Kōburyū Kobudō Bunkai

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Through bunkai, Sōke Kaichō Kinjō has developed a deep understanding of karate and kobudō. His body movement and technique reflect this depth of understanding in ways that were not always acceptable to his Uechi Ryū peers. Sōke Kaichō Kinjō first deviated from his Uechi Ryū roots in the separation of Pangainoon Ryū from Uechi Ryū and later in the innovations that led to the creation of Kōburyū in the year 2000. While retaining respect for Uechi Ryū, he desired the freedom to expand and improve on the style, adding new ideas and developing his own personal style. Kōburyū therefore, is more fluid, the techniques are more explosive and there is an insistence on practical applications of the movements in the kata. Therefore, the kata of Kōburyū karate and kobudō more closely demonstrate the practicality of the Okinawan fighting arts of old.

Sōke Kaichō Kinjō believes that every movement of a kata must have a practical application. Movements without a clear application have been modified or removed from the kata. Students of Kōburyū are encouraged to analyze the movements of the kata and develop practical applications for the movements. This process of analysis is called bunkai. Bunkai is practiced with a partner. The bunkai of experienced partners begins to have the appearance of a real fight.

If the attacker is stronger than you then taisabaki is necessary.

Straight on works against someone who is weaker.

I let them cut my flesh so I can cut their bone.

If you don’t use your legs it’s difficult to block.

You can see a bird but you can’t grab it.

If you are attacked you must have courage – don’t hold back.  Always think you must put the attacker down.

Don’t stop until the attacker is down.

Kanpatsu – consecutive strikes

Body must memorize the taisabaki waza. Then you can manipulate them in various ways.

Kurikaeshi Kurikaeshi

It takes 10,000 repetitions to perfect

Choose a movement from the kata and play with it – how can it be used?

There should be one move and attack – two steps won’t work

Kinjo Kaicho stimulated interest in bunkai

Matayoshi Kobudo

Kinjo Kaicho would ask Matayoshi Sensei what was the point of what he was doing

Matayoshi would be shocked about how it worked

He told Kinjo Kaicho that he was like his father – how to make the technique work

For KK budo became mixed into daily life – it became natural; fun

Roku Shaku Bō Kata

1. Shushi no Kon 周氏の棍

Shushi is a man’s name. Not much is known about the origin of this kata.

2. Chōun no Kon 朝雲の棍

Because of the Japanese occupation of the island of Okinawa, both karate and kobudo were practiced in secrecy, usually at night.  The island of Okinawa is actually just one island in an archipelago. Not all of the islands of the archipelago were occupied by Japanese. The island where Chōun No Kon was developed was not occupied. Therefore, weapons could be practiced in the open – under the morning clouds.

3. Sakugawa no Kon 佐久川の棍

Kanga “Tode” Sakugawa (1733 – 1815), created the bō kata, Sakugawa No Kon.  Sakugawa was a pechin (Okinawan samurai) in the RyÅ«kyÅ« (ancient Okinawan) capital city of Shuri. He was sent on a mission to China by the Okinawan king. There he became fascinated by the martial arts of China. He remained in China for ten years to study Chinese arts before returning to Okinawa. He is remembered for his skills in both karate and bō techniques.

4. Chiken No Kun 津堅の棍

The bō kata, Tsuken No Kon, is named after the island where it was created.  It is said that the island was named after Tsuken (Chiken in Okinawan dialect), who took refuge on the deserted island to escape a samurai bent on revenge for an accidental killling. Tsuken is remembered for his skills in karate, bō and sai.

5. Shiishi No Kun 添 石の棍

Shiishi no kun is Okinawan dialect. The same kanji are pronounced Soeishi No Kon in standard Japanese. Shiishi (or Soeishi ) lived in the 1600’s. He is remembered for his skills in both karate and bō techniques.

The Sai Kata

Matayoshi kobudō includes a sai kata, Sanchō Zai, with a third sai carried in the obi. After throwing one sai, the third sai was grabbed and put into play. Soke Kaichō Kinjō replaced this kata with Kōbu no Sai. Possibly he didn’t think it was a good idea to lose control of your weapon.

Use the sai as an extension of your fist, in line with your arm.

1. Nichō Zai 二丁釵

Nichō Zai remains very similar to its roots in Matayoshi kobudō. It is the first sai kata that beginning kobudō students learn. Because it uses just one arm at a time and because it has many repeating movements it is easy to learn. However, there are also grip changes and targeting changes to be mastered.

2. Kōbu no Sai 孝武の釵

Kōbu no Sai takes advantage of the longer reach and more devastating potential of a sai used in extended grip. There are no grip changes like you see in Nichō Zai. Once the sai is extended it remains extended, stabbing rather than punching. With the sai in extended grip the second sai can be used to add support to a block.

The Nunchaku Kata

Kōbu no Nunchaku is the only nunchaku kata.

The Tinaka Kata

Kōbu no Tinaka is the only tinaka kata.

Kōbu no Tinaka

Kōbu no Tinaka has a strong resemblance to the karate kata, Kōbuken. In fact, most Koburyū karate kata could be adapted for use with tinaka.

The Tonkua Kata

Tonkua were the inspiration for the modern-day policeman’s PR-24. Actually, PR-24 can be purchased and used for tonkua bunkai.

1. Tonkua Kata

Tonkua Kata is very similar to Tonkua Kata in Matayoshi kobudō, from which it was derived. Because it uses just one arm at a time it makes a difficult weapon easier to learn.

2. Kōbu no Tonkua

Kōbu no Tonkua is an advanced weapon kata. It showcases the distinctive upper body movement of Koburyū. Kōbu no Tonkua includes swinging, punching, hitting and even hammer-like pounding. You can also find kama-like slicing movements in Kōbu no Tonkua.

The Kama Kata

Kōbu no Kama is the only kata for kama.

Kōbu no Kama

Kōbu no Kama was the last kata added to KōburyÅ« by Sōke Kaichō Kinjō. Originally, he included kama movements in Kōbu no Tonkua. Only later, because the kama was such a ubiquitous part of Okinawa’s history, did he decide to include a kama kata. For safety, the kama blade is usually dulled for training purposes, though for demonstration purposes the performer often (rather dramatically) slices something to show that the blade is sharp.

The Ieku Kata

Kōbu no Ieku is the only ieku kata in Kōburyū.

Kōbu no Ieku

Ieku is Sōke Kaichō Kinjō’s signature weapon. From the Matayoshi style Tsuken Akachu no Ieku De to Kōbu no Ieku, Sōke Kaichō Kinjō has demonstrated ieku for many events through the years.

The Nunti Kata

Kōbu no Nunti is the only kata for nunti.

Kōbu no Nunti

Kōbu no Nunti is a variation of Chiken no Kon, an advanced bō kata. The hand switching technique of Kōbu no Nunti is designed to keep the most effective end, the manji sai end, always forward for hooking, pulling and piercing.