Karate-Do Kyohan: The Master Text
by Gichin Funakoshi, Tsutomu Ohshima (Translator)
Summary by P. E. Katzer
Although nothing can replace actual class time with a skillful instructor, this book covers an extraordinary number of details. In the introduction, the reader learns of the Japanese character for kara, meaning emptiness. The meanings of kara is used to mean bare as in bare hands and fists; empty as in purging one's mind of evil and selfish thoughts; hollow as in a green bamboo stalk (the green bamboo is hollow, straight, and with knots representing one that is inwardly humble [hollow], outwardly gentle [green bamboo is flexible], yet courageous to stand up for justice; knots representing one that is unselfish, gentle, and moderate); and finally to mean the emptiness of the universe as a form. "Form is emptiness, emptiness is form itself." The introductory of the book emphasizes the student to strive to improve health in the training of the body to function efficiently as well as to seek to be honorable, humble, courteous, gentle, and courageous. After several pages on the history behind Shotokan, Funikoshi describes the value of karate in its value for athletic training, self-defense, and for spiritual training. The concept of developing ones virtues in courage, courtesy, integrity, humility, and self-control are brought up several time in the introduction.
Chapters 2 and 3 discuss some of the fundamentals of karate and basics of training. Proper hand positions, stances, blocks, and kicks are described in detail in Chapter 2. Chapter 3 provides a good summary of what to practice and how to practice for training sessions in basics. Both sides of the body should be used in practicing basics so that one side is not favored over the other. Repetitions of punching while in a horse back stance help students to bring the fist to the target in a straight manner. Basics also include front stances while "C" stepping into one of several motions (downward blocks, reverse punches, and forward punches) while advancing and also while retreating. Double shotos are also practiced in a similar manner of advancing and retreating and should be done with intensity as if actually parrying front attacks. The last of the basics to be covered is the upward block with an explanation of the striking motion in an offensive maneuver following a defensive block warding off an attack. This basic should also be practiced in an advancing and in a retreating movement.
Chapter 4 is the longest chapter covering nineteen katas. These forms are represented in pictures, and in an aerial view of the basic lines of the kata with associated foot steps for every move. The nineteen katas include beginner katas and those katas representative of the two basic styles from Okinawa, the Shorei-ryu and the Shorin-ryu. The beginner katas contain the basic moves ideal for the beginner to practice. Taikyoku is translated as "First Cause" and the three katas are numbered Shodan, Nidan, and Sandan. These katas were developed by Funikoshi after many years of research in the art of karate to promote even development of the body and to help the student understand the maxim "In karate, there is no advantage in the first attack," hence the translation of First Cause.
Shorin-ryu style karate has quick, light, rapid motions as seen in the Heian katas, Bassai, Kwanku, Empi, and Gankaku katas. Heian translates to "Peaceful Mind" in the context of being confident in self-defense ability once the five Heian katas are mastered. Bassai means "To Penetrate a Fortress." This kata represents a repeated action of the defensive to offensive moves similar to a real engagement. The translator changed the name of the next kata, Kwanku, from Ku Shanku, originally named afer a Chinese military man who introduced the kata, to Kwanku meaning "To Look at the Sky." Empi means "Flying Swallow" with arm and hand motions that look similar to the flying bird. Gankaku means "Crane on a Rock." As the name would imply there is a one-legged stance. The crane is one of the animals that influenced fighting styles in ancient China.
Shorei-ryu emphasizes physical strength, power, and forcefulness as demonstrated in Jutte, Hangetsu, the Tekki katas, Jion, and Ten No Kata. Jutte translates to "Ten Hands" and is difficult for beginners to learn. This kata once mastered is thought to make the individual as effective as ten men, hence the name "Ten Hands." Hangetsu means "Half-Moon" and consists of crescent shaped paths followed by the foot and by semicircular motions in this kata. Tekki means "Horse riding" and these three katas use the horse back stance extensively. Jion does not have a translation but is a common name for temples as well as a Buddhist saint. This kata is similar to the movements of the Heian and Tekki katas.
Ten No Kata translates to "The Kata of the Universe" and are actually sparring combinations performed in traditional stances. Ten No Kata Onate include thrusting into forward punches and reverse punches at mid-section level and upper level attacks; another set adds a block and an attack such as the downward block and reverse punch practiced at the same time as a forward thrusting movement into a front stance or the forearm block and mid-section reverse punch combination. Another combination is the double shutos from a back stance moving into the front stance with a reverse mid-section spear hand. The last three combinations use upper arm blocks to the reverse punch techniques. The first uses an upper level swinging block from a back stance to an upper level punch from the reverse hand. The second uses a high block to a reverse punch combination. Finally, the last combination uses an upper iron hammer block from a front stance to a reverse punch.
In Chapter 5, we see the second part of Ten No Kata, Ten No Kata Ura, which provides additional combinations used in a formal sparring session. This chapter describes single point sparring (single engagement match), triple engagement match that requires students to alternate from attacker to defender for three moves each. Kicking matches, free sparring, iai (sparring beginning from a seated position), and throwing techniques are discussed with pictures and step-by-step instructions. This chapter concludes with a small section on training to avoid attacks from weapons and self-defense for women. The chapter encourages training for women despite any public misconception. Training in the martial arts provides a healthy mind, a healthy body, and a gentle spirit as well as knowledge in the art of self-defense.
The final two chapters are brief. Chapter 6 provides a full overview of the vital points. The points are classified as either Cause of Death points or Cause of Unconsciousness points based on knowledge passed down through the ages. Chapter 7 is a collection of ideas from Funikoshi and from other philosophers including Sun Tzo's Art of War ideas.
