I just discovered even more interesting discussion on the possible Crane origins of the Okinawan arts.
Check out the following site:
http://wulin.proboards31.com/index.cgi I believe everyone will make up their own mind, unless direct evidence either way is found.
There are central questions to think about.
1. If the Okinawn Crane traditions are based on the Chinese ones, should one consider what the current crane stylists have to say about the art, or should the goal be to take the current Okinawan ones and work to decimate the Chinese ones? [of course the entire issue is more complex than this]
2. Reviewing the crane forms on the site listed before, I believe they are effective in their own light, but on the whole their method of energy generation is not what the Okinawan systems use (say Goju, Ueichi, Matsubayshi, Isshinryu and so on).
3. Did the Chinese systems remain unchanged and the Okinawan ones change?
Did the Okinawn systems remain unchanged and did the Chinese ones change?
Did both sets of systems change so reconcilation is no longer possible?
Or were the Okinawan system, inspired by the existence of the Chinese ones, but not from direct transmission?
My own believe is all arts more into the space of their times. If the times are more violent, the arts will reflect that. If the times are less violent the arts will reflect what the students needs are. Once change occurs the future is the only matter, not the past, except as a guide.
Pleasantly,
Victor Smith
bushi no te isshinryu