A Meeting With Destiny
We arrived at Isa Sensei’s home and ironically enough it was directly across the street behind Shimabukuro Sensei’s office and two houses down. I believe now that finding Isa Sensei was something that was meant to be. For not only was Isa Sensei’s house close to where I was staying, but when I went to the first address which was not Isa Sensei’s place and we were given another address, I thanked the driver for his help but that I wasn’t interested in further pursuing this quest to find Isa Kaishu at this time and that I would look him up on my next trip to Okinawa. The driver was very insistent on finding Isa for me and were it not for his persistence I would not have made this very important connection.

I never dreamed that I would actually find something new in Okinawa during this trip, something ancient and truly mysterious. I thought I had seen it all. Nor had I considered the possibility of finding someone that I could actually empty my cup and bow to. My original intention was to find Isa Sensei and to simply tell him that this American still loved his teacher, practiced his katas, and wanted to reestablish a family tie. That is all I wanted to do. I really came to Okinawa to fill a void that I felt inside when my teacher died. What happened from that point on has changed the course of my weapons training. It was the most enjoyable meeting I have ever had with any Okinawan master, and I have met many of them.

Upon arrival, I was welcomed into a small and modest Okinawan home, as most Okinawan homes are. Upon entering the home, I found that half of the living room was fashioned after some kind of religious shrine. I later found out that Isa Sensei had indeed become a Buddhist priest. During the next three hours while I spoke with him, several people came by and asked for his religious services. They would enter the home, light some incense, and he would offer some kind of prayer. It was strange to see him one minute talking to me and the next minute performing a religious ritual, then resume our conversation.

Isa Sensei is a small Okinawan, about 120 pounds wet, has a very friendly disposition, and is very enthusiastic. There was another gentleman there when I arrived, a senior student of his. I later found out that Isa Sensei had called him prior to my arrival and asked him to be there because he spoke enough English to act as an interpreter; his name was Tamai Moritasu. He was a very educated person and very courteous. I struck up a great rapport with him and he was to be instrumental in the following two weeks in helping to educate me and my students in Isa Sensei’s teachings.

While sitting in his tiny living room, Isa Sensei wanted to know what my story was. I told Isa Sensei of my past experiences and who my teachers were. I told him about my old sensei, Kina Masanobu, and that when he died I felt a void not only in my life but also in my weapons training. I wanted to find someone who had studied with Kina Sensei and establish a connection so that whenever I visited Okinawa I could train in his weapons line. At this point, Isa Sensei asked me what I had learned from Kina Sensei. Kina Sensei was also an 8th degree black belt in Shorin-Ryu, but I only studied weapons with him. I was very proud that Kina Sensei had taught me what I believed to be two very rare Kobudo katas from the Ufuchiku lineage, the Ufuchiku no Sai and Tonfa. After mentioning this to Isa Sensei, he looked straight at me and said “No, he never taught you Ufuchiku no Sai or Ufuchiku no Tonfa.” This caught me by surprise and I asked the interpreter to ask Isa Sensei why he said this. His response was that Kina Sensei never taught these katas because he never knew them. “Old man Kina never taught him those katas. I know those katas and I have not taught them to anyone.” Isa Sensei then explained to me his relationship with Kina Masanobu. He and Kina Masanobu were students of the old man, Kina Shosei. The All-Okinawa Karate Federation promoted both of them to 8th dan at the same time. Isa Sensei and Kina Masanobu were both eligible to become third generation inheritors of the Ufuchiku weapons system as passed down by Sanda Kinjo, whose nickname was Ufuchiku, “police chief” in Hogen, the old Okinawan dialect. Kina Shosei chose Isa Sensei to be the Ufuchiku family style head, or soke.


This information really confused me because I had had everything backwards. All at once I discovered that Isa was not a student of my teacher, I did not know the Ufuchiku katas I thought I knew, and the original reason for my being in Okinawa no longer existed. I then thought maybe I should leave and I felt very awkward. Isa Sensei asked what else I knew and I said that I had studied Goju under Shinjo Masanobu and weapons under Kanei Katsuyoshi. He immediately gave me his condolences and said that he was very good friends with both of them. He added that it was very sad that both of them died so suddenly and that Okinawa lost two of its greatest martial artists.

Karamiti

Then the most amazing thing happened. Isa Sensei asked me if I had heard of “Karamiti” . I said no, I had not, and I asked him what it was. Keep in mind that we were sitting in a very small living room. I was sitting across from Isa Sensei and his assistant, Mr. Tamai, to his left. For the next 20-30 minutes he proceeded to give me a private demonstration of this thing called “Karamiti.” He asked Mr. Tamai to put his hand on his shoulder and in a flash he took Mr. Tamai’s arm and put it in a joint lock that had his assistant in pain tapping out. Isa Sensei then pointed to his assistant’s wrist joint and said “Karamiti.” This happened so quickly that my eyes felt as if they had been deceived. I had never seen a display of speed such as this in my 25 plus years of experience. I could clearly see the expression of pain on Mr. Tamai’s face and I quickly ruled out the possibility of a staged display or gimmick.

Sensei Isa demonstrates the use the use of the metal fan. Notice how he employs the straw hat to coceal the weapon from an opponent.

This is the kamae or defensive posture used with the Ufuchiku Sai. Notice that the index finger wraps around the sai handle.(A) The other sai which is in the chambered position is outside and on top of the forearm.

(B) Sensei Isa has perfectly formed round knuckle callouses on both hands. As a matter of fact his hands were photographed and are considered a natoinal treasure and are on on display in the Okinawan Maertial Arts Museum.

Left: Sensei Isa shows a more practical way to tie a rope to the kama. He said that this way is safer to use and when it is thrown, it will slice the opponent with the sharp edge as opposed to puncturing with the tip. Middle: A deceptive move, ready to go kick the kama up at the opponent. Right: The old way of carrying the kama was to slip it into the obi. This keeps it hidden and it is ready to be pulled out for use. With the string tied to the end of the handle, you could not employ this technique.

 

 

 

 

 

  


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