The traditional purpose of Karate-Do is said to be the development of the ‘Single Punch Precise Kill’ (一拳必殺) technique! This is because the historical origins of Karate-Do developed out of battlefield martial arts - specifically designed to kill and wound an opponent without mercy! The question for modern practitioners is whether this objective is suitable as a contemporary teaching device – and how should the technical inadequacies of the old ways be improved upon? It may well be the case that the potentially lethal elements of Karate-Do are retained (because they are inherent in the ancient martial techniques) - but that the ‘killing’ aspect should not be made the key point when teaching the public – and should be replaced by encouraging young students to develop their own minds and bodies whilst perfecting a virtuous character! Therefore, saving lives and helping others signifies a necessary shift in traditional attitudes when teaching Karate-Do to modern students. In fact, this is not a ‘new’’ attitude that I invented – but an idea taught to me by my father Miyagi Chojun. In-turn, this was an attitude inherited from Higaonna Kanryo (and his Chinese teachers). Although exactly the same ‘killing’ techniques are retained (and certainly not ‘removed’ from the art) - what is emphasised is character development so that clever ways of resolving conflict in the environment is utilised as a type of ethereal Karate-Do – that precedes any need to deploy potentially devastating physical techniques! The lethal reality of Karate-Do techniques, therefore, is ‘hidden’ within a deep and stratified approach to Goju Ryu Karate-Do, which is now embedded in the grading system involving coloured belts. If the practitioner does not suitably develop their mind (psychology) and body (physicality) - then they do not gain access to the ‘lethal’ nature of the genuine Goju Ryu Karate-Do techniques! Each practitioner must develop ‘trustworthiness’ before they are permitted to gain access to the deepest aspects of this ancient martial art! My father – Miyagi Chojun – maintained the emphasis of the ‘Hard’ (Go) aspect of Goju Ryu through the ‘Sanchin’ Kata which had been passed on to him by Higaonna Kanryo – but he felt the opposite element of ‘giving way’ was missing in the Style, or at least not very well represented. To remedy this, Miyagi Chojun developed the ‘Tensho’ Kata from a set of movements he had been taught in China from a White Crane Fist teacher in Fuzhou related in lineage to the Chinese teacher of Higaonna Kanryo. Bear in mind that ‘Tensho’ is NOT exactly the same as the Form (六機手 - Ro Ku ki Te) he learned in China and that Miyagi Chojun chose to modify its structure to assist the ‘balance’ of Goju Ryu Karate-Do methodology. This is where Miyagi Chojun developed the ‘Soft’ element of Goju Ryu which saw the Tensho Kata counter-balance the Sanchin Kata. When practiced together – the Yin (Soft) and Yang (Hard) energy within the mind and body is perfectly ‘balanced’! ‘Weaving Hand’ (機手 - Ki Te) is a principle found within the ‘Southern Fist’ martial system of China, and which relates to all the upper body movement of the extremities and the combat techniques which are expressed therein. Within the book entitled ‘Bubishi’ (武備志) (transmitted China to Okinawa) - there is an explanation of where the vital pressure points (経穴 - Kei Ketsu) are on the opponent’s body – and how the hand – used in the ‘open palm’ (開掌 - Hiraki Tenohira) position – can be used to ‘pierce’ these points and cause catastrophic damage to the opponent’s health! Higaonna Kanryo taught Miyagi Chojun how to ‘stand’ and ‘move’ through the ‘Sanchin’ Kata – and then Miyagi Chojun then developed ‘Tensho’ Kata to emphasis ‘Softness’ - but a ‘Softness’ with a lethal ‘hidden’ central element (involving pressure-point hitting)! The ‘Sanchin’ and ‘Tensho’ Katas are unique to Goju Ryu Karate-Do and are not found within ‘Shuri-Te’ (首里手) derived-traditions! These are foundational Katas that are taught to express the beginning and the end of the Goju Ryu Karate-Do training method! As this is the case, there are definite ‘breathing’ methods used when performing these Katas. The ‘Sanchin’ Kata employs what is referred to as a formalised ‘Yang Breath’ (陽の息吹 - Yō No Ibu Ki) - which sees the practitioner maintaining the ‘tightening’ of all the muscles around the bones throughout the entirety of the body – with the instructor continuously ‘testing’ to ensure this process is being adhered to correctly! Through these training methods, the practitioner learns how to shift and lower the centre of gravity, how to smoothly transition between various and different fighting techniques - all performed whilst breathing deeply and fully! Both myself and my father, however, teach preparation exercises which loosen and strengthen the body and focus the mind BEFORE any of these profound exercises are taught. This is important as students require a means of ‘entering’ the Style so that the Goju Ryu techniques are not experienced as a shock to the system. Correct preparation prevents unnecessary injury and conditions the mind and body so that the structures and processes become suitable for further and advanced training. This is the systematic application of the scientific process. Science does not stand still but provides opportunities for continuous and further development. Logic and reason must be brought to bear upon the established traditions using the old techniques and is immeasurable when providing a firm and dynamic foundation for further development! When I was young, Kano Jagoro (嘉納冶五郎) visited Okinawa (in 1927) and was very impressed in the rational approach that my father had incorporated into the structure of Higaonna Naha-Te (as it transitioned into Goju Ryu)! He even took elements of my father's training regimes and incorporated them into his ‘Judo’ training patterns! He agreed that logic and reason must be used within traditional martial arts as a means to ensure that these old ways are preserved and made relevant for survival within modern society! My father explained to Kano Jagoro that the structure of Karate-Do is similar to the physical structures of material objects – such as a house, a tower or a bridge, etc. If the design principles are not sound – the building and/or structure will not stand – and will not be able to fulfil the purpose for which it was made! The house will collapse, the tower will fall, and the bridge will give way! Kano Jagoro was impressed with this thinking and congratulated my father on his progressive attitude! Indeed, Kano Jagoro incorporated this type of thinking into his development of Judo technique! As for my father – Miyagi Chojun – he would later develop the ‘Gekisai’ (撃砕) Kata (Number One and Number Two), as a means to express the entire Goju Ryu Karate-Do path in just two short sets of movements which can be elaborated extensively when an instructor so chooses to do so! This was a substantial achievement which many other lineages of Goju Ryu misinterpret as being ‘simplistic’ or ‘beginning’ only Kata – but in reality, my father intended these Katas to be something much more important than this. If the ‘Gekisai’ Kata are closely examined, a whole new world of ‘meaning’ can be clearly discerned! This does not detract from the fact that the entirety of Goju Ryu Karate-Do is defined by the ‘Sanchin’ and the ‘Tensho’ Kata! When added together – there are ‘twelve’ (12) Kata preserved within Goju Ryu Karate-Do. The two ‘Gekisai’ are known as the ‘public’ Kata which are used to prepare a student for a more profound learning experience later on! Miyagi Chojun had a deep knowledge of geography and history as well as the Chinese Classics and was well versed in the different aspects of Eastern culture. I will never forget the image of my teacher - who used a dictionary as a pillow and would constantly look-up the meaning of words and think deeply about what he found! He was particularly knowledgeable about medicines and the physiology of the human body, and always studied Karate-Do from a medical point of view. This is why many of his acquaintances were also doctors. He studied Karate-Do from a modern and scientific point of view and designed its structure as a practical system! Indeed, modern Goju Ryu Karate-Do is designed around a scientific agenda which brings logic and reason to the practice of an ancient martial art! Although the techniques can be lethal if deployed a certain way – Miyagi Chojun ensured that the health-giving component of each technique was emphasised over its destructive element. An emphasis upon building a sound mind and a strong body replaced the destructive act of confusing the mind and harming the body of an opponent! Goju Ryu Karate-Do was maintained as a traditional fighting method with modern (medical) implications! 科学的空手道へ指導体系を確立 在来の空手道は、一拳必殺といわれるように、もっぱら実戦の場での殺傷の武術として発達してきたもので、術技のうえでも、現在の教育的見地からみれば、不適当な点もあった。 このため宮城長順は基本形―剛の形(サンチン=三戦)のほかに、「六機手」というものを研究して柔の形(テンショウ=転掌)をつくった。「機手」とは中国南拳の上肢の動作および技法のことを言い、沖縄に伝わった『武備志』のなかで相手の急所(経穴)を突く際の手(開掌)の使い方が述べられている。宮城長順はこの手法を研究し、鍛錬形としてテンショウを創始した。また、東恩納寛量から鍛えられたサンチンの立ち方と運歩法をはっきりと定義づけたのである。 サンチン、テンショウは首里手派にはなく、剛柔流空手道独自のものである。この基本形の鍛錬法においては、気息の呑吐法(陽の息吹)という形式化された独特な呼吸法があり、指導者による筋骨の締め方を伴う鍛錬法がある。こうした鍛錬法を通じて、「術技の変化」「気息の呑吐」「重心の移動」を体得するのである。 さらに宮城長順の創始したものとして、基本形・開手形に入る前に行う徒手体操式の空手道術技に関連した「予備運動法」と、柔軟で強力な体力を養成しながら空手道術技の上達を側面的。 に援助する補助運動法がある。この予備運動は修練上、非常に合理的な運動法であり、その重要性は計り知れないものがある。講道館柔道の創始者嘉納冶五郎が沖縄に来られ、そのとき師父が空手道の解説をしたのだが、嘉納師範は予備運動に非常に感心され、後の柔道体操に取り入れられたのではないかということを、私は師父から聞かされた。 また、教育的観点から、剛柔流空手道の普及形として、ゲキサイ(撃砕)第一、ゲキサイ第二の形を創始した。剛柔流空手道の形は、サンチン・テンショウの基本形と、二つの普及形を含めた十の開手形とを合わせ合計十二の形がある。 宮城長順は漢籍の素養はもとより、地理・歴史の造詣も深く、東洋文化にも通じていた。辞書を枕に絶えず辞書を繙き思索していた師父の姿が忘れられない。とりわけ薬種の知識、人体の生理に詳しく、常に医学的観点から空手道を研究していた。知人にも医者が多かった。そして空手道を近代的、科学的視点から考究し、練習体系として組み立てたのである。従来の空手道指導法を理論と実際に照らして修練の順序、方法を定め、武道として体育として、また精神修養の方法、健康法として、科学的に組織体系づけたのが剛柔流空手道である。
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Miyagi Takashi [宮城敬] (1919-2008) – Miyagi Family Inheritor of Goju Ryu Karate-Do! (17.10.2022)10/18/2022 ‘I was born in Naha City during August 1919 (Taisho 10) and I am the eldest son of Miyagi Chojun (1888-1953) - the founder of Goju Ryu Karate-Do! My father taught me how to use my ‘hands’ (手 - Te) and ‘feet’ (足 - Ashi) during every moment of the day! He taught me where to ‘walk’ on the road, pavement or path – and where to place my awareness to stay safe! In a similar vein – he taught me how to hold an umbrella properly so that it looks innocuous but is really a ‘weapon’ that can be used in self-defence! For the Miyagi Family – Karate-Do was not only practiced in the ‘Dojo’ - but training of the mind and body continued throughout the entirety of our lives! My father – Miyagi Chojun – was a very popular person and knew many interesting and important people! He often told me about the famous people living in Okinawa - including military personnel and literary figures - who had come to live and work in Okinawa. Due to his wide range of associations, my father was well read, well-educated and took a general (and specific) interest in many different and varied subjects. As my father took me everywhere with him when I was young – I also met these people and often witnessed (and absorbed) the discussions as they unfolded! This is how my father ensured that I had a well-rounded education premised upon practical experience and intellectual stimulation! This is how I started the development of my mind and body and developed a sound foundation in the understanding of Karate-Do! I also understood exactly how my father thought about life and his general attitude toward Karate-Do! His personality clearly shone through during these interactions! As my father – Miyagi Chojun – believed that travelling expanded the mind, he advised me to travel to Kyoto and enrol for the Summer in a Martial Art College and study ‘Kendo’ (剣道). He respected Kendo and was very enthusiastic about me learning a different martial art! Indeed, through me experiencing Kendo training – I gained a far deeper understanding of Goju Ryu Karate-Do! My eyes were opened to a far broader view. I particularly benefitted from the Kendo technique of ‘Kakari Geiko’ (掛かり稽古). These are the techniques within Kendo which involve the development of a sound ‘defence’ - coupled with a penetrating and devastating ‘attack’. I used this experience (and knowledge) gained through my Kendo training in my later development of Goju Ryu Karate-Do! Shifu (師父) - we always referred to Miyagi Chojun by the respectful Chinese language term of ‘Master-Father’ - put a great emphasis upon ‘Preliminary Exercises’ (予備運動 - Yo Bi Un Do) that both ‘warm’ and ‘strengthen’ the bones, ligaments (joints), muscles and tendons! As these exercises are so demanding and arduous to perform and repeat – the ‘mind’ is fully developed as it is ‘calmed’ and ‘stilled’ over time! I took this crucial element of Goju Ryu Karate-Do training and developed it further so as to progress the Style. I developed what is referred to as ‘Hard-Soft Body Manipulation’ (剛柔体操 - Go Ju Tai Misao)! This is sometimes referred to as ‘Goju Body Mechanics’. This is a development within Goju Ryu Karate-Do that all of our students a) learn and b) perform – at the beginning of each public training session held in a Dojo. (The same situation applies to closed ‘private’ lessons where groups of students are training in a Dojo). Miyagi Chojun always followed the same training habits as his teacher Higaonna Kanryo (learned in China) - which involved the performing of the ‘Sanchin’ (Hourglass), ‘Shiko’ (Horse-Square) and ‘Nekoashi’ (Cat) Stances as ‘warm-up’ techniques. Miyagi Chojun was very strict when teaching these stances and would shout very loudly at the beginning of a training session to encourage the flow of energy and attentiveness of a student! The stance work teaches how to drop the bodyweight correctly, how to stand ‘still’ (rooted to the spot) and how to project the rebounding force forward and back correctly. Whilst practicing kata, Miyagi Chojun stated that each Kata possesses various (inherent) characteristics - such as how to stand, how to use the hands, how to use the legs and feet to kick correctly and how to move in any direction properly amongst many other important attributes. I was told to think carefully about what the concept of each individual Kata meant - and how each individual movement within each Kata should be accurately interpreted and performed. A defining aspect of Goju Ryu Karate-Do is that ‘distance’ is rapidly closed from ‘far’ to ‘near’ in a manner that exposes the opponent to danger whilst keeping the practitioner (traversing the ‘distance’) safely protect (through a superior technical positioning). This means that although there are variations and contradictions within the Kata movements of Goju Ryu Karate-Do – the emphasis is always upon ‘closing’ the distance and engaging the opponent with effective (and devastating) close-quarter-combat. The opponent is inundated and overcome with a variety of rapidly deliver and perfectly timed (powerful) martial interactions – involving the effective movement of the arms, legs and torso, etc. The movements, although ‘attacking’ - are delivered in such a manner that ensures the Goju Ryu Karate-Do practitioner is ‘safe’ whilst inhabiting the quiet ‘centre’ inherent within each set of movements. Quite often, words do not convey the totality of the defining principles of Goju Ryu Karate-Do – but words do serve an important supporting role in the teaching process. Obviously, individuals will understand what is said and taught to them according to their age, maturity and level of experience. This is why an effective teacher understands this and applies the teachings of Goju Ryu Karate-Do according to the level of awareness that a student brings with them into the Dojo. After-all, a good teacher is able to produce an equally good and effective student. When Master Miyagi Chojun passed away in 1953, I (Miyagi Takashi) was recognised throughout the Miyagi Clan in Okinawa as the true ‘Inheritor’ of the Goju Ryu Karate-Do ‘Lineage’. This is the ‘Family’ lineage which is separate and distinct from those other numerous ‘lineages’ transmitted ‘outside’ the family. The ‘Family’ transmission represents the ‘internal’ lineage – whilst all the other transmissions are representative of the ‘external’ lineage. This does not imply that one transmission is better or worse – but rather merely ‘different’. In the ‘Name Temple’ the pictures and the urns holding the cremated remains of the Miyagi Family are obvious for all to see (stretching back hundreds of years). I am part of this ‘Family’ transmission – whilst all those sharing in the ‘external’ transmissions have their own ‘family’ lineages that are separate and distinct (and all equally valid in their own right). Furthermore, it used to be that the ‘internal’ (Family) transmission was only taught (privately) within the family – whilst the ‘external’ lineages were public – but today, generally speaking, ALL ‘lineages’ are publicly taught to anyone who wants to learn. As for myself, I developed the ‘Komeikan’ (‘Transmitting Brilliance Training Hall’) during my time living in Tokyo to teach Goju Ryu Karate-Do (from 1951 onwards) to the general public as the only representative of the Miyagi Family. I have conveyed the teaching of my father – Miyagi Chojun – in a logical and correct manner, whilst also adding my own understanding. This is a process of evolution encouraged by both Higaonna Kanryo and Miyagi Chojun. Tradition is protected and conveyed through a process of continuous and relevant improvement.’ Japanese Source Article: 空手道剛柔流宗家として 剛柔流開祖宮城長順の長男として1919年(大正10年)8月那覇市に生まれた私は、幼少のころより師父の空手道人生と歩を一にしてきた。日常生活のなかで教えてくれた「手」の使い方、「足」の使い方、あるいは道を歩くときの注意、傘の持ち方等々、それら一つひとつが空手道における身体と精神の在り方の教訓であった。師父は人との交際も広く、沖縄在住の高名な方々や沖縄に来られた軍人や文人の方々について私によく語ってくれた。師父は、そうした広い交際をとおして、いわば教養人でもあった。私は常に師父の傍らに居ることで、その生活に溶け込んだ空手道精神と、その人生観、人格から多くを学ぶことができた。
私が京都の武道専門学校の夏期講習で剣道を修めたのも師父の奨めであった。この剣道修行は、私の空手道修行に新たな眼を開かせてくれ、掛かり稽古をはじめとした剣道の修練方法は、後の私の空手道指導法に大いに役立った。 師父の私への指導は、「予備運動」をまず徹底してやることだった。私はこの予備運動を「剛柔体操」と名づけ、 弟子たちの修練の最初に必ず行わせている。師父はまた、サンチン立ち、四股立ち、猫足立ち、前屈立ちなど立ち方をしっかり定義付け、非常にやかましく指導した。形の修練では、形の中にそれぞれ、立ち方、手の使い方、蹴り足の使い方、演武の方向などの様々な特徴があり、それらがどういう意味をもっているか、よくよく考えて修練するように言われた。 剛柔流空手道の形においては接近戦における妙技が至るところにある。これらはことばでもって十分に説明できるものではない。どう理解するかは修練者の武才というものもあるだろうが、やはり空手道の修練には良き師を得てはじめて真の空手道を会得するものであると思う。 私は師父宮城長順の死去により、空手道剛柔流宗家を受け継ぎ、空手道剛柔流宗家講明館を開設、講明館館長として東京において空手道の指導にあたってきた。私の指導法は、開祖宮城長順の指導法と指導精神を基礎に、戦後、私が考案した指導法の実際を取り入れて行っている。 Miyagi Takashi [宮城敬] (1919-2008): Establishing ‘Komeikan’ and Guiding Principles! (17.10.2022)10/17/2022 ‘It was around 1951, when I started teaching Goju Ryu Karate-Do in Tokyo (Mainland Japan). Immediately after WWII, there was a trend throughout Japan for Karate-Do to be firmly separated and divided into distinct ‘Styles’ - each with its own clear ‘lineage’ of teachers traceable all the way back into history - to a definite origination. National organisations were quickly formed, and this led to local branches throughout the entirety of Japan! An important element of this process involved the development and consolidation of Karate-Do training halls established throughout all Universities, Colleges and Schools, etc - forming a firm foundation of Karate-Do throughout Japanese culture. This was the start of modern Karate-Do seen not only throughout Japan – but also throughout the world! During this period, I received many requests to join various Karate-Do organisations, but I did not agree with much of the guiding principles or definitions that I was told. Instead, I independently formed the umbrella organisation of the Japan Goju Ryu Karate-Do Federation. This allowed a broad platform for a wide range of people to join and gather to train within Goju Ryu Karate-Do – but within this I also established the ‘Goju Ryu Family Head Brilliant Transmission Training Hall’ (剛柔流空手道宗家講明館 - Go Ju Ryu Kara Te Do So Ke Ko Mei Kan). The latter sub-group was designed to be very strict, narrow and highly disciplined with an exclusive membership. Together, this foundation served the basis through which I decided to teach Goju Ryu Karate-Do. During 1963 (Showa 38), I published two books which expressed this ‘external’ and ‘internal’ approach to my Goju Ryu teaching: a) ‘Karate-Do – How to Enjoy Practice’ (空手道の楽しみ方) - External b) ‘Orthodox Karate-Do – An Introduction’ (正統 空手道入門) - Internal This is how the Miyagi Family lineage of Goju Ryu Karate-Do was able to progress further and beyond its physical training centres! Individuals who lived a long distance from our training halls were able to pick-up these books and learn about our presence! This led to our group being contacted by NHK TV to enquire if I would participate in a filmed documentary entitled ‘Contemporary Record of Spiritual Revival’ (現代の記録・精神復興) - which was eventually broadcast TV on February 1st, 1964! In this documentary I was filmed practicing ‘Sanchin’ and ‘Seipai’ Katas! Around this time, the Nippon Budokan (日本武道館) was also established, whilst the issue of developing human resources was being addressed throughout a reconstructing Japanese society! The purpose of this programme with regard to Karate-Do was to explore the spiritual aspects of Japanese martial arts. Due to this influence, in 1966 (Showa 41), I set-up a Dojo in Kunitachi City, (Tokyo) and settled-down and started teaching Karate-Do in earnest. My teacher was my father – Miyagi Chojun. I was taught the ‘external’, ‘internal’ and ‘integrated’ path of Goju Ryu Karate-Do. This martial path has its roots within Higaonna Naha-Te – which was heavily influenced by Fujian White Crane Fist from China! All this was conveyed to me by my father and this education established the guiding principles through which I teach Goju Ryu Karate-Do. This is the ‘spirit’ of Karate-Do which must be maintained at all times through the replication (from one generation to the next) of the exact and correct physical Karate-Do techniques! Without this sound foundation the mind and body cannot be properly prepared so that effective offensive and defensive techniques can be correctly conveyed, learned and reproduced on the physical plane. The mind must be strengthened, expanded and freed from the dominance of the body – but this can only be achieved by disciplining the body so that the mind can be freed. When the body is properly positioned and perceived – the mind and body enter a new dimension of existence. Although Karate-Do has spread all over the world – I do not agree with sport Karate – which is a deviation away from the true ‘spirit’ of Karate-Do. It sets the wrong example and strengthens the very ego proper Karate-Do is designed to overcome! We must preserve the ‘spirit’ which manifests through the correctly performed physical techniques of Karate-Do! There should be NO fabricated ‘competition’ between individuals as this is the cultivation of pointless aggression! The only competition is between our conditioned minds and bodies – with our training colleagues conspiring to help us on our journey (and we on theirs)! The worst example of this development is ‘Kata’ competitions – where all the traditional purpose and value of a Kata is removed and replaced simply to ‘entertain’ an audience to win a pointless medal! To gain these awards – we lose the ‘spirit’ of genuine Karate-Do. The true purpose of Kata is being abandoned as each generation loses vital elements of the Kata passed on from China to Okinawa! Karate-Do begins and end with Kata and I would ask all the modern Karate-Do practitioners, Referees and other professionals to ‘think’ about this situation and perhaps assist one another in preserving the genuine spirit of Karate-Do! Please do not demean your sacred martial art – as untold numbers of people have suffered in the past to learn, preserve and pass on genuine Japanese martial arts!’ Japanese Language Source: 講明館の設立と指導理念 私が東京で空手道を指導し始めたのは昭和26年ごろである。戦後いち早く、わが国の空手道界では、各流派などによる団体結成の動きが見られ、また大学の空手部を中心とした連盟が結成されるなど、今日見られるように全国的な発展へつながっていったわけである。その間、私のもとに団体設立のために参加を求める声が何度もあった。しかし、私はどうもその在り方に同調できないでいた。私は独自に日本空手道剛柔流連盟を結成、剛柔流空手道宗家講明館を設立し、そこを本拠に指導に当たることにしたのである。
1963年(昭和38年)に空手道の初心者向けに『空手道の楽しみ方』や『正統 空手道入門』を出版、正しい空手道の学び方を世に問うた。また、NHKから請われ1964年2月1日放映の教育テレビ番組「現代の記録・精神復興」に出演し、サンチンの指導と形セーパイを演武した。このころ日本武道館の建設に着手され、「人づくり」の問題が高まっていた。日本武道の精神的なものを模索しようとしたのがこの番組の目的であった。その後、私は1966年(昭和41年)に東京・国立市に道場を構え空手道の指導に本格的にあたった。 私の指導理念は、師父宮城長順の指導法と空手道精神を基礎に、空手道本来の伝統性を維持しつつ、同時に教育的・体育的観点から身体のもつ攻防の技を自在に体得できるようにすることである。 空手道が全国的に普及したとはいえ、昨今、空手道の真の伝統性が失われ、いわゆる「競技空手」に終始した指導が見受けられるのは誠に残念である。最近は「形試合」も行われるようになったが、形の意味がわからずに演じられていたりして、形の乱れが目に付くものもある。したがって試合の審判方法と各流派の形についての研究をもっと真剣に行うべきだと思う。「形に始まり形に終わる」という空手道修行の警句を忘れてはならない。 Dear Tony I translated this interesting text: 'Komeikan was founded in 1955 by the eldest son of Miyagi Chojun (1888-1953) - the founder of Goju Ryu Karate-Do. The eldest son - Miyagi Takashi (1919-2008) was the 2nd Head of Goju Ryu (afer his father) - and founded this organisation on the 2nd anniversary of the passing of Miyagi Chojun in 1953 (Showa 30). The organisation was called '講明' (Ko Mei) or 'Transmit Brilliance' - technically the full name being 'Transmit Brilliance Training Hall' (講明館 - Ko Mei Kan). The purpose of this organisation is to penetrate and clarify the origin and meaning of the 'essence' of the Goju Ryu Karate-Do Style! This knowledge is used to enhance 'how' and 'why' Goju Ryu Karate-Do is practiced within the modern world! As this is the only genuine lineage - Miyagi Takashi carried on his father's legacy until he passed away at the age of 89! He practiced Goju Ryu Karate-Do to maintain his own health, demonstrating its benefits as a mental and physical discipline. As for myself, I am the 3rd Head of Goju Ryu Karate-Do - the grandson of Miyagi Chojun - and my name is Miyagi Toru. It is my duty to carry on the genuine Goju Ryu Karate-Do lineage! Miyagi Chojun taught the 'Hard', 'Soft' and 'Integrated' Way which he learned from Higaonna Kanryo (1853-1915). What was passed-on from the origins in China is the need for 'logic' and 'reason'. Every purpose must be clearly understood, fully comprehended and correctly practiced. At the 'Komeikan' we work hard to combine 'tradition' with 'modernity' so that there is no contradiction between the past, the present and the future! We use body conditioning, basic technique, Kata and Kumite! Komeikan Director: Miyagi Toru - EMAIL: info@goju-karatedo.com 講明館館長から
講明館は、空手道剛柔流の開祖宮城長順(1888-1953年)の長男で宗家2代目の宮城敬(1919-2008年)が1955年(昭和30年)の開祖三回忌を機に命名、設立されました。「講明」とは意義を説き明かすこと、事理を講究し明らめることという意味です。 師父亡き後、敬は空手の道を講究しその真理を明らかにせんと研鑽を重ね、開祖の指導理念の基に正統剛柔流の普及に一生を捧げました。89歳で逝去するまで自身の健康維持に空手道を実践、精神的・肉体的鍛錬法として、その利点を明らかにしてきました。 私の祖父である開祖長順は沖縄の伝統「手」を近代空手道として確立しようと、それまで秘密裏に一部の人に口伝とされてきた技のすべてを、「理」にかなった身体動作として厳密に定義づけ、「剛柔」の哲理で攻防自在の「手の道」を説きました。 空手道修練で私がいつも心がけていることが、この「理にかなっている」ということです。宗家剛柔流講明館では、予備運動(剛柔体操)から形の演武、そして組手までのあらゆる稽古を通し、「伝統と創造」をテーマに稽古に励んでおります。 講明館館長 宮城 徹 Translator’s Note: This version of history is different from the 1989 declaration in China that ‘Ryu Ryu Ko’ (the ‘teacher’ of Higaonna Kanryo) was in fact ‘Xie Chongxiang’ (謝崇祥) [1852-1930] - known locally as ‘Ru Ru Ge’, ‘Ru Ru Shi’ and ‘Ru Shi’, etc. In many texts, this well-known White Crane Fist teacher is known as ‘Xie Ru Ru’ (谢如如). The ‘International Okinawa Goju Ryu Karate-Do Federation’ (IOGKF) - formerly led by Higaonna Morio (who has recently rescinded control) – does not accept this research. This is because this organisation has a different version of historical events – which I present below in English translation. For those fully aware and accepting of the ‘Xie Chongxiang’ identification – the following will explain ’why’ the IOGKF does not adhere to this narrative. From a purely historical perspective, the discrepancies of interpretation are interesting. An important contextual point to bear in mind is that by 1915 - it would have been thirty-four years since Higaonna Kanryo left China in 1881 - with Ryo Ryo Ko presumably ‘dying’ not long after this date. The glaring contradiction is that in 1915 - Miyagi Chojun (whilst visiting Fuzhou) - was shown the 'Tomb' of 'Ryu Ryu Ko' whilst 'Xie Chongxiang' was still alive! ACW (30.9.2022) During May 1915, Miyagi Chojun and Nakamoto Hideyoshi (仲本英炤) - the latter also being a prominent Okinawan martial artist – travelled together to the Fuzhou area of China’s Fujian province! By this time – the Grand Master Ryo Ryo Ko – had long been deceased. As the ‘Chief Disciple’ of Higaonna Kanryo, however, Miyagi Chojun attempted to gain access to the surviving family and martial lineage descendants of ‘Master Liu’ (刘氏 - Liu Shi). This is described as Miyagi Chojun attempting to successfully ‘gain entry’ to the ‘Liu Gate’ (师门 - Liu Men) - despite Master Liu having been deceased for quite some time. Miyagi Chojun, however, discovered that most of the members of the ‘Liu’ family (and his martial ‘lineage’ disciples) had moved out of the Fuzhou area – due to warfare. Those still living in the area were elderly people of the same generation as Higaonna Kanryo. The Senior (elderly) ‘Liu’ disciple still remaining (and who could remember Higaonna Kanryo) led Miyagi Chojun (and his group) to the Tomb (墓 - Mu) of ‘Master Liu’ (ルールーコウ- Ryū Ryū Ko) so that the ritual of Confucian ‘respect’ (拜祭 - Bai Ji) could be correctly performed. After this duty was completed – Miyagi Chojun was then taken to the place where Higaonna Kanryo used to practice martial arts. During October 1915, Higaonna Kanryo gathered his students and disciples together in Okinawa and formally announced that ‘Miyagi Chojun’ was chosen as his official ‘lineage’ descendent and successor! Miyagi Chojun spent thirteen-years training under Master Higaonna Kanryo’s guidance (1902-1915). As the teaching of Higaonna Kanryo was so strict – Miyagi Chojun was the only student to train for such a long and sustained period of time! This made Miyagi Chojun the ‘Chief’ disciple amongst the many that trained – and the ‘Leading’ disciple of the Higaonna Naha-Te tradition! Miyagi Chojun remained entirely loyal to Higaonna Kanryo until his passing – and then preserved his memory without hesitation. During 1916, as the ‘lineage’ inheritor of Higaonna Kanryo – Miyagi Chojun experienced his first occasion of ‘hosting’ visitors from Fuzhou! These people were Chinese martial artists visiting Okinawa to pay their respect to the ‘lineage’ of Higaonna Kanryo (which had been transmitted from Fuzhou to Ryukyu). As ‘lineage’ inheritor – the respect expressed for Higaonna Kanryo (when not directed to his Tomb or living Higaonna family members) was directed toward Miyagi Chojun himself – who was responsible for all the arrangements of these visits. On July 2nd, 1917, Miyagi Chojun (accompanied by ‘Wu Xiangui’ [吳賢貴] as translator), left Okinawa to visit Fuzhou to carry-out further research into the local martial arts practiced there. This included the ‘六机手’ (Liu Ju Shou) or ‘Rokuki’ (‘Six Weaving Hands’) technique - which later evolved into the ‘Tensho’ (転掌) Kata – translating as ‘turning’, ‘evading’ or ‘entwining’ - ‘hands’. Miyagi Chojun also began to study the Chinese manual entitled ‘武备志’ (Wu Bei Zhi) or ‘Military Preparation Record’ at this time. He also started to develop various patterns of martial movements to assist students in their daily practice. Chinese Language Source: 作者:猫爷习 https://www.bilibili.com/read/cv1652712/ 出处:bilibili
宫城长顺先生生平介绍(转载) 1915年5月,宫城长顺先生与仲本英炤氏前往福州,以首席弟子的身份福州拜见刘氏师门后人。在福州宫城长顺先生发现刘氏门人因战乱大多已迁离福州,唯独留 下几位与东恩纳宽量先生同辈份的上年人。门人领着宫城长顺先生一行人去到刘氏( ルールーコウ,Ryū RyūKo)之墓拜祭以及去昔日东恩纳宽量先生习武之旧址。 1915年10月,東恩纳寛量先生临终前向门下学生正式宣布宫城长顺先生为他的继承者。宫城长顺先生在东恩纳宽量先生门下一共十三年,直到东恩纳宽量先生过世为止,是东恩纳宽量先生门下学武时间最久的弟子也是東恩纳寛量先生的首席弟子。 其师过世后,1916年里宫城长顺在冲绳正式以继承人的身份首次接待了来访的福州的武术家。1917年7月2日,宫城长顺先生带着吳賢貴氏作为翻译回福州去视察研究当地武术。包括对六机手,武备志等的研究在此事开始。大概此时他也开始设计练习时的预备运动(准备运动)。 Person Featured: Adrian Chan-Wyles Age: 20-years-old Location: Back Garden - 29 Siddalls Gardens, Tiverton, Devon EX16 6DG Time of Year: Late Summer - August-September Year: c. 1987 Photographer: Cousin visiting from Oxford - with her family. I would often practice Shukokai Karate-Do (and our Chinese gongfu family style) in the back garden of my parental home during the Summer Holidays of the academic year (when I was studying at college in Hereford). Master Chan Tin Sang (1924-1993) had given me the task of surreptitiously practicing various lineages of Japanese Karate-Do and studying the Chinese cultural origins of these martial arts! My cousin caught me performing the various 'Katas' - the 'middle' photograph is 'Yoi' in Japanese Karate-Do - or the 'Ready' and 'Alert' posture and attitude assumed prior to (and after completing) the performance of the various 'Pinan' Katas - and then carried-on watching whilst I performed the Chinese gongfu 'Basic Form One' [小形一 - Xiao Xing Yi] (the 'lower-block' performed in 'Horse Stance' in the third photograph on the right) - and the 'flying front-kick' found in the '3rd Advanced Form' (離拳- Li Quan) from our Longfist style (first photograph on the left)! From 1983-1984 I practiced one-year of Wado Kai (Southern Karate-Do) in Reigate and Redhill, I then trained in the Shukokai Karate-Do Federation (SKF) between 1984-1987, and then Okinawan Goju Ryu Karate-Do (1987-1989) - both in Hereford. I also occasionally trained in the odd Dojo here and there around Devon (usually 'Shotokan') and I trained in Goju Ryu in Finchley (North London) a few times. However, as I matured and my mind and body developed into the inner and outer structures required by our family (Hakka) gongfu style - my experiment with other martial arts ended around 1993 as I started moving out of my youthful days. Eventually, once a style is properly practiced - then the inner (chemical) and outer (physical) body transforms into the 'shape' the style requires so that the correct 'functions' (or 'techniques') are developed. This means that eventually the techniques of other styles cannot be practiced in a deep or fundamental manner as the building blocks are completely different. Of course, this does not mean that nothing can be learned from other styles - but the profound knowledge must be transformed (or 'translated') into the dialectical language of the style that has been regularly practiced. In other words, when traditional martial arts are practiced over long periods of time - the inner and outer mind and body 'change' due to the continuous effort being exerted in a particular direction. When young, however, the energy channels in the body are still malleable and flexible - but this changes with age and experience.
Dear Tony
Chinese Language: Saifa = Lion Law '碎破的SAIFA发音,其实是福建话当中的『狮法』, 除了隐喻这个套型有著狮子般的战斗动作外,其实仔细看本套型的动作,也会发觉它的动作构成与『狮阵』、『弄狮』的招式颇为类似,我曾经学习过台湾狮阵拳术当中的『狮战拳』也与这个『狮法』颇为类似!' As Fuzhou exists in Southeast Fujian province, I am assuming that the dialect spoken when Higaonna Kanryo was taught gongfu - was a version of South Hokkien (Min Nan). Kata Preserved in Okinawa = 'Saifa' Chinese Ideograms: 碎 (sui4) 破 (po4) Translation = Shatter - Break (Tear) Fujian - Hokkien = Sui Pho Alternative Name 'Shi Fa': Chinese Ideograms = 狮 (shi1) 法 (fa3) Fujian - Hokkien = Sai Hoat Ten Logical Arguments Against this Theory: 1) Miyagi Chojun possessed 'inside' knowledge regarding Higaonna Kanryo's gongfu transmission from China and said nothing about this. 2) Contained in both ideograms of the 'Saifa' (碎破) Kata title is the left-hand particle of '石' (shi2). This is a 'rock' perched on the edge of a cliff - before it suddenly drops - generating tremendous power! Many movements in the Saifa Kata generate power by 'dropping' the bodyweight (together with the depth and width of stance). I believe the secret to Goju Ryu power production lies in these ideograms and that they are 'correct'. 3) This situation is exemplified by the fact that Miyagi Chojun used the first ideogram of 'Saifa' (碎 - sui4) as the 'second' ideogram of his 'Geksai' (击碎) Katas. a) Saifa = 碎破 b) Geksai = 击碎 4) If 'Saifa' really derived from the 'Lion Law' - why did Miyagi Chojun not use the '狮' (shi1) - or 'Lion' - ideogram in 'Geksai' and project a greater sense of tradition into his new creation? This would have read '击狮' (Gekshi) and translate as 'Strike Lion'! 5) The ideogram '破' (po4) - even if replaced with the ideogram '法' (fa3) - has no correlation with the Hokkien 'Hoat' pronunciation of the latter ideogram. 6) The second ideogram of 'Saifa' is '破' (po4) - whereas the title of the Goju Ryu Kata 'Kururunfa' (久留顿破) - also uses '破' (po4) as its final ideogram. a) 久 (jiu3) - Hokkien (Ku) = Long (Duration) b) 留 (liu2) - Hokkien (Liu) = Hold (Detain) c) 顿 (dun4) - Hokkien (Tun) = Sudden (Abrupt) d) 破 (po4) - Hokkiem (Pho) = Break (Tear) 7) If the logic of the 'Saifa = Lion Law' argument is retained for a moment, then the final ideogram of 'Kururunfa' which is '破' (po4) - should be replaced with the alternative ideogram of '法' (fa3). 8) The Kata name 'Kururunfa' would then be spelt '久留顿法' and mean 'Long Hold Sudden Law'. 9) The argument seems to be that the ideogram '碎' (sui4) [shatter] should be replaced with the ideogram '狮' (shi1) [lion] simply upon the grounds that the latter is pronounced 'sai' in Hokkien! Furthermore, the ideogram '破' (po4) [break] should be done away with altogether and replaced with the ideogram '法' (fa3 [law] - whilst retaining its (Putonghua-Mandarin) pronunciation of 'fa' and quietly laying to one side its Hokkien rendering of 'hoat'! This all seems very selective and designed to take advantage of a Western lack of experience with the Chinese language. 10) There seems to be a trade in dubious styles all referring to themselves as being various incarnations of the 'Lion' in Taiwan - all competing for Western money and diverting the onus for Goju Ryu enthusiasts away from Mainland China and onto Taiwan (The Chinese language author above states that he has attended a number of different classes of various 'Lion' styles whilst visiting Taiwan). Higaonna Morio is very popular in Mainland China and the 'Saifa = Lion Law' phenomenon appears to be as political as it is unconvincing. All Chinese gongfu was banned in Taiwan between 1895-1945 - whilst the KMT destroyed the Shaolin Temple in 1928 due to Chiang Kai-Shek preferring Christianity, etc. Author’s Note: I am of the opinion that the Chinese language term ‘Tang Shou’ (唐手) or ‘Tang Hand’ refers to the totality of the perfected cultural production that was the Tang Dynasty of ancient China! As such, the term ‘Tang Shou’ (唐手) does not – and was never intended – to refer to a school (or system) of Chinese martial arts! In other words, the product being received (Chinese martial arts) - became confused (and conflated) with the culturally defined transmission process (Chinese treasure fleets)! The fact that this confusion has entered into Western discourse as such, represents an error in historical interpretation that must be ironed-out if the genuine history of Karate-Do is to be ascertained. The Karate-Do of Okinawa (and Japan) possesses ‘many histories’ and this article intends to clarify and rectify a problem with historical interpretation relating to perhaps the ‘first transmission’ of Chinese martial arts to the Ryukyu Islands. This process was probably enhanced by the fact the Japanese government sent at least fifteen cultural missions of its own to Tang Dynasty China between 630-894 CE! Until evidence suggests otherwise, I am of the opinion that the earliest martial transmission occurred between the 7th and 10th centuries CE, and comprised of Chinese envoys travelling to Ryukyu and teaching the inhabitants, and various Japanese citizens visiting China, learning whatever martial arts were available and bringing this body of knowledge back to Japan! . Whether any of this initial transmission survives in the diverse modern-day Karate-Do (or Okinawan ‘Te’) techniques (or ‘Kata’) is a matter of interesting conjecture. My personal belief is that it does. As for the meaning of the Chinese ideogram ‘唐’ (tang2) - it is comprised of the following components: Upper Particle = 广 (guang3) - broad, wide, extensive and vast. Middle Particle = 肀 (yu4) - to write with a brush. Lower Particle = 口 (kou3) - to speak, announce and to order. This would suggest that the Tang (唐) Dynasty defined itself through its intention (and ability) to develop, maintain, preserve, spread and share what its exponents believed to be its vastly superior culture! The Tang Dynasty possessed the ability to grow vast forests, harvest the wood in a sustainable manner, build vast armadas of ships, staff those ships with hundreds of suitably trained and qualified people and then fill the holds of these ships with all kinds of cultural treasures intended to enrich and inspire the people living in all the discoverable areas outside of the geographical China! I think this interpretation supports my idea that ‘Tang Shou’ (唐手) does not represent the name of a particular style of Chinese martial arts, but rather is a collective term encompassing all the cultural crafts, artifacts and abilities that the skilled people of the Tang Dynasty could produce! ACW (28.8.2022) Chinese language historical encyclopaedias record a number of diplomatic missions between Tang Dynasty China and the Ryukyu Islands – with the Ryukyu Kingdom being a considered as a tributary State of China (alongside ‘Kyushu’ and other places). As part of these missions, Chinese Envoys conveyed various types of armed and unarmed martial arts to the people of the Ryukyu and Kyushu Islands as a ‘gift’ from the emperor of China (records also discuss similar missions to ‘Honshu’ or the Japanese Mainland as in those days the Japanese Authorities encouraged interaction between its own citizens and Chinese people – encouraging as much learning of Chinese culture as was possible). The Chinese martial arts conveyed were part of the general Chinese missions which were known as ‘Chinese Hand’ (唐手 - Tang Shou) - a term used to refer to the spread of a broad array of Chinese culture. Overtime, the term ‘Chinese Hand’ (唐手 - Tang Shou) lost the meaning pertaining to the act of spreading a general body of Chinese cultural information – and came instead to be associated only with the one element of that transmission – namely the ‘martial’. In other words, in and of itself, ‘Chinese Hand’ (唐手 - Tang Shou) should not (and does not) refer to the practice of Chinese martial arts – even though it has become synonymous with the historical analysis of the Okinawan and Japanese martial art now known today as ‘Karate-Do’. The cultures of Kyushu and Ryukyu already possessed their own indigenous martial arts traditions (distinct from those found in China or Mainland Japan) during the time of the Tang Dynasty. These local fighting traditions began the process of ‘integrating’ with (and slowly transforming) the transmitted Chinese martial arts – often developing and changing the original structure and purpose. As these Chinese martial arts arrived as part of a greater cultural gift transmitted by the Tang Dynasty – this explains why these diverse fighting systems became known by the general name of ‘Tang Shou’ (唐手) - with ‘Tang’ (唐) being used to denote ‘China’ in general, but also the ‘ruling’ Dynasty during which time the transmission is believed to have occurred! If the martial art referred to was transmitted during the Song (宋), Yuan (元), Ming (明) or even Qing (清) eras – then logic dictates that the fighting systems in question would have been named after those Dynasties! This thinking holds true, even if these Chinese martial arts were part of much broader Chinese cultural exchanges! Another point to consider is the use of the ideogram ‘手’ (shou3) - literally denoting an ‘open’ hand (with four fingers and thumb being present) - which in and of itself does not represent anything particularly ‘martial’ within Chinese fighting culture! Indeed, when combined with the ideogram ‘高’ (gao1) - as in ‘高手’ (Gao Shou) - the concept of ‘expert master’ is formed! This is someone who possesses a ‘greater perception’ because they have attained a ‘higher point of view’ and are able to ‘act’ in the physical world by using their ‘hands’ (and by logical implication - the rest of their body) to perform a superior type of transformative labour, which progressively alters the human world! Therefore, whereas ‘高手’ (Gao Shou) implies an exceptional (individual) being who possesses the ability to transform the world through the use of their superior action (in whatever form) – when the term ‘Tang Shou’ (唐手) is used, I believe it refers to the culture of the ‘Tang Dynasty’ in general, elements of which were exported out of the geographical boundaries of what we would now term ‘China’ - as part of various diplomatic missions to other parts of the world (effectively spreading Confucian spiritual and material culture). Chinese martial arts may well have comprised part of these so-called ‘civilising’ gifts – but the martial arts themselves would not have originally been termed ‘Tang Shou’ (唐手) - but held this title only in the sense of being transmitted as a ‘gift’. The Chinese diplomatic mission would have been termed ‘Tang Shou’ (唐手) - comprising of thousands of different aspects of Chinese culture – with martial arts representing just one aspect. In general, a physical art designed for martial purposes would be designated within Chinese cultural parlance by the term ‘拳’ (quan2). To understand why this ideogram denotes a ‘closed’ or ‘clenched’ fist, its structure must be examined in greater detail. At the start, it is important to understand that the ideogram ‘拳’ does contain the ideogram ‘手’ (shou3) - but only as a modified particle, the reasons for which I shall now explain. The ideogram ‘拳’ (quan2) is comprised of the following constituent parts: Top Particle (Phonetic) = ‘龹’ which is a contraction of ‘𢍏’ (juan4) - to roll rice into a ball. Lower Particle (Compound) = ‘手’ (shou3) - an open hand with four fingers and a thumb. The key to transforming ‘an open-hand to a closed-hand' lies in the inherent meaning of the upper particle ‘𢍏’ (juan4): Top Particle = 釆 (bian4) - sorting rice, distinguishing and discriminating. Lower Particle = 廾 (gong3) - two hands pushing outward, bowing in salute and to surround and encircle. We may then state that ‘拳’ (quan2) a hand is ‘closed’ or ‘clenched’ (although not necessarily with ‘force’), so that rice may be mixed, separated and rolled into balls. A hand maybe ‘closed’ but at the same time it possesses a tremendous skill which differentiates between every action that must be carried-out and performed! At the highest level of martial arts mastery, the ‘closed’ hand remains ‘relaxed’ even when ‘closed’ - as the bone structure is held perfectly aligned without undue effort – so that bodyweight can be effortless transmitted without hindrance through it and into the opponent. The bodyweight of the opponent can also be ‘borrowed’ temporarily by allowing it to enter the aligned bone structure before ‘ejecting’ it out of the fist with tremendous penetrative force! If the Tang Dynasty Authorities intended for the martial arts to be named after themselves (which I doubt), then they would have used a term such as ‘Tang Quan’ (唐拳) - or ‘Tang Fist’. More to the point, when emperors and officials did develop systems of martial arts – they usually gave it their own personal names! Dear Tony (Sensei)
I hope that you and your family are well. What follows is the fruit of my most recent labours on this path of research! Memories of My Esteemed Master - Mr Miyagi Chojun [1] By Master Nakaima Genkai (仲井真元楷) {1908-1984} [2] I took my time over this and tried to extract as much meaning as possible. This is a Chinese translation (word for word) of the original Japanese language text. The Chinese author - Mr Wang Biandou - is a Karate practitioner in China. Now, he got this article from a 1978 Japanese language magazine that once featured Okinawan Karate-Do Masters (I believe Mr Wang possesses a copy of this magazine). I know that in 2008 a Japanese person made a 'word for word' English translation - but Mr Wang's Chinese version has 14 footnotes that he added that contain very interesting extra historical data about training with Miyagi Chojun! A colleague in China found a photograph of Okinawan people practicing martial arts in the open dated to the late 1800s! A Japanese friend of mine provided the impressive photograph of Master Nakaima Genkai! With Respect Adrian Global Kungfu Network Editor: Yang Yanfang (林竞峰) "Everyone who earns the black belt must do promotional work - which is an obligation to your art - and it doesn't matter if your financial conditions are good or not!’ Lin Jingfeng, 65 (as of 2012), is the Head Coach of the China Region of the International Okinawa Goju Ryu Karate Federation. He is also the Vice President of the Zhuhai Karate Association and all year round he is travelling and teaching in Zhuhai, Guangzhou, Changsha and Hong Kong. On April 6th, 2012, he sat down with reporters at the karate Dojo situated in the Zhuhai Sports Centre. Lin Jingfeng is a native of Hong Kong – but he speaks Putonghua very well. He is of medium stature, but he is very stocky. In his conversation, he appears to be kind, humble and very modest. He started to learn karate at the age of 15, got the first black belt at the age of 19, and is now an internationally recognized 6th Dan teacher. He told us that the journey went smoothly. He was part of the first batch of (Chinese) people to learn karate in Hong Kong, and also amongst the first group to successfully pass a black belt grading. When we first saw him, the scars on his arms and feet caught our attention, but his secretary told us that it was not the result of injuries, but an allergy to herbs. Lin Jingfeng said, in fact, when practicing karate it is easy to get injured, but he rarely gets hurt himself. This was done when he was practicing striking the sandbag. He was fine, but he used healing herbs on the cuts, grazes and bruises, but the allergies became what they are now. When he was teaching Goju Ryu in the Hong Kong Karate Association, many people in the class were seriously injured and they often had to call an ambulance after each session! Due to the realistic, tough and rough nature of Goju Ryu training - when the ambulance arrived and saw the wounded all over the floor – they did not know who to treat first! Part of the problem was calling an ambulance every 15 minutes due to yet another failed challenge match between a local fighter and one of our more talented Goju Ryu fighter! Things got so bad that the local hospital contacted the police – who launched an investigation – believing there was illicit or underground fighting for money going on! Later, Lin Jingfeng went to Japan, where he was taught the orthodox Goju Ryu karate by Miyagi Anichi Shifu - the brother-in-law of the former ancestral inheritor Miyagi Chojun! Lin Jingfeng told us that there are only four main styles of karate in Japan. As one of them, the Goju Ryu style of karate is mainly characterized by relatively small, circular and direct movements which are good at close-range defending and attacking. During 1980, he was instructed by his Master to travel to Fuzhu (in Fujian province) to seek-out the ancestral ‘Chinese’ martial arts styles that form the foundation of Goju Ryu Karate-Do. In other words, those Chinese martial arts styles which advocate and blend the mastery of yin and yang in their attacking and defending techniques. In other words, Lin Lingfeng was given the task of locating the fighting styles of Fuzhou that Higaonna Kanryo (1852-1915) studied, inherited and brought back to Okinawa around 1881. He was seeking out the same ‘gate’ (门 - men) of inheritance through which Higaonna Kanryo passed all those years ago! Lin Jingfeng stated that he could not find any historical, cultural or physical evidence that matched the reality of the obviously ‘Chinese’ orientated martial techniques preserved and passed on within the Goju Ryu tradition. Instead, following this failure, he decided to re-introduce the people of Mainland China to Goju Ryu Karate-Do – which is obviously a descendant of Chinese martial arts – despite being preserved within the Okinawan area of modern Japan today! Lin Jingfeng is of the opinion that Karate-Do possesses a 600 year history in China and it is about time that Chinese people understand this important exported aspect of their historical culture! Lin Jingfeng and Zhuhai Lin Jingfeng has been in Zhuhai (Guangdong) for 6 years. In the past 10 years, he mainly stayed in Pan Yu (Fuzhou), while his family was in Hong Kong. Over the years, he has been traveling around and communicating with karate associations in other places. We located him by coincidence. It happened that Lin Jingfeng was teaching, and the students were very different in age. Lin Jingfeng told us that people are getting younger and younger – with many girls now taking-up the training! The youngest student today is only 7 years old! Indeed, he explained that traditional Goju Ryu is very intense – but he feels this attitude is not always good in the modern world! Very young children cannot participate in such a feudalistic atmosphere – and so he has toned-down the frequency of training intensity! This adjustment has made it suitable for men, women and children to practice. Now there are five dojos in Zhuhai, including Sun Yat-sen University Zhuhai Branch, Beijing Normal University, and Jinan University. Lin Jingfeng told us a short story. One of his students worked in a government Department in Doumen (斗门). After coming here to practice with his son, in a dispute over a demolition issue, the student stepped forward to quell the incident. Lin Jingfeng said that karate is not only about learning, but more importantly, after you learn it, you have to have the courage to face emergencies and use your own abilities to solve problems. At the age of 65, he has been learning karate for 50 years. He said that the learning process of karate is not as interesting or exciting as some people think – as it involves repeated, boring and arduous exercises - which test a person's skill at patiently enduring. Regarding his persistence in karate, Lin Jingfeng was very calm in his words. When he first started learning, he felt that he was too weak, but later on, there were not too many twists and turns, and he didn't think too much. He said that no matter how old he is, he will definitely be thinking about the future. It is to live to old age and to continue to learn, whilst promoting karate has become a habit. He hopes that more people can understand and learn karate. Lin Lingfeng in Profile Chen Yangdi (陈阳娣), who has been with Lin Jingfeng for quite some time as the secretary of the Zhuhai Karate Association. She came to Zhuhai from Pan Yu (in Fuzhou) with Lin Jingfeng and won the runner-up in the women's group of the ‘First Guangdong-Hong Kong-Macao Karate Competition.’ According to her, the one who defeated her at that time was the Macau representative in the last Asian Games who had won a Silver Medal in the Asian Games. As a disciple of Lin Jingfeng, Chen Yangdi said that learning karate is very hard. You have to repeat the same movements every day, and the practice is very intense. Sometimes after practice, it is difficult to walk up the stairs and hold chopsticks. However, she feels that she has become more confident and happier in her karate learning, because parents often tell her that their children have changed a lot and become more sensible since taking classes here. Chen Yangdi told us that Teacher Lin once gave the heroine - Chen Baozhu (陈宝珠) - a martial arts instruction in the movie ‘The Lady Killer’, and film and television stars Di Long (狄龙) and Liang Xiaolong (梁小龙) once learned karate in Teacher Lin's place... Lin Jingfeng interrupted her, ‘They are too popular now – perhaps we shouldn’t mention them.’ Source: Zhuhai News Network.. 林竞峰:把空手道带回中国
全球功夫网 编辑:杨艳芳 日期:2012年05月17日 “每个进入黑带的人都必须去做推广工作,这是义务,跟你经济条件好不好没关系。”现年65岁的林竞峰是国际冲绳刚柔流空手道联盟中国区的总教练,珠海市空手道协会副会长,常年奔波在珠海、广州、长沙、香港四地。4月6日,在珠海体育中心的空手道道场内,他这样告诉记者。 林竞峰是香港人,他的普通话讲的还算清楚,身材中等,但却很魁梧,谈吐之中显得为人和善、谦虚、低调。15岁就开始学习空手道,19岁拿到了黑带初段,现已经是国际公认六段师范的他告诉我们一路过来,都很顺利,他是香港第一批学空手道的人,也是第一批拿到黑带的人。 刚见到他,他手臂、脚上的疤痕引起了我们的注意,但他的秘书告诉我们,这不是伤,是对草药过敏引发的。林竞峰说,其实练空手道很容易弄伤,但自己很少受伤,这是练沙袋的时候弄的,本来没事,上了草药,结果过敏就成了现在这样,全是疤痕。当初他在香港空手道协会教课时,班上很多人受伤,每次受伤后要叫救护车,有一次救护车上来看到满地的伤员竟然不知道要抬走哪一个,最厉害的一次是每15分钟叫一次救护车,后来医院就直接报警了,以至于警察怀疑他们在斗拳。 后来,林竞峰去了日本,获巳故流祖宫城长顺的入室弟子宫城安一师范亲自教授正统的刚柔流空手道。林竞峰告诉我们,空手道在日本主要有4个流派,刚柔流作为其中的一支,主要特点在于动作比较小,主张并擅长近距离攻击。1980年受师傅嘱咐第一次来到福建福州市寻找刚柔流同门,但很可惜没有收获,后林竞峰就一直致力于在中国内地和香港推广刚柔流空手道。林竞峰告诉记者,空手道600年前是中国的武术,他的目标是,发扬空手道,并将它带回中国。 林竞峰与珠海 林竞峰来珠海已经6年了,这之前的10年,他主要待在番禺,而他的家人都在香港,这些年来,他一直奔波各地,并与其他地方的空手道协会作交流。 我们去的很巧,刚好是林竞峰在教学,学生们年纪大小跨度非常大。林竞峰告诉我们,由于现在来学习的人年纪越来越小,有个学生只有7岁,而且女生也越来越多,为了利于空手道的推广,现在他已经将空手道练习的强度适当降低,使得男女老少都适宜练习。现在在珠海包括中山大学珠海分校以及北师大、暨大在内的道场就有5个。 林竞峰给我们讲了个小故事,他的一个学生在斗门一政府部门工作,在和儿子来这练习之后,在一次关于拆迁问题引发的纠纷中,这个学生挺身而出平息了事故。林竞峰说,说空手道,不仅仅是学,更重要的是在学过之后你还要有勇气去面对突发事情,并利用自己的能力化解问题。 现年65岁的他已经学了50年的空手道了,他说,空手道的学习过程并不是想有些人想象的那样很酷,更多的是重复枯燥艰苦的练习,在中也能够锻炼一个人的耐力。对于空手道的坚持,林竞峰在言语当中表现的非常平静,刚开始学时因为觉得自己太弱,但后来一路走来中间并没有太多的波折,也没有多想,他表示自己不管年纪多大,以后肯定是活到老学到老,推广空手道变成习惯,他希望有更多的人能够了解、学习空手道。 侧面的林竞峰 一直陪在林竞峰旁边的陈阳娣是珠海市空手道协会的秘书,她随林竞峰从番禺来到了珠海,曾获得“第一届粤港澳空手道选手权”女子组的亚军,据她介绍,当时打败她的是上一届亚运会中的澳门代表,并在亚运会中获得了银牌。作为林竞峰的弟子,陈阳娣表示,学空手道很苦,每天要重复一样的动作,练习强度也很大,有时候练完之后,走楼梯,拿筷子都很困难。不过她觉得自己在空手道中学习中变得更为自信,也很开心,因为经常有家长对她说,自从在这上课之后孩子变化很大,更为懂事。 陈阳娣告诉我们,林老师曾经在电影《女杀手》里面给女主角陈宝珠做武术指导,影视明星狄龙、梁小龙曾经在林老师这学过空手道……林竞峰却打断了她的话,“他们现在太红了,这样说不太好。” 来源:珠海新闻网 |
AuthorShifu Adrian Chan-Wyles (b. 1967) - Lineage (Generational) Inheritor of the Ch'an Dao Hakka Gongfu System. |