On February 4th, 2020, Ulf Karlsson landed in Phoenix, AZ for the first time in nearly 6 years. For those who are unaware, Ulf Karlsson is the foremost expert (outside of Okinawa) in the rare style of Shuri-Te called KishimotoDi, and is the only person to be granted a Shihan license in the art by the Bugeikan on Okinawa. On his last visit, he spent two weeks with myself (Noah Legel) and my late Sensei, Richard Poage, teaching us KishimotoDi, as well as teaching a weekend-long seminar on the art–the first of its kind in the United States. This time around, he was touring across the country, teaching seminars and spreading KishimotoDi to a wider audience. Thankfully, this tour concluded before the COVID-19 pandemic struck the United States, in earnest.
KishimotoDi is a rare style that is taught out of a small school/organization (the Bugeikan), with a small number of practitioners worldwide, and only a somewhat larger number of people who work some of its material as part of their curriculum. Indeed, it is in danger of dying out and being lost if awareness isn’t spread, and its methods taught more widely. For this reason, not only do most people not know what it is, or even that it exists, but it is also difficult to find information about it. With that in mind, it seems appropriate to revisit the style and improve and expand on what was written in articles about his initial visit to the US (LINK, LINK, LINK), beyond just the more recent article discussing the scissor/wedge throws of Tachimura no Naihanchi (LINK), and occasional mentions of its methods here and there.
Part of why KishimotoDi is so unknown can be attributed to the fact that, as a named style, it is quite new–those who studied it just called it Ti/Di (the Uchinaaguchi pronunciation of “te,” meaning “hand,” or “skill”). In more modern times, they may have called it “the Ti of Kishimoto,” or possibly “Tachimura/Takemura Shuri-Te,” to distinguish it from other lineages. As is typical of older styles, it has a very small curriculum, consisting of only four kata, and has become part of a larger curriculum within the Bugeikan, along with Hanashiro Chomo’s lineage of Shorin-Ryu, Motobu Udundi, and Yamanni-Ryu bojutsu. This means that people who train at the Bugeikan are likely to be exposed to KishimotoDi material, but may not distinguish it as such, and only a small group specialize in that style, by itself. Indeed, the Bugeikan and the Ti of Kishimoto are mentioned in Mark Bishop’s most popular book, Okinawan Karate: Teachers, Styles, and Secret Techniques (LINK), but it is not called KishimotoDi, and is only discussed in the broader context of the overall Bugeikan curriculum.
Lineage tends to be a defining characteristic of traditional martial arts–my first Sensei, Kevin Skoien, liked to say that “lineage really only matters in traditional martial arts and classical music.” To understand what KishimotoDi is, understanding its lineage is certainly beneficial, as it provides context for how the art fits into the broader Okinawan karate landscape. Currently, details of this lineage remain private, although books are in the works to address that, but an overview is available. As previously mentioned, KishimotoDi is headquartered out of the Bugeikan on Okinawa, which is currently run by Higa Kiyohiko, son of the dojo’s late founder, Higa Seitoku. The elder Higa was one of only nine students–along with Shukumine Seiken, founder of Gensei-Ryu and Taido–of a man named Kishimoto Soko. While Shukumine created a modernized, blended version of what he learned from Kishimoto and Sadoyama Anko, which was more suited to the tastes of mainland Japan, Higa took the material and preserved it along with what he learned from other masters.
The material that Higa Seitoku learned from Kishimoto Soko consisted of only four kata–three of which Kishimoto had been taught by his instructor, and one he created for the purposes of building connections between those kata, called Nidanbu. While certainly less famous than the “Bushi” Matsumura that most Okinawan stylists are familiar with, “Bushi” Tachimura (pronounced “Takemura” in Japanese) was a well-respected contemporary of his, and also a student of Sakugawa, meaning that the two would have learned very similar (although likely not the same, as was typical of the era) Ti/Tode. It was from Tachimura that Kishimoto Soko learned the koryu (old-school) kata of KishimotoDi; Naihanchi, Passai, and Kusanku. Most likely, this indicates that those three kata are at least as old as Sakugawa’s teachings, as two of his noted students both passed them on in their teachings, but it is possible it was developed during the time that Tachimura and Matsumura were training and teaching.
Tachimura no Naihanchi
The first and fundamental kata of KishimotoDi is Tachimura no Naihanchi. While most practitioners of Shuri-Te-based styles are quite familiar with the Naihanchi kata, they are typically accustomed to the version popularized by Itosu Anko and his students, as well as its two additional levels, which were either developed by Matsumura or (more likely) by Itosu, himself. The Tachimura version is distinct from the Itosu version in a number of obvious ways, as well as some more subtle differences. Similarities are evident in watching the kata; its lateral enbusen (performance line), with the use of cross-stepping between stances, and a number of shared techniques, although they are done a bit differently, such as haito-uke (ridgehand receiver) followed by enpi-uchi (elbow strike), and the chuge-uke (middle/low receiver) sequence in the middle of the kata, which features nami-gaeshi (returning wave) leg techniques. It is the differences that make the KishimotoDi version particularly interesting, as they provide a better insight into what the originally-intended applications of the kata may have been–or at least what they may have been prior to the modernization of karate.
When one first compares the two versions of Naihanchi, several major differences stand out. Initially, as most Naihanchi kata move to the right first, Tachimura no Naihanchi moving to the left can seem a bit unusual, although some Itosu-lineage versions, like that practiced in Motobu-Ryu Kenpo, start to the left, as well. Following that, we have a divergence in sequence, as Itosu-lineage Naihanchi does its haito-uke/enpi-uchi sequence, while Tachimura no Naihanchi goes into a gedan-barai (low sweep) followed by a twisting gyaku-tsuki (reverse thrust/punch), which is very similar to the gedan-barai/mawashi-tsuki (turning thrust/punch) that comes next in the Itosu version. Additionally, the Tachimura version repeats this on both sides before stepping to the right, and notably sinks and rises in shiko-dachi (four corner/Sumo stance), rather than setting a flat head-height and using Naihanchi-dachi (something I have previously discussed: LINK). This is also the point where the careful observer may note that twisting at the waist is used to generate power, rather than using the hips.
The second sequence of the kata is very similar between the two versions, consisting of the previous punch turning into a chudan-uke (middle receiver), followed by chuge-uke, then the bottom hand collects beneath the opposite elbow, and the top hand strikes. In the case of the Itosu version, that strike is typically either a backfist or a short uppercut, while the Tachimura version strikes out with keikoken (phoenix eye fist), although this is called oniken (demon fist) in KishimotoDi. The ending position of this sequence is similar to the meotode-gamae (married/husband-and-wife hands posture) demonstrated by Motobu Choki, which is one of KishimotoDi’s three primary postures, and is called tekko-gamae (steel turtle posture). The nami-gaeshi sequence of Tachimura no Naihanchi is similar to Itosu lineage versions, although the arms stay in the same posture from the strike as the body is twisted to the side, and then they are dropped down at an angle, rather than pulled straight across. These variations can also be seen across some iterations of Itosu-lineage Naihanchi, but they do not include the drop and twist seen in the Tachimura version, which sets up the morote-tsuki (double thrust/punch) that comes next. At this point, Tachimura no Naihanchi does the haito-uke/enpi-uchi that the Itosu version starts with, and the sequence repeats to the other side.
Despite it’s “soft” appearance (in comparison with more modern karate), Tachimura no Naihanchi is considered to be the most linear and “stiff” kata in KishimotoDi, with each kata thereafter becoming softer and more circular. It tends to enter into the opponent’s attacks using a 180 degree line, while orienting oneself to a 90 degree angle from that line, essentially splitting the initial angle in half–an idea which actually comes up in Passai and Kusanku, as well, although the angles get progressively smaller. Additionally, it focuses on using the arms primarily at 45 degree and 90 degree angles, as opposed to more circular motions that appear in the more advanced kata. It is generally the relaxed nature of the kata, rather than its patterns of movement, which make it appear as “soft” as it does–there is no hip rotation, no kime (lit. “focus,” but in modern karate, this generally refers to “locking down” the muscles of the body on impact), and one generally tries to remain as relaxed as possible without losing the shape of the movements.
In contrast to the explosive power generation methods of most styles, it is the pronounced sinking and rising in shiko-dachi, the twisting at the waist, and moving the entire body into the opponent (although this is not so evident in the solo performance of the kata) which are used to generate power in Tachimura no Naihanchi, and KishimotoDi, as a whole. The sinking and rising aren’t really possible in the Naihanchi-dachi of Itosu’s version, and while twisting at the waist occurs, it is not nearly as significant–likely due to the fact that the hips can be engaged to generate power in Itosu’s stance, which can’t really happen in shiko-dachi. Interestingly, these body mechanics, while they may seem unusual and even weak to practitioners of Itosu-lineage karate, fit the applications perfectly, and actually give you clues as to what the applications should be, even if you haven’t learned them. Sinking to pull the opponent down and off-balance, rising to strike beneath the chin, or twisting to throw the opponent over your leg, for example. Unlike most traditional karate styles, practical application of the kata is taught along with the solo form, as a standard, within KishimotoDi, so students build a foundation with Naihanchi quite quickly.
Nidanbu
Typically taught as the second kata in the system, Kishimoto Soko’s Nidanbu kata is considered to be a “help kata,” in that is expands on some of the ideas presented in Naihanchi, and draws some connections to material found in Tachimura no Passai and Tachimura no Kusanku. Even those who are unfamiliar with the KishimotoDi versions of those kata may find similarities in Nidanbu, such as the opening movement and the two twisting shuto-uchi, which also appear in Kusanku. The sinking, rising, and twisting actions are all still present, but provide different examples of how those power generation and evasive methods can be used. Additionally, the principle of moving the entire body into the opponent to add power to the technique (taigi ichii, meaning “body and technique as one”) is more visibly evident in Nidanbu than in Naihanchi. Variations on techniques from Naihanchi can also be found within Nidanbu, such as the haito-uke/enpi-uchi sequence, but while Naihanchi executes both techniques in place, Nidanbu performs one, then steps through to the other. Additionally, once contact is made, Nidanbu rolls the elbow downward, almost like a blend of that Naihanchi Shodan sequence and Naihanchi Nidan’s “elbow wing” technique.
Tachimura no Passai
While it is the third of four kata in KishimotoDi, Tachimura no Passai is the one kata in the system which is reserved for internal students, only, and is not demonstrated publicly. The closest version one can find in the public domain is the Bassai Dai kata found in Gensei-Ryu (embedded above), as it shares a lineage with KishimotoDi, but has been modified quite a bit to fit a more “Japanese-style” or “competition-style” aesthetic and intent. Even so, it is similar enough in its overall pattern to do some comparison. For example, we can see that it starts similarly to most versions of Matsumura Passai, with the sasae-chudan-uke (supported middle level receiver) type of motion to the front, then the lifting and parting hand movement that is similar to Kusanku’s opening movements, although both postures are a bit different from each other, and in different stances. The next sequence is similar to the shifting tsuki (thrusts/punches) and chudan-uke (middle receiver) sequence found near the beginning of most versions of Passai. Such similarities pop up throughout the kata, and its use of the characteristic sagurite-gamae (searching hands posture) is even more prevalent than most other versions. There are other sequences, however, which resemble movements from Naihanchi, Nidanbu, and Kusanku more closely than they resemble sequences from more familiar Passai kata.
Unlike Tachimura no Naihanchi, the Passai kata of KishimotoDi is meant to introduce an even softer way of moving, with more curves and finer angles. Whereas Naihanchi enters on a 180 degree line, and splits it in half to 90 degrees, Passai enters on a 90 degree line, which it splits into two 45 degree lines. Effectively, this takes the practitioner around an opponent’s line of attack, and attacks their center from an angle. As previously noted, sagurite-gamae appears far more often in the KishimotoDi version of Passai than normal–10 times over the course of the kata, compared to 5 in Itosu Passai (Bassai Dai), for example. This tends to be the kata’s primary technique for intercepting the opponent’s attacks, which is likely the reason for its frequency. While the end position is quite similar to that of most other styles, it is notable that the path of movement tends to be different, as most versions of sagurite-gamae move in a somewhat circular manner to the outside, while Tachimura no Passai uses it in a more direct, forward-moving manner, which is quite vital to its application as taught in KishimotoDi.
Tachimura no Kusanku
Until fairly recently, the fourth and final kata of KishimotoDi had been held back for internal students, as well, but now a handful of examples of Tachimura no Kusanku can be found and viewed online. This kata can perhaps relate most closely to Chatan Yara Kusanku, with which it shares a good number of postures, but it also has a distinctly different feel to it, and is arranged a bit differently. There has also recently been a version added to the World Karate Federation’s list of competition-approved kata, although it is quite heavily modified ( LINK, LINK). The kata begins with two separate lifting, circling arm motions, which is unique to the Tachimura version, but then follows with the familiar lifting and parting of the hands that marks the start of most Kusanku kata. At that point, the kata begins to diverge, going into the juji-uke (crossed receiver) and jumping nidan-geri (double kick) that typically appears toward the end of most other versions, and then falls into what Ulf Karlsson Shihan calls a “laying 8” pattern of hand movements to the sides, which are strongly reminiscent of Yin Bagua (LINK). This pattern is quite characteristic of Tachimura no Kusanku, and the goal of soft, continuous movement of structures through curving paths–so much so that it was the inspiration for the Möbius strip featured in the KishimotoDi patch designs.
As with Passai, Tachimura no Kusanku is meant to be another step in the direction toward softness, curves, and acute angles. While Passai has its 90 degree attack line, split into two 45 degree angles, Kusanku has a 45 degree attack line split, into two 22.5 degree angles. This means that it does still take the practitioner around the opponent’s attack and back into their center line, it is a much closer approach. In conjunction with this angle of entry is another key feature of this version of Kusanku; its frequent use of hotate-gamae (standing sail posture), which is similar to the shuto-uke (sword hand receiver) seen in other styles, although in action it may be more similar to seiryuto-uchi (ox jaw hand strike). Much as Tachimura no Passai has double the number of sagurite-gamae compared to Itosu Passai, Tachimura no Kusanku has 15 hotate-gamae, compared with 8 shuto-uke in Itosu’s Kusanku Dai, or 10 in Chatan Yara Kusanku. Like many styles, the hands do “cross” each other in the execution of this technique, but it is much more subtle. While most have a “chamber” action, pulling one hand back before chopping forward with it, the hotate-gamae of KishimotoDi slides directly from one posture to the next, with no resetting or chamber positions in between. Although it is a small detail, it is key to the function of the application of the posture.
Principles and Overarching Concepts
As the previous commentary on the kata of KishimotoDi indicates, there are a number of themes that appear over and over again throughout the system. This should not be surprising, of course, as all four kata are intended to fit together into one cohesive martial art. KishimotoDi has three main principles that it follows, which guide its application and, therefore, the performance of its kata. Issun hasureru (lit. “avoid by a sun,” which is roughly an inch) informs the defensive nature of the system; as an attack comes at you, avoid it by as little distance as possible. This applies both to evasive maneuvers and to parries and deflections, so not only should one only move just enough to avoid an attack, but one should also only just touch the attack enough to not be hit if parrying is required. In practice, such parries can be so soft that some would have a hard time even considering them to be parries, as they are really just meant to guide the attack and utilize tactile sensitivity to keep track of it. The main reason for this is, in a way, stealth. The idea is that the more you move, the more the opponent sees, and the more pressure you use to deflect their attack, the faster they will react to having been blocked. By just barely shifting out of the line of attack, and only touching the attack with a parry enough to ensure it will miss, one gives the attacker very little information to react on.
The principle of kobo ittai (simultaneous attack and defense) works in conjunction with the defensive principle of issun hasureru, and seems fairly straightforward, but it can actually be very nuanced. Most karateka will have already experienced this principle in the form of something as simple as blocking an attack with one hand while counter-striking with the other. Of course, evasive movement can be seen as “defense” just as well as a block, parry, or deflection, so one can see the use of sabaki (movement) and tenshin (shifting) (covered in a previous article, here: LINK) along with a counter attack as following the kobo ittai principle. Additionally, compound movements which cut lines of attack (discussed in a previous article, here: LINK) are a form of kobo ittai, as they can both deflect the opponent’s attack and counter-strike with the same movement.
Taigi Ichii (body and technique as one) is both a timing and power generation principle, and is vital to the effectiveness of the techniques of KishimotoDi. As it is a relatively soft, relaxed art, one should not attempt to “muscle” a technique to make it work–of course, that is generally true of most martial arts, but the degree of relaxation varies. By setting up the structure needed for the technique, and then using the movement of the entire body to put power behind it, one can very subtly apply quite a bit of force. This can apply to not only striking methods, but takedowns and joint locks, as well. Admittedly, this method of timing techniques can be quite difficult to attune the body to, and in conjunction with KishimotoDi’s uses of sinking, rising, and twisting at the waist, can even feel weak in comparison to the hip torque of most modern styles. In application, however, taigi ichii and those power generation methods work perfectly for the techniques of the kata, and trying to “muscle” though the technique just makes things more difficult.
Reflections
As KishimotoDi is a soft art, and very nuanced, demonstrations can be deceiving, and sometimes difficult to understand. Often, people will see demonstrations of KishimotoDi kata, and think they are weak, and then see demonstrations of the applications and be confused as to how the techniques work, or simply believe that they can’t work in real life. Indeed, when I first saw the video that Ulf Karlsson Shihan published in 2011, demonstrating a variety of Tachimura no Naihanchi applications on the beach, I was both intrigued and confused. After watching the video several times, and not understanding how some of the techniques were having the effect they were having, I reached out to him and began asking questions. Once I had the opportunity to train with him, hands-on, things became much clearer.
Part of the issue is the subtlety of KishimotoDi’s methods, and part is just the fact that some things must be felt to be understood. With regard to the subtlety, it can simply be difficult to notice some of the things the practitioner is doing when they apply a technique. Trying to notice everything that is going on can be a bit overwhelming, as it can appear quite different from what most karateka are familiar with. Additionally, there are a number of details with regards to structure, body mechanics, and angles that are hard to see on camera, and can be easily glossed over by the brain when watching, as it tries to take in the more evident details. Even in person, it can sometimes be difficult to see such things, but feeling is believing. When given the chance to feel the technique being done wrong, and the technique being done right, even when they seem to superficially appear to be the same, one can gain a much better understanding of those finer, easily-missed points.
One complaint that occasionally pops up in regards to demonstrations of these methods is that, for the most part, the techniques are shown with an attacker who throws straight punches, and often those are lead hand punches. It is understandable that such demonstrations can be criticized for their lack of realism, but it should be noted that they are being done that way for both safety and clarity. In training, one should be working all techniques against a wide array of attacks–particularly habitual acts of violence that are common in self defense situations–and against gradually increasing levels of resistance and force. When teaching, however, that can get both risky and messy, and interfere with the learning process. Straight punches make it much easier to illustrate some of the key components of the techniques being used, so it is a valuable teaching tool, even if it isn’t always the most realistic attack. Additionally, the kata applications of KishimotoDi tend to ignore (in a way) the attack, such that it doesn’t really matter so much which side the opponent attacks with, or steps with, or whether the attack is more linear or circular. The trouble with that is, depending on how the opponent attacks, they may put their body into positions that are more vulnerable to injury, such as hyperextending the knees, or landing dangerously from a throw; not a huge issue in self defense, but that can be problematic for keeping training partners around, so students must be aware of these risks and how to mitigate them as they train with more and more realistic attacks.
Ulf Karlsson Shihan likes to say that KishimotoDi is “so simple it’s difficult,” and that certainly holds true in my experience. Once one has its principles and concepts explained, and demonstrated, they are not that complicated to understand, but getting to a point where the body can do them correctly takes a good amount of training. The methods of moving, evading, and generating power require a lot of work on their timing, especially. With only four kata in the system, its curriculum is not that large, but because of how detailed the material is, there is plenty to work with. Additionally, unlike most larger systems, KishimotoDi’s small number of kata means that one can study deeply, rather than just widely, and all of its methods are interconnected. Rather than being a collection of differing methods which cover a lot of ground, these kata are specifically intended to build on each other, connect with each other, and provide a cohesive system that works as one like a well-oiled machine. Of course, that isn’t to say that other systems don’t have such connectivity in their curricula, as well, but it can certainly be more difficult in systems which have many more kata to study.
Personally, I have found that my experience with KishimotoDi has not only been very educational in terms of the style, itself, but also in terms of Okinawan martial arts, in general. It provides a glimpse into the past without claiming any sort of secret origin, or even superiority. The methods of the art line up with the sorts of things one reads about in books from people like Itoman Morinobu, Motobu Choki, Mabuni Kenwa, Funakoshi Gichin, and others, who described how karate was before it began to be popularized and taught to large groups. One can quickly understand, in learning KishimotoDi, how things may have been altered over time for safety, or to make it easier for young students or large classes to copy from an instructor. It also gives the student a chance to learn something that, while strongly connected to karate, is a bit more unique and unusual, building new neural pathways and providing the opportunity for new exploration within one’s own art. If for no other reason than that, it would be worthwhile for every karateka should endeavor to train in KishimotoDi, at least once in the course of their martial arts journey. If they happen to grow attached to the art in the process, so much the better, as it may help it survive for another generation.