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THE INFLUENCE OF THE JAPANESE MARTIAL ARTS IN SHORINJI KEMPO The Shorinji Kempo has a Chinese influence almost with complete certainty, nevertheless cannot be avoided the important Japanese substrate that there is in this discipline, it although its exact origin and degree of influence are as much or more confused than the Chinese, because at times it has been omitted and in others he has been exaggerated, according to the political or social situation. It seems to be that the first martial instruction that Under Doshin received, came from the hand of its grandfathers Under Shigeto (also known like Juen Under) between 1920 and 1927. It counts the official history of the Shorinji Kempo that the grandfathers of Under Doshin were expert in Jujutsu, Kendo and send, although we do not know exactly what style, of many that they exist in the Japanese arts, it knew and it taught to his grandson, and whereupon depth did it. One of the emblematic styles of the Butokukai can that was Daito Ryu, association by which was certified its grandfathers; but there is nothing no definitive on the matter, since also other styles of Jujutsu, and even the same Judo, were present in the prestigious association. Later, Under Doshin it entered to comprise of the Japanese army, and member, in addition, of the Kokuryukai (Society of the Black Dragoon) receiving military training of this society before being sent to Manchuria in 1928. This instruction had to include martial preparation without no doubt, although we ignored what style or styles could include its formation. Very possible, that the importance of the Butokukai is given then, learned some style gathered by this martial association. He is not either dismissable that learned some police system or military hybrid, effective then in the average military, like for example the Keishicho Budo, a style of fight with police aims created in 1885 from traditional styles of Jujutsu. This style included sixteen techniques without arms that denominated Keishi Kenpo, existing in addition technical to Hojo Jutsu (moors) and Kappo (pressure to the key points). Later Under Doshin it remains in China between 1928 and 1946, and although it seems that it makes his life between Chinese (at least until 1936), is not dismissable that also had some contacts with companions of the Japanese army which they had Japanese knowledge of traditional martial arts, and that existed a certain learning or interchange, although it was of an informal way. In fact, numerous teachers and Japanese experts in martial arts of the time were in Manchuria. In this sense it is necessary to emphasize the testimony of Kori Hisataka (1907-1988), founder of the style Shorinji Ryu Kenkokan Karate, that he affirmed to have had by disciple to Under Doshin in Manchuria. More ahead we will go deep in this testimony. Finally, after his return to Japan in 1946, he knows themselves that Under Doshin he observed and he analyzed diverse arts and forms of fight, and he even got to practice during months a style of denominated Jujutsu Hakko Ryu. All these mentioned occasions gave to Under Doshin with almost total security the opportunity to acquire a knowledge of the Japanese styles, that later would influence in the formation of the Shorinji Kempo. Be as it is the Shorinji Kempo has elements very similar to diverse Japanese styles like the Jujutsu, the Karate, the Judo, the Kendo, the Extreme one, the Nippon Kempo, etc, as we are going to see next. The Shorinji Kempo and the traditional styles of Jujutsu In general terms we can affirm that the Shorinji Kempo has numerous elements in common with the classic styles of the Japanese Jujutsu. These classic styles almost are not known in the West, and nothing has to do with the Jujutsu imitate by the western federations from the Judo, the Karate and the Aikido. This similarity seems to indicate that surely Under Doshin it received a determining influence of some of these styles. Some of the most remarkable characteristics of the Shorinji Kempo that seem to come from the Japanese styles are the following ones: - The great percentage of luxación techniques and projection: This characteristic of the Shorinji Kempo corresponds more with a style of Jujutsu that with a style of Kung Fu. The styles of Kung Fu also have this type of maneuvers, denominated Chin Na, although they are not of a as frequent use as in the Jujutsu. What yes it is certain is that most of the techniques and styles of traditional Jujutsu they affect the projections in the style of the Judo much more, that in the luxación techniques. On the other hand it is necessary to clarify that although in the Shorinji Kempo the number of techniques of this type is more abundant than the one of those of I strike, rarely surpasses 30% of the time in the daily instruction. - The techniques of escape before you take hold: Although also used by the Chinese styles, these techniques are own of the Japanese styles, in which the crucial aspect studied to get away of takes hold that it prevented to unholster or to use the katana; although the certain thing is that the escapes that I have had the opportunity to see of these Japanese styles are enough coarser than those of Shorinji Kempo. In the styles of Jujutsu these techniques denominate “hodoki”, “hogusu” or “hogure”; whereas in the Shorinji Kempo they designate with the term “nuki”, a term that comes from the Kendo and that means “to unholster”. Between the classic styles that affected the study of these escapes were the Yagyu Shingan Ryu and the Sho Sho Ryu, for example. - The existence of mooring techniques: This type of techniques is typically Japanese, and hobaku” or “hojo is denominated “jutsu” in the classic styles of Jujutsu; although also modernly they have been used by the Japanese police bodies. In the Shorinji Kempo a pair of these techniques exists only, but they indicate a clear Japanese origin. Among other Japanese styles, this modality is practiced in the Enshin Ryu, in the Takenouchi Ryu, the Muso Ryu and the Araki Ryu. - The existence of techniques of control or arrest: These denominated techniques “torite” in the classic styles of Jujutsu also have their place within the Shorinji Kempo (Tori waza). Although this type of techniques also appears more recently in manual Chinese, and specially in those of the Chinese police, do not know much in relation to the Kung Fu, whereas in Japan were usual between the shogunales guards, the feudal police and even
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whereas in Japan were usual between the shogunales guards, the feudal police and even between the soldiers, in order to capture alive its enemies. Many classic styles like the Takenouchi Ryu, the Araki Ryu and the Yagyu Shingan Ryu practice these techniques. - The use of own key points of Japanese systems: As much the techniques of resucitación (kappo) like of destruction (denominated “appo” in Shorinji Kempo, and “sappo” in the Japanese traditional styles) are present in the Shorinji Kempo, and very are considered in styles like the Takenouchi Ryu, the Yoshin Ryu, the Daito Ryu, the Seigo Ryu, the Hakko Ryu, East etc. aspect of the key points also is considered important in many Chinese systems, like for example in those styles that gave rise to the original Karate of Okinawa (the styles of the Grulla de Fukien, the Tiger, the Lohan, etc.) although according to some experts points that the Shorinji Kempo studies would be typically Japanese. - The use of the cane of denominated monk Shakujo: This cane finished off with a metallic end and sonorous earrings is used in diverse Japanese traditional styles like the Rikishin Ryu, as well as in the Japanese esoteric Buddhism (Shugendo). Nevertheless it does not seem to exist such weapon in the Chinese tradition, although it could be an inspiration or adaptation of a Chinese weapon denominated “Cane of Buddha” who has one of his ends enlarged like a stick or mallet. - The use of techniques: Although the Chinese martial arts also make use of pre-established techniques, these do not constitute the main form of practice, that rather consists actually individual of exercises and routines (like the “katas” of Karate). The practice of techniques is much more common in the Japanese styles, in which its practice has constituted during centuries the essence of almost all the classic styles. The reason of training through technical was the one to practice real situations battle, applying answers proven in the battle of a controlled way, and that practiced of a free way could be lethal. - The use of blows: Considering that the great majority of the classic styles of Jujutsu did a little use of I strike, and that the Karate is not really an art genuinely of Japan but of Okinawa, and it has his origin in China, one is asked from where it comes I strike of the Shorinji Kempo and what it influences Japanese can have. In order to enter to us in this subject it is necessary to know how that Japanese classic styles exist that yes contain techniques of I strike; and that in some of them these techniques are even predominant. This it is the case of styles like the Yagyu Shingan Ryu, the Sho Sho Ryu, the Yoshin Ryu, the Shindo Yoshin Ryu and others. What is more peculiar is than to the part of the systems of Jujutsu that is dedicated to study I strike designates with the term “kenpo to them”. Some Japanese traditional styles even ended up adding to their east name term that designated them as styles specialized in I strike, as it is the case of the styles Araki Ryu Kenpo or Kyushin Ryu Kenpo; reason why it is not possible to be discarded that I also strike has Japanese influence; in fact the tradition genuinely Japanese speech to use the vertical fist to be able to strike while the katana is grasped or a dagger; since it would be very difficult to strike with the horizontal fist, like in Karate, with a sword in the hand. - The technical structure: The techniques of the Shorinji Kempo are organized of a form, halfway between the Chinese way and the Japanese. In general terms, many Chinese styles usually are organized technically dividing to their education in the study of the diverse individual forms (“katas”, according to the Japanese terminology) and their applications, that are followed one another one after another one until the masters. In the Shorinji Kempo the techniques are grouped in diverse families with names of Chinese origin, as if these techniques were sequences or selected applications of old Chinese forms. On the contrary the form in which many classic styles of Jujutsu are organized is dividing its curriculum in diverse maintenance battalions, of a form similar to the following one: or Disarmaments (“muto dori”, “shiraha dori” or “gyoi dori”) or Controls or arrests (“torite”, “musha dori” or “hoshu”) or Blows (“kenpo”, “shubaku”, “hade” or “hakuda”) or Escapes (“hogure”, “hodoki” or “hogusu”) or Moorings (“hojo jutsu”, “hobaku” or “is nawa”) or Methods of resucitación (“kappo”) or Methods of attack to the key points (“appo”) etc. This form to organize the techniques is much more similar to which is used in the Shorinji Kempo, although in this one the denomination to describe each group is in the style of the Chinese forms. Hakko Ryu The style that is mentioned more at the time of speaking of the Japanese influences in the Shorinji Kempo is the Hakko Ryu. This style was founded on 1941 by Ryuho Okuyama, taking as it bases the school Daito Ryu. Okuyama also had studied Seigo Ryu Jujutsu and diverse schools of Kenjutsu (sword), Sojutsu (it sends), Jojutsu (cane), Shurikenjutsu (throwable leaves), Karate de Okinawa, etc. In addition investigated diverse Japanese traditional therapeutic schools. This discipline consists of three parts: the “Yawara” that the study of the martial techniques includes, the “Koho igaku shiatsu” that deals with the therapeutic techniques, and the “Koho goshin taiso” that constitutes a species of regenerative gymnastics. The martial part is made up of techniques of I strike to the key points, luxaciones, projections, etc, with the aim, not to destroy the adversary, but to neutralize it and to control it without brutality, with a Maxima effectiveness and a minimum effort. The Shorinji Kempo shares with the Hakko Ryu diverse aspects and elements, like its interest to inculcar a positive philosophy in the medical instructor (although both philosophies they are different), the importance that occurs to the key points, the existence of an own therapy… But technically it is very different, since we could say that the Hakko Ryu is halfway between the Daito Ryu and the Aikido. As far as his I strike is so little that it lacks relevance, although call the attention the blow to the eyes like “me uchi” of Shorinji Kempo, the use of the elbow with the open hand and the guard of knees like “fukko gamae”. By the others, the Hakko Ryu is like an austere, shorter, direct Aikido and less to circulate; although like the Aikido uses principles of luxación and projection to respond to diverse attacks. Some of these principles of luxación are similar to which the Shorinji Kempo uses, but not of a way that does not leave place to doubts of its influence. On the other hand, it is important to indicate that Under Doshin it was repatriated to Japan in 1946 and that it founded the Shorinji Kempo on 1947. This, next to declarations of son of Ryuho Okuyama, that it affirms that Under Doshin it was only training some months with his father, takes to suppose to us that the knowledge whom Under Doshin it acquired of the Hakko Ryu was not very extensive nor deep, which makes doubt that on this base it could conceive a so sophisticated style technically as it is the Shorinji Kempo. Therefore, it is not possible to be denied that Under Doshin it extracted something of his contact with Okuyama, but is difficult to think that this influence was decisive to constitute or to base the Shorinji Kempo.
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think that this influence was decisive to constitute or to base the Shorinji Kempo. Daito Ryu In many documents one affirms that the Shorinji Kempo has influence of the style Daito Ryu; times one would say that they talk about the influence that received through the school Hakko Ryu, since this one drift of the Daito Ryu; but other times it seems that they talked about one more a more direct influence. We do not know if perhaps they talk about to the education provided by the grandfathers of Under Doshin or what… The school Daito Ryu was created at the end of century XIX by Takeda Sogaku (1858-1943) on the basis of the style “Oshikiuchi” of the Takeda family, learned with Saigo Tanomo (1829-1905). Takeda was also expert in the saber schools Ono Is Itto Ryu and Jikishin Kage Ryu. Between his insignes disciples are Morihei Ueshiba more, founder of the Aikido, and Ryuho Okuyama, creator of the Hakko Ryu. The Daito Ryu has numerous techniques, mainly of luxación and projection, although also it has movements of I strike. The study of the key points called “tsubo” is well-known in this art. Also arms like the cane (jo), the wood saber (they bokken), the lance (under), etc. are used. This discipline is very similar to the Aikido, although it shows to less dynamism and harder and direct circularidad, and movements. On the other hand its program is constituted by techniques, each one with its name (like in most of the classic styles of Jujutsu and like the Shorinji Kempo) and not like in the Aikido or the Hakko Ryu, in which the name of the techniques is constructed by the resulting combination to apply a principle of defense to a type of attack. The movements of I strike of the Daito Ryu they are little, and they normally precede to the luxación or projection of the adversary, but according to some experts the vertical fist is used, like in the Shorinji Kempo. This type of fist (also common in schools as the Yoshin Ryu Jujutsu) would come from I strike while the sword was grasped, as it has already been said. By the others, to say that it agrees little with the Shorinji Kempo in the name of some technique and more, since its aspect and dynamics do not agree absolutely with which we know the Shorinji Kempo. Nevertheless he is worthy to mention the similarity that has the techniques Juho de Shorinji Kempo with the work of luxación of the original Hapkido. According to the own history of the Hapkido, his founder, Choi Yong Sul (1904-1986), had learned Daito Ryu with his founder, the mentioned Takeda Sogaku. This would aim at that in effect, the Shorinji Kempo and the Hapkido have an origin common in the Daito Ryu, and of there its similarity; studious nevertheless present they discard that Choi learned with Takeda, and rather suppose that it could learn something of Daito Ryu with a disciple of called Takeda Matsuda Hosaku, that distributed diverse courses of Daito Ryu by all Japan, and to which the creation of a branch of the Daito denominated Ryu Renshinkan is attributed to him, and even the formation of a new style of called Aikido Matsuda Ryu. Could then learn Under Doshin the bases of this style with he himself Matsuda Hosaku? Nothing we can respond, but only speculate; although some experts of other styles therefore say it. The question is that the work of Juho de Shorinji Kempo and that same work in the Hapkido has numerous characteristics in common, over which both have respectively with the Daito Ryu. Judo Between the styles that Under Doshin since said to have analyzed at the time of constituting the Shorinji Kempo is the Judo, and this of course note, although the discipline of Under Doshin lacks, in general, of movements similar to the Judo, is well certain that it uses some of his techniques, to at least learn to defend itself of them. The fight with you take hold is also well-known in China (the Shuai Jiao and other fights of origin mongol mainly), but Under Doshin uses the terminology of the Judo. He would not even be preposterous to think that it was the original Judo (Kano Ryu Jujutsu), not deportivizado like the present one, the style in which Under Doshin it was initiated by its grandfathers, since this one was one of the main disciplines of the Butokukai. In addition in the Shorinji Kempo a section of throttling techniques exists (Rakan Shi Ho) that are not or well-known, but that more likely could show to us to what extent it has the Shorinji Kempo influences of the Judo (or perhaps of some other school of Jujutsu like the Tenshin Shinyo expert Ryu in throttlings, that influenced indeed in the creation of the Judo). Kendo In the official history of the Shorinji Kempo one tells that Under Doshin also its art included concepts of the Kendo when founding, and although this can seem strange, we can see how some displacements of Shorinji Kempo come with enough security of the Kendo (sashikomi ashi), and some techniques even can have had inspiration in the Kendo (for example “tsubame gaeshi”, that is the name of a technique of Kendo). By the others it much more does not seem to have nothing excellent, except for the use of the peto, that at first was like the used one in Kendo. Extreme Nothing has been said of this possible influence, but not only many names of techniques agree (kote nage, sukui nage, kubi nage, hiki otoshi…), but that in the Shorinji Kempo few techniques of defense even exist before attacks of Extreme (the techniques “shikumi”). Probably one is more than an inspiration than another thing, but these coincidences exist although they are almost anecdotal. Nippon Kempo The possible influence of the Nippon Kempo in the Shorinji Kempo is pointed by the son of Ryuho Okuyama, founder of the style Hakko Ryu, although we do not know on what it is based to make that affirmation. The Nippon Kempo was created in 1932 by Sawayama Masaru (1906-1977). Sawayama was 5º give of Judo, and was worried to recover the use of “atemi waza” (blows) that was lost the modern Judo. Its search took to him to be disciple of Chojun Miyagi, founder of the Karate Goju Ryu, and Kenwa Mabuni,
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http://64.233.179.104/translate_c?hl=en&u=http://www.shorinjikempo-ca... search took to him to be disciple of Chojun Miyagi, founder of the Karate Goju Ryu, and Kenwa Mabuni, founder of the Karate Shito Ryu. In addition it practiced Jujutsu, Aikido and English Boxeo, enriching his style finally during World War II, after his contact with Kodo Sawai, founder of the Taikiken, style based on the Yi Chinese Quan, school derived as well from the Xingyi Quan. This style was pioneering in using protections for the combat, and it is a focused hard style to the realistic combat in which blows with projections and luxaciones are combined. Then, the certain thing is that the part of I strike of this discipline is certainly similar to the one of the Shorinji Kempo, as far as vertical fist and use of hip, although their projections are of the Judo type and their luxaciones are not as numerous as in the Shorinji Kempo. The question is that, aside from the declarations of Ryuho Okuyama, some is no evidence of which Under Doshin some with the Nippon Kempo had contact; but there is really some influence of this art in the Shorinji Kempo, or if it could contact Under Doshin with Sawayama or some medical instructor of Nippon Kempo in China, one does not know, although I repeat that some amazing dynamic coincidences seem than accidental more.
Wado Ryu In 1972 the Shorinji Kempo was faced a justice court that forced to change the original denomination to him of the style by the one of Nippon Shorinji Kempo. Although the details of this judgment are not known with exactitude and is one that it affirms that all this are malintencionados rumors, says that the court suggested the possibility that the Shorinji Kempo was in fact one mixture of Karate Wado Ryu and Hakko Ryu Jujutsu. We do not know on the basis of what facts this affirmation formulated the court, but for that reason we are going to analyze this style (the Hakko Ryu already has been studied previously). The Wado Ryu was founded on 1939 by Hironori Ohtsuka. This teacher had practiced styles of Jujutsu like the Tenshin Shinyo Ryu and the Shindo Yoshin Ryu, being even 4º Great Teacher of this one last style. Ohtsuka learned Karate with Gichin Funakoshi, and later with Kenwa Mabuni (Shito Ryu) and Choki Motobu (Shorei Ryu). This style works with natural positions, higher; it makes aloof and the counterattack simultaneously; it contains many techniques of hand double and luxaciones or attacks to the joints. In this style the naturalness reigns, simplicity and the relaxation, doing hers the Maxima of which the smoothness controls to the force. Diverse characteristics are similar this style with the Shorinji Kempo, since the fact to cover the chest with the hand that does not execute the action, the turn of the foot of back being able to carry out better the hip turn, the existence of a kick lateral-frontal similar to “jun geri”, the use of luxaciones, the interest by the traditional therapies, or the existence of a pacifist and conciliadora philosophy. All this guard without a doubt some similarities with the Shorinji Kempo, but before the lack of fehacientes tests, we can suppose that the court connected to the Shorinji Kempo with the Wado Ryu by his appearance of “nonrigid Karate”; although he is not totally dismissable either that Under Doshin made some type of analysis on the basis of a experience with this style of Karate. Shorinji Ryu Kenkokan Karate This style of Karate was developed by the okinawense Kori Hisataka (1907-1988) on the basis of its learning of diverse styles. From boy it was instructed in the art of his family, who denominated Kudaka Ryu Karatejutsu. More ahead it studied with diverse teachers of Okinawa, and specially with the legendary Chotoku Kyan (1870-1945), precursor of the vertical fist. Already in years 30, it was destined to Manchuria like railway station master, in where it interchanged knowledge with an expert Chinese employee in the style Baji Quan de Kung Fu. There same Minoru interchanged knowledge with Mochizuki, popular teacher founding of Yoseikan Aikido, that contributed the smooth part to him to the style that Hisataka would develop later, in 1945. Then, the Hisataka teacher affirmed to have had by disciple in Manchuria to Under Doshin. This is very significant, as much more as soon as than the style Shorinji Ryu Kenkokan it makes use of the vertical fist and the turn of hip, and unlike other styles of Karate kumite has predetermined techniques denominated “Yakusoku”, among other numerous coincidences. Others Although they are not going away to include in this section Japanese systems of fight, is necessary to mention them here, since of to have existed this influence, they took place in the Japanese stage of the Shorinji Kempo. One of the systems that have even been recognized officially is the English Boxing. The influence of this art or deports is so that at level of I strike with the fists, the Shorinji Kempo is looked more like the Boxing (or to the Kick modern Boxing) that to any other style. This is not nothing strange, because numerous styles created then in Japan were inspired by the English Boxing, whose fists are of a proven effectiveness. Between these styles they would be the mentioned Nippon Kempo, the Taiho Jutsu or the Yoseikan Budo. Aside from the Boxing, there is one that assures that the appearance of Brushes Lee and their Jeet Kune Do in the world-wide panorama of the martial arts, also made a small contribution to the Shorinji Kempo of years 70. Although the amount of similarities is remarkable between I strike of the Shorinji Kempo and the one of the Jeet Kune Do, rather would be necessary to attribute this to the influence of the Boxing in both disciplines and to the fact that both are imbuidas of a great sense common and good sense in their dynamics. Final conclusion Really, the Shorinji Kempo has characteristics of so many Chinese styles and Japanese, that is very difficult to need which of them influenced to him of more conclusive way. We have not discovered any style that really has a dynamics so similar to the Shorinji Kempo that makes think clearly that fundamentally it is based on him. If the Shorinji Kempo had been based mainly on an only style, it would not be very difficult to identify it, and to detect its origin would be relatively simple. Dynamics, concepts, principles, techniques, exercises, names, philosophy, therapies… each element of the Shorinji Kempo seems to come from a different art. Perhaps the truth… never we know it percent to the one hundred. ------------------------------------------------------------------------------------------- © Homemade Rogelio Abellán TO RETURN
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