A historical Perspective During the Reign of

CHUI #3

Next is a discourse on a volume entitled Yayomi Hichoki-Hen or a discourse on Yayomi Hichoki (1716-1775), which covers ancient book or scripts, ancient music, and on the Anfu Soryu-Kai whose president is Kishimoto Kiyu. He had another thesis entitled Ryukyu Koten Ongaku to Rakuso. This thesis dates back 500 years to the ancient Okinawan King Shoshin O. Some say this King was a genius who was descendant from a famous house of music. They say that he san and recited old songs and poems to the tune of a Samisen. It was said that his songs also cover stories or songs about famous Japanese deities and gods. Other sacred chants he was responsible for phonetisized from hiragana “Tansuiuegata” and “Kochikenchu”.

The foundation and base of Ryukyuan music achieved its celebrity status through a piece of music entitled again phonetisized as Sakutenbushi”. Other musical compositions were Takushi, Ryotaku, Shinrichoju and Shokinmei Mungaku. Yayomi Hichoki (1716-1775) a pupil who became famous musically.

He was born with an innate musical talent especially in the area of Noh chants and Ryukyuan chants. There were certain techniques or laws regarding the development of these musical chants. It was very difficult for example to take a story or poem and turn into a musical piece.

During the reformation years this type of entertainment of developing chants using the Samisen was accepted and suitable for most people. Music like the

“Rizumikaru” was new and a little more difficult to compose. This style became established early on a form of court chant. There were two popular schools of thought on this style of music during this era one was “Anfu Soryu and Ya Sonryu”. Yayomi Kahi the master and another gentleman Yonashiro-San were the first to use the Samisen when singing these chants. Two other important people in this area were Gyokawa Anshicho and Shokyo O. They brought this music to its heights during the years (1716-1775).
The Ryukyuan royal families were all very musically talented. They were known for their famous singers, composers and chanters. Those born into this family were all naturally affluent in any art they undertook.
Shokyo O excelled in playing the Samisen and reciting Tanka poetry. Back then many of Satsuma Clan had studied music locally and abroad. Practiced and returned to their country richer in the quest for knowledge in the musical arena. As this was a very famous form of public entertainment many institutes were formed to teach these arts.
Many of the princes in the royal family were required to excel in this area. One such prince had contracted an eye disease and learned music as a way to see beyond his blindness. He also became very popular writer of music. He had developed and wrote many famous Noh plays and eventually became a master at his trade. In those days the big houses of music the House of Shoki as was the House of Gyokawa-San. He was also blind and played the Samisen and was unparalleled as a musician. He was the master of Tanka recitals. His mental powers were so highly atuned to world of music that he could read and compose on the spot. His works were always in big demand.
During these days most of the guidance in this art was passed down by way of word-of- mouth. Many of the other teaching methods of teachers who were not so famous were usually incorrect and were usually not as popular as the former mentioned masters. The real masters had a strict teaching system that required regular tests to ensure the students kept abreast of new changes on style or format.

With the invention of sheet music by the Chinese it became more popular to record ones songs to better keep accurate records of all compositions.

During this era there were 177 official records of music recorded that were famous and were considered traditional or classical music pieces. This 500-year history of music was well recorded and catalogued. During the reign of Shomu O music was the business of the day and those who did perform were the masters of them time and many achieved much fame and or received meritorious service awards for their efforts. One of these was Yayomi-San who during the 40^th year of Kanryu (1775) 1^st month, 18^th day at age sixty received such a meritorious award for his achievements in the musical field.
The older Ryukyuan music developed by Anfu Soryu Sensho also received a similar award. All in Naha city acknowledges each of these individuals on their death anniversary and big articles were written about these individuals in the Senkizai no Ryukyu Shimpo. An individual known as “Bechin” Choki Sensei always ensures that these older musicians get recognized on a regular basis. He held a big concert in their honor over the years during the 18^th-19^th centuries. Recently these individuals have been eulogized on Okinawan Radio and TV by the Ryukyu Shimpo-Sha Okinawa Geino Remmei and members of the Hitsukyokuko-Kai in cooperation with each programming division in the respective Radio and TV stations to promote these individuals and their works and what they did for the ancient style of music that they developed and practiced. Many big choruses were developed and vocal solos sung. Over 250 people were involved in this effort. Many dances were demonstrated i.e., the Gyokujo-Ryu dance house with music provided by the Samisen. These were big performances and public came from miles around and by the 100’s to see these performances.

They all centered on the master Yayomi-San and all his ancient written musical scores. One must hear and see this music and to feel the passion involved when properly interpreted and performed.

CHUI #4

Yayomi Chokisa descendant of Yayomi Sensei has lectured widely in Japan an elsewhere in the world over the years. To be born in a family such as this is a rare honor. Ten rules or creeds this family lives by:

1. 
   To decree to ask what do people think of this kind of music?
   
2. 
   One must be morally and ethically bound as a gentleman to write down and record a family’s music. One must be highly skilled in music in order to rise up in this art form.
   
3. 
   We must also not neglect the common man who works hard everyday and has a rare chance from time to time to also listen to music.
   
4. 
   In the world today man whether gentlemen or farmer must have the courage to move on and develop oneself at ant task.
   
5. 
   A husband and wife must always work together to ensure the family stays together as a whole and solves any problems logically,
   
6. 
   Ones money must be managed wisely.
   
7. 
   After ones 70^th year one must retire to be able to enjoy the rest of ones life and reflect back on the good things he has done for himself, his family and his country.
   
8. 
   After ones 80^th year one needs to celebrate ones accomplishments
   
9. 
   After ones 90^th year one should see his sons taking over for him to carry on the classical traditions.
   
10. 
    One can after all this satisfactorily look back at his life and know that the art he put his heart and soul or spirit into are the key elements that bind this art. Once that is done then one can pass on in complete dignity.
    

Uechi-Ryu Karate-Do no Tokusei Ka – Jitai to Jun Gyaku

(Uechi-Ryu’s Special Characteristics) – (Reality & Order and there opposites)

Inamura Kayu
One must always be flexible in anything that one undertakes. The Japanese blade has al many special characteristics. Today like in the past his art is passed on only to a few living experts. This art cannot be learned or picked up by the ordinary man. It takes a special breed of man to do this. A complete balance of the mind, body and spirit must be achieved in order to excel in this art. Anyone can make a blade, but a true master makes a true blade that has its own spirit. Very few of these are in existence today.
One must have a mind and spirit as clean and pure as the virgin mountains in order to make a true tempered blade worthy of use. The grain and texture of the steel is also important as it also reflects the true spirituality of the blade and the maker. It takes many, many years and much discipline to reach master hood in this art. The Japanese sword is personification of the soul of the Bushi. Reality and order are much like that. These two are in perfect alignment with the harmony of the universe. There are many sub-categories of these elements and they all must be explored.
During the latter half of the Kamakura era were have the Namboku-Cho or the Northern & Southern Dynasties (317-589) era opening up we see the Japanese sword and the way it was made had gone thru radical changes. Budo was also in a transition phase also. This was an era also wrought with much civil strife. As we approached the Edo era we see that this strife was fast becoming the norm. To see reality bloom with order we see many new crafts or arts being developed and propagated, as were the 5 filial piety relationships. These elements have many uses to common man and the Bushi alike. Man is a very carefully crafted creature. Man must always be in conflict with nature or other men. Order among men was the watchword especially during the Edo era.

Today war techniques have their uses and without a sense of guidance or spirituality in these techniques make them all but useless. To be strong with a heavily developed sense of order and spirituality man can be useful to society especially as a Bushi.

The later on as sporting Budo came about mans ability still had to nurtured and developed, as this was only one side of the sword of the Bushi. One must always act in accordance with ones station whether alone or in a crowd. This was the livelihood of the Bushi to keep himself and his health intact thru Budo.
In today’s era we have some other elements added order, opportunity and ability. These must also be melded together and it may seem that they are contrary to each other. But this is not the case. They actually compliment and amplify on each other. Some are opposed to opportunity and order, but we must forget what all these are aligned for or what they are actually designed to do. Budo has gone thru some drastic changes over the years. There can be no opposites. There can only be commonality.

(Nihon Budo Gakkokai Kaicho – Tokyo

Daigaku Meishi Kyoju)

(Nihon Budokan Hakko Budo 9^th mo yori)

SHITEI NO KANKEI

(TEACHER STUDENT RELATIONSHIP)
SHUBUKAN YURAI

(The origins of the Shubukan)
Okinawan no Uechi-Ryu Karate-Do is always a topic of subject, especially in the development of the term Shubukan after the family name or style. Most all of the Dojos during this era are xxxx-xxx xxxx-xx Shubukan. The Okinawan Uechi-Ryu Karate-Do Kyokai Hq’s decided at one point to drop the term Dojo and replace it with the term Shubukan. With a few exceptions most are all named now in this manner Koyu Meishu (Proper Name)+Shubukan.
During the last days of Uechi Kanbun’s favorite student Shinjo Seiyu Shihan (Kadena Cho) no Dojo (Now Deceased) was named Kadena Shubukan, the 2^nd Uechi-Ryu founder Uechi Kanei and his best student Yonaha Seisho Shihan (Okinawa City Togen area) no Dojo was named Togen Shubukan.

After the war it came out as an unwritten law that all new Dojo’s would be name this way. This was good for he organization as a whole to have a consistent naming convention for all of the Dojo’s. It made the organization more unified back then. They wanted not to be anti-selective in new recruits but the organization then had rules and in order to enter one had to have an appointment and a sponsor. The sponsor all thru ones training was responsible for that student’s action. This again also ensured uniformity in new admissions. Shubukan was a term used before the war and was pushed to change, but it did not happen until after the ware.

In Wakayama City we have the Te no Hira Pangainoon-Ryu Karate-Dojo. Since it’s opening during the 8^th Year of Showa 11^th month the management of the other Dojo’s was managed by Uechi Kanbun President. His students also followed the stringent entrance regulations and rules. Even then the term Shubukan was tossed about, but never came to fruition back then. However, the Shubukai was formed. After the war this organization also gave a small grant to Uehara Sanro to open the Shoroku Dojo or the now Shoroku Shubukan. Also during this time after the war with the advice of Uechi Kanei Uehara-San’s Uechi-Ryu Karate-Do
Dojo was named the Shubukan Sohonbu or the Shubukan HQ’s. In this area is where Uechi Kanei opened his Dojo in Futema City and the HQ’s was moved there named Uechi Kanei no Dojo wo Shubukan Sohonbu. This was done during the 31^st year of Showa (1956). After that then the City name + Shubukan was the common naming convections.

The exception to the rule is the Soke’s Dojo or Uechi Kanei no Dojo Sohonbu Shubukan. During 46^th Year of Showa 1^st month, 1^st day (1971) there was a complete revision of the Shubukai, which was expanding at a phenomenal rate. It was eventually re-named the Uechi-Ryu Karate-Do Kyokai, and then it became the Uechi-Ryu Karate-Do Kyokai Sohonbu Shubukan.

The Uechi-Ryu groups and their students were made up from men and women from all walks of life. They came to learn this art and more importantly to learn and prorogate I think universal peace, cooperation and spirituality. The Founder Uechi Kanbun wanted most of all see unite mankind and his spirit. Uechi Kanbun was an exemplary Bujin. He always promoted peace and cooperation within the masses he dealt with and to top it off spirituality was his key endeavor. This Bujin of such great spirituality was like an embodiment of Buddha. To be born of such greatness is such a great accomplishment. His love of mankind was endless. To where the mantel he wore was a great responsibility.
The Uechi-Ryu groups and their students were made up from men and women from all walks of life. They came to learn this art and more importantly to learn and prorogate I think universal peace, cooperation and spirituality. The Founder Uechi Kanbun wanted most of all see unite mankind and his spirit. Uechi Kanbun was an exemplary Bujin. He always promoted peace and cooperation within the masses he dealt with and to top it off spirituality was his key endeavor. This Bujin of such great spirituality was like an embodiment of Buddha. To be born of such greatness is such a great accomplishment. His love of mankind was endless. To where the mantel he wore was a great responsibility.
---UECHI-RYU KARATE-DO NO SHIDO TAIHEI NO RINEN---
(The reason behind Uechi-Ryu’s guidance system)
--Shido Taihei---

(Guidance System)
Uechi Kanbun the founder of the current day Uechi-Ryu KarateDo style and his successor and son Uechi Kanei came up with a system of guidance for teachers and students alike, which touches on topics of importance when learning this style or Budo in general. Uechi-Ryu in some respects is different from most of the other martial arts. This style is broken down into several parts when one is first learning this highly eclectic style. We have Giho no Remma or refinement of technique and Tairen or refinements to the body. Many cannot understand why these two are so important. Why can I not just learn Karate? Why are there so many other parts and pieces I have to learn?

Good question. One must first condition the body through vigorous exercise in order to build a good foundation for more training to come in the future. Refinement of the body techniques or exercises is just as important as refinement of ones techniques. Many other aspects also play into this i.e., Kata refinement and spiritual refinement, etc, etc. Refinement is a continuing process in Karate. All the parts and pieces eventually fall into some kind of order and will eventually be seen and understood.

Most people see these as strict rules or regimens as tire easily. Many people who start this art very rarely stay with it because of its strictness. But without theses types of rules or guidance techniques one will not develop seriously. These guidance techniques teach discipline and fortitude. When one learns the basics concepts and continues the training on a regular basis one will gradually see eventually the formal melding of the mind, body and spirit into a concerted whole. If one cannot be flexible in learning this art a poor habit base will form and ones disposition will gradually degrade thus defeating the purpose of this styles intent.
Uechi-Ryu has many interesting and different or distinctive features. One is the three main Kata of this style. Another good tool is Jiyu Kumite, which tests each student’s ability to apply techniques in as variety of situations. Yakusoku Kumite is another good tool for the intermediate students as is Dan Kumite, Atemi no Jiken, etc.
Sanchin the first of three main Kata’s is just as important as it helps develop the building blocks required to start one off on the right track toward learning the other two main Kata. It teaches a student how to stand, turn, block and strike. It also teaches breath control and a form of moving meditation. This then coupled with Junbi Undo, Hojo Undo and Jiyu Kumite rounds out ones continuing education in this art.
The three Kata are Sanchin as talked about above then Seisan and Saneirui. Much guidance and training is needed for Sanchin. You can double or triple the training it takes to learn Seisan and Saserui.

Uechi-Ryu has a term titled “Risen Gyobo” or reasons for future practice. The Uechi-Ryu techniques fall under this title. Again the techniques from the Kata can be limitless and its up to the student to dig them out and find new applications or hidden applications. One also has to make progress according to the rules. There are no shortcuts. There is logic about how this style is set up and applied. Results take time and much patience and hard work is required when one endeavors to learn this style.

There are reasons for the strict standards that this style abides by. If the rules are followed and one practices diligently one will see the fruits of ones labors. To not have a logical system set up and try to train through trial and error would take even more than a lifetime and one would just be wasting time trying to figure out the logical sequence of events. If one can accept the terms logic and reason then everything in this style will fall in to place. The basic exercises and Sanchin are the core elements in learning this style. Each Kata thereafter ones learns something about the Kata after that. Now you can see the logic for teaching this style. First exercise, then Sanchin, then technique exercises, then the other Kata’s progressively, then other different technique sets, then Jiyu Kumite.
All through this style you will see Sanchin applications. It’s a big circle that always returns to Sanchin. Look hard at the idea of “Risen Gyobo”. Other art forms also use this term i.e., Hokushin Itto-Ryu who also wrote on this idea of the theoretical reason or logic patterns when learning or teaching any martial art.
Next we will touch on the theory of progress vs. the theory of reason. If we look at reason we often refer to techniques. Why because most style are based on either Kata or technique or both. So the next question is from which end do we start Kata or technique? Good question. Most would say Kata is the core to most arts.

The individual techniques which make up a Kata can be separated and practice later on in sets with a partner or partners. By practicing in this manner you polish the Kata core techniques which in turn make you Kata come alive with the aid of proper breath control and applying a certain sense of spirituality to make the Kata seem alive and do what it was intended for in Uechi-Ryu it would be the finite melding of the mind, body and spirit into a whole developing a “mind of no mind attitude”.

To not follow any of these rules or basic guidelines then one is wasting his as well as the teacher’s time. One also has to be careful as a teacher to ensure teaching is done practically and safely so as not to injure anyone or anything during practice sessions. This art is not how to be better than anyone else but one of learning mutual respect and helping each other learn together as a team. In this style one is taught many things like defending from all points of the compass. One even might gradually develop Haragei as a possible end result. If this happens and one is trained properly one should be able to defend from any position. The body when in a heightened state of alertness or subliminal awareness should be able to anticipate and divert any type of attack smoothly, and quickly. So to understand logic and reason one must experience it first hand. To react without thinking and let the body do automatically what it was trained to do is the key. So one has to learn how to think before acting then act without thinking or as Bruce Lee put it “The Art of Thinking without Thinking”.

Logic and reason go hand in hand with ones training. The learning process will be much easier. One must always engage in the pursuit of knowledge. It may take some people 5 years, 10 years or a lifetime to learn this or any art. Martial arts are an ongoing ever-evolving process of growth and development. The reason one enters into the study of Bujutsu is the same reason why anyone enters any profession to learn something or to one better oneself. Again here the above two laws come into play reason and logic the why and what.

Another reason one wants to learn Bujutsu is to make progress toward passitivity. One also cannot hurry in learning any art especially Bujutsu. Once you train your body and learn the real truth about any martial art you will be proud of yourself, as will others. You will become a role model for younger people to follow. Ones attitude changes toward the positive and can see life and nature as it was meant to be seen. Ones also will eventually develop a certain clarity of mind when dealing with difficult situations. Truth and reason will meld into a coalesced whole which results in a certain calmness of the mind and spirit.
When one enters into the art of Itto-Ryu founded by Ito Ittosai one enters into others areas of progress again reason and logic or areas like Seikei or looking at this art from a Buddhist point of view which leads heavily into spiritualism, another term they use is Jiri Fuhen or being rational and impartial when dealing with any situation. The reason for logic is to help one deal with techniques better. If logic is applied in most instances one will what will work and what will not work technique wise. One must also be to passionate when dealing with situations logically because that involves feeling or emotions, which can cloud ones sense of logic or rational reasoning. For example in Ito Ittosai’s writings in the Itto-Ryu Kenpo Kuden he writes about Yuishin-Itto-Ryu and in this there is a term he uses Kotohen Mihei Eishuntei or A good soldier or martial artist much reach and expand his horizons or capabilities in order to excel hence Bujutsu.
---Gi to Dori wa Ippon no Mono—--
(One Version of the path toward rational reasoning)
The point of this is to experience it rather talking about it. One has to learn technique first off and then learn the reason why it is what it is and how it can be used. Once this is learned that strength can be developed then in phases so will spirituality. With this then the student has the requisite tools to apply ones one sense of rational or reason to get a desired result. After that it is just a matter of polishing ones inner and outer techniques.

One then can if trained to a sufficient level can see holes in any logical system and use those holes as and manipulate them to ones own advantage. This is good rational thinking that leads one to a good strategy and in combat this is essential. There is a saying once you know yourself you will know your opponent.

If one uses reason and logic when developing their martial abilities much can be gained knowledge wise. To master these elements means victory in that you will be able to watch for openings when performing Jiyu Kumite. You can use these to your or your opponent’s advantage depending on the situation. Let your spirit guide you.
Within reason or logic lies the aim or intention of any technique. Within circumstances there is reason and within reason there is circumstances.

To see a leaf falling is that reason or circumstances? There has to be a reason why it fell and under what circumstances? When one sees injustice or righteousness there is a reason behind both. One may see something outwardly that may indicate a certain logic or reason. But inwardly there may be some else brewing. To be able to see inwardly and well as outwardly one can see the reason, rationale or logic then one can act accordingly. Without this type on analytical thinking process achievement of ones goals may not be forthcoming or turn out as one had planned.

In order to reach any level of expertise say in Kenjutsu as Ito Ittosai stated one has to be objective and unbiased in ones assessment of a situation. In most cases at the higher level of training in this art the spirit of the moment guides the sword rather than the individual.
To be in such a frame of mind one may never have to draw ones sword. The opponent will see even if his reason and logic is right on that there is no need in any further engagement as one he is either outclassed both spiritually and mentally or that both are matched evenly and that the outcome would do either party any good. Is this victory or defeat? It’s a no-win-situation. Neither one won or was defeated. But in the brief moments of this encounter both I would say came out richer spiritually and mentally.

A student must strive at all times to train himself spiritually and mentally. To transmit thoughts this way through say a gaze or body language takes many years of training to develop. Ones thought process should be confined to the narrow as in looking through a pipe in the sky. That would mean your too focused and you will loose sight of the true objective. To see the big picture in its entirety both inside and out one will know innately what is and what will be.