KUSHANKU KATA PDF

Doulmaran Throw a left gedan uke. Straighten your legs to lift the opponent into the air. Lack of variety in shotokan kata Sip Su Application? It is a very important kata and as such it deserves to be studied deeply. Movement drills we worked on today. My own study of Kushanku has revealed strikes, traps, throws, takedowns, joint-locks, chokes, strangles, etc.

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But what if another document was taken to Okinawa even earlier in the s? A document that became the very foundations on which Karate was built?

Kushanku the man is one of the most shadowy figures in the history of Karate. But who was this mysterious man, what did he teach and how? Now finally Kushanku is revealed and what is more, the Lost Book of Kushanku is revealed! What is more significant is that the uncovering of the Lost Book of Kushanku gives an indication to the way the Karate forms should be performed.

My own system is named Hakuda Kempo Toshu Jutsu and developed hand in hand with the research presented in this book. This book began as a personal quest to understand the kata I had been taught.

To my mind Hanshi McCarthy is one of the most significant Karate researchers of the last years and the Bubishi is one of the most significant martial arts texts of all time. The commentary accompanying the book suggested that Goju Ryu forms like Sanchin and Suparimpei and advanced Shotokan forms like Hangetsu, Jutte and Gojushiho, had their origins in the southern Chinese fighting systems which was great to know.

But what about the Heian, Bassai, Tekki and Kanku forms? Why did they have no origins in Fujian, China? Why was there a Fujian form called Usesihi Gojushiho but not one called Kushanku? I spent almost 20 years researching the true origins of these forms and now present my findings. And the northern traditions are strongly associated with internal martial arts like Hsing-I Chuan which is considered one of the Wutang Taoist arts.

The history of Shaolin Buddhist and Wutang Taoist martial arts are forever intertwined. The Shaolin traces its skills back to Boddhidarma who showed Indian martial arts to the Shaolin monks. If Shaolin had a founder as devine as Boddhidarma, then Wutang had to go one better and have an immortal! He developed a series of techniques based on his Shaolin Long Fist Boxing skills and developed 36 vital point strikes. These were later developed by a Taoist called Feng Yiquan.

His student Zhang Zhuan Yi turn developed 72 postures and eventually postures were taught. Another legendary, but probably historic Taoist who lived at around the same time as Zhang San Feng was General Yue Fei, a great war leader, archer and spearman.

Ji lived much later than Yue and it was claimed he learnt the art after finding a book in a cave. Ji is much more pertinent to Karate because of the time he lived. To put things in perspective, Ji, also called Ji Long Feng was born in around and began teaching in around In other words, around the time of the Satsuma invasion of Okinawa. Differing from its sub-style, Hsing-I Chuan.

We will return to General Qi but by way of a short introduction, Qi Jiguang November 12, — January 5, was a Chinese military general and national hero during the Ming Dynasty. He based the fundamentals of Xinyi on the spear techniques for which he was also famous. Ji Ji Ke travelled throughout China to refine his martial art. He eventually made his way to the Shaolin temple in Henan province to study Shaolin Wushu. At the temple, the monks were all amazed at his skill with the spear as well as his unarmed fighting skills.

Welcomed by the monks, he stayed at the Temple, where he spent more than 10 years. It was here where he created Xinyi. Legend has it that during his time at the Temple, Ji once observed two cocks fighting, and was inspired to complete his development of the art of Xinyi.

Later, after leaving the temple, he taught in the region to others from Henan. Another likely candidate to have been a student of Ji Ji Ke is Wang Ji, the Chinese master who is said to have introduced the Wansu form to Okinawa in the s. This form which means flying swallow, the swallow being one of the animals of Hsing-I is the ancestor of the Empi form. Sakugawa and Yara studied under Takahara, learning the Swallow form Wansu of Hsing-I but in common with many Okinawans, they did not stop at their original teachings.

They also studied under a mysterious Chinese master called Kushanku. Shiohira Pechin, a high rank official of the ship, was an intelligent person. He was helped by Choki Tobe, an intellectual who lived in Oshima.

These notes are the most reliable literature on karate. He was born in Shuri in and at the age of 17, Tode Sakugawa began his martial arts training under Takahara. His father having been beaten to death by bandits, the young Sakugawa was determined to master the martial arts..

He became a famous samurai, and was given the title of Satunuky or Satonushi by the Okinawan king. As a reward for his services the Shuri government gave him a small island and named it Sakugawa. He constructed a training system and was elevated to the rank of Satunuku. Hence we now know him as Satunuku Tode Sakugawa. Sakugawa apparently met Kushanku by trying to push him into the water as a prank. Kushanku was able to evade the attack and show Sakugawa his skills.

He then became his teacher. We will assume this is Chatan Yara for reasons that will soon become clear. According to Kim, Sakugawa trained for six years with Kushanku but at the age of 29 he received a message that Takahara had been taken ill. Over the years Kushanku has remained a mystery to researchers. But without identifying him this is pure speculation. The true identity of Kushanku was none other than Wang Zong Yue!

Empty the left wherever a pressure appears, and similarly the right. If the opponent raises up, I seem taller; if he sinks down, then I seem lower; advancing, he finds the distance seems incredibly long; retreating, the distance seems exasperatingly short. A feather cannot be placed, and a fly cannot alight on any part of the body. The opponent does not know me; I alone know him.

To become a peerless boxer results from this. When we raise the hands, we are raising Chi and creating the upper Yang as opposed to Yin Chi Kung posture. The shuto contains initially ward off peng and then roll back lu as the movement completes. The kick at the start of Kanku Dai that is now a side kick and backfist was originally the Tai Chi Toe Kick and separate. And that form was Channan. Some consider Channan to be another name for Pinan, others have theorised that the two oldest Pinan forms may have been Channan and others that the five Pinan forms may have been divided 2,1,3 and 4,5 to make the two Channans.

Whichever theory you prefer, the Channan and Pinan are linked. And since Kushanku so strongly resembles a long Pinan kata we can see the link. The series of five basic kata called Pinan Heian in Japan were developed by Anko or Yasutsune Itosu in around for inclusion in the karate curriculum of the Okinawan school system. However one theory is that Itosu was re-working a longer Chinese form called Channan. While I was there, two or three students also dropped by and sat talking with us.

What is going on? The students all told me that the name Pinan is better, so I went along with the opinions of the young people. Subsequently the tenor changed somewhat and they were called Pinan. There was even a temple built for him in Fuzhou Fukien Province in It is possible that the name Channan is derived from this style — Chang Chuan Chan nan. This is an important point to be made.

Many historians have written about the development of styles like Karate, Tai Chi and Hsing-I but the question has always been asked: When your country is at war and the musket is replacing the sword as the weapon of choice, why waste time learning ancient boxing routines?

The answer is twofold. Firstly by tracing a lineage back to Chinese nationalist heroes like Yue Fei and Zhang San Feng they are showing nationalist pride against the Japanese or Mongolians. In motion, Tai Chi separates; in stillness yin and yang fuse and return to Wu Chi. It is not excessive or deficient; it follows a bending, adheres to an extension. When the opponent is hard and I am soft, it is called tsou [yielding]. When I follow the opponent and he becomes backed up, it is called nian [sticking].

Although there are innumerable variations, the principles that pervade them remain the same. From familiarity with the correct touch, one gradually comprehends chin [intrinsic strength]; from the comprehension of chin, one can reach wisdom.

Without long practice, one cannot suddenly understand Tai Chi. Effortlessly the chin reaches the head top. Let the chi [vital life energy] sink to the tan-tien [field of elixir]. There are many boxing arts. The strong defeating the weak and the slow hands ceding to the swift hands are all the results of natural abilities and not of well-trained techniques.

The spectacle of an old person defeating a group of young people, how can it be due to swiftness? Stand like a perfectly balanced scale and move like a turning wheel. Sinking to one side allows movement to flow; being double-weighted is sluggish. Anyone who has spent years of practice and still cannot neutralize, and is always controlled by his opponent, has not apprehended the fault of double-weightedness.

To avoid this fault one must distinguish yin from yang. To adhere means to yield. To yield means to adhere.

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Kushanku (kata)

It is a physically demanding and visually impressive form when performed correctly and it is one of the most popular kata in modern competition. As well as being a popular form with kata competitors, it also has a great deal to offer the practically minded karateka. In this article we will briefly look at the history of the kata and examine some of the key concept relating to its application. The kata is a record of the combative techniques and concepts formulated by a Chinese martial artist who went by the name of Kushanku. This document details a ship running ashore in Oshima bay and includes interviews with the crew of that ship.

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Kūsankū (kata)

The Pinan Kata were composed in by Anko Itosu. They are thought to have been composed from parts of Kushanku, a much larger kata. These kata were originally intended as beginner kata for use in Okinawan High School physical education programmes in the first part of this century. They are sometimes called the Heian kata, since the same ideograms can be read differently in Japanese. This Kata was adapted and developed by Okinawan Masters, having been originally brought to Okinawa in by a Chinese envoy named Kushanku pronounced Kosokun in Japan.

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