Thoughts on International & Global Education
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Musings on Japanese and Ryukyu Budo
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Thoughts on International & Global Education
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Thanks to my friend Joe Swift for providing a copy of the original text written by By Masakazu & Hokama and loosely translated as: Okinawa’s Old-Style Budo (Weapons) While the original source has some sections in English they are poorly translated. Below I have tried to use the original Japanese wile also updating the language to better reflect the original text. Any and all mistakes are mine. Regarding the origins and construction of the nunchaku: The armaments of Okinawa, as alluded to before, are frequently cited as adaptations from mundane implements. The nunchaku, also referred to as "sōsetsukon" or "nunchagu," is compact and convenient for carriage. It enjoys popularity and is favoured amongst practitioners of traditional martial arts. This weapon is distinguished by its employment of centrifugal force for attack and defence. Typical materials encompass oak, chinquapin, bean tree, and kuba, to name a few. The term "setsu" in "sōsetsukon" inherently means "bamboo," indicating that nunchaku may have originally been fashioned from bamboo prior to the contemporary wooden models. It is believed that the nunchaku began as bamboo articles and subsequently developed into the wooden iterations observed presently. There are numerous prevalent conjectures regarding the provenance of the nunchaku: Trisect Theory (Sansetsukon): One segment was detached to yield a nunchaku with enhanced swiftness. Horse Mask (Mūgē) Theory: Stimulated by the horse mūgē, as portrayed in the "Okinawa Customs Illustrated" published in 1896. The illustrated mūgē is composed of string rather than wood, contributing a noteworthy aspect to the foundational theory. Nonetheless, in the Yaeyama district, wooden mūgē are utilised as well. The implement identified as 'Yebi' (Kula, Guji) — the precise translation or pronunciation may be uncertain — employed for isolating banana fibre, bears resemblance to a conduit utilised for threshing rice in farming apparatus. In certain locales, this conduit is likewise named 'Yebi.' A hypothesis posits that nunchaku were conceived from this instrument. It is also postulated that nunchaku stemmed from a conduit used for threshing rice. The Yebi for extracting banana fibres entails cleaving bamboo, whereas the threshing conduit itself is a dead ringer for the form of nunchaku. There is speculation that this was modified to generate the nunchaku as we acknowledge them today. Materials Employed in Crafting the Nunchaku: It appears that the doyens of archaic martial arts devoted significant ingenuity to the lashing cords of antiquated martial arts gear. The cords must be resilient to centrifugal forces, failing which they are deemed unfit as lashings for archaic martial arts gear. Moreover, alterations tailored to the stature of the individual wielding them are imperative. That is to indicate, human statures have markedly altered pre- and post-conflict. Correspondingly, weaponry has been modified. As a consequence of these transformations, the cords for lashing have been progressively perfected, and presently, implements such as chains are also in use.
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Karate, as envisioned by its foundational figures like Matsumura Sokon, is not merely a set of fighting techniques but a comprehensive discipline integrating physical prowess, ethical grounding, and societal contributions. This discourse aims to unequivocally assert that deviations from these integral principles should not be recognised under the banner of traditional karate.
The Essential Unity of Kata and Kumite At the heart of traditional karate lies the symbiotic relationship between Kata and Kumite. Kata, with its choreographed sequences, is not just a physical exercise but a repository of the art’s philosophical underpinnings. Kumite, the art of sparring, translates these abstract forms into practical applications. Prioritising one over the other distorts the art’s essence. Schools that focus exclusively on Kata often reduce the practice to mere dance routines, devoid of the combative spirit karate is meant to embody. Conversely, an overemphasis on Kumite without the foundational support of Kata degrades the practice to simplistic physical aggression, akin to mere brawling or kickboxing. Ethical Development and Social Responsibility: Non-Negotiable Pillars Karate transcends physical training; it is equally concerned with the cultivation of moral virtues and a commitment to societal welfare. Ethical development is paramount, instilling values such as respect, integrity, and perseverance. Karate also endows its practitioners with a responsibility towards society, urging them to use their skills for collective betterment. Schools that neglect these dimensions not only betray traditional karate’s ethos but also mislead students about the depth and purpose of their training. The Holistic Approach to Health Karate’s approach to health is holistic, targeting physical, mental, and emotional wellness. Traditional regimens are meticulously crafted to enhance strength, flexibility, and endurance, while also promoting mental clarity and emotional stability. This balanced approach is often overlooked in contemporary practices that overly focus on competitive success, which can lead to an unbalanced emphasis that neglects the practitioner's overall well-being. The Integral Role of Weapons Training Traditional karate also includes proficiency in various weapons, reflecting its comprehensive combat philosophy. This aspect of karate, which historically incorporated techniques with Okinawan and mainland Japanese weapons, is crucial for a rounded understanding of martial strategy and effective self-defence. Neglecting this training reduces the practitioner’s versatility and depth of knowledge, deviating from the historical breadth of true karate. Cultural Significance and Historical Context The modern adoption of the karate 'gi' and the emphasis on aligning with Japanese or Okinawan traditions, while enriching, are not prerequisites for the practice of karate. The essence of karate is found in its techniques and philosophies, not merely in its attire or assumed cultural affiliations. Traditional karate is a holistic pursuit, historically rooted in the comprehensive development of its adherents, aimed at both personal and communal upliftment. Confronting the Dilution of Karate It is imperative that we confront and challenge the dilution of karate in contemporary practice. The essence of traditional karate, with its rich, integrative philosophy, must be zealously guarded against reductionist interpretations that focus merely on physical aspects or commercial gain. Traditional karate is not a superficial endeavour; it is a profound engagement with a historical and ethical depth that demands rigorous commitment and understanding. Conclusion: A Clarion Call for Authenticity. The practice of traditional karate is a declaration of the holistic integration of physical techniques, ethical principles, and social responsibilities. It demands more than mere physical participation; it requires a deep, sustained engagement with the art’s comprehensive ethos. As practitioners and advocates of traditional karate, we must rigorously uphold its integrity, ensuring that it remains a true and complete martial art form. Let us not be swayed by modern reinterpretations that strip karate of its depth and transform it into a hollow shell of its former self. Traditional karate is not merely a set of movements to be performed in isolation but a rich, holistic tradition that shapes one’s character and worldview. We must strive to preserve the purity of this art, upholding its traditional values and practices against the tide of commercialisation and misinterpretation. Here's a brief synopsis of the above blog in Japanese: 伝統的な空手は、単なる戦闘技術の集まりではありません。松本宗棍のような創始者が見据えた空手は、物理的な能力、倫理的な基盤、そして社会への貢献を統合する包括的な規律です。本稿では、これらの本質的な原則からの逸脱が伝統的な空手の名の下に認められるべきではないと断固として主張します。形と組手は不可分の関係にあり、一方を重視しすぎると他方が疎かになり、空手の本質が歪められます。倫理的発展と社会的責任は交渉不可能な柱であり、健康へのアプローチは全面的です。武器訓練の役割もまた、空手の歴史的な広がりから不可欠です。現代の練習で空手が希薄化されていることに直面し、真の空手の本質を保護するために、伝統的な価値観と実践を守るために努力しなければなりません。 Below is a translation from "Karate no Rekishi" by Miyagi Tokumasa (1987), discussing the history of the nunchaku and tonfa. Tokumasa, a specialist researcher in karate and kobudo history who worked for the Prefectural Government in Okinawa, clearly outlines the multiple possibilities and ultimately unknown origins of the nunchaku. It is noteworthy that this was published in 1987, yet many self-appointed 'historians' in videos and print made since then continue to promote the theory that the nunchaku originated as a horse bridle. This misconception has undoubtedly led many karate and kobudo tourists and practitioners to part with their money in pursuit of training with so-called 'authentic' horse bridle designs. I am grateful to my good friend Mario McKenna for providing the original Japanese version. My translation may not be at the level of Mario's, but it should convey the essence of Tokumasa's insights. Nunchaku Techniques The nunchaku is represented by the characters for 'double stick' or 'double-section staff'. Its thickness is approximately 3.5 cm, and each stick extends slightly beyond the length from the elbow, crafted in octagonal or hexagonal forms, and rounded at the base. These are joined by a robust string. Currently, silk cords are utilised, but historically, it is believed that braids made from women's long hair were employed. Through skillful manipulation and leveraging centrifugal force for both attack and defence, the nunchaku can exert considerable power. The origins and inventor of the nunchaku remain obscure. However, given the existence of the similar three-section staff in China, it is possible that the nunchaku was inspired by this Chinese weapon. Nunchaku are rumoured to have been influenced by the Somugee (bridle) of a horse or derived from threshing tools used for wheat and soybeans, though the veracity of these claims is uncertain. It seems more plausible that they were influenced by weaponry from China. Chinese three-section staffs are significantly larger, with each section measuring about 66 cm in length and 3.2 cm in diameter. These are linked by metal rings, with additional rings added to create sound, and each section is capped with a metal fitting. Owing to their bulk, which complicates portability, smaller versions about 16 cm long have been developed. This adaptation represents a completely novel concept. It is conceivable that the nunchaku could have evolved from the three-section staff. Furthermore, the nunchaku does not conform to a specific shape, and its utility is primarily based on the movements and forms of unarmed martial arts, involving dynamic swinging actions. Mastery of nunchaku techniques demands extensive practice. Despite their seemingly simplistic nature, nunchaku possess formidable destructive capabilities. Toifa (Tonfa) Techniques. Similar to the nunchaku, the toifa is a wooden weapon approximately 45 cm in circumference and slightly longer than the elbow, equipped with a handle. It is typically fashioned from oak wood, either in a square or slightly rounded shape. In performance, while there is no designated form, the movements are ingeniously integrated with karate techniques. The toifa is manipulated with both hands, incorporating techniques such as blocking, thrusting, and swinging to strike. The origins of the toifa are shrouded in ambiguity, with several prevailing theories suggesting its development from a freely movable hook, adaptations from agricultural tools in paddy fields, a stone mortar’s handle, or as a modification of a wheat-threshing tool. And made it again - barely! Enjoy the weekend! Title: "Constructing a Martial Tradition: Rethinking a Popular History of Karate-Dou" by Kevin S. Y. Tan Source: Journal of Sport & Social Issues, Volume 28, No. 2, May 2004 DOI: 10.1177/0193723504264772 Publisher: Sage Publications In "Constructing a Martial Tradition: Rethinking a Popular History of Karate-Dou," Kevin S. Y. Tan offers a profound critique of the conventional narratives surrounding the development of karate, challenging the notion that it is a static, purely Japanese martial art. Tan argues that the widely accepted perception of karate as an unchanging Japanese cultural artefact is a modern construct, heavily shaped by both political and cultural influences. Tan’s article traces the historical roots of karate, illustrating that it is not merely a product of Japanese tradition but a complex synthesis of diverse influences from Okinawa, Japan, China, and interactions with Western colonial powers. This rich tapestry of influences contradicts the simplistic view of karate as solely a Japanese tradition. Through meticulous historical analysis, Tan exposes how modern conceptions of karate are crafted to align with contemporary political and cultural agendas, often neglecting the martial art's more intricate and multinational origins. Delving deeper into the ideological transformation of karate during its formalisation in Japan, Tan highlights how the martial art was adapted by Japanese cultural and political elites to cultivate a sense of national identity and assert cultural superiority. This adaptation was particularly aimed at asserting dominance over Okinawa and marginalising Chinese influences. Karate was integrated into the broader Japanese martial tradition, involving a reinterpretation of its origins and the creation of distinct styles or 'ryuu.' These moves were designed to sever karate from its Okinawan roots and reframe it as a symbol of Japanese cultural integrity and uniqueness. Tan provides an in-depth look at how these changes were implemented, noting, "Karate thus appears to have served a role in elevating the status of an Okinawan identity among the Japanese, especially for Okinawan elites such as Funakoshi." He further discusses the strategic use of karate in reinforcing narratives of Japanese cultural purity and the pivotal role played by figures like Gichin Funakoshi in promoting karate within Japan. Funakoshi's efforts were instrumental in transforming karate from a regional Okinawan practice into a cornerstone of Japanese national strength and moral philosophy. Expanding on the forces at play in the emergence of the karate tradition, Tan explores both international and national dynamics. Internationally, the advent of Western colonialism in Asia stirred a complex interplay of cultural exchange and resistance. Karate, as it interacted with Western martial practices and educational systems, adapted in ways that reflected both resistance to and accommodation of Western influences. Nationally, the Japanese government’s efforts to establish a unified national identity in the face of modernisation and international pressure led to the promotion of karate as a tool of state ideology, tied to nationalism and moral training. Additionally, Tan explores the broader sociocultural implications of these historical reinterpretations. He asserts, "This article is an attempt at reconstructing the historical and sociocultural trajectories of the martial art known as karate through a more critical reappraisal of its origins." His analysis suggests that the history of karate mirrors larger processes by which cultural traditions are often invented and manipulated to serve present-day purposes. Moreover, Tan's critique extends to the processes of cultural memory and identity formation, challenging the reader to reconsider how traditions are crafted and propagated within societies. He encourages a more critical and inclusive approach to understanding cultural histories, urging a reassessment of what is considered 'traditional' and how these traditions are recognised as elements of national or cultural identity. In conclusion, Tan’s article not only sheds light on the multifaceted origins and development of karate but also serves as a poignant critique of the construction and utilisation of cultural histories within specific political and cultural contexts. His work is a call to critically evaluate the narratives that shape our understanding of cultural traditions, highlighting the need for a broader perspective that acknowledges the dynamic and interconnected nature of cultural developments. In a heart-wrenching incident in Dublin, a young man's life was tragically cut short, revealing a dark side of misinterpreted nationalism that stands in stark contradiction to the true spirit of Irish identity. The young man, an immigrant who spoke in a language other than English, was murdered by individuals claiming to act in the name of Irish nationalism. This act of violence is not only a profound tragedy but also an alarming manifestation of ignorance and bigotry that must be addressed. Historically, the Irish people have endured centuries of oppression, during which the use of the Irish language was suppressed and English imposition occurred often at the point of a sword. The language struggle, emblematic of the broader cultural and political resistance, is a core part of Irish history. It is a profound irony, then, that the very descendants of those who fought to preserve Irish culture and language would persecute another for his linguistic identity. The misinterpretation of nationalism by these perpetrators exposes a severe disconnect with the historical struggles of their own forebears. It is a tragic irony that they chose violence against someone for not speaking English—the very symbol of historical oppression in Ireland. By their actions, they betray the values of inclusivity and respect for diversity that have come to define modern Irish society. True patriotism should foster pride in one’s heritage and culture whilst promoting a welcoming, inclusive society. It should reflect an understanding and respect for history, not a repeat of its darkest chapters. The idea of Ireland, its culture, and its people is diminished when twisted into a rationale for xenophobia and violence. I do hope both my wife and my children who are not of Irish brith will be warmly embraced and walk without fear when we return to Irland in 2025. As we reflect on this tragedy, it is crucial for us to remember and reiterate what it truly means to be Irish in today's world. It involves recognising the interconnected histories of oppression that bind us, rather than dividing us. It means striving to be a beacon of refuge and acceptance to those seeking a new life on our shores, just as many Irish once sought refuge around the world. We have always been a tapestry of a nation - arguably all nations are. Yet we have struggled and become a leading light in so many areas of modern politics, arts, philosophy and science to name but a few. Yes we have challenges. there is no nation on the planet that has none - but hate has not and will not be any solution. Those who executed this young man have NO PLACE in a modern Ireland and DO NOT know or appreciate what it means to be Irish. Indeed you shame the very people you claim to represent! We must stand against the small-minded and distorted views of those who claim nationalism as a justification for violence. Instead, we should strive to embody the true values of Irish heritage—one of resilience, inclusivity, and an unwavering commitment to human rights. In the face of such tragedies, reasserting these values is our responsibility—not only as Irish citizens but as members of a global community committed to peace and justice. Let's never forget what the white in our flag represents. |
James M. HatchInternational Educator who happens to be passionate about Chito Ryu Karate. Born in Ireland, educated in Canada, matured in Japan Archives
April 2024
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