Article by Emanuel Giordano
As we have seen in the two previous articles (part 1; part 2) there are two lineages for Oyadomari no Passai: the lineage Oyadomari> Kyan> Shimabukuro Taro and the lineage Oyadomari> Oshiro> Kinjo Hiroshi. In order to avoid repeating the introduction made in the previous article, I would go directly to a technical comparison!
I state that to simplify the comparison, I will not use the images taken from Kinjo Hiroshi's video, but those of the book “Passai, Bassai, Bassai and Bassai” (1982, Japan Karate-do Federation), since it is the same kata. I also state that for the version of Shimabukuro Taro I will use images taken from the Shubukan Shorin-ryu version. To simplify the text, the Kyan version will be called VERSION 1, while the Kinjo version will be called VERSION 2.
-The kata begins with open hands in version 1, while with closed hands in version 2. Open hands are also found in other kata, such as Itosu no Passai sho, also known as Bassai sho, Koryu Passai, Passai gwa and Gusukuma no Passai.
-The two-handed opening technique is slightly different. More similar to Matsumura no Passai (although performed from the reverse side) in version 2, more similar to kata Kusanku in version 1.
-The following sequence is that of osae-uke nukite / shuto-uchi. While in version 2 they are clearly shuto-uchi, in version 1 they are sometimes performed as shuto-uchi, sometimes as nukite (palm up). The sequence is also slightly different. Taking the starting point of the kata as a reference, in version 1 they are performed backwards, then forward, again forward (but taking a step back), and finally to the right. In version 2 the only difference lies in the fact that the techniques are performed only once facing forward, and twice facing right.
-Next we find the sequence of tsuki and chudan-uke. In version 2 there are two namigaeshi that, however, in version 1 there are not.
-The two versions continue in the same way up to the tsuki which follows the double jodan-uke. Here, in version 2, a closed-hand gedan juji-uke is performed prior to manji-uke in ukiashi-dachi, while in version 1, manji-uke in heisoku-dachi is immediately performed.
-The two kata are again identical up to the mikazuki-geri. Here the next sequence is performed frontally in version 2, while diagonally in version 1.
-The last noteworthy difference is represented by the morote-tsuki: vertical in version 1, horizontal in version 2.
Clearly version 1 ends with open hands, while version 2 with closed hands.