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OIKADO MEKADEN KYU THESIS

( OIKIRU-RYU KARATE -JITSU DO )

TITLE:

COMPARATIVE ANALYSIS AND ANTE-MORTEM OF SYSTEMS

SUBJECT:

FOR ADVANCEMENT, RANKING TO FIFTH DAN LEVEL STATUS

PRESENTED TO:

THE ADMISSION SECRETARY THE NATIONAL COLLEGE OF MARTIAL ARTS

AS AT 30TH JUNE 2004. UNITED STATES OF AMERICA.

CANDIDATE: FROM MOSES KGOSIBODIBA PO BOX 45138,RIVER WALK. GABORONE. REPUBLIC OF BOTSWANA. PRINCIPAL SPONSOR: PATRICK SOLLY MAKGABENYANA OF OIKADO MARTIAL ART SCHOOL ( BOTSWANA ) PO BOX 60057. GABORONE. BOTSWANA. SOUTHERN AFRICA. NUMBER OF PAGES: THIRTEEN ( 13 )

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PRELUDE

When I received the notification for advancement into the level of Mekaden Kyu my heart raised a little bit.Not only that a sense of beckoning and belonging suddenly came into light not because that has not been there but that it was a great honour to be nominated for advancement. This recommendation could not have come at the right time for it provided the platform to fulfil my personal obligation to myself that obligation has been captured well by the legendary Bruce Lee in his “Tao of Jeet Kune Do” when he said

“you have the personal obligation to yourself to make yourself the best product available according to your terms."

One must note that the terms we are referring to are your commitment to serve,practice and uphold the secrets of the Way in the style that you do. You must prove yourself beyond reasonable doubt before your superious and the greater family that you have indeed given yourself to the dictates of the Tao/Way. The other terms set by the individual are those arising from the rate of assimilation and of technical evolution and/or devolution arising thereof. That as one moves through learning phases of Kihon (basics), Kata and Kumite, principles and precepts of the Way and into the greater realm of philosophical enquiry,one reaches that point in time when he/she has to diversify. We must note that the development of the system of OIKIRU RYU KARATE JITSU DO was as a result of that great realisation that whatever style you practice, a kick is a kick is a kick; a punch a punch. In other words, the denominations of and their further subdivisions of kick, stance, punch and block are common across all systems of the martial arts. The Great Masters in martial arts could not have been wrong when they said:

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“ there is apoint in time when the power and functionality of the fist,kick and block cannot go beyond when the power of the intellect has to dominate.”

It is with this unique saying and declaration that the subject of this thesis is to compare and contrast the systems of OIKIRU RYU KARATE JITSU DO with my chosen style of GOJU-RYU KARATE DO.I could have chosen any style given that I have trained under various sensei and one Grandmaster. Among the systems I have studied are; 1. Kyokushinkai-kan 2. Kodenkan Danzan_Ryu Jujitsu(special interest in shiatsu,healing

by massage) 3. Shotokan, Shukokai, Jeet Kune Do. 4. I must point out however that it is not enough to learn martial arts in

the dojo for you cannot learn martial arts in the dojo.These are not just statements they are standing principles that have been written down by great masters of the martial art.

WHY I CHOSE GOJU-RYU KARATE DO Like I said I could have chosen any style or system given that we are all aiming to achieve the same goal. The goal of accepting oneself and the environment as is. Also that at my level of training and development the construct of style is not an issue anymore. The final decision to opt for GOJU-Ryu Karate-Do is multi-fold. 1. It presented a system that is totally new. New in the sense that I

have not had an opportunity to train directly under any instructor in GOJU Ryu. Here in Botswana people in the martial arts only talk about Shukokai, Shotokan, Shito-ryu. This is not surprising since for a style to sustain itself it must have a resident chief instructor. This presented a challenge to research on a new system not locally practised.

2. It provided an exciting moment to self discover a system that is the

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original and traditional system from which my mentors system(s) descended.

3. The third reason which also served as a basis for my decision was

that in light of lack of and absence of martial arts literature I wanted a system that was covered in and by the world of internet.To me Goju-ryu like Shotokan is researchable and interactive.

4. The forth reason emanated from the traditional Okinawate system

that Goju-ryu is.The karate systems of Goju-ryu,Kyokushin-kan,Shinkokan,Shotokai,Goju-kai,Jundokan,etc all can be traced back to the original Chinese systems of Ryu Ryuko.

5. The final reason arose from the finding upon research that the

originator of today’s competition or sport karate is Gogen Yamaguchi who popularised Goju-ryu in Japan.”The Cat” is credited with initiating Jiyu-Kumite(free sparring) in 1936 which went on to become the basis of sport karate system in use today.

These five reasons formed the basis of my choice of Goju-ryu Karate Do. It also presented a historical advantage in terms of tradition;-it is a direct descendant of the original Okinawan systems of Shuri-te and Naha-te.

“ To search for the old, is to search for the new.The old and the new is a matter of time. The way, who will walk it straight and true.”

This translation of characters on a Shotokan Sandan certificate summarises this thesis. Let us now look at and define the construct of Kara-te. We want to answer the question; What is karate?

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THE THESIS AND GENEOLOGY

1. Karate-Do:- this places greater emphases upon spiritual rather than physical matters.

2. True Karate-Do:- within the embusan of true Karate-Do is that in

daily life,one’s mind and body be trained and developed in a spirit of humility,and that in critical times,one be developed utterely to the cause of justice and self enlightenment.

In its origins Karate-Do is a martial art perculiar to Okinawa.The Kara- in Kara-te Do has a Chinese character.Due to influence of Chinese culture and the great respect that the Japanese placed on anything exotic,Karate was imported by Japanese.The existing martial art was Okinawa-te which was altered by weeding out its bad points and adding good points to it,thus working it into an elegant art.We speculate that they considered “Kara-“(with Chinese character ) an appropriate new name.The original name that was Okinawa-te was altered to Kara-te (Kara- means hand,te means empty).

OKINAWA-TE --------------------------KARA-TE

Karate is now considered a Japanese art when in fact it is inappropriate. Why so much emphasis was placed on the Kara with the Chinese character? The character Kara carries four(4) meanings. 1. Karate is a technique that permits one to defend oneself with bare

hands and fists without weapons. 2. Just as it is the clear mirror that reflects without distortion or the

quiet valley that echoes a sound,so must one who would study Karate-Do purge himself of selfish and evil thoughts for only with a clear mind and conscience can he understand that which he receives.This is another meaning of the element Kara in Karate-Do.

3. The third element is that he who would study Karate-Do must

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always strive to be inwardly humble and outwardly gentle.However once he has decided to stand up for the cause of justice then he must have the courage expressed in the saying: “ even if it must be ten million foes I go.”Thus he is like the green bamboo stalk hollow(Kara) inside straight and with knots that is unselfish,gentle and moderate.

4. The fourth element explain the form of the universe.In a

fundamental way the form of the universe is emptinesss(kara),and thus emptiness is form itself.There are many forms of martial arts but at a fundamental level all rest on the same basis as Karate-Do.Form is emptiness,emptiness is form.

The Kara of Karate-Do has this meaning.This is the meaning of true Karate-D.These four elements of Kara have been and are observed in traditional systems of Karate-Do.Okinawan martial arts have been influenced by many changes in Okinawan history.When the Chinese Kempo was introduced in Chinese archipelago island of Okinawa it became known as to-te,Chinese hand.When Japan invaded Okinawa in the 17th Century it banned the use of weapons and martial arts.The Te that was practised even before the arrival of Chinese Kempo split into three distinctive martial arts which were all called Okinawa-te.These systems were:

Shuri-te:- hard techniques (Go) influenced by Kempo seen more as an offensive system Naha-te:- softer techniques(Ju) of Kempo plus strong breath control and is regarded as more of a defensive system with grappling throws and locks. Tomari-te:- the hard and soft techniques of Kempo.

Many systems have since developed from these systems.Naha-te has become Goju-ryu and Tomari-te and Shuri-te became Shorin-ryu and has again split into a few different styles.Kyokushin karate for example is an amalgamation of Goju-ryu and Shotokan karate and many Kick-boxing systems have evolved from the harder karate systems and boxing.

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We must note that there was trade between mainland China and the islands of Japan and Okinawa. Many of the Japanese were merchant men and some as workers in the ships of these merchants.Many of these men found their passage into mainland China and archipelago island of Okinawa. Of notable reference was Kanryo Higaonna who travelled from Okinawa to China.Kanryo Higaonna finally was allowed residence in Foochow and later introduced to Ryu Ryuko(Xie Zhongxiang).After 13years of training he left Foochow and returned to Okinawa.Hanryo Higaonna became very successful and along with Anko Itosu were the foremost karateka in Okinawa. Hanryo Higaonna was responsible for developing the Naha-te style and many of his students went on to form their own systems based on his teachings. His legacy lives on through his followers most notably Chojun Miyagi,the founder of Goju-ryu,and Kenwa Mabuni,the founder of Shito-ryu.Chojun Miyagi was introduced to Kanryo Higaonna at the age of 14.He was accepted as a student after a period of doing chores for Sensei Hanryo Higaonna.Chojun Miyagi is credited with setting up the Karate Research Club in 1926,and along with Chomo Hanashiro(Shuri-te),Kenwa Mabuni(Shito-ryu) and Motobu Choyo spent 3years training in kihon,kata,fitness and philosophy. In 1926, Chojun Miyagi was invited to Japan by Gochen Yamaguchi who would promote the Goju style in Japan. During this time names of styles were only known by their geographical reference. It was after this invitation that Chojun Miyagi chose a name for his art. He called it Goju Ryu and in 1933 it was officially registered as such at the Butoku-kai, the Japanese Martial Arts Association. What we must note is that the yesterday’s karateka was well versed in a number of styles and/or systems. Well trained and knowledgeable as they were it was not surprising that some broke away to found their own new styles/systems. Despite the fact that Goju-ryu is a traditional Okinawan system that combined the hard techniques ( Go) as influenced by Kempo and its offensive nature and softer techniques ( Ju) of Kempo combined with breath control and its defensive nature and grappling throws and locks the founders still studied under various systems and Grandmasters in their quest to perfect their system.

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For instance Chojun Miyagi travelled to Fukien province, China in 1905 were he studied Shaolin and pa kua forms of boxing.One hard and external(Shaolin),the other soft, circular and internal(pa kua) and his nature Naha-te the combination from which he formed his new system of Goju-Ryu Karate Do. What we must have in perspective reality is that all that we know today as Japanese style forms/kata are in fact originally Chinese and Okinawan in nature. We also see the founders of Oikiru Ryu Karate Jitsu Do(OIKADO) forming the system along the same basic route. The year is 1939.Shidoshi Yamada specialised in the Yamaguchi clan style of Ninjitsu and Todana in the Oiken-Kato-hoto Jitsu which specialised in weaponry and Zen system philosophy. The two began recruiting the various systems of the Oucana-Kobu-Jitsu and the Kung-Fu of the Northern Shaolin through the Monk Te-mo Chung. It is through their best techniques that the basic concept of the common facets of styles emerged post the traditional systems. They were later to be enjoined by Sensei Koheni Tashimada who introduced the art of the invincible warrior(from the system of Ninjitsu Bo-ku Jitsu).Later was the enjoinment of the breakaway Sensei of Shotokan,O’Sensei Shimuzi Hayamata who introduced the Kyohan way into OIKADO.This was later followed by the Dark Temple teacher, Sifu Shi-hi Jong-Su who kept the secrets of The 13 Iron Fist Kung Fu system. Within this year 1939-1940,Gochen Yamaguchi was sent to Manchuria as an intelligence officer.It was during the second World War that we saw sharing of ideas in terms of techniques, kata and philosophy. We speculate that Dr. Louis H Fried who studied with Yamada Sensei, Sensei Sana Kano(relative of the Judo founder, Dr. Jigaro Kano) could have trained together with traditional stylists such as Gochen Yamaguchi and others. It was from this friendship that the Council members: Todana, Yamada, Hayamata, Su, O’Sensei Hitori Kamata trained Dr. Louis H. Fried and Kitsusi Kote who six years later were commissioned to establish the ‘Unifying Fist’ in the west. The year was 1954. The introduction of Goju-ryu in the United States of America in 1959 by Peter Urban is of interest in tracing interrelationships in terms of commonality of origin. Peter Urban holds the distinctive title of Grand

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Patriarch of All American Goju Systems. He has studied extensively under Chojun Miyagi, Gochen Yamaguchi, etc. Peter Urban has taught Grandmaster Lou Angel(founder of Tenshi Goju Kai, in 1987).Lou Angel has studied under Alexander George of Shorin Ryu Reliance and with Gochen Yamaguchi at Goju Kai headquarters in Japan. At one point Lou Angel served as Secretary General of International Society of Martial Artists(ISMA),the society to which OIKADO affiliates.

PHILOSOPHY, THE SUBSTANTIVENESS.

In the way of OIKADO the highest goal is to make a good an enlightened man out of you. Though this may be a dream that cannot be of now realised it must be known that dreams come from beyond and still continue in the beyond in their quest for fulfilment but a simple mind would not know the difference. This good man this enlightened man of the martial arts is moulded by the very style or system in which he trains. The physical aspect of exercises through Hojo undo, Bunkai, Oyo, Kiko training condition and discipline the physical self. Out of this disciplined self the practitioner can now move on to the realm of philosophy. Martial arts philosophy is difficult to comprehend particularly if as a practitioner you are as yet to pass the initial and critical stage of the physical realm. However the teachings on philosophy of the art are intertwined with and contained in our daily training schedule.. Philosophy in the martial arts context is taught through: 1. Principles of the system 2. Precepts 3. Code of conduct/Dojo kun 4. Secrets of the system(as contained in kata) How does the Philosophy of OIKADO compare to and with that of Goju-ryu? I want to argue that the basis of all martial arts philosophy for all systems and/or styles is common. My discourse derives from the fact that the martial arts styles/systems as we know them today devolved

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from and are siblings of Okinawa-te, Okinawan history and culture. To this common origin what we discern is adaptation to one’s culture and personal circumstance. It is not very difficult to pay attention for instance to today’s principles of various styles/systems-to the fact that all are an adaptation of or analogies of Master Funakoshi’s 20 Principles of Karate. What we must also remember is that karate as we know it today is predominantly Japanese in character. But the character of karate is Okinawa in origin. It is of Chinese origin. The Japanese had great respect to that which was exotic and of Chinese import. All that was done was to rubber stamp it with Japanese history and culture. Goju-Ryu Karate-Do is traditional and still carries with it that great Okinawan martial arts history and culture. But of interest though traditional in origin the founder of Goju-ryu had studied under various systems and grandmasters before they evolved their own system. It is on this footing that we realise a sense of common identity in Goju-ryu and Oikiru Ryu Karate Jitsu Do(OIKADO).Though we are acting in accordance with time and change we should not lose our origins. OIKADO origins are derived from and based on the three traditional systems of:-

Karate Kung-fu Ninjitsu-juitsu.

Its founders believed in timelessness and transcendentiality of techniques and kata. The point being made was whether what you are studying in martial arts was developed 2000years ago or yesterday is not important. What is of essence is what you make out of it and what it makes out of you:- disciplined and an enlightened man. We also must acknowledge that regardless of our cosmetic differences and appearances as witnessed in kihon(basics),kata, philosophy and popularity our goals are the same. We all seek to:- Develop the physical, intellectual and spirituality of the practitioner; Create and offer assistance towards a balanced philosophy of life

that would in turn import a descent and humane life. We must

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remember that the truest art cannot ignore the upholding of a higher moral ground;

Arm all practitioners with self defence skills when justice demands. This commonality in principle is not hard to realise.For instance in 1926 the founder of Goju-ryu Chojun Miyagi set up the Karate Research Club along with Chomo Hanashiro(of Shuri-te),Kenwa Mabuni(of Shito-ryu) and Motobu Choyo. They spend 3years together training in kihon, kata, fitness and philosophy. We trace the founding of OIKADO in 1939 during the second world war. Like Goju-ryu, various Masters and Grandmasters studied together each bringing his speciality in the arts. ( BUNKAI ) KARATE TECHNIQUES,THE FUNDAMENTALS AND

APPLICATION There are five basic principles underlying karate techniques. They are at once the beginning and the final goal of any karate style or system. These basic principles are:-

1. Tsuki ( punching ) 2. Geri ( kicking ) 3. Uke ( blocking ) 4. Uchi ( striking ) 5. Dachi ( stance ).

These basic principles are interlinked into a set of movements that are either defensive or offensive or both. The set of prearranged movements have culminated into a useful tool for style identity in terms of combinations, kata, and application( Bunkai ) thereof. Practitioners can learn to perform these basic movements within a short period of time ranging from 3months to 2.5 years. But to perfect the basic movement in its own right and in a set as in combination, kata or application is an impossibility. We tend to be preoccupied with the search for a perfect technique when in fact perfection is a human construct. The best we can pursue and achieve and realise is to

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perform each technique to the best of our ability. In his Five Secrets of Japanese Goju-Ryu, Gochen Yamaguchi says

Move quickly Sound, calm mind Be light in body Have a clever mind Master the basics.

Notice that one of the secrets is mastery of basics. A must for those of you who are practicing karate as an art. If you practice karate as art you will learn more and understand the embusan that the technique has. To embrace the embusan that is embodied in each technique and set of movement(s),practitioners must practice regularly and employ maximum concentration and effort in the performance of each movement. Practice, practice alone will not achieve its objective if it is undertaken incorrectly. Students must therefore learn techniques on a scientific basis under the careful eye and supervision of an instructor. It is equally important that the instructor must employ a systematic and properly scheduled training system which in its absence our efforts will be in vain. Karate training can be considered scientific only when it is conducted on the basis of correct physical and physiological principles. Our predecessors believed very much in capturing the embusan in a technique. They have gone to great length in not just creating a technique they refined each technique through continuous study and practice. Research, learning, practice and application formed the fundamental basis for nurturing “perfection”. Sensei Miyagi founded the karate research club in 1926 in which together with other stylists trained in kihon, kata, fitness and philosophy. The concept of research and learning in the fields of martial arts is not a new phenomenon. We also accord a great emphasy in OIKADO. Like Goju-ryu OIKADO was founded by learned men of principles who had reached the pinnacle of success in their own right. We can not overemphasize the importance of mastering basics in learning karate. In the pursuit of mastery of basics we must try to analyse our techniques if we are to improve.

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The following indicators are of importance in the mastery of basics. 1. Form, Balance and Centre of Gravity:- karate is not the only sport

that concentrate on the optimum utilisation of the human body or embraces principles taught in physics and physiology. All the martial arts and most other sports depend on correct form for the effectiveness of their techniques. Practice results in body movement or form which is physically and physiologicaly correct. Correct form is especially important in karate. All body parts must harmonize to provide the stability necessary to sustain the shock of delivering a kick or punch. The karateka must often stand on one foot to attack or defend. Thus balance is of prime importance. If the feet are placed far apart with a consequent lowering of the centre of gravity a kick or punch will be stronger. Note however that it is easier to move if the centre of gravity is relatively higher and the feet closer together. Although stability/balance is important there is a point beyond which it is not worth going. Students who over emphasize stability lose on flexibility. If for instance he bends his knees too much to maintain balance, his kick will not be effective. Thus the position of the body and the centre of gravity will depend on circumstances. The centre of gravity is always shifting. Sometimes body weight is evenly distributed between both feet and sometimes there is more on one foot than on the other.

2. Power and Speed:- the possession of muscular strength alone will

not enable one to excel in the martial arts or any sport. The effective use of strength is important. The application of power to any movement depends on a number of factors. One of the most important of these is speed. The basic punching and kicking techniques of karate achieve their power by concentration of maximum force at the moment of impact. This concentration of force depends greatly upon the speed will result in increased power. Speed is an important element in the application of power but speed cannot achieve its greatest affect without good control. The kind of movement needed in fundamental karate techniques is not one which will move a heavy object slowly but one which will move a light object with maximum speed. Another principle to remember is that greater speed can be generated if power travels a longer route to its target. The longer the route the leg travels to the target, the

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stronger the kick will be. 3. Contraction and Power:- a punch or kick will be weak if applied

with the arm or leg alone. To achieve maximum power it is necessary to use the strength of all parts of the body simultaneously. When punching or kicking power moves from the centre of the body the major muscles to the extremities ending in the hand or foot. This power moves from one part of the body to the next at a speed of 1/100 of a second. The whole movement takes only 0.15-0.18 second if the momentum possible in this action is correctly exploited. Training therefore should be such that strength is focused in the foot when kicking or in the hand when punching. It is important that the various muscles and tendons are kept loose and relaxed to permit instant response to changing circumstances and demands of combat. If the muscles are already tense they cannot be further tensed at the moment of focus. Power concentrated at the time of focus must be instantly released to prepare for the succeeding action. Constant training in alternately tensing and relaxing the body is very important to acquire proficiency in the application of karate techniques.

4. Role of Muscular Power:- power to the body is supplied by the

muscles when they contract. Well-trained, powerful, and elastic muscles are mandatory in karate. Constant training is necessary to strengthen the muscles of the body. If karate training is to be conducted scientifically it is also necessary to know which muscles are employed in the execution of a particular technique. When proper muscles operate fully and harmoniously, the technique will be strong and effective. On the other hand if unnecessary muscles operate there will result a loss of energy and an ineffective technique.

Remember: the faster the speed of muscle contraction the greater the power produced. 5. Rhythm:- an essential element in the performance of techniques in

the martial arts is rhythm. The proper execution of a series of movements in any sport is impossible without rhythm. It is essential for the karate student to learn correct rhythm in both the basic technique and in the more advanced kumite(sparring).Rhythm is especially necessary in the performance of formal exercise or kata.

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The three most important elements in kata performance are:- (1)Application of strength at the correct time;

(2) The control of speed in techniques and from techniques to technique; (3) The smooth transition of the body from one technique to another. These requirements cannot be fulfilled without rhythm. A kata performed with rhythm is both powerful and beautiful. 6. Timing: - a kick or punch directed at the target either too earlly or

too late is often fruitless. 7. Lower Abdomen and Hips:- the hips play an important role in

furnishing maximum power to any movement. In Japan the importance of the tandem has been taught from early times. Teachers of the martial arts have constantly emphasised the importance of the tandem in achieving competence. This region was emphasised because it was felt that here was centred the human spirit and that this area provided the basis of power and balance( ganshin ).The tandem is that area behind the navel in the centre of the body. When standing erect the body’s centre of gravity is located here. If the stance is correct in karate the centre of gravity will be found in the tandem. A correct stance will enable the student to maintain the balance of both the upper and lower parts of the body resulting in harmonious interplay of the muscles and a minimum loss of energy. If the power concentrated in the tandem is brought into play in executing karate techniques the pelvic(hip) bones will be firmly supported by the thighs and the trunk by the spine.This interlocking will produce strong techniques.

Remember: try to punch with the hips, kick with the hips, and block with the hips. BODY CONDITIONING Hojo undo are supplementary exercises that develop and condition the body with the use of training aids. They are specially designed to enhance the self-defense techniques learned in the Goju-ryu system. The modern day karateka however utilises the gymnasium’s free weights and/or circuit training. Below are some examples of the traditional equipment and their use.

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1. CHISHI:- it is a concrete or stone weight at the end of a wooden

handle. It is mainly used to strengthen the grip, as well as the joints of the elbows wrists and shoulders. The exercises develop the muscles used in blocking striking and grappling techniques.

2. NIGIRI_GAME:- these are gripping jars usually made of clay with a

rim around the top to grip with fingers. Sand can be added to increase the weight of the jars. They can be substituted with a common glass or mason jar. Gripping these jars increases the strength of the fingers for gripping and tearing applications.

3. MAKIWARA:- a makiwara is a striking post with a straw cloth or

rubber pad for contact padding. It is constructed of either a combination of 2x4’s or 4x4 tapered off at the top. It is used to condition the striking surfaces of the body and perfect striking techniques and kime.

4. ISHISASHI:- this is a stone paddle resembling the shape of an

old-fashioned clothes iron. It is used for strengthening the arms and wrists.

5. TAN:-this resembles a barbell usually made of wood with weights

on the ends. It is usually rolled over forearms and back, or twisted over the hips. It strengthens and conditions the affected areas.

6. TOU:- this is a bundle of bamboo sticks taped together at the ends,

and is used for nukite practice and conditioning. 7. JARI BAKO:- this is just a box or bowl filled with sand beans gravel

or similar material. Fingers are thrust into it to toughen the hands. 8. TETSU GETA:- these are iron clogs used to strengthen kicking

techniques. 9. KONGOKEN:- this is a very heavy rectangular hoop used alone or

with a partner. It is used to strengthen the body and condition for contact.

10. SASHI ISHI:-a short wooden handle with a stone weight in centre.

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11. MAKIAGE KIGU:- this is a wrist roller, a wooden handle with a weight hung in the centre on a rope. You twist the handle and wrap the rope onto it raising and lowering the weight and strengthening the wrist and grip.

12. TETSUARI:_ these are basic dumbels and their use is much like

modern weightlifting exercises with the same results. These are the traditional implements used by Goju-ryu practitioners as supplemental exercises. There are also modern devices that can be incorporated into the training to strengthen and condition the body. Some examples are heavy bags, medicine balls, and various weight training apparatus and free weights. Let us now move on to the area fundamental to any martial art training. That of Kiko training..In our discussion of kiko we shall pair it with the kata, Sanchin. Sanchin is the fundamental kata of all Goju-ryu system. There are numerous different forms of Sanchin kata. There are those that are Go or hard versions and those that are Ju or soft versions. The hard versions involve dynamic tension. Sanchin and Kiko Training( Dharma ) According to many Okinawan masters sanchin kata is based directly on exercises taught by Daruma. These are Ekkin kiko or the tendon transforming ki exercise and Sensui kiko or marrow cleansing. The Ekkin kiko exercises focuses on first circulating ki through the primary meridians then through the whole body. As this is done the muscles and tendons are strengthened and stretched. The sensui kiko stresses leading the ki into the bones and up the cerebrospinal system. 1. SHOSHYUTEN:- many of the specific instructions associated with

sanchin kata relate directly to Shoshyuten kiko. In shoshyuten kiko the ki or vital energy is circulated through the two primary meridians of the body: the governor vessel and the conception vessel. In sanchin kata the ki is circulated with the breath and small movements of the internal musculature and sacrum.

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When practicing sanchin kata it is important to remember that the chin is tucked in and the neck is pulled back in order to align the cervical vertebra with the back making the spine as straight as possible. The pelvis is also tucked forward in order to eliminate the lumbar curve. This is done to allow the ki to flow freely and directly up the back i.e. through the governor and conception vessels. Remember also that the tongue tip is held on the roof of the mouth. This connects the governor vessel with the conception vessel. During sanchin kata practice there are two phases of kiko practice. The inhalation and the exhalation phases.

Inhalation phase:-as you inhale you visualise the ki/breath descending down the centre line of the body towards the Tanden area.As you do this the abdomen will expand very slightly.This motion should be very small and scarcely visible to the eye.This slight expansion of the abdomen helps to draw ki to the lower abdomen.As you are reaching the upper limit of your inhalation the pelvis rotates very slightly back.Again this motion should be very small and scarcely visible. At the same time you do this you visualise the ki circling from the tandem down under the body and then up to the base of the spine.This is the end point of the inhalation phase. The slight outward or backward motion of the pelvis helps to lead the ki from the tanden to lower areas i.e. towards spine. Exhalation phase:- as you exhale you lead the ki up Tokumyaku-kei (governor vessel).As you do this your abdomen will move slightly inwards. This inward motion aids in leading the ki to the back. You also lightly lift the urogenital diaphragm (lift the anus and pull up on (rotate it tightly forward) the pelvis as you exhale. These actions both help to force the ki gently up the back. Towards the end of the exhalation the ki is guided up around the head to the nose and then tongue. At this point you have completed one cycle of the Shoshyuten.

Note that the next cycle begins where the last stopped. This type of breathing can be used in all of the “long breaths” of the kata. There are a number of short breaths. During the “short breaths” the cycle does

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not need to be precisely visualised but only feel a sense of movement. 2. DAISHYUTEN:- this is a more advanced stage of sanchin training

which involve leading the ki through the entire body. This is called Daishyuten kiko. Daishyuten kiko is an advanced level on the Shoshyuten training. In Daishyuten kiko the ki is still circulated through the entire paths of both of the primary meridians. The anal lift pelvis rotation spinal alignment and tongue position as outlined in Shoshyuten are still used for the same purpose. The main difference is that in Daishyuten methods the ki is also circulated through the limbs.

3. DYNAMIC TENSION:- is used in some systems while performing

Sanchin kata. Traditionally there were two reasons dynamic tension was used. The first was during Daishyuten training tensing the musculature would lead ki to the limbs and near the surface of the torso. When the body was then relaxed the ki would circulate through the body. It seems that it acts as a sort of intensifier for Daishyuten kiko. The other reason dynamic tension was used was to force the ki into the bones during Sensui kiko. Many Okinawan sensei feel that dynamic tension is potentially dangerous. It should not be attempted without the careful supervision of a qualified sensei trained in the intricacies of sanchin kiko. Many feel that simply using the light connective “stretching” while performing the movements is much safer though it produces results slower.

THE FUNCTIONALITIES OF KATA - ESSENCE A kata is a pattern of movements which contains a series of logical and practical attacking and defending techniques. In each kata there are certain set of movements which the student can practice alone without a partner. These kata have been created by previous masters after many years of research, training and combat experience. The application of the techniques in kata have evolved from and have been tested in actual combat In this way each kata has been improved and refined, and has evolved into the kata we practice today. Because of the time and the kata’s complex evolution it is impossible to trace the

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exact development that the kata underwent but it is known that the old masters studied the combative techniques and movements in the fighting between animal and animal, animal and man, and man-to-man. They also studied the physiology and the physio-symetries of the human body and its relationship to combat taking into account such factors as:-

The circulation of the blood in a 24hr day The vulnerability of the vital points in relation to the time of day The cyclic laws of nature such as the rising and setting of the

sun

The rise and fall of the tides.

All of these elements were incorporated into the kata by point of technical reference. The purpose for developing kata also varied with the people who developed them. Some developed and practiced kata for the purpose of self-defence. The Buddhist monks practiced kata for the purpose of strengthening the spirit as well as the body. The true meaning and spirit of karate are imbedded in the kata and only by the practice of kata can we come to understand them. It is for this reason that we cannot change or simplify kata either to accommodate the beginner or for tournament purposes. If we do then we will lose the true meaning and spirit of martial arts. In karate there is no first attack. Every kata begins with a defensive movement which exemplifies this spirit. Not only is there no first attack but the best defence is to avoid the fight altogether. This is the reason why martial arts is the art of a wise man. To practice the kata correctly every movement must be repeated over and over. Only through constant repetition can the techniques become reflex action. An important aspect of kata is that it can be practiced alone anytime and anywhere. When kata is performed by a well trained student its dynamic power

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and beauty of movement become almost aesthetic in quality. The Goju-ryu Kata:- almost all of the Goju-ryu kata were handed down from Higaonna Kanryo Sensei. Higaonna Sensei had studied and trained for many years under Ryu Ryuko Sensei in Fukien province, China. It is of interest that styles outside of and not direct descendants from the Goju-ryu system do not posses identical kata names. Many of the kata names are Chinese numbers symbolising Buddhist concepts. For example, Suparinpei (the number 108 in Chinese) has a special significance in Buddhism. It is believed that man has 108 evil passions, and so in Buddhist temples on December 31st,at the strike of midnight a bell is rung 108 times to drive away those spirits. The number 108 in Suparenpei is calculated from 36 x 3.The symbolism of the number 36 is given in the kata Sanseru. They refer to a systematic method and understanding of certain groupings of vital acupressure points. It is this science that the martial arts was based upon and developed. Feng Yiquan, who lived during the Ming Dynasty ( 1522-67) developed this particular method of using variations of “36” forbidden points to defeat his opponents. Other disciples of Feng created other quans expanding the number to 72 and ultimately 108. In the Goju-ryu system there are thirteen kata. Nine of these kata were handed down from Ryu Ryuko Sensei to Higaonna Kanryo Sensei and to Chojun Miyagi. Miyagi Sensei created four new kata. These were;

Gekisai Dai Ichi Gekisai Dai Ni Sanchin ( revised edition) Tensho

The Gekisai Dai kata were developed in order to popularise karate among the young people. These two kata performed with exaggerated movements are relatively easy to understand.

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Sanchin kata has undergone two important transformations which are variations to Higaonna Kanryo Sensei’s Sanchin but still preserving its essence. Miyagi Sensei developed it particularly to balance Higaonna’s Sanchin. Its performance requires a different use of the muscles leading it to a more symmetrical development. This is important for optimum use of the body and especially of injury to the back and other areas. You must remember the martial significance of Sanchin and Kiko training. Later Sanchin was changed in pattern. We therefore see the original Sanchin performed with open hands and with less emphasis on muscle contraction and “energetic” breathing. The open hands were changed to closed fists as the martial meaning was no longer emphasized. Sanchin kata is considered to be an aspect of the Go (hard) of Goju, Tensho kata represents the Ju ( soft).One of the purposes of Tensho kata is concentration on shifting focus points while performing the soft hand movements moreover within these soft hand movements tremendous power is generated. Tensho, the second “heishu” kata in Goju-ryu, is derived from the Chinese form “Rokkishu”. Unlike Sanchin which is almost identical to its Chinese form Tensho is uniquely Okinawan. Miyagi Sensei developed Tensho from his understanding of the kata of Goju-ryu and the “nature of man.” It was also developed to further complete his Goju-ryu where Sanchin left off. Tensho has many of the same principles of Sanchin but goes further to include more intricate concepts of the techniques of Goju-ryu. These concepts expressly come alive in kakie which in advanced training breathes life into the bunkai of the kata of Goju-ryu. The kata in Goju-ryu, just like in OIKADO,are classified into

Beginners kata Advanced kata Kata of central importance (which is unique to the style).

OIKADO kata are many in that the system has borrowed ideas from the traditional systems of Karate, Kung-fu and Ninjitsu-jiutsu. In addition to beginners’ kata, advanced kata the system has added the following sets of kata:

Tekki kata Taikyokyu kata

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Teno-Kata-Teno Dai kata(advanced forms) Animal forms Planet kata

ADVANCEMENT

In the Goju-ryu system just like most Japanese influenced arts a system of grading is used to reflect the experience and ability of the student. The requirements for each level vary in different schools and organisations and even the colours of the belts and their order are sometimes different. Just like in OIKADO Goju-ryu style kyu gradings are represented by colour belts while Dan grades wear black belts. Some schools use red and white at higher Dan grades usually from 5th or 7th Dan and up with red reserved for 9th and 10th Dans or style heads. The red belt has also been used to denote Shodan-ho grades, junior black belts, and varying Kyu grades. But let us not confuse a 12year old Shodan-ho with a 10th Dan style head. In a typical system the order of kyu belts is:-

White Yellow Orange Green Blue Brown Black

Some schools use a 10-kyu system,with 3-different levels of Brown belt (1st – 3rd kyu ).Others just use the coloured belts as a guide.Some systems just use White-Green_Brown_Black,while others simply use White and Black only.In OIKADO we use a 10-belt system with a Purple belt awarded between Blue and 3rd kyu Brown belt. Kyu belts are also referred to as “Mudansha”, while black belts are referred to as “Yudansha”. Titles are also used at times to represent

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Yudansha grades and teaching levels.

Sensei :- teacher or instructor; commonly refers to black belts that have teacher status.

Shihan :- teacher of teachers; it is a sensei who have

students black belts; however some organisations bestow this as an honorific title officially.

Kyoshi (master) :- this is the master-hood level; in OIKADO

the student is allowed independence to innovate incorporate and adjust techniques as he/she deems necessary under the honour of his/her mentor and school.

Renshi :- alternate term to Kyoshi.

Hanshi :- this the Grandmaster level in OIKADO; it is awarded

students when they reach rank of 8th or more Dan Black Belt.

Soke/Sosai:- this title refers Heads of organisations. In addition to the belt system OIKADO recognises phases of development which phases require that the practitioner will have attained a certain degree of development and mastery and input into the growth of the system. These phases of development are:

Kirikami Mokuroku Menko Kaiden Kegurai Kyoshi Hanshi

Let us note that grading and titles are different in every branch of the style as are times in grade before being considered for promotion. It is usually regarded as important only within the organisational structure of a specific system and is not a universal measure of accomplishment yet it accords the barometer and measure of one's achievement and cultivation in the specific and general context of his martial arts curriculum.

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Presented by: Signature:................................................................................ Moses Racana-Martin Kgosibodiba Tlokweng, Gaborone. Republic of Botswana. Southern Africa. And to: Patrick Solly Makgabenyana OIKADO Martial Art School. Gaborone,Botswana. Southern Africa.