THE TECHNIQUE AND INNER TEACHINGS "MOUIDI" IN MOTOBU UDUNDI SECRET MARTIAL ART OF THE RYUKYU KINGDOM ROYAL FAMILY Seikichi Uehara

Introduction

About eighty years have passed since I began learning bojutsu from my teacher, Choyu Motobu Sensei. I attribute my continuing good health, at my present age of ninety-one, in part to the fact that I have adhered to Sensei's teachings and never neglected my daily bojutsu training. Today, I would like to talk about some of the things I was taught by Sensei some eighty years ago. I hope my talk help you get to know a little more about the Ryukyuan art of Motobu Udundi.

The History of Motobu Udundi

Motobu Udundi was founded by Sho Koshin Motobu Oji Chohei, sixth son of King Sho Hitsuo, tenth king of the Ryukyu Dynasty's second Sho family reign. It has been handed down through the generations in the Motobu family, which is the royal family of the Ryukyu Kingdom. The "Udun" portion of the name Udundi means "having the status of royal family." Therefore Motobu Udun means "the royal family Motobu." The "di" portion of the name means "hand" and by extension "bojutsu", or "martial arts." This is the same as in the word "karate," which, since the early Showa period, has been written in Japanese using characters that mean "empty" and "hand", was originally written with a different character for "kara" meaning "Chinese", to express the fact that karate was a budgets originating in China. Accordingly, Udundi means "the bojutsu of the royal house."

Sunset beach .Seikichi Uehara sitting Boulahfa Mimoun and Shimabukuro sensei kneeling

As the secret bujutsu of the Ryukyu royal family, Motobu Udundi was handed down through the generations of the Motobu family, transmitted in secret from father to eldest son. It is said that the eldest son would begin his training at the age of six and complete the curriculum by the time he reached his coming of age ceremony. The techniques were kept secret and even his brothers wore not permitted to observe the training. For that reason, the very existence of the art, not to mention its technical curriculum, has been very little known to the world.

In the days when Okinawa was still the Ryukyu Kingdom, Motobu Udundi was taught in secret only to the successor to the royal Motobu family estate. However, through the complex historical circumstances following the Meiji Restoration, it came to be that I, unrelated by blood to the Motobu family, was taught the art by its eleventh headmaster, Choyu Motobu.

The Technical Characteristics of Motobu Udundi Techniques against multiple opponents

The techniques of Motobu Udundi are designed with the assumption of combat against multiple opponents during battle. For that reason, techniques are executed while walking continuously. The practitioner does not stop walking, even for a moment, until the last enemy is dispatched and the conflict brought to an end. Thus, "walking" is viewed as extremely important in Motobu Udundi.

Only one blow or technique is used for each opponent, because it is difficult to handle multiple opponents unless each can be downed with a single attack. Also, since any unnecessary movement could prove fatal in real combat, in Motobu Udundi, we do not rely on preparatory movements before executing techniques, for example sinking the hips down or pulling the arm back to gain momentum. Nor do we face opponents using any particular kamae, or stance. Rather than blocking and defending against attacks, we move continuously into areas that represent "dead angles" in our opponents' lines of attack and defence, executing techniques as we shift our bodies out of the way of oncoming attacks. Thus, our weapons never come in contact with our opponents' weapons, lessening the chance of damaging them. Swords and other bladed weapons are used in pairs as a rule, and the ability to wield such weapons freely in either hand is characteristic of Motobu Udundi.

Motobu Ryu Choki Motobu students and Motobu Udundi kobujutsu students Boulahfa Mimoun first left Chosei Motobu son of Choki Motobu Fith from left

In handling multiple opponents, it is necessary to pay attention to every change happening within ones filed of vision, so that the movements of every opponent may be grasped and controlled. We avoid focusing our eyes on any single point and try to perceive the situation as a whole.

It is important to clear the mind of all thoughts and move with a sense of "no-mindedness" or detachment, but one must also be in a condition to react or counter-attack instantly if any opponent makes even the slightest move.

From empty-handed to weapons techniques, then to "martial dancing "

Motobu Udundi training begins with basic Taijutsu, or empty-handed techniques comprised primarily of punches and kicks. These basics are used to train the body and prepare a foundation. Based on this foundation, the practitioner goes on to master the use of over twenty different weapons. The essence or key to these weapons techniques lies in the sword. Through mastery of the sword, the practitioner acquires skills that can be applied to the handling of any of the other weapons. Once weapons techniques are mastered, the practitioner moves on to more advanced empty-handed techniques called tuiti.

In the earlier stages of Taijutsu, the practitioner learns so-called "hard" techniques designed to down an opponent with a single blow. The purpose of tuiti, however, is to cultivate "soft" techniques that can render an opponent unable to resist, but without causing undue injury. Mastering tuiti techniques, it becomes possible to empty-handedly defend against and control opponents wielding any sort of weapon. The ways in which an opponent's

Hand is grasped and manipulated in the tuiti techniques are very similar to the movements used in Motobu Udundi swordplay. Thus, it is difficult to master tuiti without first having become adept at weapons. Also, it is difficult to execute tuiti techniques if one's body is tense, so the lines of the body must be kept fluid and soft throughout.

The Motobu Udundi practitioner first trains his body by practising hard-style techniques. With that training as base, he begins learning how to use softer movements to handle opponents.

These soft movements, however, actually become hard at the last instant, at the moment of contact or application. In other words, strong, powerful techniques are concealed within the softness so that soft and hard are unified in any single movement or technique.

To acquire such ability, it is necessary to follow the proper training process. The practitioner must first master basic skills by practising Taijutsu comprised of kicks and strikes, then use Motobu Udundi training methods to consolidate and strengthen those skills into a solid foundation. Various techniques may then be built, one attar another, upon that foundation. Failing to follow this process, the practitioner will remain unable to reach Motobu Udundi's kokugi, or deep teachings.

Continued practice and the building of a repertoire of hard and soft techniques leads eventually to a summit of martial technique called Mai, or "dancing. " Mastery of the kind of movement that allows the practitioner to respond with softly yet effectively to any action an opponent takes culminates in mouidi, or martial dancing. Mouidi is Motobu Udundi's deepest teaching. When I describe Mouidi as dancing I don't mean simply setting bojutsu movements into a dance like forms and dancing with them as if to music. Mouidi is not that sort of thing.

Rather, in order to master the deeper aspects of Motobu Udundi, such as tuiti and sword techniques, the body must become fluent in soft movements that flow without hesitation. Toward that end, the gokui, or principles of tuiti and the use of various weapons are embodied in soft, flowing movements of Mouidi, a kind of martial dance. When the practitioner has reached this pinnacle of martial movement, his movement becomes graceful and elegant, lacking sharp corners and angles altogether. For that reason Mouidi may appear at first glance to be little more than dancing around. In reality, however, terrific power is concealed within the graceful movement, although the movement is so soft and supple that people remain unaware of its underlying power. It takes a great deal of skill and insight to perceive the true martial power underlying this "dance. "

The Spirit of Motobu Udundi

There are a few matters that bojutsu practitioners need to bear strongly in mind. As the bojutsu of gentlemen and of the royal house, Motobu Udundi provides a number of strict admonitions. Allow me to relate some of those to you as my teacher often told them to me.

Do not make enemies of your own accord. Wining with one, lose with the other; if the right is victorious, it is important that the left be defeated.

A bujin, or warrior, must head off conflict in advance by making a point to avoid as much as possible, knowingly making enemies. For that reason, Sensei taught me always to exercise great prudence and caution in both word and deed. In training matches and halfplayful games such as arm wrestling alike, you must be careful to allow the left to lose to compensate for a win by the right. Allowing an opponent to save face is an effective way to avoid unnecessary conflict. You must never seek out opponents of your own accord simply for the purpose of vainly displaying your own strength or skill.

Further, Motobu Udundi strictly admonishes to avoid injuring opponents, no matter what the case. This obviously holds true during training, but even if someone is your enemy you should avoid injuring or scarring them. Not only is a scar visible to others, but it remains to fuel a person's bitterness, and their grudge against you will only continue to fester as long as they bear it. By scarring or maiming your opponent, you risk allowing the conflict crop up again and again.

The virtuous martial artist handles opponents rushing to attack without injuring them, sending them instead on the path to reform. Sensei said to use care not to let the application of your martial arts skills to handle one situation become the seeds of further conflict. Toward that end, it is necessary to master technique to a degree that far surpasses the skills of your opponents.

Accordingly, as a martial artist you must train yourself strictly and continuously, never neglecting daily practice.

Bujutsu should not be practised to the exclusion or detriment of one's family. A warrior mast contributes to society and upholds his responsibilities to his family.

In order to continue your martial arts training, it is necessary to attend fully to the needs of your family. It is important to pay attention to your health and maintain peace in your household.

Sensei said that you should first have an occupation and take care of your family, then build your bujutsu training upon that foundation. Since the purpose of bujutsu is to protect your life and the lives of your family, it is meaningless if you apply yourself to bujutsu at the expense of your family and your career. Rather than making bojutsu itself your only livelihood, it is important to maintain some other occupation while you pursue your training.

Prepare yourself for the reality that when you choose to use bojutsu, there is every possibility that two graves will be needed.

One of those graves should be for your opponent, the other for yourself. Because bojutsu is for the purpose of protecting yourself and your family, you may have to fight your opponent to the death. Therefore, you must be prepared to go to the grave yourself. Also,

Even if you survive a conflict to bury your opponent, it is possible that your opponent's children and descendants will return to challenge you. Sensei said never to forget that two graves are ``waiting whenever you use bujutsu, and so he strictly admonished against using bojutsu lightly or rashly.

Even having leaned bojutsu, it is best if you spend your entire life without ever having to use it.

Choyu Sensei always said that the "techniques of the Ryukyu king," in other words, Motobu Udundi, are a manifestation of the divine. I sparred with Choyu Sensei many times during my training, but I could never manage to touch him, even when he was seventy years old. He certainly did seem to possess divine skill. In fact, he was so skilful that I think even if attacked by many opponents; he would have been able to fend them off without inflicting injury. Yet, despite his skill, he always carefully avoided falling into situations where using bujutsu would become unavoidable. You must practice constantly your whole life to penetrate to the deepest realms of bujutsu, but it is most desirable that you also spend your whole life without ever having to use the bojutsu that you have learned. Choyu Sensei was certainly remarkable people who manage to achieve this.

Practitioners of Motobu Udundi must not fail to maintain these teachings throughout their training, always maintaining a vigilant self-awareness to avoid disgracing themselves through word or deed. Also, during training, it is important that you treat your training partner's body as if it was your own and avoid injuring others through displays of your own strength.

Motobu Udundi Training My training period

Between the ages of twelve and twenty-two, I practised alone with Choyu Sensei. We trained three times a day, morning, afternoon, and evening. The training was unimaginably exacting. Choyu Sensei schooled me not only in bujutsu techniques, but also in the warrior approach to all aspects of everyday life-everything from how to take meals to the proper way to tie my headband. It would be impossible for me to relate to you all of the many, many things I was taught, but I will mention some of the main ones.

Walking training

I practised walking quickly forward and backward while up on my toes, placing my weight at the base of my big toes and keeping my knees straight. I had to walk while keeping my chest out and my body upright like a pole, using my hara, or abdomen, as a centre around which to move my entire body. I bound pieces of wood to the backs of my knees with strips of cloth to get in the habit of walking with my legs straight.

Striking training

I began practising how to strike by punching at my teacher's stomach with a seiken fist. Striking a makiwara (practice target made of a board wrapped with straw and/or rope) was not permitted, since striking an inanimate object does not train you to strike at a moving person. In actual combat we use nukite, or spearhand strikes. The spearhead strike we use in Motobu Udundi is slightly unique in that we keep our thumb straight, parallel to the rest of the fingers, rather than bending it. To strengthen my spearhead, I practised thrusting it into the sand on the beach. Eventually it was strong enough to split a three-centimetre-thick plank of cedar.

Kicking training

To practice kicking I tied a piece of cloth to a bamboo pole at about face-height and kicked at it using the straight-legged kicks characteristic of Motobu Udundi. These kicks involve keeping both the kicking leg and the pivot leg straight, making contact with the toes when extending the kick, and with the heel when withdrawing it.

At the next stage, I practised straight-legged crescent kicks. I held my arms outstretched, parallel to the ground, with rocks wrapped in towels held in both hands. If my upper body wavered in reaction to the kick, the rocks in the towels would also waver and knock against my legs.

Thus I learned to keep my upper body still when kicking. I started with rocks weighing about 600 grams and gradually increased the weight to about 1800 grams.

Later I practised standing and kicking with straight-legged kicks diagonally over my opposite shoulder to split a board positioned there. Then I practised the same type of movement to split a board positioned behind my head.

I also practised leaping up to kick down small tree branches, and jumping from stone walls and other high places, kicking with one foot and striking with both hands on the way down, then kicking and striking rapidly again when I hit the ground.

Leaping training

I practised leaping from a standing position without bending my knees, using only my ankles as springs. I started doing that when I was twelve and by the time I was seventeen I was able to use only the power of my ankles and one arm to hoist myself over stone walls about the height of my raised arm.

Pole-vaulting training

As a means of escaping when surrounded by enemies, I practised using a bamboo pole to jump from one stone wall to another and onto tiled roofs and other high places.

Midwinter training in the sea

From the time I was eighteen, about every three days during the mid-winter months, Sensei and I would face each other (he facing the shore, I the water) and walk up to our necks in the sea, wearing nothing but our undergarments, singing loudly together all the while.

Training with earthenware jars

I practised lifting unglazed earthenware jars by placing my fingers inside and expanding them outward to keep the jars from slipping off.

Each jar was about thirty centimetres high with an opening fifteen centimetres in diameter. As I got stronger, I added weight by filling them with sand.

Univerty of Salamanca extraordinary cours 1996

I used the same jars to support my neck and ankles while I held my body straight as a rod above the floor, arms straight at my sides. Later I practised holding that position while Sensei pressed and shook my abdomen. Eventually I was able to hold the position without flinching or bending, even when he climbeup and stood bouncing on my stomach.

Bird-catching training

I practised capturing wild birds using a thin bamboo pole with a glob of very~sticky rice paste on the end of it. The instant a bird took off from a branch, I used the sticky paste on the end of the pole to entangle its feet in such a way that I could capture it without harming it or damaging its feathers. I did this to develop a steady hand and so that I would be able to catch the rhythm of an opponent's breathing (Kokyu) and attack my chosen target.

Equestrian training

First I learned how to ride bareback and how to mount a running horse. After that I practised using various weapons such as long sword (tachi), spear (yari), glaive (naginata) and so on while riding a horse.

Training matches

Back then it was essential that I conceal my martial arts training as much as possible in order to avoid the challenges that would come from people hoping to prove their skills.

If it was known that I was practising bojutsu, I might be ambushed or caught up in kakedameshi, which was the practice of picking fights to test opponents ability and gain practical fighting experience. Back then many young people still lost their lives through kakedameshi. Choyu Sensei was strictly opposed to such useless conflicts and naturally forbade kakedameshi.

However, there were times when I played the role of sparring partner to martial artists who came to learn from Sensei and I also participated in practice matches when I accompanied Sensei to meet other shihans.

In practice matches back then, the higher-ranking person would cover their palms with black soot from the bottom of cooking pots, while the lower-ranking person would use wheat flour. The winner of the match would be decided afterwards by the position and number of white and black marks each had managed to put on the other. It was considered a breach of etiquette to soil the clothing of a higher-ranking person with difficult-to-remove soot, so the lower-ranking person used light coloured wheat flour instead.

Learning the knowledge and skills required of a warrior

Through daily practice, Choyu Sensei taught me the etiquette and other things I would need to know in order to master Motobu Udundi. He taught me so many things, from the proper attitude toward training to knowledge and skills to be used both on the battlefield and throughout daily life.

The first thing Sensei taught me was to approach training by first purifying my body and putting on clean underclothing. Martial arts training always involve a certain degree of danger and if, by some fatal mistake, you were to die during training, you want to avoid letting your corpse to cut an indiscreet or disgraceful figure.

When I turned eighteen, I was exactingly taught the proper ways for a warrior to enter and exit rooms and move about indoors. I was also taught how to use everyday objects as weapons to respond to unexpected attacks.

Used properly, objects such as chopsticks, tobacco pipes, and garden brooms can become very effective weapons. I was also taught dietary matters, such as to eat rice gruel for breakfast and to use nigana (a kind of lettuce) and dandelions as medicinal herbs in my everyday diet.

I was taught how a warrior should prepare for battle--everything from the proper way to tie my headband to making sure to eat only things such as rice cakes (mochi) and noodles. I was taught how to prepare metsubashi (power flung into the eyes of opponents to blind and distract them), how to fashion various weapons, how to sharpen swords and repair them after use, how to knot the cord on my sword scabbard, and a myriad of other things.

Further, I was taught how to use the orientation of the sun and moon and the direction of the wind, and how to take advantage of topographical features in battle. I was taught equestrian battle techniques and how to escape on horseback when pursued by many attackers. I practised these and many other things through actual outdoor training drills.

                                 Sitting Dai Sensei Seikichi Uehara..Standing Boulahfa Mimoun

In Conclusion

I think that I am still able to practice and remain in good health at my present age of ninety-one thanks to the teachings of Choyu Sensei. I will endeavor to continue following his teachings so that I may remain as active as I am now for as long as possible.

I hope you will find some of the things I have spoken of here today of some small use in your own training. I wish you successful and fruitful training here in Japan.