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WWW.MEIBUKANMAGAZINE.ORG No 1 February 2004House of the Pure Martial Arts

House Of The Pure Martial Arts

Interview with Renshi Lex Opdam

MEIBUKAN MAGAZINETHE INTERNATIONAL WEB BASED MARTIAL ARTS

MAGAZINE AS A PDF DOCUMENT No 1 FEBRUARY 2004

MMEIBUKAN EIBUKAN MMAGAZINEAGAZINE

Three level straight punchesHanding Down the Master’s Art

Self-defence: Keep it simple

www.meibukanmagazine.org


MMMEIBUKAN EIBUKANEIBUKAN MMMAGAZINEAGAZINEAGAZINENo 1 FEBRUARY 2004House of the Pure Martial Arts

ColumnOur Goal is to Share

InterviewInterview with Renshi Lex OpdamLex Opdam is branch leader of Meibukan Goju-ryu karate-do in theNetherlands and representative of karate pioneer Master AnthonyMirakian. A conversation on traditional karate practice and the stu-dent-teacher relationship.

ReviewBubishi: The Bible of Karate by Patrick McCarthy.Budo secrets: Teachings of the Martial Arts Masters by John Stevens.

Techniques & photo seriesThree level straight punches: A typical Goju-ryu exercise.Self-defence: Women, stay away from wrestling a stronger man.

FeatureMyth in the Martial ArtsSince ancient times martial art teachings have been handed down inthe form of myth. In a guiding role, mythlogy continues to be anintegral component of martial arts tradition and philosophy today.

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Meibukan Magazine is published several times ayear in an electronical format with an attractive mixof subjects and styles. Each issue of at least twelvepages is published as pdf-file for easy printing.Published editions remain archived on-line. We havechosen for a low picture resolution for easy down-loading

Readers of the webzine are enthousiasts and practi-tioners of the spirit of the martial arts world wide.

Editor in chiefLex Opdam

Executive editorMark Hemels

Editorial ContributersMatthew Jones

Peter AndritsakisContributors

Willie van ZundertJulee Moroz

Marc van DamTeun Meeuwesse

Art directorLex Opdam

Meibukan Magazine is pleased to submit views, con-cerns and experiences on any subject matter IF re-lated to the mission statement expressed by theMeibukan Magazine. Therefore articles, photo-graphs and illustrations are welcome, althoughMeibukan Magazine is selective and can notgarantee that submissions will be placed. Submis-sion can be mailed to our P.O. Box by floppy, CD orDVD, or can be sent to our e-mail address (if smallerthan 5 MB).

MISSION STATEMENTMeibukan Magazine is an initiative of Lex Opdamand Mark Hemels. Aim of this web based magazineis to spread the knowledge and spirit of the martialarts. In a non profitable manner Meibukan Maga-zine draws attention to the historical, spiritual andtechnical background of the oriental martial arts.Starting point are the teachings of Okinawan ka-rate-do. As ‘House of the Pure Martial Arts’, how-ever, Meibukan Magazine offers a home to the vari-ous authentic martial arts traditions.

FORMAT

PRODUCTION

SUBMISSIONS

COPYRIGHT

All materials have a copyright. They may not be usedfor commercial purposes, but they can be used formaking a paper print for individual and private use.Only with written permission from the copyrightholder and/or the main editors of the MeibukanMagazine may articles be used for educational andresearch purposes.

Copyright 2004 by Meibukan Magazine.All rights reserved.

ISSN 1572-5316

MEIBUKAN MAGAZINEP.O. Box 8, 6663 ZG, Lent, Netherlands

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WWW.MEIBUKANMAGAZINE.ORG No 1 February 2004House of the Pure Martial Arts 2

Our goal is to shareSince I formally started my training inthe martial arts, when I was 13 yearsold, I have always been interested inits backgrounds. One way of providingmyself with written information wasthrough the existing martial artsmagazines. I borrowed old ones andbought new ones, and throughout theyears read many of them. Often, andmaybe too often, I was distracted anddisturbed by the glossy ads, hiddenpolitical agendas, and sports orientatedcontent with its glamourous overkill,which seems immanent in almost allmartial arts magazines.

I am very aware of the factthat a magazine, especially in itstraditional printed form, mustcompromise in order to survive, sinceit is depending on money to produceitself. Money that comes from thereaders that buy the magazine andmoney that comes from the advertisers.In my opinion only very few martialarts magazines have actually found abalance between their viability andserious content. Just a few of thosehave an approach that reflects atransmission of the martial arts spiritin a way that is acceptable in terms ofthe ethics of these ancient arts. Ethicsthat in fact serve a higher goal in life.It is within this spiritual context thatthe new Meibukan Magazine wants toexist.

The idea of producing a worldwide martial arts magazine was in myhead for a few years. Due to practicalcircumstances, however, it never cameoff the ground until the end of 2003,when conditions were right to activelyengage this idea. Together with editorand martial arts student, Mark Hemels,we developed the concept of theinternational web based magazine thatyou are now reading. MeibukanMagazine aims to spread the know-ledge and spirit of the martial world inits purest form. The magazine is runby volunteers. It is independent andfree, and accessible for anyoneconnected to the Internet. The idea ofa world wide martial arts magazine hasnow become reality, and with ourhearts we hope to contribute to theworld by sharing the spirit of the puremartial arts.

Lex OpdamEditor in chief

Question: Sensei, in what way did youfirst encounter the martial arts?Answer: At the age of thirteen, Iexperienced my first physical encounterwith the Indonesian martial art PentjakSilat. In Berg en Dal, near my home-town Nijmegen, Kyai (teacher) Georgede Groot instructed me in the basicprinciples of this martial art.The first real encounter with the martialarts happened years before. I rememberwell being a young boy of six or sevenyears old and watching the televisionseries ‘Kung Fu’. The wise master, thesense of justice, the protection offeredto the oppressed, the complete controlof body and mind – these were allstrong ingredients to enthral a youngboy. In my young eyes, the concept ofmartial arts was perceived to besomething very special indeed.

How did you first encounter Goju-ryuKarate?I had been working out in a weighttraining facility for only a few monthswhen a friend and I got into a con-versation with a man who gave karatelessons. He invited us to come andwatch these lessons. Before long, wedecided to join his karate school.Described as a Kempo school, theschool was in the process of switchingover to Goju-ryu.The teacher was Harry de Spa. Mr. DeSpa began his martial arts training atthe age of sixteen, studying ShaolinKempo. In 1984, along with several

Interview withRenshi Lex Opdam

On Walking the Teacher’s Path

Lex Opdam (1967) is the branch leader of Meibukan Goju-ryu Karate-do in the Netherlands. He is the personal

representative of Master Anthony Mirakian. Based on hisown experiences, Sensei Opdam, Renshi, fifth degree blackbelt, offers his view on traditional karate practice and the

relationship between teacher and student.

students, he decided to practice theGoju-ryu karate system. His dojo, atwhich I trained at that time, wasaffiliated with the InternationalOkinawa Goju-ryu Karate-doFederation. This organization wasfounded by Master Morio Higaonna in1979. Morio Higaonna is a former pupilof Master Eiichi Miyazato and An’ichiMiyagi (not related to Goju-ryu founderChojun Miyagi). Master EiichiMiyazato was one of GrandmasterChojun Miyagi’s top students.

- by Willie van Zundert -

Goju-ryu founderChojun Miyagi

Isn’t it true thatthere are severalclaims as to who isthe successor toChojun Miyagi?G r a n d m a s t e rChojun Miyagihimself never ap-pointed a succesor.As to the hierarchy,

it is my opinion that all senior studentsof Chojun Miyagi can be considereduniversal successors provided that notonly their technical ability is present,but also the intention to pass on ChojunMiyagi’s legacy of Goju-ryu to the bestof their ability.Following the death of Chojun Miyagi,Miyagi’s widow Makato and his eldestdaughter Yasuko asked Eiichi Miyazatoto continue the training and to serve ashead of the Miyagi dojo. This transferperiod lasted until 1957, when EiichiMiyazato opened his own dojo, the



Yagi would becomethe official autho-rity on Goju-ryuand ensure thepreservation of theGoju-ryu martialart, as ChojunMiyagi would havedone, in the eyes ofhis family.

GrandmasterMeitoku Yagi

Were you aware of Meitoku Yagi’sexistence during the period that youtrained under Mr. de Spa?Until the beginning of 1993, I knewnothing about this. Correct informationon existing schools and their teachers,systems and workouts, the transmissionof knowledge from teacher to student,the philosophy, culture and art – allthese matters are of great importanceto me. They are all matters concerningserious treatment of the martial arts.However, for many people who placepower, money or other desires abovelove and compassion, the truth will besomething they fear. Many people arenegatively dependant on karate,because they see karate as an instrumentto supply themselves with money orpower, to make them feel better andstronger than others. They abuse karateinstead of helping themselves andothers to find the truth within oneself.This is one of the main reasons why Idid not know about Meitoku Yagi andhis prominent role in Okinawan karate.A piece of history and truthful accountsof karate-do were missing.

What is your opinion on the commer-cialisation of karate?What one often finds in commercialorganizations is that, as far as karate isconcerned, the quantity of techniquesdetermines the ‘quality’. Many karateschools now add the so-called‘grabbling’ or ‘Chin-na’ to their styleor make up techniques of their own.Although this can be positive andcreative, often they will – and this is

what I find to be the most importantdifference – define these ‘new’techniques as a part of their traditionalsystem/ryu. The concept of tradition isused as an outer layer for insertingthings that do not deserve the title oftradition. All too often, it happens thata system or style uses this to proclaimitself as the truest and best way, withoutacknowledging the origins or offeringthe chance to be introduced to otherways.

Could you further define quantity andquality?Many schools focus on the quantityduring the martial arts workouts, oftenat the cost of quality. Many westernschools will offer various martial artsstyles to increase their amount of‘customers’. The mental training thatshould be offered is usually consideredtoo boring. No money to be made inthat. What about schools with threehundred students? How can a teacheroffer guidance to that many students inthe art of karate-do!

When one is serious in their practice ofkarate-do, one can see for oneself wherethe intentions of karate-do, its teachersand tradition lie. It is, therefore, mostimportant that people are correctlyinformed and learn to think forthemselves. Simplicity in its purestform: with the fewest of distractions andas fundamental as possible. The heartof the matter lies in the continuousrepetition of the basics in the correctenvironment, and a body that fits theminimum requirements for stylisticpractice.

Does quantity get in the way of quality?The technical skills and the mentalgrowth used to enhance spiritualdevelopment can be applied toanything. By taking karate-do seriously,life is taken seriously and the ‘greatexploration’ will not be limited to onlythe techniques.

“The heart of the matter lies in thecontinuous repetition of the basics.Simplicity in its purest form, withthe fewest of distractions and asfundamental as possible.”

“By taking karate-do seriously, lifeis taken seriously and the ‘greatexploration’ will not be limited toonly the techniques.”

The strength of karate-do lies in the wayit is practiced. This relates directly toits spiritual power. Spiritual power isalso the strength one develops bybecoming aware of oneself. Withoutself-examination spiritual power cannever occur. I remember a wise mansaying: ‘Go to those who seek the truth,but flee from those who possess it!’ This

Jundokan. In 1963, ten years afterChojun Miyagi passed away, theMiyagi family approached MeitokuYagi to act as Chojun Miyagi’s stylesuccessor in continuing ChojunMiyagi’s Goju-ryu karate-do system.This request also implied that Meitoku

If one wants to train oneself mentally,one would do better to focus on therepetition of the basics as opposed tocontinuously learning new techniques.Spiritual development requires more.Modern day students are so focused onthe technical aspect, that theyautomatically associate self-knowledgewith this but how many techniques doesone need to require to develop oneselfspiritually?

Master Anthony Mirakian

is one of the most important messagesthat I have discovered during my life.It is in the dojo of my teacher, MasterAnthony Mirakian, that I stronglyencounter the mental aspects. Peoplewho are only physically very adept ormerely possess an enormous amount oftechnical knowledge no longer impressme. Although this may be useful, thequestion is whether it is meaningful.People who are completely absorbed intheir art impress me. They are peoplewho transcend into oneness. To methese people are universal and, there-fore, important. Karate-do is dynamic

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Yes. I remember being a brown beltunder Mr. de Spa. One night he wasunable to teach and he asked me to takeover the class for the evening. I wasmore or less thrown in at the deep end.Following that evening, I taught manymore classes until eventually I wasteaching almost half of the classes. Inretrospect, it is my opinion that in thewest one may only open a dojo whenone possesses at least a second degreeblack belt (Nidan), and then only as atransfer period under strict and directsupervision of his or her teacher [in thefollowing, the neutral ‘student’ or‘teacher’ refers to both male andfemale]. Furthermore, one should live

Lex Opdam performing Sanchin kata around 1991

organization and dojo were in thetradition of Okinawan Goju-ryu karate-do.

What criteria do you deem right forteaching karate-do?In my opinion, when it comes tooffering a small measure of assistance,all that is required is a certain insight inpeople and not the rank you hold. Whenoffering good solid assistance, oneneeds a deeper understanding of thedifferent aspects of karate-do. Thisincludes history, philosophy, psycho-logy, tradition, terminology, techniqueetc. To be a teacher and carry out yourresponsibility towards your students,your dojo and ryu – and this is what toomany people give too little thought –you must realize the scope of task youare taking upon yourself. If you do nothave the correct intention and are notup to the effort, teaching karate-do willcause great damage, not only to the artform and the tradition, but also topeople. This realization should beforemost, even before the technicalaspect of karate-do, for those who wishto act as teacher and guide.On Okinawa the minimum requirementfor opening a dojo, is to have at least athird degree black belt and be at least25 years of age. The reason for this,aside from the technical and physicalaspects, has everything to do with themental and spiritual aspects of karate-do.

What is your opinion of the existingtraining programmes for karateteachers?In the west, there are associations thatprovide state approved training programand qualify people to be state approvedkarate instructors. However, the trainingfor a teacher of an art form is notsomething acquired by a course for atechnical instructor. Although such awestern, technical training program issuitable for sport karate, it is not enoughto possess only didactical skills comple-mented with basic physiological andpsychological knowledge. The under-standing of karate-do as an art, theability to impart this knowledge onothers, combined with insight in humanlife is also essential. It is when theseconcepts lack in quality that karate-do,

and alive, and it goes hand in hand withliving people.

Could you tell us how and when youjoined the Meibukan School?At the time (1992-1993), I feltcompelled to disassociate myself fromMr. De Spa, and from his workingmethods inside and outside hisorganization. This, combined with myown personal development, made medecide to take another path.On leaving the I.O.G.K.F, I stoppedpracticing karate for four to five months.After this period of reflection, I startedto practice again by myself and withsome fellow practitioners.In the summer of 1993 I went to Israel,and during the training seminar givenby Master Meitatsu Yagi, I wasintroduced to this teacher and theMeibukan School.Before leaving for Israel, I tried to figureout who Meitatsu Yagi was and whetherhe and the Meibukan School belong toan authentic and traditional Goju-ryulineage. This turned out to be the case,which in turn was my foremost reasonfor partaking in this training seminar.If I was once again to join an orga-nization, it was not going to be anoption, but an imperative condition thatI be guided and given instruction bypeople who came closest to ChojunMiyagi’s teachings. From the few Goju-ryu books I had in my possession, Icould trace Meitoku Yagi to be a studentof Chojun Miyagi. His sons Meitatsuand Meitetsu Yagi were also named.During Meitatsu Yagi’s trainingseminar, I had lengthy conversationswith him about the Meibukan, theJundokan, the I.O.G.K.F. and otherorganizations and schools. When askedwhether I would be welcome to join theMeibukan School, Meitatsu Yagianswered positively.In September of 1993 after somedeliberation, I opened my Goju-ryukarate-do dojo in the Netherlands withthe intention of following andinstructing the Meibukan teachings. Iopened the dojo to all who wish topractice karate-do with an open mindand a good heart.

Did you have any previous experiencein teaching martial arts?

up to certain standards, other than justthe technical ones. When one possessesa third degree black belt, it is possibleto open a dojo on one’s own initiative,with approval of their Sensei and takingfull responsibility in doing so.I think that at the time, I was too youngto carry out the responsibility of akarate-do teacher; I was too young inmy karate and too young in mydevelopment as a person. As aninstructor in technical fragmentedfighting techniques and a qualifiedsports instructor, I complied with thewestern image of teacher/instructor.However, realizing what I now know,I can honestly say that at that time Iwas not a fully-fledged teacher ofkarate-do, even though my style,

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“The difference between karateand karate-do is as the differencebetween day and night.”

as my teacher, Master AnthonyMirakian, often says, becomes brutaland dangerous. When mastering onlythe technical aspects and possessingonly factual knowledge, insufficientresponsibility will be taken towardssociety. Moral thoughts and having atleast followed a spiritual path withsufficient self-knowledge, serve asconditions to function as a teacher of amartial art. The difference betweenkarate and karate-do is as the differencebetween day and night.

You mentioned earlier how you gainedinformation during training seminars.How did this occur with the Meibukan?After returning from Israel, I decidedto travel to Okinawa for furtherinstruction. Late 1993, I trained onOkinawa at the Meibukan Honbu Dojounder Master Meitatsu Yagi and DaiSensei Meitoku Yagi. I also trained atthe dojo of Master Meitetsu Yagi andone of his senior students, SenseiShintetsu Kuniyoshi. It was a veryactive visit. In addition to the training Ireceived, I spent on average 5 hours aday writing down all that I had observedand the instructions given to me. Nomean feat, considering kote kitai(conditioning of the limbs) waspracticed with regularity and intensity.There were days when I could hardlyhold my pen, let alone write. During thisvisit, my dojo in Nijmegen wasofficially appointed as headquarters ofthe International Meibukan Goju-ryuKarate-do Association Netherlands. Inthe following years, I visited WatertownMassachusetts to train under my mainteacher in Meibukan Goju-ryu karate-do, Master Anthony Mirakian. AnthonyMirakian (Hanshi, ninth degree blackbelt) is the Overseas General Managerof Meibukan, officially appointed in1972 by Dai Sensei Meitoku Yagi.

Why did you go to Hanshi AnthonyMirakian?Since Master Anthony Mirakian is theOverseas General Manager of theMeibukan, I as the Dutch representativeof the International Meibukan School,

Lex Opdam next to Master Meitatsu Yagi at theMeibukan Honbu dojo, Naha, Okinawa. 1993

Overseas General Manager of the Meibukan master Anthony Mirakian (front row, left) next to Dai SenseiMeitoku Yagi. Picture taken in the 1950’s.

Could you tell something abouthierarchy and authority in your relationto students and in karate in general?The position I have gained has beengranted in good faith. Its purpose is topass on karate-do in the correct manner

“The effort and inquisitiveness ofthe students in part determines themanner in which the teacher willapproach them.”

to the world and specifically theNetherlands. As Shibu-cho, branchrepresentative, I am the obvious personto take care of the activities of theMeibukan in the Netherlands. In myown view and adjusted to Dutch culturewhere necessary, but within theguidelines of the organization and in ourcase the Meibukan School, I am the onewho must take care of the Meibukaneducation in the Netherlands. Decisionsand responsibilities belong to me. Mysupervisor and direct teacher, MasterAnthony Mirakian, is the one I amdirectly accountable to. Concerning therelation between teacher and student:the effort and inquisitiveness of thestudents in part determines the mannerin which the teacher will approachthem. The teacher is not there toentertain you. This thought is worthyof further study.

What is the true meaning of ‘Sensei’?A direct translation of Sensei is ‘the one

came under his direction. It is notwithout reason that Master AnthonyMirakian received such a title. As oneof the most senior students of Dai SenseiMeitoku Yagi, and as a westerner livingin the United States, actively teachingMeibukan, it speaks for itself thatMaster Anthony Mirakian acts assupervisor for the Meibukan in the west.He is familiar with the westerntraditions, culture, and way of thinking.This is the main reason why I askedMaster Anthony Mirakian to accept meas his student.

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Master Anthony Mirakian presents the document toLex Opdam in being his official Personal Represen-

tative for the Meibukan in the Netherlands.Watertown, MA, USA 1996.

who has gone before’. Meaning that theSensei has already walked the path thatthe student is following, and therefore,his knowledge and experience is firsthand, natural, true and direct.

The Sensei is the link between thetradition, the techniques, the rituals andthe student. In modern westerncivilisation, the teacher is oftenconsidered as a person who teaches youthings. Usually, we see such a personas someone who imparts knowledge,knowledge that often consists of facts.However ‘Sensei’ does not merelymean teacher as such. It meanshonourable teacher. A teacher of an art,such as a martial art, may be calledhonourable because he not only impartsfactual knowledge but also acts as aguide, intent on letting you growspiritually. He places his teachings inthe service of something higher. At alltimes, he – in the relationship betweenteacher and student, and if done withthe correct intention, as between twopeople – is engaged in the spiritualgrowth of others.This intention may be called honourableif it stems from love and compassion.This is the deeper meaning of ‘Sensei’.

However, not everyone joins a karate-do school for their spiritual growth…There are many reasons why peopletake up karate. It is funny and also very

“A teacher of an art, such as amartial art, may be calledhonourable because he not onlyimparts factual knowledge but alsoacts as a guide, intent on letting yougrow spiritually.”

natural to observe those who have notbefore come into contact with a martialart. In the beginning, they watch thetechniques in bewilderment and arefilled with awe. They quickly want tomaster these tricks because they areunder the illusion that this is the answerin the case they ever get involved in anexternal struggle. Having mastered thetechnique reasonably a few years later,they want to move on to something new.It is precisely at that moment that actualkarate-do begins. At that time, acondition is created to continue thejourney they have started on a mentallevel. However, often the student willwant to engage on another pleasure trip.When this desire is not fulfilled, this isthe moment when most people quit.They no longer see any point incontinuing. The individuals who docontinue seriously – and they are butfew – have discovered something insidethemselves, which turns out to be ofgreat value to them. Something that onewill be able to describe, whereasanother will not. The realisation of thisvalue, the feeling that many cannot (yet)describe, now becomes their reason forcontinuing to follow karate-do.

Could you tell something about the wayyou promote students?A black belt or other grade is a recog-nition of the way you practice karate-do. It is a ritual of recognition from theSensei to the student. Although there areseveral guidelines, the recognition isdirectly and personally bound to theSensei who shows this recognition. Itis his recognition. This recognition is

Canadian and Dutch students together training at the Okinawa Karate-do Academy Meibukan Goju-ryu inWatertown, MA, U.S.A.. Picture taken in 1999.

not only technical, but means a lot more.Personally, by granting the firstpromotion in a Kyu-grade, I accept thestudent as an exploratory student. Onobtaining the Shodan, first Dan-grade,I accept the student fully. Theexploratory student has a period inwhich he moves through differentstages. During this period, he developsa clearer picture of karate-do. Onawarding the first Dan-grade, I acceptthe student as a student who can makea conscious decision in choosing theWay of the Empty Hand. A second Dan-grade is an acknowledgement of thestudent’s conscious and serious choiceto set out on the journey of karate-do.After obtaining the second grade, astrong basis (technically and physically)has been founded and the emphasismoves to very strong spiritual values,even though these were alreadyeffective at the very beginning of thetraining.

In your opinion, what is the mostimportant issue in karate-do training?The mental issue is essential. Techniqueand physical ability are conditions totrain mentally in karate-do. In art,martial or otherwise, thousands oftechniques become useless in theabsence of spirit.All kata of karate begin with defence,and this fact has more meaning thanmost people do realize. The ‘empty’ inthe ideograph karate (meaning ‘emptyhand’), means more than literally anempty hand. It is up to the karate-dopractitioner to investigate during thegreat search on which both body and

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Bubishi byPatrick McCarthy

152x227 mm, 248 pp,250 ill.

available atwww.mikado.nlwww.amazon.com

THE BUBISHI - The Bible of Karate

Budo Secrets byJohn Stevens

152x227 mm, 115 pp,24 ill.

available atwww.mikado.nlwww.amazon.com

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The Bubishi is treasered for centuries bykarate’s top masters. It is a classic Chinesework on philosophy, strategy, medicine,and technique as they relate to the martialarts. Referred to as “the Bible of Karate”by the famous Master Miyagi Chojun, forhundreds of years, the Bubishi was a se-cret text passed from master to student inChina and later in Okinawa. All of karate’slegendary masters have studied it, appliedits teachings, or plagiarized from it. Noother classic work has had as dramatic animpact on the shaping and development ofkarate as the Bubishi. McCarthy has spentover ten years researching and studying theBubishi and the arts associated with it andhas included numerous explanations andnotes to ease comprehension. It also in-cludes ground-breaking research onOkinawan and Chinese history as well asthe fighting and healing traditions that de-veloped in those countries, making it a vir-tual gold mine of data for researchers andpractitioners alike.

Patrick McCarthy is recognized worldwideas one of the foremost authorities on thecivil fighting traditions of Okinawa. He isalso the first Caucasian to ever be awardedthe coveted Kyoshi 7th Dan Teacher’s Li-cense from Kyoto’s prestigious Dai NipponButokukai. He has been practicing karate-do for over thirty years, and has also stud-ied Tai Chi Chuan, White Crane, Hung Gar,Monk Fist, and Five Ancestors Fist kungfu. During the mid-seventies, while pursu-ing a successful competitive career, hestarted his research on the arts. This hasbrought him not only to Japan, but alsoTaiwan, Hong Kong, and the People’s Re-public of China. With an extensive back-ground in both Okinawan and Chinesefighting arts, McCarthy was in a uniqueposition to research the most profound andinfluential document in the history of ka-rate-do, the Bubishi. Since that time, he hasinterviewed and trained with the world’stop masters of kung fu and karate-do whileunraveling the history of this document andthe fighting systems associated with it. In1987 McCarthy established the Interna-tional Ryukyu Karate Research Society(IRKRS) as an outgrowth of his research.

By Marc van Dam

As Julee Moroz states in this issue ofMeibukan Magazine, mythology is anintegral part of martial arts tradition andphilosophy. This means that even todaywe can learn from the stories about themasters of the martial arts. We can learnfrom their thoughts and behaviour, nomatter how ancient their teaching tales.Budo Secrets is a compilation of theessential training secrets of such mastersas the legendary swordsman MiyamotoMusashi, karate’s Kanryo Higaonna andGichin Funakoshi, aikido’s MoriheiUeshiba, judo’s Kyuzo Mifune, and manymore. Author John Stevens is professorof Buddhist Studies and Aikido instructorat Tohoku Fukushi University in Sendai,Japan. He has gathered and translated ahistorically rich collection of teachings,including principles and practiceguidelines from training manuals, excerptsof texts on budo philosophy, andinstructional tales.Some of those teachings are very practical,like Tempu Nakamura’s advice on how toface a stressful situation: ‘Tighten youranus, center yourself in your lowerabdomen, and relax your shoulders.’ Otherteachings are more esoteric, like the NekoNo Myojutsu (The Marvelous Techniquesof the Old Cat), in which a nonchalant butenlightened old cat teaches a swordsmanon the way of harmonizing power and thetechnique of no-mind.The wonder of many of the tales in thisbook – regardless whether or not all ofthem really happened – is their power toencourage and inspire both inside andoutside the dojo. A fine and recognizableexample is the 18th century anecdote ofSorimachi Mukaku. This swordsmantraveled around the country on a budoquest when he came to a slippery, single-log bridge spanning a deep gorge. Mukakuhesitated and was afraid to attempt thecrossing. Suddenly, a blind travelerappeared and sauntered across the bridgewithout the slightest concern. At thatinstant, Mukaku realized that if one seeswith the eyes of the heart rather than theeyes of the head, there is nothing to fear.Timely and instructive, these writings arenot just for martial artists – they are foranyone who wants to live life morecourageously, with a greater sense ofpersonal confidence and self-control, andwith a deeper understanding of others.

By Mark Hemels

BUDO SECRETS – Teachings of theMartial Arts Masters

spirit commence. Accompanying thissearch are many riddles that must besolved and secrets that will remainsecret. In 1934 in a written explanationon karate, Grandmaster Chojun Miyagi,the founder of Goju-ryu karate-do, triedto explain the misinterpretation ofkarate due to the exhibition oftameshiwara, the breaking of wood andstones etc. By this, he states that it isnot the exterior phenomenon for whichkarate-do is practiced. He also statesthat in times of peace, karate should bepracticed as a spiritual exercise and notfor self-defence, although it can be usedwhen life is in danger.Art in particular, just like religion,attempts to heal the torn man. The artof war, like martial art, should have auniversal character. Art has many formsand faces. Art does not proclaim thetruth; it searches for it. The value of thisis of enormous importance, but onlybecomes relevant and meaningful whenman commences his voyage inwards.

Canadian and Dutch representatives of MasterAnthony Mirakian. Renshi Hing-Poon Chan (left)

and Renshi Lex Opdam (right)

This interview is theshortened version of aninterview between LexOpdam and Willie van

Zundert in January 2000.On the occasion of the

tenth year anniversary ofMeibukan Goju-ryu

Karate-do Nederland, itwas revised in Decemberof 2003 by Mark Hemels

and translated byMatthew Jones.

“In art, martial or otherwise,thousands of techniques becomeuseless in the absence of spirit.”


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A typical Goju-ryu exercise

Semete: Heiko Dachi No KamaeUkete: Heiko Dachi No Kamae

Semete: Step forward in Migi Heiko Dachiwith a Jodan Tsuki

Ukete: Step back in Hidari Heiko Dachiwith a Jodan Age Uke

Semete: Step forward in Hidari Heiko Dachiwith a Chudan Tsuki

Ukete: Step back in Migi Heiko Dachiwith a Chudan Barai Uke

Semete: Step forward in Migi Shiko Dachiwith a Gedan Tsuki

Ukete: Step back in Hidari Shiko Dachiwith a Gedan Barai Uke

Semete: Keep the right foot in front but shiftin with the left in Migi Heiko Dachiwith a Jodan Tsuki

Ukete: Keep the left foot in front but shift inwith the right with a Jodan Age Uke

Semete: Keep the feet steady delivering aChudan Tsuki

Ukete: Keep the feet steady delivering aChudan Barai Uke

Semete: Step forward in Hidari Shiko Dachiwith a Gedan Tsuki

Ukete: Shift back with the right foot inHidari Shiko Dachi with aGedan BaraiUke

Semete becomes UketeUkete becomes Semete

Semete: Step forward in Migi Heiko Dachiwith a Jodan Tsuki

Ukete: Step back in Migi Heiko Dachiwith a Jodan Age Uke

Semete: Step forward in Hidari Heiko Dachiwith a Chudan Tsuki

Ukete: Step back in Hidari Heiko Dachiwith a Chudan Barai Uke

Semete: Step forward in Migi Shiko Dachiwith a Gedan Tsuki

Ukete: Step back in Migi Shiko Dachiwith a Gedan Barai Uke

Semete: Heiko Dachi No KamaeUkete: Heiko Dachi No Kamae

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8 9 10 11This exercise is an example of Goju-ryu’s basicpunching and blocking while moving forwards andbackwards.The drill sequence, as shown in the photo series, isone of many trained in the Dutch Meibukan Goju-ryu Karate-do Headquarters.

ThrThrThree level straight punchesee level straight punchesee level straight punches

Okinawan karate styles like Shorin-ryu, Uechi-ryu and Goju-ryu don’t relay on prettymovements or unrealistic acrobatical distractions. The techniques are simple yet hard tomaster. Within these traditional systems one finds a core of basic similarities.In street situations one can best choose those techniques that one knows and masters,techniques that are close to one’s natural reaction and flexible to apply. This concept isalso applicable for women. For the average woman a man is often stronger and bigger.Instead of wrestling, pushing or punching on the chest, it would be more wise to go tothe vulnerable area’s of the man to overcome the physical inequality. Especially when aman is not yet using his full physical potential in initial assault, he can easily be stopped.Some examples of possible assault from a man towards a woman and some direct prac-tical reactions are shown in the next photo series.

Self-defence: Keep itsimple!

Courtesy of Lex Opdam. Photo’s taken by Teun Meeuwesse. Performers Pascal de Haan and René van de Deijl.

Women, stay away from wrestling a stronger man

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Courtesy of Lex Opdam. Photo’s taken by Teun Meeuwesse. Performers Léontine Veenhuis and Lex Opdam.

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Since ancient times martial art teachings have been handed down in the form of myth.Tales abound in which exemplary masters fearlessly face death and show us the art of life.

In a guiding role, mythology continues to be an integral component of martial artstradition and philosophy today.

The existence of martial arts owes muchof its legacy to the reality of war in thehistory of humanity. Methods weredeveloped to enhance combat skills andwere eventually diversified to createvarious methods of fighting. Socialstratification designating classes ofwarriors contributed to the encultura-tion of martial arts throughout culturessuch as those of India, China, Japan,Thailand, Korea, medieval Europe andmany others. Where martial tradition ofa culture may have survived invasion,occupation and oppression, we seeevidence of a continuing tradition that,in many cases, suggests a system notmerely of combat, but a veritablephilosophy seeking to actualize the totalpotential of individuals.These traditions persist today, andcontinue to be propagated with theassistance of symbolic mediation.Mythology is one of the forms ofsymbolism used. The purpose of thisessay is to show that traditionalteachings passed on in the martial arts,in the form of myth, are conducive totransmitting a particular philosophy andworld view to the students who willcontinue to perpetuate the art.

Functional mythologyTo classify tales of martial heroism asmyth may seem to stretch the folktaleinto something much more culturallysignificant. Indeed, many tales ofmartial arts masters have the flavour oflegend and nothing more. However, toleave it simply at that is to ignore thatthese stories embody the very values ofa culture; they present the popular worldview, set into a mystical era rich incultural symbols. They deal with thenotions of nature, death and evil, and

they definitely keep alive culturalheroes.Martial arts myths for the most part donot describe cosmogonies, but they dodescribe the birth of the art form. Onthe subject of differentiating myth fromfolklore, professor of religion WilliamPaden writes:‘Myth is essentially different fromfolktales that tell of a make-believerealm set in a nonexistent time and placewith deliberately fictive characters.Rather, myth posits ostensibly realtimes and places, real heroes andancestors, real genealogies and events...intended by the believers to representan actual account of the world’ (Paden,72).Cross-culturally these myths includehistorical characters in historical times,and include as historically correctgenealogical data and events as canoften be found. Anthropologist Lévi-Strauss once commented that theproblem lay in knowing where the mythended and where history began (Lévi-Strauss, 38), however myths such asthose used in martial arts are often ‘forspiritual instruction’ (Campbell, 71) andthus lay beyond the realm of merehistorical connotations. Hence we haveour functionalist view. For we know thatit is not likely that Bodhidharma (thefounder of Zen Buddhism) actuallysailed across the Blue River on a reed,but we can appreciate that his exem-plary degree of spiritual enlightenmentmay have been likened to his walkingon water, leaving a path in his wake thatwas inspirational to his students.

Bodhidharma’s exampleMany martial arts myths includereference to the legendary Bodhidharma

(‘Damo’ in Chinese). Bodhidharma wasa Buddhist monk said to have left hisKashtriya (Warrior) caste in India tocross the Himalayas into China around500 C.E.

Drawing of Bodhidharma

“Bodhidharma implementedrigorous martial training regimesto harmonize the monk’s spiritualdevelopment with the physical.”

After frustrating Emperor Wu, anenthusiastic Buddhist, with thecomplexity of his doctrines,Bodhidharma settled in the Shaolin

- By Julee Moroz -

Handing Down the Master’s ArtMythology in the Martial Arts

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Temple to continue teaching his formof Ch’an, or Zen, Buddhism. Seeing thatthe monks were too physically unfit towithstand the demanding meditationpractices, Bodhidharma implementedrigorous martial training regimes toharmonize their spiritual developmentwith the physical (Soo, 14). Time-honoured Chinese martial arts exercisessuch as the Yin Jin Jing (Muscle ChangeClassic), Hsi Sui Jing (Marrow WashingClassic), and the Eighteen Lohan Handsare attributed to Bodhidharma (Cook,28). ‘An interesting story, but unfor-tunately not one word of it is true,although it is repeated time after timeby most followers of the martial arts’(Ibid.).Spiritual enlightenment, exemplified byBodhidharma, comprises many martialarts myths which are used to emphasizethe unity of the mind, body and spiritas a goal. This practice is in existenceeven today as many schools continueto use meditation as part of theirtraining. This brings us to thephilosophy inherent in the martial arts,which can be directly linked to thewarrior’s proximity to death. In thePhaedo, Plato explores Socrates’ calmacceptance of his impending execution,declaring that philosophy is adetachment from life, and a preparationfor death.

from fear and battle and towardspirituality (Nagaboshi, 198). Whetherin India, China, or Japan, ‘thoseengaged in battle...often experience aheightened awareness of life and death,[which] prompted teachers ofBuddhism to include conflict as one ofthe potential areas for spiritualdevelopment...’ (Ibid, 199). The fear ofdeath reveals the ego, posing one of thegreatest obstacles for any warrior. Theshedding of the ego and the preparationfor death develops into a philosophicalworld view that gives the martial art itsart. Richard Kim, a world recognizedkarate master, wrote in his book onOkinawan martial arts myths thatthrough the martial arts man can‘rediscover his body as a tool ofexpression’ (Kim, 58). The confron-tation with death and the self isundoubtedly part of the teachings oftraditional martial arts masters.

“Both aspects of the mythic pathare revealed in the martial arts: thefearless facing of the monster, andthe willingness to die before death,in order to gain a fuller life.”

Designated heroesSome myths refer to the true task as oneof aiming one’s arrow at one’s ownheart, echoing the Mundaka Upanishad(section 2.2.1). A maxim of kyudo (theart of archery) is based on this principle.One myth, (Fauliot, 103), refers to themaster as a mountain guide to point outthe path of the stages through which one

Matsumura found himself paralyzedhelplessly under the gaze of the master.‘Don’t try to console me,’ he says, ‘Ihave lost all my strength only to feelyour gaze transfix me.’ Replies the greatMatsumura: ‘That’s possible, but Ibelieve the reason is the following. Youwere determined to win. I was quitedetermined to die if I lost’ (Fauliot, 111).To be determined to win is the drive ofthe ego, and all the attachments thataccompany it. The master, in acceptingdeath, was no longer subject to the egoand so was not hindered by attachment.Even Shakyamuni Buddha in India usedmyths describing the ‘four elementaltemperaments’ to direct warriors away

Death and the egoA cultural philosophy or world viewaffects its institutions. Bushido: TheSoul of Japan by Inazo Nitobe is an‘exposition of Japanese thought’ whichincludes the code of the samurai.‘Bushido’ translates as bu (military), shi(man or knight), do (way) and providesa sample of encultured ethics (Nitobe,4). In this ethnographic example, theposition is that war is the ‘foundationof all the high virtues and faculties ofmen’ (Nitobe, 9). The tenderness of awarrior is what is considered noble, andmercy most brave (Ibid., 41). For thesamurai of feudal Japan, successfultraining meant acceptance of theinevitability of death, and thewillingness to meet it honourably(Nitobe, 72-81). Moreover, it is thisresolve that produces the best warriors.In one Okinawan myth, an artisan whofoolishly challenged the great Bushi

must pass in order to aim at one’s ownheart.These masters have in turn beendesignated heroes and mythologized topass on their teachings (see RichardKim’s The Weaponless Warriors). Oneof these myths tells of Itosu Yasutsune,a 24-year-old martial artist who hadbeen taught by Matsumura. When abull, mad and loose in Naha city,charged Itosu, he merely sidesteppedthe bull while grabbing it by the horns.Itosu ran alongside the bull, pulling itshead back until it lost its balance. Thebull then fell exhausted. The tyingtogether of martial arts myth andesoteric philosophy is described byPeter Payne: ‘Both aspects of the mythicpath, the hero’s journey, are revealed inthe martial arts: the fearless facing andovercoming of the monster, and thewillingness to be undone, dismembered,to die before death, in order to gain afuller life’ (Payne, 33). Payne’sdescription details an unquestionabledescription of the symbolism of theinitiation ritual.There is a disparity in the role of themartial arts between the initiated andthe uninitiated, similar to the idea of themanifest function and the latentfunction respectively. For beginners,martial arts can be seen as a means towinning fights and gaining strength; forthe initiated, that is to say those whomthe esoteric philosophies have affected,martial arts presents a means ofharmonizing the body, mind and spirit,of ‘power in repose’ (Niobe, 55). Todaythese two functions can be interpretedas representing the martial sportsschools training for competition andtournaments, and the traditional martialarts school, seeking to perpetuate aparticular philosophy and way of life.

Spiritual teachingQualified teachers are highly valued intransmitting the esoteric teachings, justas they are in the Upanishads; ‘For thesake of this knowledge let him go, fuelin hand, to a spiritual teacher who islearned in the scriptures and establishedon Brahma’ (Mundaka Upanishad,1.2.13). Traditionally, young studentswere sent to live with and serve theirgurus. The teachers were not paid fortheir teachings because that would

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presume a measurable value on whatthey gave, which was deemed im-measurable. ‘When character, and notintelligence, when the soul and not thehead, is chosen by a teacher for thematerial to work upon and to develop,his vocation partakes of a sacredcharacter’ (Nitobe, 100). The teacher’sworth is often measured by his students,and so the master guards his secretsclosely to make sure only the mostdeserving of students may learn them.This theme is also taken up in manyJapanese, Okinawan and Chinesemyths, in which tales of servants ormonks spying on the master’s trainingresults in the spy becoming a student.Some stories present this in part asshowing the great degree of motivationof the student, and some masterswanting to control in what ways theirarts are spread after them.This is one of the reasons that written,technical information is lacking in thetraditional martial art forms, perhapscontributing to the teaching myths.‘This was due, no doubt, to the fact thatthis information was not intended forthe general public, but only for thosepupils who had proved themselvesworthy of the techniques, skills, andtradition of that particular school or

Okinawan Master Choki Motobu (1871-1944) who,at first, started his martial arts by peeking through afence while a teacher secretly instructed his personalstudents in the art. Later on Choki Motobu receivedformal instruction from several Okinawan masters.

style’ (Soo, 13). A master’s art wasclosely guarded and handed down oftenonly within a family, from generationto generation, as more of an oral andritual tradition. Myth would have beenpart of that tradition, as illustrated withthe Taoist art of Feng Shou, or ’Handof the Wind’ kung fu, which traces itsgenealogy through the school’suniform, to Chinese mythologythousands of years old (Soo, 25-26). Anold man with a flowing white beard,dressed in a yellow cloak and a red andblue hat, stands on the pinnacle of theheavens, holding open a cotton sackwith which he directs the wind. Whenhe moves slowly, so does the wind, butif he is angered or startled, then he turnsvery vast and thus unleashes thedevastation of a tornado on theuniverse. The myth ends ‘So don’t upsethim by becoming aggressive for the onething he really hates is violence’ (Ibid).This is one of the most common themesin the martial arts.Perhaps one of the most simple andeffective myths describes the develop-ment of Chinese Tai chi ch’uan. ATaoist immortal named Chang Sanfengwas a recluse in the Wu-tang mountainsof the Hupeh Province in the twelfthcentury. It is said that he witnessed afight between a snake and a crane,wherein the snake evaded the crane byvirtue of its twisting movements inavoiding the crane’s sharp stabbingmotions with its beak. Lao-tzu’steaching came to mind, which said thatthe most yielding of things in theuniverse overcome the most hard (TaoTe Ching, verse 43). This inspirationwas the basis for the inception of Taichi ch’uan (Cook, 29). The style waspassed down for generations within thefamily, as likely was the myth, claimedto have captured the essence of the art.

can be intimated, presenting the possibi-lity of the inner changes which mustprecede any radical world change(Payne, 32). The symbols used areinstrumental in unlocking a philosophyby those continuing the tradition.Acknowledging that there is a presenceof the mythic symbol and an esotericphilosophy, teaching is the means formediating this access. The symbolprovides an objective and advancedview of the structure of the training,which can support the sometimesintricate patterns of consciousnessinvolved, aiding the actualization of theindividual. The teacher is central to theguiding and development of the martialarts student’s full potential. In a guidingrole, myth continues to be an integralcomponent of the perpetuation ofmartial arts tradition and philosophytoday.

BibliographyCampbell, Joseph. The Power of Myth, withBill Moyers. Betty Sue Flowers, ed. NewYork: Anchor Books, 1988.Fauliot, Pascal. Martial Arts TeachingTales: Of Power and Paradox. Jon Graham,trans. Vermont: Inner Traditions, 2000.Kim, Richard. The Weaponless Warriors.Santa Clarita: Ohara Publications Inc.,1974.Lévi-Strauss, Claude. Myth and Meaning.New York: Schocken Books, 1979.Nagaboshi, Tomio. The BodhisattvaWarriors. Maine: Samuel Weiser Inc.,1994.Nitobe, Inazo. Bushido: The Soul of Japan.Rutland: Charles E. Tuttle Co., 1969.Paden, William. “Myth,” in ReligiousWorlds: The Comparative Study ofReligion, Boston: Beacon Press, 1994.Payne, Peter. Martial Arts: The SpiritualDimension. New York: The CrossroadPublishing Co.,1981.Soo, Chee. The Taoist Art of Feng Shou.Wellingborough: The Aquarian Press,1983.

ConclusionThere are multiple martial arts whichhave not been touched on in thisexamination, just as there are manymore myths. The aim here has been todemonstrate functionally that themartial arts is a traditional form ofenculturation possessing symbolic toolssuch as myth. Indeed, myth is one ofthe ways in which transformation ofone’s self and one’s worldly boundaries

Julee Moroz is at thecompletion of an honoursdegree in the Humanitiesand Philosophy. She plansto start her masters degree

in Philosophy in 2004.

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