Thursday, April 1, 2010

Origins of HMK Hyung Part III - Chief Instructor's Blog April 2010

Note: This three part series examines the origins of the Han Moo Kwan forms. The first part discussed the history, and lineage of Han Moo Kwan as well as the origins of the Kibon series. The second part revealed the origins of Pyung Ahn series, ShipSu, and No Pe Hyung. This final part (Part III) describes the origins of the Mepojan series as well as a discussion of the evolution of the forms over time.


Mepojan series
The origin of this series is unknown but all research indicates it came from China to Okinawa. In Okinawan the series is called Naihanchi (which means "fighting holding your ground" according to some literature) and in Japanese they are called the Tekki forms (which means “horse riding”).

Similar to other Motobu’s comments made in his book Okinawan Kempo, he also lists Naihanchi (Ichidan, Nidan, Sandan) as kata “which have been used in Ryu Kyu from the ancient days” and also noted that Naihanchi “are not left in China today and remain only in Okinawa as active Martial Arts [6]”.

Funakoshi wrote regarding the form Tekki “The name refers to the distinctive feature of these kata, their horse riding (kiba-dachi) stance. In this, the legs are set in a strong, straddling in position as if on a horseback, and tension is applied on the outside edges of the soles of the feet with the feeling of gathering the strength in toward the center [1]”.

According to Nagamine in regards to the Naihanchi series “the composer is still unknown, yet these kata were known to the Shuri and Tomari schools even before the kata of Pinan was invented. This is proved by the fact that beginners used to learn Naihanchi instead of Pinan [2]”.

Acording to Bishop’s research, a large percentage of Okinawan karate styles still teach Naihanchi. In fact throughout Bishop’s book it is indicated that this series of forms is the first series taught to beginners [5].

Nagamine wrote (referring to prior to Itsou’s generation), “In those days, the Naihanchi kata were usually taught to beginners. However, if children had no previous knowledge of techniques and were not physically mature, this training was not considered good practice [7]”.

There are several theories related to the origins and changes to this form. Swift writes “There are three kata in modern (i.e. post 1900) karate, with the second and third thought to have been created by Anko Itosu (Iwai, 1992; Kinjo, 1991a; Murakami, 1991)[9],” Higaki also writes that “It is reported that Master Itsou created Nihanchi 2 and 3 [10]. Swift goes on to say “Another popular theory is that originally the three were one kata, but were broken up into three separate parts by Itosu (Aragaki, 2000; Iwai, 1992) [9]”. Bishop wrote that “Itsou simplified Matsumura’s kata Naihanchi [5]”. Higaki also writes that “In an interview with Choki Motobu, in ”Karate Kenkyu” (Genwa Nakasone) he states that Master Matsumuru and Master Itsou’s Naihanchi were different [10]”. While there is no information found to verify these claims, it is very plausible that Itsou transformed these kata (especially as he introduced them into the schools) and influenced the modern interpretation.

Mepojan series are performed horizontally (side to side) keeping the body level with the goal to minimize torso motion. In many references, it was written these forms were developed to train and develop strength on the lower part of the body including the waist and legs [2], so a “student’s physique becomes naturally adapted to karate [5]”, and “for close in fighting [10]”, and “to immobilize one’s opponent before striking [10]”.

In Korean martial arts, Mepojan can also been seen in literature written as Naihanji Hyung (which means “knight on a horse”). Throughout my research, I have not been able to find a translation for Mepojan. The Han Moo Kwan version of Mepojan series is very similar to those taught in the karate and Korean styles mentioned in Table 1 although there are some differences. It is most likely that Mr. Chun Sang Sup based his Korean version of the form on the Japanese Tekki and brought the form to Korea where he taught it to Mr. Lee Kyo Yoon who, in turn, taught to Mr. Kim who retained them for our Han Moo Kwan club.

Evolutions of the Forms
Over the years, the forms have changed; sometimes on purpose and sometimes due to the tradition of teaching the martial arts verbally, the many different interpretations of the meaning of the techniques within the forms, as well as instructors intentionally changing them to better suit their style.

Nagamine writes [2] “Because of the secrecy in which karate had to be practiced and the total reliance on oral tradition, no single well-documented theory on the origins and the development of the kata was formulated. There are as many theories concerning the origins and execution of the kata as there are schools of karate.” He goes on to write “Consequently, the manner in which kata should be executed is also open to various interpretations”.

Some of the masters were concerned with the changes and others were not.

Bishop writes regarding Nagamine that in 1936 “he also met Sokon Matsumura’s and Anko Itosu’s disciples, Chomo Hanahiro and Kentsu Yabu, who warned him that the karate katas at Tokyo had changed considerably and that Nagamine should take pains to keep the katas he taught in their original form [5]”.

As an example of changing to one’s own interpretation, Bishop writes, “Motobu usually only taught his own interpretations of Naihanchi that included ti-like grappling and throwing techniques [5]”. Another example is in Bishops’ book where he writes “Chibana believed that one should adapt and develop forms to suit one’s own body and temperament [5]”.

Funakoshi intentionally altered the forms. He writes in his autobiography “Hoping to see karate included in the universal physical education taught in our private schools, I set about revising the kata so as to make them as simple as possible [8]”. He goes on to write “Inasmuch as there are not now, and there never have been any fast and hard rules regarding the various kata, it is hardly surprising to find that they change not only with the times but also from instructor to instructor [8]”.

It is likely that the Han Moo Kwan forms, once they were taught in Korea, were changed as well to make them a little more Korean, in line with those instructors’ beliefs, matching their body styles, etc. We also know that Mr. Kim made some changes to the forms. It is also possible he changed the forms from what he was originally taught either intentionally or not (he resided in the states for several years before he started teaching Han Moo Kwan, so there is a possibility he did not remember every move exactly how he was taught ). It is not uncommon to hear some of the earlier students say the forms look a little different than when they were taught originally. In fact even some of the students of Mr. Kim today remember being taught some of the moves differently. Some of these changes were on purpose and others, I believe, were due, as in the past, to the oral tradition of teaching the forms and no written documentation to keep them consistent. We know for a fact that in the early 1990s Mr. Kim and the senior black belts made some adjustments; one of those is that the opening moves to Pyung Ahn 3 are now symmetrical. This change was on purpose to make it easier to remember.

I believe, while some changes may be good, further evolution without an understanding of the original purpose and intent of the techniques should be minimized. In our Club, we have strived to minimize any more changes over time through our written documentation and videos to allow students to teach and learn the forms more consistently.

Summary
Based on my research, the origins of the Han Moo Kwan forms trace back to Okinawan karate. They have evolved over the years and changes have been introduced. However the essence of the forms and the value and benefits of learning and practicing forms remains. And while the original intent of their meaning is as many as the students of the forms, for me, that makes studying the forms more interesting.

Regards,
Kelly

“In spite of a street encounter never being the same, the principles of the kata never vary, however. Thus, one must learn how they are applied and how to bend with the winds of the adversity.” ~ Choki Motobu (1871–1944), Founder of Okinawan Tomari-te Karate

References
1. Karate-Do Kyohan: The Master Text by Gichin Funakoshi
2. The Essence of Okianwan Katate-Do by Shoshin Nagamine
3. Tang Soo Do: The Ultimate Guide to the Korean Martial Art by Kang Uk Lee
4. Tae Kwon Do Classic Forms: 21 Hyung--Novice White Belt through Advanced Black Belt by Ted Hillson
5. Okinawan Karate by Mark Bishop
6. Okinawan Kempo by Choki Motobu
7. Tales of Okinawa’s Great Masters by Shoshin Nagamine
8. Karate-do My Way of Life by Gichin Funakoshi
9. Roots Of Shotokan: Funakoshi's Original 15 Kata by Joe Swift (http://www.fightingarts.com/reading/article.php?id=220, http://www.fightingarts.com/reading/article.php?id=221, http://www.fightingarts.com/reading/article.php?id=2212 )
10. Hidden Karate: The True Bunkai For the Heian Katas and Naihanchi by Gennosuke Higaki
11. Hartman, R. (2006). Taekwondo Tutor [Online]. Available: TKDTutor.com [31 December 2009].
12. http://www.iainabernethy.com/articles/article_home.asp


Unpublished work © 2010 Kelly McInerney.
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