set separate techniques for the weapon. Ex- cept for the kihon, paired work was less

“At the time of Matayoshi Shinpo's death, formal and more individual for the sai. Courtesy of Jim Baab. Tonfa. only the 5 main kata were considered formally part of the system.” Tonfa had a few separate techniques, they had The tonfa techniques in the Matayoshi no separate kata. of 10 kihon was developed for the sai, system come from Irei Okina. The imple- and was taught solo and paired. There ment is also called a tunkuwa or tuifa, Eku are three kata taught- ni cho sai, san cho and it is said the pronunciation of the The eku techniques taught in the Matayo- sai, and Shinbaru no sai. Shinbaru no sai characters for the weapon comes from shi kobudo come from two sources, the is also sometimes called Mateshi no sai the Fuchow dialect. A set of 10 kihon Matayoshi family- whose tradition or Matayoshi no sai. The first two, ni- was developed for the weapon, taught maintains that the eku was Matayoshi and san- cho sai, were created as training solo and paired, though in practice other Shinchin’s favorite weapon- and Agena forms by Matayoshi Shinpo sometime basics were sometimes added. There is Chokubo. The kata is called Tsuken after the war, and the third by Matayoshi one base kata for the tonfa, Tonfa dai Akachu no Eku di, the Eku techniques Shinko. San cho sai and Shinbaru no sai ichi. There is also a second kata, tonfa of the “red man” from Tsuken. Tsuken are both practiced using a full set of three dai ni, that is very similar and was deve- Akachu was a fisherman from Tsuken sai. All of the forms include one or more loped as a demonstration form. Various named Azato who was nicknamed Aka- throwing techniques, and while they are senior students also worked with perso- chu due to his sunburned face. He learned aimed at the foot, Matayoshi also taught nal variations on the tonfa forms and other bo techniques from an exiled warrior- that the sai could be thrown into the body. short kata, but the Kodokan taught only Tsuken Oyakata Seisoku- and from them dai ichi, and dai ni for demonstration developed these eku techniques, including purposes. the signature technique of tossing sand

Nunchiyaku The nunchiyaku techniques were also passed down by Irei Okina. The pronun- ciation for the characters (which read sosetsukon, or two piece stick) is also supposedly of Fujianese origin. A set of kihon was developed for the weapon, but was rarely practiced. The kata, Matayo- shi no Nunchiyaku, is sometimes called Nunchiyaku San Dan. Supposedly it went through a number of slight variations in the 1960’s.

Three section nunchiyaku, like a very small sansetsukon, were also occasionally

Courtesy of Jim Baab. worked with in the dojo, but while they Courtesy of Jim Baab. Sai. Nunchiyaku.

House of the Pure Martial Arts WWW.MEIBUKANMAGAZINE.ORG No 9 JULY 2007 into the eyes of the Guwa sukon no ti” that was not done at opponent with the blade The guwa, a garden hoe, is unique to the demonstrations. It was not taught to many of the eku. Matayoshi Matayoshi kobudo on Okinawa. The students, and was hard to practice in the Shinpo considered this techniques are influenced by Chinese arts, dojo due to the space needed. A second his favorite form, and it as the hoe is used as a weapon in China shorter kata, called Hakuho, was deve- was usually what he as well. The kata, Guwa no di or kuwe nu ti, demonstrated. was developed from the techniques pas- sed on in the family, according to some Nunti of the seniors by Matayoshi Shinpo, The nunti-bo is a rough- though there is no documentation on this ly 5 shaku bo with a either way. nunti-sai affixed to the tip. It was taught as a Courtesy of Jim Baab. Tinbe Eku. set- the nunti-bo and Tinbe is the name of a pair of weapons- Courtesy of Jim Baab. two nunti sai, which are kept in the belt. the tinbe, a shield made of cane and usu- Tinbe and Seiryuto. The techniques for the nunti came from ally covered with a thick tar-like sub- loped by one of Sensei Matayoshi’s stu- Kingai Roshi, though they are also said stance and a layer of animal hide and then dents living in France, and gained some to be influenced by Ryukyu nunti tech- painted, and the seiryuto, a short heavy popularity in the dojo in the 80’s and 90’s. niques from Tsuken island. The nunti sai sword or machete. The metal tinbe most It is this kata that was usually demonstra- are not used as hand weapons -though often seen now were developed in the ted and is on the video the dojo published. they could be used much like manji-sai- 70’s, and allow for paired work without they are throwing weapons. The throwing Kama technique is included in the kata, and much The kama techniques taught in the Mata- like the sai though it is always aimed for yoshi system come from the kama techni- the feet it could be thrown into any part ques taught to Matayoshi Shinko by Age- of the body. There was one kata taught na Chokubo. Matayoshi Shinko was nick- in the dojo, Nunti no ti, in the 90’s. However, named Kama nu ti Mateshi, and was very in demonstrations variations on this kata Courtesy of Jim Baab. well known for his skill with the kama. were also done, and students from the Guwa. The kata is called simply Kama nu ti. A early 60’s remember practicing the quickly destroying the tinbe. Matayoshi number of variations exist among the senior weapon with bo kata, in particular Tsuken Shinpo would also practice the weapon students, but the form as taught in the 90’s no kon, properly adapted with nunti- with a butterfly sword, much as the set is was standardized in the dojo. specific techniques. used in a number of southern Chinese systems. The Matayoshi tinbe comes from Kingai Roshi, and is properly called the Southern Chinese Shaolin (Chugoku Nanban Shorin Ken) Tinbe. It is also said to be influenced by Ryukyu tinbe tech- niques. The kata for the set, Tinbe no ti or Matayoshi no Tinbe, is said to have been developed by Matayoshi Shinpo

out of techniques passed from his father. Courtesy of Jim Baab. Sansetsukon. Sansetsukon A variation on the kama, a kama with a The three section staff, also called the string attached, was practiced for a period Chinese Shaolin Sansetsukon (Chugoku in the 60’s and 70’s, primarily as a demon- Shorinji Sansetsukon), taught in the stration or dance form. It is sometimes Matayoshi system is based on techniques known a Shimotsuki no kama, but was from Kingai Roshi. There was one kata, not considered a formal subject in the dojo. possibly developed by Matayoshi Shinpo from the techniques taught to him by his Kudamon bo father, taught in the 1990’s, a long kata This weapon is essentially a large flail

Courtesy of Jim Baab. called simply “Sansetsukon” or “Sanset- derived from a rice or wheat threshing Nunti and Nunti-sai.

House of the Pure Martial Arts WWW.MEIBUKANMAGAZINE.ORG No 9 JULY 2007 7 demonstrate or show, but never taught. None of these were considered formally part of the system.

Paired Work Courtesy of Jim Baab. As stated above, most of the paired Nagama. work, outside the kihon, was created by the Kingai-ryu as a separate art, or by various students with Sensei Matayoshi’s making them a part of his kobudo system, guidance. At times, these sets would be he elected not to. He never made either shared with other students, but none really of these arts a formal part of his system, became formal subjects at the dojo. There and never taught either publicly. It is was a great deal of emphasis on paired unclear why this is the case, however the work, and instruction in kata usually emphasis on both native Okinawan arts included instruction in various applications and on preserving the armed element of of the sections of kata, but again this was Okinawa’s martial heritage may be the

Courtesy of Jim Baab. not formalized. Paired work was usually best clues to the reasons for this decision. Kama. done with the bo against any of the other tool. In the 90’s Yamashiro Kenichi was As a whole, the amount of material, even working on a kata for this weapon with just the formal material, in the Matayoshi Matayoshi Shinpo, based on techniques tradition is formidable. There are 4 sets passed on in the Matayoshi tradition. The of kihon covering 45 separate techniques kata was demonstrated a few times, but for 4 weapons, 16 kata covering 11 was never formally added to the system. weapons, techniques and modified kata for at least 8 other weapons, a few acces-

Suruchin Courtesy of Jim Baab. The suruchin in the Matayoshi system Suruchin. consists of a length of rope with a rock at weapons. However, some students also either end, though students from the 60’s worked on paired sets between various also remember Matayoshi teaching a weapons, like tinbe and sansetsukon, or suruchin with only one rock. The length eku and guwa. can vary, but is usually 6-9 feet long. The techniques for using it came from Kingai Empty Hand Roshi, but were supposedly also influen- The Matayoshi tradition includes at least ced by native Ryukyu techniques. While two different empty hand systems- the Courtesy of Jim Baab. there were a variety of specific techniques empty hand portion of the Kingai-ryu, and Tekko. taught for the weapon, and different the empty hand portion of Gokenki’s sory kata, and of course paired work seniors strung these together in various Hakutsuru Kenpo. While Matayoshi for all the weapons and kata. This does ways for demonstration and practice Shinpo practiced both, he taught neither not include any empty hand material, purposes, there was no formal kata for publicly. A number of senior members of kata developed by senior students in the the weapon. the dojo, as well as various karate friends dojo, or anything not formally taught by like Higa Seiko, learned variations on Sensei Matayoshi. This amount of mate- Other Weapons Kakuho, also called Hakaku or Hakut- rial alone, particularly given the attention There were a number of other weapons suru, from the Gokenki lineage. A few to detail in performance of technique in the dojo that had specific techniques, also learned variations internal to this but no actual kata. These included the form, and other individual kata from both tekko, ticchu, gifa (kanzashi), nagagama, systems. However, while a few students and a variety of Chinese weapons that studied this material, it was considered Sensei Matayoshi would occasionally private, and was not taught as part of the system in the Kodokan dojo.

While Matayoshi could probably have attracted a body of karate students by Courtesy of Jim Baab. Courtesy matayoshi-kobudo.de. teaching Gokenki’s Hakutsuru Kenpo or Kudamon bo. Various Weapons.

House of the Pure Martial Arts WWW.MEIBUKANMAGAZINE.ORG No 9 JULY 2007 and the need to be fluent enough with for a number of years. The leadership of Seikichi, who combined the Matayoshi each weapon to act creatively with it, is the Zen Okinawa Kobudo Renmei was kobudo with that of other teachers. Taken enough for a lifetime of study. The fact that given to Miyahara Shoshin; it is a separate together the various factions and ancillary Sensei Matayoshi knew even more than body from the Kodokan dojo, which is lines, and the large body of students they he passed on is yet another tribute to the a member. represent, demonstrate the deep impact depth of knowledge he possessed. on the Okinawan martial arts community This situation continued until 2001, when the Matayoshi family, and the system they Matayoshi Kobudo Today Gakiya Yoshiaki left the Kodokan to form taught, has had. At the passing of Matayoshi Shinpo in his own organization, the Okinawa 1997, an era in Okinawan martial arts Kobudo Doushi Rensei Kai. At that time, Moving into the 21st century, that impact ended. Matayoshi was a very public the position of technical director of the continues. The fragmentation of the Kodokan was given to Itokazu Seisho, system after Sensei Matayoshi’s passing “There was a great deal of emphasis on another long time student. The Renmei does leave the system with no clear and paired work, and instruction in kata remained under the same leadership, and sole successor. Gakiya Yoshiaki perhaps usually included instruction in various a number of Matayoshi Shinpo’s former has the best claim as a teacher, as he was applications of the sections of kata, but students and their organizations, people appointed technical successor at the again this was not formalized.” like Kinjo Takashi, Miyagi Koki, Kanei Katsuyoshi’s Jinbukai, Chinen Kenyu, “There are 4 sets of kihon covering 45 figure in the Okinawan martial arts com- Maeshiro Shushi, and Yamashiro Kenichi separate techniques for 4 weapons, 16 munity, maintaining a high level of visibility, remained members of the Renmei, though kata covering 11 weapons, techniques working to link together practitioners not of the Kodokan. (Many had not been and modified kata for at least 8 other across Japan and the world, and prac- members for years.) Adding complexity weapons, a few accessory kata, and of tically through force of personality main- to this picture, there are also a number of course paired work for all the weapons taining the links between the various senior teachers, students from as far back and kata. This does not include any empty members of the organization he founded, as 1960, people like Kimo Wall, who hand material, kata developed by senior limiting by his senior status the inevitable are not formally part of any larger orga- students in the dojo, or anything not disagreements over differences in nization, but who maintain the Matayoshi formally taught by Matayoshi sensei” technique and performance that develo- tradition as they were taught it by Mata- ped over the years. In many ways, through yoshi Shinpo. Although due to the vast death of Matayoshi Shinpo. However, this encouragement of creativity in his stu- amount of material the system contains is complicated by the Soke title and with dents, an ability to teach within different there are only a few teachers who maintain it formal responsibility for maintaining the people’s methods of movement, and the and teach the entire syllabus as it was at system remaining in the family, and the continuous development of his own Sensei Matayoshi’s death, these different family currently supporting Itokazu practice, he fostered the variations in factions all represent facets of the Mata- Seisho as technical director of the Kodo- practice that different generations of his yoshi tradition. Coupled with this are kan dojo. It is further complicated by the students show. However, he found a way various ancillary lines, like that of Odo number of other students with a great deal to make these differences less important of experience in the system (some senior than the personal and technical elements in rank to or having started before both the practitioners shared. Gakiya and Itokazu) teaching on their own, or as part of the Renmei. In many When he passed away, the formal leader- ways, this resembles the break up of ship of his dojo passed to his son, Mata- Goju-ryu after the death of Miyagi yoshi Yasushi. Yasushi is not able to train Chojun: a number of senior students, all due to a handicap, but it is very common with excellent teaching credentials and in Japan for the leadership of family- fantastic technique, each going their own based organizations to stay within the way once their leader passed on. In many family regardless of technical proficiency. ways it also, through the sheer number of He was assisted as advisor by Sensei very senior practitioners alone, demon- Matayoshi’s wife, and per Sensei Matayo- strates the depth of the Matayoshi tradi- shi’s instruction the technical leadership tion, both on Okinawa and around the world. position, 3rd Kancho of the Kodokan, passed to Gakiya Yoshiaki, who had been In my opinion, the living nature of the

doing the bulk of the teaching in the dojo Courtesy of Fred Lohse. Matayoshi tradition is continued in this Matayoshi family tomb.

House of the Pure Martial Arts WWW.MEIBUKANMAGAZINE.ORG No 9 JULY 2007 a strong influence on many of Okinawa’s most famous martial artists, including Miyagi Chojun, Higa Seiko, and Kyoda Juhatsu. 3 The Russo-Japanese war had ended, and Japan’s influence over Manchuria made that a likely way to enter China for many Japanese at the time. 4 Many sources state that Kingai Roshi lived in Shanghai. The documents the Matayoshi family published at the death of Matayoshi Shinpo state that he taught in Fuchow. (See ZOKR, 1999: pp. 19-26.) 5 Chinen Sanra was also called Yamane Chinen, and was nicknamed Sakugawa. (Kodokan, 1994.) 6 Some sources give this date as 1915, but the date given in documents published by the Matayoshi family is Showa 3, 1929. 1915 would be Taisho 3, and that may be the reason for the confusion. The family still has the medal given to Matayoshi Shinko. 7 This generalissimo Guanming may have also been a historic figure in China.

Courtesy of Fred Lohse. 8 The term (ij) ”nu ti”, also written “no ti” Yoshiaki Gakiya with Suruchin, Okinawa 2006. or “no di”, translates directly as “of the manner. This fragmentation is in many system that do not warrant such recog- hands”, so one way to write the nickname ways inevitable. There were already nition. However, the main lines of the could be “Kama hands Matayoshi”. However, in the Okinawan martial vernacular, the term differences in how certain things were tradition are fairly clear, maintained by “nu ti” does not actually refer to the hands at done between different dojo in the Renmei students with long relationships with before Matayoshi Shinpo’s death. These Matayoshi Shinpo and teaching an un- have continued to develop as time passes adulterated version of the art they studied. “Certainly there are many teachers out and individual seniors continue to develop Through these students the impact of the there who make claims of mastery of the both their own training and the way they Matayoshi tradition on the Okinawan system that do not warrant such are maintaining and passing on the system. martial arts, and on their practitioners, recognition. However, the main lines of (Even the Kodokan has changed its remains strong, and a living treasure of the tradition are fairly clear, maintained training, adding kihon since Sensei Okinawan martial culture is being main- by students with long relationships with Matayoshi’s passing.) Fragmentation of tained and passed on to the next gene- Matayoshi Shinpo and teaching an this sort is also inevitable because the ration of martial artists. This, I believe, is unadulterated version of the art they system is a living one, the technical core the true heir to the Matayoshi tradition- studied.” of which is deep enough to allow for its the many students across the globe all, but to technique. It is also used in the practi-tioners to work within it and practicing the art that the family deve- names of kata, like “kuwe no di”, or “hoe experience it directly, as opposed to loped, continuing its tradition into the future. technique”. simply mimicking the last generation. The 9 This public variation was done for two reasons. As Sensei Matayoshi said to me at a simple answer to the question of succes- “The fragmentation of the system after sion could be that the system is what it demonstration for TV in 1990: just have fun. Matayoshi sensei's passing does leave the Having fun at public events was a good reason was at Sensei Matayoshi’s passing and system with no clear and sole successor.” to play with the techniques. The other was the head of the system is either his son or secrecy. Some of the material he considered Sensei Gakiya, depending on how one looks private, and so he would play with it in public, at it. However, working with the simple Notes and especially when being filmed. As an answer also eliminates much of the complex- 1 This man is often confused with Ire Mat- example, much of the material for the videos he did in the US in the mid 1990’s he made up ity in the situation, and therefore some of sutare, a famous martial artist known for his kama techniques, and living at roughly the on the spot, just for the films. He was the living nature of the practice. It takes a same time. According to what the family has sometimes able to tell if people had learned vibrant and living practice and fossilizes it written, this is a different person. from video this way, noting to someone who at the death of Matayoshi Shinpo. 2 Gokenki had moved to Okinawa in 1912, had did a crane form for him once that they must married a local woman by the name of have learned it from a film of a certain demo he did, as that was the only time he had ever Certainly there are many teachers out Yoshikawa Makato, and had taken the Japanese name of Yoshikawa Sakaki. He was done the form that way. there who make claims of mastery of the well known in Okinawan karate circles, having 10 It is important to recognize the difference

House of the Pure Martial Arts WWW.MEIBUKANMAGAZINE.ORG No 9 JULY 2007 between the Kodokan and the Renmei. While Kobudo: Sono Rekishi to Tamashi. (Tradi- Matayoshi Shinpo was president of both, he tional Okinawan Kobudo; its History and was the sole teacher in the Kodokan, while Spirit.) Okinawa: Okiinsha. the Renmei was an affiliation of a number of Okinawa Ken Kyoiku Iinkai. (1998). Karate do kobudo students, all practicing the same Kobudo Kihon Chosa Houkokusho. (Karate system but often with different “flavors” in do Kobudo Basic Investigative Report.) different dojo. In reality there was no Okinawa: Bunshin Insatsu Shushiki Kaisha. Would you like to “Matayoshi Kobudo” until Shinpo passed Okinawa Kobudo Doushi Renseikai (OKDR). write or share a serious away, just the Kodokan and the Renmei, both (2004). Kata no Shurui to Rekishi. (Classi- teaching the kobudo of the Zen Okinawa fication and History of Kata.) Okinawa: article or interview with Kobudo Renmei. privately published by OKDR. 11 Most histories credit “tode” Sakugawa with OKDR. (20042). Okinawa Kobudo Doushi Meibukan Magazine? this kata, but the Matayoshi tradition dates it Renseikai Enkaku. (History of the Okinawa from his student. (OKDR, 2004.) Kobudo Doushi Renseikai.) Okinawa: 12 The history given for Shushi, Choun, and privately published by OKDR. Don’t hesitate and Shishi no kon is from written materials from Zen Okinawa Kobudo Renmei (ZOKR), feel free to write us! the Matayoshi family and Gakiya Yoshiaki, Kingai-ryu Matayoshi Kobudo Soke Honbu and from conversations with Matayoshi Kodokan. (1999). Kingai-ryu Tode to Shinpo. There are also alternate histories on Matayoshi Shinko. pp. 19-25 in Matayoshi Okinawa for a number of these kata. Shinpo Sensei Tsuitou. (Memorial for Sensei Nakamoto Masahiro (1983, pp. 95/172)) credits Matayoshi Shinpo) Okinawa: Zen Okinawa Sensei Soeishi (Shishi) with creating Choun Kobudo Renmei. and Shushi from his studies of Soeishi no kon. Smits, Gregory. (1999). Visions of Ryukyu: MEIBUKAN MAGAZINE Taira Shinken (1964, pp. 38) credits Choun to Identity and Ideology in Early-Modern P.O. Box 8, 6663 ZG, Lent, Netherlands Soeishi, and the Bugei Ryuha Daijiten (1978, Thought and Politics. Honolulu: University Email: p. 911) also states that Shushi was founded of Hawaii Press. submissions2007 @meibukanmagazine.org Ameibukanmaga.org by Soeishi. It should be noted that all this Taira, Shinken. (1964). Ryukyu Kobudo Taikan. Meibukan Magazine is pleased to submit information stems from the Taira lineage- (Encyclopedia of Ryukyu Kobudo.) Ginowan: views, concerns and experiences on any subject matter IF related to the mission Nakamoto is a student of Taira’s, and the BRDJ Youjushorin. statement expressed by the Meibukan information was supplied by Inoue Motokazu, Watatani Kiyoshi and Yamada Tadashi. Magazine. Therefore articles, photographs a student of Taira’s and Murakami, a student (1978). Bugei Ryuha Daijiten. (Encyclopedia and illustrations are welcome, although of Inoue’s and Higa Seitoku’s (Yamani-ryu). of Martial Arts Styles.) Tokyo: Tokyo Koppi Meibukan Magazine is selective and can Shupanshu. not guarantee that submissions will be References Special thanks to the late Matayoshi Shinpo, placed. Submissions can be mailed to our Bishop, Mark. (1989). Okinawan Karate: Yamashiro Kenichi, Yogi Jyosei, Sakai Ryugo, P.O. Box by floppy, CD or DVD, or can be sent to our e-mail address. Teachers, Styles, and Secret Techniques. Gakiya Yoshiaki, and Kimo Wall for sharing their recollections and knowledge of the London: A&C Black. Meibukan Magazine is a non-profit Matayoshi kobudo. Bishop, Mark. (1996). Zen Kobudo. Rutland, periodical. We do not generate financial VT: Tuttle. funds and therefore can not pay for any Hokama, Tetsuhiro. (1984). Okinawa Karate- contributions. do no Ayumi. (A history of Okinawan karate Special Thanks Together with the publication of your do.) Okinawa: Seihonshu Minami Purinto. Thanks to Mario McKenna for help with article, we offer you world wide publicity Hokama, Tetsuhiro and Kinjo Masakazu. source material. for your name and biography. If you have (1989). Okinawa no Kobudogu Tanrendogu. your own website, we will be happy to add your url to the pdf-edition in which (Okinawan kobudo gear and physical training your article is published. gear.) Okinawa: Ryukyu Shinpo Sha. Fred Lohse, is a 5th degree Hokama, Tetsuhiro (Translated by Joe Swift). (2007). Timeline of Karate History. Okinawa: black belt in Goju-ryu karate and Ozato Print Co.. Matayoshi kobudo, and has been Hokama, Tetsuhiro (Translated by Joe Swift). training both for over 20 years. Do you want to share your (2005). 100 Masters of Okinawan Karate. He lived in Japan from 1990- thoughts and opinion about Okinawa: Ozato Print Co.. 1992, and has master's degrees our magazine and its Kodokan Dojo. (1994). Ryukyu Ocho Jidai content? Please mail us Kobudo Tode; Kata no Shurui to Rekishi. in Japanese Studies and ([email protected]) review 2007 review2007 (Ryukyu Kingdom Period Kobudo and Tode; International Education from History and Classification of kata.) Pamphlet Harvard University. He trains and and let us now what you think. accompanying video tape published by the teaches karate and kobudo with Received messages will not go Kodokan dojo. Kodokan Boston, in Boston, public and are used only for Kerr, George. (2000). Okinawa, History of an our own reflections. Island People. Rutland, VT: Tuttle. Massachusetts. You can find out Miyagi, Tokumasa. (1987). Karate no Reikishi. more about the dojo at: (History of Karate.) Okinawa: Seihonshu www.kodokanboston.org. Nansei Insatsu. Nakamoto, Masahiro. (1983). Okinawa Dento

House of the Pure Martial Arts WWW.MEIBUKANMAGAZINE.ORG No 9 JULY 2007