[DAT]

I visited a dojo here in the ATL area that teaches Shuri-ryu (alongside Shintoyoshin-ryu Jiu-jitsu). The head sensei seems nice enough and has some good martial family ties. I'm considering the dojo mostly for the Jiu-jitsu but I don't mind doing the Karate alongside. Although much of my background is in Chinese arts, I did study Okinawa-Te for a couple of years back in my HS days.

I've researched the art/style and understand the basics. I detect quite a bit of Hsing-I influence. Could I impose upon the forum members to give me some of their insight into the Shuri system as it compares to some of the core systems in Okinawan Karate such as Goju, Shorin, Uechi and Isshin. Specifically what I'm looking for is an overview of the core concepts...kihon, kata, bunkai, stances, philosophy, martial application, etc. Feel free to offer any negative comments as well.

Thanks in advance.

http://www.tmacenter.com/

[Wilhelm von Wankenstein]

Shuri-kan karate has xingyi influence? Wow! I remember reading that Shuri styles were influenced by Northern Chinese systems years ago on some webpage, but dismissed it as unlikely. Can you describe the Shuri system in a little more detail? Perhaps then I could offer a better comparison to Naha systems like Goju and Uechi. Most styles of karate essentially have their roots in White Crane and Arhat Fist, and derivative styles thereof. I have yet to hear of a style that is genuinely based on a northern style, and an internal one, at that.

[setsu nin to]

I have one question. There is so strong influence of many Chinese martial arts on Shury-ryu. My question is how many not changed elements of for example Bagua we may finde today in Shury-ryu.

[DAT]

setsu nin to,

I am certainly not an expert on Shuri but so far I see mostly linear movement that moves forward and takes the opponents space. That concept and some of the hand techniques remind me of Hsing-I. Plus the sensei I was working with claims Hsing-I influence? The very nature of Bagua seems absent, circular movements outside the attacker's space. Walking the trigram, etc. Again I don't have that dicerning an eye for Shuri but those were my observations based on my basic understanding and exposure to Hsing-I and Bagua. I'll print an overview of Shuri in a few moments.

[DAT]

In 1942, during World War II, Grandmaster Robert A. Trias was stationed in the British Solomon Islands. At this time Grandmaster Trias was a middleweight boxing champion for the United States Navy. During this same time a Chinese missionary, Master T'ung Gee Hsing, was seeking the conversion of the Solomon Island natives. After observing Grandmaster Trias training for an upcoming boxing match, Master Hsing offered to teach him Hsing-Yi in exchange for lessons in "American Boxing". At first Grandmaster Trias refused, annoyed by the interruptions during a busy training schedule. Finally Grandmaster Trias decided to teach Hsing a lesson in the ring. The exchange that followed was a turning point for Grandmaster Trias, who was unable to land a single blow. He decided to pursue the art so generously offered to him by Master Hsing. From then on, Karate became his way of life.

Later during the war, in 1944, while stationed in Singapore, Mr. Trias continued his training in the martial arts with his second instructor Hoy Yuan Ping at the Hock Keng Temple. Hoy Yuan Ping's instructor was Hashinosuka Fukuda, of the Tenshin Shinjo School of Kempo ju-jitsu in Japan.

Karate was first introduced to the United States by Grand Master Trias in 1945. He opened the first Karate school in the nation in 1946 in Phoenix, Arizona.

Ways to recognize Shuri-ryu:

1. Stances exceptionally low in kata form.
2. Seiken thrust - slightly downward and in center of body. The rear leg moves slightly forward at the completion of the punch. The moving of the rear leg is automatic and is caused by the power generated by the force of the punch and the forward movement of the hips.
3. Fist - index finger under curled thumb.
4. Hips - rotate with a definite forward movement.
5. Back fists - 4 arm back fists and 4 shoulder back fists.
6. Blocks - 5 major blocks, all start spiraling at wrists and spiral until completion of block.
7. Head snap when turning.
8. Thousand hand, five and six-count rice exercises and sun fist.
9. High rising block - executed from thigh up.
10. Teeth clenched.
11. Wide eye stare.
12. Eight faces - the art of looking or expression (hyojo do). (Confidence, Friendly, Solemn, Unconcerned, Contempt, Shock, Fear, Anger)
13. All kicks, blocks and strikes are 90% circular (point and circles).
14. Kicks - for every forward one there is a reverse one.
15. Punches - 12 detailed, 6 long and 6 short.
16. Block, punch and cover preparation and attack movements.
17. Block, punch, shift and cover preparation and attack movements.
18. Te-katana and te-uke covers - very obvious in all Shuri-ryu techniques and katas.
19. Body - always relaxed until exact moment of completing technique.
20. Form sparring, stance sparring, free exercise (jiju undo).
21. Ippons, taezus, and kihons.
22. Mention of MATSUMURA, MOTOBU, HSING, TRIAS, and yourselves.
23. Pine tree - stands for strength, endurance, and longevity, a) Black with red sun -teacher standards b) black - Dan standards c) white - basic standards

Shuri-ryu kata:

Tai Kyoku exercises (Body side form. First basic steps) created by Gichin Funakoshi in the 1950s for the purpose of training large groups of students as a preparation for learning kata. There are 22 movements and 8 attacks.

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Wunsu Kata (Strong Arm - Dragon Boy Dumping Form)

I bring no evil and bear no weapons.

Creator unknown. It is believed Wunsu kata was composed by Okinawan martial artists as a tribute to the Chinese emissary Suppushi Wanshu who was in Okinawa around 1685. There are 38 movements and 11 attacks.

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Anaku Kata (A Swallow on the beach Pivoting Form)

A reflection of self and the desire to rise above ideals and discipline oneself by good thoughts words and deeds.

Creator unknown. It is believed to have been recomposed by Master Chotoku Kyan in Okinawa around 1895. There are 33 movements and 8 attacks.

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Nai Han Chi Sho (Iron Horse/Missing Enemy Form)

Bring all forces into your body and obtain peace, tranquility and ultimate reality.

The originator of Ni Han Chi Sho is unknown but it was practiced and taught by Sokon Matsumura around 1825. There are 49 movements and 17 attacks.

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Sanchin (Three Conflicts Form) or (Original Pupil Breath Form)

Completion of life cycle and return to the source - life starts again.

The creator is unknown. The Okinawans referred to Sanchin as Bodhidharma's `Juhachi raken shou kyo` which was the art of using intrinsic energy to defeat your opponent. Almost all movements in Sanchin have a symbolic meaning. The three conflicts being the three conflicts of life: birth, survival, and death. There are 47 movements and 8 attacks.

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Empi Sho (Flying Swallow) or (First Elbow Form)

I will uphold universal spiritualization (moral and spiritual uprightness) through adherence to all laws, justice, charity, and honesty.

The creator is unknown but was introduced in Okinawa around 1685 by Suppushi Wanshu. It was taught and popularized by Sokon Matsumura and Yasutsune Itosu. There are 34 movements and 10 attacks.

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Tsue Sho (Way of the Bo Form) or (Suekata Sho No Kon)

This bo kata expresses a constant but continuous change in the universe by the interaction of yin and yang throughout the kata. The forces of yin and yang represent the potential of each to hold within itself the properties of its opposite. Tsue Sho is believed to have been composed by Tode Sakugawa and later improved upon by Suekata Chogum around 1765. There are 35 movements and 11 attacks.

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Bassi Dai (Breaking the Giant Enemies Circle) or (Breaking Through the Fortress Form)

Strong convictions in the intrinsic goodness of all mankind and the affirmative nature of life and the values of love, charity, faith and loyalty.

Bassai or Patsai Katas were composed for the personal body guards of King Oyoda Mari. Bassai katas were being taught in Tomari, Okinawa around 1869 by Kosaku Matsumora. They were also being taught by Bushi Matsumora, CHOKI MOTOBU, Chotoku Kyan and Chosia Chibana. There are 55 movements and 19 attacks.

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Go Pei Sho (Advanced Tearing Peacock Form)

Do away with dualism and confusion and allow only immovable serenity to prevail.

Go Pei Sho is basically Chinese in movement. It represents a peacock preparing to defend itself. It is inherited from the Chinese movements of Master Li Tsun I. There are 56 movements and 23 attacks.

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Dan Enn Sho (Cutting and Clawing Through the Fire or Tsume Form)

The white crane spreading its wings the open arms represent patience and tranquility and the hands reach out for divine force in order to obtain reality and self liberation.

Like Go Pei Sho, Dan Enn Sho was inherited from the movements of the Chinese Master Li Tsun I of the Hopei school. The Hopei schools were also called Goka Ta Ken,which is where all Okinawan Karate stems. This kata represents five of the twelve animal forms of the Hsing Yi system. The movements of the eagle, crane, hawk, snake and tiger are very obvious. There are 39 movements and 12 attacks.

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Nan Dan Sho (Smooth Water - 24 Steps - Difficult Victory Form)

Gathering of all forces and energies from the earth and bringing them into the body. When the body returns to earth-give back to the earth the body, mind, spirit and all energies and forces taken from earth.

Although this kata was practiced in Okinawan villages of Shuri and Tomari years ago, the origin is unknown. The original name "Nandan sho" is basically Chinese. The Japanese call this kata "Nijushiho", meaning 24 steps. The Okinawans call this kata "Nisei Shi". The symbolic movements in this kata pertain to the five Earth ruler elements which deals with the body and the usage of all types of breath. There are 51 movements and 16 attacks.

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Kan Ku Sho (Flowing Lagoon - Sky Form)

The originator of Kan Ku Sho is not known. It is believed that the kata was named and composed by Yasutsune Itosu and taught extensively in Okinawa by Itosu's most advanced student Chibana. It can be assumed that this kata is over 125 years old. It is practiced internationally by most ryus and the name Kan Ku Sho means "Sky observation (small) form". It is commonly reffered to as 'looking at the sky or flowing lagoon form.

[bamboo]

DAT,

That is quite the list of information, thankyou. What is the source on this or did you write the article yourself?

Cheers,

bamboo

[DAT]

Please don't even assume that I wrote any of that. I'm not that much of a Shuri encyclopedia and besides I'm too lazy. Through the magic of the cut and paste function you have the above.

Just search "Shuri-ryu" and/or "Robert Trias". I don't recall but the site could have been "Shuri.com" or "Shuriryu.com".

[setsu nin to]

DAT

Thanks fr that article or what ever it is! Its exelent!

[Merrick]

Revisiting an old thread - anyone here currently practice Shuri-ryu? Or perhaps Shorei?