-Taxonomy of Embu and Analysis –
Embu is an important practice method for Shorinji Kempo. However, we often see embu that look familiar to theatrical combats. In theatrical combats, actors without any experience in budo act as if they were martial art masters. As long as opponents know how to be thrown or hit, ones without a deep understanding of hokei or experience in budo can make theatrical combat moves. While such embu are only embu-like moves and not true embu, they still shock us as practitioners of Shorinji Kempo. Then, what are true embu?
The founder explained that embu is similar to composing a music. Composing a music involves a basic format and rules such as notes, scales and phone orders that move with five horizontal lines of staff notations. When musical notes go up in those lines, sounds lighten up listeners’ emotions while slow-tempo musics allow listeners get relaxed. Composers must understand and follow these rules. Musical notes are similar to hokei and compositions are similar to embu. Given such similarity between them, this article aims to analyze and categorize meanings and structures of embu that are important in the process of composing embu. I am hoping readers not only understand how to differentiate embu from theatrical combats, but also find the pleasure and dignity of practicing Shornji Kempo.
Classifications of embu in this article focuses solely on toshu-futarigumi-embu, or two people embu, bu these categories are not mutually exclusive. This article or “guide” is one view of embu and is not a definitive statement. Needless to say, there is no better statement on embu than Kyohan, Part 15, Chapter 1, “On Kumiembu.” One must read the chapter in depth.
I. Taxonomy of Embu
■ Classification 1
Recognizing this classification is essential for expression and composition of embu.
All six groups are based on the ending condition.
(1) Defender Control Type (Shusha Sei-atsu Gata)
(2) Aggressor Control Type (Kosha Sei-atsu Gata)
(3) Defender Advantage Type (Shusha Yusei Gata)
(4) Aggressor Advantage Type (Kosha Yusei Gata)
(5) Defender Counterattack Type (Shusha Hangeki Gata)
(6) Aggressor Counterattack Type (Offense/Defense Reversal) (Kosha Hangeki Gata, or Koshu Hanten Gata)
Defender Control Type
Composed of juho or goju-ittai (go/ju integrated) techniques. Locking by a Kongo-ken technique is an essential element. An ideal form of Shorinji Kempo embu, embodying the principles of Shushu-Koju (predominance of defense over offense) and Fusatsu-Katsujin (“Do not kill; let live”), which characterizes both the philosophy and techniques of Shorinji Kempo.
Aggressor Control Type
Composed of tori-waza/shikake techniques (preemptive juho techniques), involving a Kongo-ken lock. However, in the case of counterattack by aggressor (see below), embu could result in control by aggressor.
Example 1: Aggressor, Keriten-san block Defender’s counter kick with juji-uke or shitauke, then against Defender’s jodan gyakuzuki, apply Kannuki-nage, lock, atemi, zanshin. Aggressor and Defender reverse their positions and embu end in control by Aggressor.
Advantage Types
These embu would consist of hokei that end with pushing down, throwing, breaking with a kick, taking down with kari-ashi, or breaking with a punch. Or else, such embu would end with atemi, rather than a lock, after a take down or a throw. Some hokei would overlap with the defender counterattack type. Tend to give a strong combative impression. The use of atemi techniques that could risk a serious injury, such as a sokuto kick to the neck, is contrary to the Fusatsu Katsujin principle. (This also applies to atemi after control of the opponent.) If one were willing to risk hurting the partner seriously, it would be much more efficient to start with a weapon. In Shorinji Kempo, even weapons are called “Hoki” (Instrument of the Way), and are limited to those that do not maim people, such as nyo-i, shakujo, hambo, and dokko. We do not use blades. Weapons are only extensions of human hands, reflecting the essence of Shorinji Kempo as a means of learning the Way.
So Doshin (the Founder) once held a police club and spoke of its use. “If l am going to use this, I would not hit here (head). I would hit right here! (and struck an elbow). It would be crazy to hit the head with this.”
Making the aggressor say “I give up!” and making him reform –such strength and presence of mind, or “conquering with love” should be the ideal application of martial arts as practiced by the practitioner of the Way. One should appreciate why we practice Shorinji Kempo techniques, and should not confuse raw aggression with true expression of strength or presence.
Defender Counterattack Type
Consist of Ryuo-ken or goho hokei. A quintessential expression of the ShushuKoju (predominance of defense over offense) principle. However, such hokei as Keritenichi, Keriten-san and Tora-daoshi, Hangetsu-gaeshi Sukui-kubinage, Chidori-gaeshi Kariashi, and Suigetsu-gaeshi Tsuki-taoshi belong to the advantage type. Incidentally, such hokei as Hasami-taoshi and Fukko-daoshi, and various appo techniques are classified as “Special types” in this Guide.
Aggressor Counterattack Type (Of Tense/Defense Reversal)
Example l referred to this. It would be even easier to think of the sotai forms of Giwa-ken dai-ich and Tenchi-ken dai-ni. In Giwaken, the aggressor counterattacks, i.e., a offense/defense reversal type. If the defender kicks back in the end, then it would become a defender counterattack type. If we want to be precise with taxonomy, Kote-nuki would be a defender counterattack type up to chudan-zuki by defender, but it is followed to jodan-zuki and chudan-geri by defender and a counter-kick by aggressor, then it would be an aggressor counterattack type. A juho example might be an embu in which an aggressor is taken down with a tembin technique. blocks a kick (atemi). and throws the other person with Makikomi-gote. Incorporating a reversal makes the offense and defense complex. However, when done well, it could finesse to the embu.
■ Classification 2
This classification is based on the exchange of aggressor/defender roles.
(1) Aggressor/Defender Role Exchange Type (Kosbu Kokan Gata)
(2) No Role Exchange Type (Fu-kokan Gata)
Aggressor/Defender Role Exchange Type
Aggressor and defender exchange roles. Terminology would differ depending on if defender and aggressor are defined at the end of the hokei or if they are defined at the beginning. If this involves a reversal as in Classification I, offense and defense become more complex.
No Role Exchange Type
Not constrained by exchange of roles. However, if the control is too one-sided, one must be reminded of the comparison the Founder made between Shorinji Kempo embu and Aikido embu. He said, “Shorinji Kempo embu is not something in which one person is beaten in a lopsided way.” (Presumably he was not speaking of relative merits of the two forms.) Therefore, the exchange of aggressor/defender roles is an important characteristic of Shorinji Kempo embu.
No role exchange type embu are sometimes done as special condition embu, female self-defense form, or embu against knife. However, as these are special cases. this Guide will not treat them further.
■ Classification 3
This classification is based on the composition of embu.
(1) Single Move Type (Tan Gata)
(2) Singular Type (Tan-itsu Gata)
(3) Multiple Type (Fukusu Gata)
(4) Compound Type (Fukugo Gata)
Single Move Type
This is the fundamental move. Single moves could not by themselves form an embu. However, they are used to connect one hokei to another. Or by adding a single move to a hokei or by reverting a hokei back to a single move, one could create an applied form of hokei. See below for more on the applied forms of hokei.
Singular Type
This is an embu consisting of a single hokei. To illustrate the distinction between Single Move Type and Singular Type, a sequence like Tenchi-ken Dai-ichi would be a combination of Single Move Types if performed with single attacks (tan-geki). and would be a combination of Single Move Types and Singular Types (Nirembo, harai-uke geri) if performed with double attacks (niren-geki).
Multiple Type
A combination of two or more hokei.
Compound Type
One singular hokei could be seen to embody Goju Ittai (Unity ofGoho and Juho) principle from the hokei standpoint (e.g., Uwa-uke nage includes Uwa-uke zuki, and Kote-nage includes Shita-uke geri), or could be viewed as consisting of a goho hokei and a juho hokei, from the composition point of view. In such a case, the multiple type and the compound type overlap with each other.
■ Classification 4
This is an elaboration of Classification 3. Excludes the single move type. For goho, one could use do (chest protector).
(1) Goho Singular Type
(2) Goho Multiple Type
(3) Juho Singular Type
(4) Juho Multiple Type
(5) Goju Ittai Singular Type
(6) Goju Ittai Multiple Type
(7) Goju Compound Type
■ Classification 5
Classification based on the type of embu. They overlap with each other.
(1) Technique Family Type
(2) Learning Devise Type (Arahan and Naraen sequences)
(3) Free Style Type
(4) Self-Defense Type
(5) Recreation Type (embu as a way of enjoying Kempo techniques
(6) Presentation Type
(7) Competition Type
(8) Special Techniques Type
(9) Multiple Opponent Type
(10) Weapon Type
II. Analysis
■ Kata in Budo and Embu
It is said that kata in Karate derives from favorite techniques of experts. Kata of budo is a set of physical movements that was created by condensing the techniques of masters and passed down through generations. Traditional techniques of budo embodies advanced technical rationality and cold efficiency. Budo techniques often faced the risk of being lost, because of the secrecy (the power of budo techniques itself tended to foster it), problems associated with succession and changes in time.
Therefore kata was created and passed down through accurate copying of the master’s form. Originally, techniques were the object of transmission and hence passed on in secrecy. However, kata inevitably became secrets as well. Some schools developed single forms, others developed pair forms, and yet others used a combination of forms and written text. The ultimate step was always passed on only verbally. However, it must be difficult to continue passing on techniques and kata that are not actually put to use in real combat. Therefore, it is natural that these techniques and kata should become mere forms or a form of competition.
The Founder may have known the fate of budo techniques. Or, perhaps the famed wall painting at Shaolin Temple revolutionized his conception of budo or kata. He took what kata i.e., hokei, which is supposed to be passed on in secrecy, and made it available to all kenshi in the form of embu (jiyu kumi-embu, or free-style embu) He gave the techniques that we learn a new goal, namely, “education.” This is a decisive difference from the traditional budo.
Shorinji Kempo is based on embu, and holds a completely different view on the meaning of techniques and kata, from traditional budo that emphasize study of kata and randori. Shorinji Kempo advocates that we must enjoy, express, and create techniques and kata, or reach the state of “pleasure” as the Founder put it. Practice of budo was no longer a hardship but a new Way that brought enjoyment. Further, the place of practice, doin, became a place for education. The Founder’s understanding went well beyond the conventional boundaries of bujutsu (combat techniques) and budo, and was revolutionary.
■ Objectives of Budo and Nature of Techniques
The objectives of practicing budo as combat techniques probably fall into the following categories.
(1) Seek winning, as a competitive sport form
(2) Seek strength, as combat techniques
(3) Seek strength, as self-defense techniques
(4) Seek significance in the practice of budo
(5) Seek significance in preserving a cultural heritage
(6) Seek fitness, as a means of exercise
They overlap with each other. A brief description of the characteristics of each follows. In (1), sun-dome (stopping the attack) or protectors are used for safety. This is akin to an amateur sport. (2) ignores physical safety, employing for instance direct hits. This is akin to a professional competition. (3) is a typical motive for people to enter budo.
(4) is a way of approaching budo like a zen practice, involving mental and physical strengths. (5) can be found among the practitioners of ancient martial art forms. (6) would naturally put limits on the type of budo and the methods of practice. In any case, the nature of techniques would differ according to the objective of the practice. Today’s society is not a place where one would use martial art techniques. Shorinji Kempo is no exception. The Founder said that one must use the techniques learned through hokei and embu to “educate people.” In each budo., education naturally arises between the instructor and the students. However, Shorinji Kempo is the only budo in which education is the objective of learning techniques from the outset. This is the reason why Shorinji Kempo spread rapidly. As for the content of the education., it is beyond the scope of this “Guide.” However, it should be clear from Meditation and Creed.
■ Kata (Form) in Budo and Hokei
From the perspective of martial arts, hokei is a means of learning techniques. In this sense, kata in other budo has the same effect. The sotai form as such cannot be said to be a very large distinction. In terms of physical movements, each school stresses the rationality of its kata, various schools utilize pressure points!> and they pass on the content and logic of techniques in a variety of ways. The logic embodied in kata is deep, proudly held, and is a source of wisdom for daily life. Conversely wisdom of daily can become logic of kata. The Founder often taught, “Apply the five principles of atemi in the daily life.” Up to this point, there is much in common between kata in budo and hokei.
The biggest difference is that in passing down kata of budo, technical significance was the top priority, while in hokei of Shorinji Kempo, in accordance with the principle of Ken-Zen Ichinyo (Unity of Ken and Zen), the teaching and techniques were passed on with equal significance through a set of physical movements. This is why it is called hokei (the form of the Way). The teaching that is contained in hokei and its movements and demeanor is:
(1) Kesshu gamae sotai
(2) Happomoku sotai
(3) Gassho gamae sotai
(4) Taking sotai position
(5) Zanshin sotai
(6) Shushu-Koju sotai form
(7) Fusatsu-Katsujin sotai form
(8) Goju-Ittai sotai form
(9) Kumite-Shutai sotai form
Kesshu gamae sotai
In kesshu gamae we place the right hand, which most people favor, under the left. It instills and expresses the attitude of non-aggression (no first strike) and perseverance. In embu, the distance between the partners must be correct at this point.
Happomoku sotai
Happomoku develops and expresses the ability to see things without preoccupation. One should avoid shifting eyes excessively or taking on a threatening look. Without adequate practice, eyes would not reveal confidence.
Gassho gamae sotai
Gassho gamae develops and expresses the heart to respect the human being and seek harmony. It leads to a better understanding of self in human relationships. In embu, it develops and expresses a will to work in close concert with the partner. Salutations by kenshi must also be dignified.
Taking sotai position
When taking the position, use a forceful/loud kiai ( though it is said that it should ultimately become silent, while blocking with a chidori ashi step backward. A loud kiai develops a strong stomach and courage. Stepping back with chidori ashi and a block instills and expresses the Shushu-Koju principle.
Zanshin sotai
This is a very important lesson and a state of mind in both budo and daily life. After completing a lock in hokei, atemi is not meant to be a finish but meant to teach the idea of zanshin.
Shushu-Koju sotai form
It instills and expresses the mental attitude of not striking first. It also develops and expresses the mental readiness and courage to wait for and then counter an attack.
Fusatsu-Katsujin sotai form
It instills and expresses the mental attitude and techniques not to harm the opponent. The defender control type is the ideal form. As noted earlier, the nature of techniques is different in Shorinji Kempo.
Goju-Ittai sotai form
It develops and represents balanced mind and techniques. Even if the opponent come charging at us, punching and kicking, our ideal is to control the opponent without harming him.
Kumite-Shutai sotai form
We try our techniques to each other. It develops empathy toward the practice partner. Empathy relates to a nurturing mind, based on love, and mercy, based on strength. Good attacking techniques enable learning of good defensive techniques. Good defensive techniques work likewise. Not as adversaries, but as partners for making progress together, we exchange serious offensive and defensive techniques that are appropriate for our technical levels.
Because Shorinji Kempo is built on a system of Ken-Zen Ichinyo hokei., kenshi acquire the ability to absorb the teaching.
■ Conclusions
Embu is designed so that anyone can practice it. However, this openness itself has led to a certain problem. The problem is that embu can tum into a mere stunt.
The most serious harm that result from practicing stunt-like embu is that more one practice it, the more we develop false senses. It leads to neglect of embu, neglect of hokei, and neglect of techniques. As a result, one could move away from techniques and become preoccupied with randori or emphasize results in competitions only. There is no way that this kind of practice could lead one to the first and the last objective of kenshi, i.e., reaching the state of “I am my own refuge … “
The sense of refreshment, camaraderie, and fulfillment are precious experience that one could have only after doing a very serious embu. It is truly “Do-zen” (“moving zen”).
To sum up, embu is an expression of Shorinji Kempo created jointly by partners, by assembling hokei and techniques that represent the highest levels of individual achievements attained through practice in Ken-Zen Ichinyo tradition.
Shorinji Kempo embu, which weave stillness and action, project artistic beauty. Art is an expression of self. Expression of Shorinji Kempo is an expression of techniques as the way of zen practice. It is an expression of the state of one’s learning as a practitioner of the Way. The Founder once said, “Unless one reaches the state of “Hannya Shingyo” (Prajñāpāramitā sutra), one cannot do a real embu.” It is a kenshi’s dream to do embu in such a state even once in a lifetime.
Shinichi Atsumi
Translated from the original guide on 5/23/1996