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One time Hayes Sensei was training with his instructor Eizo Shimabukuro on the kata Passai. This kata is known for its power generation and its sweeping motions that feel for the opponent and almost reach out to him/her.

After training, Shimabukuro mentioned that this kata was like fighting at night.

The statement caught Hayes Sensei’s attention who thought he had gained some valuable insight into the original impetus for the form. Brave Okinawans, he  decided, must have crept along during the night and dispatched their opponents using the passai kata! Certainly that explains the ‘feeling’  and ‘scanning’ hand and foot work.

Some time later the topic of Passai came up again, and Hayes Sensei engaged in discussion about how the kata came from night time fighting.

At that point Shimabukuro peered into Hayes Sensei’s eyes as if to see if there were any lights on.

“No, no”, he said. “Not at night. Like at night.”

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Many times things can be lost in translation, especially when it comes to the mysteries of kata. In this case Shimabukuro Sensei was never suggesting that Passai kata was specifically for night time fighting, or that it was born from it. Instead he was trying to express that the same sensations and abilities you would rely upon at night are summoned and utilized via training in the Passai system.

Consider this: at night, you would not be able to see well. Therefore, when you make contact with an opponent, you must maintain Muchimi, or stickiness. Once that contact is made you can instinctively know where each part of your opponent’s body is. Essentially, should it be necessary, you could fight blindly.

This is an important concept to remember when considering the adrenaline dump that occurs during combat. Humans acquire tunnel vision when under extreme stress, which means you will have much less visibility (even during broad daylight) than you are used to. Therefore you have to rely on proprioception and touch response to first acquire your target and then properly eliminate him/her.

It’s important to remember that kata were not created for one specific environment or circumstance. That would be far too limiting a form of practice. Instead the concepts that are contained within each kata are omni-useful and work in harmony with the concepts of other kata.

The translation for the term Passai, which is frequently stated to be “penetrating the fortress” or “extracting from the fortress”, is not to be taken literally. The name may have a poetic connection to breaking down the barriers of an opponent, but it was never necessary to have an actual castle involved.

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MA: Were there many cultural barriers to overcome in order to integrate into Okinawa and dojo life? Any communication difficulties?

JL: At the time I was in Okinawa, it was still under American administration and many of the locals worked on the bases. Most of them could speak English and were used to the Americans. There was a large number of Military and US Civilian workers in Okinawa, so the locals were used to that.

When I first started in the dojo, Sensei didn’t speak much English and some of the Okinawa students didn’t, but as I stated before, several dependent kids were fluent in both languages and there was no problem with communication. After a month of so there, I began to learn a little Japanese and Sensei began to speak English to me directly.

I suppose it was probably more of an advantage, than disadvantage that my first lessons were in Japanese. I had to use my eyes to visually understand what I was being taught rather than having to hear the words and try to watch at the same time.

MA: Could you share an interesting or funny anecdote that reveals a sense of Oyata Sensei that people might not have heard before?

JL: We did several demonstrations while I was stationed in Okinawa and they all included breaking. As I had observed during my first demonstration as emcee, the breaking was a little different than I had witnessed or read about. Boards were broken across the outstretched arm, leg, stomach or back rather than breaking a stack of boards.

Logue Sensei Withstands the Board

Sensei and I were doing a series of demos for a company in Koza that was selling time-shares in Florida to American Servicemen. As part of the presentation, they hired Sensei to do a karate demo a couple of times a week.

So, after class, we’d drive to Koza and he and I would do the demo. Sometimes he asked me to do an empty hand kata or weapons kata. He also threw me around with some self-defense and then we’d do the breaking. He would break a two by two across my out stretched arm, leg, back, and stomach. One particular night, he was breaking one across my right arm. Smack, it didn’t break. He tried again to no avail, then he tried the left arm, my back, my stomach and then my leg, still the board did not give.

His face began to redden in anger and he placed the board against the wall and kicked it only to have it push him back. Without saying word, he walked outside and broke the board across the corner of the building. I believe that I could feel the building shake under the power of this strike.

He walked back in smiling and laughing. “sometimes board no break”. As we drove back to the dojo we laughed about it as he explained, “It’s okay board not break. If it break every time, everybody think fake!”

MA: When you returned to the United States in 1971 and ultimately opened your first dojo in 1973, what kind of challenges did you face at that time? What was the general perception of karate and how did it manifest itself through the students you first attracted?

JL: When I returned from Okinawa, most of the local dojos were either Tae Kwon Do or American Free Style. I wasn’t used to this concept, so I kept to myself. I found a few dojos to visit and was seeking others to spare with bogu; however, this was when the “safety chop/kick” was in vogue and no one was interested in really getting hit.

I noticed there were not very many people doing weapons except for Nunchaku popularized by the Bruce Lee movies. I tried to get some interest in the weapons, but it was so foreign to most everyone that again no one was interested.

On one of my trips back to see my parents, I noticed a dojo advertising Okinawan karate. This turned out to be Ridgely Abele and he invited me to come teach at one of his camps in the mountains of North Carolina. There I was sort of back in my environment where I met many others who trained Okinawan karate. Through these seminars I met others such as Doug Perry Hanshi, Bill Hayes Kyoshi, Phil Koeppel Kyoshi, Kimo Wall Kyoshi and many other influential Okinawan karate practioners.

Doug Perry, Jim Logue, Kimo Wall, Bill Hayes

MA: How did you manage to maintain an active relationship with Oyata Sensei after you came to the states? Was it difficult to continue your learning?

JL: After I returned to the states, I was stationed at Fort Hood, Texas until I got discharged. At that time, I was corresponding with Albert Geraldi, Bill Wiswell and Greg Lindquist as we worked on forming the American Federation of Ryukyu Kempo.

We maintained some contact with Oyata Sensei, but could not train directly with him. From 1972 until 1977 when he returned to the US, training was on my own except for an occasional meeting with the former students mentioned above. When Oyata Sensei was in the States, his students made a 8mm film with all the basic empty hand kata that we used as a guide for our continued training:

view part 2 here…

When Oyata Sensei returned to the States, he spent a couple of weeks with me refreshing what I had been taught in Okinawa and introducing me to new concepts. My students and I traveled to Kansa, where he lived; staying a couple of weeks each time and he drove to South Carolina a few times for more personal training.

In 1981, I hosted a seminar at my dojo and I invited several friends I had made from other Okinawa systems. This set off a wave of seminars for Oyata Sensei and we also began to hold summer and fall camps.

I’ve managed to train with Sensei at least every three or four months and sometimes more often since he has been to the states. I always go to the summer and fall camps early to get a heads up on the training that will be conducted so that I can better help him teach. I also travel to many of the seminars he does across the US.

MA: Were you surprised when kyusho became such a focal point surrounding Ryu Te? Has it been difficult preserving Oyata’s kyusho while “magic kyusho” (no touch knockouts and things of that nature) continues to gain popularity?

JL: Karate in the US had become stagnate, there was nowhere for it to go. The only emphasis was on the sporting side of karate and it was moving further away from the old ways of life-protection. The introduction of tuite and kyusho jitsu has been good for karate overall, in that it’s sparked a new interest in finding the meaning behind kata other than the kick/punch definition that most have.

Unfortunately, some have found a way to “fool” everyone into false knowledge through “magic” tricks. It hasn’t changed the real meaning of tuite or kyusho jitsu, but has hurt in that people try to associate themselves with Oyata Sensei, saying they learned his “secrets”.

People are really gullible believing that a life-time of study can be learned by attending a few seminars. There is no magic button as people think and those that teach these things are no more than “snake oil” salesmen.

MA: What emphasis is placed on weapons in Ryu Te? Is it seen as a companion to karate, and when is it introduced to students?

JL: Oyata’s first lesson consisted of training with the bo and other weapons. It’s my belief that weapons and empty hand go together. The same principles and concepts apply as far as footwork, angles, shifting and etc. If you watch the way the hands move using the weapon and imagine using only the hands, you can see no difference in empty hand.

Ryute Eku and Nunti

There are differences in how each type of weapon is used. i.e. Bo and eiku are used differently even though they are long weapons. Just as a fork and knife are used different to eat, so are the weapons. Of course, as with any tool, the weapon multiplies the strength and power of a blow.

MA: Ryu Te seems to have a strong contingent in Poland. How did that come about?

JL: One of our members, Petior Ciecwerz (aka, Peter Polander) who lives in Bethesda, MD is from Poland. He was on their national Judo team when they were still under communist control and he also trained in Shotokan. After moving to the US, he sought out Oyata Sensei after hearing about him. He has a small organization in Poland and travels back and forth conducting seminars and camps. Many of the Polish contingencies also travel to the US for training.

MA: What was the impetus for writing “Ryukyu Kempo History and Basics” and what were your goals for this book? Is there a place where readers can purchase your book and Oyata Sensei’s RyuTe no Michi?

JL: One of my students, Robby Collingwood, was attending graduate school at Emory University in Atlanta, GA. He began teaching a college credit course in karate that had to have a text book to get accredited. The book initially was intended for use in this course.

After others in the association learned of the book, they wanted to use it as a basic training manual, so it was published as such. It was never really intended to be a public document although it has become so to some extent.

The “blue book”, as it is often called, is no longer being published for several reasons. The name “Ryukyu Kempo History and Basics” doesn’t reflect the name change to the system, and I have gained much more knowledge and experience since the initial publication. I’m in the process of updating the book as “The Essence of RyuTe – Legacy of Okinawa’s Ancient Warriors.”

MA: It seems as if you have maintained Nakamura Shigeru’s tradition of contact sparring with kendo-inspired bogu gear. What is your sense on the importance of sparring, and why have you chosen to continue the use of the original equipment?

Bogu Kumite

JL: Sparring and pulling punches is like target shooting using blanks. Your technique might be good, but you don’t know if you really hit the target. Likewise, getting hit with a full power blow lets you know, without injury, how it feels to really get hit.

There are limitations to any type of sparring: gear confinement, limiting strikes to ‘point zones’, etc; however, being able to move at full speed without limitation (and reacting to the same) trains the reflexes much better than never being hit or never being able to hit.

I know some say, “We do full contact, but don’t need the protection of the gear. We can take a full power punch or kick.” Over my many years of training, I’ve run across many who say such things. It has been my experience that after they received properly placed kicks or punches; they quickly change their mind about that.

Like kendo is to sword fighting, so is bogu to kumite. No one wants to be cut with a live blade and no one wants their ribs broken from a punch or kick.

MA: If you had to list just a few highlight moments or accomplishments regarding your propagation of karate in the U.S., what would you include?

JL: I think helping Oyata Sensei with his seminars and conducting seminars of my own. It’s surprising how much you learn about what you’re teaching when you have to teach others. Teaching beginners is much different than teaching experienced martial artists. Beginners are a clean slate and you teach from the bottom up. With experienced practitioners, you often have to overcome built-in prejudices in order to get them to overcome preset ideas.

I find you have to be a little more diplomatic and “politically correct” when you teach experienced people. You can’t tell them they are wrong about their approach to a particular technique or they will not listen. You must approach it such that you get your point across and they must decide whether it makes sense to them or not.

I learn as I teach. I watch how people move and how they approach a technique. I’m not trying to learn what they do, but to better understand what I do. I think by sharing these ideas that we all gain further knowledge into that which we study.

MA: What is your vision for karate’s continued expansion? How do you think current generations can help keep the old ways alive while avoiding modern trappings that move us away from the core principles of the arts?

JL: Unfortunately, I believe that the “old ways” are being lost. The generation that was close to the “old ways” (Oyata’s generation) is getting old. Many are already gone and those left to propagate these arts have been caught up in monetary gains.

MMA, American free style, and all sorts of made up and combined systems are movements away from the old ways of karate; however, there are a few of us out there that try to adhere to the old ways. Those that trained in Okinawa in the 1960’s and early 1970’s were exposed to these old ways. The training was for training not for monetary gain or to see how many trophies you could win.

I’ve often talked to Perry Hanshi, Hayes Kyoshi, Wall Kyoshi and others who trained directly in Okinawa about how we are the last of a generation. It’s a scary thought to know that this knowledge and experience lies with us.

Hopefully, we’ve instilled in our students the same sense of duty and obligation to keep the art as pure as possible. It is my desire that this experience, history, and spirit will remain for many generations.

One of the purposes of re-writing my first publication is to capture forever in words those experiences I had on my journey in learning the old ways of karate.

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I would like to extend a great thank you to Logue Sensei for creating these very thoughtful and meaningful responses.

To learn more from Logue Sensei, check out the following resources:

Logue Sensei’s writings on bogu kumite, kobudo training, and karate technique

Oyata Sensei discussing life protection and performing kyusho jutsu

In 1969 Logue Sensei was stationed on Okinawa in preperation for the Vietnam War. It was during that turbulent time that he met his instructor, the now world renowned Seiyu Oyata. From Oyata, Logue Sensei would eventually learn a deep and complex form of life protection that encapsulates striking, joint locking, and vital point striking.

Oyata was known throughout Okinawa and eventually the world as an extraordinarily tough fighter, and is often attributed for bringing about awareness of kyusho (vital/pressure point karate) in the United States. Logue Sensei has been tasked since the early 70s with maintaining and spreading Oyata’s highly respected Ryu Te style.

The following is an interview regarding Logue Sensei’s training, style, and ideas surrounding martial arts.

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Q&A:

MA: Could you discuss your earliest experiences with martial arts? What were your first motivations to study?

JL: In my early teens, I was in the boy scouts and a new scout master, George Lawson, came into our troop and introduced us to judo and boxing.  George was a former marine and held a black belt in judo.  I trained with him, mostly as an uke, for about two years.  I often helped him out when he taught other teenage groups.  He was a large frame man and it was easier for the participants to throw me around than him.

A childhood friend, Gary Shull, had been accosted by older teens when he was a pre-teen and his mother asked if I could help him overcome this trauma.  So, I introduced him to what I knew and we began to seek any kind of martial arts knowledge that we could.  Our sources were limited, so we found books and an occasional student who would help us out.  However, most of what we did, we did on our own.

MA: I understand that in 1969 you were stationed in Makiminato, Okinawa. Could you describe a little bit about your military background and how it brought you to the island?

JL: On July 3, 1968, I was inducted into the United States Army.  This was at the height of the Vietnam War and everything was geared toward support of that.  After completing basic and advanced training, I received orders for Okinawa.  This was a bit unusual because most of the troops were sent to Vietnam or to Germany.

To me, this was an act of fate.  I truly wanted to find some place to learn martial arts and now I was being sent to the birth place of karate.  90% of all those completing advanced training at Fort Jackson, SC were sent to Germany or Vietnam.  In my class, we had two that went to Korea and 4 of us went to Okinawa.

I arrived in Okinawa on December 24,1968 and was stationed at the 2nd Logistics Command, the largest supply depot for the Army in the pacific theater.  The US Air Force also had the largest air base in support of Vietnam at Kadena where B52 bombers flew their missions to Vietnam daily.  The Marines were located mostly in the Northern part of the island except for Futenma Marine Station located just north of Makiminato.

At the time I was stationed in Okinawa, it was still under American administration and the overall command of the local government was under the US commissioner.  All monetary exchange was in US dollars and the road system, electricity was just as it was in the US.

MA: Did you study at multiple schools on Okinawa or did you find Seiyu Oyata Sensei right away? What was your first meeting with Oyata like?

JL: After arriving in Okinawa, I immediately set out to find a dojo.  The base where I worked was just about Naha, Okinawa’s capital.  By cab, it only took 15 or 20 minutes to get down town, so I began my search there.

I first came across Nagamine, Shoshin’s dojo in Naha.  I stopped in for a visit, but even though by today’s standards it wasn’t that far away, my meager Army salary didn’t afford me enough money to pay for cabs to and from the dojo.

Nakazato, Shugoro’s dojo located in Aji was a little closer to the base, but I had brought my wife, Sherry over and we were living on the opposite side of the base.  Again, the expense of the cab rides precluded me from training there.

During lunch break at work, I went outside to play catch with some of the local workers who all loved baseball, I noticed a fellow serviceman practicing a kata.  I asked him where he was training, hoping that we could perhaps share the cab fare.  He explained that he walked from the base to the dojo and pointed into the direction that I lived.

I met him that night and he took me to Oyata Sensei’s dojo.  As it turned out, the dojo was in the village next to where I was living.  The dojo was literally two blocks away!

The small cinder block building could have been easily overlooked except for a sign in front of the dojo. Of course it was written in Japanese, but I easily recognized the characters for karate.

Logue Sensei in front of Oyata’s Oki Dojo

The class consisted of several other GIs, some dependent teenagers and some Okinawan students.  I was approached by the dependent teenagers, who were part Okinawan and part American.  They were fluent in both Japanese and English.  Oyata sensei spoke to me through them.

I was invited to come in and sit to watch a class.  After a few minutes, I asked about the fees and class schedule.  As explained to me, classes were every day, seven days a week.  I could come every day or as often as I would like for a fee of six dollars a month.  I could not get my wallet out fast enough to pay my first dues.

My first class, the next day, consisted of standing in a horse stance doing a blocking and punching drill.  Oyata Sensei had one of his Okinawan black belt students teach me.  Neither of us could communicate verbally since I didn’t speak Japanese and he didn’t speak English.  I had to visually follow his instruction.

This type of instruction continued for several weeks and then I was introduced to Bogu Kumite.  I was much taller than anyone else in the dojo, so I was chosen by all of the Okinawans to spare.  Of course, I didn’t fair too well against them, but I was learning a lot through this experience.

After about a month of training, I was told there would be a demonstration on the base where I worked.  Through the translator, I was told to emcee the demonstration since I didn’t have enough experience to be a part of the demo.  This seemed really strange to me as there were many with much more experience that would do a much better job.

As the dojo practiced for the demo, Oyata Sensei began to explain to me in broken English and through his translators what he wanted me to explain during the demo.  He also instructed me to buy and wear a brown belt during the demo.  He didn’t think a white belt would be well-received as a spokesman for the dojo.

The next day after the demo was as different as night and day for me.  Suddenly, Oyata sensei was talking to me directly, no longer using the translators and he also began teaching me directly.  I guess this must have been some sort of test and that I had done well enough for him to trust me.

MA: When you started your training was Oyata Sensei still a member of the Okinawa Kenpo Renmei? Could you describe how that affiliation transitioned into the creation of Ryukyu Kempo, which in turn turned into Ryu Te?

JL: Oyata sensei was brought to the US by a former student in the beginning of 1968.  During this time, he was still affiliated with the Okinawa Kenpo Renmei.  While he was here, internal politics from younger students caused a rift among the seniors and them.  When Oyata sensei returned to Okinawa after six months in the US, most of the seniors, except for Odo Sensei had left the Okinawa Kenpo Renmei.

Oyata Sensei, Toma, Shian Sensei formed an alliance with Uehara, Seikichi Sensei, forming the Ryukyu Karate-do League.  When I began training in February 1969, Oyata Sensei was no longer a member with Nakamuras Sensei.  Shortly after I began training at Oyata’s dojo, Nakamura Sensei passed away.

In 1977, several of Oyata’s sensei’s American students, Albert Geraldi, Bill Wiswell, Greg Lindquist and I formed the American Federation of Ryukyu Kempo and brought Oyata Sensei back to the United States where he decided to live.

Nakamura Sensei had wanted all Okinawan karate to be united under one banner and give Okinawa credit for karate.  This dream continued with Oyata Sensei as he called his art Ryukyu Kempo; however in the middle 1980’s after he had introduced tuite and kyusho jitsu to te general martial arts public, others tried to ride his coat tails and began using Ryukyu Kempo as the name of their art also.

Nakamura Shigeru and Taika Oyata Reviewing Students

Since Ryukyu Kempo is really a generic term for Karate, Oyata Sensei could do nothing about others using this name, so he decided to combine the words Ryukyu Karate or Ryukyu Te into an acronym of sorts effecting the same dream of giving Okinawa full credit for karate, thus he formed the term RyuTe.

Advised by his students to prevent someone else from stealing the name, he formally had the RyuTe name, kanji and patch designed registered as a trademark.  This proved to be a wise move as there has been several occasions where others tried to use this term in association with what they were teaching.  They were advised through legal counsel that they were in violation of federal trademark laws and were subject to fines or worse.

MA: It is recorded that Oyata Sensei studied with two very unique individuals: Uhugushuku Tan Mei and Wakinaguri Tan Mei. Could you describe that training?

JL: After WWII, Oyata sensei worked for the US Army delivering food and supplies to the outer islands on the east coast of Okinawa.  He traveled to six different islands using an amphibious vehicle visiting an island each day.  His route took him through the seaside town of Teruma where he noticed an old man groveling for fish in small pockets of the coral reef during low tide.  This man was very unusual because he still wore a warrior’s top knot.

After asking some of the local villagers, Oyata sensei found that this was Uhugushiku, a retired warrior whose family had a long relation to the nobility of Okinawa.  Since his job was dangerous, he thought that maybe, this man could teach him some martial arts that he could use should he be robbed of his supplies.  Although he had received martial arts training in the military, there was no in-depth study.

He befriended Uhugushiku by offering to take him to the deeper waters in his amphibious vehicle to catch bigger fish.  After learning that Oyata Sensei’s ancestors were also from the warrior class, Uhugushiku agreed to teach him.

Oyata Sensei – an Imposing Figure

The Uhugushiku family was noted for their skills in weapons and Oyata’s sensei’s first lessons consisted of learning the bo.  He eventually learned many weapons from Uhugushiku in addition the the bo; sai, kama, nunchaku, jo, Tonfa, chizikun bo, tan bo, manji sai, surichin and nunti bo.  He was taught kata, concepts and fighting techniques.  There were also discussions about history, language and culture so the he could better understand the arts of life-protection.

Uhugushiku also introduced Oyata Sensei to Wakinaguri, a large man of Chinese decent.  Wakinaguri’s family dates back to the original 36 families sent to Okinawa as emissaries.  Wakinaguri was the 6th generation to receive his family art and having no immediate family, he agreed to teach the young Oyata.

Lessons with Wakinaguri consisted of concepts and principles rather than repetition of drills.  He learned how to make technique more effective and how to use this knowledge to read kata and decipher the code hidden within.  As part of his training, Uhugushiku introduced him to the family scroll, much like the bubishi, but in greater detail.  This scroll is more than 20 feet in length and contains 100’s of pictures depicting many techniques and concepts.  Just before Wakinaguri’s death, Oyata sensei was presented with a copy of this scroll that he continues to use today for continued study.

MA: What was your training like on Okinawa? Could you describe some of the conditions and methods used (for example: focus on kata, hojo undo, sparring, kyusho, etc). Was most of the training done on base or in the dojo?

JL: The training in Okinawa was a mix of a lot of things.  First, there were drills aimed at teaching proper defensive covers, then came kata training.  A heavy kick bag was used for kicking and punching mostly used in the bogu matches.  There was makiwara training and occasional exercise to develop strength and speed.  Every day training included bogu fighting.  Usually, before the night was over, you fought everyone in the dojo.

Sometimes, after most of the class left, I was asked by Sensei to stay a little longer.  He worked with me privately on weapons fighting and finer points of kata.  I wasn’t sure if he was treating me special or that he just needed someone to practice his techniques.

At least once a month on the weekends, we’d travel to other dojos or they would come to ours for bogu fighting.  It became a highlight of training for those of us who liked that sort of thing.  We also held belt tests in conjunction with Toma Sensei’s dojo and would travel to Koza to his dojo.  There, Uehara Sensei, Toma Sensei and Oyata Sensei all sat on the testing board.  We were called individually to perform a kata or two and then paired for bogu.

Continue to Part 2…

The Ryukyus still host a bevy of U.S. bases that were built on the island after the Battle of Okinawa, 1945. Of the bases established, the following are still in operation: Kadena Air Base, Air Station Futenma, Camps Courtney, Lester, Foster, Hansen, Kinser, McTureous, Schwab, Gonsalves, Shields, White Beach Facility, Torii Station, and Naha Military Port.

During his election Hatoyama had expressed his intention to move the Futenma base off-island. However, after being elected and debating the matter heavily with American, Japanese, and Okinawan leaders, he ultimately decided not to move ahead with removal plans. This reversal of decision along with alleges of ill-gotten financial backing during election turned the tide of public and party opinion against him.

The Desire of the Locals

The relocation of Futenma has been a hot-button issue for quite some time on Okinawa. While some locals of Ginowan City have benefited from the increased commerce and activity, many others have expressed a dislike for the pollution, noise, and crime that has come with the establishment of the base. Frequent flights and air drills have caused significant disturbance in nearby areas and many towns have had to shift their lifestyles entirely to accommodate the space and demands of the base. Incidences such as the 2004 helicopter crash into a nearby university and the 1995 rape of a 12-year-old Okinawan girl by three marines has only solidified the anti-base mindset.

Some groups have even organized protests in regards to plans to keep the base active, or move it to other locations on the Ryukyu Islands. Alternative plans to move the base north toward Nago or even on a man made offshore island have been met with equal resistance. The man made island offers significant environmental concerns, and the Nago plan involves many of the same problems as the current location.

The Desire of the Military

Despite local protests, the U.S. and Japanese Military have made it clear the importance of keeping Futenma active and in its current location (or a location of equal value).

Futenma acts as a strong support airfield to Kadena Airbase. It can accommodate most plane types and has become a relied upon facility for the marines and the United Nations. Military officials believe that Futenma and the other sizable bases provide invaluable protection for Japan from outside aggressors, and is a vital stop for handling volatile nations like North Korea.

According to a report from The Marine Times: “U.S. military officials and security experts argue it is essential that Futenma remain on Okinawa because its helicopters and air assets support Marine infantry units based on the island. Moving the facility off the island could slow the Marines’ coordination and response in times of emergency.”

The Situation Now

As it stands right now, it seems like Futenma will be moved to the Henoko region near Nago in the northern part of the island. This area is said to be less populace, but that explanation has not met with widespread acceptance.

The details of the situation are still sparse and a timetable for the move has not been established. We also cannot be sure what the next Prime Minister will decide. he may continue with this course of action, or attempt to make changes once again to move the base off-island.

Although the terms “Okinawa” and”Kenpo” are both sprinkled throughout many styles, the term “Okinawa Kenpo Karate” is specific to the efforts of one individual – Shigeru Nakamura. Interestingly, Nakamura never chose to name his martial art anything specific like Goju Ryu or Shotokan. Instead, he intentionally left it very broad in the hopes of gathering all the styles of karate together under one banner.

This ebook explores the climate of changed that engulfed Okinawa during the early-mid 1900s and how World War II Japan effected the develop of the Ryukyus in significant ways. It also discusses Nakamura’s life and how he found himself simultaneously entwined with Japan’s assimilation projects and some of the most stalwart protectors of Okinawa’s unique culture.

Even if you aren’t an Okinawa Kenpo practitioner, I believe you’ll find the environment in which Nakamura grew up to be very interesting and telling of how karate has developed into what it is today.

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CLICK HERE FOR FREE DOWNLOAD

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Finding history for this kind of project was a difficult task. Okinawa is renowned for its penchant toward word-of-mouth transmission, so very few significant resources were available for Nakamura Sensei.

In order to create a streamlined story, I tapped Heilman Hanshi (Student of Seikichi Odo) heavily and took the cues he gave more to pursue other avenues more deeply.

The result (hopefully) is a story that has both personal aspects and elements of context.

If you have any information or pictures that you think might enhance this ebook and shed even more light on Nakamura Sensei, contact me at ikigai108@gmail.com. I am perpetually open to improving this work.

One of the stories he tells involves a poetry reading party in the city of Tamagawa. After enjoying a night of festivities, the 80-year-old Funakoshi rode the train back to Otsuka station, where he set off to walk the rest of the way home.

Carrying only his umbrella and furoshiki (essentially a cloth sack), Funakoshi traveled along the night street when suddenly a figure popped out from behind a lamp post. The young tough confronted Funakoshi, first reaching toward his umbrella, then engaging him in nervous small-talk. He asked Funakoshi for a cigarette, and when Funakoshi claimed he had none, the tough demanded to see the inside of the furoshiki.

When Funakoshi refused, the tough grabbed the umbrella and swung it at Funakoshi’s head. Funakoshi ducked and grabbed the thief by his testicles. The pain froze the young man, and as a street constable came by, Funakoshi was able to release the man into the officer’s custody.

On a separate occasion Funakoshi was attempting to board a ferry that was connected to a dock by a single wood plank. Unfortunately, at that time, a storm was brewing and caused the sea to become quite uneven.

As Funakoshi stepped onto the board, the sea swelled and a high wave began to form. Relying on instinct and quick reactions, Funakoshi balanced himself and then swung his luggage forward, using that momentum to carry his body on board the ferry, barely avoiding a dangerous spill into the ocean.

The Big So-Whats

There are a couple of valuable takeaways that we can extract from these small tales. The first is that nobody gets a free ride when it comes to personal safety. No matter what part of town you’re in, or who you are, your personal safety is something for you to consider seriously. Men, as well as children, women, and the elderly should understand that violence can occur in a moment’s notice for a wide variety of reasons. The attacker could be desperate, bored, mentally unstable, sexually deviant, and so on.

In modern times there has been a stronger push for equality in the arts, where as short as a generation ago it was largely considered man’s domain. This movement toward the equal inclusion of women and children should be continued, and we as martial artists should do our best to spread the core concepts of our arts. We also need to be certain to spread the proper mind and heart that goes along with this kind of dangerous training, otherwise we are merely flooding the streets with more effective thieves, stalkers, etc etc.

Over Confidence

Secondly, it is critical that we do not overestimate our own prowess. Through years of hard training we become confident in our abilities to defend ourselves and others, maybe even using that skill in live scenarios. Nevertheless, confidence can easily lead to overconfidence, which can re-introduce many of the pitfalls that haunt people completely unskilled in the art of self defense.

Someone like Funakoshi spent a lifetime training in the arts and honing his abilities, and even he was caught unawares from time to time. No matter how well tuned your radar, and how street-wise you are, it’s important to remember your own human limitations. By doing that you can stay sharp, continue to make good decisions, and try your best to integrate your art in such a way that it expresses itself naturally without highly structured decision making.

This natural integration can manifest itself in unexpected ways, like it did with Funakoshi when he saved himself on the dock. Even his instructor Yasutsune Azato expressed marvel at Funakoshi’s enhanced abilities to react to the unpredictable dangers of the ocean that day.

Koryu Karate

Finally, if you wish to pursue karate in the same fashion as the old masters, you need to take these stories into even deeper consideration. In Funakoshi’s encounter with the street mugger, he attempts to hold off from violent behavior as best as possible (some might say he waited far too long to act). Yet, at the end of telling that story, Funakoshi expresses regret at having ‘taken the offensive’ against his attacker. He sympathizes with the man whom he surmises was likely a vet coming home to nothing, and living in a state of desperation.

To live the way Funakoshi lived requires an unwavering mind which some people may find too unrealistic to implement in their day-to-day lives. Until you have come to a conclusion about your own willingness to conduct violence, and when you might deem it appropriate, you’ll have a gap in your defenses.

Although martial arts training can (and should) help people overcome fear and uncertainty, it is critical to never lose that tactile realization that even you could be cut, hit, and taken advantage of.

This video looks at that series and explains how you can take the performance of the technique and drill down to the core concepts that make it work in a combat-viable fashion.

The bunkai demonstrated is far from the only application possible. The real goal here is to show how practitioners can explore their kata in ways they might not have considered before.

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As you dive into the bunkai and oyo bunkai of your kata, never be afraid to ask yourself “could I really use this?”. A good application keeps reality in mind while staying true to the essence of the form itself.

Finally, remember that some kata (including Gojushiho) were subject to alteration and hiding of technique throughout the history of Okinawa. Finding what the technique is trying to whisper is sometimes more important than what the technique literally shouts.

Hierarchy is a polarizing mechanism. When it’s working fair and properly, individuals can benefit. When it is corrupted or run incompetently, everybody suffers (except perhaps those at the top). Hierarchy is a powerful tool, and in the martial arts, it is thrust into the hands of people who may or may not deserve it.

In many modern countries a high premium is placed on individual freedoms. Very rarely do we quietly tolerate anything that impedes our rights as citizens. The military, out of need for cohesion and order, is a rare example of effective hierarchy in modern times. Of course there are a myriad of other hierarchies in our lives, including work, family, school, etc., but none of those are as staunch and unyielding as the military.

In the midst of a thousand civilian activities and pastimes lies the martial arts. No basketball coach or yoga teacher holds the same authority and power over subordinates as the martial arts Sensei. Ironically, no coach or teacher could get away with the same lack of credentials and know-how as a slick, philandering ‘Master’ (if a basketball coach can’t win, they’ll be replaced. If a yoga instructor can’t hold a position, they’ll be replaced. If a martial arts instructor can’t defend him/herself or even perform a technique properly, they can still get by with fast talk or big claims).

The use and abuse of the exceedingly strong civilian hierarchy utilized by the martial arts has a long and complex history.

Where Martial Arts Hierarchy Came From

As it stands today, the hierarchy in martial arts stems from two predominant places. The first of which is traditional eastern culture. Born from a mixture of beliefs, but based most dominantly out of Confucianism, the Asian people have always placed high value on order and levels of authority. As one Sensei once joked to me with tongue-in-cheek, “if the Japanese saw three piles of dirt, they would name one Renshi dirt, one Kyoshi dirt, and one Hanshi dirt.”

The order of Asian society has influenced everything they do, from family life to dojo life. This structure has led to some amazing advances in their societies, and some behavior that is often seen as confusing and even disturbing (i.e. Seppuku and kamikaze pilots).

The Okinawans, while less militaristic in their day-to-day hierarchies, also put great emphasis on order, especially in regards to families, instructors, and community status.

As westerners came to learn the martial arts, they inherently absorbed the methods and mindsets of their teachers. This was compounded by the simple fact that many of the early western students were military personnel looking to improve their odds of survival in combat.

As mentioned earlier, the military is one of the most effective and inflexible modern day hierarchies. When young people were molded in that system, they absorbed the hierarchical aspects of military training. Being sharp and at-attention made sense to them, and not questioning what their instructors said or did was second nature.

When those early instructors came back to their home countries and started their own dojos, they built schools using the lens they knew best – strict, unyielding hierarchy.

How Hierarchy Came To Be What It Is

The example of karate hierarchy is very intriguing and a bit unique. Most scholars and historians believe that karate was developed as a civilian art, used by the Royal Court Guard (think Motobu Udundi), military police, and civilians. In fact it is commonly believed that one of karate’s greatest progenitors, Sokon “Bushi” Matsumura, was in charge of the court guard at one point in his life.

Although the background of karate is diverse, it was not intended SPECIFICALLY for battlefield use. Instead it was taught down family lines and within tight knit circles of friends and relatives. The teaching, despite what we see in a lot of modern dojo, was not extremely regimented. There were no excessive amounts of ceremony. In fact, since the learning groups were so small, they often started and stopped in completely unstructured ways and utilized subtle teacher/student etiquette.

However, as with other martial arts, many of the westerners that first learned karate were military folk. When they brought karate back with them, they took the techniques they learned from their Sensei and the organizational structure they learned from the military and melded them together. Thus was born the crisp, at-attention, BOW TO YOUR SENSEI type of mindset that has become prevalent throughout some martial arts circles (for better or worse).

As is the way in martial arts, students who learn a brand of hierarchy, whether it be relaxed or strict, tend to continue that tradition.

The Benefits of Martial Arts Hierarchy

Regardless of the specific level of strictness in a given dojo, there are a few concepts that seem pervasive. For example, there is always a matter of respect for seniors. Juniors in the dojo are expected to listen patiently to those ranked higher than them, and not speak belligerently to them no matter what the circumstances. This emphasis on respect is a massively positive aspect of traditional training.

Many individuals, children especially, can go through their whole lives without having to show respect to anyone. In the martial arts , however, you won’t get very far without it. Respect is one of the most crucial personality traits when it comes to keeping an open mind and understanding other people.

A sister benefit to respect is discipline. Although discipline takes a very visceral form in the martial arts dojo (bowing, standing still, listening quietly, etc) it becomes more and more valuable in a person’s daily life. Discipline in the dojo translates to self discipline, and self discipline is a cornerstone to personal success.

The hierarchy of a dojo can often be a microcosm for what people can expect in the real world. Students who learn the intricacies of handling superiors, subordinates, and ‘equals’ can often translate those skills into the workplace and home environments.

The hierarchy of a dojo can also provide serious motivation for students to achieve. The desire to ‘move up the ladder’ and command the presence and respect that seniors get can become palpable, and students are sometimes able to push themselves beyond what they thought was attainable. It is a goal-setting ideal that can teach people to move beyond their perceived limits and take charge of their own destiny.

The Pitfalls of Martial Arts Hierarchy

The benefits discussed can be perverted more easily than you might suspect. The desire for respect can often lead to a lust for power. Vanity and self-importance are traits not uncommon in martial arts ‘masters’ who wield their position like a club.

The ability to start a dojo and place people underneath you is astoundingly easy. Literally anyone can do it. Therefore, people that have no outlet for their self-aggrandizement often use martial arts to satisfy their needs.

Command, power, and influence are highly addictive ‘substances’. Just like John Kreese of the Cobra Kai in the picture above, some instructors enjoy seeing a little army consisting of versions of themself, ready to listen, follow, and take commands.

If you doubt the addictive powers of martial arts achievement, observe the gaining of rank, trophies, certificates of mastery, and dozens of black belts by some practitioners. Although these accolades are occasionally well deserved, often they are used to fuel the ego.

You’ll notice that when describing the serious issues inside the arts I didn’t say “All strict hierarchies are bad, and all loose hierarchies are good”. If only it were that simple. There are strict hierarchies that are extremely ethical and fair, and some loose hierarchies that are very devious and unscrupulous. It really comes down to how the teacher chooses to wield his/her authority and how juniors choose to operate inside of a given system (there are examples of ethical dojo heads who had to leave power in the hands of their subordinates, who then abused that power).

Final Thoughts

We often say in the martial arts that one should maintain a beginner’s mindset when learning, the goal of which is to avoid the ‘expert’s malaise’ that lulls people into a lack of growth. Another aspect of the beginner’s mind is to remember what it is like to be the low man on the totem pole. To recall the positive sensations when higher-ups took notice of your achievements and gave you valuable criticism, and the negative sensations of when you felt wronged and slighted.

As you become more and more powerful in the arts, it is critical to use that power wisely. Martial arts instructors are not gurus and they are not therapists; they are not financial counselors and they are not generals. But, when done properly, they can be a source of inspiration and a guiding light to help students achieve their goals and learn the techniques and traditions that have benefited practitioners for generations.

If you study an eastern martial art, especially one that is derived from Japan or Okinawa, it might benefit you to learn more about Wabi and Sabi. To that end I will try my best to capture their intent and how they relate to traditional martial artists.

The Modern Wabi-Sabi

Before I dive into the history and meaning of the two words, I need to address a modern occurrence. The current trend in discussing Wabi (wah-bee) and Sabi (sah-bee) is to link them together, and pronounce them as if they were two syllables of the same word: Wabi-Sabi. The reason for this is because the definitions for the two have become a bit convoluted over time, and many people are unsure about the subtle differences in each.

So similar are they and so in tune with each other, that many people simply use them interchangeably or as a single unit. Wabi-Sabi is frequently used to describe design elements and material possessions that are old, natural, and austere. Things that contain Wabi-Sabi are said to have a lot of character, and are not generally mass produced.

I don’t consider this modern mindset wrong, but I also don’t think it’s complete. I’ll explain why.

What is Wabi?

Depending on where you look, you’ll encounter different definitions for both Wabi and Sabi. When I’m in doubt, I tend to go to Dave Lowry, and he has this to say:

“Wabi originally meant ‘poverty’, and its connotation was as negative as the English translation implies. Sen no Rikyu [a famous tea master] imbued the term with a wholly different flavor, though. He used wabi to mean a poverty of materialism, of superficial appearances. Wabi he defined as a minimizing of things, the better to gain a spiritual insight into oneself and the world around…That which is factory produced is sterile and anonymous, without wabi. Wabi is the quality of the natural and handmade, it reflects the personality and character of the maker.”

The man in Lowry’s story, Sen no Rikyu, was one of the most famous Chado masters in Japanese history. Chado is the art of tea ceremony, and before Rikyu came along the art was a garish thing. Daimyo and other high ranking officials used the tea ceremony to show off their wealth, and acquired the most elaborate tea sets they could find. The entire event was glossy, polished, and fashionable.

Rikyu changed that. He eliminated the pomp and circumstance and grinded the ceremony down to its very essence. He eliminated all of the fancy clothing and finery that distracted from the act itself, instead choosing materials that exuded Wabi.

Consider this teacup:

vs the following teacup:

The first teacup is certainly inferior when it comes to theatric detail, but Rikyu would argue it is an item of far greater value. The first cup is unique to it’s maker, and subtly tells the tale of years of use. The second teacup possesses superficial beauty that is replicated again and again; one only need glance at it to understand everything that it is.

Wabi is not just a concept for centuries old tea ceremony; it can related to our western lives as well. First observe this new barn that looks very sharp and well made:

Now consider the following barn, that has certainly seen years of use:

Can you see how the old barn speaks through Wabi?

Something that makes it even more beautiful is it’s fleeting and serene quality of Sabi, which we will discuss next.

What is Sabi?

To establish a base definition of what Sabi is, we again go to Dave Lowry and his years of exploration into the Japanese culture:

“The earliest references in japanese to sabi…were pejorative. Even today, when someone speaks in Japanese of sabishii, he is almost always indicating a kind of forlorn loneliness. [As Rikyu developed his version of Chado, he redefined sabi as he did wabi.] Sabi is not just ‘aloneness’. It is an acceptance of solitude, a resignation to it, even a calm and tranquil happiness in being by oneself. Sabi, in its most authentic form, carries with it a notion of a comfortable proximity to nature…To appreciate sabi is to discover contentment in solitude. To integrate sabi into daily life is to recognize that all of our relationships with others, even those we cherish and love most deeply, are limited.”

As Sen no Rikyu made changes to the material tools of Chado, so did he change the very spirit of it. It went from a banquet hall diversion to a poignant savoring of moments amongst a few individuals (or by oneself). It eventually evolved into the graceful and contemplative process we see today:

The tea ceremony became the perfect vessel to demonstrate Sabi because of the economy of motion and the culmination of the entire event into one sip of tea. There is no way to preserve Chado beyond the few moments it takes to complete, and no two ceremonies can ever be the same, despite the systematic ritual.

Sabi is the essence of bitter sweetness. It is a chilled breeze as you watch the sunset over an empty field of reeds. It is dropping a single pebble into a pond and then never returning. It is the singular and personal acceptance of ichi-go, ichi-e: one encounter, one chance.

Look again at our old barn and see if you can sense its mortality and harmony in solitude:

It is important to note that not all old things possess Wabi, and not all solitary things possess Sabi. For something to possess both is rare indeed and is worthy of our time and attention.

Wabi and Sabi in the Realm of Martial Arts

Wabi and Sabi hold special significant to classical martial artists. As many people have come to know, the Samurai were not just warriors but artists and scholars as well. Part of their growth as complete bugeisha was the study of Chado, Ikebana (flower arrangement), Calligraphy, and other artistic endeavors. In these pastimes they found ways to hone their character and skill for the day when battle would come.

Wabi is found in much of a traditional artist’s repertoire. One only need look at the uniform’s worn. A plain white gi is often accompanied by a single insignia or patch, and around that gi is tied a belt. Once a martial artist has accrued enough experience, they are given a black belt, and as the years pass, the black belt begins to fade and tear. Soon, it becomes worn in a completely unique way. The same is true for the tsuka, or hilt of an experienced swordsman.

These items express the character and effort of their creators, the martial artist’s using them. This is also why you sometimes hear of people purposely trying to put wear and tear on black belts by scrubbing them with brushes or cutting the exterior black threads. These people want desperately the Wabi that comes with experience and hard work, but don’t want to put in the real effort to get it. Consequently, this is also why some companies sell belts that “mature” at a quicker rate.

Sabi is often found in the way traditional martial artists train, especially in the realms of kata and hojo undo. Hojo undo is the austere physical conditioning regiment that some practitioners put themselves through using ancient tools like the Chi’ Ishi, Nagiri Game and Makiwara. Often during those exercises a person is being pushed only by themselves, and the tools they are using are made of natural elements like rock, bamboo, and clay.

Kata is the purest expression of both Sabi and Wabi in the martial arts. A kata’s movements are handed down over generations, pounded again and again as each practitioner adds a bit of his/her own character to the template. The techniques in traditional kata are stark, effective, and without garishness. There is nothing extraneous and every motion is built with economy in mind.

When a kata is performed to its fullest potential, it is a singular experience that can never be repeated. The meaning and execution of the techniques exist to fulfill the requirements of the moment, but then immediately vanish after the kata is over. The event is a bitter sweet one as the practitioner knows he was the victor and thus saved the lives of himself and his loved ones, but at the expense of those of his opponents.

This is the same sensation a swordsman experiences as he stands poised in front of his opponent, prepared to make a single cut, and live or die.

Imagine for a second a culture that, for as long as anyone can remember, has placed an emphasis on combat training. A culture that has acted as a sea-hub for various other countries that had their own ideas and concepts about fighting. A culture that was banned of its militaristic weaponry.

Now imagine that same culture saying…we will ignore your close fighting range. You go away now.

It simply wouldn’t have happened, and it didn’t happen. In fact, wrestling has been a part of Okinawan culture for much longer than what we now know as karate.

What Was Tegumi Originally?

Tegumi has often been described as a form of Okinawan Sumo. When people hear the term Sumo they naturally envision the Japanese variety, wherein two giant, rotund men push and slap each other out of a ring (which is an awesome event, don’t get me wrong).

Unfortunately, Okinawans have never been built the same way. They simply don’t grow that large. Okinawan Sumo instead resembled more of a wrestling match. There were no established rings or ‘dojo’ for tegumi matches; they happened more frequently wherever flat, safe ground could be found. In order to win, one participant had to trip/throw, control, and ultimately pin his opponent’s back to the ground.

As there were no Nintendo’s at the time, this activity was quite popular, especially among the younger men and boys.

How it Became More Than a Sport

As it was, tegumi was mildly useful from a combative perspective. However, the Okinawans were also in the process of developing a more serious combative method derived from Chinese influence mixed with indigenous ideas. They called it Ti (or te), and the wrestling every Okinawan boy grew up with was subsequently integrated into the larger whole.

Where the sporting aspect of tegumi was mostly about leverage and off-balancing (aspects the Okinawans would not discard), the combative tegumi began to integrate poking, pulling, proding, pinching, small joint locks, gauging, and all variety of other nasty things. Tegumi was dirty in-fighting because the Okinawans realized that only a portion of life protection combat involved punching and kicking.

To spice things up even more, they began to integrate their tegumi with tuite and kyusho (vital point striking). They realized that as distances closed from punching/kicking range to grappling range, there was a variety of unpleasant technique-series they could utilize to setup, off-balance, and incapacitate their opponents.

Why it Went Away

A few generations ago (around 1905) karate was beginning to make its way into the Okinawan school system. The Okinawan masters charged with teaching children realized that all the devastating and permanently damaging techniques true karate entailed would not be safe in the hands of adolescents. After all, it would be very tempting for children to use their techniques in times of anger, or pride, or curiousity.

Azato, Itosu, and the other caretakers of karate thus decided to de-emphasis the tegumi and kyusho aspects and focus more on the physical fitness elements of stancing, punching, kicking, blocking, etc. Funakoshi Gichin (of Shotokan) found himself in a similar boat when first introducing karate to mainland Japan (remember, Funakoshi Sensei was invited to Japan as part of a physical education program and began his teaching at universities).

The activity of tegumi as a sport still lingered amongst the Okinawan populace, but as a method of combat it began to fade away. Many of the students both in Okinawa and Japan grew up not knowing about tegumi, or that a wrestling/grappling component even existed in their karate art. That lack of training was passed on to their students all the way down to us.

Why It’s Coming Back

Not every karateka on Okinawa was involved in teaching the public school system. Furthermore, teachers like Azato and Itosu didn’t just teach school children. Multiple instructors on the island were able to maintain a few private students on their own and pass on the ways of kyusho, tuite, and tegumi. That generation was able to keep the traditions alive.

One man in our current generation has done significant work to bring about public awareness of tegumi, and his name is Patrick McCarthy. Anyone who talks about tegumi, including myself, is likely influenced by McCarthy Sensei’s deep research and investigation. McCarthy Sensei has even developed complex training routines based off of the trapping, locking, and off-balancing aspects he has discovered over the years.

Tegumi is receiving even more attention recently with the increased popularity in jujutsu, brazilian jujutsu, and mixed martial arts. Martial artists are realizing the power and importance of clinching and ground fighting and are taking more active steps in at least becoming competent in those arenas.

Where is Tegumi?

Hidden in your kata of course. That is, the core principles and applications are buried in your kata from times well before application was watered down for the school system. In order to start accessing tegumi applications, you first must take off your niceness-gloves. Instead of punching and kicking, you have to develop the mindset of gauging eyes, grasping the throat, twisting skin, fish hooking, etc. From their you’ll notice your techniques become more open handed and more flowing one into the next.

Examine the core principles of movement and how your body changes in relationship to your opponents. Don’t turn away from an opponent during bunkai, take them with you on a throw or takedown. Find out what happens if you go to the ground with them. Most of all, have fun exploring and keep an open eye for ideas from other people, whether they are from karate, jujutsu, or anything else.

My best on your continued journey!