Practicing Taijiquan in the early morning (the or evening - when this picture was taken)  is when the air (qi) is at its most inspiring and invigorating! At the moment, although the temperature was -7 last week - today it is +10 degrees Celsius. Whatever the case, the air is cool and fresh and seems to permeate every cell of the body - despite the fact that in reality the breath enters and leaves through the nose and/or mouth. Of course, I am told that a small amount of oxygen leaves and enters through the pours of the skin - but too little for the entire body to exist upon. Still, when breathing deeply (into the lower Dantian) the complete lower lung capacity is utilised giving the feeling that a 'power' or 'entity' is dropping into the lower abdominal area (traditionally two-inches below the naval).

I find it interesting that this special area (which is probably lower than two-inches in reality) coincides with the actual centre of gravity relating to the human (physical) body. The mastering of 'breath' is inherently linked to the mastery of 'balance' and 'movement' all mediated through an enhanced 'rootedness'. The clarified and purified 'awareness' of the mind directs all this activity - which includes the harnessing of the rising (rebounding) force that emanates from the dropped bodyweight impacting with the ground. The dropped bodyweight and rising force is channelled through the epicentre of the perfectly 'aligned' bone-structure (skeleton) which is never lost despite the complexity of the movement involved.

​Of course, part of the qigong used to prepare the practitioner for Taijiquan practice is 'Standing Like a Stake' also termed 'Holding the Ball' - where an individual stands perfectly 'still' both physically and psychologically. We become like a mighty tree which can withstand any weather or unexpected external force! Within the peacefulness of the well-rooted tree is an immense power waiting to be discovered, harnessed and manifest! 

​When running with the weighted rucksack – I use the two broad aspects of Daoist breathing usually termed ‘natural’ and ‘correct’. Bear in mind that this ‘moving’ activity is not the complex seated ‘neidan’ practice and is not subject to that type of control. Instead, as the bodily frame is placed under intense pressure, what is required is deep and full breaths, usually in and out of the mouth. This is because unlike the state of perfect balance that is constructed during the practice of Taijiquan (where the breath is taken in through the nose and expelled through the mouth) - running with a weighted rucksack overloads the biological processes to such a high degree that the maximum amount of oxygen is required to maintain its function. This is achieved by breathing in and out through the mouth. 

​Once the parameters are set, what then is ‘Daoist’ about this practice? Natural breathing requires breathing deeply into the lower abdomen – this emphasises the use of the middle and lower-lung capacity – with the minimum of upper-lung capacity. Correct breathing requires the pushing-up of the diaphragm so that the inward breath is compressed from the expanded lower-lung and into the middle and upper-lung. Correct breathing inflates the usually neglected upper-lung capacity which is full of highly dense oxygen-absorbing body-cells. Generally speaking, the upper-lung is often used by the body in ‘emergency’ breathing if the body has become injured, ill, or is inhabiting an oxygen-deficient environment. The ancient Daoists seem to have understood that there is something special about the little used upper-lung within everyday life – and with this understanding they formulated a physical method of breathing that allows a voluntary access of this area. 

​I tend to use ‘natural’ breathing when running with the weighted rucksack – but I switch to the ‘correct’ method when I need to stop to cross the road and/or significantly change direction. I usually take three full ‘correct’ breaths (which oxygenates the body to a greater degree) and then switch back to ‘natural’ breathing which is what I refer to as ‘maintenance’ breathing. Correct breathing in this context is not ‘maintenance’ breathing and should not be confused with the purpose of ‘natural’ breathing. Furthermore, the perspective I am giving here only makes sense when discussing weighted rucksack running. As weighted rucksack running using ‘natural’ breathing dramatically diminishes the oxygen levels in the body (stabilised through fitness levels) – ‘correct’ breathing represents a rapid intake of new oxygen by switching the emphasis of how the breath is managed. 

The above is a video on Bili Bili designed for Goju Ryu practitioners in China (or Chinese language speakers around the world). Essentially, Chinese language subtitles have been affixed - with Okinawan-Japanese concepts (cultural interpretations) translated into Chinese philosophical terms. This was uploaded on September 7th, 2022 - but I have not encountered it before. The direction of breathing is explained (stating there are two methods) - with 'kime' (決め) emphasised. This is written as '决定' (Jue Ding) in the Chinese language. 

​决 (決) = jue2 (ki) - certainty, dredge and kill

​定 (め) = ding4 (me) - steady, fix and stabilise

​Interestingly, within Buddhist philosophy the Chinese ideogram '覺' is also catalogued (within modern Pinyin) as 'jue2' - and is related in structure to '决' (jue2) which is used above in 'kime'. This means the ideograms share a common root and depicts a related meaning. Whereas '决' (jue2) suggests a mind-enforced control over the body - '覺' (jue2) refers to the achievement of 'enlightenment' through the mind 'waking-up' - a state achieved only through following the utmost disciplined paths of bodily control. Perhaps the two variants of these ideograms are related. I would suggest this is the case on the grounds that '定' (ding4) - the second ideogram used within 'kime' - is also used to translate the Sanskrit term 'Samadhi' - which refers to a method of 'fixing' the awareness of the mind in one place (preventing the surface mind from moving about without control) - and thereby achieving a permanent 'stillness' of mind (which allows for the perception of 'emptiness'). Again, the physical body is subject to the utmost discipline (through the Precepts as taught in the Vinaya Discipline). 

​The breathing is 'Daoist' in nature and involves a basic filling-up of the dantian with qi (inward breath into the lowest area of the pelvic girdle) - which is then redistributed throughout all the regions of the body (through the outward breath). The retained tension 'pulls' the qi into the dantian - and the maintained muscle tension 'extracts' the accumulated qi into the extremities (both breaths meditated by the awareness of the mind). The 'advanced' breathing is only hinted at and involves the microcosmic circulation of the qi. Qi is breathed into the dantian - which triggers the flow of qi up the Governing Vessel (which runs through the spinal column) and over the top of the head to the upper palate of the mouth. The tongue touches the upper palate with completes the circuit between the Governing Vessel and the Conception Vessel - which starts in the tongue, flows down the front of the body and through the grown and around to the perineum - where the Governing Vessel begins. The Sanchin breathing strengthens and maintains this Daoist breathing. 

Whilst listening to the (1967) Jimi Hendrix album entitled 'Fire' - I thought I would make a copy of two Goju Ryu Karate-Ka displaying what is called 'Online Kata'! This involves an elaborately designed Kata being disassembled and applied in a straightforward 'one-on-one' self-defence situation. Generally speaking, Kata are multi-dimensional entities designed as a militarised response to multiple attackers coming in from all different directions. Online Kata condenses this down to just a single defender and a single attacker - with both changing roles when the sequence is completed. As can be seen, the blows are delivered with full-power - whilst safety is assured by each blowing landing an inch or two before the intended target area. The arms and legs are making full-contact with regards to 'blocking'. This is pure 'bone-on-bone' full-power conditioning. If the blows landed - then damage would certainly arise - although at this level the body-conditioning is of such a high standard that it would be limited only to the robust surface structures. Those who have mastered the 'internal' - are able to 'pierce' the conditioned outer areas (like a sharp metal knitting-needle) - so that a concentrated force is directed straight into the central nervous system and the neural pathway. The only way to counter this high level of power is to a) experience it within a strictly controlled environment, and b) learn to accept this incoming force and pass it 'through' the body' so that it does not congregate in the central nervous system. In the above example, this is probably happening in the limbs of the practitioners themselves - with the bones being made strong through a combined and integrated 'external' and 'internal' interaction. On a practical level, within a self-defence situation it is preferrable to harness the erratic technique of the aggressor and channel it into a more conducive frequency of aggression - a frequency that can be easily controlled, diverted and negated. 

The reality is that the head and centre mass inner organs need to be protected through a) movement of the entire body away from the potentially damaging blows, and b) the movement of the head, arms and legs so as to deflect, parry and/or block the incoming blows when the centre of mass cannot be adequately moved out the way. In the case of unarmed blows - the muscle, bone structure and inner connective tissue can be 'toughened' through physical fitness and martial arts training. The potential damage of these unarmed blows can be effectively absorbed by the outer physical and near surface structures of the body - this includes the bone structures and soft structures that comprise the entirety of skull including the mouth, teeth and tongue, etc. These areas can be 'damaged' but will heal given time. When dealing with bladed weapons - as these can penetrate the toughened outer layers and do fatal damage to the inner organs - movement of the centre mass is of a greater concern if no self-defensive weapon is held by the victim.  

In this case the legs must be well trained for either minute or substantial (instantaneous) distance adjustment. A damaged leg will still have to move by necessity (hence the importance of squat kicks in all their variants). The upper limbs comprising the arms and hands will have to 'deflect' and/or catch or absorb the thrusts of any incoming bladed weapons that cannot be completely avoided by systemic (evasive) movement. This may involve the substantial damage of these body parts which must be conditioned to perform this function whilst carrying-on moving for the duration of the self-defence encounter. These types of injuries can heal (regardless of severity and any potential or long-term damage). An individual will probably survive broken or cut arms and hands - but will not survive damaged or cut inner organs, arteries or veins, etc, as the medical chances are greatly reduced.   

The outer limbs can be sacrificed to protect the inner organs and blood supply vessels which lie across the centre line. There are cases of individuals surviving horrific injuries following attacks from blades weapons – even with severe mi-section laceration damaging and exposing the intestines, severe and deep cuts to the neck area and even limbs hacked-off – providing medical care can be found in time. Chances of survival are enhanced if the individual concerned has some medical knowledge and First Aid experience – as this can stem blood loss and prolong the chances of survival. Of course, traditional Chinese martial arts often involve extensive mental toughness regimen – and it is this attribute that can drive a severely injured individual to a) ‘survive’ a deadly encounter (despite being badly hurt), and b) seek-out assistance despite being isolated or far away from medical help. 

​Dear Tony

​Watching this (and all the excellrnt videos you have forwarded) - Ju jitsu looks like Qinna - or an element of Qinna. Qinna - or 'Joint Relocation' as Master Chan referred to it in Hakka - emphasises breaking bones, dislocating and/or snapping joints, but only in its highest or most deadliest aspect. The Chinese language instructional texts talk of the 'grip' being developed so that 'skin' is torn-off and 'bones' shattered like glass!

​a) Ju Jitsu (柔術) = 'Rou Shu' - or 'Soft Expertise/Art'. An ethnic Chinese speaker once explained the underlying concept behind the 'Rou' (柔) ideogram to me as 'to ride in another person's rickshaw' - which I thought was superb! Not just 'borrowing' - but if need be - 'stealing' another person's vehicle of transportation (or mode of 'movement') certainly with their knowledge (after-all, they are 'present'), but equally 'without their consent' (as the resulting outcome is often contrary to that desired by the opponent)!

​b) Qin Na (擒拿) = 'Catch Relocate' (Probably 'Kin Na' in the Japanese language).

​Working down from that level of destruction, there is the well-known 'controlling' of the opponent through 'light' joint relocation designed to 'move' the body around (from an 'inconvenient' place to a 'convenient' place), or to 'disarm' or 'subdue' whilst leaving the opponent or assailent relatively 'unharmed'. Indeed, what makes genuine Taijiquan so effective is its inner core of guiding Qinna. Coupled, of course, with the mastering of the dropped bodyweight through an aligned bone structure - and the efficient directing of the resulting 'rebounding' force from the ground to the extremities - a process which allows for the generation of tremendous 'breaking' force with apparently 'little' effort! 

Thanks

Adrian

This Senior Citizen silenced the crowd when she raised her leg above her head! Silence turned into awe when she assumed a perfect ‘Golden Rooster Stands on Guard’ (金鸡独立 - Jin Ji Du Li)! Awe turned into spontaneous applause when she assumed a graceful ‘Single Side Horse’ (一字马 - Yi Zi Ma) Splits! This demonstration of Taijiquan was performed by the 77-year-old Jiang Xuezhen (蒋雪珍) in a park near the ‘White Horse River’ (白马河 - Bai Ma He) - the venue for the 2021 ‘Dragon Boat Race’ held in Fuzhou (Fujian province), Mainland China! This elderly lady was originally an ordinary worker in a garment factory – but is now enjoying her retirement. Not only has she practiced Taijiquan diligently to improve her health and strengthen her weak body - but she also made a name for herself in West Lake Public Park (西湖公园 - Xi Hu Gong Yuan) teaching Taijiquan to the common people! 

Since her graceful and powerful appearance at the Dragon Boat Festival - Jiang Xuezhen's dazzling martial arts skills have aroused the interest of many citizens! Some citizens cannot help but wonder – if this older lady was a professional gymnast before? Was Jiang Xuezhen involved in a lifetime of athletic training and development? The answer to all these questions is a resounding ‘NO’! In fact, Jiang Xuezhen was an ordinary worker employed in a garment factory before retiring - and she had NEVER received any such specialist education in this area before. The advanced pliability of her body (and its ‘ligaments’) stem from the time of her retiring from working in the garment industry. Jiang Xuezhen had to retire from working in the garment industry at the age of 45-year due to a physical issue (for which she successfully underwent recuperative surgery). Jiang Xuezhen admits that this was a very confusing time for her both emotionally and psychologically!  

That is until one day, when she was walking to the West Lake Park (taking exercise), this lady encountered a group of people practicing Taijiquan! At that exact moment - EVERY movement of the Yang Style (the Beijing 24-Step Short-Form) she saw resonated with her mind and body - instantly attracting her attention! When Jiang Xuezhen returned home, she immediately made arrangements to purchase a Taijiquan instructional VCD – which she used to learn Taijiquan through watching carefully and copying the exercises! The next step involved Jiang Xuezhen seeking-out Taijiquan instructors who then corrected and adjusted her ‘Form’ whilst discussing explaining the history and purpose of each sequence - making the revitalising movements much more powerful and effective! Although it took a long time of committed and regular practice, the regular performance of the Taijiquan movements and sequences finally start to transform the natural state and condition of her muscles, joint, bones, ligaments and tendons. At the same time her overall health improved as her inner organs began to strengthen. These changes were so profound that her partner also began to regularly practice Taijiquan! Together, they founded the ‘West Lake Park Taijiquan Practice Group’ - which at the time of writing has at least one-hundred members! 

When giving a recent interview to reporters, Jiang Xuezhen stated: “It is said that with every inch the ligaments stretch – the lifespan is extended by ten years! This is why I stretch my legs every day!” Jiang Xuezhen went on to explain that when she first tried to lift her legs all those years ago – her ligaments were tense there was very little movement with pain! Jiang Xuezhen trained diligently between the ages of 45-60-years old, and then she found that one day ALL the tension in her body completely disappeared and she was able to drop down into the side-splits position – and stand with one leg held-up directly into the air! This is why Jiang Xuezhen is now able to assume the ‘Golden Rooster Stands on Guard’ and ‘Single Side Horse’ Splits with ease! After demonstrating her extraordinary Taijiquan skills, Jiang Xuezhen advises: “Concentrate upon an activity and pursue its perfection with diligence!”  

This is sound advice, as apart from being able to demonstrate her mastery of Taijiquan – Jiang Xuezhen is also a painter! Jiang Xuezhen explained that she liked to draw since a child - and has always kept one or two drawings of the Four Treasures in the study room at home - after retirement. When she was about 65-years old, Jiang Xuezhen accompanied her partner in the study of flower and bird painting in a university designed to cater to the needs of the elderly. After two years of meticulous flower and bird painting - Jiang Xuezhen turned to landscape painting. The landscape paintings provided by Jiang Xuezhen are truly inspiring – with the background and fore-ground scenery featuring lakes and mountains contrasting perfectly! The art of Jiang Xuezhen generates a unique beauty which is enhanced by an atmosphere which is experienced by the observer as being vast and hazy! 

Jiang Xuezhen describes herself as a very serious person. When she learns one thing, she spends all her energy on that single activity. In order to learn landscape painting well, she would only go out daily to practice Taijiquan, but rarely for any other reason. She would often spend a week focusing upon a single picture! Then, in order to match the landscape paintings with the beautiful ideograms that comprised the inscriptions, she also spent a year studying different Chinese calligraphy styles such as seal script, official script, and regular script. "If the font is not good-looking, and the inscription is not well-written, it cannot be regarded as a complete and perfect painting." Jiang Xuezhen explained. This is her true character. It has been nearly 30 years since Jiang Xuezhen retired – yet she has retained the eagerness to learn and perfect everything she turns her hand to! Today, in addition to Taijiquan and landscape painting, Jiang Xuezhen can also perform ballroom dancing! As if all these activities are not enough – Jiang Xuezhen also practices Shaolin martial arts! With her extensive knowledge base and engaging personality, Jiang Xuezhen has become something of an inspiration to the surrounding population – a cultural icon for modern China!  

[Source: Strait Metropolis Daily] 

Chinese Language Source: 

https://new.qq.com/rain/a/20210706A01BBQ00 ​

花30年练太极，福州七旬老太一字马惊艳全场 

高抬腿过头顶，一个爽快的金鸡独立瞬间赢得现场朋友的喝彩，随即她又在地上来了一个漂亮又利索的一字马，把节目推向了高潮……不久前，在福州白马河公园举行的端午节活动现场，一位老太的表演让不少市民自愧不如。这位老太就是福州77岁的蒋雪珍，原是服装厂工人的她，在退休后寻找到自我，不仅苦练太极拳改善了虚弱的身体，还在西湖公园“打”出了名堂，将太极拳教授给了更多的人。 

60余岁练就金鸡独立、一字马动作 

自从在端午节活动中的精彩亮相后，蒋雪珍的花式炫技引起了不少市民的兴趣，有的市民不禁疑惑问，这位老太太以前是不是体操运动员？其实，蒋雪珍退休前是一名服装厂的工人，之前也没有从事过这方面的练习，有着柔软的韧带的起因还要从她退休时说起。 
 
45岁时的蒋雪珍因为身体原因动了手术后，便从原来就职的服装厂退休了。而突然的退休让将蒋雪珍手足无措，每日不知道该做些什么，陷入了迷茫。直到有一日，她散步到西湖公园时，看到了不少人在练太极拳，一招一式瞬间吸引了她的注意。抱着锻炼身体的想法，她购买了太极拳教学碟片，通过不断地的模仿练习学会了太极拳，在与太极拳老师的交流切磋中更精进了太极拳的动作。而在长期的锻炼后，蒋雪珍感到身体逐渐舒爽了不少，更是动员她的爱人一起到在西湖公园中练习太极拳。在30年间，不少市民自发向她学习太极拳，为此，她和爱人还成立了一个西湖如春太极辅助站，学员最多的时候达到了近百人。 

“都说筋长一寸，寿延十年，每次运动后，我都拉拉腿。”蒋雪珍告诉记者，原先的她腿抬高一点腿都觉得筋绷得崩的紧，但在多年的锻炼中，她不断尝试拉伸韧带，到了60岁左右，才能可以做出金鸡独立、一字马的动作。 

“专心做一件事，并要把它这件事做精” 

除了一字马、金鸡独立、太极拳外，蒋雪珍还是一个画家。蒋雪珍说，她从小就喜欢画画，退休后在家里也时常备上文房四宝画上一两副。于是在她65岁左右，她的爱人便带她来到了老年大学里学习花鸟画，在两年的工笔花鸟设色学习入门后，蒋雪珍又转入山水画的学习中。在蒋雪珍提供的山水画作品中，湖和山相映衬的秀丽景色，在苍茫朦胧的氛围中有着独特的美感。 

蒋雪珍自喻是个较真的人，学习一件事时，便将所以精力花在一件事上，为了学好山水画，她除了每日的太极拳练功外，便少有外出，常常花上一周的时间认真绘一幅画。而后为了给山水画配以好看的题款，她还用了一年的时间去学习了篆书、隶书、楷书等书体。“如果字体不好看，题款写不好就不能算是一幅完整、好看的画。”蒋雪珍说。 

正是较真的性格，蒋奶奶在退休后的近30年间，不断地的保持好学的心，并将每件事做到精，如今的她除了太极拳、山水画外，她还会交际舞、少林武术，成了周围人口中“技能点满满”的潮人。 
​
【来源：海峡都市报】 ​

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! 

https://goju-karatedo.com/will.html ​

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。 

If a practitioner of traditional Chinese martial arts spends twenty, thirty or forty years perfecting his or her art – then such an individual will experience many different levels and layers of reality as the ageing process unfolds. Of course, much of this will be circumstantial and culturally conditioned (varying from place to place, country to country) - but the ongoing experience of observing the inward biological and psychological process will always possess a certain universal reality common to all human beings. This is true despite many modern people linking their physical activity to the notion (and vagaries) associated with modern sport, commercialism and entertainment, etc. Therefore, many people living in the modern age often think that any sustained physical activity should cease around the age of thirty years old – as the first glimmer of the ageing process begins to make its presence felt! This idea seems to advocate the passive ‘giving-in’ to the ageing process and simply settling for a body that can no longer function as does the body of an eighteen-year-old – and which gets less able as the decades pass due to a terminal inactivity. 
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A genuine martial artist seeking mastery of body and mind must acknowledge and accommodate the ageing process. As the inner processes and the outer structures of the physical body transform, the traditional Chinese approach has always presented the ageing process as a doorway to a higher form of awareness, perception and physical ability. The modern, Western approach states that the human body becomes weaker the longer it lives. The onus upon this thinking is that this is the most meaningful interpretation of the ageing process and that no other view of the ageing process is required. Linked to this idea of a decrepit body is an entire medical industry offering expensive mechanical devices that assist the body as it weakens – together with entire rafts of various medicinal treatments designed to lighten the ageing process. This is only for the wealthy, of course, and although the scientific alleviation of the ageing process may well be a valid and important one if it were not so exploitative – my point is that as functioning individuals – we are responsible for our own awareness as it functions throughout the biological body and permeates the physical environment.  

There is nothing wrong with being ill, disabled or otherwise incapacitated. Ageing and illness are biological inevitabilities and should not be denied in anyway. The awareness capacity, however, as far as I am concerned (as I enter my 55th year of life) – is the only way a human being can adjust him or herself to the ever-changing circumstance that defines the ageing process. Not just being ‘aware’ in a passive manner but being ‘aware’ in a proactive manner that permeates the atoms and molecules of the physical body, and which strives to moderate behaviour throughout the physical body. Ironically, being ‘still’ in exactly the correct manner is an important part of traditional Chinese martial arts, which is the foundation of an enhanced (and evolutionarily) advanced ability to manifest the human body within the physical environment. This means that the manner in which the inner human body is perceived changes completely when the ageing process unfolds. Indeed, the ‘internal’ and ‘integrated’ methods of advanced Chinese martial arts practice are dependent upon being ‘old’ and the experience of getting ‘older’.  

As the out of date (and ‘lazy’) habits of youth fall away, then ‘new’ and more ‘intelligent’ methods of generating stability and power must be cultivated. Extraordinary amounts of stabilising power must be generated and sustained with as little conventional effort as possible. Conventional effort is the driving mechanism of youth which changes as the ageing process advances. It does not ‘disappear’ as many think but transforms and evolves – but many remain completely unaware of this developmental process. This is where the shallow (commercial) culture of the modern West fails the very individuality it creates. This is exactly where the ancient ideas of evolving conscious awareness and physical abilities come into play. When striking the heavy bag, the torso and limbs feel simultaneously ‘light’ for speed and ‘heavy’ for stability. The body is ‘relaxed’ whilst the limbs and torso are positioned perfectly so that the dropped bodyweight can be effectively rebounded from the ground and channelled into the target through the centre of the bones (which feel ‘hollow’ when performing this function). Furthermore, the ‘weight’ of the heavy bag can be momentarily absorbed into the bones and joints of the attacking body (that is the ‘hollow channels’) – before being dramatically expelled back out and into the heavy bag itself – being added to the bodyweight and effortlessly increasing the all-round impact of the punches, kicks, elbows and knees, etc. Meanwhile, as the ageing process unfolds, a tangible sense of space is permanently perceived as existing throughout the inner body which is filled with an energy that is vibrant, full of light and is a combination of physical bodyweight properly used – and an enhanced sense of psychological ‘awareness’ (which also expands outward and into the physical environment). I believe that this is a preparation for old-age and the eventual dying process – whereby the physical body drops-away and the psychological awareness folds-in upon itself.  ​

For sake of simplicity, practitioners of Taijiquan access this method through a teacher who specialises in a particular ‘Form’ or ‘Type’ of Taijiquan – often inclusive of its own historical and ideological baggage – and which is wedded to a specific ‘Frame’ of reference, in this instance, quite literally! I was taught both the ‘Old’ Long Yang and the ultra-modern Yang 24 Step ‘Beijing’ Short-Form. To the mind of my teacher – Master Chan Tin Sang (1924-1993) - this combination represented the best philosophy from both ‘Old’ and ‘New’ China and re-emphasised the ‘flexibility’ of approach with the Yang Family conceived of and practiced Taijiquan (which built upon the ‘Chen’ Form Foundation and in many ways ‘Improved’ upon it – and I say this as a ‘Chan’)! Master Chan Tin Sang trained in Hong Kong with a visiting Yang Family member when young (prior to WWII) and I have inherited a ‘signed’ Taijiquan book given to our ‘Chan’ Family from the Yang Family.  ​

Old ‘Long’ Yang Taijiquan is a truly magnificent Form that was developed in a feudal cultural milieu that was certainly very ‘martial’ in its manifestation and long-term logic. Training was related to Clan-Name and Clan-Association. within this, there was a bewildering system of layers of access all designed to ‘keep people out’ of the inner core of the organisation. What is often either ‘forgotten’ or ‘not known’ is that a number of versions of the style would be taught be different branches of the family, with junior males teaching a watered-down or incomplete version, and senior members teaching full the genuine method. As each version was treated as ‘genuine’ and of the ‘utmost value’ - the junior teachers valued their incomplete version often NOT knowing where they fitted-in in the over-all scheme of things in the Clan Association structure, as everything was designed to ‘protect’ the Clan and everyone in it. Some of these teachers of incomplete styles still managed to find fame and fortune because they naturally developed those parts of technical skill which were missing. Quite often, I am told, after a lifetime spent engaging in and winning numerous ‘honour fights’. It seems that psychological and physical evolution tends to ‘fill-in’ any missing gaps in a style – often generating ‘new’ styles!  ​

All the ‘Snake Creeps Down’ within the Old Yang Long ‘Form’ is bias toward bending the right knee and straightening the left-leg! It was assumed (in the 19th century) that the only way for an Old Yang Taijiquan ‘Form’ practitioner to learn ‘Snake Creeps Down’ with a bent left-knee and a straight right-leg forward – is to also learn and master the single and double-straight sword (Jian) ‘Forms’ - within which all ‘Sneek Creeps Down’ stances are bias toward the right-leg being straight! This study is assumed to take at least 20-years alongside the Old Yang Taijiquan ‘Form’. Although we respect tis tradition – the Yang 24 Step ‘Beijing’ Short-Form contains (in its 24 postures) Snake Creeps Down left and right – speeds-up this learning process immeasurably! We must not fight progress – but find our place within it. What is important – and a lesson acquired from the Yang Family – is that a practitioner of Taijiquan should alter and adjust their practice by exploring different ‘Frames’ - which are ‘high’, ‘middle’ and ‘low’. A Taijiquan ‘Frame’ is measured by how far the elbows and knees are ‘deployed’ away from the torso.  ​

With a ‘high’ Frame the elbows and knees are ‘close’ (but not too close) with the stance being ‘high’ (with the feet being perhaps three-foot apart). For a ‘middling’ Frame the elbows and knees are a little further away from the torso (with the feet being perhaps four-foot apart), whereas for the ‘Long’ Frame the elbows and knees are the furthest apart from the torso (with the feet being perhaps five-foot apart). Advanced Taijiquan practitioners often vary the ‘Frame’ they are using as they move through a single repetition of a Taijiqian ‘Form’ and experiencing no difficulty or contradiction. The ‘intention’ in the mind regulates the flow of Jing, qi and Shen as and when the situation requires – which requires the distance between the bones to be increased or decreased, etc. Of course, all this is approximate and a true measure of a ‘Frame’ is dependent upon a) the size of the body in question, and b) the development of inner and outer ‘awareness’ possessed by the practitioner. All types of Frame should be explored and eventually ‘mastered’! ​