Total Karate: Conversations With The Modern Masters

By Gary Quinn

From the author of Martial Arts and Self-Defence for Everyone: A Complete Beginner's Guide, comes this landmark addition to every karate student's book collection. Covering every aspect of karate training and packed with details about the vast range of karate styles from around the world, from the mainstream arts to lesser known regional systems, this is the perfect companion to karate training at all levels. Containing indispensable training advice, wisdom, insights, fascinating personal histories and anecdotes, all captured in exclusive in-depth interviews with more than forty of the world's most respected modern masters, including Jesse Enkamp, Iain Abernethy, Karin Prinsloo, Takayuki Kubota, and Scott Langley, Total Karate: Conversations with the Modern Masters is a must-read for all karate enthusiasts, from complete beginners to life-long students!

• Language: English
• Publisher: Gary Quinn
• Release date: Oct 1, 2020
• ISBN: 9781393396314

Gary Quinn

Gary Quinn is a life coach, intuitive business strategist, and the founder of the Touchstone for Life® Coaching Certification Program in Beverly Hills, CA. He is the host of Ready Set Live, a popular personal development, lifestyle, and wellness podcast. His diverse global clientele includes Academy and Grammy award winners, Olympic gold medalists, CEOs, fashion designers, and marketing directors. For more, visit www.garyquinn.tv.

Book preview

Gary Quinn

Copyright © 2019 Gary Quinn

All rights reserved.

ISBN:

Also by Gary Quinn

Martial Arts and Self-Defence for Everyone: A Complete Beginner’s Guide

DISCLAIMER:

Before beginning karate it is advisable to seek the professional opinion of a qualified medical practitioner. You are responsible for your own choices, actions, and results. The author shall not be held liable or responsible to any person or entity with respect to any loss or incidental or consequential damages caused, or alleged to have been caused, directly or indirectly, by the information contained herein. The author is not responsible for any specific health issues that may require medical supervision before undertaking karate training and is not liable for any damages or negative consequences to any person following the information in this book.

To Sinead, Rebecca, Daniel, and Andrea, you’re the lights of my life.

And to Phil. Stay strong pal, I’ve no doubt you’ll win this game. I’m looking forward to some celebratory beers when you do!

Acknowledgements

I would like to express my sincere gratitude to all the Sensei featured in this book, for so generously sharing their time, thoughts, and personal histories with me. Needless to say, this book would not have been possible without them. Of all the people who agreed to participate, I must make special note of Tom Hill and Hayashi Tomio, for their enthusiastic support of this project and their kindness in helping me connect with other interview sources. I’m indebted also to Martin O’Malley, Karin Prinsloo, and Rick Scoppe, not just for contributing fantastic interviews, but for giving me permission to include their photographs elsewhere in this book. And finally, my sincere thanks and appreciation to Anthony Codispoti for his much appreciated encouragement and for graciously agreeing to appear on the front cover. 

man in karate gi outfit

Contents

Glossary of terms

Preface

Part One

Structure and Styles.......................................

Origins, Philosophy, and Modern Development................................................

Part Two

Interviews......................................................

Takayuki Kubota

Victor Young

Ron Matthews

Dale Gamble

Michael Quinn

Tom Hill

Peter Dennis

Andre Buret

John Young

Norma Foster

Andi Kidd

Hayashi Tomio

Kevin Plaisted

Anthony Codispoti

Fred Bateman

Gareth Edwards

John Venson

Michael Pace

Paul Babladelis

Lawrence & Kasi Vellucci

Brian Duffy

Mike Ninomiya

Jack Sims

Matthew Apsokardu

Howard Upton

Martin O’Malley

Vic Hargitt

James Caldwell

Aidan Trimble

Hubert Laenen

Martin Smith

Paul Brennan

Hoosain Narker

John Jessum

Austin Bradshaw

Jonathon Hallberg

Karin Prinsloo

Ryan Dean

Alfonso Gomez

Rick Scoppe

Part Three

The New Wave..................................................

Scott Langley

Iain Abernethy

Jesse Enkamp

Sources

Prinsloo.png

Glossary of terms

Ashi — Foot

Atama— Head

Barai — Sweep

Budo — Martial way

Bunkai — Technique application

Chudan —Middle (level)

Dachi —Stance

Dan —Black Belt grade levels

Do —Way or Path

Dojo —Training hall

Domo —Thank You (informal)

Domo Arigato —Thank You (Formal)

Dozo —Please 

Empi or Enpi  —Elbow

Empi-Uchi —Elbow Strike

Embusen or Enbusen — Kata Starting Point

Gedan —Low (level)

Geri —Kick

Gi —Uniform / training suit

Gohon Kumite—Five-step sparring

Godan— 5th Dan

Hajime —Start / Begin

Hachidan —8th Dan

Hai —Yes

Hanshi —Exemplary teacher or sensei

Hidari —Left

Hikite —Pulling Hand / Ready Position for hand

Hiza—Knee Pulling Hand (brining hand back to ready position)

Ippon Kumite —One-step sparring

Jodan—Upper (level)

Jiyu-kumite —Free- sparring

Jiyu Ippon Kumite—One-step / semi-free sparring

Judan—10th Dan

Kai —Organization

Kaisai—Goju-Ryu term for hidden techniques in kata

Kakato—Heel

Karate-ka — Karate practitioner

Kata —Form/ Pattern

Keage— Snap

Kekomi —Thrust

Kiai —Shout / Yell

Kihon —Basics

Kime —Focus 

Kiotsuke —Attention

Kiso Kumite — Structured sparring

Kokyu — Breathing exercises 

Kumite —Sparring

Kyoshi —Expert teacher or sensei

Kyu —Belt Ranking

Kyudan — 9th Dan

Mae —Front

Mawate —Turn around

Migi —Right

Mokuso —Meditate

Mushin —No mind / state of no mind

Nage—Throw

Nanadan —7th Dan

Nidan—2nd Dan

Nodo—Throat

Obi—Belt

Oss—Catch-all term used to signify respect / understanding e.g. I understand / Yes sensei. Can also mean to persevere through difficulty

Rei —Bow

Renshi—Polished teacher or sensei

Rokodan—6th Dan

Ryu—Style (as in style of karate)

Sanbon Kumite —Three-step sparring

Sandan—3rd Dan

Sensei —Instructor / One who has gone before

Seiza—Kneel

Seiza Waza—Kneeling Thechniques

Sempai or Senpai —Senior Student

Shihan —Exemplary teacher or sensei

Shodan—1st Dan

Shuto—Knife Hand

Soke —Grandmaster / Head of the family or style

Tai Sabaki —Body Movement

Tatami —Practice / Training Mat

Te—Hand

Tzuki (or Zuki) —Punch

Uchi —Strike

Uke—Block

Ushiro —Back

Waza —Technique

Yame —Stop

Yoko —Side

Yondan —4th Dan

Zuki (or Tzuki) —Punch

––––––––

C:\Users\garyq\AppData\Local\Temp\RScoppeingi.jpg

PREFACE

The interviews contained in this book took place over the course of a thirteen-month period, beginning in August 2018. Martial art buffs already familiar with the enormous range of styles of karate may be curious about an absence of interviewees from specific systems, among them Seido, Shudokan, Itosu-Ryu and Budokan. With the best will in the world, and despite many requests, efforts to find highest level Sensei from every conceivable style who were interested in being interviewed, or could devote time to do so, proved frustratingly unsuccessful. If you would like to discover more about these arts and the instructors featured here, please see the Sources section at the end of this book.

Choosing one interviewee from more than forty to kick off this collection was not an easy decision. However, it seemed appropriate to begin with a man who can legitimately be described as a living legend in the martial arts world, Takayuki Kubota. Interviewed shortly before his 85th birthday, Sensei Kubota’s martial arts journey has been truly remarkable. As the founder of Gosoku-Ryu karate, which is now practiced in almost 60 countries around the world, he holds the title of Soke. He is the President of the International Karate Association and holds the title of 10th Dan Grandmaster, the highest karate rank that one can have, in addition to high Dan rankings in numerous other martial art systems, including Judo, Aikido, and Kendo. At the time of writing, he has been studying and practicing martial arts for eighty years. For more than seventy of those years he has provided instruction, not only to civilian students at his dojos, but also to law enforcement agencies and military personnel, both in Japan and the United States. In addition to all of the above, he has written many acclaimed martial art books, invented a number of widely-used self-defence tools, and his expertise has been sought for hundreds of television shows, documentaries, commercials, and even Hollywood films, in which he appeared alongside screen superstars including Sean Connery, James Caan, and Charles Bronson.  

Deciding which interview should bring the book to its conclusion was no less difficult. Rather than settle for one, I felt the best way to highlight the evolution of karate was to focus on some of the modern masters who symbolize its progression, hence the additional final chapter. In between, the many interviews captured here represent a wide array of existing styles.

Hopefully, these interviews will show the remarkable diversity of modern karate, and encourage you to consider becoming a student, or help motivate you to persevere beyond any stumbling blocks you encounter in your practice, if you have already begun training. 

The men and women interviewed in this book have devoted the majority of their lives to practicing, studying, preserving, promoting, and teaching the art of karate. Some interviewees comfortably embraced the process and clearly enjoyed the opportunity to share their observations and ideas, providing superbly detailed responses to questions. Understandably, others were less expansive and more direct, and perhaps less comfortable in the spotlight. Not surprisingly, their views are sometimes as diverse as the systems they teach. Nevertheless, they have all earned their place among an elite class of instructors in their chosen styles, through many years of committed training and teaching. Although they represent a wide variety of distinct systems and viewpoints, they all share something in common; they have a deep and intuitive understanding of the commitment that practice requires, and the anxieties and setbacks that every student experiences, because there was a time when they were beginners too, and they have all experienced and overcome adversity, disappointments, obstacles, frustrations and fears on their journey. Within these pages, hopefully you will find words of inspiration, guidance, reassurance, and motivation, to help you navigate yours. By following the example they have set, perhaps one day you will join the ranks of these modern karate masters.

These are their stories, told in their own words. I hope you find them enjoyable.

Part One

Chapter 1

STRUCTURE & STYLES

Because it is so deeply embedded in the public consciousness, anyone unfamiliar with martial arts could easily be forgiven for assuming the term karate refers to a singular style. In fact, karate is one of the most diverse martial art systems one could choose to explore. It can be practiced in a wide range of styles and sub-styles, each containing its own defined methodology.

However, all styles adhere to a common training structure, comprising three main elements – kihon, kata, and kumite. Kihon is the term for the practice of basic techniques (punches, kicks, blocks, footwork, etc). These techniques are practiced repeatedly until they are perfected and become instinctive. Kata means form, and it refers to a sequence of pre-determined defensive and offensive techniques against imaginary adversaries. These sequences involve moving in various patterns and help to perfect transitional movement between defence and attack, as well as honing the student’s timing, rhythm, balance, posture, etc.  Kumite basically means free-fighting or sparring, which gives the students the chance to practice their techniques against a live opponent.

The emphasis placed on each of these elements varies according to the style of karate. Many of the same kata and techniques are practiced in all of the styles, but with some variations of emphasis on certain aspects. Some styles contain a greater number of kata than others. Many styles favour powerful direct striking and blocking techniques, while others rely more on speed and evasive movements. The emphasis on kumite also varies according to different styles.

Whenever someone considers joining a karate club for the first time, there is often a natural inclination is to gravitate towards what they assume to be, or have been advised is the ‘best’ style. In reality, there is no such thing. The concept of a best style really comes down to a matter of personal preference. Ideally, the most important approach should be simply to find a style that best fits you, according to your location, your budget, the club’s training schedule, your reasons for wanting to practice, and the intensity at which you wish to train.

The wide range of derivative styles to choose from all contain many similarities and many differences in their approach to karate, but ultimately, they are all pathways leading towards the same eventual destination — self-improvement. The ten styles selected for brief descriptions here are listed alphabetically, not in any order of preference. They are arguably the ten most widely practiced styles of traditional karate being practiced around the world, but there are literally dozens of other styles and sub-styles of karate in existence. Their numbers will undoubtedly continue to increase as experts evolve their individual beliefs, or incorporate techniques and ideas they have absorbed from cross-training in other martial art systems. Each of the ten specific styles of karate featured here evolved from the personal ideas of their founders and direct students, about how best to make karate most effective.

Chito-Ryu

Chito-Ryu was developed by Dr.Tsuyoshi Chitose, who was born in 1898 into a family of highly regarded masters of Okinawan martial arts. Beginning at the age of 7, Chitose went on to comprehensively study under many of the most prominent masters from the Shorin-Ryu and Shorei-Ryu styles of Okinawan karate, as well as Kobo-jutsu (the art of weapons), and later, further study in Goju-Ryu karate.

After relocating to Tokyo and qualifying to become a doctor of physiology, Chitose reached the conclusion that some aspects of Karate as it was being taught then were harmful to the long-term health of the student. That realization led him to formulate his own karate system, which he officially named Chito-Ryu, in 1946. Chito-Ryu is noted for its use of natural stances and posture, emphasis on correct breathing, powerful strikes generated from a quick-twisting hip motion, and its use of tai sabaki (meaning body shifting /evasion) techniques.

Goju-Ryu

Founded in the 1930’s by Chojun Miyagi (1888-1953), Goju-Ryu translates to hard/soft style, and it is a system noted for its emphasis on harmony and balance. Goju-Ryu evolved as a synthesis of ancient Kung Fu systems and the Okinawan karate styles that traced their roots to them. It is both a graceful and powerful style specializing in close-in attack and defence techniques, strikes at vulnerable body parts, and efficiency of movement.

Goju-Ryu incorporates linear and circular movements performed both quickly and slowly, using tension and relaxation, as well as grappling, throws, and joint locking techniques. Body conditioning and strengthening are central aspects of Goju-Ryu training. As with Chito-Ryu, correctly harnessing and using the breath is a very important element of this style. Goju-Ryu is one of the four most popular Karate styles practiced worldwide.

Isshin-Ryu

Officially formed in 1956, Isshin-Ryu evolved as a combination of Shorin-Ryu and Goju-Ryu Karate and the weapons art Kobudo. The founder of Isshin-Ryu, Tatsuo Shimabuku (1908-1975), had mastered those arts after many years training as a direct student of masters Chotoku Kyan, Choki Motobu, Chojun Myagi, and Moden Yabiku. Shimabuku formed Isshin-Ryu by blending what he believed to be the most effective elements of those styles.

It contains many similarities to its predecessors as well as elements devised by Shimabuku. Isshin-Ryu is noted for its unique blocking methods, short stances, kicks aimed below waist level, and use of a vertical punch requiring an alternative placement of the fingers and thumb not normally practiced in other karate systems.

Kenpo

(Also known as Kempo / American Kenpo)

Kenpo is arguably the most eclectic of all karate styles. It is an all-encompassing system, containing a vast range of punching, striking, kicking, blocking, and throwing techniques, as well as the practice of grappling, joint immobilization, and defences against knives, sticks, and other weapons. Kenpo is also noted for its lightning-fast hand striking techniques. Because it contains such a comprehensive range of approaches, Kenpo is not practiced in a one-size fits all fashion. The guiding principle is for the art to fit the individual, rather than the individual to fit the art.

Under the guidance of suitably qualified instructors, Kenpo students are expected to develop their proficiency in aspects of the style that they most naturally adapt to, rather than trying to master every specific aspect or technique. Kenpo rose to prominence in the 1950’s and ‘60’s under the leadership of Ed Parker, who was taught by William Chow in Hawaii. It traces its roots to a wide array of centuries old styles including Chinese Kung Fu, Okinawan Karate, and the Filipino combat arts Kali and Escrima. 

Kyokushin

Martial art styles are often described as being hard or soft, opposing or yielding, depending on the characteristics of the style. Hard styles rely on power, strength, and conditioning, while so-called soft styles focus more on evasion, re-direction, and counter attacking techniques. There is arguably no martial art system more suitably described as a hard style than Kyokushin karate.

Kyokushin, which roughly translates as The Society for the Ultimate Truth, is a system involving very rigorous traditional Japanese training methods designed to strengthen and condition the body and mind of the student. In contrast to most other karate styles in which only light or semi-contact sparring is practiced, Kyokushin is characterized by its adherence to full-contact sparring and competition fighting. Its students carry a reputation of being among the most fearsome martial arts practitioners in the world. Officially founded in 1953 by Korean-Japanese master Mas Oyama (1923-1994), Kyokushin evolved from Oyama’s lifelong training in numerous Japanese, Chinese, Korean and Western fighting arts.  

Shito-Ryu

Shito-Ryu is another Okinawan style that was formed by merging aspects of its predecessors. The art was founded by Kenwa Mabuni (1889-1952) in 1934 and named in tribute to his primary teaching influences Kanyro Higoanna and Anko Itosu. In his younger days Mabuni also trained closely with Chojun Miyagi, who later formed Goju-Ryu.

Mabuni combined many of the distinctive characteristics of his predecessors from both the hard and soft Okinawan styles, creating a style that is both powerful and pliable, making it a very fast and light style in its use of movement, but one that retains destructive force in its attacking elements.

Shito-Ryu utilizes more kata than any other major karate style, and also specializes in free-flowing movements thanks to its emphasis on foot and ankle placement when techniques are being performed. This concentration on positioning is aimed at allowing the student to move quickly and seamlessly from one technique to another. Shito-Ryu is one of the four main styles practiced in Japan but is also widely practiced worldwide. 

Shorin-Ryu

Shorin-Ryu is one of the oldest styles of Okinawan karate with roots that believed to date back to the 1400’s. The earliest structured forms of karate practiced in Okinawa were concentrated in three distinct regions, Shuri, Naha, and Tomari. In its embryonic forms karate was simply known as Te, but that later expanded to Shuri-Te, Naha-Te, and Tomari-te, to denote the type being practiced on each region. It was from the Shuri-Te and Tomari-Te systems that Shorin-Ryu derives.

No single founder can be attributed to Shorin-Ryu but Soken Matsumura (1797-1889) is arguably the most important figure in its early development. Shōrin-ryū is noted for its natural stances, speed, proper timing, and its use of circular, rather than direct movements. Other features include joint manipulation and restraint techniques, ground-fighting, sweeps, throws, and strikes against vulnerable body points.

Shotokan

There is no other style of karate more widespread and easily found than Shotokan. The system is characterised by its direct, powerful techniques and low, deep-rooted stances designed to build strength in the legs, particularly in the early stages of training. As the student progresses through the ranks, stances and movement become more fluid. In addition to its use of powerful kicks, punches, hand strikes, elbow strikes, and blocks, Shotokan also utilises joint-locking, takedowns, throwing, and grappling techniques.

Founded by Gichin Funakoshi, who simply referred to his art as karate, the name Shotokan derives from the first official dojo built by Funakoshi. Shotokan evolved from Funakoshi’s combination of the Shorin-Ryu and Shorei-Ryu systems he had studied under two famous Okinawan karate masters, Yasatsune Azato and Anko Itosu.

––––––––

Uechi-Ryu

The traditional Okinawan system of Uechi-Ryu is considered a half-hard / half-soft style with roots that stem from Southern Chinese Kung Fu. Originally known as Pangai-noon and based on the movements of the tiger, dragon, crane, Uechi-Ryu (meaning Style of Uechi) is often referred to as a sister style of Goju-Ryu. The system was renamed after Kanbun Uechi, the styles founder, who had previously spent many years in China’s Fujian province studying martial arts and medicine. Characteristics of Uechi-Ryu include controlled breathing (known as Sanchin), intense body conditioning, and the use of a narrow, upright stance sometimes referred to as pigeon-toed stance. Circular blocking and unique finger-tip and one-knuckle strikes, toe-tip strikes and kicks also feature prominently in the system.

Wado-Ryu

Another of the four main styles practiced worldwide. Hironori Ohtsuka, the founder of Wado-Ryu, began studying karate in 1922 as a direct student of Gichin Funakoshi in what later became known as Shotokan. Prior to his karate training, Ohtsuka had already mastered Shinto Yoshin Ryu, a form of Japanese Ju-jitsu. In the early years of the 1930’s, Ohtsuka began forming his own style from the direct fusion of those two systems, naming it Wado-Ryu, which approximately translates as Way of Harmony or The Peaceful Way.

In contrast to Shotokan and many other styles, the stances of Wado-Ryu are slightly higher. It makes great use of evasive techniques and avoiding hard contact when blocking. Wado-Ryu is also noted for its use of two-person drills developed by Ohtsuka, and it places great emphasis on avoiding unnecessary movement or tension.

Chapter 2

Origins, Philosophy and Modern Development

Karate is without doubt one of the most enduring and accessible of all martial art systems. From its earliest recorded origins on the island of Okinawa, it has grown from a little known and secretive self-defence system to become the most familiar martial art form in the world. In virtually every country or region on Earth the traditional karate training attire of a white gi tied by a coloured belt is an instantly recognisable symbol. Karate is an art that can be practised by everyone, regardless of age, fitness levels, or social background. The sheer abundance of clubs operating on every continent is a testament to its lasting appeal. Precise statistics are probably impossible to determine, but the World Karate Federation estimates that enthusiasts of karate number in the region of 100 million people across more than 190 countries.

Like any other form of martial art, there are so many varied reasons why people choose to practice karate. For most students, self-defence is generally the primary purpose for beginning. Many others practice it as a means of raising their fitness levels, improving their flexibility, boosting their self-confidence, or testing themselves in competition. Equally, there are just as many reasons why so many people consider studying karate (or any style of martial art) but never actually take those first nervous steps, or quit within a short space of time after they begin. Common reasons include having a negative or misinformed opinion of martial arts, fear of getting hurt (or hurting other students) in training, or simply just a belief that they lack sufficient ability to master a martial art.

At some point in their training, every karate student is likely to hear the phrase A black belt is a white belt who never quit. To master any form of martial art requires time, dedication, and persistence, but the rewards along the way make all the effort worthwhile. Karate provides us with more than just a means of defending ourselves or improving our physical health. It offers us a pathway to personal growth and self-improvement in every aspect of our lives.

At its most basic level, karate is a system of self-defence that enables us to defend ourselves from a violent attack, by utilising our own body as an effective weapon. But when it is studied and practiced to its full extent, it provides its students with the means to embrace a way of living in which the mind, body, and spirit work in perfect harmony.

The philosophy of Budo is the guiding principle in karate. To practice Budo effectively means to strive for continuous self-improvement, not only in training but in every aspect of life. When translated from its Japanese origins, the term karate is taken to mean empty hand, but it also carries a deeper ethical meaning, which is that the ultimate goal of the student should be to eradicate or control all negative thoughts and unhealthy impulses, such as aggression, impatience, and disrespect towards others. Karate, therefore, is a spiritual and mental undertaking as well a form of physical activity. The very essence of the art is perhaps best captured in a frequently cited quotation by the man widely considered to be one of the most important figures in the development of modern karate, Gichin Funakoshi, who said The ultimate aim of karate lies not in victory nor in defeat, but in the perfection of the character of its participants.

In some ways, karate training is a reflection of everyday life, in that it can sometimes be frustrating, difficult, or unpredictable. Through dedicated practice, students learn to surmount obstacles and setbacks, strengthening not just the body but the mind as well, in order to help them reach their full potential. It is expected that the lessons learned within the dojo (the traditional name for training venue), should be applied to daily life.

In any debate discussing the foundations of karate, a persuasive argument could be made to describe it either as a relatively modern, or an ancient martial art. The formalized karate systems we recognize today first began to emerge in Okinawa in the 18th Century, and like branches growing from a tree, different styles and sub-styles have developed over the years. However, the roots of that tree stretch all the way back to the ancient Chinese systems of Kung Fu, which are believed to date back approximately 4,000 years.

Okinawa, the largest of 73 islands situated off the coast of Japan called the Ryukyu Islands, had fallen under the rule of Japan by the end of the 15th century. To suppress any attempts at an uprising, the Japanese rulers immediately enforced a ban on the carrying of weapons. Although keeping weapons was declared an offence punishable by death, bandits and other lawless elements of society simply ignored the ban, leaving law abiding citizens with no visible means to defend themselves. Out of that situation grew the need for a weapon-less form of self-defence, and the art of karate as we know it today began to emerge. Over the next four hundred years, the Okinawan people continuously developed and refined their own fighting arts based on the principles and techniques of Kung Fu. These systems were variously known as Toudi (meaning Chinese Hand), Te (meaning hand), and later, Okinawa-te.

The influence of Okinawa-te began to grow when acknowledged masters Kanbun Uechi, Motobu Choki, Kenwa Mabuni and others began introducing their systems to mainland Japan. One of the most prominent among them was Gichin Funakoshi, who formulated the style now known as Shotokan, and began demonstrating his art in Japan in 1917. Funakoshi and the other Okinawan masters agreed that in order to successfully promote Okinawa-te in Japan, it was necessary to alter its Chinese influenced name to something deemed to be more acceptable to Japanese customs. Between them, they settled on the title of Karate-do, formed from the Japanese symbols kara (meaning empty), te (hand), and do (meaning way or path). In the years that followed the art became more widely referred to by the simplified title karate. In 1936 Funakoshi established the first Shotokan dojo in Tokyo, and over the next decade karate flourished, first throughout Japan, and then in Korea, where it played a hugely influential role in the later development of Korean fighting arts such as Taekwondo and Tang Soo Do.

From the 1850’s onwards, the dream of finding prosperity lured millions of poor Asian migrants to the North American continent, and with them came a vast knowledge of martial art systems, including karate. Numerous traditions of unarmed combat systems quickly began spreading throughout Canada, The United States, and the Hawaiian Islands. The awareness of karate among non-Asians in North America spread further during the latter half of the 20th century, thanks to American servicemen such as John Roseberry, George Mattson, Robert Trias, Frank Van Lenten, and Peter Urban, among others. These men had been stationed in Asia during their military careers and studied karate, among other fighting arts, before eventually establishing dojo's at home.

In the mid-1950’s, another former serviceman named Ed Parker left his native Hawaii to establish karate schools in California and other locations. Parker would go on to play a huge role in attracting international attention to karate and other martial arts, by teaching many celebrity students and nurturing associations with influential Hollywood film industry and television figures, in addition to hosting annual tournaments that drew the most prominent martial artists of the era to compete or perform exhibitions. The inaugural tournament, held in Long Beach, California in August 1964, included a demonstration by legendary martial artist Bruce Lee. From that point on, Parker’s annual events helped to increase the burgeoning popularity of Karate in the United States as a competitive sport with structured rules, almost a decade after the first known karate competition had been staged on American soil in Arizona.

Similar events had already taken place in Japan, beginning in 1957 with the formation of the First All Japan Karate Championships. In 1963, the European Karate Federation was formed to regulate and organize karate as a sport, overseeing 52 affiliated member countries. In the United Kingdom, 1966 saw the formation of the Karate Union of Great Britain, where the art had also grown increasingly popular. In the 1970’s, karate experienced its most intense period of exposure, as a result of the martial arts craze that swept the world throughout that decade.

Today, Karate is practiced in more than 190 countries worldwide. For the first time in its long history, it is scheduled to feature at the Olympic Games, in Tokyo in 2020. It has become a mainstay of popular culture through films, computer games, video sharing, dedicated websites, blogs, books, social media, and magazines.

Despite its enduring appeal and millions of devotees, there is little doubt that traditional martial arts like karate are experiencing a period of transition in the early years of the 21st century. The ancient arts now face the challenge of staying relevant in a vastly changing modern society. In recent times, traditional martial arts are being increasingly pushed aside or overlooked by up-and-coming students, due to the current fashionable trend towards mixed martial arts training, more commonly known as MMA. The aggressive marketing campaigns and media coverage afforded to highly visible prize-fighting competitions such as the Ultimate Fighting Championship, unquestionably play a huge role in influencing the selection choices of current and future students of karate and other traditional martial art forms.

That being said, it should be borne in mind that popular trends ebb and flow, whether in music, cinema, or fashion. The same is true of martial arts. A significant part of the appeal of MMA undoubtedly lies in the belief that it provides the student with a far wider and therefore superior range of combat options, than any singular traditional style. That belief may very well contain a large degree of truth. Nevertheless, any comparison between MMA and traditional karate is largely unfair. To compare traditional karate to no-holds barred, full-contact mixed martial arts practice solely on the basis of fighting techniques is to ignore the wider rewards karate has to offer, because such a comparison unfairly reduces karate to nothing more than a means of fighting.

In MMA competition, two fighters choose to battle each other in brutal combat. The aim is to gain victory over the opponent by one of the following criteria:

Outscore them on points awarded for blows delivered;

Force them to concede defeat by pinning or locking them to the point of submission;

Render them unconscious or unable to continue because of injury.

So, if the intention is to engage in consensual combat, then the appeal of MMA is easy to understand. But, if that is not the intention, then it begs the question – is it really necessary to seek superiority over every opponent from every conceivable martial art system? One important facet often overlooked is that traditional karate does not encourage practitioners to become involved in violent combat voluntarily. Instead, it instils in students the concept that true martial artists are those with the inner security and strength to avoid fighting. The art teaches us to use its fighting techniques purely to defend ourselves, or others, from violent assault, but only when we are faced with no other choice. The fundamental goal of traditional karate is to improve every aspect of a person’s character, not simply to supply the tools to defeat others in physical confrontations. This emphasis on character development is perhaps best expressed in the famous tenets laid down by Gichin Funakoshi in his book The Twenty Guiding Principles of Karate:

KARATE BEGINS AND ENDS WITH COURTESY

IN KARATE, THERE IS NO FIRST ATTACK

KARATE IS AN AID TO JUSTICE

CONTROL YOURSELF BEFORE YOU ATTEMPT TO CONTROL OTHERS

SPIRIT FIRST, TECHNIQUE SECOND

ALWAYS BE READY TO RELEASE YOUR MIND

ACCIDENTS ARISE FROM NEGLIGENCE

DO NOT THINK THAT KARATE TRAINING OCCURS ONLY IN THE DOJO

IT TAKES AN ENTIRE LIFETIME TO LEARN KARATE

PUT YOUR EVERYDAY LIVING INTO KARATE, AND YOU WILL FIND THE SECRET

KARATE IS LIKE BOILING WATER: IF YOU DO NOT HEAT IT CONSTANTLY, IT WILL COOL

DON’T THINK ABOUT WINNING; THINK ABOUT NOT LOSING

VICTORY DEPENDS ON YOUR ABILITY TO DISTINGUISH VULNERABLE POINTS FROM INVULNERABLE POINTS

THE BATTLE UNFOLDS ACCORDING TO HOW YOU MOVE GUARDED AND UNGUARDED

THINK OF YOUR HANDS AND FEET AS SWORDS

WHENEVER YOU LEAVE HOME, ENVISION NUMEROUS OPPONENTS WAITING FOR YOU

BEGINNERS MUST MASTER LOW STANCE AND POSTURE; NATURAL BODY POSITIONS ARE FOR THE ADVANCED

PRACTICING KATA IS ONE THING; ENGAGING IN A REAL FIGHT IS ANOTHER

DO NOT FORGET TO CORRECTLY LEARN THE STRENGTHS AND WEAKNESSES OF POWER, THE STRETCHING AND CONTRACTION OF THE BODY, AND THE SLOWNESS AND SPEED OF TECHNIQUES

DEVISE WAYS TO LIVE THE PRECEPTS EVERY DAY

As we can see from those precepts, karate provides so much more than a collection of combat or self-defence techniques. It is a life-long study that does not lend itself to immediate results and instant gratification, or tolerate outward displays of disrespectful or aggressive behaviour in training. One can choose to practice it in its traditional forms, to build or maintain fitness and flexibility, as a form of sport, to relieve stress and tension, or simply as a means of recreation or social activity. To millions of students worldwide, karate is a way of life, and it has endured for hundreds of years because of the life-enriching holistic benefits it offers to those willing to embrace it.

Following the wise words of one karate master from the past, let’s move on to the words of many more who have followed in his footsteps.

Part two

Chapter 3

INTERVIEWS

Soke Takayuki Kubota

Your life in martial arts has been incredible, and it is no exaggeration to say that you are one of the world’s most respected karate masters. Could you please share with us how your remarkable martial arts journey began?

I started learning martial arts at the age of 4 and was taught by two Okinawan refugees in my home town of Kumamoto in Southern Kyushu. They were both martial arts experts in the art of  Tote which was the predecessor of karate. There were no karate gis, no dojo rules. My instruction was informal and did not have the structure that today’s martial arts classes have. The training was very hard and intense and it was not for tournament or sport. It was for survival and was training on how to kill. At the time, (this is in the late 1930’s) Japan was expecting to be invaded by the United States. I was taught how to hold a sharp rock in my hand protruding from between the knuckles and taught how to strike the head of the invaders to kill. My father was an instructor in the use of the bayonet and this was similar to the techniques of the Yari (spear). I was taught by my father how to use sharpened bamboo as a defensive weapon.

When you first began to study karate, what systems did you train in?

As I mentioned, I began with the study in Tote and the use of the Yari. Later when I moved to Tokyo, I also studied Goju-Ryu from Gogen Yamaguchi and Shudokan from Kanken Toyama. I also studied Kyokushin with Mas Oyama. All of these men I considered not only my teachers but my friends as well.

Before moving from Japan to the United States, you spent many years working for the Police Department in Tokyo dealing with street violence, riots, etc. Can you tell us about some of your experiences from those days, and how they influenced your karate?

I was taken in by a police officer by the name of Karino. This was in post-war Tokyo. Nobody had anything as most of the city was destroyed by the firebombing during World War II. I had very little food and arrived with only the clothes on my back, a couple of rice balls from my mother and about 200 yen, which was less than 1 dollar worth of