The Essence of Goju Ryu - Vol 1

I purchased my copy of _The Essence of Goju Ryu - Vol 1_ about a year ago and the book is already tattered. This is not because the book was poorly constructed (it is well constructed for a paperback and uses quality paper). The reason it is in tatters is that it has received more use than many of my books receive in a decade. This post is an attempt at explaining this frequent use. The description on the back of the book can give you a sense of the authors' ambitious goals:
    

“This book represents many years of combined research into the fascinating art of Goju Ryu Karate-Do, and is a joint work by Richard Barrett and Garry Lever concerning the relationship between Junbi Undo, Hojo Undo and Sanchin."

The authors' approach to these topics could be described as a prolonged rumination on the role of Go and Ju in martial training. In fact, the title could have easily been _The Essence is Go and Ju_. For readers who don’t know, Go literally means “hard” and Ju means “soft”. The authors Richard Barrett and Garry Lever have obviously spent many years (decades?) pondering the role and interplay of these two aspects within Goju ryu karate. For the authors (and myself as well) the terms Go and Ju are functionally equivalent to Yang (Yo) and Yin (In).  The authors examine various Junbi Undo and Hojo Undo exercises through this Go/Ju lens and then discuss how these principles and exercises relate to Sanchin performance (and occasionally other martial practices). It didn’t take me long to figure out that this was a very deep book written by authors who have a profound understanding of Okinawan martial arts (including some of the most obscure areas).

Let me give you just a single example. Early on they discuss the Junbi Undo exercise in which you “rock” (for lack of a better word) back and forth from the ball of the foot to your heels. In relation to this they then examine how, during the inhalation/pulling phase of Sanchin, the focus should be on the ball of the foot and the musculature of the inside/front (ie shin side) of the lower leg. During the exhalation/pushing phase of Sanchin focus shifts to the heel and outside/back of the lower leg.

I spent the next hour going back and forth between a machiwara and a set of mounted bungee cords. The machiwara acts a kinesthetic feedback device for pushing/punching/extending motions. The key element here is that when you push against a machiwara the machiwara pushes back (which is quite unlike most punching-posts/punching-bags). Likewise when you pull on the bungee cords (rubber tubing works well too) the bungee cords pull back. This provides the same type of feedback as those rooting exercises in which a partner pushes and pulls on your arm. I was delighted to find that the shift in focus recommended in the book occurs naturally to some extent but deliberate focus substantially enhanced my “root” during pushing and pulling. I also discovered that this type of focus during the “rocking” Junbi Undo exercise could indeed further enhance my proprioceptive awareness of the role of the ankle during the shift of weight (and tanden/center of gravity) that occurs in pushing and pulling.

I was struck by how they linked the Go/yang and Ju/yin aspects of the body  (outside/back & inside/front) with the Go/yang and Ju/yin aspects of breath (exhalation & inhalation), and Go/yang and Ju/yin motions in Sanchin (expanding/pushing & contracting/pulling) and how this all tied in quite nicely with the actual application of mechanical force from a rooted stance.

I was also struck by how the proprioceptive awareness needed for this application of force could be enhanced by mindfully practicing that simple ankle exercise. 

I could already see that this information had a direct one-to-one correspondence to the visualizations utilized in Okinawan kiko as well… but I’m getting ahead of myself...

Anyway, at that point I was hooked. It was obvious that the book would enhance my understanding of the proper role of those exercises and would deepen my practice of karate in general.

The authors provide a similar analysis for many Junbi Undo and Hojo Undo exercises and they also occasionally discussed how they relate to other areas of martial study such as kakie or developing "short power" with the aid of a machiwara.

     

The authors then discuss the Go and Ju aspects of the study of Sanchin. First they address the practice of Shime. This is a practice which allows both student and teacher to become aware of any structural weakness and also sharpens the attention in various ways.  The machiwara/bungee cord feedback training I mentioned earlier can provide some of the same feedback as Shime when practicing alone. However, I don’t think anyone would argue that it would form an adequate substitute for Shime. Their presentation of this subject is reasonably thorough and they discuss Shime from the perspective of both teacher and student (or tester and testee). It is worth mentioning that there is a great deal of tie-in between Shime and the earlier material. The authors also present some novel ideas on Shime and its potential effects on the CNS.

Next, the authors discuss the practice of Sanchin Qigong/Kiko. They begin with a discussion of the Go/yang and Ju/yin areas of the body. After which they discuss the “Sanchin kata chikara michi” (strength paths of Sanchin kata). The first of these is the “Kokyu no michi” (breath path). This is the “small circulation” (shoshyuten) exercise that will be familiar to some readers.(1) Then they explain the "Ashi no chikara michi" (strength path of the legs) and "Ude no chikara michi" (strength path of the arms) and offer insights on how several Junbi Undo and Hojo Undo exercises could deepen one's understanding of these paths.

Included in their presentation of these "strength paths" is a discussion of how to use a machiwara and bicycle inner-tube as structural feedback devices. I was surprised and delighted to see this information as it is not well known even in Okinawan styles. I first learned how to use a machiwara in this way from a gifted Matsumura Kenpo instructor. I originally learned of the use of bungee cords (which are functionally identical to the bicycle inner-tube discussed in this book) as a feedback device from a well known master of a Chinese style. He actually made me promise to never reveal that this was his "secret" for developing the "rooting" and "power generation" abilities he was famous for (which is why I have not used his name).  The reason I mention this is that I had been training for more than a dozen years before I first learned these methods and I have encountered them very few times in the intervening years. Yet here they are presented with no fan fair or oaths of secrecy. I suspect very few of their readers will realize how rare this sort of high quality information really is.

After this, the authors reveal how to connect these three “strength paths” and that this combined practice is in fact the “large circulation” (daishyuten) practice of qigong/kiko. This is by far the simplest, most rational, and systematic method of teaching the “large circulation” practice I have ever seen. I am not at all ashamed to admit that I have been practicing and exploring their approach for the last year and am convinced it is the best approach I’ve come across. 

I should quickly add that this material is presented in a way that makes it quite clear that these methods are tightly intertwine with the methods and information presented earlier in the book.

I have understood that Junbi Undo and Hojo Undo place great emphasis on proper kokyu-ho (breathing methods) and could be used as a form of qigong/kiko practice. I also understood that it was a traditional teaching that Hojo Undo and Junbi Undo were deliberately designed to enhance both one’s understanding and performance of kata especially kihon-gata (Sanchin in the case of Goju-ryu). 

I had a vague idea of what this meant. 

After studying this book I can see in very clear and specific ways how this is accomplished. I can also see how these various topics are all very tightly intermingled and actually inform each other. Thanks to this book, my understanding of Okinawan arts has deepened (and is continuing to deepen) in ways I would have not guessed were possible a little over a year ago. New vistas have opened up before me and I have recaptured some that excitement for learning and exploring that one has as a beginner. 

The authors also present a fair bit of historical information, a few well thought-out historical hypotheses, and a whole bunch of somewhat random but extremely interesting facts regarding funshii (feng shui) and Okinawan folk-beliefs that relate to karate in one way or another. They cover a great deal of material I have not mentioned as well, but I want to leave some of those gems for readers to discover on their own.

As a final thought I want to emphasize that this book is not only for Goju-ryu karateka. In my opinion it should be owned by EVERY serious practitioner of Okinawan martial arts regardless of style

Buy this book before it becomes an expensive and hard to find treasure.

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(1) When I first learned this method I was under the impression that the tongue was to touch the roof of the mouth continuously. This felt natural while inhaling but felt very unnatural while exhaling. I eventually decided to practice by alternating the tongue position (since it was only strictly necessary during one phase of respiration). This definitely felt superior to me but I felt guilty that I wasn’t doing it in what I thought was the "traditional" way. It wasn’t until 2001 that I learned that this alternating tongue position is traditionally taught in Okinawan karate. I now believe that I had most likely misunderstood the instructions I originally received.   

Here the authors are very explicit about the alternating position and their students/readers will be fortunate enough to practice it correctly from the very start.

A Neurophysiological Approach to Kyusho (急所)

I first started looking into the neurology and physiology related to kyusho(1) around 1985. By around 1993 I had formulated a rough outline of what I felt might serve as (the beginnings of) a neurophysiological approach to kyusho.

These are the topics I believe may provide the best neurophysiological explanation for the effect of kyusho strikes. I've divided them into three general categories

Neuromuscular

1) Adrenaline and hyperreflexia

• One often hears that vital points will be less useful “on the street” than they seem to be in the dojo because adrenaline will supposedly dull the effects of vital point techniques. Everyone knows that there is a decreased awareness of injuries sustained in adrenaline fueled combat. Talk to nearly any soldier and they can probably give you an example of somebody they know that didn’t realize they were injured (or at least didn’t realize how badly they were injured) until after the high levels of adrenaline in their blood had substantially decreased. These stories are true and I can even offer a few examples of my own. However, a critical fact is often ignored in these accounts: adrenaline did not in any way decrease the injury, it just decreased the awareness of the injury.
  
  
  When I was about seventeen years old a friend and I got into an altercation with six other boys (two of whom did little more than watch and offer encouragement for their friends). I had kicked off the flip-flops I was wearing to make sure I had good footing. After the altercation was over my friend asked “how bad is your foot?” I had no idea what he was talking about. I looked down and saw that my left foot was bloody, and upon inspection I saw that I must have stepped on a piece of glass during that altercation. My friend had noticed that I had a very pronounced limp as I was walking towards him. The adrenaline had made me unaware of the injury. It did not prevent the injury nor did it stop my body from reflexively responding to the injury (causing the limp my friend noticed).
  
  
  What this means in practical terms is that *pain compliance* is less useful under the influence of adrenaline. People who don’t understand Okinawan Kyusho-jutsu and Tuidi often interpret this as meaning vital points and joint locks are useless (or at least less useful). However, what these people fail to understand is that Kyusho and Tuidi techniques are NOT aimed at causing "pain compliance". Kyusho and Tuidi techniques are aimed at causing injury, dysfunction, or reflexive reactions that can be exploited to the defender's distinct advantage. While pain may be a typical result of these techniques, it is never the purpose of these techniques. Pain is merely an ancillary side-effect. So the entire issue of "pain compliance" is completely irrelevant.
  
  
  People sometimes claim that adrenaline supposedly dulls reflex reactions. However, scientific research indicates this is definitely NOT true. In fact, adrenaline results in an amplification of reflexes. This state of amplified reflexes is called hyperreflexia and adrenaline is *by far* the most common cause of this state. Adrenaline amplifies neuromuscular reflexes such as myotatic reflexes, withdrawal reflexes, and autogenic inhibition reflexes. In other words, adrenaline makes the most fundamental level of Kyusho-jutsu even more effective.
  
  
  *More effective*, not less effective.
  
  
  Given the effects of adrenaline on blood pressure, one might assume it makes blood-pressure related knock outs (hereafter referred to as “BP KOs” or “syncope”) less likely.
  
  
  Scientific studies like _Effect of adrenaline on vagus nerve reflexes_ (by Masaki, Furukawa, Watanabe, & Ichikawa) have found that adrenaline does dull the blood pressure lowering effects of vagal stimulation in many parts of the body but it actually *amplifies* the sudden decrease of cerebral blood flow. In other words, adrenaline makes BP KOs far *more* likely.  Strikes stimulating the vagus nerve, the three main branches of the trigeminal nerve, or  barroreceptors located in the neck and chest, are significantly more likely to cause unconsciousness if the attacker has an elevated adrenaline level.
  
  
  To the best of my knowledge there has been no direct research on the effects of adrenaline on cutaneovisceral reflexes (although existing research has found that some noxious stimuli, which can certainly be expected to elevate adrenaline levels, do reliably trigger these reflexes). However, given that adrenaline amplifies the effects of Kyusho-jutsu’s neuromuscular reflexes and BP KOs it seems probable that the effect of Kyusho on the internal organs either remains the same, or is amplified, under the influence of adrenaline.

2) The use noxious stimuli to trigger the flexor reflex as well as closely related ipsilateral and contralateral reflex actions.

3) Mechanical compression of a nerve leading to paresthesia, transient muscular dysfunction and/or neurapraxia.

4) Deep tendon reflexes (myotatic reflexes) and muscle spindle stretch receptors

5) The autogenic inhibition reflex

Knockout and Syncope

Here is a perfect example of a very typical kyusho-jutsu knock-out (a forearm blow to the side of the neck), complete with pretty good tai-sabaki, being performed in an actual (real life) self-defense situation:

6) The 5 main baroreceptors of the body and their relative potential for producing vasodilation etc.

7) Trigeminal nerve and the vasovagal response

8) Neurocardiogenic syncope triggered by trauma (sometimes even just the anticipation of trauma).

9) Enhanced or disguised "boxer's KOs"

• Linear impact KOs
• Sudden rotational head motion KOs
• Using the arm to cause a sudden rotational head motion KO
• Using nerve impact to enhance a "Boxer's KO" 

Vital points and Viscera

10) Cutaneovisceral reflexes and the myodermatomes

11) Referred pain locations as well as the viscero-cutaneous reflex

12) The relationship between 10 and 11 and the Shu and Mu points of acupuncture


As time goes by, I'll be slowly adding descriptions of how I believe these topics are related to kyusho effects. In the meantime I hope this list provides readers with potentially fruitful areas of research.

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Although modern Western medicine (particularly neurophysiology) almost certainly offers the best explanations for the effects of kyusho techniques, many Chinese, Japanese, and Okinawan martial arts still use the pre-modern conceptual framework of traditional Chinese medicine [医学] to teach vital point techniques and revival methods.

This can be seen in these videos of kyusho and kautsu techniques being taught in the traditional fashion in the art of Shorin-Ji Kempo:

(1) The art  of attacking vital points is refered to by numerous names. In karate it is usually called Kyusho-jutsu [急所術]  or Tsubo-te [壺手] ("chibudi" [チブディ] in Uchinaguchi). Other terms include Tenketsu [ 點穴] ("Dian Xue" in Mandarin or "Dim Yut" in Cantonese) and Tenmyaku [點脈] (“Dian Mai” in Mandarin or “Dim Mak” in Cantonese).

A Brief Outline of Okinawan Kiko (沖縄気功)

© 2012 Ryan Parker

Daruma: putative creator of the Kiko method of the Ekkin-kyo

   

Kiko techniques are Okinawan exercises used in "old style" karate. They are essentially the Ryukyu version of Qi-Gong (chi-gung). In fact, Kiko is the Japanese pronunciation of the same characters ( 気功).  Some Okinawan instructors have retained the use of the older Chinese pronunciation while others simply refer to this training as Kokyu-ho ("breathing methodologies").  In general these methods are similar to the Iron-Shirt and Golden-Bell Cover methods of Qi-Gong in terms of both practices and effects.

The training can allow the practitioner to safely and painlessly absorb full power strikes to such vital area as the trachea, sides of the neck, base of the skull, stomach, floating ribs, kidneys, spine, groin, and knees etc. The exercises also help to develop martial power that can be applied in defensive and offensive techniques.

It appears that the Sanchin kata of Naha-te and the Naihanchi kata of Shuri-te were the two kata most often associated with this training.  In both traditions, the order of training progressed from 1) Tanden Breathing, to 2) Shoshyuten, and then to 3) Daishyuten. These methods were supplemented by 4) Shime or Kitae training which vigorously tests the rooting and body-connection of the practitioner.

Both styles utilized some form of tension to strengthen the muscles and tendons of the body. Naha-te used a lot of “dynamic tension”.  Shuri-te emphasized “connective tension” (gyame) instead of “dynamic tension”. Rather than the hardened musculature of “dynamic tension”, Shuri-te more emphasized a springy feeling (i.e. not hardened) expansive tension sometimes described as “muchi” in the Okinawan language.

According to legend, the theory behind the Kiko exercises taught in Okinawa traces back to around 520 AD. At this time the Buddhist monk Daruma traveled to the Shorin Ji temple in China. On arriving, he discovered that the monks at this temple were weak and unhealthy. Daruma taught the monks a set of exercises to develop their ki in order to restore their strength and health. It is said that since the monks at the Shorin Ji temple could not own weapons they began to practice unarmed martial arts for self defense. It did not take the monks long to discover that the exercises Daruma had taught produced tremendous power for the martial arts. Daruma's method of Kiko, recorded in two books called Ekkin-kyo and Senzui-kyo, eventually reached Okinawa and merged with the Okinawan fighting arts(1).

Today many Okinawan masters still regard the Kiko methods attributed to Daruma as an invaluable component of their art:

•  Higaonna Morio sensei says that the teachings of the Ekkin-kyo and Senzui-kyo are "the most fundamental precepts of Karatedo." [Okinawan Karate-Do: Okinawan Goju Ryu vol 1].(2) 

• In a similar vein, Hokama Tetsuhiro sensei says that “Karate without Kiko is not karate”  [Essence of Goju Ryu Vol 1]. Hokama Tetsuhiro sensei has also published a brief "training guide" dedicated to the Kiko training of the Ekkin-kyo [History and Traditions of Okinawan Karate].

• Funakoshi Gichin says “By strengthening the body through the method described in the Ekkin sutra, one can acquire the prowess of the Deva kings. Polishing the mind through the Senzui sutra develops the strength of will to pursue the spiritual path.” He then passes on an Okinawan oral tradition, which states that “these two sutras together give one the power to move mountains and the ki to envelop the universe” [Karate-Do Nyumon]. While this statement is obviously poetic hyperbole, it does show the high regard these methods were held in.

• Mark Bishop writes “Included under the term ‘secret techniques’ are the ‘secret principles’ which, in some styles, take the form of breathing, relaxation, and intrinsic energy circulation exercises that are considered by some to be one thousand times more important than any technique and should be studied carefully.” [Okinawan Karate: Teachers, Styles, and Secret Techniques] While I do not claim that Kiko is “one thousand times more important than any technique” the statement does illustrate how Bishop’s Okinawan informants view these exercises.

It is not known how Kiko works from a physiological perspective, but the Okinawans based their Kiko and vital point striking on traditional Chinese medicine. Since it is unknown how these methods function from a Western perspective we will examine them from the traditional Eastern perspective. This does not indicate that the author feels that this model should be regarded as literally accurate. Rather, it is intended to provide a descriptive language to discuss these methods as well as providing a look at their traditional explanations.

In traditional Chinese medicine it is believed that the body takes in energy (ki), primarily through breathing, and circulates it through well defined pathways called meridians. A person will have excellent health and strength when his ki is smoothly circulating through the meridians. Kiko exercises are methods by which a person can build up and circulate his own ki.

Tanden Breathing

The first stage of Kiko in Okinawan Karate consists of building up energy in the tanden. The tanden is said to be a point a couple of inches below the naval that stores the vital energy of the body. Acupuncturists call this point Kikai, which means sea of ki, because of this. These initial exercises consist primarily of specialized forms of deep abdominal breathing. These are exercises in which the student visualizes ki gathering in the tanden in conjunction with the breath. Some exercises are performed as a part of normal karate practice while others are done separately.

Shoshyuten Kiko

After students build sufficient amounts of ki in their tandens, they learn how to circulate this energy through their two primary meridians. The student will lead the energy through the meridian called the Governor Vessel. This meridian, called Tokumyaku-kei in Japanese, controls the “positive energy” and the 6 positive meridians of the body (3) When the ki is lead through the Governor Vessel during Kiko exercises, the positive meridians and their corresponding organs benefit.  The student must also guide the ki completely through the Conception Vessel. The Conception Vessel, called Ninmyaku-kei in Japanese, controls the “negative energy” and the 6 negative meridians in the body. (4) When the ki has been lead through the Conception Vessel the 6 negative meridians and their corresponding organs benefit. Once the ki fills both the entire Conception Vessel and the Governor Vessel it flows though both in a continuous cycle. (5) At this point the student has begun the “Small Cycle of the Sky” or the Shoshyuten(6).

Nuun Breathing

Another method the student may begin to use is Nuun breathing. (7) Nuun breathing is an additional form of abdominal breathing. It involves retaining the breath while performing special muscular "locks". This type of Kiko increases the circulation of blood and ki to the internal organs. Nuun breathing also flushes out accumulated toxins thereby improving the condition of the internal organs. Finally, Nuun breathing improves the flexibility of the internal organs and their protective facial coverings. (8)

Daishyuten Kiko

Once a student has become proficient at Shoshyuten breathing and any related ancillary exercises he will begin the “Large Cycle of the Sky” or Daishyuten training. In Daishyuten training the student learns how to circulate the ki through the entire body. It expands upon Shoshyuten training by circulating the ki through the limbs in addition to the two primary meridians. Initially, Daishyuten training can be performed by standing in a Karate stance as one visualizes the ki circulating through the body in coordination with the breath. This can be done for 20 or more minutes at a time. This training increases what is called “tendon strength”. This type of strength is very different from normal muscular strength. Karate masters maintain tendon power to a very old age. Later, when proficient in the static training the student will perform this exercise while doing kata.

Rooting Training

During Daishyuten exercises the student visualizes merging his ki with the earth. This is often called this “rooting”. When a student has mastered basic Daishyuten training he will begin testing the skills that can be built by “rooting”. He does this by having a partner push his body at both slow and fast speeds. When a student can take both slow and fast pushes he has developed a strong base for his defensive and offensive techniques. Rooting is not a matter of muscular development. Rooting relies on the ability to lead kinetic energy to the soles of the feet and into the ground. The postural and visualization training done through Daishyten kiko greatly facilitate this. It also relies on the ability to unite the entire body into a whole, an ability developed and improved through this kiko exercise. After creating a solid root, a student may practice maintaining the connection of the energy (both kinetic energy and the ki) in their upper extremities with their lower body. A student may test his ability at this by having a partner attempt to twist or bend his outstretched arm. Another way to test this is to have a partner try to push the student back by strongly pressing on a student's arm. In Okinawa, when these types of training exercises are utilized to test kata performance they are usually referred as Shime or Kitae.  Sanchin and Naihanchi are the two kata most associated with this training methodology, but in theory this can be done with any kata.

Often the martial arts community regards tests like these as representing a very high level of “ki development”. In reality these type of tests only represent foundational exercises.

Bu no Chikara

When they are good at these tests students begin practicing what are sometimes called "energy transmission exercises." “Energy transmission exercises” do not involve projecting your ki beyond your body to affect your attacker without touching him. What an "energy transmission exercise" does is train the ability to lead the ki to the striking limb in conjunction with correct body mechanics. This greatly increases the power of a blow. The one inch punch (sun zuki) exercise is one example of this type of training. The Okinawans call the type of power created by these types of exercises "bu no chikara" or “martial power” When a student has well developed martial power his instructor may infer that the student has reached a good level in Daishyuten training and rooting. (9)

The Daruma Exercise (a.k.a. Dako)

Several examples of  the "bundle" and "bag" hitters which can be used in Okinawan kiko

The instructor might also introduce Daruma exercise training (also called "Dako" meaning hit-training). The Daruma exercise is a form of moderate impact conditioning and it can be said to stimulate all of the 14 major meridians. The practitioner uses a small bundle of thin bamboo sticks (10) to firmly tap the entire body and thus will condition along the length of each meridian. This exercise expands on the Daishyuten training and increases the amount of ki flowing through the meridians. After firmly tapping the body with the bundle-hitter , the student may massage the body with his hands. This is essentially a type of acupressure-like massage to ensure that there is no stagnation of ki and blood and that they both flow smoothly. The Daruma exercise has many beneficial effects. The vibrations relax bodily tensions and stimulate blood circulation. These vibrations also shake out accumulated toxins. The Daruma exercise strengthens the “muscle meridians” and skin. It also strengthens the organs and bones. With daily practice, the entire body becomes robust and sturdy. An elongated bag filled at one end with mung beans (or similar material) is also sometimes used in a manner very similar to the bamboo bundles. Slightly more care needs to be exercised with these types of "bag hitters" as they have a tendency to cause significant bruising if used too vigorously. For best results this training should be a relatively "light" and progressive type of training not requiring great physical strength or endurance. For instance, at 70 years old Higa Yuchoku used the Daruma exercise every morning, at midday and in the evening. Mr. Higa, even at this advanced age, retained the ability to take full power blows to nearly body surface, attributing this ability to this type of Kiko training (11).


The training we have outlined above is only fundamental training in Okinawan Kiko. This foundational training, called Ekkin Kiko, is the "tendon changing energy exercises" used in Okinawa. The more advanced exercises used in Okinawa, called Senzui Kiko, are the "bone marrow cleansing energy exercises." This advanced training is said to strengthen the bones and create more red blood cells. It also thought to balance the endocrine system and energizes the cerebrospinal system. When mastered, Ekkin kiko and Senzui kiko can give the practitioner tremendous martial power. The practitioner also experiences excellent health and abundant energy.

It should be noted that, while Kiko training has many benefits for the martial-artist, it was not originally intended to be a martial practice. Rather it was, and is, intended to be a health promoting practice that potentially can increase the life span of the practitioner. The martial benefits, while important are to be seen mainly as secondary effects of a health improving practice.

These exercises quite possibly play a significant role in the amazing longevity of Okinawan Karate masters. Many Okinawan Karate masters have continued to teach their art well into their 90s. As you can see Kiko training can be an invaluable asset to students of Okinawan martial arts.

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Notes

1) Many scholars doubt the veracity of the Daruma legend, however, this is the traditional explanation offered for the origin of these exercises. Many scholars have noted that the earliest reliable references to this training which are still extant are from the Ming dynasty

2) It is likewise quite interesting to note that many Okinawan teachers attribute the Sanchin kata to Daruma, a belief which is certainly derived from the fact that Sanchin training is based on the direct application of Ekkin kiko to martial arts training.

3) The “positive energy” is called “Yo-ki” in Japanese. Yo being the Japanese pronunciation of the character read “Yang” in Chinese. The six “Yo” meridians are: Large Intestine, Stomach, Small Intestine, Bladder, Triple Warmer and Gall Bladder.

4) The “negative energy” is called “In-ki” in Japanese with “In” being the character pronounced “Yin” in Chinese. The six “In” meridians are: Liver, Lungs, Spleen, Heart, Kidneys, and Pericardium.

5) In order to connect the Governor and Conception Vessels the students must touch their tongues to their pallets. Often this is done only during the inhalation phase of respiration. 

6) Goju Ryu sometimes uses the "wind path" version of Shoshyuten training which is the reverse of that usually done in Shorin Ryu. This is related to the extensive use of "dynamic tension" as the "wind path" helps to prevent the body from becoming overly yang or "fiery". However the same underlying theories apply and I believe the above text applies equally well to both schools.

7) Nuun (also sometimes spelled “Mnun” or “Noon”) breathing is introduced at varying times in the different Okinawan arts. In some schools it is introduced before Shoshyuten kiko.  In other schools it is considered a more advanced method and is only taught after Daishyten kiko and rooting.

8) Although Nuun breathing is considered a “Hiden” or “secret” methodology, and can be employed in any kata, it is sometimes explicitly taught as part of the training for Suparinpei kata.

9) This discussion of rooting and martial power should not be taken to imply that karate is an “internal art”. Generally, “internal arts” attempt to maintain a strong body connection and rooting at all times, while karate sees this as only being necessary at the extension of techniques when contact is made. There are other differences as well.

10) In modern times a bundle of very thin and flexible stainless steel rods is also often used. Stainless steel obviously was not available in ancient times.

11) This was at the time when Mark Bishop wrote Okinawan Karate: Teachers, Styles, and Secret Techniques. Mr Higa passed away in 1994 at age 84.

Okinawan Kiko Instruction  Playlist

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Oyata shinshi has passed but his legacy lives on

I was profoundly saddened to be informed by two different people that Oyata shinshi has passed away. A truly great light has been snuffed out. This loss is compounded by that of Logue shinshi's passing less than a year ago. While their flames no longer shine , they lit many candles on their journey through life. Those candles continue to burn and they shed light for us all.

I feel real sense of loss from the news of Oyata shinshi's death, but I am also deeply grateful that the world had this great man for so many years.

Seidokan Toide (tuidi)

The Seidokan system of tuidi (usually spelled "Toide" in Seidokan, but also commonly spelled tuite) is more or less directly derived from the tuidi of Motobu Udundi. Seidokan is well known for openly teaching tuidi. In fact, I believe that Toma Shian shinshi may have been the first Okinawan instructor to openly teach Westerners the art of tuidi.

I personally find Seidokan tuidi to be extremely interesting and eyeopening. I believe that anyone who is interested in tuidi could benefit from exposure to Toma shinshi's Seidokan. To that end I have created this playlist which I hope will give viewers a reasonable overview of Seidokan's approach to the ancient Okinawan art of tuidi.

Old style karate, top 12 ways it differs from modern karate.

“Hoping to see Karate included in the physical education taught in our public schools, I revised the kata to make them as simple as possible. Times change, the world changes, and obviously the martial arts must change too. The Karate that high school students practice today is not the same Karate that was practiced even as recently as ten years ago, and it is a long way indeed from the Karate I learned when I was a child in Okinawa.”

-- Funakoshi Gichen

When In first created this blog, I promised an article on what makes “old style” karate different from modern karate. Well now that I’ve sat down to outline this article; I realize that it would not be possible to do the topic justice with a single post. So I’ve decided to create a short post mentioning the top dozen differences (as I see them). I hopefully will get around to discussing all of these as I continue to post on this blog. 

Very few dojos actually incorporate all 12, but I feel that those schools which include a majority are firmly in the “old style” category.

Motobu Choki doing a tuidi technique from Naihanchi Shodan (locking the right elbow while trapping a left punch)

1) Focus on close range techniques and tactics (which in turn necessarily creates an emphasis on limb control and/or trapping, low-line kicking, and so on)

2) Emphasis on special qualities which often are expressed by somewhat rare Okinawan terminology (muchimi, chinkuchi, gyame, muchi, gamaku, etc) 
   

3) Body Conditioning (kote-kitae, iron sand palm, machiwara training etc)

  

4) Tenshin / tai-sabaki (evasive body motion/ body-rotation, sophisticated footwork) 
   
5) Hojo-undo / kigu-undo (supplementary training especially functional strength training using special implements)
           

6) Tuidi (aka gyakute or karamidi etc ie joint-wrenching and joint-locking)
                   

7) Use of sensitivity drills (kakie, sticky hands, Okinawan versions of "Hubud" etc)

8) Techniques are not “squared off” or enlarged for aesthetic reasons

9) Use of unusual (typically very small) striking surfaces
   

10) Medical knowledge (bone setting, kuatsu, herbal medicine, moxa, cupping, tsubo massage etc.)

11) Kokyu-ho / kiko (breathing methodologies, qigong type training)

12) Chibudi / kyusho (study of anatomical weakness and exploiting body-reactions)

I realize different people may come up with completely different lists. These are what I consider the main differences. If you have differences you would like to add please leave comments

Naihanchi "body-changes" (内蹯地転身)

Naihanchi kata [内蹯地型 or ナイハンチ型] has apparently simple footwork moving side to side using a "horse-stance" (naihanchi-dachi) [内蹯地立] and a "cross-stance" (kosa-dachi) [交差立]. However the horse-stance and cross-stance are used in application by rotating the body as one assumes these stances. In Shorin ryu these evasive body rotations are often referred to as "body-changes." "Body-change" is the English translation of Tenshin [転身] meaning "body-rotation" (also sometimes called tai-sabaki [体捌き]).  The primary purpose of a "body change" is to move out of the way of an initial attack and to make a renewed attack more difficult. However, an often ignored aspect of these "body-changes" is that they add considerable power to techniques. This is especially important for tuidi techniques.

The reason that the kata doesn't  illustrate all the possible footwork explicitly is that most of the techniques can be applied with more than one type of footwork. In fact, there are 20 basic pivoting methods that I use with Naihanchi (and innumerable variations as well as more advanced forms of footwork). Rather than illustrating all the possibilities, the kata indicates these in a somewhat abstract way. Below the basic kata footwork is shown in a short clip and is illustrated by a diagram below the clip.

The diagram below shows the two most basic ways to use the Naihanchi "cross stance". In the first example you leave the left foot unmoved and pivot on the ball of the right foot as the hips and shoulders pivot clockwise. In the second example the left foot still remains unmoved but the right foot steps behind as you pivot clockwise.

In the diagram below the footwork is similar to that illustrated above, but in each example the left foot takes a step before  the body pivots in a clockwise direction as the right foot moves into the "cross stance"

Here is a video systematically presenting the 8 kosa-dachi stepping patterns shown above:

Below are the two most basic stepping patterns for pivoting the body into a "Horse-Stance":

All 10 of  these stepping patterns can of course be used by pivoting anti-clockwise as well (making 20 basic stepping patterns).

Some (but not all) of these stepping methods can be seen in this video:

A few thoughts on the Bubishi (武备志):

Musings on the Kenpo Hakku, Chinese Medicine,

and their relationship to Ryukyu Martial Arts.
 

The Bubishi is a text that was revered by Okinawan masters of Tudi (唐手). While its link to Nafadi (那覇手) is more widely known, it seems to have had a profound effect on masters of the Suidi [首里手] tradition as well. Perhaps the best know section of this text is the "Eight Cornerstone Verses of Kenpo" (Kenposhi Hayoku) [拳法之八要句] which is often shortened to "Eight Verses of Kenpo" (Kenpo Hakku) [拳法八句]. Like the much of the Bubishi, these verses are worded in a way that is somewhat ambiguous and seemingly cryptic. Even casual reflection reveals that many (perhaps all) of these verses are  intentionally multivalent. This is not unusual as classical Chinese literature often contains verses intended to pack multiple meanings into very terse phrases and the ability to construct such verses seems to have been a point of intellectual pride among scholars.

Below are the "Eight Cornerstone Verses of Kenpo":

 

拳法之八要句

一 人心同天地

二 血脈似日月

三 法剛柔吞吐

四 身随时应变

五 手逢空则入

六 码进退离逢

七 目要观四向

八 耳能听八方

A great deal has been written (much of it quite good) on the multiple meanings of the third verse "The Method is Hard and Soft, Swallow and Spit" (Ho Goju Donto) [法剛柔吞吐]. This verse is quite interesting and I will be offering a few thoughts on it in a future post. However, today I want to offer a few of my personal musings on the (seemingly bizarre) second verse "The circulation is like (that of) the sun and moon" (ketsumyaku niru nichigetsu) [血脈似日月].* 

To understand this verse one needs to understand that at the time the Bubishi was written the term "blood" (ketsu) [血] was understood quite differently than the way blood is understood in modern Western medicine. The "blood" wasn't only the red liquid that comes out of a cut, it was also a more subtle substance inseparably linked to ki [氣]. Ki and "blood" were always found together and the body was constantly transforming ki into "blood" and "blood" into ki. Ki and "blood" were thought to flow together through the primary and bilateral meridians. The two are so closely linked that a common term in older texts on Traditional Chinese medicine is kiketsu [氣血] meaning "Ki-Blood". It is this idea of kiketsu that is intended rather than blood in the modern Western sense. Once this is understood the seemingly strange verse immediately becomes comprehensible.  There are (at least) three meanings that seem to be intentionally encapsulated in this verse:

1) The most immediately evident meaning is that the circulation follows a cycle lasting a day (sun) and night (moon). Later the Bubishi explicitly spells out this 24 hour cycle in some detail. At the end of this post I will discuss this a little more.

2) The moon and sun are well known celestial symbols of Yin and Yang (Inyo) [陰陽]. So, another fairly obvious meaning of this verse is that there is a Yin and Yang cycle of circulation in the body. The main Yin and Yang meridians of the body are the Conception Vessel (ninmyaku) [任脈] and the Governor Vessel (tokumyaku) [督脈]. This verse can be seen as a reference to a circulation through the yang Governor (sun) and yin Conception (moon) vessels. In fact, this circulation is called the "small CELESTIAL cycle" (shoshyuten) [小周天] which clearly compares the yang/yin circulation through these meridians to the alternation of the sun and moon in the heavens. This interpretation seems to be strengthened by the use of word "myaku" [脈] in this verse from the Bubishi. While technically all the major meridians of the body can be called myaku, only the Governor (tokumyaku) and Conception (ninmyaku) contain myaku in their names.

3) Another meaning is that the circulation (of kiketsu) is like the sun and moon because it is said to flow through 360 classical points and 12 bilateral meridians. When acupuncture was first being organized an attempt was made to systematize it based on the Chinese calendar with its 12 lunar months and 360 solar days. While this may be a bit of an attempt to jam a square peg into a round hole, it is beyond question that the system was originally organized around the solar and lunar element of the Chinese calendar. Thus, the "circulation is like the sun and moon". The modern acupuncture system has included an additional point, bringing the total number of "standard points" to 361.


It is probably worth mentioning that ketsumyaku can also be written 穴脈 meaning "cavities and vessels" (acupoints and meridians). So "ketsumyaku niru nichigetsu" can literally mean "the acupoints and meridians are like the sun and moon"

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Retuning to meaning number 1, the circulation through the 12 bilateral meridians in a 24 hour cycle is  detailed in the Bubishi and is an explicit use of a "rule of acupuncture" for vital point fighting. In the context of attacking meridian points the Bubishi also mentions the effects of the "positive and negative forces" as well as "the elements of nature".  These seem to be allusions to the Yin/Yang and Five Element theories of acupuncture, but at first glance the Bubishi doesn't seem to offer any details regarding these subjects. However, I believe that the Bubishi does contain information on these topics implicitly. Careful examination of the Bubishi's treatment of the diurnal cycle will reveal that it is organized in pairs of meridians sharing the same element. This can be seen below:

23:00 – 01:00: 子 (Ne) Rat\  胆经 (Tankei) Gall Bladder \ 木 (Moku) Wood

01:00 – 03:00: 丑 (Ushi) Ox\ 肝经 (Kankei) Liver \ 木 (Moku) Wood

03:00 – 05:00: 寅 (Tora) Tiger \ 肺经 (Haikei) Lung \ 金 (Kin) Metal

05:00 – 07:00: 卯 (U) Hare\ 大肠经 (Daichokei) Large Intestine \ 金 (Kin) Metal

07:00 – 09:00: 辰 (Tatsu) Dragon\ 胃经 (Ikei) Stomach \ 土 (Do) Earth

09:00 – 11:00: 巳 (Mi) Snake \ 脾经 (Hikei) Spleen \ 土 (Do) Earth

11:00 – 13:00: 午(Uma) Horse \ 心经 (Shinkei) Heart \ 火 (Ka) Fire

13:00 – 15:00: 未(Hitsuji) Goat\ 小肠经 (Sochokei) Small Intestine \ 火 (Ka) Fire

15:00 – 17:00: 申(Saru) Monkey\ 膀胱经 (Bokokei) Bladder \ 水 (Sui) Water

17:00 – 19:00: 酉(Tori) Rooster\ 肾经 (Jinkei) Kidney \ 水 (Sui) Water

19:00 – 21:00: 戌 (Inu) Dog\ 心包经 (Shinpokei) Pericardium \ 火 (Ka) Fire

21:00 – 23:00: 亥 (I) Pig\  三焦经 (Sanchokei) Triple Warmer \ 火 (Ka) Fire

 

It also can be seen that in the diurnal cycle, meridians occur in pairs which share the same polarity. In the chart below the Yin (In) meridians are white and the Yang (Yo) meridians are blue :

01:00 – 03:00: 丑 (Ushi) Ox\ 肝经 (Kankei) Liver \ 陰 (In)-
03:00 – 05:00: 寅 (Tora) Tiger \ 肺经 (Haikei) Lung \  陽 (In)-
05:00 – 07:00: 卯 (U) Hare\ 大肠经 (Daichokei) Large Intestine \ 陰 (Yo)+
07:00 – 09:00: 辰 (Tatsu) Dragon\ 胃经 (Ikei) Stomach \ 陰 (Yo)+
09:00 – 11:00: 巳 (Mi) Snake \ 脾经 (Hikei) Spleen \  陽 (In)-
11:00 – 13:00: 午(Uma) Horse \ 心经 (Shinkei) Heart \  陽 (In) -
13:00 – 15:00: 未(Hitsuji) Goat\ 小肠经 (Sochokei) Small Intestine \ 陰 (Yo)+
15:00 – 17:00: 申(Saru) Monkey\ 膀胱经 (Bokokei) Bladder \  陰 (Yo)+

17:00 – 19:00: 酉 (Tori) Rooster\ 肾经 (Jinkei) Kidney \  陽 (In) -

19:00 – 21:00: 戌 (Inu) Dog\ 心包经 (Shinpokei) Pericardium \  陽 (In) - 

21:00 – 23:00: 亥 (I) Pig\  三焦经 (Sanchokei) Triple Warmer \ 陰 (Yo) +  

23:00 – 01:00: 子 (Ne) Rat\  胆经 (Tankei) Gall Bladder \ 陽 (Yo)+

So it is my opinion that the Bubishi does contain information on the Yin-yang (Inyo) and Five Element (Gogyo) [ 五行] associations of the meridians, it is just in slightly concealed form.

It is worth noting that I once read (in a book on Ryukyu culture) that the associations between the Five Elements and the Chinese Clock Hours was apparently fairly common knowledge in classical Ryukyu (if memory serves, it was the basis for the layout of homes and shrines). So, it seems likely that this sort of association would have sprung to mind fairly quickly, especially to the relatively well educated bushi [武士] of Okinawa.

While I readily acknowledge that things like vital point fighting and kiko can be practiced without any detailed knowledge of Chinese medical theories, in my opinion the relationship between Traditional Chinese Medicine and Ryukyu fighting arts is deeply interesting, if for no other reason than its historical significance.

Warm Regards

Ryan Parker

*the term “circulation” in this verse is ketsumyaku [血脈] meaning literally “’blood’ and vessels” but is generally interpreted to mean “circulation”. Ketsumyaku [穴脈]  can also mean "cavities and vessels" referring to acupoints and meridians. In Chinese 血脈 and 穴脈 are both pronounced xue-mai