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Our Grandmaster's Lineage:
Shoto Tanemura became a 5th generation disciple of both Sato Kinbei and 3rd generation Grandmaster Li Zi Ming.

Lineages are shown below: Dong Hai Chuan ( Cheng Ting Hua ( Cheng Hai ___ ( Chen Pan-Ling FWang Shu Jin ( Sato Kinbei and Dong Hai Chuan ( Liang Zhen Pu (2nd generation lineage holder)( Li Zi Ming (3rd generation lineage holder) ( Sato Kinbei (4th generation lineage holder) and Dong Hai Chuan ( Yin Fu ( Yin Yu Zhang ( Pei Xi Rong ( Sato Kinbei and Dong Hai Chuan ( Yin Fu ( Zhang Yi Zhong ( Sato Kinbei) to Shoto Tanemura).

(3rd Denjin (grandmaster) of Baguazhang: Li Zu Ming)

Why would a Japanese Ju-Jutsu and Ninpo Grandmaster also Learn and Teach Chinese Internal Martial arts?

Are there differences between the systems and do the Japanese Koryu (ancient schools) Martial Arts contain only partial imitations of the Chinese systems? Or is it that Chinese internal martial arts are softer and less combat effective than Japanese Martial arts?

Off course, the answer is that Japanese and Chinese Martial arts are based on the same sources and are both highly advanced and effective in a true case fight.


The power of Internal Martial Arts is to enable one to establish superior power and speed in combat through superior body movements and a strong fighting spirit.

Imagine a clock where each hour represents different essential skills for combat. Different systems start at different hours on the clock. All must go around the whole clock. All must complete the circle. Some go clockwise and some go anti clockwise around the clock. Some go around the clock quickly so as to learn all points early, but they go around the clock in many iterations. Some travel more slowly. However all true martial arts complete for the student all points.

Imagine Ju-Jutsu starts on the clock at 6 and bagua at 12. By learning both we get to see the whole circle quicker and to train with a better map from the beginning. Pakkua (Ba Gua Zhang) is an internal martial art from China that uses the open palm, not the fist, and it derives its theoretical grounding from the I Ching. The Pakkua (Ba Gua Zhang )practitioner walks on a circle on which the Yin/Yang symbol is inscribed, performing eight different palm changes, or forms, which are then broken down into eight techniques each, thus conforming to the 8 X 8 = 64 pattern of the I Ching. The body of the Pakkua practitioner is likened to a dragon’s body for the supple, sinuous quality of motion it takes on and for the light, evasive foot-work and quick changes of direction that are required, mastery of all of which requires many years of training. Pakkua also has several unique weapons, such as the Deer-Horned Knives. Pakkua is an excellent form of self defense for true case fighting. In the arts written transmissions are Dong Hai Chuan 36 Songs and 48 Verses, which are so cryptic that interpretations of them are only taught word of mouth.


Grandmaster Shoto Tanemura learnt the following Chinese Martial arts, Hsing I Chuan, Ba Ji Chuan, Pakkua (Ba Gua Zhang), Chen Pan-Ling Tai Chi Chuan, White Crane, and Fu Jian Province Shaolin Golden Hawk, combining them with Bagua into the Chugoku Kenpo system he teaches. This system teaches Pakkua and methods and techniques from the other Chinese systems combined with Chi Kung training and internal martial arts exercises from both China and Japan.

It may seem strange for a Japanese ninpo and Ju-Jutsu master to also be teaching Chinese Martial arts. Grandmaster Shoto Tanemura teaches that the art of Pakkua has much to offer in developing and enhancing Ju-Jutsu skills, and so does he believe that Ju-Jutsu enhances one’s Bagua and Tai-Chi skills. Grandmasters Li Zi Ming and Wang Shu-chin held the Martial Arts of Japan in very high regard and also studied Ju Jutsu and Aiki Jutsu in exchange for teaching Bagua to Grandmaster Sato Kinbei.

A grandmaster of Pakkua will have a license from the previous generation grandmaster of the particular line and physical copies of this certificate. The possession of such documentation are the ultimate validation of a persons claim to be the Grandmaster of a line of Pakkua. In China and Japan a court of law will find such a document as this as the strongest level of evidence if the authenticity of a teacher is questioned.

 

 

(Photograph of Grandmaster Tanemura Shoto's Licence as 5th Generation Grandmaster of Bagua Zhang in Li Zi Ming's hand writing and personal seal, Beijing 1992.)