Yamanni-ryà « (山根æµÂ) (also Yamanni-Chinen-ryà « and Yamane Ryu) is a form of Okinawan kobudà  whose main weapon is the bo, a non-tapered, cylindrical staff. In recent years the smaller buki, such as sai, tunfa (or tonfa), nunchaku, and kama (weapon) are studied as secondary weapons.
Tradition maintains that Sakugawa Kanga, entrusted with the protection of prominent Ryà «kyà « families, had studied the art in China. Later he lived in Akata village in Shuri, Okinawa. Sakugawa developed the style in the late 18th century. He passed it on to the Chinen family, beginning with Chinen Umikana. Sanda Chinen (1842âÂÂ1925), also known as Yamani USUMEI and Yamane TANMEI, introduced the "bouncing" motion of the staff which is the style's hallmark. His grandson, Masami Chinen, named the style after him. Masami Chinen's grandnephew Teruo Chinen was the last family member to practice the style.
Higa Seitoku started to train in Yamane-ryu in 1956 after completing his study of karate under Kishimoto Soko. He was the only person to receive an official license in bà Âjutsu by the founder of Yamane-ryu, Chinen Masami. To this day the same kata and techniques are transmitted in the Bugeikan dojo founded by Higa Seitoku in Okinawa and currently run by his son and nephews. While at the Bugeikan a variety of weapons are practiced the Yamane-ryu curriculum only encompasses bà  Kata.
In 1979 Chogi Kishaba, a student of Masami Chinen, sent his students, Toshihiro Oshiro and Kiyoshi Nishime, to the United States. In 1985 they founded the Ryà «kyà « Bujutsu Kenkyu Doyukai or RBKD (Association for the Study and Research of Okinawan Martial Arts) for the purpose of bringing Yamanni-ryà « to the West. Kishaba is the head of the RBKD. Shihan Oshiro (8th dan, Yamanni-ryà «; 9th dan, Shà Ârin-ryà «) was the Chief Instructor of RBKD USA and its West Coast Director, he returned to Okinawa to live and teaches out of the Naha Budokan. The Midwest Director is Kiyoshi Nishime. Oshiro and Nishime give seminars in Yamanni-ryà « in the U.S. and around the world. This branch of the style is referred too as Yamane-Kishaba-Ryu or Kishaba-ha Yamanni-Ryu. The RBKD Yamanni-ryà « patch is based on an Okinawan mon. It is similar to the mon of the Takeda clan.
Kata of RBKD:
Maeda Kiyomasa was a senior student of Kishaba Chogi and was promoted to 9th Dan in Yamane-Ryu by Kishaba. The Kanbun (Sign) for the Yamane-Ryu Hombu dojo was gifted to Maeda by Kishaba upon his passing.
Kata of Maeda Dojo:
Oshiro-ha Yamane-ryu Kobudo/大åÂÂ派山根æµÂå¤æ¦éÂÂ]
By definition, the contemporary interpretation of classical tradition, described as Oshiro-ha Yamane-ryu Kobudo [大åÂÂ派山根æµÂå¤æ¦éÂÂ], can be best described as either Sogo Budo (ç·ÂÃ¥ÂÂæ¦éÂÂ) or Gendai Budo (ç¾代æ¦éÂÂ). The principal source, under which Patrick McCarthy's Okinawan instructor [Kinjo Hiroshi] studied, was Oshiro Chojo/大åÂÂæÂÂæ [1887-1935]. In addition to his ardour for Karate, Oshiro is best remembered for his highly rated skill with the Rokushaku bo/å Âå°ºæ£Â. Greatly influenced by Oshiro's far-reaching legacy, and with the blessings of Kinjo Sensei, the name Oshiro-ha Yamane-ryu Kobudo, examples Patrick McCarthy's desire to pay tribute and homage to this distinctive lineage.
A Personal JourneyÃÂ
Patrick McCarthy's personal Kobudo journey had been inspired by the teachings of his esteemed Okinawan instructor, Kinjo Hiroshi [éÂÂå è£Â, 1919-2013], and key figures under whom he studied; Chinen Sandà[ç¥念ä¸Âè¯, 1842âÂÂ1925], à Âshiro Chà Âjo [大åÂÂæÂÂæÂÂ, 1887-1935], and Maeshiro Chà Âtoku [çÂÂæ ÂÃ¥ÂÂæÂÂ亮, 1909-1979]. Amidst other pioneers, these people were pivotal figures before the style gained official recognition as "Yamane Ryu/山根æµÂæ£Âè¡Â" by Chinen's grandson, Masami [ç¥念æ£å®Â, 1898âÂÂ1976].
Chinen-ha Yamanni Ryu
In the mid-1980s, McCarthy practiced with instructors including Shinzato Katsuhiko, Kishaba, Oshiro Toshihiro, and Nishime Kiyoshi. While these instructors helped spread the practice outside of Okinawa, McCarthy is not connected to the Chinen Masami Yamane Ryu Bojutsu[æ£Âè¡Â] lineage. His Yamane Ryu Kobudo practice includes a wider range of traditional weapons than MasamiâÂÂs original practice. These include the Eku, Nicho-gama, Nunchaku, Sai, Suruchin, Tanbo, Tanto, Tekko, Tinbe, and Tonfa.
The practical, technical and pedagogical approach to learning, practice and teaching McCarthy Sensei established stemmed from; #1. A strong foundation in Okinawan Kobudo gained under the tutelage of Grandmaster Richard Kim [1917-2001, Zen Bei Butokukai] and #2. Years of historical study and cross-training opportunities in related arts, and often with the most senior authorities of various Kobudo traditions; i.e. Having studied directly under Richard Kim [1917-2001], Inoue Motokatsu [1918-1992] and Kinjo Hiroshi [1919-2013], McCarthy's study was further influenced by lengthy research, extensive cross-training, and his informal association with a pantheon of other notable instructors; i.e. Sakagami Ryusho [1915-1993], Matayoshi Shinpo [1922-1997], Akamine Eisuke [1925-1998], Kuniba Shogo [1935-1992], Shimabuku Eizo [1925-2017], Hayashi Teruo [1924-2004], ÃÂ Nakamoto Masahiro [1938] and Inoue Motokatsu [1918-1993], et al.
Iemoto (家å Â)
Contrary to popular belief, the iemoto system is not Okinawan! It was established by the Japanese and has long served as a method for preserving Koryu-based Japanese arts through recognized authorities known as sà Âke or Iemoto. Such individuals inherit and pass down preserved (unchanged) knowledge through generations, upholding family-based practices and guiding students in various arts such as tea ceremonies, flower arrangements, chess, and martial arts. It is important to note that such a system was not historically used during the Ryukyu Kingdom nor as an Okinawan practice. Until the time of Yabiku Mà Âden (å±Âæ¯Âä¹ åÂÂä¼Â, 1878âÂÂ1941), and Taira Shinken (å¹³ ä¿¡è³¢, 1897âÂÂ1970), Kobudo as we know it today was never a systematized tradition nor based upon the iemoto system.
The mention about only those with licensed authorization from Iemoto (家å Â, i.e. authorized disciples], has no bearing upon contemporary-based and/or integrated practices; However, when outsiders [i.e. Westerners] innovate and/or reinterpret existing and/or classical practices, it is sometimes perceived as a threat and/or appallingly disrespectful, and/or, âÂÂworthless!âÂÂ
Sogo Budo (ç·ÂÃ¥ÂÂæ¦éÂÂ) ~ Gendai Budo (ç¾代æ¦éÂÂ) Sogo Budo (ç·ÂÃ¥ÂÂæ¦éÂÂ) is a term which refers to integrated or comprehensive fighting art[s]. While carrying a similar meaning, Gendai Budo (ç¾代æ¦éÂÂ) is a term which refers to modern or contemporary fighting art[s]. By collectively bringing together his many years of experience to establish an integrated and contemporary practice, which better suited McCarthy Sensei's personal preferences, the practice was intended to pay homage to his instructor[s], under whom he was empowered, along with paying homage to both the tradition and culture from which it comes.
Oshiro-ha Yamane Ryu Kobudo Curriculum
As previously mentioned; Oshiro-ha Yamane Ryu Kobudo includes the following practices: Bo, Eku, Nicho-gama, Nunchaku, Sai, Suruchin, Tanbo, Tanto, Tekko/Techu, Tinbe and Tonfa-jutsu, etc.
BÃ Â Kata of Oshiro-ha Yamane-ryu: