Okinawa
Robert Trias, Founder Of The First U.S. Karate School
With today’s post I am continuing my sporadic series of all-time “First …”.
Yesterday, we had “James Cagney, First Martial Artist To Star In A Movie” and just about 3 weeks ago “First U.S. American Judo Brown Belt And 26th U.S. President“, remember?
Well, today I would like to honor a gentleman who was truly a trailblazer. He is considered the “Father of American Karate”.
His name: Robert Trias.
While stationed on the British Solomon Islands in 1942 (and remember that these were truly world-changing times after the attack on Pearl Harbor on December 7, 1941), U.S. Navy serviceman and middleweight boxing champion Robert Trias was getting ready for an upcoming boxing match.
I don’t know about you, but I don’t believe in coincidences anymore.
Why do I say that?
While preparing for his match, Rober Trias made the acquaintance of a Chinese missionary on the island.
The missionary just happened to be a master in Hsing-Yi, which Trias wasn’t aware of.
Well, anyway, the missionary, Master T’ung Geee Hsing offered Trias Hsing-Yi lessons in exchange for some boxing.
But according to reports, at first Trias wasn’t very inclined or better, was more pissed off by this dude ruining his concentration during his training.
Finally, he gave in to the missionary’s request with the intention to teach him a lesson the boxing ring.
But things didn’t go according to plan, because Trias didn’t land one punch!
This was a turning point in the life and fighting career of Robert Trias, because from then on he would pursue Master Hsing’s art and thus Karate would become his life.
After being transferred to Singapore, Mr. Trias continued his martial arts training with a different instructor who had been taught Kempo Ju-Jitsu in Japan by Master Fukuda.
The electic style that Grandmaster Trias would later develop is known as Shorei-Goju Ryu, Shorei-ryu and Shuri-ryu and many organizations claim to trace their roots to him and the USKA.
The shorei-ryu system is a blend of the Chinese arts of mo-kempo and pakua and the ancient Okinawan art of Naha-te. It is a style which is noted for its low stances, powerful moves and circular motions.
After returning from his military service in the Pacific Theater during WWII, Grandmaster Robert Trias founded his school in 1946 in Phoenix, Arizona.
Through his pioneering efforts in Karate, Grandmaster Robert Trias became the United States’ liaison with Korea, Japan, China, and Okinawa for many years.
He was instrumental in promoting the first world karate tournament in 1963 in Chicago.
His rules for tournament competition are still used today with slight variation.
Trias died in 1989 of cancer leaving the Shuri-ryu system to his daughter Roberta Trias-Kelley (10th Dan), inheritor of Shuri-Ryu and Menkyo Kaiden.
Robert A. Trias is the author of “Karate is my Life”"The Hand is my Sword”, “The Pinnacle of Karate”, “The Supreme Way”, and “Render Yourself Empty”.
Senior Grandmaster Ed Parker Sr., The Father Of American Kenpo Karate
Ed Parker Sr. certainly influenced quite a number of martial artists and his influence continues long after he passed on in 1990. Sadly, he died of a heart attack at the early age of 59.
Grandmaster Parker grew up in Hawaii and started with Judo and Western Boxing at a very young age.
In his late teens, Frank Chow introduced him to Kenpo Master William Chow by whom he was promoted to black belt in 1953.
After moving back to the U.S. (Hawaii did not officially become a state until 1959) he opened up his dojo/karate school in Pasadena, right outside of Los Angeles, California, in 1956.
Grandmaster Parker’s studies and practice of karate were influenced by Japanese and Okinawan elements which guided him in the creation of his very practical and effective martial art and fighting system simply known as American Kenpo.
His teachings had a profound effect on numerous students who went on to become martial arts greats in their own right such as Larry Tatum, Vic Leroux and Dan Inosanto.
Interestingly enough, during the Long Beach International Karate Championships in 1964 organized by Ed Parker Sr., a young and until then unknown martial artist was given exposure to a broad audience and from which he stormed the martial arts scene in a manner never displayed before. His name?
Bruce Lee.
It was also during these days in Long Beach that Bruce Lee and Dan Inosanto met for the first time to become friends and martial arts allies that would change martial arts and the entertainment industry forever.
But back to Grandmaster Parker.
Besides teaching, writing books and promoting Kenpo Karate, helping other martial artists open their own dojos, Ed Parker Sr. was also active in the movie industry as a instructor, stuntman and actor in movies such as “Kill The Golden Goose” and one of my favorites “Revenge Of The Pink Panther”.
Senior Grandmaster Ed Parker Sr., The Father Of American Kenpo Karate.
Shotokan Karate According To Gichin Funakoshi
Today I would like to share with you something about the style that got me so excited about martial arts in the first place.
The style is called Shotokan Karate and who could really describe it better than the actual founder of the style himself: Gichin Funakoshi, an Okinawan who introduced karate to Japan in 1917 and later again 1922.
Shotokan Karate is currently enjoying somewhat of a second wind of attention and popularity especially with UFC top competitors such as Lyoto Machida and Vitor Belfort applying some of its typical elements.
Here are some excerpts of Funakoshi-Sensei’s descriptions and observations:
“In Okinawa, a miraculous and mysterious martial art has come down to us from the past.
It is said that one who masters its techniques can defend himself readily without resort to weapons and can perform remarkable feats: the breaking of several thick boards with his fist or ceiling panels of a room with a kick.
With his shuto (“sword hand”) he can kill a bull with a single stroke; he can pierce the flank of a horse with his open hand; he can cross a room grasping the beams of the ceiling with his fingers, crush a green bamboo stalk with his bare hand, shear a hemp rope with a twist, or gouge soft rock with his hands.
Some consider these aspects of this miraculous and mysterious martial art to be the essence of Karate-do.
But such feats are a small part of karate, playing a role analogous to the straw-cutting test of kendo [Japanese fencing], and it is erroneous to think that there is no more to Karate-do than this.
In fact, true Karate-do places weight upon spiritual rather than physical matters.
True Karate-do is this: that in daily life, one’s mind and body be trained and developed in a spirit of humility; and that in critical times, one be devoted utterly to the cause of justice.
Karate-do is a martial art peculiar to Okinawa in its origins. Although it has in the past tended to be confused with Chinese boxing because of the use of the chinese “kara” character in its earlier name, in fact for the past thousand years, the study and practice of masters and experts, through which it was nurtured and perfected and formed into the unified martial art that it is today, took place in Okinawa.
It is, therefore, not a distortion to represent it as an Okinawan martial art.
One may ask why the chinese “kara” character has been retained for so long.
As I discuss in the section “The Development of Karate-do,” I believe that at the time the influence of Chinese culture was at its peak in Japan, many experts in the martial arts traveled to China to practice Chinese boxing.
With their new knowledge, they altered the existing martial art, called Okinawa-te, weeding out its bad points and adding good points to it, thus working it into an elegant art.
It may be speculated that they considered “kara” (with the chinese character) an appropriate new name.
Since, even in contemporary Japan, there are many people who are impressed by anything that is foreign, it is not difficult to imagine the high regard for anything Chinese that prevailed during that period in Okinawa.
Even at the time of the present writer’s youth, lack of a full set of Chinese furniture and furnishings in one’s home was a serious impediment to the social influence of any leading family.
With this background, the reason for the choice of the Chinese “kara” character, meaning “Chinese,” as a simple case of exoticism is apparent.
Following tradition, the writer has in the past continued to use the Chinese character.
However, because of the frequent confusion with Chinese boxing, and the fact that the Okinawan martial art may now be considered a Japanese martial art, it is inappropriate, and in a sense degrading, to continue use of the old “kara” in the name.
For this reason, in spite of many protests, we have abandoned the use of it to replace it with the new character KARA.
The first connotation of kara indicates that karate is a technique that permits one to defend himself with his bare hands and fists without weapons.
Second, just as it is the clear mirror that reflects without distortion, or the quiet valley that echoes a sound, so must one who would study Karate-do purge himself of selfish and evil thoughts, for only with a clear mind and conscience can he understand that which he receives.
This is another meaning of the element kara in Karate-do.
Next, he who would study Karate-do must always strive to be inwardly humble and outwardly gentle.
However, once he has decided to stand up for the cause of justice, then he must have the courage expressed in the saying, “Even if it must be ten million foes, I go!”
Thus, he is like the green bamboo stalk: hollow (kara) inside, straight, and with knots, that is, unselfish, gentle, and moderate. This meaning is also contained in the element kara of Karate-do.
Finally, in a fundamental way, the form of the universe is emptiness (kara), and, thus, emptiness is form itself.
There are many kinds of martial arts, judo, kendo, sojitsu (“spear techniques”), bojitsu (“stick techniques”), and others, but at a fundamental level all these arts rest on the same basis as Karate-do.
It is no exaggeration to say that the original sense of Karate-do is at one with the basis of all martial arts. Form is emptiness, emptiness is form itself. The kara of Karate-do has this meaning.”
Or as Paul Harvey always said, “Now you know the rest of the story.”
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