Motobu Gotente

Posted on November 11, 2023 by admin

Introduction to 1966

Takeshi Onaga

Mr. Takeshi Onaga
Mr. Takeshi Onaga

・Born in 1943. He became a student of Sensei Uehara Seikichi at the same time he entered high school (1959). He had done some Goju-ryu before he started. The reason I started studying with him was because a friend of mine, Shunichi Yogi, who went on to technical high school, had enrolled in the school first, and through that connection, I decided to enroll as well. He became a judo champion in middle school and moved to Brazil after graduating from high school.

・From that time on, Uehara sensei called himself the Motobu style. Uehara Sensei was a disciple of Motobu Choyu Sensei. It is said that Uehara Sensei went to Wakayama to teach Choyu Sensei’s eldest son and other people his techniques. Choyu Sensei lived in Tsujimachi, and Uehara Sensei went there to sell soy sauce. That’s how he got to know Choyu Sensei and became a student. His disciples were practicing kata, but Uehara sensei did not participate in the kata practice, and at first he was forced to only practice basic thrusting and kicking while standing on his tiptoes.

・He said that he received a Ryukyu scroll from Choyu sensei. This Ryuka was first created for Toraju (Motobu Tomoshige), and he also gave it to Mr. Uehara when he left for the Philippines. At that time, we were also made to recite these Ryukyu poems, so we can still remember some of them.

・Mr. Uehara was running a bar for the US military. Only those who passed a strict sanitary inspection were allowed to bar with U.S. military personnel .

・The rehearsal location was near Futenma Air Base, which is now lined with houses, but at the time it was just a grave or a field, so we could practice there. We also practiced on the wooden floor of a bar run by Mr. Uehara.

・I think there were about 3 disciples including me. Uehara Sensei did not publicly announce that he was teaching karate. All of the beginners were introduced by acquaintances.

・The first practice consisted mainly of punches and kicks. He put on boxing gloves and practiced by punching Uehara Sensei directly in the stomach and having his punches knocked away. At the time, there was a person who was about 20 years older than me, and I practiced with him as well. The person was roughly poked in the face, but Uehara-sensei’s skill is high, so that didn’t happen.

・The thrust could be from either the left or the right, but it was always done with the front hand. It is a thrust similar to a jab in boxing. At that time, there was no other school in Okinawa that used the technique of thrusting with the front hand (what we call today’s kochizuki), so I think it was extremely rare. Normally, the standard style in this day and age is to have the front hand be the receiving hand, and the tsuke to be thrust from the pulling hand. He was also taught to kick with his front legs. I kicked him in the front with the ball of my foot.

・I was taught how to stand on my tiptoes and not bend my knees. This is still true in Gotente, but it was also taught back then.

Seikichi Uehara and Takeshi Onaga, Cape Manza, 1968
Seikichi Uehara and Takeshi Onaga, Cape Manza, 1968

・After practicing mainly thrusting and kicking, we moved on to practicing thrusting and throwing. Uehara-sensei will throw the ball to whoever hits it. Mr. Uehara’s throwing style was not like in Aikido, where he went around and around, but instead threw the ball directly at the person he hit, or he threw the ball with his feet. Another method of throwing was to wrap the right hand around the opponent’s neck.

・I think I was taught three or four kata, but I didn’t have any interest in kata and mostly focused on kumite, so I don’t remember much about them now. I learned the three techniques of open hands and fists. Umeichi Matsuda and Yogi, who immigrated to Brazil, mainly practiced for three games. The three battles taught by Uehara Sensei were not about moving forward and how many steps you have to take before turning around. In practice there is no such reversal, just going all the way forward. The third match was played by those who were physically able. He put a lot of effort into it. I was careful with my fists.

・In 1961, the first Kobudo Tournament was held at the Naha Theater. Most of the contestants were people who had their own dojos, but were small in size, had few disciples, and were not well known. Seitoku Higa Sensei hosted this tournament. I also went to see the tournament, but the young players did not participate in this tournament. Mr. Uehara demonstrated Jichin.

・I had heard from the beginning that there were handles, so I said, “Sensei, please tell me about that too,” but he didn’t tell me right away. After he had practiced throwing, he finally learned how to handle. He is in his fourth year at the school. He said that Toride includes not only joint techniques but also throwing techniques. I went to Ryukyu University and was also a member of the karate club. In college, I was passionate about kumite, so I was involved in both Hombu-ryu and Kumite.

・At that time, Uehara Sensei was in contact with various teachers, and they were also doing kumite research together. He also taught Toride to such people. However, there were some who were critical of it behind the scenes, such as “It’s different from karate” and “Isn’t that kind of technique (toride) even in karate?” Even back then, Mr. Uehara had been using the word “tweity,” but he said he had never heard of such a word or that he thought it was strange. To tell you the truth, back then I was too embarrassed to say that I was learning Toride, so I just said that I was learning Karate. In any case, many people thought that the martial art called Toride did not exist in Okinawa.

A description of the handle in "Itosu Ten Lessons" (Meiji 41).
A description of the handle in “Itosu Ten Lessons” (Meiji 41).

・When asked if you were familiar with the notation “Toride” that appears in Itosu Juken (1908)>

No, I don’t know.

・Recently, other schools are also using the word Toride or teaching Toride.＞

At that time, I never heard anyone other than Uehara-sensei use the word Toride. It is hard to believe that Toride has been passed down to other schools. I think those people don’t know that their master studied under Mr. Uehara. There are many people who studied under Uehara Sensei and then quit right away.

・Among the karatekas who interacted with Uehara Sensei, Nakama Asomasu Sensei (who also studied under Motobu Choki Sensei) was good at Promise Kumite. He was reasonable. He just poked me with the hand he received. Two beats are fast. He’s not pulling back, he’s just thrusting.

It’s better to use continuous techniques instead of doing each one neatly. Nakama-sensei’s naihanchi stance was scary. I got the impression that it was powerful and difficult to approach.

・Okinawa Kenpo teacher Shigeru Nakamura is a pioneer of practical karate. The first person in Okinawa to compete in armored karate. At that time in Okinawa, people said, “If you compete in karate, one person dies,” so they only practiced kata. Isshin-ryu’s sensei Tatsuo Shimabukuro also practiced karate against the U.S. military after the war.

・I accompanied Mr. Uehara to the Hakkoryu training course, but it only took about 10 minutes a day. I was always with Uehara Sensei during the training sessions, but Uehara Sensei hasn’t adopted any techniques from Hakkoryu since then. After the seminar, a man named Yasuda, who was helping with Hakkoryu, stayed in Okinawa for about a month and practiced with Uehara Sensei.

・When asked by Yasuda Sensei that Uehara-sensei didn’t learn any techniques at the seminar, and that he already had a sealing technique, I heard that.>

Toward the end, I took the role of holding the handle while practicing, but even when I grabbed Uehara-sensei’s hand, it often slipped through. How could such a thing happen? He probably knew the techniques to pull out the handles and seal them. I don’t know if it’s natural or the result of training. I also learned a little bit from Mr. Yasuda, and he was quite skilled. If the person didn’t use the technique, I think Uehara-sensei actually knew the binding technique.

・Weapon techniques included stick to stick, stick to sickle, stick to nouchik, etc., but I didn’t practice them too hard because I wasn’t interested in weapon techniques.

・I haven’t learned Hamachidori. It is said that Shuri Matsumura was also a good dancer.

Mr. Seinori Higa
Mr. Seinori Higa

・When asked, Mr. Higa Seitoku advocates the theory that the toride was passed down from Matsumura Soukan.>

I’ve heard Higa Sensei say this, but I’ve never heard it from Uehara Sensei.

・From around 1965 or 1965, people started practicing wearing kendo masks and torsos. Also, around this time, several American military personnel began coming to practice.

・His other disciples at the time included Tsunami Takaaki Sensei and Higa Seitoku Sensei from Nago. Both were very enthusiastic. Tsunami Sensei was just over 50 years old at the time, and was quite an expert, and Uehara Sensei had high hopes for him, but he died in a traffic accident on his way home from practice. Motoyoshi Omura was also there, but he only came to practice once in a while. Mr. Omura is Tsunami Sensei’s brother-in-law and a disciple of Nakamura Sensei. As for Hiroshi Uehara, we didn’t meet because we were practicing during the day (because we were practicing at different times).

・At that time, there were no ranks or diplomas, only white belts and black belts. When I was 26 years old, I received the rank of 5th Dan Renshi from the All Okinawa Karate Kobudo Federation (chairman: Kiyonori Higa). That is the first and last time.

・After that, I got a job at Ryukyu University and started instructing the karate club, and as I became busy with university karate, I left the Hombu style.

・About Uke techniques

There were no uke techniques such as uchi-uke and soto-uke that are often seen in karate. There is no dandanbarai to receive a kick. Uehara-sensei dodges and pokes at the same time. It feels like dodging with a thrust. It’s a kind of counter. It’s difficult without a lot of practice. If you don’t just practice mechanically, it’s impossible to become as good as Mr. Uehara.

・His physical handling was good. Standing on tiptoe is to dodge the body quickly. In the story, he said that he could lift his heel high enough to pull a piece of paper through. If you lift your heels too high, your knees will turn into sticks. Even back then, Mr. Uehara did not bend his knees, but even when he was straight, there was still some room in his knees. He just didn’t bend it enough to be noticeable. At that time, there was no school in Okinawa that did not bend the knee. Front bends and cat feet were the mainstay of kumite in Okinawa.

Mr. Kanzo Nakamura
Mr. Kanzo Nakamura

・Mr. Uehara was strong. His logic and ability matched each other. He once did a demonstration in the Ryukyu University gymnasium where he gave Kanzo Nakamura a large kitchen knife – or rather, something more like a machete – and let him attack it freely, and he was able to handle it all. Even if it’s a promise, it’s a real knife, so if there’s a mistake, it’s a big deal. However, Mr. Uehara was able to do it. There was a lot of bad talk from the outside, asking if he could do something like that, wondering if it was an arrangement, and wondering what would happen if he tried to feint, but Uehara-sensei was able to do it. Uehara sensei’s technique of dodging the body was something that no one else could imitate. He said, “Dodge the fist as if it were a knife. You only get one shot.”

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Karate had kuden (oral transmission)

Posted on November 9, 2023 by admin

The true techniques of karate were taught through kuden.

 

Itosu Ankō

In the “Ten Articles of the Karate Mind,” or the so-called “Itosu Ten Precepts” (1908), written by Itosu Ankō in his later years, there is an interesting description of karate training methods in the Ryukyu Kingdom period.

6. The omote-gei (表芸, literally, the front art) of karate should be practiced in large numbers, asking the master about the meaning of each movement, and determining when this movement should be used. There are also the methods of iri (entering), uke-hazushi (receiving and removing), and torite. Many of these also have kuden (口伝, oral transmission).

“Itosu Ten Precepts.” Source: Nakasone Genwa (ed.), “Karate-dō Taikan,” 1938.

The term “omote-gei of karate” is generally interpreted as referring to the kata (form). Considering the context, this understanding seems reasonable. The dictionary meaning of omote-gei (the front art) is “the art of being good at,” but here it probably means “basic training methods.” In other words, he taught that kata, the fundamentals of karate, should be practiced in large numbers. It is possible that the term “kata” did not exist at that time.

The next sentence, “asking the master about the meaning of each movement, and determining when this movement should be used,” probably refers to the modern term bunkai (analysis). In other words, Itosu Sensei taught that one should not just repeat kata but should think about the meaning of each movement, sometimes asking the master about it, and practicing with actual fighting in mind.

The word “when” probably means “in which situation in actual fighting.” This sentence indicates that Itosu Sensei did not regard kata as mere “gymnastics,” but that he did not deny its use as a “martial art” in actual fighting.

The next phrase, “entering, receiving and removing,” is one that is difficult to interpret. Previously, I had thought that this “entering” (iri) might refer to irimi (入身, entering the opponent’s body). However, as I mentioned before, Asato Ankō uses the word “enter” in the sense of “strike,” so I think it means “striking” here. Of course, in modern Japanese, we do not use the word “enter” in the sense of striking or thrusting.

The following “receiving and removing” (uke-hazushi) is a part that is subject to different interpretations. The details will be discussed later, but here I will interpret it in the sense of “the way of receiving (or blocking).”

Now, what is the meaning of kuden (oral transmission)? The Japanese-language dictionary “Daijirin” gives the following explanation.

(1) To transmit by word of mouth. Oral communication.

This is easily understood because it is a literal explanation. Hence, the above means that many of the techniques of striking, receiving, and torite are taught by the master explaining them directly to the student by mouth.

However, this is not the only meaning of kuden. It also has the following additional meaning.

(2) To transmit by word of mouth the secrets and esoteric knowledge of something.

Kuden also means the oral transmission of secrets and esoteric knowledge. In Japanese martial arts scrolls, after the names of techniques are listed, it is often written, “Each of the techniques listed on the right has an oral transmission.” This means that the name of the technique is written on the scroll, but the content of the technique is not written on the scroll so that it cannot be stolen, and the specific content is transmitted orally.

Scroll of Takenouchi-ryū jūjutsu, 1641. In the pink part, it is written respectively, “There are three oral transmissions [for the above technique]” (付口傳三有). (1)

For example, a master might say to his student, “I have been teaching you this technique like this, but in fact, this is not the way to use it in a real battle. In fact, it is correct to use this technique in this way.” In other words, he would deny the technique he had previously taught his student, and then orally tell the student the true technique. In fact, Motobu Chōki and Uehara Seikichi also taught in this manner.

It may be difficult for modern martial arts practitioners to understand, but in the feudal era, martial arts techniques were a kind of “military secret,” so they took precautions to prevent them from being easily leaked outside the feudal domain.

Therefore, the meaning of the above “Itosu Ten Precepts” is as follows:

Kata should be practiced repeatedly. However, do not practice it in a careless manner. Always practice with the actual fight in mind, asking questions to the master about bunkai (analysis) and determining the meaning of the techniques as you practice. In addition, there are many secrets in the way of striking, receiving, and torite, so that the movements of kata cannot be used in a real fight without modification. Hence, the true techniques are to be transmitted orally from master to student according to the stage of training.

This is the antithesis of the claim that became mainstream in Okinawa in the 20th century that “everything in karate is in the kata” or that “if you only practice kata, you will naturally understand bunkai.”

It is true that basic karate techniques are included in kata. However, in many cases, these techniques cannot be used in actual fighting without modification. This is because the real techniques are camouflaged in the kata so that they cannot be stolen. Also, torite, or throwing and joint locking techniques, cannot be practiced alone. While it is possible to hone the techniques of striking and kicking to a certain extent in one-person training, this is not the case with torite. For example, there are individual differences in joint softness and pain tolerance. Even if the same technique is applied in the same way, it may or may not work depending on the person. Therefore, two-person training (kumite and torite) is essential, but these secrets cannot be taught to beginners. The real secret techniques were transmitted orally according to the stage of training in ancient times.

This idea, that true techniques are taught orally, seems to have been influenced by the Japanese martial arts through Satsuma. For example, in the kishōmon (application for initiation) of the Yakumaru Jiken-ryū of Satsuma, there is a sentence that reads, “The oral transmission must not be written down.” This is because the oral transmission is a secret and must not be inadvertently written down and leaked to the outside world.

Of course, the Chinese martial arts were also secretive, but considering that the word kuden (oral transmission) appears frequently in Japanese martial arts scrolls, it should be understood that there was a similar philosophy in Okinawa as in Japan.

By the way, is the above understanding of Article 6 of the “Itosu Ten Precepts” really correct? In particular, there is a possibility of a different or more in-depth interpretation of the phrase “iri, uke-hazushi.” In fact, the interpretation of this phrase is important for the study of karate history.

For example, uke-hazushi is interpreted by Kenjō Hiroshi as “the way of receiving and the way of removing the arm or collar when it is grabbed” (Kenjō Hiroshi, From Tōde to Karate, p. 50). In other words, he distinguishes between uke and hazushi, interpreting uke as the way of receiving, while hazushi is the way of removing the hand when an opponent grabs your arm (sleeve) or collar, as in judo or jūjutsu. He interprets it as a kind of jujutsu technique, or torite.

However, Motobu Choki also uses the term uke-hazushi or its verb form uke-hazusu in his books, but he does not use hazushi in the sense of torite. He uses it in the sense of deflecting or dodging the opponent’s punch. For example, he describes the technique of tsuki-uke (punch block) as uchi-hazusu (literally, to strike and remove), but in this case, hazusu (to remove) means to deflect the path of the opponent’s strike so that it does not hit.

Technique of “uchi-hazusu”

Thus, uke-hazushi would mean not only blocking techniques (age-uke, yoko-uke, gedan-barai), but also tsuki uke (punch block) to deflect the trajectory of the opponent’s punch or to dodge it with bodywork.

Now, let us read the text of Article 6 of the “Itosu Ten Precepts” again from the picture of the original text above. The word hazushi (はづし) has been conventionally interpreted as hatsushi (はつし) in the original text. This is because the old Japanese writing system did not often use the hiragana voiced point, so even if the word hatsushi was written, it was pronounced as hazushi. Therefore, the relevant part has been interpreted as uke-hazushi.

However, looking at the original photo again, it is clear that the word hatsuri (はつり) is written instead of hatsushi. This raises the question of whether hatsuri can be translated as huzushi. However, in old Okinawa, “shi” (し) was sometimes pronounced as “ri” (り) so there is no problem in translating it as hazushi.

Itosu Ankō was written “hatsuri,” or actually pronounced “hazuri.”

In fact, there is a word similar to Itosu’s iri uke-hazushi: iri hajiri (いりはじり, lit. entering and removing). According to Nakamura Shigeru (founder of Okinawa Kenpō), Kuniyoshi Shinkichi called the old-style freestyle kumite iri hajiri (Miyagi Atsumasa, “History of Karate”). In other words, iri hajiri did not mean striking and receiving, but rather freestyle kumite itself.

Kuniyoshi Shinkichi was a Naha samurai from Kumoji Village (present-day Kumoji district of Naha City), under whom Motobu Chōki also studied. According to him, kakedameshi matches were once held in Okinawa using this iri hajiri, which apparently refers to kakede (Oki: kakidī) in terms of content.

Kakede

Kakede is an ancient form of freestyle kumite that has been handed down in Motobu-ryū. As shown in the photo above, the two begin with their forearms crossed over each other.

In the days of the Ryukyu Kingdom, there were no yakusoku kumite (pre-arranged kumite). The only way to practice kumite was to do kakede, as in Motobu Kenpō, or semi-freestyle kumite, as in Motobu Udundī.

The iri hajiri referred to by Kuniyoshi Shinkichi probably refers to iri hazushi (i.e., entering and removing).

It is possible, then, that the iri uke hazushi (lit. entering, receiving and removing) referred to by Itosu Sensei was actually this one word, meaning the freestyle kumite, specifically kakede. Therefore, the true meaning of Article 6 of “Itosu Ten Precepts” may have been as follows:

In addition to kata, karate has other training methods and techniques such as kakede and torite. Since these techniques are secret, most of them are transmitted orally from master to student at each stage of training.

In other words, because kakede and torite were secret, they were not taught in schools even after karate was adopted for school education in Okinawa in 1905, and their existence may have been rapidly forgotten.

Of course, it is possible that some senior students were taught in home practice after school or on weekends and holidays. For example, Yabiku Mōtoku, who emigrated to Brazil, probably learned kake-te from Yabu Kentsū.

In the end, Itosu Sensei may have meant to say that karate has three techniques and training methods: kata, kakede, and torite, of which kakede and torite are taught only to advanced students, and their secrets are to be transmitted orally.

Note 1: Imamura Yoshio et al. (eds.), Complete Works of Japanese Martial Arts, Vol. 5, Jinbutsu Ōraisha, 1966, p. 38.

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Bo-geri is a lost technique except for Motobu Udundi

Posted on November 8, 2023 by admin

Photo: Bo-geri performed by Higa Mitsue, Okinawa, 1983.

Bo-geri is a lost technique except for Motobu Udundi, although it has been transmitted since the era of Matsumura Sokon. It is similar to axe kick of Kyokushin Karate, but the axe kick was made in about 1987. Therefore it is a modern technique. And Bo-geri is done to various directions including the opponent from behind.

“Matsumura, Tōma, and Nomura were all martial artists of the same era. Matsumura Sensei was known by the people as a man of unparalleled bravery. He was from the Bu-clan, his Chinese-style name was Seitatsu and his personal pen name was Unyū. He freely handled his footwork and was excellent in kicking upwards.
Occasionally, when a comrade tried to restrain him by throwing his arms around him from behind, although Matsumura Sensei could not use his hands, he freely kicked up with his legs on the left and on the right. In this way he kicked down the person who threw his arms around him from behind”.
Choki Motobu,‎ Andreas Quast, (2017), Martial Artists of Ryukyu: A Legacy by Motobu Choki (Ryukyu Bugei Book 3) (English Edition)
http://amzn.asia/90BxZ9e

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“Moidi Motobu-Ryu”; a martial art which was once used for the close protection of the royal family

Posted on November 8, 2023 by admin

“Moidi Motobu-Ryu”; a martial art which was once used for the close protection of the royal family for more than 400 years. This little-known art remains mysterious, because it was only practiced within the palace walls; hence the name sometimes used; “Udundi” (hand of the royal palace). It was created by a branch of the royal family named Motobu and its ancestral transmission was only to the direct heir who was the eldest of the siblings. The method is inspired by “Moidi” (a centuries-old martial dance which gave rise to foot-fist techniques), “Tuidi” (projections) as well as Kobudo which here includes warrior weapons such as the saber .

After some research, I understood why there was so much confusion between this art and “Motobu-Ryu”; created by Motobu Choki (1870-1944) in 1922. Motobu Udundi was founded by Motobu Oji Chohei (1655-1687) 11 generations earlier… As Motobu Choki was the 3rd son, he did not have access to art family. So he’s his older brother; Motobu Choyu (1865-1928) who was named 11th Soke and trained there from the age of 6. At the same time, the two brothers learned Shuri-Té with Itosu Anko, then Tomari-Té with Matsumora Kosaku. 

So it was around the age of 52 that Motobu Choki created his “Motobu-Ryu” (which was rather called “Motobu-Kenpo”) and which is based on Shuri-Té and Tomari-Té…  

As the sons of the 11th Soke had moved to Japan, it was difficult for them to practice and take up the torch. This is why Choyu Sensei decided to teach the secrets of Udundi to his best disciple; Seikichi Uehara (1904-2004). Uehara Sensei, who had become the 12th Soke, decided to return the title and secrets he had inherited to the family. Motobu Chomo, Choyu’s eldest son, was chosen to become the 13th Soke, but was killed in an air raid in Osaka in 1945 

It was in 1970 that Uehara Sensei revealed the existence of this secret art to the world and became recognized as the sole holder of “Motobu Udundi”. However, in 2003 when he had just turned 99, Uehara Sensei proposed that his succession should go to the Motobu family. Chosei, the 3rd son of Choki Sensei, who had already inherited the   日本傳流兵法本部拳法(Motobu-Kenpo) from his father, found himself at the head of 2 styles by becoming the 14th Soke of Motobu Udundi. 

Uehara Sensei had as his first disciple Shiroma Seihan (1941-2012); a high school teacher. He met him when he was 27 and studied Udundi with him for many years. He had opened, with the agreement of his Master, his own Dojo which he had named the “Moidi Motobu-ryu Gassen Tuidi kai”

When Shiroma Sensei died, it was Yagi Isao Hanshi 9th Dan who became the Kancho of the superb Dojo in the mountains of Nanjo, south of Okinawa.

Biography of Yagi Isao

Chairman of Moidi Motobu-ryu Gassen Tuidi kai.
Hanshi 9th Dan.
Vice president of the Okinawa Prefecture Kobudo Renmei Federation. Standing Director of the Okinawa Prefecture Karatedo Rengo-kai.
Born in 1961 in Uruma City, Okinawa Prefecture.
At the age of 13 he started karate that he studied under Seikichi Odo Sensei of Okinawa Kempo and obtained his shodan (1st Dan). When he entered high school, he joined the karate club. and studied under Shiroma Seihan (President of the Moidi Motobu-ryu Gassen Tuidi kai). In 2012, after Shiroma Sensei passed away, he became the successor of the association and is still the president to this day.

For several months, Daniel Mardon, the “Karateka-Therapist”, made it possible for us to discover the epic of Okinawan Karate through the visit of very special Dojo, Ryuha and Sensei.   All these little gems have a very personal story which shows the complexity of accurately tracing the Karate saga.  The Shuri-Te, Tomari-Te and Naha-Te still have many secrets to reveal…

If it is admitted that the Naha-Te comes from China, the Shuri-Te is considered the most “native” of the Ryukyu…

The view from the dojo is beautiful, with tropical trees, Ryukyu roof tiles, overlooking the Pacific ocean.

A few months ago, I met Hubert Laenen, a talented Belgian Karateka who said he was a 7th Dan in “Moidi Motobu-Ryu”.  I had never heard about this version of Motobu-Ryu, but Hubert explained to me that it was the martial art taught to the body-guards of the royal family for more than 400 years. This unknown art remains mysterious, because it was only practiced within the palace walls; hence the name sometimes used; “Udundi” (hand of the royal palace). It was created by a branch of the royal family named Motobu and its ancestral transmission was only to the direct heir who was the eldest of the siblings. 

The method is inspired by the “Moidi” (a centuries-old martial dance that gave rise to the foot-fist techniques), coupled with the “Tuidi” (projections) and perfected by a more military Kobudo which here includes weapons such as the sword. After some research, I understood why there was so much confusion between this art and the “Motobu-Ryu”; created by Motobu Choki (1870-1944) in 1922.   Motobu Udundi was founded by Motobu Oji Chohei (1655-1687) 11 generations earlier…

The female dragon is rising into the blue sky…it’s so huge and real! Yagi Kancho (right) and Daniel sensei.

Posing in front of father dragon and mother dragon (back), the guardian deities of the Dojo.

Since Motobu Choki was the 3rd son, he did not have access to the family-art.  His older brother; Motobu Choyu (1865-1928) was the one who was named 11th Soke and he was trained at the palace from the age of 6.  Later, the two brothers learned together Shuri-Té with Itosu Anko and then Tomari-Te with Matsumora Kosaku. 

So it was around the age of 52 that Motobu Choki created his “Motobu-Ryu” (which was rather called “Motobu-Kenpo”) and which is based on Shuri-Te and Tomari-Te…

Since all the sons of the 11th Soke had moved to Japan, it was difficult for them to practice and to take over. This is why the father Choyu Sensei decided to teach the secrets of Udundi to his best disciple; Seikichi Uehara (1904-2004). 

Uehara Sensei, who had become the 12th Soke, decided to return the title and the secrets he had inherited to the family. Motobu Chomo, Choyu’s eldest son, was chosen to become the 13th Soke, but was killed in an air raid in Osaka in 1945.

It was in 1970 that Uehara Sensei revealed the existence of this secret art to the world and became recognized as the sole holder of “Motobu Udundi”. However, in 2003 when he had just turned 99, Uehara Sensei proposed that the succession should go to the Motobu family. 

The Children dragon has for mission to protect the garden. A Kijimuna (spirit of the woods) greets us at the Dojo-entrance. In the background, behind the Ryukyu pine, stands Goddess Kannon.

Yuko Takahashi Sensei in the garden with Kannon 観音様.

Thus, Chosei, the 3rd son of Choki Sensei, who had already inherited the 日本傳流兵法本部拳法 (Motobu-Kenpo) from his father, found himself at the head of 2 styles by becoming the 14th Soke of Motobu Udundi. 

Uehara Sensei had for 1st disciple Shiroma Seihan (1941-2012); a high school teacher. Shiroma had met him when he was 27 and had studied Udundi with him for many years.  With the agreement of his Master, he had opened his own Dojo which he had named the “Moidi Motobu-ryu Gassen Tuidi kai”.

Years later, when Shiroma Sensei died, it was Yagi Isao Hanshi 9th Dan who became the Kancho of the superb Dojo in the mountains of Nanjo, south of Okinawa. 

On arrival, 2 giant dragons built by Shiroma Sensei and his wife Hideko, guard the entrance of the Dojo and a 3rd is watching the back of the property. Their gaze is directed towards the East and the Pacific Ocean…

Biography of Yagi Isao

Chairman of Moidi Motobu-ryu Gassen Tuidi kai.
Hanshi 9th Dan.
Vice president of the Okinawa Prefecture Kobudo Renmei Federation. Standing Director of the Okinawa Prefecture Karatedo Rengo-kai.
Born in 1961 in Uruma City, Okinawa Prefecture.
At the age of 13 he started karate that he studied under Seikichi Odo Sensei of Okinawa Kempo and obtained his shodan (1st Dan). When he entered high school, he joined the karate club. and studied under Shiroma Seihan (President of the Moidi Motobu-ryu Gassen Tuidi kai). In 2012, after Shiroma Sensei passed away, he became the successor of the association and is still the president to this day.

Winner of the Open Shuri Cultural Festival karate competition “Kumite with individual armor”. Winner of the prefectural tournament and placed 5th in the national tournament (in 3rd year of high school).

In 1982 and 1983 he won for 2 years in a row the Open of the Shuri Cultural Festival karate competition “Kumite general men with individual armor”.

 

(1-)  How did you start karate?

I had seen “Enter the Dragon” at the movie theater and I was impressed by Bruce Lee like many of my time. I had a friend in my neighborhood who had just started Karate and I told him that I also wanted to learn… He took me with him to his Dojo. It was Odo Seikichi Sensei’s “Okinawa Kempo Dojo” and I stayed there until my 1st Dan.

 When I went to high school, I took classes at the Karate Club and its Director was Master Shiroma Seihan…. How lucky I was! I learned many Kata and practiced real combat with armor. I won the Okinawa Prefecture student championships, then obtained 5th place at the national level. Thanks to Shiroma Sensei for his teaching. 

Yagi kancho is ready to avoid Daniel Sensei’s side kick (yoko geri)

Yagi Kancho dodging the Yoko-geri.

(2-) What are the characteristics of your school?

It is a very ancient martial art which descends from “Motobu Udundi”; a secret martial art of the Ryukyu royal family. It is therefore considered to belong to Shuri-Té, but is quite different. We use a wide variety of weapons and tactics that come from Kobudo and beyond. There are many “Ryuha” (styles) in Okinawan Karate, but “Motobu Udundi” is probably the oldest. 

However, since it was only transmitted in the secrecy of the palace, it has only been discovered publicly 50 years ago. The name “Motobu Udundi” (本部御殿手) was created by Uehara Sensei in 1970.

(3-) What is your specialty?

The “Tuidi” (Torite in Japanese). The idea is to capture the opponent as unharmed as possible.

(4-) What is the greatest memory of your “Shisho” (Master)?

Shiroma Sensei died of illness 11 years ago, but during his long struggle, he never complained in front of his disciples and always kept a calm and serene face. I thought this Master was a real “武人bujin/warrior” until the end. He said: “If you practice the state of calm, you will always be able to remain relaxed even in an emergency and regardless of the attacks of your environment. You can develop it through the practice of martial arts, he repeated. I have very deep memories of my Master’s life…

(5-) What is the difference between Okinawan Karate and Japanese Karate?

I often hear from Karate teachers here that Japanese Karate has become more competitive. I agree. In Okinawa, we value traditions and we appreciate the teaching of Kata which comes to us from ancient times. But we also really appreciate “Kumite-jutsu” which has always been taught to us.

(6-) Do you teach foreigners a lot?

We now have representatives abroad and we ensure the continuity of their teaching each year. During the last 3 years we had to postpone because of Covid, but we reopened.

 

(7-) What do you think about the globalization of Karate?

Since I am a native of the Ryukyu and from the source of Karate, I am happy that Okinawan Karate is impacting the world. It must be understood that although we had a unified kingdom from 1429 to 1879, we had always lived in territories under monarchy. I believe it was the same for you in France… Our small territories prospered thanks to trade with the great Chinese power under the Ming and Qing dynasties. However, from 1609 the Ryukyu were under the control of the Japanese Satsuma clan (薩摩藩 Satsuma han) and had to pay them an annual tax.  Okinawa then served as a battlefield during the 2nd World War and we lost a third of our population to end up under full control of the USA… After having been so badly mistreated and suffering so much submission, I hope that our Karate will get us out of this disgrace and will bring peace to the world…

(8-) What do you think of Karate which is turning more and more towards competition and even the Olympics?

Indeed, Karate is becoming more and more competitive and the Kata seem to have been rebuilt on different bases including the tempo (間合い/まあい/maai), the Kime (極め/きめ/pose and pause), the sound (hammering feet, clicking Do-Gi), etc. 

Kata should not be embellished with harmonious movements (tameru 溜める/ためる). What’s the point of all this? There are several of us in Okinawa who have this point of view and if “Moidi Motobu-Ryu” could spread, that would be good.

(9-) What does today’s Karate mean to you?

Sadly, wars and conflicts still persist in the 21st century! It is therefore important to learn to defend yourself…

(10-) How do you see the future of Karate?

Currently, the world of Okinawan Karate is working towards achieving global recognition of its cultural heritage through UNESCO. I want to be part of this transition to our future generations.

(11-) Do you have a message to send to the world?

Broaden your horizons by coming to learn our Karate at its source here in Okinawa…

(12-) What does the label “Karate” mean to you?

Training “心技体”Shingitai to support life.
Note: This has became a very fashionable word grouping together: shin心(kokoro）gi技(waza) tai体(karada).

 

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The Lost Kata, ‘Tomaikun’

Posted on November 8, 2023 by admin

Written by Motobu Naoki, translated by Andreas Quast

Motobu Chōmo (1890–1945) was the second son of Motobu Chōyū. His nickname was Torajū. He got this nickname because he was strong, quick-witted and agile, reminiscent of a tiger’s tail. He also came to Ōsaka during the Taishō period (1912–1926) and was active together with Motobu Chōki for a period of time. When Motobu Chōki opened his dōjō in Ōsaka, Chōmo seems to have acted as an assistant instructor.

Motobu Chōmo

Later on he moved to Wakayama where he also interacted with Uechi Kanbun sensei. Just at that time, in order to hand down Motobu Udundī, Chōyū sensei dispatched Uehara Seikichi sensei to Wakayama where he instructed Chōmo in Udundī for half a year.

Originally, Chōyū’s eldest son, Motobu Chōmei, was meant to succeed Udundī, but because he did not show the intention to succeed, the second son, Chōmo, succeeded Udundī. Once, Chōmo visited his older brother Chōmei who was living in Kaizuka in Ōsaka.

As Nabi, the mother of sōke [Motobu Chōsei] was watching the situation at that time, while Chōmo said to Chōmei “I feel that you are in a good mood,” she was surprised at how the Udun brothers made contact, since Chōmo fell prostrate before Chōmei, such as a retainer did before his lord.

Well, besides Udundī, Chōmo knew several general kata of karate. However, these were not kata that had been modified for physical education since the time of Itosu, but so-called old school kata (koryū kata). One of them was a kata called ‘Tomaikun’.

More than ten years ago, I heard from Uchima Anyū the story about this kata that his uncle has studied it under Motobu Chōmo. At first, I thought Tomaikun was “Tomari (Tomai in dialect) no Kūsankū”. Because Uehara sensei referred to Kūsankū Dai (公相君大) as Ufukun (大君), I thought that ‘kun’ referred to the last character of Kūsankū, i.e. kun 君.

However, the answer is that Tomaikun is different from the composition of Kūsankū and is a different kata. Unfortunately, while Tomaikun was a kata of the deepest and most important core of the art, it is said to have been forgotten and to be a lost tradition. But it is said to have had one feature distinctive from ordinary kata, that is, it did not use the regular fist (seiken) to strike, but the intermediate phalanges, with a hand gripping method similar to that of the so-called flat fist (hiraken).

As a matter of fact, this method of striking is also found in the Motobu Udundī.

Therefore, while I think that Tomaikun was handed down by Chōyū, it has become a mystery today, including the kata itself. In this way, persons from the Motobu family knew an original kata that can not be seen anymore today.

The original Japanese article was written on March 9, 2018 on Ameblo, and the English translation was written on March 11, 2018.

Motobu Naoki

Motobu-ryu Blog

Written by Motobu Naoki

Motobu-ryu Blog

Shihan, Motobu Kenpō 7th dan, Motobu Udundī 7th dan. Discusses the history of karate and martial arts, and introduces Japanese culture and history.

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Power of a thrust or punch

Posted on November 8, 2023 by admin

Ateha (Atifa in the local sound) is an Okinawan dialect that means the power of a thrust or punch. It is written as toha in kanji. According to the Soke (Tomomasa Motobu), his father, Choki Motobu, used to say, “No matter how good the kata is, it’s useless unless you can do it.”

As for whether the kanji for Toha is correct, according to Soke, the meaning of Ateha is “to break through,” so I don’t think Toha is correct. This is because in Shuri, the word “to hit” was elegantly pronounced “Atiyun” (hit). In response, people in Naha said, “Kurusun” (to kill). It’s a rather arrogant way of saying it, but since Naha is a downtown area, similar to Asakusa in Edo, people probably preferred to use it in a more dignified way. On the other hand, since Shuri is the home of the king, elegant expressions were preferred.

Therefore, toha was probably originally a word used by the people of Shuri. I don’t know if the people of Naha called it Kurusunhwa. Come to think of it, Naha-te Goju-ryu has a form called Kururunfa.

Nowadays, there are various misunderstandings about toha. Many people interpret toha as the power of a true fist thrust, especially the power of a reverse thrust from a puller. However, in the traditional karate that Motobu Chōki learned and practiced, there were a variety of other types of thrusts, such as urauchi (urafist), courser (one fist), saruga (elbow strike), teto, and tsukute, in addition to the formal karate. , Seiken-tsuki was not only done from the puller’s hand, but there was also a zente-tsuki (knot-tsuki) from the front hands of the husband and wife.

The true value of Choki Motobu’s toha lies not in the straight fist punch he delivers from the puller, but in the short punch he delivers from a position that is just barely on the target. An episode that shows this is written in Mizuhiko Nakata’s “Motobu Choki Sensei’s Words” (1978), and I will introduce it below.

“Nakata, you’ve come to the right place. If you break it just one inch away from your fist, you’ll be considered. If it breaks, I’ll treat you to as much awamori as you can stomach.” One day, I went to Hongo Esashi-cho to visit a teacher. When I visited him, he showed me a tag hanging from the eaves of the porch of his parlor (also used as a dojo). If you look closely, you will see a rectangular pine board that is 2 shaku (approximately 60 cm) wide, 3 shaku (approximately 90 cm) long, and over 2 sun (approximately 6 cm) thick in the center, about 2 cm below the top edge. A hole was drilled in the hole, and a strong string was threaded through the hole and hung from the oak tree in the eave. I thought it would be very difficult, but as I was told, I stood on the verandah, placed my right fist with my left fist close at hand, and positioned it about an inch from the pine board, and struck it with all my might, but instead of cracking, it just cracked. The board bounced back with a bang, and all I got was a painful fist.

I forget, but I think it was a student who was present, and he also tried it, but no matter how many times he tried it, the board made a noise and bounced back, just like I did.

“Now, take a good look and do what you do.” So Motobu Sensei stood in front of the board and held his right fist at a very close distance, less than an inch from the board, but the next moment he said, “Phew!” with a hint of spirit. As it sank, the board suddenly cracked along a vertical line from the string hole, and fell into two pieces on the ground under the eaves.

(Note) Throughout his life, Mr. Motobu had no interest in breaking leftover boards or tiles. Apparently, it was thought of as a show to attract customers, such as a demonstration, but the first time I saw Sensei’s itawari was far from a show, it was the very essence of Motobu-ryu Kempo. Splitting a pine plank suspended loosely in half like this requires real physical strength, and probably no one would be able to imitate it. At that time, I was able to witness the power of Motobu Sensei’s extremely short punches by combining both hands and using the springs in his legs and hips, and I realized that a genius martial artist had created the various elements that make up that “attack” in actual combat. I knew it was terrifying.

The above episode probably occurred after Motobu Chōki was in his 60s. Even at that age, he had such powerful thrusts. By the way, according to the head family, Motobu Chōki was also against the idea of ​​splitting tiles, as the Nakata clan said. They say, “Tiles are for the roof.ThatchdebtIt’s a spider, not something to split.” Since he was from the past, he probably didn’t want to treat things poorly in order to show off his power.

What nourishes toha is makiwaratuki. Choki Motobu’s makiwaratsuki is also different from the modern makiwaratsuki that you often see on YouTube. Many of the techniques of karate have been lost or their characteristics have significantly changed in modern times.

Source:
“Toha” (Ameblo, December 10, 2017).

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“ haishu uchi back of the hand strike ”

Posted on November 6, 2023 by admin

Translated by Jean-Charles Juster.

The penumbra strike, kasumi uchi, corresponds to the technique called “ haishu uchi back of the hand strike ” in modern karate . In Motobu kenpô, we interpret the first movement placed after the kôsa dachi position of the Naihanchi kata as this strike of darkness.

In the photograph above, Motobu Chôki can be seen teaching this technique to women, as a breakdown of Naihanchi. In the Naihanchi of Itosu Ankô, instead of the back of the hand, or uses its internal face, to parry in haitô uke , but Motobu Chôki and Yabu Kentsû used the penumbra strike in this kata.

It is often said “karate katas all start with a parry”, but in classic Naihanchi, we start with an attack. Or at least that’s what some had interpreted.

In recent times, research in classical karate has become flourishing, and it is less and less rare to read the statement that “kata defenses are attacks.” However, I think the basis for this argument comes from quotes from Motobu Chôki books or texts reporting his words.

Was this strike from the twilight kasumi uchi specific to Motobu Chôki? In fact, in the Motobu Udun dii of Motobu Chôyû, this technique is also used.

Therefore, for the Chôyû and Chôki brothers at least, the penumbra strike was not a rare technique. Wasn’t it perhaps a common technique to some extent in classical tii and karate ?

The original article was published on April 4, 2020 on the Ameba blog.

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Motobu-Ryu and Motobu Kempo

Posted on November 6, 2023 by admin

There is some confusion with the understanding of the term Motobu Ryu in the Russian-speaking space. This is due to the fact that under the name Motobu ryu , people often understand two different styles. One of them is called Motobu Kempo, or rather “Nihon den ryu heiho Motobu Kempo”, and the other is called Motobu udundi “Ryukyu oki hidden Motobu udundi”.

These two different schools of Motobu Ryu have a common source – the Motobu family, a brief history of which can be read below.

Today, both directions of Motobu Ryu are studied under the guidance of one master Soke Motobu Chosei – the son of the legendary master Motobu Choki, from whom he inherited kempo, and the nephew of the famous Okinawan master Motobu Choyu, from whom, through his student Uehara Seikichi, he inherited udundi.

Very roughly dividing Motobu Ryu into two directions, we can say that there is a hard school of Motobu Ryu – this is Kempo and a softer version called udundi. The name Motobu Ryu itself translates as the school of the Motobu family and this is true for both directions.

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The Decline of Okinawan Kumite

Posted on November 4, 2023 by admin

The Decline of Okinawan Kumite

I received this message before. He said that he had studied a certain branch of Kyan Chōtoku’s karate for many years, but had only practiced kata. When he asks his master or seniors about kumite, they reply, “If you only practice kata, you will be strong enough in kumite.” Kyan Sensei has left some pictures of kumite, but did he really not practice kumite?

As far as I know, there is no way that Kyan Sensei did not practice kumite. As I mentioned previously, a book (manuscript) on kumite by Kyan Sensei has recently been discovered. It seems that some pre-war karate practitioners only performed kumite in their books and did not practice it on a regular basis, but this was not the case with Kyan Sensei. There is an oral record that he practiced kumite with Motobu Chōki. I was also told that the saga of “Chan Mī-gwā” and “Motobu Zārū” is the most common in Okinawa. In fact, many anecdotes about these two men appear in the folk tales included in the local histories published by each municipality in Okinawa. In other words, these two men were known as “real fighters” who put more emphasis on kumite in Okinawa before World War II.

So, I honestly do not know why his lineage does not practice kumite. However, the mainstream of post-war Okinawan karate tended to avoid kumite. In a word, they thought that kumite was for barbarians. In the midst of this trend, a kind of “peer pressure” may have been applied, and the practice of kumite may have been discontinued.

For example, Higa Kiyohiko Sensei of the Bugeikan once told me that Chibana Chōshin of Kobayashi-ryū did not teach kumite. Kiyohiko’s father, Higa Seitoku, was an early student of Uehara Sensei, but had also studied under Chibana Sensei before that. I asked if Chibana Sensei had not taught his students kumite at all, and Kiyohiko Sensei said yes.

I had imagined that Chibana Sensei’s teaching method was probably mainly kata training, but the fact that Chibana Sensei did not teach kumite at all was a surprise. Later, I heard the same story from several people involved in Kobayashi-ryū. However, this was the norm in Okinawa in the 1950s. At that time, only a few schools, such as Okinawa Kenpō, Isshin-ryū, and Motobu-ryū (Motobu Udundī), practiced kumite in Okinawa, and they were often considered heretical by the mainstream of Okinawan karate.

Kyan Sensei taught in Kadena (20 km north of Naha) and his karate was sometimes derided as an “Inaka-dī” (literally, country hand) by the people of Shuri and Naha. Of course, he was born in Shuri, and his family, the Kyan Dunchi, is one of the most prestigious in Okinawa. Normally, no one would call Kyan Sensei a country bumpkin, but after the war, such an origin was forgotten, and the Kyan lineage may have felt inferior in some way. Perhaps they felt inferior to the mainstream, and the pressure to conform to the mainstream acted on them.

In Okinawa, kumite started to flourish in the 1980s, shortly before the 1987 Kaihō National Athletic Meet. This was because Okinawa, the birthplace of karate, could not afford to lose in the national karate competition, so it strengthened its kumite training. However, the rules of the National Athletic Meet were of course established by the karate schools on the mainland.

Kaihō National Athletic Meet

As a result, the traditional Okinawan kumite has declined. With the exception of a few, it has become impossible to know what the original Okinawan kumite was. That is why Kyan Sensei’s kumite book is attracting so much attention, perhaps in the hope that it will provide a clue to the restoration of the declining Okinawa kumite. Therefore, in the future, as research progresses, the once declining tradition may be revived once again.

The original Japanese article was posted on Ameblo on August 2, 2021, and the English translation was posted on August 3, 2021.

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Motobu Naoki  

Thank you for reading my story. If you would like, please follow me.

Shihan, Motobu Kenpō 7th dan, Motobu Udundī 7th dan. Discusses the history of karate and martial arts, and introduces Japanese culture and history.

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Why I was taught Motobu Udundī

Posted on October 31, 2023 by admin

From a lecture by Uehara Seikichi in

From Uehara Seikichi, “Talking about the secret martial art of the Ryukyu royal family,” April 4, 1992

Thank you for taking time out of your busy schedule today to listen to my talk. What I am about to tell you are some anecdotes I heard from Motobu Chōyū Sensei of the Motobu Udun and some of the techniques he taught me directly. This will be the first time I will be speaking in front of such a large number of people, and I’m sure there will be many things that you have not heard before.

Today’s theme is “Talking about the secret martial art of the Ryukyu royal family.” My Sensei was Motobu Chōyū Sensei of the Motobu Udun. He is the person in this photo, also know as Aji-ganashī-mē (按司加那志前, His Royal Highness) of the Motobu Udun.

Miyagi Chōjun Sensei and Kyan Chōtoku Sensei, who were famous at the time, also clearly referred to Motobu Chōyū Sensei as “Aji-ganashī-mē” (Your Highness).

Motobu Chōyū Sensei, or Aji-ganashī-mē, was a member of the royal family. After the king, the next to the king is udun — udun means the king’s brothers or children — these people [and their direct descendants] are called udun (literally palace).

The udun usually disappeared in three generations (by losing their royal status), but in the case of the Motobu Udun, they lasted eleven generations until the abolition of the Ryukyu Kingdom and the establishment of Okinawa Prefecture (1879). (note 1) In this sense, you can see how the Motobu Udun had a deep connection with the king. In the pamphlet we distributed, the genealogy of the successive kings and the Motobu Udun is described.

At the time I became a disciple of Aji-ganashī-mē, he was living in the town of Tsuji. Back then, Chōyū Sensei was about 60 years old. (note 2 ) When teaching, he often told me that (Motobu) Udundī was a royal martial art, and that since it was a martial art handed down only to the eldest son of the Motobu Udun, it should not be used in front of others, nor should it be shown to others. I had been told this constantly for ten years, ever since I became Chōyū Sensei’s disciple.

Furthermore, I had always been told that Udundī is only a tī (hand, art) used for (national) warfare, that the royal family has no tī used for private fights, and that the royal tī is only a tī used for warfare, so it should not be used in front of others under any circumstances [for private fight]. (note 3)

You may be wondering why Chōyū Sensei taught this Isshi Sōden (a martial art handed down only to the eldest son of the Motobu family) to me, who has no bloodline. As a matter of fact, Chōyū Sensei, or Aji-ganashī-mē, had three children (sons). His eldest son is Chōmei, his second son is Chōmo, and his third son is Chōshun.

From left: Motobu Chōmei, Motobu Chōmo and Motobu Chōshun.

The reason why I was able to learn this art from Chōyū Sensei was that these three sons had moved to the mainland [Japan] and none of them were in Okinawa; Chōyū Sensei was already old and even if he wanted to leave this art behind, he could not because his sons were not in Okinawa. Chōyū Sensei was in distress over this fact, and so in July, at twelve years of age, I became Sensei’s disciple.

Therefore, the art of Chōyū Sensei was not intended to have been passed to me as the only individual. Rather, it was intended to have been taught (through me) to his son, so that in turn, he could pass it on to the descendants in his lineage. In that sense, I was able to have been taught.

Note 1: Strictly speaking, if the successive heads of an udun did not have achievements and deeds, then the udun would lose its royal status in seven generations.
Note 2: The actual age of Motobu Choyū at the time was 52.
Note 3: An additional clause (1635) in the Buke shohatto (the Laws for the Military Houses, 1615) issued by the Tokugawa shogunate prohibited the daimyō (feudal lords) from engaging in private fights. Since Ryukyu was ruled by the Satsuma domain, Motobu Chōyu was probably mindful that private fights by the royal family could become an international problem.

In 1924, I finally visited Motobu Chōmo Sensei (1890–1945) in Wakayama to teach him the techniques I had learned from Chōyū Sensei. (note 1) The man in this photo is Chōmo Sensei. His nickname is Torajū (Tiger’s Tail). He was also known as Motobu’s Torajū Yacchī (Brother Trajū). Chōmo Sensei was also learning karate from Motobu Chōki Sensei back then. (note 2)

Motobu Chomo

When I say Motobu Chōki [by his real name], you may not understand who I’m talking about, but if I call him Sārā Aji (Prince Monkey) or Motobu Zārū (Motobu’s Monkey), you’ll understand who I’m talking about. Sārā Aji is the third son of the Motobu Udun. Therefore, Chōyū Sensei is Motobu Chōki’s elder brother. Those are the brothers who were the true blood of the udun.

As I mentioned, in 1924, I taught Motobu Udundī to Motobu Chōmo (Torajū Yacchī) in Wakayama for six months. Since Chōmo Sensei had also studied karate with his uncle Chōki Sensei, his gōken (strong fist) was quite impressive. In addition, he was such a famous warrior that he was given the nickname “Torajū.” Torajū means that he was as agile as a tiger’s tail. He was very famous in Wakayama back then.

Since Chōmo Sensei was such a warrior, Chōyū Sensei gave me the following advice before I left to teach:

You are to meet Chōmo who is a tough guy, in a manner of speaking. You will not take it easy, but you will confront him with all your might as you would confront me. Punch and kick him as hard as you can. From Chōmo’s point of view, your level of skill is no match for him. Therefore, fight as you would against me.

With this advice, I went to Wakayama.

Wakayama Castle before the war, Wakayama City

As I met with Chōmo Sensei, I handed him a letter from Chōyū Sensei. While reading the content, Chōmo Sensei asked me again and again, “Yā Yannā? Yā Yannā?” (Is it really you?) in the Okinawan dialect. [He looked wondering, “Are you really the person my father wrote to in this letter?”]. Because Chōmo Sensei is 17 years older than me, and I was only 20 at the time, and not very tall. Torajū Yacchī, on the other hand, as you can see in this photo, is very built.

Uehara Seikichi

Hence, he said to me, “Yā Yannā? Yā Yannā?” and I said, “Yes, that’s me.” I don’t know what the letter said, but he didn’t seem to take it seriously. So, finally, he said, “Well, stand up.” Then we both stood up. Then just as if to confront Chōyū Sensei, I struck him as hard as I could, and almost with one blow, his well-trained body staggered with the impact of my nukite’s fingertips. In fact, it was with this blow that Torajū Yacchī was surprised for the first time, and came to trust me.

Since Chōyū Sensei told me that I had to fight Chōmo Sensei as if I were confronting him, I had put all my hopes and effort into that single blow. As I said, he studied under his uncle, Chōki Sensei, and as a result, he had a well-trained body. Moreover, he was so talented that he was given the martial name of Torajū Yacchī. Thanks to these, he was able to master in just six months the techniques that I had practiced for ten years. In this way, the techniques Chōyu Sensei taught me, were specifically the ones he wanted to pass down in his bloodline.

Note 1: Motobu Chōyu decided that Motobu Udundī would be succeeded by his second son, Chōmo.
Note 2: Motobu Chōmo lived in Osaka before moving to Wakayama. When Motobu Chōki opened a karate dojo in Osaka, he was working as an assistant there.

The original English translation of the article was posted on June 5 and 12, 2020 on the Ameba blog.

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Written by:

Motobu Naoki  

Thank you for reading my story. If you would like, please follow me.

Shihan, Motobu Kenpō 7th dan, Motobu Udundī 7th dan. Discusses the history of karate and martial arts, and introduces Japanese culture and history.

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