China and the Origins
of
Okinawan White Crane
Kenpo
Part 2
The foundation of Okinawan white crane kenpo and its Chinese origins are
embodied in the kata or quan handed down over the generations in
the Fujian region of Southern China. Three of these forms stand out as
the most widely practiced and ubiquitous forms. They are sanchin
(three battles), seisan (thirteen) and sanseiryu (thirty
six). A number of different styles of Southern Chinese martial art
traditions have used these forms as part of their repertoire of kata.
This includes white crane, tiger, dragon, monk fist, dog style and
five-ancestor fist style. These forms are an integral part of all the
Naha-Te styles as well. Sanchin, meaning three battles,
emphasizes dynamic tension and is an isometric range of motion exercise
used for strength building. Its movement is simplistic and concentrates
on treading or stepping and thrusting. Sanchin is also the basic
building-block kata or three-step pattern and is used as the basis for
many other kata. The uniquely Okinawan kata used by shorin ryu and other
styles different from the three-step pattern have an embusen that
usually starts to the left and the overall pattern forms an H.
Supposedly this pattern is based on Okinawan court dance where it was
used to salute the four corners of the court. In any case, the
Higashionna sanchin uses closed fists whereas the Chinese version
uses open hands. Additionally, the Chinese sanchin uses thrusting
with both hands simultaneously whereas the Okinawan version thrusts with
one hand at a time. The Higashionna sanchin begins with three
steps forward then turns 180 degrees to the left and proceeds with three
more steps to the rear and then turns to the left again 180 degrees and
ends with mawashi uke (roundhouse block) and culminates in
a tora guchi or tiger-mouth posture (also known as black tiger
posture). Interestingly, Miyagis sanchin uses three steps forward
and then three steps back without turning. This is the same pattern as
the Chinese version. Paipuren (eight steps) is also an energy and
breathing kata based on the sanchin model. It advances three
times forward using palm heel thrusts then turns forty-five degrees to
the left front and right front and finally retreats straight back to
close the form.
Sanchins
beginnings are rooted in Daoism. Certainly the Chinese propensity for
numerology and numerical representations for the names of the kata is
well represented here. The Chinese have used for millennia mathematical
interpretations of the cosmos that include the concept of yin and
yang and the five-element theory to explain the universe and the
forces of nature. Most of this theory is derived from the Book of
Changes or I Ching. However, the numerical representations as
names of the kata have been interpreted to mean the number of steps in a
kata or the number of techniques contained in the form. But the actual
meaning has been lost. Perhaps long ago in China the numerical names had
significance with respect to the number of steps or techniques performed
but over time and since the forms have changed the original meaning has
vanished. In ancient times Daoist monks and mountain recluses used the
sanchin kata as a qigong and health exercise. In China Mountains
are revered as a special place of spiritual power and as espoused by
Daoism, a place where immortals dwelled. Daoists were known to combine
martial arts practices with breathing exercises with the intent of
enhancing strength and even to acquire magical powers. In addition,
Shaolin monks added martial arts applications to the sanchin
form. Sanchins breathing methods were adopted from yoga and were
used to stimulate the mind and body. Beginning in the first century B.C.
there was an immigration of Indian monks from India to China. Their
quest was to spread the teachings of Buddhism and Indian philosophy to
China. Certainly, Bodhidharma (c.
520 A.D.) the legendary founder of the martial
arts and the first patriarch of Zen at the Shaolin temple was not the
first monk to travel to China. Many of these traveling monks learned not
only meditative skills but were exposed to the Indian kshatriya
warrior class and learned combative skills as well. Through their
migration these skills were transmitted to China.
Seisan
kata uses sanchin as its foundation and after three forward steps
a series of palm heel strikes are delivered at face height. These palm
heel strikes are deliberate strikes to the face of an opponent but they
can also be interpreted to be a distraction technique as well. Indeed a
poem written on an old scroll preserved by the Uechi Ryu style contains
a Chinese character representation that translates as, A flash in the
eyes. This is no doubt a reference to this palm heel strike sequence
used as a distraction technique against an adversary. The next movement
in the kata turns 180 degrees to the left and proceeds with three
blocking and thrusting movements. Typically, the form then turns 90
degrees and a blocking, punching and kicking combination is executed.
The next sequence of movements is to turn 180 degrees and a kicking,
thrusting and blocking movement is executed culminating with the tora
guchi or tiger mouth posture. The form is a perfect example of the
evolution of kata from sanchin to a more complex form using
sanchin as its base.
Sanseiryu
kata again uses the sanchin model as the basis of its embusen
or pattern of movement. In the same fashion as the other three-step kata
this form begins with three steps forward then two escape movements are
performed followed by a flying kick and an elbow strike punch
combination. The movements of the kata then continue with a combination
front kick, elbow strike, punch combination performed three more times
thus covering the four cardinal directions. Then a series of juji uke
or X-blocks are performed from shiko dachi. The form continues
with a series of two double strikes and finishes with an inu gamae
or dog posture that is a signature posture of the kata. In Goju Ryu the
form typically ends here but in the hakutsuru kenpoversion
a final beak thrust is executed before finishing the form.
Chojun Miyagi (1888-1953) Nakaima Kenchu (1856-1953) Kenwa Mabuni
(1889-1953)
Arakaki Seisho and Bushi Sakiyama taught the kata sochin,
niseishi and unshu in Okinawa in the nineteenth century.
These older kata have been passed down by Kenwa Mabuni
(1889-1953)
in their most unadulterated forms. Sochin meaning tranquil force
[also, monks of peace] is a relatively simplistic kata although still
considered an advanced form. It uses the three-step method as its base
and delivers three punches while stepping forward in a cat stance three
times. It is typified by a series of two double punches that are
delivered simultaneously. This is a technique that is a way of dealing
with two opponents simultaneously and reveals its Chinese origins. The
form finishes with a classic crane stance at the end. The crane posture
is used as an enticement to get the opponent to attack. Once he attacks
his fist is grabbed and a front kick is used as a counter. A similar
technique also occurs in unshu kata. Sochin has a feeling
of slowly building power and then culminates with a final series of
explosive punches and the classic tora guchi posture.
Perhaps this kata was originally done with open hands in its beginning
movements and later changed [by Higashionna] to the closed fist as is
the case with sanchin. One can only speculate regarding this.
Niseishi meaning twenty-four starts with an open-handed block (osae
uke, pressing block) while simultaneously punching with the right
hand. It also uses a series of elbow strike/down block/reverse-punch
combination techniques. The form ends with the classic mawashi uke
and tora guchitiger posture. Finally, Arakakis last kata
is unshu (also, unsu). Unshu katas character
representation means cloud hand or hand in the clouds. It is no doubt
one of the most advanced crane kata. It is characterized by one-finger
thrusts, going to ground as an evasion technique and attacking from the
ground with two back kicks. Although these techniques represent the more
orthodox version of the kata the form has been modified. Shotokan karate
includes this kata in its syllabus but has modified the form as
originally taught by Mabuni sensei. It uses two round kicks executed
from the ground as opposed to the more orthodox back kicks.
Interestingly, this modification is actually taught in a number of
jujutsu ryu. Its intention is to avoid an opponents lunge by dropping to
the ground then kicking his knee joint to disrupt his balance followed
by a round kick to the ribs. In the hakutsuru kenpo version as
well as the shito ryu version two back kicks are delivered from
the ground. This has the effect of defending against an opponents attack
from the rear. By dropping to the ground and delivering a solid kick to
the
Shu Shi Wa (1874-1926) Kanbun Uechi (1877-1948) Kanei Uechi
Gokenki Gokenkis Students Chojun Miyagi (L) c.1905
Rare photos of Kenwa Mabuni from his 1937 book Karate Do Kenpo
midsection the opponent is caught unaware. Unshu also includes
rapid changes in direction and a technique similar to that employed by
sochin where the assailants arm or fist is grabbed and then a
front kick is delivered as the coup de grace. Oddly, even though
Higashionna learned sochin, niseishi and unshu from
Arakaki, Miyagi didnt include them in his kata syllabus for Goju Ryu
karate. Although Miyagis gekisai is reminiscent of niseishi
and some of the movements may have been derived from this kata.
Nevertheless they have been preserved in Shito Ryu.
Additionally, the above-referenced kata have been preserved in karates
tradition and within the curriculum of hakutsuru kenpo. However,
these kata have vanished in Chinathe place of their origin. None of
the Okinawan goju or white crane type of kata seem to be practiced there
other than sanchin. Pieces of the Okinawan kata and techniques
can be seen in the Chinese forms but their prototypes seem to have been
lost over time and all but disappeared. No doubt over time the kata have
changed not only in China but in Okinawa as well. In addition to the
forms themselves, another obvious physical manifestation in karates
evolution is the difference in technique used in the Chinese forms and
the Okinawan forms. The Chinese styles such as arhat or monk fist
boxing I witnessed first hand in China seem to use extended arm slashing
or chopping as opposed to power-oriented thrusting or punching. The
Chinese say the Okinawans are too stiff but the Okinawans say the
Chinese are too soft. No doubt the stockier Okinawans apply more power
in their techniques by virtue of their size. But why do the martial arts
of Southern China emphasize open-handed techniques more so than the
closed fist? My theory on this is predicated on simple physics. The
reason for the emphasis on one technique versus another is caused by a
difference in bio-type. A lighter man cannot generate as much
destructive force as a heavier built man. The Chinese emphasize
thrusting with open hands or penetration techniques more than the
Okinawans do while the Okinawans use closed fists or punching more to
accomplish dispatching an opponent. Indeed the makiwara board is
the favored method in the islands [Ryukyu Islands or Okinawa Island] to
develop crushing punching power. This is evidenced by many older
gentlemen walking around the island with heavily callused knuckles. The
concept of ikken hisattsu or a one-punch kill is inherent in the
esoteric fringe of Okinawan martial art theory and further bears out
this preferred methodology. Perhaps the reason for this difference in
emphasis is simply one of size. The Okinawans being a heavier built
ethnic group are able to deliver more power with a punch while the
Chinese being of slender build are not. It goes back to physics. The
highest impact can be calculated by the formula MV2. In other words,
mass times velocity squared. Therefore, speed is most important but
without mass it has little of or no effect. This is why the Chinese
emphasize spearhands and penetration techniques. Punching without
sufficient mass behind it cant generate enough force but a spearhand or
penetration technique [especially to a vital point] can. Its the
difference between a lightweight and a heavy weight boxer. You dont see
a lighter weight boxer knockout a heavyweight. It just doesnt happen. A
spearhand, unlike a punch that spreads the impact over a large area,
concentrates its force on a very small area. In this way a lack of mass
can be compensated for. The Bubishi, a manual of Southern Chinese
kenpo dating from the seventeenth century, also reiterates this
concept. The text explains the use of a penetrating hand to activate
pressure points more effectively than a closed hand technique such as a
punch. It is also necessary to penetrate muscle tissue in order to get
at a nerve center or nerve plexus.
There is also some empirical evidence to draw on from the historic
context to justify this theory. During the eighteenth century, a Chinese
military envoy known as Kusanku visited Okinawa. It was in the year 1756
when Kusanku visited Kume Village, Okinawa. His techniques ultimately
became the genesis of the Kusanku kata. Kusanku was a highly skilled
kenpo master and was famous for his fighting ability. He is also
credited with the introduction of a type of kumite (kumiaijutsu) or
sparring to Okinawan karate. Further information on Kusanku indicates
that although he was a man of slender build, he was able to defeat many
heavier built Okinawans due to his excellent style and techniques (See
Okinawa Island of Karate, G. Alexander, Yamazato Publications, p. 41).
Perhaps the techniques that are referred to incorporate spearhand or
thrusting with penetration type techniques (and slashing or chopping
with knifehand techniques to vital points), therefore making Kusankus
techniques more effective against larger opponents. Getting back to
physics for a moment, it is very difficult for a lighter man to injure a
bigger man with a punch especially if the heavier man has body
conditioning. Conversely, a lighter man can use speed to his advantage
in attacking vital points such as the eyes, groin, temple or solar
plexus, etc. These areas are almost always vulnerable and are difficult
to condition. In fact, this is the basis of the crane style i.e., to use
Speed and Evasion to attack vital points.
China has been the origin of many martial
arts styles especially in the Fujian area of Southern China. Even today
many areas of Fujian are still like the Wild West. This lawless society
produced a need for self-defense and personal protection against
marauders and bandits. Incidentally, Fujian is the birthplace of the
Triad gangs and other secret societies. Therefore, it is no wonder that
China has been the origin of so many empty-hand styles including white
crane kenpo that not only influenced the development of karate but many
other Asian fighting arts as well. These styles developed in an era when
combative reality and self-defense skills were a practical part of
everyday life. Furthermore, it is important to note that the techniques
contained in these forms were never intended to be used by a
professional soldier on the battlefield but only as self-defense
measures by civilians against an untrained person. One might ask, What
is the value today of these arts and the kata that evolved from them?
The answer is simple. They represent martial arts that have proven
self-defense applications and whose continued practice preserves a
martial arts history and tradition. Furthermore, these arts are a way of
enhancing ones own self-discipline and awareness. I plan another trip to
China in November of 2006 to learn more about China and the origins of
white crane kenpo.
Anyone interested in membership in the
Okinawa Hakutsuru Kenpo Association as well as seminars and training
please email me and I will send you an Instructors Guidebook, etc.
Presently, we have DVDs with many of the kata and explanations on them.
For more on this see Mastering White Crane Karate at
www.yamazato-videos.com
