糸東流は，首里手と那覇手を稽古する。糸東流を稽古する者は，必然的に，首里手と那覇手を越えた手とは何かを考える。首里手と那覇手の融合を模索する。手としての共通原理を求めるようになる。糸東流の首里手は那覇手のように，糸東流の那覇手は首里手のようになる。そこに糸東流独自の手が現れてくる。首里手と那覇手の両方を稽古する流派は糸東流だけではないが（一心流や心道流など），いずれにしても，首里手と那覇手の両方を稽古することにこそ，沖縄伝統武芸としての手を習うことの味わい，醍醐味，面白さがあるのではないだろうか。
In shito-ryu (the school of shito), we practice both shuri-te and naha-te. Inevitably, individuals who practice shito-ryu might think about what is te beyond shuri-te and naha-te. They might try to seek a fusion of shuri-te and naha-te. They might begin to pursue the common principles of te. Shuri-te of shito-ryu has become like naha-te, while naha-te of shito-ryu has become like shuri-te. There appears the original te of shito-ryu. Though there are a few schools except shito-ryu where both shuri-te and naha-te are learned; isshin-ryu or shindo-ryu, at least it is learning both of them that might be relish, zest, or enjoyment of practicing te as Okinawan classical martial arts.
April 29, 2012
April 06, 2012
Similarity between Shuri-te and Naha-te
首里手と那覇手は，敵との間合い，呼吸や身体の締めに関する態度，技における身体の操作方法などに違いがあるとされる。このため，両者を習うことはできないと考える人もいる。しかし，戦いの際には，敵の位置や動きに応じて，様々な間合いに対応する必要がある。間合いが遠いから近いからといって，敵は待ってくれない。あらゆる間合いの攻撃に対応する技を身につけるべきである。そもそも敵と相対するにあたって，実際は手や足の接触する範囲での一瞬の攻防になる。であるならば，首里手と那覇手の「間合い」の違いはわずかな差であり，併伝できないような差ではない。また，空手的身体操作の根幹は，呼吸と身体の締めであることは首里手だろうと那覇手だろうと同じであるから，最初から意識的に稽古するに越したことはない。細かいところでは身体の操作技法は違うかもしれないが，どちらも沖縄で発達した戦闘技術として，根本的な技法には共通するものがあるだろう。そのように仮定すれば，端から技の方法や理合が違うと断定して首里手と那覇手を区別するのではなく，両者に共通の理合を追求し，技術的な融合を図ることで，手として昇華されるはずである。沖縄の空手家である摩文仁賢和先生が興し今に至る糸東流の独自な存在意義と責務は，ここにある。
It is said that there are differences between shuri-te and naha-te in the distance from enemies, the attitudes toward breathing and tension of the body, the body manipulation techniques, and so on. Hence, some karateka think that it is impossible to learn both shuri-te and naha-te. But, on fighting, it is necessary to cope with various distances of enemies according to their position and move. Enemies do not wait for us who think and say that the distance between they and ourselves is broad or narrow. We should learn techniques to cope with their offences which are given to us at any distance. Precisely, on facing with enemies, the actual offence and defense is taken in a moment within the range that we can reach and touch them by hands and feet. If so, the difference in distance between shuri-te and naha-te is slight, not the one which is impossible to be learned together. Besides, the bases of body manipulation are breathing and tension of the body similarly for shuri-te and naha-te, and it is better to practice them consciously from the beginning. Though both of them may be different in minor parts of body techniques from each other, there may be major core techniques common to both as fighting arts developed in Okinawa. If we assumed that, shuri-te and naha-te should not be distinguished from each other by deciding at the beginning that each of them have different methods and theories respectively. Rather, both of them must be sublimated into te by pursuing the common theories of them and fusing their techniques together. Here is the original meaning and responsibility of the existence of Shito-ryu, which has been found and developed by Kenwa Mabuni sensei who was an Okinawan karateka.
It is said that there are differences between shuri-te and naha-te in the distance from enemies, the attitudes toward breathing and tension of the body, the body manipulation techniques, and so on. Hence, some karateka think that it is impossible to learn both shuri-te and naha-te. But, on fighting, it is necessary to cope with various distances of enemies according to their position and move. Enemies do not wait for us who think and say that the distance between they and ourselves is broad or narrow. We should learn techniques to cope with their offences which are given to us at any distance. Precisely, on facing with enemies, the actual offence and defense is taken in a moment within the range that we can reach and touch them by hands and feet. If so, the difference in distance between shuri-te and naha-te is slight, not the one which is impossible to be learned together. Besides, the bases of body manipulation are breathing and tension of the body similarly for shuri-te and naha-te, and it is better to practice them consciously from the beginning. Though both of them may be different in minor parts of body techniques from each other, there may be major core techniques common to both as fighting arts developed in Okinawa. If we assumed that, shuri-te and naha-te should not be distinguished from each other by deciding at the beginning that each of them have different methods and theories respectively. Rather, both of them must be sublimated into te by pursuing the common theories of them and fusing their techniques together. Here is the original meaning and responsibility of the existence of Shito-ryu, which has been found and developed by Kenwa Mabuni sensei who was an Okinawan karateka.
April 05, 2012
Difference between Shuri-te and Naha-te
手には，首里手と那覇手の二種類ある。形（型）に含まれる技から，全体的に，首里手は想定する敵との間合いが相対的に広く，那覇手は相対的に狭い。また，那覇手では呼吸と身体の締めを修行の初期段階から意識的に重視するのに対し，首里手では呼吸と身体の締めを強調することはせず，これらは稽古を経る中で自然に身につくと考える。沖縄の空手家の中には，突き方一つとっても，両者は異なると言う人もいる。そのために，両方を習うことはできないと考える人もいる。
Te (tiy) is divided into two types; shuri-te and naha-te. In terms of techniques included in kata, generally speaking, the distance shuri-te assumes between a supposed enemy and oneself is broad compared to naha-te, while the one naha-te assumes is relatively narrower than shuri-te. Additionally, in naha-te, both breathing and tension of the body are consciously took into account at the beginning of training, while in shuri-te, they think that both breathing and tension of the body are learned automatically through the practice, and then they do not emphasize the importance of them. Some Okinawan karateka say that both are different even in the way of punching. Then, some think that it is impossible to learn both shuri-te and naha-te.
Te (tiy) is divided into two types; shuri-te and naha-te. In terms of techniques included in kata, generally speaking, the distance shuri-te assumes between a supposed enemy and oneself is broad compared to naha-te, while the one naha-te assumes is relatively narrower than shuri-te. Additionally, in naha-te, both breathing and tension of the body are consciously took into account at the beginning of training, while in shuri-te, they think that both breathing and tension of the body are learned automatically through the practice, and then they do not emphasize the importance of them. Some Okinawan karateka say that both are different even in the way of punching. Then, some think that it is impossible to learn both shuri-te and naha-te.
March 25, 2012
Way to Master the Art
武道芸道の修行方法は，まずもって師を真似ることから始まる。ただ受動的に教えてもらうのではなく，自ら能動的に見て真似るのである。盗むと言っても良い。師の存在そのものが教えである。その師の教えに従い，ひたすらに真似る。師の技に近づくために，自己の身体と対話しながら，工夫と努力を重ねる。安易な自己流は工夫とは言わない。あくまで師を真似る。ひたすらに真似る。気がつけばいずれ，師の技が我が身のものになる。そしてそれはすでに師の技ではなく，自己の技である。それは結果的に師を越えているかもしれないし，越えていないかもしれない。しかし，そんなことはどうでもよい。
The first step to learn martial and performing arts is to start copying one's own master. It is not to be given a lesson passively, but to see and copy the master spontaneously. It can be said that it is to steal the arts of the master. That is, the existence of the master itself is a lesson. A disciple entirely copy his or her master, according to what the master does and says. He or she makes efforts and devices while dialoguing with his or her own body in order to approach the master's art. It is not said to be a device that a facile self-taught manner is. Disciples should insistently fit themselves into the master. They should entirely continue to do that. Sometime they happen to find that the master's art becomes their own one. In other words, that has not been the master's but their own art. Consequently, it may get superior to the master's art, or may not. But, that is not significant.
The first step to learn martial and performing arts is to start copying one's own master. It is not to be given a lesson passively, but to see and copy the master spontaneously. It can be said that it is to steal the arts of the master. That is, the existence of the master itself is a lesson. A disciple entirely copy his or her master, according to what the master does and says. He or she makes efforts and devices while dialoguing with his or her own body in order to approach the master's art. It is not said to be a device that a facile self-taught manner is. Disciples should insistently fit themselves into the master. They should entirely continue to do that. Sometime they happen to find that the master's art becomes their own one. In other words, that has not been the master's but their own art. Consequently, it may get superior to the master's art, or may not. But, that is not significant.
March 03, 2012
Existence of One's Own Master
本物の武芸者である師に出会うことこそ，武道家にとって最大の幸福である。なぜなら，歩む道が死ぬまで永遠に続く可能性が高いからである。武道芸道には「守・破・離」という言葉があるが，そもそも，早々に破り離れることができるような師についてしまうのは，武道家にとして不幸である。早々に越えられる師は，本物の師ではない。
The happiest thing for martial artists is to meet a master as a genuine marital artist. It is because there is a high possibility that they might have an eternal way to the state of their master till the last. There is a phrase "syu-ha-ri" (three stages of learning mastery) used in martial and performance arts of Japan. But, at first, it is unhappy for martial artists to follow a master who they can top early and easily. The master who they can top easily is not a genuine one.
The happiest thing for martial artists is to meet a master as a genuine marital artist. It is because there is a high possibility that they might have an eternal way to the state of their master till the last. There is a phrase "syu-ha-ri" (three stages of learning mastery) used in martial and performance arts of Japan. But, at first, it is unhappy for martial artists to follow a master who they can top early and easily. The master who they can top easily is not a genuine one.
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