15 More Budo Terms Clarified

A few months ago I posted 15 Budo Terms Clarified. In an attempt to clear up some misunderstandings of some common terms used in Budo.

This post is a continuation of that:
15 More Budo Terms Clarified!

I love a good sequel!



Bugei - Made up of two characters 'Bu' 武 and 'Gei' 芸.
In my previous post I said:
"Jutsu means Technique, Art form or skill. This means the direct translation for 'Bujutsu' in English is 'Martial Arts'." This is only half true (apologies). Jutsu does mean Technique, Art form or skill, but it's not accurate to say 'Bujutsu' means 'Martial arts'. Technically 'Arts' is better translated as 'Gei' 芸.
So 'Bujutsu' means 'Martial Skill' and 'Bugei' means 'Martial Arts'.



Bunkai - Made up of two characters 分解 that translate as 'Disassembly'.
Bunkai is the breakdown of the sections of a Kata and the analysis of those sections to find practical purpose of the techniques. While some Bunkai seem clear and others more difficult to work out, a simple rule should be remembered "If it works, it's Bunkai".



Taira Shinken & Kenwa Mabuni.
Kata is the core of Ryukyu Budo and
Bunkai is the purpose of Kata.



Bunbu Ryodo - Made up of four characters: 'Bun' 文 meaning 'Writings', 'Bu' 武 meaning 'Martial', 'Ryo' 両 meaning 'Both' and 'Do' 道 meaning 'Path' or 'the Way'.
All together 文武両道 directly means 'The ways of both Martial and Writing' but a more popular translation being 'The way of the Sword and Pen'.

Miyamoto Musashi referred to this as 'the two-fold path' and said this is the true way of the Warrior, meaning that a warrior must be both skilled in the way of the sword and writing. A logical extension of this is not just about swords and writing, but more general being 'martial skill' and 'mindfulness'. Emphasising the point that a Warrior isn't just skilled and strong, but also smart and knowledgeable.



Shuhari - This is the term used in Japan to describe the stages involved in the process of learning, from beginner to master.
Made up of three characters 'Shu' 守 meaning 'Follow', 'Ha' 破 meaning 'Digress', 'Ri' 離 meaning 'Transcend'.
Another way of saying it is "Follow the rules, Break the rules, Make the rules"

As a beginner we must 'follow the rules' in order to learn what is involved.
When we're at an intermediate level we must 'break the rules' by questioning them and seeking to understand the reasons for them. 
For a master, the rules are too restrictive and limiting. Masters are beyond the rules and therefore they don't apply, so a master 'makes their own rules'.



Jutsu - I did already define this in my previous post (as part of the definition of Bujutsu) and again above: "Jutsu 術 means Technique, Art form or skill."
I have included it here to emphasise the next definition.



Jitsu - Made up of one character 実 which translates as 'fruit', 'seed', 'reality', 'kindness' or 'faith'. 'Jitsu' is not the same thing as 'Jutsu', they aren't interchangeable.

It's commonly used spelling is in the name in 'Brazilian Jiu Jitsu', but can be found in other places too. It's simply a mispronunciation of the word, which resulted in the misspelling when written in Romaji. The thing that adds to the confusion is that 'Jitsu' is an actual Japanese word, it's just used incorrectly.

It can be argued that BJJ is a 'Brazilian' martial art and not Japanese, so they can spell how they like, which is fair enough. Having said this, it is definitely incorrect to use this when referring to Japanese (or Okinawan) Budo.



Uke - The name used for many defensive techniques. 'Uke' does not mean to 'Block', this is an incorrect translation and shows a lack of understanding regarding the use of those techniques.
Made up of two characters 受け 'Uke' means 'to receive'. To receive the incoming attack and control it, not to 'stop'.




Kime - Made up of two characters 決め directly meaning 'to decide'. Kime is the key to real power generation, but Kime isn't the actual generation of power.  Jesse Enkamp explains that Kime means "...to fix, or set. As in fixing, or setting, a date."
It is the skill and strength required to add the sudden stop in the technique.
It's a difficult thing to accurately describe and a tricky thing to master (which is why there's so much vague info about it that doesn't really describe it very well).



Kamae - There is quite often confusion between 'Kime' and 'Kamae'.
Made up of two characters 構え, Kamae translates as 'stance', 'posture' or 'base'. In general terms it refers to the body's position. In more specific Budo terms it is about being in a set ready position, both in body and mind. When in 'Kamae', you are not only in a ready stance/position but also with a ready mindset and a serious attitude.  



Embusen - The direct translation of the Kanji 演武線 being 'demonstration line'. It is the path the Kata floor pattern.
The thing to remember with the Embusen is that it doesn't determine the Bunkai of the techniques within the Kata. Chojun Miyagi is thought to have coined the term “Don't be fooled by the rule of embusen”.

The Tango Embusen

Bujin - Made up of two characters: 'Bu' 武 meaning 'Martial' and 'Jin' 人 meaning 'Man' or 'person'.
A 'Martial Person' is basically the definition of the word 'warrior'. 
Bujin is the closest translation of 'warrior' in Japanese.



Rei - Often misunderstood as being an order to 'bow' or to 'show respect'. 'Rei' is more accurately defined as the deeply personal motivations that lead to respect. It's about being humble and having gratitude (click here for more info regarding Rei).

Osu - A word that originated within the Kyokushin Karate style but has become popular throughout the martial arts world. There is debate regarding the origins and meaning. It is thought it could be a shortened version of the greeting 'Ohayo gozaimasu' or a shortened version of the term 'Onegaishimasu'.
The most accepted theory within Kyokushin is that it is a conjunction of the words 押し 'Oshi' meaning 'Push' and 忍ぶ Shinobu meaning 'to Endure'.

What is known is that it didn't originate in Okinawa; it is definitely Japanese and it is also very improper in many social situations.
If you're ever in Okinawa, make sure that you are careful not to say it to anyone older than you, children and anyone female. If you're in an Okinawan Dojo, it's best to not say it at all.



Mokuso - Made up of two characters 'Moku' 黙 meaning 'Silence' and 'So' 想 meaning 'Contemplation'.
This word does not mean "close your eyes" (as many in the western world seem to believe). It's clear from the translation of the Kanji; "Silent Contemplation" means to 'meditate'.



'The Way' - In my previous post I defined 'Do' 道 as the Road, Path or Way. It refers to the journey of the individual (In this case, within Martial Arts).

'The Way' is the metaphoric path you take on the journey as a Budoka. There is no destination but the whole point of being a true Budoka is finding the way. Not only do we need to "Find the way" but we need to "Find our own way".

This raises the question "What exactly is the Way?"... You can't follow the way if you don't know what it is.
The answer appears to be quite esoteric and/or open to interpretation, but the way is a specific thing and must be found/understood by any serious Budoka. Once understanding what it is, effort must be put into following it.

Yes, I am being intentionally vague with the definition of the 'The Way'; because it is important for you to seek to understand it yourself.



Comment below to share any thoughts or opinions you might have.  :)

Thanks for reading.
Derm

Ͼ

YOUR Budo

Don’t let your Budo be about anyone else.

Don’t train for any other person other than yourself. You don’t 'owe' it to anyone to go to training (other than yourself).
The idea might sound somewhat 'selfish', but your training is all about you. Never let the focus or the subject of your training be anyone other than yourself. 
Training for any reason other than your own self-development is not how Budo is meant to be. It's not a team sport where the team needs to work together.
The very point of Budo training is for your own development.
It is true that you might train for reasons beyond yourself (to be able to defend others for example), but the actual training itself is for you and about you!

Don’t train for other students or peers.

It's not unique to be in a situation where you find yourself only turning up because 'such-and-such' expects you to be there, or because you hope to see 'such-and-such'.
It's all good to make friends and be social at training, but that shouldn't be the only reason for going. If it is only for the 'social aspect', why not save the money you spend on the training fee/rego and just grab a coffee with these people instead?
People that are only there to see other people are fine before and after the class, but they'll never be switched on during the training, as their focus isn't on the actual activity. Whenever motivation or focus isn't on self-improvement, it's not possible to make any real improvement.


Many students have a need to compare their own progress with those around them. They judge themselves based on others progress (as if anyone's progress has anything to do with anyone else's). If you do this, it basically makes your training all about everyone else. 
Don't come to training with any need to prove anything to anyone.
It makes it too easy to blame others for your own faults.
In the end, this has the same result; motivation not being in the right place. You waste time and energy comparing yourself to others when you could just focus on what you need to do to make yourself better.

The extreme of this is that some people only come to Budo training as a way to be better than other specific people. Some people only train in a particular school because if they leave then 'that other person' will progress ahead of them. These people have some need to show others that they are 'better' than the other person. This is truly immature. A person that does this makes their own training solely about that other person, it's not a healthy attitude.

Don't train for other students or peers.
You shouldn’t be there to compare with them or to gain any sort of notoriety with them.

Don’t train for the instructor.

If your instructor makes you feel obligated to attend classes, it’s probable that he/she is more worried about your money/attendance than your development as a Budoka.

A good instructor knows that someone will only learn when they want to.
You should want to do it, rather than feel obligated.
If the instructor pressures or manipulates people into training with them, they aren't concerned so much with those people becoming the best they can be.
They are more concerned with their own bank account and the notoriety of being able to say "I have <insert large number> people training under me."
This is when your training becomes all about the instructor or the school, and not so much about you or your journey. If it was about your journey, your freedom of choice would be given more importance.

An unfortunate result of this (beyond the instructors greed and arrogance) is that the student's become 'consumers' rather than something more like 'trainees', 'disciples' or 'apprentices'.
As 'consumers' the students training frequency becomes more important than training 'quality'. As a result, students start to think that they are doing what is required simply by turning up, because they know that "turning up will make Sensei happy".

If the focus is on the quality of the students and not the club, then the training becomes about the students, not the instructors.

So... if (as a student) you want your training to have more quality, then focus on yourself and what you are learning. Make your training about YOU and not the instructor or the club.

Make YOUR Budo training about YOU!!!

At the heart of it all; it's about taking responsibility for you own training. 

Make yourself accountable for it!

So, when others students grade (or not), it's all about them and has nothing to do with you.
When you grade (or not), it's about you and not about other students (or even the instructor).
When you are training for YOU, it's easy to understand that your training and the results of it are a reflection of YOUR focus and effort.

Be selfish! When you're at training, make your training about you!

You're only there for you and understand that everyone else in the room is doing the same thing (except the instructor, they should be there for all).

Budo training is not a group activity or a team sport, it's a deeply personal journey. It's very long-term and it's about learning and development.



Don't make it about anyone else.

Don’t be a consumer or a customer. Be a student, a follower of the way.

Take ownership of it and make your Budo YOUR OWN!

Do what feels right to you!

Never just blindly follow the system, or style.

Seek your own understanding!

Don't just follow someone else's way, find your OWN way!


It’s your personal journey of self-discovery and self-perfection.
(Don't give that away)

Comment below to share any thoughts or opinions you might have.  :)

Thanks for reading.
Derm

Ͼ

The Greatest Karateka Who Ever Lived! (Part 3)

In 1882 Bushi Matsumura wrote a letter to his student Kuwae Ryosei, regarding his philosophy and beliefs about Budo training.

A portion of the original letter by Matsumura

The following is a translation of the letter:


To: My wise and young brother Kuwae Ryosei

You can only understand the true way of the martial arts through determination and continuous training. It is quite interesting to note that the martial arts and the methods of scholarly study parallel each other at a fundamental level.

When examining the methods of scholarly study, we find there are three distinct elements or methods:

The first method is the study of powerful words, skills needed in communication and the pursuit of high-paying positions.

The second method is the study of comparing the wisdom of traditional literature, and instilling a sense of duty by way of example.

Despite the fact that these two methods are both unique, they fall short of comprehending the true essence of the way. They encompass only a superficial comprehension of scholarly studies, so they should be regarded as incomplete.

The third method of literary study is a complete method. By understanding this third method is how we can understand the true way.

Some of the things that it teaches us how to do are the following:

1. To gain a more profound understanding
2. To gain strength from our weaknesses
3. To become more sincere
4. To become more righteous
5. To better control our emotions
6. To have more peace in our homes

This is a doctrine that can be applied to not only our country, but to the whole world. Therefore, only this study is a complete one.

If we investigate the martial arts, we also see that there are three distinct divisions or elements in them:

The first method, or division, is more like a game of psychology and tactics. It actually has no practical application in fighting, but it is more like pretty dancing. It is quite superficial.

The second method is nothing more than physical exercises. Its only goal is to win. In this there is no virtue. The practitioners of this method are contentious. Many times they bring injury to others and to themselves. Very often they cause dishonour to come upon members of their family.

The third method, in contrast, is always performed with conviction. The practitioners of this third method gain a solemn enlightenment, free of strife and depravity. It promotes loyalty among family, friends and country. It also promotes a natural demeanour, which develops a gallant character.

If you have an unconquerable calmness, you can overcome the enemy without force, with the ferocity of a tiger and the swiftness of a bird.

Some traits of this third method:

1. It prohibits intentional violence
2. It rules the actions of the warrior
3. It edifies
4. It promotes virtue
5. It promotes peace among the people
6. It produces harmony in society
7. It brings about prosperity

These are called the "Seven Virtues of the Martial Arts." They were taught by wise men, and are contained in a book called the Godan-sho.

Thus, the true way of the martial arts has more than one element in it. A wise man does not need the first or second methods. All he needs is the third method. In this method, you will find the true way.

This unconquerable strength will deeply influence your judgement in recognizing opportunities and in taking appropriate action. The circumstances will always determine what the correct approach is that you should take.

It might seem like I have no respect for the other two fighting methods, but my conviction is rooted immovably in the doctrine of the third method.

I have revealed my words to you. There is nothing left secret or hidden in my mind, nothing held back. If you accept and heed my words, you will find the true way.

Signed:
Bushi Matsumura, May 13, 1882



This letter is the most significant evidence of Bushi Matsumura's teachings available. All other sources of his teachings are stories/legends or lessons within the kata, both of which have been passed down through word of mouth for at least three or four generations of masters. Due to the effect of 'Chinese whispers', it can't be proven what were his teachings and what were interpretations or changes since his time.

This can't be said about the above letter, beyond the interpretations within the translation to English, it is a primary source of Bushi Matsumura's ideals and his opinion of what Budo is meant to be.

This is a photo of the original martial arts scroll of Matsumura. The scroll was exhibited in 2013 at the Prefectural Museum. Both picutres on this post were found on ryukyu-bugei.com. This pictures source originally: http://web.fc2.com/jump/?url=http://goryukan.web.fc2.com/2013kuba10danmatsumura.jpg

Reading these words, the intention seems to be clear. The following are my interpretations of the Matsumura's letter:

The beginning of the letter is about the fact that Budo training is the same as 'scholarly study' in almost every way. Meaning you can't just memorise the facts (or the techniques), it takes more than this.

You must 'study' it!

Truly seek to understand every facet of every technique/kata/concept. Don't just have a 'superficial comprehension' of what you study.

With kata for example, you can just learn the pattern and maybe have an idea of a basic bunkai... or you can study it:

• learn the history,
• find every version of the kata practiced today,
• ask your instructor all about it,
• spend hours upon hours executing the techniques over and over to understand how every muscle works best in every single part,
• spend hours upon hours THINKING and analysing the techniques to understand how to best use them,
• read books and web sites,
• assess every possible bunkai,
• try them out with fellow students to see how well they work,
• know the kata so well that you make it part of you.

Study it so much and so well that it's no longer something that you do, it becomes part of who you are… This is the depth involved in Budo training that Bushi Matsumura wants us to find.

What are the reasons for doing this and seeking this depth?

To gain a more profound understanding

To gain strength from our weaknesses

To become more sincere

To become more righteous

To better control our emotions

To have more peace in our homes

This idea reflects the old saying that was allegedly quoted from Einstein:

"Only one who devotes himself to a cause with his whole strength and soul can be a true master.

For this reason mastery demands all of a person."

The next section of the letter is the main point that Matsumura is making. He basically says that there are three ways of Budo training, so therefore three types of Budoka (depending on their training priorities), drawing parallels with the ways of studying that he had already mentioned.

The first type of Budoka that he mentions is "more like a game of psychology and tactics. It actually has no practical application in fighting, but it is more like pretty dancing. It is quite superficial."
If we look at Budoka today we do see this, people who want to learn the patterns of the kata. All they want is to be sharp, snappy and have good stances. These people are more interested in 'looking' good rather than having "practical application in fighting".


The second type of Budoka is "nothing more than physical exercises. Its only goal is to win. In this there is no virtue. The practitioners of this method are contentious."
If we look at Budoka today we also see this, people who only train for the physicality of the Budo. They want to be fit and agile, but they also like the idea of 'being better than others'.

As far as I see it, today this manifests two ways. One way is in people who like to put importance in competition. Competition has it's place but it's just a bit of fun, it's not serious. The other way is in the glorification of violence, both in sports just as MMA and also street violence.


The third type of Budoka, according to Matsumura is the preferable type.
It is "always performed with conviction. The practitioners of this third method gain a solemn enlightenment, free of strife and depravity. It promotes loyalty among family, friends and country. It also promotes a natural demeanour, which develops a gallant character."
This is the true way of Budo. The way of virtue.
Learning to be a better person is what it is all about. Many practitioners in today's Martial Arts seem to forget this. We train to be the best person we can be, both mentally and physically.

The things that Matsumura says Budo is for are:

To prohibit intentional violence,
Rule our actions as warriors,
Edify,
Promote virtue,
To promote peace among the people,
To produce harmony in society and
To bring about prosperity.

At no point does Matsumura say that Budo has anything to do with:

Looking good,
Winning gold medals,
Learning lots of Kata,
Grading to a high rank,
Being better than others,
Always compete and compare, or
Always act tough and hurt others.

He even says that he doesn't have respect for these ways because they aren't the true way.


Bushi Matsumura was 'the greatest karateka who ever lived' and the 'grandfather of modern Karate', (so he probably had a pretty good idea of what it was all about) and what he wants us to get from our training has nothing to do with superficial competition, sport or violence.

What Bushi Matsumura is saying in this letter is that learning to be a person of virtue is far more important than any other lesson we should get from our training.



This is the last of three posts regarding Bushi Matsumura. For some interesting stories and legends regarding the greatest karateka who ever lived, click the below links:
The Greatest Karateka Who Ever Lived! (Part 1)
The Greatest Karateka Who Ever Lived! (Part 2)



Comment below to share any thoughts or opinions you might have.  :)

Thanks for reading.
Derm

Ͼ

The Greatest Karateka Who Ever Lived! (Part 2)

In my last post I recounted a couple of the most well known stories regarding Bushi Matsumura.
This post is about some of the less commonly known legends of the greatest karateka who ever lived.

A portrait of the Ryukyu King. - There is a theory that the two
men behind him are Matsumura and his student Itosu.

In his day, Bushi Matsumura was very well known throughout the entire Ryukyu Kingdom. Another martial artist that was also at that time was Yonamine Chiru, Matsumura's wife.

Yonamine was a well respected martial artist in her own right. Before she met Matsumura, she had often challenged and bested would-be suitors.
One witness recalled seeing her lift a 60 Kg bag of rice with one hand while she swept under it.

The following is an excerpt of story about Matsumura and Yonamine. This recount is based on the story from the book by Richard Kim 'The Weaponless Warriors'.


Matsumura and Yonamine were at a party in Kaki-no-hana in Naha, when the party began to get boisterous and out of hand, Matsumura suggested that Yonamine head home, she agreed and started home.

Along the way she was approached by three ruffians. At first Yonamine tried to talk her way out of the situation but to no avail, one by one the ruffians attacked. She quite successfully defended herself, tying the three battered and bruised ruffians together with her obi (sash worn around the waist).

Later that evening Matsumura was walking home and came across the three men tied up. As he approached he noticed how badly beaten they were, he also recognised the obi tying them together.

The next morning, during breakfast, Matsumura presented the obi to Yonamine saying "I believe this belong to you?" Yonamine simply took the obi without a word and went back to the chores she was doing. Matsumura had trouble believing that his wife had beat up three men at once. As he got no explanation from her, he decided to find out for himself.

Only a few days later just before dark, Matsumura dressed up as a farmer and went to a particular spot that he knew Yonamine would pass on her way back from visiting relatives. As she passed, Matsumura jumped out and attacked, hoping to knock her down. Her reaction was instantaneous, she leaped into the air kicking him twice in the torso and then punching him in the head. Matsumura fell, dazed and shocked. Before he realised what was happening she had tied him to a tree and left him there.

Matsumura found himself tied up there all night. When dawn came, a man came passing by. Matsumura yelled out to the man "Over here! Untie me!"
The man walked over and to his great surprise found the Great Matsumura in such a position. "I know," he said "you are wondering what happened. I'm wondering the same thing myself."

Matsumura walked home like a dog with his tail between his legs.
Yonamine smiled at the fabrication about the scores of men that set upon him during his walk.
Serving him breakfast she remarked "You should be more careful and train harder."





The following is a collection of stories regarding Bushi Matsumura.
Based on the recounts by Ronald L Lindsey in his book 'Okinawa No Bushi No Te'.

Bushi Matsumura, The Man

Matsumura was tall and thin, often described as 'skinny with long legs'. Some historians believe he was about 5'7", which is tall for an Okinawan of the 1800's. Is it believed that he was of Chinese decent.
He was very limber, he practiced Mawashi Geri from a squatting position to the front and over his shoulders. All of his techniques emphasised speed and balance. He believed that one through speed came true power.
From the techniques learnt at the Shaolin Temple, he used his hips to develop torque. He stressed that torque and speed equals power. It is this twisting from the hips that became the major power source for all styles.

Matsumura favoured jumping techniques and the people of Shuri would say that he could run up a tree. He would often use a tree as a training aid. He would hand from the limb of a tree to develop his arms and legs. He could jump and up and grab or pinch a ceiling bean and hang there like a monkey.

His height, quickness, strength and knowledge enabled him to develop an effective fighting style.

Matsumura and Kushigawa Uehara

This version of the famous clash was told to Lindsey by Seizan Kinjo.

Kushigawa Uehara was a village tough guy who had a reputation as a good fighter.
On this occasion he challenged Matsumura's position as the King's chief bodyguard. As was the custom of the day, the dispute was to be settled through combat in the presence of the King.

Each man only through one punch or strike; Matsumura won by striking Uehara's punching hand and breaking it.

Simple and quick, Matsumura won the match.

 

Matsumura and Nomura Clash

It was common for the higher classes to play a musical instrument called 'Sanshin'. Bushi Matsumura was a very good Sanshin player. Nomura was an Okinawan aristocrat know has the ilands best Sanshin player (even today, there is a style of the Sanshin called Nomura Ryu).

Both Matsumura and Nomura studied Budo. Nomura was a gentleman; however, he wanted to find out if he could beat Matsumura in a fighting contest (shiai). One day he asked Matsumura for a 'shiai' and Matsumura agreed, but they didn't decide on a place or time for the contest. Nomura figured is he waited long enough, Matsumura would forget about the contest.

After six months or so, Nomura and Matsumura met to play Sanshin music. when songs a played with the Sanshin, usually the player sings at the same time. In Okinawa the songs can be quite long, sung at a high vocal pitch. Nomura planned to use this to his advantage; he sat on Matsumura's right side. As they sang together, when they reached a high note, as the air was exhausted from Matsumura's lungs Nomura would cease the moment and attack.

He waited until the last note of the song and as Matsumura hit the top note Nomura thrust his Sanshin towards Matsumura's head. Matsumura, always being cautious, reacted instantly to the attack. As Nomura thrust towards him, Matsumura darted his head out of the way and simultaneously deflected the Sanshin away with his right hand. Matsumura countered with a back fist, stopping it within the width of a hard form Nomura's face. Nomura, knowing he'd lost, slowly backed away and bowed deeply and said "I am no match for you. You have won".

Matsumura The Weapons Master

Bushi Matsumura was an expert as using everyday implements as weapons. He was renowned as a Sai and Bo expert and  developed a Kata for each weapon.

It is said that he was taught the Jigen Ryu system of Satsuma province of Southern Japan.

Jigen Ryu was the sword fighting system Shimazu Clan Samurai.

A journalist for a Japanese newspaper wrote the following regarding Matsumura and Jigen Ryu for an newspaper in 1953:
“...in the meantime [Matsumura] received initiation into the Jigen-ryū by Ijūin Yashichirō, who granted him a Menkyo Kaiden after only half a year. This extreme speed amazed the people of Satsuma. Matsumura was probably already born as a martial genius.”

Who Matsumura was and what he did is relevant to all Karateka and Kobudoka, no other person has influenced Ryukyu Budo more he has.

He is thought to have created the kata Bassai and Naihanchi and was responsible for passing on older kata like Channan, Kushanku (Kanku), Gojushiho, Jutte, Chinto, Hakutsuru and Rohai.

Matsumura was good friends with Kanryo Higashionna, the famous teacher of Naha-te. So it's a reasonable to assume that Matsumura (either directly or indirectly) had an impact of all aspects of what is now modern Karate and Kobudo.



Comment below to share any thoughts or opinions you might have.  :)

Thanks for reading.
Derm

Ͼ

Information sources:

http://shitokai.com/karate-history/sokon-bushi-matsumura
http://www.msisshinryu.com/masters/bushi/
https://toshujutsu.wordpress.com/2014/06/30/sokon-matsumura-what-did-he-actually-teach/

'Okinawa No Bushi No Te' - By Ronald L Lindsey
'The Weaponless Warriors: An Informal History of Okinawan Karate' - Richard Kim

The Greatest Karateka Who Ever Lived! (Part 1)

Sokon Matsumura has been called the 'Miyamoto Musashi of Karate' and the 'Grandfather of modern Karate'.

Every system of Karate around today has, either directly or indirectly, been influenced by this one master.
He directly taught many of the most influential masters for example: Anko Itosu, Anko Asato, Motobu Choki, Chotoku Kyan, Kentsu Yabu, Nabe Matsumura and Gichin Funakoshi.

Born around the year 1800(exact years of his birth and death are uncertain) in Yamagawa village in Shuri, he began learning 'Toudi' from the age of 14 under tutelage of Kanga Sakugawa.
Sakugawa was very old and didn't want to take on another student, but Matsumura's Father insisted and asked it as a personal favour of Sakugawa.

Sakugawa trained Matsumura in Budo until his death in 1815.

Matsumura received the title/rank ‘Chikudun Pechin’ during his service as chief martial arts instructor and bodyguard to last three Ryukyu kings; Sho ko, Sho Iku & Sho Tai (until Sho Tai’s abdication & exile in 1879).
During his time in service he travelled throughout Asia, particularly in China and Japan, learning and expanding on various forms of Budo.



There are many stories and legends regarding Bushi Matsumura. One of the most well known is the following story regarding Matsumura and the Engraver.
The following is based on the the story from Gichin Funakoshi in his book 'Karate-Do: My Way of Life'.

 

One day in old Okinawa, The famous Budo Master, Bushi Matsumura, entered the shop of the local engraver, as he wished to have a design engraved on the bass bowl of his long-stemmed pipe. Upon entering the shop he at once noticed that the engraver would have been a Fighter of great prowess. Though he was older than Matsumura still in the very prime of his manhood. He was obviously large and strong, clearly, although a modest artisan, he was a man to be reckoned with.

The engraver recognised Matsumura as he enquired: "I beg your pardon, sir, but aren’t you Matsumura, the Toudi teacher?"

"I am" replied Matsumura "But I no longer teach".

To which the engraver enquired "You teach the King himself, don’t you? Everyone says you are the greatest Budo Master in the land."

"I no longer teach" said Matsumura, "I lost my job as the King’s Budo teacher. He neglected the refinement of his technique, which, despite all my efforts, remained very crude. I pointed out some of his weaknesses and then I dare him to attack me with all his might. He countered instantly with a double kick (nidan-geri).

I decide to make use of this error to teach him a much needed lesson. I at once stopped his double kick with my sword hand and send him sprawling, but before he actually struck the floor I crash my body against his. He finally came to rest in a heap at least six yards away."

"Was he badly hurt?" asked the engraver. "
"His shoulders, his hands, his legs, where my sword hand struck it, turned all black and blue. For a long while, he couldn’t even get up from the floor." 
"Were you reprimanded?" asked the engraver.
"Of course, I was commanded to leave at once and not to reappear until further notice."
"I see," said the engraver thoughtfully. "But surely he will pardon you."
"I think not. Although the incident took place more than a hundred days ago."
To which the engraver said "In every man’s life there are ups and downs. But," he added, "Since you’re no longer teaching him, why don’t you teach me?"
Matsumura denied the engraver’s request saying "Following the events with the King, I have lost interest in teaching other Toudi"

"Then," said the engraver, his tone of voice rather less polite than it had been in the beginning, "if you refuse to teach me, will you refuse also to grant me a match?"

"What is this?" asked Matsumura incredulously. "You want a match with me? With me?

"Exactly! And why not? In a match there are no class distinctions. Furthermore, since you are not longer teaching the King, you do not need his permission to meet me in a match. And I can assure you I’ll take better care of my legs and my shoulder than he did." By this time, the engraver’s words, as well as his tone of voice, could only be regarded as insolent.

"I’m sure you’re very good at Toudi," said Matsumura, "although of course it would be a matter of life and death. Are you so set upon dying?"

"I’m quite willing to die," replied the engraver.

"Then I’ll be happy to oblige you," said Matsumura. "The time and the place of our encounter I leave up to you."

At five o’clock the next morning they met for their match. They stood facing each other, a distance of some twelve yards between then. The engraver made the first move, closing the gap by about half, at which point the thrust out his left fist in a gedan position and held his right fist at his right hip. Matsumura, having risen from the rock on which he had been sitting, stood facing his opponent in a natural position (shizen tai).

Baffled by the posture his opponent had assumed, the engraver wondered if the Matsumura had taken leave of his senses. It was a fighting posture that seemed to offer no hope of defence, and the engraver prepared to launch his attack, just at that very moment, Matsumura opened his eyes wide and looked deep into the eyes of the other. Repelled by a force that felt like a bolt lighting, the engraver felt back. Matsumura had no moved a muscle; he stood where he had stood before, apparently defenceless.

Sweat beaded the engraver’s brow, and his armpits were already damp; he could feel his heart beating with unaccustomed rapidity. He sat down on a nearby rock. Matsumura did the same. "What happened?" the engraver muttered to himself. "Why all this sweat? Why is my heart beating so wildly? We haven’t yet exchanged a single blow!"

Then he heard Matsumura’s voice: "Hey! Come on! The sun is rising. Let’s get on with it!"

The engraver was determined to complete the attack this time, and he advanced toward his opponent—from twelve yards to ten, then to eight…six…four. And there he stopped, immobilized by the intangible force that flashed from Matsumura’s eyes. At the same time, he was quite unable to tear his glance away from that of his opponent; in his bones he knew that if he did, something very terrible would happen.

Suddenly he gave voice to a great shout, a kiai that echoed back from the surrounding hills. But Matsumura still stood unmoved. At this sight, the engraver once again sprang back startled and dismayed.

Master Matsumura smiled. "What’s the matter?" he called. "Why don’t you attack? You can’t fight a match just by shouting!"

"I do not understand, I’ve never before lost a bout. And now the result of the match has already been decided, I know that, but let’s finish it. If we don’t, I’ll lose face, and I’d rather be dead.

"Good!" Matsumura called back. "Come on!"

"I give up!" cried the poor engraver. "I give up!"

"What!" cried Matsumura. "That’s no way for an expert to talk!"

"I was a fool to challenge you," said the engraver, rising. "The result was obvious from the very beginning, I feel completely ashamed. There’s just no comparison between my skill and yours."

"Not at all," replied Matsumura gently. "Your fighting spirit is excellent, and I suspect you have a great deal of skill. If we had actually fought, I might well have been defeated."

"You flatter me," said the engraver. "The fact is, I felt completed helpless when I looked at you. I was so frightened by your eyes that I lost whatever fighting spirit I had."

Matsumura voice became soft. "Perhaps," he said, "But I know this: you were determined to win and I was just as determined to die if I lost. That was the difference between us."

"Listen," he went on. "When I came to your shop yesterday, I was very unhappy about being reprimanded by the King. When you challenged me, I was worried about that too, but once we decided on a match, all my worries suddenly vanished. I realized that I had been obsessed with relatively minor matters—with refinements of techniques, with the skill of teaching, with flattering the head of the clan. I had been preoccupied with retaining my position. Today I am a wiser man than I was yesterday. I’m a human being, and a human being is a vulnerable creature, who cannot possibly be perfect.”

With that, he fell silent. The engraver was silent too, pondering the invaluable lesson had been taught. Whenever, in later years, he spoke about the incident to his friends, he never failed to describe his former opponent in the most glowing terms as a man of true greatness. As for Matsumura, he was before long reappointed to his former position as personal instructor in Toudi to the King.

This story seems to be more 'legend' than 'history'. Gichin Funakoshi probably embellished many of these events, as he did like being poetic in much of his writing.

But the basis of the story of 'Matsumura & The Engraver' may be a true event (for all we know).

 

Probably the most well known story of Matsumura is that of the challenge with the Bull.
It is a good example of how a good Warrior is not only skilled but also smart and even sometimes cunning.

 

The following story is an adaptation of the story by Richard Kim (from his book 'The Weaponless Warriors: An Informal History of Okinawan Karate')

One specific year, after the king had received a fine bull from the Emperor of Japan, he decided to have the best martial artist of the island fight with it, Matsumura. 

 

This announcement created immense expectation among the islanders. People forgot about their problems and waited anxiously the fight between the king's bull and Matsumura in Aizo-Shuri.

 

When he heard about the king's edict, Matsumura decided to take no chances whatsoever. He went directly to the king's stables and paid the bullkeeper a visit at his home. The keeper was totally dumbfounded when he saw Matsumura's figure at the door, a man idolized by Okinawans as a semi-god. He could only stand there staring unfocused at him, holding his breath and with his mouth agape.

"May I see the bull?", asked Matsumura, trying to get the man to relax.

"Whatever you say", he finally answered very uncomfortably and started to take Matsumura towards the stable.

"Please do not mention to anybody that I have come to pay the animal a visit", said Matsumura, "and make sure the bull is tied up strongly".

The keeper looked at him strangely and nodded his head, while he watched Matsumura put on his battle equipment and the helmet-mask on. He first checked that the bull was firmly strapped, then he carefully entered the corral and started to get close to the animal...

When the day of the encounter arrived, people from all over the island massed in towards Aizo-Shuri even from as far as Hama-Higa. The air was full of festivity and people had completely forgotten about their taxes. They were all prepared for the most incredible show on the face of the Earth: Matsumura fighting with the fine bull of the king.

 

When the bull trotted into the arena an expectant silence arose and then a collective roar of admiration. It was truly a magnificent animal. Even the king must have asked himself if any human being could beat such a beast.

 

The bull scraped the ground and snorted ferociously as the cheers arose from the public. In one of the corners Matsumura had appeared. He walked slowly towards the bull, dressed in full battle equipment and his helmet-mask. 

The public in complete silence waited for the decisive moment. The bull preparing his attack, eyes ablaze. But then the bull finally caught Matsumura's smell, gave a bellow of fear, turned around and ran out of the arena.
The spectators let out a deafening roar. Nobody had ever in their lives seen, or heard, of anything like this. Even the king was dumbfounded, he asked himself how Matsumura had made the bull run out with such fear without even touching it. When he finally regained his composure he announced to the public:

Today by royal edict, Matsumura is named 'Bushi' (warrior title), in recognition Of his unusual skill in the martial arts". From that day on Sokon Matsumura was known as Bushi Matsumura.

But how did he do it? Well, when we left Matsumura, he was in the stable with the bull strongly strapped down. He then proceeded to take a very long needle out from his sleeve, he then plunged it deeply into the nose of the bull. The reaction was tremendously loud. The bull roared deafeningly with pain and vainly tried to attack his torturer. Matsumura very pleased with the results, repeated the process every day until the bull learned to recognize and fear him.

Obviously the cruelty to a restrained defenceless animal would not be venerated in today's culture, but this isn't the point of the story either.

Most people in Bushi Matsumura's position would only see two options. To refuse the challenge and face the shame of being branded a coward or to face the Bull and probably die horribly.
This story doesn't highlight Matsumura's considerable skill or physical prowess. It shows that as the best warrior in the land, Matsumura was smart and able to think out of the box. He found another option by thinking, analysing the situation and acting on it.

It highlights the very spirit of a real warrior, to be strong, skilled AND smart.



Information sources:

http://www.suikenbugeikai.com/hist.htm
https://en.wikipedia.org/wiki/Matsumura_S%C5%8Dkon
https://en.wikipedia.org/wiki/Sh%C5%8D_Tai
http://www.shotokai.com

'Karate-Do: My Way of Life' - By Gichin Funakoshi
'The Weaponless Warriors: An Informal History of Okinawan Karate' - Richard Kim



Comment below to share any thoughts or opinions you might have.  :)

Thanks for reading.
Derm

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