I thought this was a good article:
Journal of Combative Sport, February 2000 Master Choki Motobu, 'A Real Fighter'
By Graham Noble Text and images copyright Graham Noble © 1986, 2000. Annotations copyright Joseph Svinth © 2000. All rights reserved.
Ed. Note: This article first appeared in Fighting Arts International, and is reprinted by permission of Graham Noble. Noble says that while he has since collected more material on Motobu, to include a copy of a recently reprinted Watashi-no-karate-jutsu, "it is almost all in Japanese, so before I do any rewriting I need that translated. Hopefully computer programmes will sort that out in a few years." Some editorial annotation has therefore been added, and a couple of now outdated paragraphs relating to boxer Piston Horiguchi have been deleted. Readers with additional information are requested to contact the editor at firstname.lastname@example.org.
Choki Motobu in Japan
Motobu was born in Shuri, the old capital of Okinawa, in 1871. He had considerable local fame in Okinawa as a fighter-strongman but it was only after he moved to Osaka in 1921 that he became known in Japanese martial art circles.
What brought Motobu to the attention of the Japanese was his victory over a western boxer in a kind of all-comers challenge match. In the earlier part of this century such bouts were occasionally held in Japan pitting western boxers against judo or jujutsu men. (Karate was unknown in Japan around this time.) [EN1] These were not "official" bouts for any sort of legitimate title, but something more like sideshow attractions. Boxing historians for example are fond of pointing out that, back in 1928 in Yokohama, top bantamweight Packy O'Gatty KO'd a Japanese jujutsu man named Shimakado in 14 seconds. That 14 seconds included the full count, by the way. E.J. Harrison also mentioned in passing a couple of boxing vs. judo shows in his book The Fighting Spirit of Japan, first published in 1913. Few of the fighters in these events were champions in their sports, but the shows did arouse interest in a certain section of the populace.
Anyway, this was the background to Motobu's victory that so delighted the people back in Okinawa when they heard about it. Soon after Motobu settled in Japan he went to watch a boxing versus judo show in Kyoto. A boxer taking part beat several judo men rather easily and then issued an open challenge. Moreover, the challenge was issued in a boastful and derogatory way. Choki Motobu, who was sitting in the audience, stepped up onto the stage (or ring) and in the ensuing battle he knocked the boxer out -- probably with a punch, or series of punches, to the head. That is about as much as we can say about it since no contemporary reports of the fight exist. [EN2]
I knew that the Japanese magazine Kingu ("King") had published a story on Motobu and the boxer back in 1925, but when I finally tracked this down and read the translation, I found that it was a piece of imaginative, popular journalism rather than an accurate blow-by-blow report. However, the importance of this feature lay not in its accuracy as a fight report but in the publicity it gave to what had previously been an obscure event. Kingu was the major general interest magazine at the time with a circulation of over a million and this is how Motobu's exploits came to be widely reported. For the record, the Kingu story states that Motobu knocked the boxer unconscious with a rising palm heel strike. On the other hand, Seiyu Oyata, a modern day Okinawan karate expert, states that Motobu won the fight by kicking the boxer in the solar plexus and finishing him off with a strike to the neck. Shoshin Nagamine (Shorin-ryu) says that the knockout came in the third round from a strike to the temple. Motobu hit the boxer so hard that he was knocked out and blood came from his ears. Nagamine was told by Motobu that he had won a hundred yen by betting on himself. [EN3]
There is no doubt that Choki Motobu was a formidable fighter. Hironori Ohtsuka, the founder of Wado-ryu, knew Motobu in the 1930s and recalled that he was "definitely a very strong fighter." Ohtsuka remembered seeing a fight, or maybe it was more of a sparring match, between Motobu and a boxer named Piston Horiguchi. Motobu blocked the boxer's attacks and Horiguchi was unable to land a single clean punch. [EN4]
Choki Motobu was over 50 years old when he defeated the western boxer! People on Okinawa used to say that he liked to fight more than anything else, and certainly he did not seem to mind a good brawl. In 1932, when he was 60 years old, a group of expatriate Okinawans brought him to Hawaii to face the fighters there, presumably boxers and judomen. However, no bouts took place because the Hawaiian immigration authorities considered him an undesirable and he had to leave almost immediately.
Motobu was born into a high-ranking family at a time when education and privilege were reserved for the first-born son. Consequently, as a third son, he was rather neglected. His elder brothers, however (and particularly Choyu Motobu, the eldest) were good karateka and he may have learned something of the art from them.
As a young man, Choki Motobu's ambition was to become the strongest man in Okinawa. To fulfil this ambition he trained himself every day, lifting stone weights and hitting the makiwara (striking post). There are stories that he would hit the makiwara a thousand times a day, and even if this is an exaggeration it illustrates the importance he attached to this training drill. Nagamine recalls that Motobu would sometimes sleep outside, (when he slept inside the dojo he would lie on the hard wooden floor, without a mattress), and if he woke up during the night, rather than turning over and going back to sleep he would get up and hit the makiwara. Motobu was also very agile and quick and he got the nickname "Motobu-saru" (Monkey Motobu) not only because of his rough behaviour but also because of his remarkable agility in climbing trees and moving from branch to branch as nimbly as a monkey. In his youth at least he seems to have been a good natural athlete.
He was a good runner, too, and Japanese karate expert Hiroyasu Tamae writes of one occasion when Motobu was fighting attackers then ran off, jumped nimbly onto a roof and began tearing off the roofing tiles and throwing them at his assailants, beating them off in this way. Tamae makes the point that Okinawan roof tiles are secured very strongly to withstand typhoons, and it requires powerful hands and arms to tear them loose, but for a man reputed to be the best fighter on Okinawa it still seems a strange way to act. I guess Motobu's behaviour was just eccentric at times. Gichin Funakoshi used to say that he never knew what Motobu would get up to next.
One time when Choki Motobu was watching the bullfighters in Shuri he constantly blocked the view of the spectator behind him. The man became increasingly agitated and finally shouted at Motobu and struck him with a walking stick. Motobu turned, grabbed the stick from the man and struck him back across the head -- knocking him unconscious. He may not have intended this but he was rough and heavy-handed and probably didn't realise his own strength. After he knocked several of them down however the rest ran off. It was incidents such as this that gave rise to Motobu's other nickname of "teijikun" -- "real fighter". (This story is from Richard Kim's book Weaponless Warriors.)
Choki Motobu's idea of a good training session was to go down to Naha's entertainment district and pick fights. This area was well known for street fighting and Motobu picked up valuable experience in this way. Being bigger and stronger than the average Okinawan he usually won these fights but there was one occasion when he tackled a man called Itarashiki and was well beaten. This Itarashiki was a karate expert and the defeat only made Motobu more determined to train hard and learn more about karate.
At this time around the turn of the century karate was just beginning to emerge from generations of secrecy and the senior masters were sensitive about the image of their art. They looked upon karate as a physical art, building health, strength and character and they did not approve of Motobu's exploits in the rough areas of town. Nevertheless he was able to get instruction from several leading experts. (Seikichi Toguchi has said that because of Motobu's upper class birth, many karate masters found it difficult to refuse him instruction.) Motobu originally studied karate with the famous Ankoh Itosu (1830-1915), the leading master of Shuri-te. However he came to feel that he was not learning enough, and growing dissatisfied with Itosu's teaching he later studied with Tomari-te's Kosaku Matsumora (1829-1898) and with Master Sakuma. However, Motobu's karate always seemed to bear his own distinctive stamp, arising no doubt from his independent nature and his fighting experiences. He always emphasised practicality and in time many people came to regard him as the best fighter on Okinawa. True, he was beaten in a shiai (contest) by Kentsu Yabu (1866-1937), Itosu's senior student and a tough character, but we don't know the full circumstances surrounding this. Yabu was Choki Motobu's senior in karate by several years, and at the time of the contest Motobu may have been a comparative novice. [EN5] This is something that needs clarification; but anyway it is a fact that Motobu was famous in Okinawa for his fighting ability.
I first read about this colourful figure years ago in Peter Urban's book Karate Dojo. Although this has remained one of my favourite karate books, it has little value as a historical source and Urban describes Choki Motobu as a giant of 7 foot 4 inches "with hands and feet like monstrous hams" an early Okinawan version of the Incredible Hulk in fact, who was almost impossible to hurt and who "preferred to grab his enemies and chop them to death." A couple of years later the American karateman, Robert Trias, trying to inject a note of reality (?) into the subject, told an interviewer that the accounts of Motobu's size had been exaggerated and that actually he was "only 6 feet 8 inches" tall.
All this was rather hard to believe and at one time I wrote to Richard Kim, the famous authority on karate history, about it. He kindly replied, stating that Motobu was a little under 6 feet tall and solidly built, weighting around 200 lbs. This sounded reasonable, yet as I learned more about Choki Motobu I had to constantly revise the estimates of his height downwards. In fact the existing photographs, taken in the 1920s and 1930s, show him to be no bigger, and in some cases smaller, than his training partners. The article in the old Kingu magazine gives his height as 5 feet 3 or 4 inches and I would think this is correct. He was thus only a little bigger than other early pioneers of Japanese karate such as Funakoshi, Mabuni and Konishi, although of a much heavier build.
The photos we have of Motobu show him in middle age when he had put on weight and thickened appreciably round the waist. He had a sturdy, robust appearance but for a reputed strongman, the muscular development of his arms, chest and back does not look particularly impressive, at least by today's standards.
Another myth about Motobu is that he only knew one kata, the Naihanchin (Tekki in the Shotokan version). This is incorrect. He also knew Passai -- evidently there is a rarely seen Motobu version of this kata -- and Gojushiho, and although he may not have practiced them he was aware of the major kata of each style -- Shuri-te, Naha-te, and Tomari-te. (He provided a list of the major kata in his book.) It would be true to say, however, that he did become attached to Naihanchin, and for all the talk about him not being good at kata, the photographic record shows that technically his performance of Naihanchin was quite as good -- if not better -- than Gichin Funakoshi's.
Choki Motobu was not against kata but he did require that they relate to combat. In Naihanchin for instance his students were taught to pay attention to various technical points. It seems that the nami-ashi ("wave returning" foot movement) in Naihanchin was originally interpreted as a stamping movement to attack the opponent's leg (now it is usually taught as a foot block against a kick) and consequently many karateka would crash their foot down noisily on the floor while doing this technique. Motobu however, although he did the movement strongly with a kiai, always kept good balance and put his foot down lightly. It wasn't that his technique was weak, because he once broke an opponent's leg with this stamping waza (technique). He explained to his students however that if the technique was brought down with a big crash then you might find it difficult to maintain your defence throughout the movement. According to Yasuhiro Konishi, Motobu thought about every detail in the kata in this kind of way.
However, where Choki Motobu really differed from other leading karate masters such as Funakoshi, Mabuni and Miyagi was in basing his style on the study of kumite.
Kata seemed to occupy a secondary position with him. His karate stressed alertness, sharpness, and practicality, and his experience in brawls and street fights showed through in his techniques, which were straightforward and effective. Some of his kumite-waza were shown in his book Ryukyu Kempo Karate-jutsu. Kumite ("The Okinawan boxing art of karate-jutsu. Sparring techniques"), published in 1926. Incidentally, Motobu could not speak or write mainland Japanese at all well and it is thought that someone else must have written it under his direction, or possibly he dictated it. But at any rate the book's philosophy is his and he posed for all the illustrations.
Judging from this book, Motobu used a natural stance and it is noticeable that when blocking or striking he did not pull his other hand back to the hip (the action of hikite) but held it across his body as a guard, where it could be brought into action more readily. He also stressed training the weaker side of the body to bring it up to the natural side. For instance, in hitting the makiwara he recommended doing more repetitions with the weaker, left hand, if you were right handed. And he also frequently told his students to "Defend the centre of the body and attack the centre of the body," an early form of centre-line theory in fact.
Motobu also made full use of the lead hand for striking. This was rather advanced for that time, when the orthodox method was to block using the forward hand and to counterattack using the rear hand. Motobu taught that the forward hand, being closer to the opponent was quicker in action and should be used for striking effectively.
Choki Motobu relied mainly on hand techniques, with the feet and knees being used in a supporting -- but effective -- role, aiming his kicks at the stomach, groin and knee joints. He often liked to grab and he also used basic techniques of covering or checking the opponent's hands and arms. His attacks were directed not only to the face and midsection, but also to the groin (striking with the knee or foot, or grabbing the testicles) and knees (with stamping kicks). The forefist, backfist, elbow, and one-knuckle fist seem to have been his favourite weapons. According to Shosin Nagamine, Motobu attached some importance to the one-knuckle fist (keikoken), and he would train this technique on the makiwara, striking with full force. Over the years he had found that at close quarters the orthodox forefist punch might be smothered or unable to generate sufficient power and that in such situations keikoken could be very effective. "No other karateman in the history of Okinawan karate," wrote Nagamine, "has ever matched Motobu in the destructive power of keikoken."
As for training equipment, Motobu stressed the use of makiwara, and also recommended the use of the chishi and sashi, the traditional tools for building the strength of hands and arms. He also used to practice a crude form of weight lifting, lifting a heavy stone weighing say 130 lbs., to his shoulders daily.
Motobu sensei was actually the first of the Okinawan karate masters to settle in Japan, preceding Gichin Funakoshi by a year or so. He came to Osaka in 1921, but his purpose in coming to Japan may not have been to teach karate. He may simply have moved because, like many Okinawans, he believed Japan offered greater opportunities to make a living. In 1879 the Ryukyu Islands were made a prefecture (Ken) of Japan, and from then till 1945 this Okinawa-ken was Japan's poorest and most neglected prefecture. [EN6] Consequently, many islanders emigrated to Japan and it was estimated that by 1940 over 80,000 Okinawans were living there. This was out of an Okinawan population of something over half a million.
Motobu had been living in Japan a couple of years when he made the acquaintance of a judo teacher named Doi, who encouraged him to try and teach karate in Japan. Motobu subsequently began giving demonstrations and teaching in the Kobe-Osaka area, but development of the art was slow. After a couple of years he thought of giving it all up, but then in the mid-1920s interest in the art slowly began to grow. In 1927 he moved to Tokyo where he probably saw greater potential. [EN7]
When Motobu came up to Tokyo, Gichin Funakoshi had already been teaching there for several years, and a certain amount of ill-feeling arose between the two men, who had known each other back in Okinawa. It was something like a question of who was to assume the leadership of karate in Japan, but really, the two men were incompatible personalities. Gichin Funakoshi for instance seemed to feel that Motobu did not really understand the true nature of karate. Funakoshi, a man who valued propriety and culture, criticised Motobu's lack of education -- he called him an illiterate -- and his rough behaviour. For his part, Choki Motobu said that Funakoshi's art was just imitation karate, not much more than a dance. A Japanese karate teacher named Fujiwara has also pointed out that in the rigid social ranking system of Okinawa, Choki Motobu was two classes higher than Gichin Funakoshi was and so it was impossible for him to regard Funakoshi as his superior in any way.
I don't know if much ever came of all this, but there were rumours. Yasuhiro Konishi, who studied with both masters, heard that one time when the two men met, they began comparing techniques of attack and defence, as Okinawans often do. In demonstrating a movement Funakoshi was unable to block Motobu's thrust completely and moreover was knocked back several feet by its force. Konishi heard that Funakoshi was resentful about this. There was also a rumour that Motobu had challenged Funakoshi to a match and when the two met, he swept Funakoshi to the floor and followed up with a punch to the face, which stopped a couple of inches short -- just to show who was boss, I guess. Konishi could not vouch for the truth of this, and it may never have happened. Reading all the available material on Gichin Funakoshi, he does not come over as the type of person who went in for challenge matches -- just the opposite in fact. However, if the two men ever had met in a serious contest then (this is just my opinion) Motobu would probably have won rather easily. For one thing, Funakoshi, who was only 5 foot tall, was slightly built and would have been heavily outweighed. For another, Funakoshi never became involved in fights, whereas Motobu had the experience of numerous street fights behind him and was a fighter by nature.
But anyway, the years rolled by and "the leadership of karate", if it could be called such a thing, did pass to the Funakoshi school. The Motobu method does not seem to exist today as a distinctive style. Funakoshi organised his teaching well, he had energetic helpers (including his brilliant son, Yoshitaka), and influential friends such as Jigoro Kano, the famous founder of judo. Funakoshi's first book Ryukyu Kempo Karate (1922) contained forewords by such people as Marquis Hisamasa (the former governor of Okinawa), Vice Admiral Chosei Ogasawara, Count Shimpei Goto, and so on. Choki Motobu, however, never sought out such patrons, and in fact, according to Hironori Ohtsuka he was quite a solitary man. This agrees with the view of Konishi, who was quite close to Motobu for several years and never once saw him in an actual fight. Konishi felt that, although Motobu was obviously an exceptional fighter, he would never provoke trouble and was actually a very quiet person. So it sounds as if Choki Motobu grew calmer as he grew older. He seems to have been a straightforward, intelligent, but uncomplicated type of person who lacked Gichin Funakoshi's education and knowledge of Japanese culture and etiquette. Motobu did not speak mainland Japanese very well -- the Okinawans had their own dialect which was often incomprehensible to the Japanese -- and even when he moved to Tokyo he had to use Yasuhiro Konishi as an interpreter.
Choki Motobu spent nineteen years in Japan, teaching karate for most of that time. In 1940 he returned to Okinawa and died there in 1944.
"When Human Bullets Clash: Great Contest Between Karate and Boxing"
The story of Choki Motobu's contest with the boxer was featured in the Japanese magazine Kingu (King), in the September 1925 issue (No. 9), pages 195-204. It needed quite a bit of detective work to track this down and I must thank Mr. R.A. Scoales of the Japan Society of London and Mr. Kenneth Gardiner of the British Library for their help. It was Mr. Gardiner who finally located a copy of the article for me. I am also deeply grateful to Kenji Tokitsu, an authority on Japanese karate history now living in Europe, who made the following translation of the article.
In 1921 in Kyoto a series of contests was held between boxers and judoka. These gave rise to much discussion and drew many enthusiastic spectators. The fights were often extremely violent and surprised even those onlookers who regularly attended the annual [judo and kendo] contests at the Butokuden. During the action someone with the appearance of an old countryman went over to the organisers and asked if a late entry to the fighting would be allowed. The following conversation occurred.
"Mmm. Who is it you wish to enter?"
"What? You? Are you a judoka, then, or a boxer?"
"Well, what have you trained in then?"
"Nothing special. But I think I could manage this type of contest. So, will you let me enter?"
"Yes, let him enter!" cried the onlookers who had been following all this with interest. "Everybody would want to see a surprise entrant."
"But he says that he doesn't do judo or boxing. I wonder if he does some form of provincial wrestling."
"It doesn't matter. Since he wants to enter he must have learned something. If not, he's an idiot. Let him enter!"
"Well, okay," said the promoter. "Do you know the rules?"
"Rules?" replied Motobu. "What rules?"
"It's forbidden [for anyone but the boxer] to strike with the fists and feet." [The boxer meanwhile could not grab or throw.]
"Mmm. What about an attack with the open hand?"
"Fine, let's get on with it."
"Wait a minute. What uniform are you going to wear?"
"I'll just wear my ordinary clothes."
"Those you're wearing now? You can't do that. I'll lend you a judogi."
The promoter brought a judogi, and looked at the man, still trying to make him out. As he stripped a murmur of surprise arose from the onlookers. Although his face was that of a man well over fifty, the muscular development of his arms and shoulders was impressive and his hips and thighs looked extremely powerful.
Motobu was asked who he wanted to fight, a boxer or judoka. He replied, "Whomever you like," and the organisers decided to send him in against a boxer named George. [No surname or nationality is given in the article. The name may be invented.]
As the contestants entered the arena a cry rose from the crowd. "Look! A surprise entry!" "Who is this Motobu? I've never heard of him." "He looks like an old man. What's someone like him entering a contest like this for?"
The contrast between the two men was striking. Here was a boxer seemingly brimming with vitality against a man of fifty who stood only 5 feet 3 or 4 inches. As they began, George took up a boxing guard and moved about looking for an opening. Motobu lowered his hips, raising his left hand high with his right hand close to his right cheek. The spectators thought this looked like some kind of sword dance (karate was more or less unknown in Japan at this time) but actually it was the opening position of the Pinan Yodan kata.
George, the expert boxer, seemed surprised by the ability of the opponent whose guard presented no weak spot. He contented himself with searching for an opening, continually moving his fists around and feinting. Motobu kept his position.
George's breathing grew less steady and, realising that he might tire himself out if things continued like this, he edged forward and sent out a fusillade of blows to the face. Everyone expected to see the end of Motobu but without moving his position he parried the blows with his open hands and forced his opponent back.
Growing more and more frustrated as the fight went on, George steeled himself for an all out attack. He drew back his right hand and threw a punch with all his strength at Choki Motobu's head.
Just at the moment when it seemed as if Motobu's face would be crushed he warded off the punch with his left hand. The force of the parry unbalanced the boxer, forcing his hips to rise, and at that instant Motobu struck him in the face with the palm of his hand. George, struck on the vital point just below the nose with the rising palm strike fell to the ground like a block of wood.
Everyone was shouting! What had happened?
The organisers went to look for someone to help George, who was still unconscious. "What a formidable character!"
Various people who went to talk to Motobu were astonished by his hands, callused and almost as hard as stone. Even a blow with the open hand would be terrible, they thought.
"Ryukyu karate," said one. "Hmm. I didn't know such an art even existed. In fact, you have such trained hands that you don't need to be armed. The hands themselves are terrible weapons."
Spectators and contestants continued to talk for hours about the events which had taken place.
*** A few observations on this old article might be worthwhile. As I said, when I first heard about it I thought it might give an accurate account of the contest, but although it obviously relates to the events which occurred, both the descriptions of the action and the dialogue are imaginative. The author, someone writing under the pseudonym Meigenro Shujin, does not give his sources but he had done some basic research and probably had talked to some of the spectators or even Motobu himself. He may have even been at the event, but somehow I get the impression that he was not an eyewitness. In any case the article appeared four years after the events described (if the date of 1921 is correct) and by then people's memories may not have been too clear about what actually happened.
One point of interest is that the artist who did the accompanying illustrations (K. Nabashima) confused the two karate masters teaching in Japan at that time -- Choki Motobu and Gichin Funakoshi -- and drew the illustrations as if it had been Funakoshi and not Motobu who had defeated the boxer. I wonder what Choki Motobu thought about that when he saw the article?
For other source material the artist and author must have used Gichin Funakoshi's Rentan Goshin Karate Jutsu, published the same year (1925), as the illustration for "the guard of Pinan Yodan" is copied directly from that book. Of course the posture shown is not an "on guard" stance but an intermediate position of defence before a counterattack is launched. The writer probably chose this stance because it looked very "karateish", but it is hardly conceivable that Choki Motobu would use it. Kenji Tokitsu has pointed out it is unlikely that Motobu knew the Pinan kata, and even if he did know the order of the movements he did not practice them sufficiently to apply the techniques in combat. Anyway, we know that Motobu's fighting stance was much more natural and orthodox than this. One point that does emerge from the story however is that Motobu fought without the use of gloves and struck the knockout blow with his bare hands -- whether with the palm or closed fist we can't really be sure. It does not seem that Motobu used palm strikes much at other times.
The nationality of the boxer is not given but there is a tradition that he was German or Russian. His identity will probably never be known, and even if it was, it probably wouldn't mean very much to us. He was probably a White Russian who found himself in Japan and was making some money knocking over judomen. That he was the German heavyweight champion on his way to the USA to fight for the world championship, as has been suggested, is extremely unlikely. There simply was no German contender for the title at that time. The top European heavyweight was the Frenchman Georges Carpentier who did fight for the world title in July 1921 and was stopped by Jack Dempsey in four rounds. The first German boxer to acquire international reputation was Max Schmeling but he didn't win the German title until 1928, when he beat Franz Diener. [EN8]
As for him being the "Russian Heavyweight Boxing Champion" (per Bruce Haines in his Karate's History and Traditions), the Russians did not even have an organized boxing movement until after the Second World War, when they began competing internationally in all sports. [EN9]
All this is not to put down Choki Motobu's achievement, but just to try and introduce some kind of perspective into the stories which have grown up about this contest. I think that, sitting there watching the action, Motobu must have realised he had the measure of the boxers, but it still took courage and confidence to step up in front of a skeptical crowd and accept the challenge. When the fight actually began, he did what had to be done -- and he did it at an age -- fifty -- when most people today are happy to spend their time in front of the television or down at the pub. What a fascinating character he must have been.
Just a few words too about Kingu magazine and its publisher, Seiji Noma, the founder of Kodansha. The magazine was launched in 1925 and its circulation soon passed a million. It was the largest circulation general interest magazine of the time and martial arts featured frequently in its pages, mainly judo, kendo and samurai tales. Apart from the Motobu story, karate was rarely, if ever, featured in its pages.
In his younger days, Seiji Noma had been a teacher and in the years 1904 to 1908 he was an instructor in Japanese and Chinese classics at the Prefectural Middle School in Okinawa, the Ryukyu Islands. He wrote in his biography The Nine Magazines of Kodansha (1934) that "there could scarcely be a more remote outpost than Okinawa," and like most home-island Japanese he regarded the Okinawans as little more than peasants. However, he liked them a great deal and believed that this period was, "in a sense, the time of my life."
What is interesting, though, is that Noma mentions karate (called tekobushi) in his book, in what is one of the very first references to the art published in English. He writes:
The Ryukyuans are a pacific people, but like all those given to strong drink and leading a primitive life, they would commit acts of nameless cruelty if their blood was stirred. The Ryukyuans had developed through centuries of practice the peculiar art of self-defence and aggression known as tekobushi, which consists of making incredibly deft and powerful thrusts of the fist after the fashion of jujutsu or even boxing. This was the only possible mode of self-defence for the Ryukyuans, who had been prohibited the use of weapons by their double rulers of China and Japan. A Ryukyuan expert in this deadly art could smash every bone in his victim's body with the thrusts of his arms, as if he had struck with a giant hammer. Not infrequently poor victims were found dead by the roadside bearing marks of terrible blows from naked fists. Near Tsuji at night there were always gangs of roughs supposed to be skilled in tekobushii who were ready to pick quarrels with unwary strangers. Noma was clearly relying on rumour and hearsay in writing this description, which would seem to show that before World War II there was little real awareness of karate among the general public, even in Okinawa. Noma also uses an old term for the art, meaning "warrior's hand" (te meaning hand and bushi meaning warrior). It is a little surprising that he was unaware that karate had actually been introduced into the Okinawan education system in a limited way while he was there -- especially as he was an enthusiastic budoka himself (he practiced kendo), and a schoolteacher too.
Some related matters
The Motobu family had its own martial art, which had been handed down through several generations. In the last century Chomura Motobu headed the family and he taught the system to his eldest son Choyu (1865-1927). The two other sons, Chosin and Choki, however, were not taught the art. As mentioned earlier it was customary for education to be centred on the eldest son, but Choyu Motobu himself also refused to teach his younger brother Choki because of the latter's rough behaviour. That is the story anyway.
An Okinawan named Seikichi Uehara was taught the art, though. He later began teaching and in 1961 formed his own school, calling it Motobu-ryu. Motobu-ryu is not to be confused with Choki Motobu's karate, and in fact it is not even a karate system. It is closer to jujutsu or aikijutsu, concentrating on locking and throwing techniques.
During Choki Motobu's period in Japan he taught such Japanese as Yasuhiro Konishi, Tatsuo Yamada, H. Ninomiya, S. Uejima (Kushin-ryu) and Hironori Ohtsuka (Wado Ryu). He also taught such Okinawans as Chozo Nakama and Shoshin Nagamine, and his influence can occasionally be seen in the teachings of these masters.
Yasuhiro Konishi, who died a couple of years ago, was one of our last links with the heroic period of Japanese karate. (A feature on Konishi, plus an exclusive interview, appeared in Fighting Arts, Vol. 4, No. 6.) It seems that Konishi knew anybody who was anybody in the martial arts. He originally practiced jujutsu and kendo but then in 1923, met Funakoshi and his assistant, Hironori Ohtsuka, and began studying karate. He was also a friend of Kenwa Mabuni, the founder of Shito-ryu, and one of the first students of Choki Motobu when Motobu settled in Tokyo. Konishi also trained with aikido's founder, Morihei Ueshiba, and he believed that, of all the experts he had trained with, Ueshiba was the greatest, a true master.
When Konishi left Funakoshi's school and began to study karate with Motobu, Funakoshi regarded him as a heretic. Motobu was so poor at this time that he was thinking of returning to Okinawa but Konishi helped him out by organising a kind of support association.
The bad feeling must have died down within a few years because Funakoshi was grateful when Konishi helped him enter the illustrious martial arts association, the Butokukai. Funakoshi was given the grade of Renshi, and later Tashi, and it is ironic that Konishi was on the Butokukai's karate examining board, since of course he was actually Funakoshi's student.
Konishi remembered the original group of Motobu's karate students in Tokyo. It included such people as Seiko Fujita, a jujutsu and martial arts expert who is remembered in some quarters as the "last officially recognised ninja" (i.e., the last to see active service), Lion Kamemitsu, and Tsuneo "Piston" Horiguchi, a western boxer -- and a colourful group it must have been.
In a little Japanese-language book called Talks on Karate, Konishi also reminisced with Hoshu Ikeda about Tatsuo Yamada, one of the earliest of Motobu's Japanese students. Yamada later founded "Nippon Kempo Karate" and I think he experimented quite a lot with bogu kumite (sparring with protective equipment). He was a tough, uncompromising character -- Konishi seemed to think he was something like "a boss of gangsters" -- and he called other karateka "dancers." Yamada was a friend of Hironori Ohtsuka and stayed with Ohtsuka during one period. Every time Ohtsuka went out to do a demonstration of kata, Yamada would say something like, "Oh, you're going out to dance again." Ikeda and Konishi agreed that Yamada was interested in a kind of precursor of kickboxing. Konishi told Ikeda that at that time (the 1930s) Tatsuo Yamada was one of the karate radicals. ("You can say that again!" Ikeda responded.)
Incidentally, Yamada was also an early student of Gichin Funakoshi, and Mas Oyama once said that he was the best karateman Funakoshi produced. This is not a view that many people would take, but Oyama may have seen in Yamada an early version of himself -- someone who stressed realism, conditioning and hard kumite; a radical who did not blindly follow tradition.
Piston Horiguchi was referred to earlier in this article, when his sparring match with Choki Motobu was mentioned. In fact, during his classes, Motobu would often tell Horiguchi to get up and spar with him.
A western-style boxer was something of a rarity in Japan in those days. [EN10] A fighter would frequently have to give away weight, and as an attraction boxers were occasionally known to fight sumo wrestlers. (They were not the grand champions, but still…) Not surprisingly their careers were short.
But what fighting spirit they had! Japanese boxers today are known for their courage, but the few veterans who can remember the pre-war days say that the modern fighters are soft by comparison -- although admitting that the modern fighters are better athletes and much better boxers.
Information on Choki Motobu and the other early masters of karate is scattered and difficult to trace. I am grateful to the following for their invaluable help: K. Gardiner, R.A. Scoales, and Kenji Tokitsu for help with the old "King" article; Mr. and Mrs. Brian Waites and Ron Ship for translations or help with translations; and Henri Plée and Terry O'Neill for material from their collections. Photos are courtesy Graham Nobel.
Editor's Notes (hit your back button to return to the text)
EN1. The first known Japanese-language karate book was Gichen Funakoshi's Ryukyu Kempo Karate (1922). In Ryukyu: A Bibliographic Guide to Okinawan Studies (Honolulu: University of Hawaii Press, 1963), Shunzo Sakamaki wrote that Karate Goshin Jutsu (1917) and Karate Goshin Hijutsu (1921) by Myuoken Kensai were earlier. However, this is not accurate, as the two earlier books described a jujutsu-based system of empty-handed combat rather than an Okinawan variant of southern Shaolin. This was confirmed by the National Diet Library of Japan in a letter to Graham Noble, and visually verified by a visit to the stacks by Mitchell Ninomiya.
EN2. This is not to say that there might not be something in the Japanese sporting press of the period, but like early issues of The Ring and Police Gazette, such documents are collectors' items even in Japan.
EN3. During the 1920s, the yen was worth about US $.45, and in October 1925 a Japanese laborer earned about ¥2.15 per day while a Chinese earned ¥1.24 and a Korean earned ¥1.2. So, assuming Motobu was working as a security guard, this sum represented around two months' wages.
EN4. The 19-year old Tsuneo "Piston" Horiguchi started boxing in Tokyo during the winter of 1932-1933. As he weighed about 125 pounds, Horiguchi usually fought featherweight. (I say "usually" because Japanese promoters tended to match fighters by their ability to please the crowd rather than their actual weights.) During most of the 1930s he was considered the Japanese national champion, but based on his international results the highest he was ever ranked internationally was third best in Hawaii. For further information, see Joseph R. Svinth, "Tsuneo 'Piston' Horiguchi," on this site.
EN5. It is possible that the contest was actually in Ryukyuan sumo (tegumi) rather than karate. For the discussion, see Joseph R. Svinth, "YABU Kentsu, 1866-1937: Karate Pioneer," Journal of Asian Martial Arts, forthcoming.
EN6. Okinawa's financial backwardness relative to the rest of Japan continues to the present.
EN7. The influence of judo founder Jigoro Kano on the spread of karate must not be underestimated. In 1922, he personally encouraged Gichin Funakoshi, and in 1927 the kind words he had for Chojun Miyagi and Kenwa Mabuni helped convince those two teachers to introduce their karate styles into Japan. For details, see Gichin Funakoshi, Karate-do Kyohan, The Master Text, translated from the Japanese by Tsutomu Ohshima (Tokyo: Kodansha International, 1973), 11; Gichin Funakoshi, Karate-do Nyumon: The Master Introductory Text, translated from the Japanese by John Teramoto (Tokyo: Kodansha International, 1988), 26-27; and Graham Noble, "Master Funakoshi's Karate: The History & Development of the Empty Hand Art," Dragon Times, 4 (1995) 7-8.
EN8. Although German Americans such as Otto Flint, Rudi Uzhols, and Adam Ryan boxed professionally in the United States during the early 1900s, when English promoter Jack Slim tried introducing Queensberry rules boxing into Berlin around 1910, he found little interest in an activity most Germans associated with brawling. Then, during World War I the YMCA introduced German prisoners-of-war to the sport. After the war some German veterans continued boxing, and this led to the establishment of a Deutschen Reichsverband für Amateurboxen in 1919. Over the next several years, boxing clubs were established throughout Germany and Austria, and by 1921, members of the German right wing were claiming that boxing and similar combative sports provided the "moral antidote needed to save German youth from further moral ruin now that the [mandatory] military service has been abandoned."
EN9. At an international level, this statement is correct, but during 1922-1923 the Bolsheviks introduced boxing as a mass sporting movement into the Soviet Union, and by 1934 the All-Union contests in Moscow were drawing about a hundred fighters. In Japan, the Russian boxers were mostly White Russians and Czechs who had been evacuated from Vladivostok in October 1922. Yujiro Watanabe, the father of Japanese professional boxing, fought several of these men and said that they were not real boxers, but instead men who had never seen gloves before coming to Japan. This was not hyperbole, either, as in The Ring in November 1924 Dan Walton described Ivan Karloff, a 25-year old White Russian who had started boxing in Yokohama during 1923. "A crack athlete in Russia, Karloff took up jiu jitsu and boxing while in Japan and his first boxing contest resulted in a four-round kayo victory over Jack Anson, a giant negro sailor." Technically, said Walton, Karloff "showed promise, although naturally his ring tactics were by no means polished."
EN10. Although there had been boxing versus jujutsu matches in Japan as early as the 1890s, the country's first gloved boxing match between recognised professionals took place in Tokyo in May 1922. The Japanese participants included Yujiro Watanabe and "Young Togo" Koriyama, both of whom had learned their trade in the United States before 1920, while the American participants included the California fighters Charley "Young Stanley Ketchell" Mitchell and Spider Roche.
JCS Feb 2000
Through The Myth...To the Man
By Tom Ross
by Christopher Caile
This is the first of a two articles exploring the truths and misconceptions about Choki Motobu who was arguably one of Okinawa's greatest early twentieth century karate masters, and the most colorful. He was also the least understood and probably the most maligned.
Motobu was the third son in a great Okinawan family that had enjoyed privilege and landed nobility (Motobu peninsula), but which was largely ended by Japanese annexation of the island, modernization and social reorganization. A strong ox of a man with a will and ego to match, Motobu preferred the tough and tumble, practical karate over the pure practice of kata. Like many of his day, Motobu was not raised speaking Japanese nor was he schooled in the mainland's sophisticated etiquette and ways.
When he traveled to Japan this worked to his detriment and contributed to misunderstanding about him. He was at a comparable disadvantage to the like of Gichen Funakoshi, an educator, who spoke Japanese and was well versed in Japanese social skills. The two could not have been more different, like oil and water, with no love lost among their adherents. Funakoshi had been selected to give the first official demonstration of karate in Japan and whose intellectual approach gained him notoriety and a dedicated following. In contrast Motobu was more concerned with effective technique and fighting skills. And while he influenced many karateka in Japan, he never developed a large karate organization around his teaching as did Funakoshi.
The Time PeriodTwenty five years or so into the new twentieth century found Japan rising to the drumbeat of nationalism. Her victories over China in 1895 as well as Russia in 1905, followed by the official annexation of Korea in 1910, set the stage for militarism and pride in all things Japanese.
The Karatedo that Gichin Funakoshi had brought from Okinawa and had begun to teach in the Japanese capital was developing strong roots, and by April 12, 1924 he had awarded the first dan ranks in Karatedo (Sells 1996) to those who would serve as his cadre. It was a difficult task for this Okinawan gentleman, teaching what was essentially a foreign martial art on mainland Japanese soil. But with the aid and inspiration of Jigoro Kano (the founder of judo) and later the Dai Nippon Butokukai (Great Japan Martial Virtues Association founded in 1895 to preserve and promote the martial arts and ways), Karatedo would find its history carefully sanitized and the art repackaged in the image of Judo, Kendo and many other art forms. This was necessary for its acceptance into the Japan of the day. Karatedo would now be a gentleman's art whose ultimate purpose was self-cultivation. There was no room for the Bushi (samurai) of yesteryear, nor the heavy handed.
Choki Motobu was born on April 5, 1870. His father Choshin was a descendent of the sixth son of the Okinawan King, Sho Shitsu, namely Prince Sho Ko, also known as Motobu Chohei (Iwai 1994). Due to this lineage the male members of the family were permitted to retain the "CHO" character in their given names (Sells 1996). Young Choki, as third son to Choshin, was regarded by the Okinawan culture of the day as the rough equivalent to a feudal lord in social status. It has been stated by the noted historian Kinjo Hiroshi that although Choki was fathered by Choshin, Choki's mother was not his wife, but a courtesan. Choki was thus only a half brother to his elder Choyu, the eldest son in the family. It has been further suggested that he was consistently reminded of this fact as a child, and this may have contributed to his temperament.
Choki's eldest brother Choyu, in the Okinawan tradition, was given a fine education. He was also taught the family's secret "Ti" (fighting art) tradition that was only passed on to the eldest son. Young Choki was never allowed to participate. By some accounts, however, Choki secretly looked on at his elder brother's training and picked up many rudiments of the art.
Choki grew up with his mother. He was considered a strong child with a willful and fiery temperament, but athletically gifted and agile. His agility eventually earning him the name "Motobu no Saru Umei" (Monkey Motobu) for his ability to climb and swing in trees. At the age of four Choki was forced to begin attending school, but by his own account he hated studying and would often sneak off to play with friends (1).
Contrary to popular myth the legacy of Karate jutsu (karate whose emphasis is focused on effective technique) left by Choki (as distinct from his family tradition passed down through his brother) is alive and well, having been preserved by his son Chosei. It is through the works of Tsukuo Iwai, a top student of Chosei and a historian in his own right, that we obtain further glimpses passed down about the early years of Choki Motobu. Choki and his two brothers would often hit the makiwara and practice karate by imitation beginning at a very early age. Initially his training came via a relative who frequently visited the home. This Kobujutsu Master known as Ufuchiku (an old term roughly equivalent to police superintendent) would be immediately greeted at the door by Choki, who would say "let's practice Ti!" (Iwai 1994).
Ufuchiku was none other than the legendary Sanda Kanagusuku, a very close friend of Bushi Matsumura (the best known karate master of his time and teacher of Itosu). It is perhaps through him and his vast experiences in law enforcement that gave the basis for Choki's appreciation of the practical side of Karate.
Upon reaching his teen years Choki and Choyu both began training under Itosu (the great karate teacher who first introduced karate into the Okinawan school system, although the karate historian Mark Bishop states that he was eventually asked to leave because of his attitude of always trying to prove himself. Some sources also say he was a student of Bushi Matsumura. But despite his training, Choki could never seem to best his brother at "hindi" (2) (an older term for Kumite) which caused Choki to devote himself even more to training (Iwai 1994).
As reported in the 1934 journal, Karate no Kenkyu, Choki explained, "I was interested in the martial arts since I was a child and studied under many teachers. I studied under Itosu Sensei for seven to eight years." He went on to train with Matsumura Soken, Sakuma of Gibo and Kosaku Matsumora of Tomari (Iwai, 1994).
The common tales referring to Choki Motobu as a student of "no one," are thus less than accurate. If we take at face value that Choki spent two years living and training with Matsumora of Tomari (Sells 1996), then Motobu had nine to ten years of formal training without even considering the time spent with Kanagusuku (as a child) Sokon Matsumura and Sakuma of Gibo!
I have the impression however the greatest amount of time and the greatest impressions upon Motobu were made by Itosu, Sakuma and Kasoku Matsumora, for it is these men that he mentioned when asked during the 1936 meeting of the masters (Trans. McCarthy 1994).
The Search Begins
Having been exposed to so many brilliant masters of the day and at such a young age, Motobu's concepts of martial applications must have grown by leaps and bounds. It is through the research of Shoshin Nagamine in his book, "Tales of Okinawa's Great Masters," that we know that Motobu at the age of about seventeen approached a well known wrestler by the name of Komesu Magi (then thirty two and considered to be the biggest and strongest wrestler on Okinawa), asking him for a match.
Komesu was apparently very reluctant to engage someone of Motobu's high social standing, but relented when Choki insisted he merely wished to compare the differences between Karate and wrestling techniques. Motobu is said to have come away from this experience having learned about the strengths and limitations of Karate technique. If this account can be accepted as true, and there is no reason to doubt it, then Choki at the tender age of seventeen had a pretty fair knowledge of karate technique and was beginning his journey of self discovery.
Following his twentieth birthday, having gained confidence in his skills and perhaps motivated by his budding manhood, Choki visited the Tsuji Machi (known as the Red light district) to test his skills against those of similar ilk.
It is here where Motobu reputedly suffered perhaps his only real defeat, against Itarishiki (Iwai 1994), a fight that he would review night after night in his head. Nevertheless return Motobu did, and he would later recount, "I started having real fights at Tsuji when I was young and fought over a hundred of them, but I was never hit in the face" (3). According to Nagamine, Motobu was never known to start a fight, but was also never known to run from one. From these matches Motobu gained tremendous experience and adopted many practical techniques into his repertoire of skills.
Perhaps we should not judge Motobu so harshly, for in the words of Kenei Mabunie (the son of the great karate master and founder of Shito-ry karate): "In his younger days many people would challenge my father to Kake-dameshi (challenge match) or an exchange of techniques after they heard he was practicing Te. He accepted these challenges and would choose a quiet corner of town for the match."
Kenwa Mabuni himself recalled, "A young man he taught himself to fight independently as he had no Sensei for this. He attempted to prove himself by challenging many famous Sensei. Of course the Sensei would all refused his challenge and he returned home proud that these teachers were all afraid of him, not realizing they refused for his sake!"
While these accounts are interesting and obviously designed to discourage violence, it appears that they may be less than totally honest. It would be slightly naive to believe that no Kake-dameshi between two men trying to prove themselves ever escalated or that blood was never drawn. While Motobu was certainly no saint he was perhaps unjustly vilified for failing to conceal a part of his past that perhaps many more are guilty of than care to admit! It is further interesting to note that if Motobu was truly the barbaric anomaly he is often portrayed to be, by 1918 he was a respected member of an informal study group comprised of his brother Choyu, Chojun Miyagi, Shinpan Gusukuma and Chotoku Kyan (Sells 1996).
(1) As noted in the text "Motobu Choki Sensei:Goroku" by Hashihiko Nakata 1978
(2) This brotherly competition was the most likely source of rumors in regard to fights between Choyu and Choki. There is nothing to corroborate them as being anything more serious and this was further regarded as Highly implausible By Seikichi Uehara as mentioned by Richard Florence in Vol 5 Number 3 1996 in his personal interview with Richard Florence M.A.
(3)As noted in the text "Motobu Choki Sensei:Goroku" by Hashihiko akata 1978.
Through The Myth...To the Man
By Tom Ross
Editor's Note: This is the second of a two articles exploring the truths and misconceptions about Choki Motobu who was arguably one of Okinawa's greatest early twentieth century karate masters. Part one discussed Motobu's childhood, family, education and early karate training. Part two discusses the kata Motobu knew and practiced, his move to Japan, rivalry with Funakoshi, accomplishments and his continuing legacy.
The Kata Of MotobuAlthough it is often alleged that Motobu knew only the katas Naihanchi Shodan and possibly Passai, in light of recent developments this appears to be a complete misinterpretation of Motobu's knowledge and method of teaching. It was quite a common practice in the old days to begin a student training with Naihanchi kata and only when he mastered it to a degree considered sufficient was a new form taught. This seems to be corroborated through the words of Konishi Yasuhiro (as told by Yamazaki Kiyoshi in an article on Konishi) (4):
"Konishi Sensei considered Motobu to be a martial genius and made every effort to train with him. Motobu Sensei's favorite Kata was the Naifanchin kata (another pronunciation of Niahanchi). As a teacher he knew many Kata, but would only teach them once the student had mastered Naifanchin."Given Motobu's vast knowledge of Naihanchi, the applications of which were forged through actual altercations, it likely took a significant period of time to progress to another kata with him. Thus many of the modern stories which recount Motobu as knowing or having shown only the kata Naihanchi are told by those having trained for less than a year with him!
Further proof of Motobu's knowledge of other Kata comes inadvertently from Motobu himself. Motobu is quoted by Nakasone Genwa as describing a visit to Itosu Sensei (Itosu was perhaps the most famous karate teacher of his time) as follows:
"I visited him one day near the school, where we sat talking about the martial arts and current affairs. While I was there two to three students dropped by and sat talking with us. Itosu Sensei turned to the students and said 'Show us a kata!' The Kata they performed was very familiar to the Channan Kata that I knew but there were also some differences. Upon asking the students what the kata was, he replied, 'It is Pinan no Kata!'. The students left shortly after that, upon which I turned to Itosu Sensei and said 'I learned a Kata called Channan, but the Kata that those students just performed now was different, What is going on?" Itosu Sensei replied, "Yes, The kata is slightly different but the kata that you just saw is the kata that I have decided upon." (Nakasone 1934)While it has been speculated that Motobu never learned the Pinan kata (sometimes known as Heian), it appears now that this information may be correct. Motobu learned from Itosu before Itosu had fully developed the Pinans, a time when the katas were still practiced in their prototype form.
We further know that Choki Motobu passed on a significant array of kata which are part of the curriculum as maintained by his son Chosei. They include Naihanchi Shodan and Nidan, Channan (the predecessor of the pinan kata which within the Motobu system are called Shiraguma no Kata), Passai, Wanshu, Wankan, Chinto, Kusanku, Chinti and others. This demonstrates that Motobu was far more knowledgeable in terms of the kata than many have given him credit for.
Move To Japan
In 1923 (Iwai 1994; other sources say 1921), perhaps in an effort to find greener pastures, Motobu moved with his family to the city of Osaka on mainland Japan. Not long afterwards he returned briefly to Okinawa for three months which he spent training with his brother Choyu. This was when a nineteen year old student of Choyu by the name of Seikichi Uehara first met Choki. Uehara recalled having Choki for a training partner: "Every time I punched Choki hit my arm before I could touch him. He hit it so hard he almost broke my arm" (Uehara 1992).
Soon after Choki returned to Osaka, he obtained a job as a security guard. This was no small feat for someone who reputedly never learned to speak Japanese in any fluent fashion. We must remember, however, that Motobu was nobility by birth and perhaps as an act of personal defiance (which was not unheard of in those days, something also done by the karate legend Hohan Soken), he refused to humble himself and learn what was to him a foreign tongue.
In November of 1924 (Iwai 1994) an event would took place which brought Choki to the attention of many on mainland Japan. On his day off from work at the factory, Choki and his landlord saw a sign advertising a challenge match with boxers in Kyoto and decided to go. Having viewed several matches where the boxer (reputed to be a European boxing champion) defeated several judo people, Motobu accepted the challenge himself. He entered and felled the much larger boxer.
Motobu would later recount to students: "When I fought the foreign boxer in Kyoto, he was taller than me so I jumped up and punched him in the face. This is effective against people who are taller than you." (5) This did much to stimulate Motobu's reputation (according to Iwai) and many began to seek him out for instruction.
Another source (Choso Nakama quoted in the book, "Okinawa Karate" by Mark Bishop) recounted that Motobu had at first just dodged the boxer. But in the second round the boxer came on strong. Motobu hit him (after jumping up) with a typical "Ti" (old term for karate) technique, a knuckle strike behind the ear.
At fifty-two years of age and after putting his honor and reputation on the line, Choki finally began to attract the attention he truly deserved. Choki formed the Society for the Promotion of Toudijutsu (an old term for karate).
It certainly must have been a shock to Motobu, however, when in the following September (1925) an article appeared in Kingu magazine describing his bout with the boxer.
1925 King Magazine article showing Funakoshi, not Motobu, defeating a boxer in a challenge match.
The picture accompanying the article, however, was not of him. Instead it was a drawing of none other than Gichen Funakoshi, shown as felling the boxer.
It was rumored by those close to Motobu that he was angry about this misrepresentation but felt quite helpless against the resources of company the size of Kodansha (which owned Kingu). Perhaps he felt Funakoshi himself or one of his collage student Karateka (where many journalists began) was behind the error.
In any event there was certainly some bad blood between them and this incident may very well have played a part in Motobu's decision to go to Tokyo and seek out Funakoshi.
Although many stories exist about a confrontation between the two (6), I am unable to find any confirmed accounts giving specifics of the battle. David Chambers, however, in a Tsunami video tape, "Wado Ryu the way of peace and harmony," claims that: "Yasuhiro Koneshi reported that a newspaper carried the story of a fight that took place between the two in 1930. When Funakoshi finally faced his nemesis, his feet were instantly swept from beneath him and he suffered the indignity as he lay at Motobu's feet of having his face menaced with the latters enormous fist."
Whatever the facts of this story, Motobu was beginning to attract attention. Several judoka and wrestlers sought him out to learn fighting skills. Two of Funakoshi's top students (Hironori Ohtsuka and Koyu Konishi) also left to train with Motobu. The defection further added to the deterioration of relations between the two teachers. Another karateka to seek out Motobu was Kose Kuniba (known as Kosei Kokuba in Okinawa).
Interest in the testing of karate fighting skills was perhaps understandable since in Japan at that time, judo (a synthesis of old jujutsu self-defense systems) and kendo (old warrior sword arts modified into a sporting form) had been adopted into the Japanese education curriculum and were popular. Both offered competition formats. The attraction of practice fighting thus naturally bled over to many young karateka who sought to test their skills or develop effective technique in their own art.
The true feelings between Motobu and Funakoshi may never truly be known. But, it can be assumed that Funakoshi (a well educated school teacher who spoke Japanese and was well versed in Japanese social customs) may have regarded Motobu to be densely illiterate. He was also probably irritated by the fact that Motobu was higher placed in the old Okinawan class system. Motobu in turn probably regarded Funakoshi as a mere confidence man, someone who had learned only the most superficial aspects of karate and kata and was not a strong fighter.
If Motobu's intent in traveling to Tokyo was to drive Funakoshi out, he didn't succeed. Funakoshi had been there a bit too long and Motobu's lack of linguistic ability surely limited his ability to communicate.
To Motobu's credit he did manage to author two rather excellent books on Karate. It has been put forth by Chozo Nakama (a disciple of Chosin Chibana) that these works were dictated and translated into proper Japanese for publishing. This is only logical since Motobu didn't speak more than pigeon Japanese.
The first book, "Okinawa Kempo: Karate-Jutsu On Kumite" was published in 1926. It came just four years after Funakoshi produced the first published book on karate. Funakoshi's book (1922 and updated with photos instead of drawings in 1924) illustrated mostly kata and formalized self-defense. The two books couldn't have been more different.
Funaksohi's book reflected his own personal preference of kata as a principal teaching method and his opposition to focusing on sparring. He considered it detrimental to karate practiced as a martial way.
Motobu's book was just to opposite. Its focus was on fighting -- effective close-in skills as illustrated in this photo. Featured were a series of practical responses to variety of attacks. Utilized were a variety of punches, vital point and unbalancing techniques accompanied by grabs, blocks, knees and strikes using both arms. Kicks, it should be noted, were minimal.
In 1932 Motobu published a second book, "Watashi no Karatejutsu" ("My karatejutsu") which served as a natural complement to his first. This book focused on illustrating his favorite kata, Naihanchi, along with many applications, some of which had been adopted and illustrated in his first book. Notice that this photograph from his book illustrating a move from the kata Naihanchi (Tekki in some Japanese systems) illustrates the same stance and technique as used in a fighting technique (above photo) illustrated in his first book.
Choki Motobu returned to Okinawa several times, most notably for the 1936 meeting of the masters sponsored by the Ryukyu Shinposha (Okinawa newspaper company). The purpose of this meeting was to discuss the promotion and future development of Karate (McCarthy 1994).
Motobu was respected both as a person and a martial artist during his lifetime. After his death, however, negative rumors and stories circulated (perhaps propagated by those who feared him in life). He is often described by those who actually knew him, however, as a quiet man who presented the very picture of dignity.
Other attendees included such other karate masters as Chojun Miyagi, Choshin Chibana, Chomo Hanshiro, Shinpan Gusukuma, Juhatsu Kiyoda and Chotoku Kyan. (7)
Choki Motobu passed from this life on August 1944.
Concepts of Toudi (karate)
The following are but a few of the noted concepts Choki Motobu expressed to his students and are recorded by Hashihiko Nakata as overseen by Kenji Marukawa (a direct student of Choki Motobu) from the 1978 essay "Motobu Choki Sensei Goroku" (Collection of sayings by Choki Motobu) as partially translated by Joe Swift.
"Everything is natural and changing.Motobu's Legacy
Kamae is in the heart, not a physical manifestation.
One must develop the ability to deflect attack even from behind.
In a real confrontation, more than anything else strike to the face first, as this is most effective.
When punching to the face one must thrust as if punching through the head.
Kicks are not all that effective in a real confrontation.
When blocking kicks, one must block as if trying to break the opponents shin.
One must try and block the attack at its source (Block not the attacking hand but deeper on the arm).
Karate IS Sente
One can not use continuous attacks against true Karate. That is because the blocks of Karate make it impossible to launch a second attack."
While Motobu never became as famous as Funakoshi, around whom Shotokan karate and its many offshoots developed, he did leave a rich karate heritage in the Osaka, Kyoto and Gunma areas of Japan. While he never organized his own system, he did play a positive role in the development of several karateka who went on to become famous in their own right. This included Yasuhiro Konishi (who also studied with Funakoshi) who founded Shindo Jinen Ryu in 1934 and Kose Kuniba who founded Seishinkai Karatedo in 1934. Another student was Hironori Ohtsuka (also a well known student of Funakoshi) who went on to found Wado-ryu karate with a curriculum that stressed practice fighting, something that reflected Motobu's influence.
Choki Motobu's son, Chosei, also continues to teach his father's tradition of karate. The style is known as Nihon Denryu Heiho Motobu Kempo and the name of his individual dojo is the "Daidokan."
Between the publication of his second book and his return to Okinawa in 1936, there is little information, but there is one fascinating reference. It is recorded that he traveled to Hawaii in March of 1932 and encountered visa problems.
Refused entry, for about a month he was detained at Honolulu immigration station before being returned to Japan.
While in Hawaii Motobu began to instruct Thomas Shigeru Miyashiro, a resident who tried to help Motobu with his visa problems. This started a continuing relationship with Motobu, who is reported to have asked both Mizuho Mutsu and Kamesuke Higashionna to continue to help train Miyashiro when they traveled to the island the next year. This relationship was later continued by Choki's son. Chosei (along with Takeji Inaba) visited Hawaii Karate Seinenkai on April 25, 2001.
It is my sincere hope that in the future additional facts will come to light about this great man and that he will be given credit not only as a talented Karateka but as the Martial Genius I believe he truly was. It will only be through the objective observation of the facts and accounts of those who knew Choki Motobu that we will be able to see "Through the Myth to the Man."
Special Thanks to Joe Swift for his friendship, encouragement and translations as well as his intense dedication to Karate which allowed me to obtain the substance to back my thoughts and without whom this search for the truth would not have been possible. Thanks also to Christopher Caile whose editing, addition of pertinent historical facts and historical photo collection added much to this article series. Thanks also to Patrick McCarthy for the images from the 1925 King Magazine article which depicted Funakoshi, not Motobu, defeating a boxer in a challenge match and the picture of Motobu's 1932 book, "Watashi no Karatejutsu," which he is currently translating.
(1-3) Footnotes found in part one of this two part series.
(4) As recounted in a special article for Dragon times Vol. 9, The Origins of Karate-do, "Shindo Jinen Ryu Karate," Yasuhiro Konishi Sensei's contribution to Karate by Howard High (Note: The Dragon Times in its printed version of its publication erroneously attributed the authorship of this article to Kiyoshi Yamazaki, an error corrected in the Web version of the article).
(5) As noted in the text Motobu Choki Sensei: Goroku" by Hashihiko Nakata 1978.
(6) In Nakata's 1978 book, which was overseen by Choki's direct student Kenji Marukawa, Motobu recounts the following statement: "When I came to Tokyo, there was another Okinawan there who was teaching Karate quite actively. When in Okinawa I hadn't even heard his name. Upon guidance of another Okinawan I went to the place where he was teaching youngsters, where he was running his mouth, bragging. Upon seeing this, I grabbed his hand, took up the position of Kake kumite and said "What will you do?" He was hesitant, and I thought to punch him would be too much ' so I threw him with Kote Gaeshi at which he fell to the ground with a thud. He got up, his face red and said "Once more" so we took up the position of Kake Kumite again, and again I threw him with Kote Gaeshi. He did not relent and asked
for another bout, so he was thrown again for a third time."
(7) It was at this meeting that the masters agreed to the change of the first character ("Kara") in the name karate to mean "empty," rather than "Chinese" (both characters are pronounced the same) which had been the most widely used meaning up to that time. This was an important change because "empty hand" was a much more acceptable meaning of the term karate in Japan than "Chinese hand. This change was an important factor in the widespread adoption of karate on the Japanese mainland.
Master Black Belt
While I didn't get to read it all yet, it is very good article. Thanks Robert.
Many of these pictures could be taken from a wado book. It is often questioned how much time Ohtsuka and Motobu trained together. I don't know. But I do know the third picture in your first post looks just like part of wado ryu's kihon kumite no. 5.
Another thing often seen in wado-ryu is this unbalancing after moving offline, pushing the knee with your knee and controling/ pulling the arm perhaps standing in a strange tate seishanlike stance. I always thought that this must come from japanese traditions. Something like taisabaki to avoid the bladed weapon, control the body and weapon by grabbing above the elbow, and on the shoulder or neck and push the knee.
But I read Motobu also talked about what should happen to naihanchi-dachi in applications and that naihanchi-derived stance looks very much like the way you stand when unbalancing the opponent with your knee, very much like tate seishan dachi. Just makes me wonder...
Thanks a lot for sharing those articles!
Expect only what happens in the fight. That way, you'll never be surprised.
Motobu is one of my favorites. I have the video of his son Chosei demonstrating the entire Motobu Ryu curriculum, and the book that was compiled and published in English by Patrick McCarthy "Watashi No Karate Jutsu" which also has the Twelve True Kumite forms from Motobu's first book, "Okinawa Kenpo Karate Jutsu" and many other things besides such as rare interviews, a section about how to fight by Chotoku Kyan, and the Reprint of the King Magazine article detailing Motobu's fight with Jan Kentel. I never tire of re-reading that book or watching the video put out by Tsunami Productions. An excellent example of the pre-Japanese Karate mindset. "Karate is sente" rather than "Karate ni sente nashi."
"If it isn't over in three moves, step back and see what you're doing wrong."---Ark Y Wong
Kajukenbo (Original Method AKA: Kenpo Karate Method: AKA: Hard Style AKA: Emperado Method)
Bishop's Kajukenbo Academy
He is one of mine too....especially since one of my teacher’s teacher studied under Motobu.Originally Posted by Danjo
I have collected his Motobu’s sons video tape series as well as Motobu Choki’s books on Karate in Japanese. Reading them gives you an idea of what karate training was like before it got commercialized.
One of the main things I like about Motobu is he was an ass kicker and could walk it like he talks it.....unlike many of the MA people today.
There's a tape series? I only have the one from Tsunami, where could I get the rest?
"If it isn't over in three moves, step back and see what you're doing wrong."---Ark Y Wong
Kajukenbo (Original Method AKA: Kenpo Karate Method: AKA: Hard Style AKA: Emperado Method)
Bishop's Kajukenbo Academy
This thread was split, with the remainder of it under review,
Please feel free to continue this thread and the good information that is here
Don't do what you can't undo, until you've considered what you can't do once you've done it.
a saying of king shrewd in Assassin's Apprentice by Robin Hobb
Here is a link to the video someone mentioned:Originally Posted by Danjo
From the site:
In the course of our professional duties we are exposed to a wide variety of martial arts/karate videotapes ranging from the really bad to the outstanding, a category into which the subject of this review falls. Our editorial guidelines dictate that we only chose products for review that we feel are exceptional, (because we are constrained from publishing negative reviews), that are unique, and that we feel would be of special interest to readers of this publication. The Karate of Choki Motobu meets all these requirements.
The legend of Choki Motobu was constructed, for the most part, by his rivals and is full of distortions, half truths, and propaganda. Conse-quently, the picture of the man that has come down to us is one of an illiterate, psychopathic Neanderthal who was a stain on the image of karate, and an embarrassment to the better bred and educated karate pioneers such as Gichin Funakoshi.
To support this concept, amateur historians have promoted the myth that Motobu was inordinately large with huge hands and a desire to use them on any unfortunate who opposed him. 1) Peter Urban described him as a giant of over seven feet tall who liked to “grab his enemies and chop them to death.” Robert Trias, who claimed to be a student of Motobu, moderated this slightly by stating that he was only only 6'– 8" tall. Richard Kim told English historian and author Graham Noble that Motobu was a mere six feet tall and weighed around 200 pounds. However, it is perfectly clear from photos with people of known height (notably Yasuhiro Konishi) that he was 5'–2" or 5'–3" and weighed around 170 lbs., which makes it difficult to comprehend how the “experts” got it so wrong especially the one who claimed to have known him. At a time when the average Okinawan stood around five feet tall and weighed approximately 140 lbs., somebody should have asked themselves why a seven-foot-tall (300 lbs.?) Choki Motobu would even need to study karate.
The suggestion he was an illiterate peasant is also widely accepted due to the tendency of contemporary “historians” to reiterate the errors of their predecessors. 2) In reality he was a member of a prominent aristocratic family of such status that Gichin Funakoshi would not normally have come into social contact with him, let alone been regarded his equal. We also now know from his handwriting that he was by no means illiterate, in fact his hand is strong and polished suggesting a powerful mind polished by an extensive education in the liberal arts as befitted a person of his rank.
His karate, however, has remained a mystery as the only widely available technical source was his small book Watashi no Karate (My Karate), published in 1932. The photos in this volume give a powerful impression of the style but little more. Like the savory odors wafting through a kitchen window, they do a great deal to whet the appetite but nothing to satisfy the hunger. Choki Motobu returned to his homeland late in life and died there in 1944. Therefore, as those of his senior students who survived the war would now be in their seventies and eighties, it seemed the “living” style had become a casualty of time and neglect.
3) That was until the diligent research of Kimo Ferreira and his wife Kiko led to the “discovery” of Chosei Motobu’s youngest son, a retired police officer living in Osaka, Japan. If you have been following the column Charles Goodin writes for this publication, you will know what happened next: a trip to Hawaii for Motobu sensei and his colleague Takegi Inaba, followed by a trip to California, and soon the publication of this new video by Chosei sensei demonstrating and explaining his father’s unique karate method.
Watching the two of them train in the Los Angeles Suiho En Dojo was like watching come alive after seventy years. Apparently simple blocks (in the book) became sliding, pounding arm attacks; what appeared to be a simple short range straight punch in a vintage photo, was revealed to be an explosive thrust coupled with a debilitating kick to the inside of the opponent’s knee. It was very soon apparent that while the character of Choki Motobu had been sadly misrepresented, the effectiveness of his karate had not.
This is a very close form of fighting that is dynamic and fluid. 4) There are no blocks as such—a block in Motobu Ryu is a crippling strike to the opponent’s attacking arm or leg, a swerve followed by a lock, a grasp followed by a takedown. The principle seems to be that if you block an attack you are being reactive, in other words you are responding to or being controlled by your opponent. On the other hand, if you strike your opponent’s attacking arm (proactively) on the way to your target (his head, body) you have the advantage of speed, timing, and range. This gives Motobu Ryu a tremendous efficiency and effectiveness as movements are short, the techniques natural and continuous, and the range so short that most opponents would be overwhelmed. Just as importantly, the techniques and their applications do not take an act of faith to embrace. They make such perfect sense that one wonders why it wasn’t completely obvious in the first place.
Motobu Ryu has a small curriculum, Naihanchi one and two as well as the famous “twelve true fighting techniques” of Choki Motobu. However, what it lacks in quantity it makes up for in quality. The techniques are easy to learn and apply which is why, presumably, the dojo rules of the 1930s Daidokan dojo reminded students: “You are not supposed to reveal our secret techniques to others.”
We watched this video as it was having the soundtrack added and it is an impressive piece of work. The historical section is very strong, and illustrated with rare and unusual images and artifacts including a lot of new material from the Motobu family collection. The techniques are filmed from both sides and therefore easy to follow. The explanations are clear, relevant, and given in English over the voice of Chosei sensei. All in all a very fine program that will be of interest to anyone who has ever wondered what karate was really like a century ago when Choki Motobu was a student.
A word of warning: this is not modern/sport/recreational karate and extreme care should be exercised when practicing these techniques. The locks will easily break the elbow or dislocate the shoulder if applied with even moderate force and the blows to the inside of the knee are extremely painful and can have long term repercussions. These techniques were developed by Choki Motobu from countless confrontations with other fighters and are designed to be get the job done. Treat them with respect!
The Karate of Choki Motobu with Chosei Motobu and Takegi Inaba.
Running 54 minutes, includes the history of the Founder and his style, 5) Naihanchi 1 & 2 and the Ju Ni Hon Kumite techniques. $39.95 Strongly recommended!
1)I strongly discourage people that have read “Historical” books by the authors mentioned here to take what they say as “fact”. I lost respect for all 3 authors when I read some of their accounts of history. Kim especially since he has been billed the “Harvard Prof. of Karate History”. What nonsense.
2)Actually Motobu was Funakoshi’s senior “socially” as well. Motobu’s family descended from Okinawan Royalty where as Funakoshi’s family were from minor class Bushi of some sort.
3)Uh??? Maybe for westerners but he has been known about in Okinawa/Japan for a looooong time.
5)Ju Ni hon (12 basic) kumite techniques……I think someone mentioned earlier that they were not on the video when actually they are.
My overall impression of this tape was the it is a must have for any amateur Karate Historian and a definite “recommend” for anyone doing an Okinawan style.
I've been lurking on this thread for quite some time. A lot of great information. Thanks Robert! As someone doing koryu, gendai karate never really appealed to me, but this kind of thing does.
I'll be over in Japan in April maybe we can arrange a rounding up of the usual suspects or something.
In my opinion, the tape with Chosei is essential for a complete understanding of the 12 true Kumite forms from Choki's book. It really makes them understandable. They are some of the best techniques I've seen in the classical styles. Total no-nonsense stuff. Also, the Nihanchi kata are a bit different than seen elsewhere in terms of how the hands are used and the number of foot-sweeps/ hidden kick techniques. Very much worth adding to one's library, and it really needs to be put on DVD at some point!
Last edited by Danjo; 02-19-2005 at 03:30 PM. Reason: spelling
"If it isn't over in three moves, step back and see what you're doing wrong."---Ark Y Wong
Kajukenbo (Original Method AKA: Kenpo Karate Method: AKA: Hard Style AKA: Emperado Method)
Bishop's Kajukenbo Academy
I agree.Originally Posted by Danjo
However, I think there is more to the 12 techniques than is shown in the video. Knowing Okinawan karateka they most likely have a few cards they haven't played yet.
If I am still on Yokosuka base in April let's do that.Originally Posted by Saitama Steve
Hey, I'll take what I can get Having the video to go along with the book is more than I had hoped for and when I got it, I was thrilled to see the movements from the book come to life.Originally Posted by RRouuselot
Kajukenbo (Original Method AKA: Kenpo Karate Method: AKA: Hard Style AKA: Emperado Method)
Bishop's Kajukenbo Academy