With the 20th century, the history of karate emerges from obscurity. Not only was the secrecy relaxed by 1900, but also historians have been able to tap living memory, newspaper accounts, et cetera, in their effort to record the development of modern karate. In fact, the information available is so abundant and complex that an account of the history of modern karate is far beyond the scope of this essay. Rather, the focus will be narrowed to the training and career of Master Tatsuo Shimabuku, and his creation of Isshin-ryu karate.

While Isshin-ryu is a relatively new style, and while it has been fairly controversial since its establishment in 1954, it is important to realize that Isshin-ryu is very firmly rooted in traditional karate, and that, while Master Shimabuku was an innovator, he was also the most accomplished traditionalist of his day. Thus Master Shimabuku may be likened to other great and innovative artists, such as architect Frank Lloyd Wright or the painter, Picasso. While Wright introduced many new and bold concepts to the art of building, and in some ways revolutionized the practices of architecture, he was well trained in principles, techniques and materials that go back to the builders of ancient civilizations. And while Picasso's paintings reflect his radical departure from traditional depiction of images, he was able to paint as realistically as any landscape or portrait artist. No one lacking the formal training of these two figures could have possibly matched their innovative creativity. Similarly, Isshin-ryu could have been invented only by one who had absolutely mastered traditional karate. Tatsuo Shimabuku was an acknowledged expert in Goju-ryu and Shorin-ryu before he refined and tempered the techniques, and handed down a style that is as pure and effective as any practiced today. Master Shimabuku was born on September 19,1908, and began his study of karate as a boy with his uncle, who practiced Shuri-te. He continued his studies with three great Okinawa masters: Chotoku Kyan, Chojun Miyagi and Choki Motobu. These three are featured in "The Weaponless Warriors"; and Richard Kim's notes and charts clearly show how they tie into the long tradition of karate. Kyan was a student of Master Yasutune Itosu, who taught Shuri-te, and of, Master Matsumora, who taught Tomari-te. These two styles were combined to form Shorin-ryu (named after the Shaolin Temple tradition), and Kyan was one of Shorin-ryu's greatest practitioners. He was famous for his powerful kicks, and for his outstanding teaching ability. Kyan was a stern perfectionist, and young Tatsuo Shimabuku achieved the honor of being his best student.

Miyagi (1888-1953) was the best student of the Naha-te grandmaster, Kanryo Higashionna (1845-1915). Higashionna had established Naha-te by combining te with Chinese kempo, which he had studied for years in China. Naha-te was distinguished by its integration of soft kempo and hard kempo. It emphasized the Sanchin stance, which Higashionna had developed to the point that he was immovable when he had assumed the stance and heated the floor with the powerful gripping of his toes. Miyagi studied with Higashionna for a number of years, then went to China himself to study kempo. He returned to Okinawa and formulated the style called Goju-ryu (hard/soft way). For accounts of his deeply respected personality and his lifelong devotion to and techniques in karate, consult the chapters on Miyagi by Richard Kim and Frank Van Lenten. Miyagi was known as an exacting sensei whose grueling workouts greatly strengthened the body and built up endurance. With Miyagi, Tatsuo Shimabuku went through training that was very influential to the ultimate development of Isshin-ryu; for example, the emphasis on breathing and tension, the low kicks, and the development of mind, body and spirit.

Motobu was a less formal instructor, but an accomplished master in Shorin-ryu, and an indomitable fighter. Coming from an ancient line of Okinawan nobles, he had an eccentric personality and an enormous physique. As Richard Kim states, he is remembered as a brawler as well as a master, but no doubt his instruction offered Tatsuo Shimabuku invaluable lessons on the practical application of the art of karate.

Under these three sensei's, Tatsuo Shimabuku developed abilities that mutually complemented one another in making him a quintessential karate-ka; flexibility, coordination, power, speed, balance, ki, technical perfectionism, oneness with the art, heightened awareness, honor, humility, streetwise practicality. With additional training under weapons experts, Tatsuo Shimabuku became one of the most accomplished karate-ka of his day.

From the late 1920's to the 1940's, Master Shimabuku's prestige and authority in karate increased. Like most of the Okinawan population, Master Shimabuku was a poor farmer. He also worked in his village as a local tax collector. The first half of the 20th century was very difficult for Okinawans in his station in life. The Japanese rulers were unconcerned about the extreme economic hardship on the island, and unresponsive to the Okinawan leaders' petitions for land and tax reform.

Karate was Master Shimabuku's way of life, but at that time the art would not earn a living for most of its experts. With the advent of World War II, and the forced conscription of thousands of Okinawan men, Master Shimabuku and his family sought refuge on another island. Shortly before the Japanese surrender, the Battle of Okinawa devastated the island, its economy and its inhabitants. The Japanese stubbornly resisted the Allied Forces from its headquarters in the ancient castle at Shuri. The Americans dropped tons of explosives on the island and waged bloody infantry tactics. Most of the ancient buildings, gardens and monuments of the ancient Ryukyuan kingdom were destroyed, and over 100,000 civilians were killed (along with an additional 100,000 soldiers) . After the Japanese were defeated, the Americans occupied Okinawa and began a massive effort of reconstruction. Having returned to Okinawa, Master Shimabuku resumed farming, until Okinawan civilians and, later, American servicemen began to seek him out for instruction in karate. In the early 1950's, Master Shimabuku decided to establish a formal dojo at his home in Chun Village, and became one of the first successfully professional sensei's. Later, the school's success prompted Master Shimabuku to move his dojo to Agena, where large numbers of Americans could have access to his instruction. Master Shimabuku had been experimenting with new approaches in karate for a long time. But with his energies focused on his art, Master Shimabuku's creative spirit increasingly analyzed and synthesized all the kata, techniques and applications he had perfected. He continued the slow, methodical, thorough process of modifying Shorin-ryu and Goju-ryu into a style that he found more practical and effective. His experimentation was galvanized by his visionary dream of the Mizu-Gami. The vision unified his ideas and his purpose. On January 15, 1956, Master Shimabuku publicly proclaimed that he would teach a new style called Isshin-ryu, one heart or whole-hearted way.

Master Shimabuku always said that there was "no birthday" for Isshin-ryu . He had been adding to, and subtracting from the style for years before 1959. His aim has been to develop a system that would apply sudden, direct, powerful force, while eliminating unnecessary movement. His ideas and innovations in karate are preserved in, and handed down through, the eight empty-hand kata of Isshin-ryu: Seisan, Seiuchin, Naihanchi, Wansu, Chinto, Kusan Ku, Sunsu and Sanchin. Most of these katas were adapted from their ancient forms, while Sunsu (or Sunusu, "son of Su (the ancestral house of Shimabuku)" was created by Master Shimabuku and, therefore, embodies Isshin-ryu in its essence. These katas were chosen, and refined laboriously and assiduously so that they might exemplify Isshin-ryu, and aid in the instruction of students in Isshin-ryu. They are a legacy from Master Shimabuku that continues to be handed down from sensei to student. For almost twenty years, Master Shimabuku taught Isshin-ryu to many Americans, as well as Okinawans. But his style was not readily accepted by the traditionalist karate-ka. Unfortunately, there is no completely reliable publication in print on the history of Isshin-ryu. Master Tatsuo Shimabuku died May 30, 1975. Before his death, he was filmed performing the Isshin-ryu kata on at least two occasions. While Isshin-ryu has suffered a decline in Okinawa, in America the style is thriving, owing largely to the dedication of Master Shimabuku's students, who have established their own dojo's all over the nation, and have endeavored to pass on Isshin-ryu in its prescribed form. We have seen what a unique and phenomenal creation Isshin-ryu karate is . Master Shimabuku never dwelt on the past, but lived squarely in the present. The future of Isshin-ryu is in the hands of the present. Today's Isshin-ryu karate-ka should strive to preserve such a singular creation in its original form, through cooperation, careful study, and a new area of tradition.

Why the vertical fist?
 

One of the most distinguishing characteristics of Isshinryu is the vertical fist. Most new practitioners and disciples of other arts wonder why we make a fist in this manner, and why don't we twist or "corkscrew" our punches like most other styles. The answers are really fairly simple and quite well thought out. For the answers, let's examine the dynamics of the Isshinryu punch. The properly executed Isshinryu punch is launched from the side keeping the fist vertical the entire time. The elbow is kept close to the side and the shoulder is mostly quiet. The punch is targeted at the solar plexus, - not higher at the face or head. Striking with the first two knuckles of the hand and then snapped back - much like cracking a whip. At the completion of the punch the hand and arm are left in a position ready to punch or block again immediately with no wind up. When timed it is possible to land 3-4 of these punches in the time it takes to land one corkscrew punch, and if one believes the laws of physics i.e. Power=Speed x Mass it is easy to see that this punch is not only faster but more powerful that a twisting punch as well, as we are moving the same mass as in a twisting punch but with much more speed. Biomechanical the punch/fist is also much more sound.

Beginning at the fist and moving up the arm: The fist is made by holding the hand open and then slowly curling the fingers from the most distal knuckle until a fist tight enough to completely hide the fingernails is made. Then the thumb is pressed down on the second knuckle of the index finger. This makes an extremely hard and tight fist. Much less prone to injury, and a much more effective weapon. Moving on to the wrist. Holding the fist vertically during the punch has the effect of distributing the impact to both the radius and ulna. Try a twisting punch and notice the position of the radius - especially when your target is on your opponents centerline - like the face or solar plexus. You will see that much more of the impact must be absorbed by the radius side of the joint where the joint is much "softer". Softer meaning that the joint on this side is comprised of small bones, cartilage and ligaments. Not to mention that the radius itself is by far the smaller, more fragile bone. The forearm is also left in a stronger blocking position. Blocking across the wide, muscular side of the arm instead of a single, exposed bone has obvious advantages. Moving up the arm. In a twisting punch the elbow is turned outward, away from the body leaving it in probably it's most vulnerable position. When the joint is turned this direction and locked (as would happen if the punch was trapped, or slipped and countered) it takes little more than 20 pounds of pressure to dislocate or break the joint. Twisting the arm outward like this also has the effect of exposing the floating rib and in the case of a punch to the face or head also adducts the shoulder leaving it vulnerable to anterior dislocation and exposing a nice large vital/pressure point in the pit of the arm. While this is a somewhat cerebral analysis of a simple punch it seems that most of this information is obvious to our subconscious minds. In thinking about this punch I realize that I rarely see even the most trained "corkscrew" puncher use one in a sparing match and even much less on the street. I think that one of Master Shimibuku's amazing talents was his ability to understand the state of Mu-Shin (no-mind) and to utilize it in a practical way. Imagine the power of knowing what the subconscious mind will do and training your body to be even better at it.

 What is Isshinryu Karate?

Isshinryu (one heart/one mind) introduced in 1954 by Tatsuo Shimabuku. Sensei Shimabuku Studied both the Shorin-Ryu and Goju-Ryu systems; studied Kobayashi-Ryu under Chotoku Kiyan and later under Choki Motobu. Then He studied the Bo, Sai and Tonfa under Okinawa's most noted instructors. Isshinryu is a combination of the best of these styles and weapons techniques and epitomizes the powerful, lightning-fast techniques that enabled the weaponless Okinawans to endure the rein of the Chinese empire and to defeat the sword-wielding Samurai of Japan. Isshinryu's main goal is to perfect of oneself through physical and mental development. As students learn they acquire self-confidence, serenity, and humility. Isshinryu has many advantages over other styles such as:

 Isshinryu Patch

This patch represents an inspirational dream/vision that Shimabuku had while he was considering the creation of Isshinryu. The female character, is a sea goddess named Magami by Master Shimabuku. She represents the serenity that a Karateka should display. Her left hand is held open in a sign of peace; her right is clenched in a fist, representing strength in case of bad intentions. The dragon ascending toward the three stars represents a sign of good luck and wisdom. Also Master Shimabuku's first name Tatsuo, means "Dragon Man", which may be significant as well. The three stars are interpreted to represent several things, Among them Master Shimabuku's three formal teachers, the mental, physical, and spiritual aspects of Isshinryu and several others.

The Isshinryu Code

By Grandmaster Shimabuku 

1.                 A person’s heart is the same as Heaven and Earth

2.                 The blood circulating is similar to the Moon and Sun

3.                 A manner of drinking and spitting is either hard or soft

4.                 A person’s unbalance is the same as weight

5.                 The body should be able to change direction at any time

6.                 The time to strike is when the opportunity presents itself

7.                 The eye must see all sides

8.                 The ear must listen in all directions

The 12 Isshinryu Features 

1.     The elimination of “fancy” techniques

2.     Combines the best of Shorin-Ryu and Goju-Ryu to form a realistic, basic system of self defense

3.     Kicks thrown below the waist (for power and balance) and hand techniques thrown above the waist

4.     The use of short, natural stances, which allow better mobility, eliminate wasted motion along with major shifts in the body, and are more adaptable to the American physique

5.     A balance of hand and foot techniques in the Katas

6.     Close-in techniques, which are valuable for street fighting

7.     The application of “snap” punches and kicks where the arm or leg is only 90% extended. This allows for quickness when moving in and out on an opponent and serves to reduce      injuries associated with over extending joints

8.     The combination of hard and soft blocking

9.     Blocks are executed with the muscular part of the forearm, thereby, avoiding injury from bone to bone contact

10. A fist made with the thumb on top of the fist as opposed to the thumb being over the two fingers. Such a position, with the thumb on top, locks the wrist and serves to tighten the   fist

11. A vertical punch, which increases speed and power

12. Multiple-purpose techniques, which allow a block to become a blow and a blow to serve as a block 

Note: The history above, I have gathered over the years and unfortunately have lost the author to whom credit is due for there research. If someone recognizes this essay please let me know and I will properly give credit. Thank You webmaster oneheart@bellsouth.net