Shanghai Karate Kobudo Bozheng (博正 ) ‘Abundant Justice’ School
Author of the original text:
Mr. Motobu [本部] (the grandson of Motobu Chaoji [本部朝基])
Mr. Motobu [本部] (the grandson of Motobu Chaoji [本部朝基])
Authorization for Reprinting and Recreation Has Been Obtained
(English Translation – Shifu Adrian Chan-Wyles PhD – 31.8.2022)
Higaonna Morio and Nakamura Tetsuji
A few days ago, I attended the Japanese Kobudo Martial Arts Conference hosted by the Nippon Budokan - and whilst watching various types of different (and diverse) martial arts being demonstrated on the big screen in the main hall - I saw Higaonna Morio (of the Okinawan Goju Ryu Karate-Do style) demonstrate the exercise known as
'Kakie' (カキエ’)!
'Kakie' (カキエ’)!
I checked the martial arts pamphlet which explained that this Okinawan Karate-Do practice is preserved only in the Goju Ryu tradition and is known in the Japanese language as ‘カキエ’ (Kakie) and described in the Chinese language as ‘靠基’ (Kao Ji) or literally ‘Support Foundation’ - but which can have many interpretations such as ‘Touch Root’ or ‘Feel Base’, etc. This term seemed to suggest a practice where two people attempt to ‘uproot’ one another moving backwards and forwards whilst touching at the wrist - simultaneously ‘negating’ one another’s attempts and maintaining their 'foundation' of balance and timing. However, I had never seen the Chinese ideogram ‘靠’ (kao4) before and so could not read it. I had to look it up an online Chinese language dictionary.
Kobayashi Ryu - Minoru Higa & Yasuo I discovered that the Chinese ideogram ‘靠’ is pronounced ‘KAO’, so when this adjustment is made to the original ‘カキエ’ (Kakie) Kanji - we arrive at the new Japanese term of ‘コウキ’ or ‘Kouki’. Now, as far as I am aware, the equivalent of Okinawan ‘カキエ’ (Kakie) practice throughout China is that of ‘Push Hands’ (推手 - Tui Shou) - but China is a vast place with thousands of different martial arts styles – some of which vary in outer expression even between Master and Disciple (for legitimate reasons that cause no trouble whatsoever)! It is the ‘inner essence’ that is the entire point of the ‘transmission’ and which must be penetrated by the disciple (rather than simply mimicking the surface structure). Therefore, there may well be a part of China where a version of ‘Push Hands’ (推手 - Tui Shou) was known as ‘Touch Base’ (靠基 - Kao Ji), or something similar.
Kakie - (Uechi Ryu - Hira Musashi)
Speaking of which, what should the original Chinese ideograms be for ‘カキエ‘ (Kakie)? We must ask this question as this martial arts technique is believed to have originated in China. Although the author is not a person of ethnic Chinese origin, I do believe that every aspect of the history of the Okinawan Goju Ryu should be fully explored and discovered, and I consider it my duty to investigate this matter further to assist the common good! This is how I discovered the following interesting information.
In an article written by Mr Miyazato Eiichi (宫里荣一) it is clearly stated that the Okinawan Goju Ryu Karate-Do practice known as ‘カキエ’ (Kakie) derives from the two following Chinese ideograms:
掛 (gua4) = Hang, Suspend and Arrive
手 (shou3) = Open-Hand, An Action in Progress and Master
手 (shou3) = Open-Hand, An Action in Progress and Master
The so-called ‘Hang Hand’ is performed by two people facing each and ‘touching’ or ‘connecting’ a single wrist each assuming the ‘Hand-Blade’ (手刀 - Te-Gatana) or ‘Sword-Hand’ shape. The other hand assumes the same shape and is held close to the body covering the diaphragm and sternum (where it moves forward and back from that general area). this represents the hand-positions when the bodyweight is being projected ‘forward’. The mind must be ‘calm’ and ‘expansive’. There must be no distractions as you must ‘sense’ every ‘intention’ and every ‘movement’ of your opponent – and he or she must sense ‘none’ of yours. Meanwhile, as the purpose of the exercise involves each participant maintaining the wrist contact whilst moving ‘forward’ and ‘back’ as well as ‘around’ (usually in a ‘circular’ orientation), the two participants must remain ‘rooted’ to the ground – whilst simultaneously traversing smoothly across the terrain – regardless of what is happening with the upper-body. The ‘root’ of each participant must not be allowed to be ‘broken’ by the opponent's activity. In general, ‘Cat Stance’ (猫足立 - Neko Adaichi) is used on the retraction of the legs and bodyweight (whilst 'absorbing' or 'negating' the opponent), although sometimes a practitioner may adopt a more flexible ‘Sanchin’ (三戦) Stance which allows the dropped bodyweight (and forward and back motion) to flow easily from one leg to the other.
The mind must be ‘receptive’ when ‘retracting’ and ‘absorbing’ your opponent’s ‘intention’ and physical force (bodyweight, momentum and will-power). When you ‘project’ your physical force (bodyweight, momentum and will-power) into and ‘through’ the opponent, quite often a momentary (and ‘high’) ‘Forward Stance’ (前屈立 - Zenkutsu Adachi) is adopted. You push me and I push you. You pull me and I pull you – as this practice is performed with muscular tension retained in the two connecting and opposing arms (all the way through the movement). The secret is to retain the tension in the touching arm whilst using the rest of the body in a very different, agile and relaxed manner. When the arms are forward the hands are held in a vertical orientation (fingers upwards) - but when the arms retract into the sternum area - the hands (and wrists) momentarily 'flatten' and 'cross' assuming a horizontal orientation. All this forward and back motion usually follows various circular trajectories! As the skill level develops, Kata applications are often applied, but in some Dojos it gets very rough with slapping, palm-strikes, punching and kicking naturally developing – just as long as the central exercise is retained. When both practitioners are suitably tired or exhausted – then you change sides (at certain levels this only happens when the teacher orders). The opponent must be ‘uprooted’ (or ‘imbalanced’) and you must not!
Within Chinese ‘Push Hands’ the exercise may be performed with one or two hands – but the emphasis is on ‘sensitivity’, ‘timing’ and the ‘sudden’ and ‘precise’ application of ‘force’ at just the right moment – so that the ‘root’ of the opponent is instantly broken and devastated beyond repair! Body conditioning is not normally included within Chinese ‘Push Hands’ (as that is dealt with through different exercises), but with Kakie, 'body conditioning' and 'sensitivity' training are combined into a single exercise. Within the practice of ‘Kakie’ a practitioner must become ‘sensitive’ to the opponent in near combat conditions! This is a difference of style preference rather than a deviation of any kind. To master ‘Hang Hand’ takes a tremendous amount of fighting spirit and inner strength! The opponent will try to bully you off balance and you must negate all this and transform the entire process into a sublime martial activity! In other words, ‘Hang Hand’ uses the ‘hard’ to emphasis the ‘soft’ - but in the end the ‘soft’ completely absorbs the ‘hard’ and permanently transforms it!
(Miyazato Eiichi "Okinawaken Goju Ryu Karate", 実業の世界社, 1978, pp. 52, 53)
This information was provided to me by Mr. Andreas, a German karate enthusiast. It is the earliest article about カキエ(Kakie) I can find. The Chinese ideograms used by Mr Miyazato in this article are ‘掛手’ (Gua Shou), but there is a problem regarding linguistic association.
Kakie can be written a number of different ways in the Japanese language, but we can use the two following examples that are both pronounced 'KAKETE'
1) カケデ
2) カケテ
2) カケテ
Within the Okinawan language, we can choose the following two examples to represent ‘Kakie’ which are both pronounced KAKITI:
1) カキディ
2) カキティ
2) カキティ
An obvious observation is that the Chinese ideograms ‘掛手’ (Gua Shou) on their own cannot be reconciled in any way with the Japanese-Okinawan concept of ‘Kakie’ (カキエ) in any of its contemporary Okinawan or Japanese renderings, as it looks like something is missing from this explanation. In other words, the two expressions sound nothing alike and cannot be logically (or ‘historically’) linked in this format. These two terms look and sound unconnected. Much linguistic confusion happens due to the differences between the Japanese and Okinawan languages, and the fact that there are a number of different Okinawan dialects. This complication is only increased when including the Chinese language. My view is that Mr Miyazato mistakenly thought that the Japanese term of ‘カキエ’ (Kakie) is represented in the Chinese language by only using the two ideograms ‘掛手’ (Gua Shou). I believe this error originates from Mr Miyazato mistakenly assuming that the two Chinese ideograms of ‘掛手’ (Gua Shou) 'negate' the Japanese (Hiragana) ‘け’ (Kake) character. This mistaken association was then applied to the general Japanese expression of ‘カキエ’ (Kakie) - and has since become the standard explanation (as Mr Miyazato was the first person to make this association in his 1978 article and it exists nowhere else in the older Japanese or Okinawan literature). Therefore, assuming that only these two Chinese ideograms of ‘掛手’ (Gua Shou) - or ‘Hang Hand’ - explain the entire martial arts concept expressed by the Japanese term ‘カキエ’ (Kakie) is an error of interpretation.
(For the next part of my explanation please remember that the Chinese ideogram of '掛' (Gua) is pronounced 'Ka' in the Japanese language).
(For the next part of my explanation please remember that the Chinese ideogram of '掛' (Gua) is pronounced 'Ka' in the Japanese language).
I have applied a scientific analysis by comparing the standard Japanese expression of ‘カキエ’ (Kakie), with the reconstructed ‘掛け手’ (Ka Ke Te) - which combines the Chinese and Japanese ideograms that I believe Mr Miyazato mistook to mean ‘Kakie’ and which he thinks refers to the Goju Ryu practice. Indeed, today it is common to see the terms ‘‘掛け手’ (Ka Ke Te) and ‘カキエ’ (Kakie) presented side by side as if they are synonymous. The problem is that much of what passes today as ‘Kakie’ within the various lineages of Goju Ryu is in fact ‘Free Hand’ (散手 - San Shou) fighting where the participants are free to do any thing they wish with their wrists only ‘crossing’ for a moment at the beginning of the encounter! In my opinion, despite the surface differences, the practice of genuine ‘カキエ’ (Kakie) has much more in common with the Chinese martial arts practice of ‘Push Hands’ (推手 - Tui Shou), and not ‘Free Hand’ fighting. The two are completely different training methods that have no technical association.
What should be the original kanji expression of 'カキエ' (Kakie)?
The author thinks it is【掛け合い】which = 'Kakeai'
(noun) = 'カキエー‘ (Kakiee)
Definition: 掛け合い = Negotiate
掛け合い - is written as 'カキエー' (Kakiee) in Okinawa.
The above text has the meaning of to ‘negotiate’ and 'resolve' differences and contradictions through cooperative interaction.
掛 (Chinese = gua4) (Japanese = ‘Ka’) - Hang, Suspend and to Arrive
け Japanese (Hiragana) = ‘Ke’ - Approach, Close Distance and Remove Separation
合 (Chinese = he2) (Japanese = ‘ai’) - Meeting, Together and Mutual
い Japanese (Hiragana) = ‘i’ - Give-Way, Compromise and Evade
掛 (Chinese = gua4) (Japanese = ‘Ka’) - Hang, Suspend and to Arrive
け Japanese (Hiragana) = ‘Ke’ - Approach, Close Distance and Remove Separation
合 (Chinese = he2) (Japanese = ‘ai’) - Meeting, Together and Mutual
い Japanese (Hiragana) = ‘i’ - Give-Way, Compromise and Evade
In Japanese【掛け合い】is interpreted as profoundly ‘communicating’ with one other.
Therefore, the author believes that ‘カキエ’ (Kakie) is a martial arts exercise through which people profoundly ‘communicate’ with one another to end all conflicts, contradictions and misunderstandings! The above is also includes the Okinawan dialect expression of【風け合い】! In this way, both the 'pronunciation' and the 'meaning' can be matched with 'カキエ' (Kakie).
Chinese Language Source:
https://www.bilibili.com/read/cv7221475/
沖縄空手中カキエの漢字是什么？竟不是靠基？
运动 2020-08-18 13:20100阅读 · 8喜欢 · 0评论
原文作者：本部先生（本部朝基的孙子）
转载创作授权已获得
日前，我出席了日本武道馆主办的日本古武道演武大会，在控制室内通过大屏幕看着各个流派的演武，其中就有剛柔流东恩纳盛男先生演示的カキエ（KAKIE 差不多念卡ki耶）
我拿起手中的演武小册子看了一眼，册子上写的是「カキエ（靠基）」本人第一次看见【靠】这个汉字，所以当时没有办法读出来。
之后我上网查阅了一下，这个字念KAO，那么カキエ的发音就变成了コウキ（kouki）据我所知，在中国，カキエ这种练习法被称为推手，但是中国地大物博，所以我猜想可能也有地方把推手称为靠基的吧。
话说回来，カキエ原本的汉字写法应该是怎样的呢？笔者虽是剛柔流历史的门外汉，却也尝试调查了一番，结果就查到了宫里荣一先生的文章。
掛手
作为沖縄空手重要的補助運動，从古至今一直练习掛手的只有剛柔流。
所谓掛手，是指对练双方的两脚前后站立，以猫足立或者三戦立为练习站姿，相互之间以一只手（手刀）的手腕进行接触，另一只手开掌放在水月前。双方你压来也我压去，你拉我来我拉你，在此过程中，有时拗折对手的手腕，有时双手握拳把对手推开，为了不被推开，双方时刻保持警惕，腰胯和脚下必须“扎”得很稳，上半身则是放松轻柔地左右旋转，用身法避开使得进攻过来的对手失去平衡，通过拉扯把对手引向有利位置后摔倒。
一只手练累了，就换另外一只手，掛手的练习会持续到一方彻底没有体力了为止。一边是对体力的磨练，一边通过推拉来用自己手掌熟悉对方手臂的触感，这个练习并不是比谁的力气大。
在中国拳法里，被称为推手的练习，通常分成单手推和双手推。
掛手在锻炼全身肌肉的同时也在培养身心之迅敏，要进行长时间的掛手练习，没有斗志是根本做不到的。掛手就是这样的一种補助運動。
（宮里栄一『沖縄伝剛柔流空手道』実業の世界社、1978、52、53頁）
这个资料是德国的空手道爱好者Andreas先生提供给我的，是我看到过的最早的关于カキエ的文章。
宫里先生在这篇文章里使用的汉字是掛手，但是掛手在日本语里念カケデ或者カケテ（KAKETE 把KARATE的啦换成类似K的发音) 若是沖縄话则念カキディ或者カキティ（KAKITI）掛手这个词汇是念不出来カキエ这个音的。
虽然沖縄各地的方言不同，但是我想恐怕是宫里先生认为カキエ和掛け手这两种训练方法很类似所以采用了掛手作为カキエ的汉字吧。
我先前做了科普，カキエ和掛け手有什么不同呢？不同在于，カキエ类似推手，而掛け手类似散手，两者是不同的训练方法。掛け手不是那种两个手手腕互相接触进行推拉的训练方法，而是纯粹的自由組手。
那么，カキエ原本的汉字表述是怎么样的呢？笔者认为是【掛け合い】
カキエー /kakiee/
（名詞）
意味：
掛け合い。談判。
掛け合い在沖縄语里的发音是カキエー，虽然上述文字中有谈判的意思在里面，日语里则是把【掛け合い】解释为互相之间交流。
因此笔者认为，カキエ就是指双方通过手臂接触交流武艺的一种练习方法。是【掛け合い】的方言表达。这样一来，不管是发音还是含义都能和カキエ对上了。
沖縄空手中カキエの漢字是什么？竟不是靠基？
运动 2020-08-18 13:20100阅读 · 8喜欢 · 0评论
原文作者：本部先生（本部朝基的孙子）
转载创作授权已获得
日前，我出席了日本武道馆主办的日本古武道演武大会，在控制室内通过大屏幕看着各个流派的演武，其中就有剛柔流东恩纳盛男先生演示的カキエ（KAKIE 差不多念卡ki耶）
我拿起手中的演武小册子看了一眼，册子上写的是「カキエ（靠基）」本人第一次看见【靠】这个汉字，所以当时没有办法读出来。
之后我上网查阅了一下，这个字念KAO，那么カキエ的发音就变成了コウキ（kouki）据我所知，在中国，カキエ这种练习法被称为推手，但是中国地大物博，所以我猜想可能也有地方把推手称为靠基的吧。
话说回来，カキエ原本的汉字写法应该是怎样的呢？笔者虽是剛柔流历史的门外汉，却也尝试调查了一番，结果就查到了宫里荣一先生的文章。
掛手
作为沖縄空手重要的補助運動，从古至今一直练习掛手的只有剛柔流。
所谓掛手，是指对练双方的两脚前后站立，以猫足立或者三戦立为练习站姿，相互之间以一只手（手刀）的手腕进行接触，另一只手开掌放在水月前。双方你压来也我压去，你拉我来我拉你，在此过程中，有时拗折对手的手腕，有时双手握拳把对手推开，为了不被推开，双方时刻保持警惕，腰胯和脚下必须“扎”得很稳，上半身则是放松轻柔地左右旋转，用身法避开使得进攻过来的对手失去平衡，通过拉扯把对手引向有利位置后摔倒。
一只手练累了，就换另外一只手，掛手的练习会持续到一方彻底没有体力了为止。一边是对体力的磨练，一边通过推拉来用自己手掌熟悉对方手臂的触感，这个练习并不是比谁的力气大。
在中国拳法里，被称为推手的练习，通常分成单手推和双手推。
掛手在锻炼全身肌肉的同时也在培养身心之迅敏，要进行长时间的掛手练习，没有斗志是根本做不到的。掛手就是这样的一种補助運動。
（宮里栄一『沖縄伝剛柔流空手道』実業の世界社、1978、52、53頁）
这个资料是德国的空手道爱好者Andreas先生提供给我的，是我看到过的最早的关于カキエ的文章。
宫里先生在这篇文章里使用的汉字是掛手，但是掛手在日本语里念カケデ或者カケテ（KAKETE 把KARATE的啦换成类似K的发音) 若是沖縄话则念カキディ或者カキティ（KAKITI）掛手这个词汇是念不出来カキエ这个音的。
虽然沖縄各地的方言不同，但是我想恐怕是宫里先生认为カキエ和掛け手这两种训练方法很类似所以采用了掛手作为カキエ的汉字吧。
我先前做了科普，カキエ和掛け手有什么不同呢？不同在于，カキエ类似推手，而掛け手类似散手，两者是不同的训练方法。掛け手不是那种两个手手腕互相接触进行推拉的训练方法，而是纯粹的自由組手。
那么，カキエ原本的汉字表述是怎么样的呢？笔者认为是【掛け合い】
カキエー /kakiee/
（名詞）
意味：
掛け合い。談判。
掛け合い在沖縄语里的发音是カキエー，虽然上述文字中有谈判的意思在里面，日语里则是把【掛け合い】解释为互相之间交流。
因此笔者认为，カキエ就是指双方通过手臂接触交流武艺的一种练习方法。是【掛け合い】的方言表达。这样一来，不管是发音还是含义都能和カキエ对上了。
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