While Isshin-ryu is a relatively new style, and while it has been fairly controversial
since its establishment in 1954, it is important to realize that Isshin-ryu is very firmly
rooted in traditional karate, and that, while Master Shimabuku was an innovator, he was
also the most accomplished traditionalist of his day. Thus Master Shimabuku may be likened
to other great and innovative artists, such as architect Frank Lloyd Wright or the
painter, Picasso. While Wright introduced many new and bold concepts to the art of
building, and in some ways revolutionized the practices of architecture, he was well
trained in principles, techniques and materials that go back to the builders of ancient
civilizations. And while Picasso's paintings reflect his radical departure from
traditional depiction of images, he was able to paint as realistically as any landscape or
portrait artist. No one lacking the formal training of these two figures could have
possibly matched their innovative creativity. Similarly, Isshin-ryu could have been
invented only by one who had absolutely mastered traditional karate. Tatsuo Shimabuku was
an acknowledged expert in Goju-ryu and Shorin-ryu before he refined and tempered the
techniques, and handed down a style that is as pure and effective as any practiced today.
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Master Shimabuku was born on September 19,1908,
and began his study of karate as a boy with his uncle, who practiced Shuri-te. He
continued his studies with three great Okinawan masters: Chotoku Kyan, Chojun Miyagi and
Choki Motobu. These three are featured in "The Weaponless Warriors"; and Richard
Kim's notes and charts clearly show how they tie into the long tradition of karate.
Kyan was a student of Master Yasutune Itosu, who
taught Shuri-te, and of, Master Matsumora, who taught Tomari-te. These two styles were
combined to form Shorin-ryu (named after the Shaolin Temple tradition), and Kyan was one
of Shorin-ryu's greatest practitioners. He was famous for his powerful kicks and for his
outstanding teaching ability. Kyan was a stern perfectionist, and young Tatsuo Shimabuku
achieved the honor of being his best student. |
Chief Grandmaster Shimabuku
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Miyagi (1888-1953) was the best student of the
Naha-te grandmaster, Kanryo Higashionna (1845-1915). Higashionna had established Naha-te
by combining te with Chinese kempo, which he had studied for years in China. Naha-te was
distinguished by its integration of soft kempo and hard kempo. It emphasized the Sanchin
stance, which Higashionna had developed to the point that he was immovable when he had
assumed the stance and heated the floor with the powerful gripping of his toes. Miyagi
studied with Higashionna for a number of years then went to China himself to study kempo.
He returned to Okinawa and formulated the style called Goju-ryu (hard/soft way). For
accounts of his deeply respected personality and his lifelong devotion to and techniques
in karate, consult the chapters on Miyagi by Richard Kim and Frank Van Lenten. Miyagi was
known as an exacting sensei whose grueling workouts greatly strengthened the body and
built up endurance. With Miyagi, Tatsuo Shimabuku went through training that was very
influential to the ultimate development of Isshin-ryu; for example, the emphasis on
breathing and tension, the low kicks, and the development of mind, body and spirit.
Motobu was a less formal instructor, but an
accomplished master in Shorin-ryu, and an indomitable fighter. Coming from an ancient line
of Okinawan nobles, he had an eccentric personality and an enormous physique. As Richard
Kim states, he is remembered as a brawler as well as a master, but no doubt his
instruction offered Tatsuo Shimabuku invaluable lessons on the practical application of
the art of karate.
Under these three sensei’s, Tatsuo Shimabuku
developed abilities that mutually complemented one another in making him a quintessential
karate-ka; flexibility, coordination, power, speed, balance, ki, technical perfectionism,
oneness with the art, heightened awareness, honor, humility, streetwise practicality. With
additional training under weapons experts, Tatsuo Shimabuku became one of the most
accomplished karate-ka of his day.
From the late 1920's to the 1940's, Master
Shimabuku's prestige and authority in karate increased. Like most of the Okinawan
population, Master Shimabuku was a poor farmer. He also worked in his village as a local
tax collector. The first half of the 20th century was very difficult for Okinawans in his
station in life. The Japanese rulers were unconcerned about the extreme economic hardship
on the island, and unresponsive to the Okinawan leaders' petitions for land and tax
reform.
Karate was Master Shimabuku's way of life, but at
that time the art would not earn a living for most of its experts. With the advent of
World War II and the forced conscription of thousands of Okinawan men, Master Shimabuku
and his family sought refuge on another island. Shortly before the Japanese surrender, the
Battle of Okinawa devastated the island, its economy and its inhabitants. The Japanese
stubbornly resisted the Allied Forces from its headquarters in the ancient castle at
Shuri. The Americans dropped tons of explosives on the island and waged bloody infantry
tactics. Most of the ancient buildings, gardens and monuments of the ancient Ryukyuan
kingdom were destroyed, and over 100,000 civilians were killed (along with an additional
100,000 soldiers). After the Japanese were defeated, the Americans occupied Okinawa and
began a massive effort of reconstruction. Having returned to Okinawa, Master Shimabuku
resumed farming, until Okinawan civilians and, later, American servicemen began to seek
him out for instruction in karate. In the early 1950's, Master Shimabuku decided to
establish a formal dojo at his home in Chun Village, and became one of the first
successfully professional sensei’s. Later, the school's success prompted Master
Shimabuku to move his dojo to Agena, where large numbers of Americans could have access to
his instruction.
Master Shimabuku had been experimenting with new
approaches in karate for a long time. But with his energies focused on his art, Master
Shimabuku's creative spirit increasingly analyzed and synthesized all the kata, techniques
and applications he had perfected. He continued the slow, methodical, thorough process of
modifying Shorin-ryu and Goju-ryu into a style that he found more practical and effective.
His experimentation was galvanized by his visionary dream of the Mizu-Gami. The vision
unified his ideas and his purpose. On January 15, 1956, Master Shimabuku publicly
proclaimed that he would teach a new style called Isshin-ryu, one heart or whole-hearted
way.
Master Shimabuku always said that there was "no
birthday" for Isshin-ryu. He had been adding to, and subtracting from the style for
years before 1959. His aim has been to develop a system that would apply sudden, direct,
powerful force, while eliminating unnecessary movement. His ideas and innovations in
karate are preserved in, and handed down through, the eight empty-hand kata of Isshin-ryu:
Seisan, Seiuchin, Naihanchi, Wansu, Chinto, Kusan Ku, Sunsu and Sanchin. Most of these
katas were adapted from their ancient forms, while Sunsu (or Sunusu, "son of Su (the
ancestral house of Shimabuku)" was created by Master Shimabuku and, therefore,
embodies Isshin-ryu in its essence. These katas were chosen, and refined laboriously and
assiduously so that they might exemplify Isshin-ryu, and aid in the instruction of
students in Isshin-ryu. They are a legacy from Master Shimabuku that continues to be
handed down from sensei to student.
For almost twenty years, Master Shimabuku taught
Isshin-ryu to many Americans, as well as Okinawans. But his style was not readily accepted
by the traditionalist karate-ka. Unfortunately, there is no completely reliable
publication in print on the history of Isshin-ryu. Master Arsinio J. Advincula, who spent
many years studying in Master Shimabuku's dojo and is credited with designing the
Isshin-ryu patch, is considered one of the leading historians of the style. Some of Master
Advincula's writings have appeared in various magazines, but his projected book has not
been published yet. When it is published, his book promises to be particularly valuable
for those interested in Isshin-ryu, because the existing accounts of this style are
insufficient.
Master Tatsuo Shimabuku died May 30, 1975. Before
his death, he was filmed performing the Isshin-ryu kata on at least two occasions. While
Isshin-ryu has suffered a decline in Okinawa, in America the style is thriving, owing
largely to the dedication of Master Shimabuku's students, who have established their own
dojo's all over the nation, and have endeavored to pass on Isshin-ryu in its prescribed
form. We have seen what a unique and phenomenal creation Isshin-ryu karate is. Master
Shimabuku never dwelt on the past, but lived squarely in the present. The future of
Isshin-ryu is in the hands of the present. Today's Isshin-ryu karate-ka should strive to
preserve such a singular creation in its original form, through cooperation, careful
study, and a new area of tradition.
* Reference the American Okinawan Karate Association |
