From my position , very Chinese influence. What do you think. Tony
Secret Tradition! (秘伝)
Matayoshi Shinpou (又吉真豊)
Direct Transmission - Handed-Down (直伝)
White Crane (白鶴)
Military Law (兵法)
3rd Dan (三段)
[Apllicable] Form (の形)
Tony to Adrian: Good evening Adrian. Quite a interesting style off Okinawan karate. From my position , very Chinese influence. What do you think. Tony Adrian to Tony: The Japanese language title reads: Secret Tradition! (秘伝) Matayoshi Shinpou (又吉真豊) Direct Transmission - Handed-Down (直伝) White Crane (白鶴) Military Law (兵法) 3rd Dan (三段) [Apllicable] Form (の形) Superb. The pelvic-girdle is empowered with ki to deflect incoming power - such as a round-kick. The back-leg rootedness of the White Crane generates the rising power exhibited flowing through the correctly empowered front-leg (the discussion near the beginning), and then up through the arms, wrists, palms fingers, thumbs and finger tips - in gripping, deflecting, gouging, punching, tearing and penetrating. Incidentally, the Chinese characters are either retained or slightly modified in this Okinawan script. With '兵法' (Military Law) this is 'Bing Fa' in the Chinese language ('Hei-ho' within Japanese) - and is often better known in the West as the 'Art of War' - an early text penned by Sunzi. Perhaps in this context a better translation is 'Soldier's Law'.
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Wikipedia is a wealth of sagely advice – much of it misleading, incomplete and out of context. For instance, the author dealing with the ‘Tai Sabaki’ page - states that the usual interpretation of Tai Sabali in the West which involving ‘evasion’ is ‘wrong’. However, if an individual can ‘read’ Chinese and/or Japanese ideograms – it is obvious that whatever this concept is - ‘evasion’ forms a central aspect of it. The author in question does not fully comprehend the entire concept of Tai Sabaki and is attempting to join the two ends of an idea together whilst omitting a (vast) theoretical centre-ground! 1) 体 (Tai) - Japanese Equivalent of Chinese ideogram ‘體’ (ti3) = ‘body’ This is related to a body (comprised of - and structured by - its internal bone structure) which is augmented in the physical world through musical rituals (involving drumming) and the adornment of jade of jewellery. The body is enhanced by the placement and alignment of its inner structure and the means (rituals) through which this body traverses the outer world. That which is ‘detrimental’ is avoided and that which is ‘nourishing’ is embraced. There is an implication in the Japanese language that ‘体’ (Tai) refers primarily to the trunk and the abdomen – and only secondarily to the limbs. It is the ‘centre’ of the body which has priority over the ‘periphery’ of the body. 2) 捌 (Saba) - Japanese Equivalent of Chinese ideogram ‘捌’ (ba1) = Disentangle This ideogram - (in its Chinese interpretation) can mean ‘eight’ - an alternative form of ‘八’ (ba1). A ‘hand’ which expertly uses a ‘knife’ - cuts through the flesh and bones of a fish so that it is separated into ‘eight’ clean parts (probably a generic term meaning ‘many’). There is also the central idea of ‘disentanglement’ - so that no unnecessary error (or resistance) is met. This is because ‘entanglement’ means ‘hindrance’ - and the skill referred to here involves the ‘avoidance’ of such self-imposed difficulty. Evading ‘resistance’ is the correct path that leads to such a skill. The blade of the knife skilfully feels its way around (and along) the natural contours of the bones – and does NOT cut directly (at right-angles) into the bone-structure at any time. There is a ‘going with’ rather than a ‘going against’. This ideogram is the central element of this Karate-Do principle - and probably means slightly different things within the various styles which make use of it. 3) き(Ki) - Japanese Equivalent of Chinese ideogram ‘幾’ (ji3) = Skill There is an indication of ‘quantity’, ‘measurement’ and ‘refinement’ within Japanese language dictionaries. The suggestion is that the correct manipulation of exact amounts is a great skill which has to be mastered in any successful avenue of life. This idea spans both the material and the spiritual world! An individual can carefully follow the established criterion laid down by those who have gone before – or if such an individual possesses the correct (and right) amounts of psychological insight and physical strength – then they might set out on their own path and become an inspiration for those who are to come! Conclusion: Meaning When taken as an integrated whole – the martial principle of Tai Sabaki (体捌き) suggests that the physical body (its central core and not just its periphery) is skilfully used (manipulated) in a combat situation so that there is no direct conflict between the defender deploying this technique - and an attacker ignoring this technique. Tai Sabaki (体捌き) is NOT just the skilful movement of the arms and legs in ‘protection’ of the central core (the torso). Tai Sabaki (体捌き) is a ‘centre-out’ technique that requires the core and periphery to work in concord. Strength does not clash with strength. The ability to assertively ‘give-way' is the key to this technique. Indeed, when the timing is perfect - ‘giving-way’ becomes far stronger than the momentary strength associated with a dramatic (but short-lived) show of strength! Giving-way, at its highest manifestation, not only ‘absorbs’ and ‘nullifies’ ALL incoming power – but when performed correctly, generates the basis for ‘greater’ power to be produced that is not reliant upon linear (muscular) strength – but rather the ‘circular’ movement associated with the structures of the bones and joints! The bodyweight ‘drops’ into the ground through the shaft of the (aligned) bones and rebounds upwards through the centre of the bone-marrow – producing a seemingly endless supply of ‘muscle-free’ power! As this power is greater than that associated with the muscular ‘tension’ of thuggery – the defender occupies a unique time-space frequency within which the attacker cannot access (or penetrate) regardless of the willpower exhibited. The linear attacks cannot land on an object continuously moving in perfectly timed circles. Once such a level of mastery is achieved – the defender can decide the level damage perpetuated upon the attacker depending upon circumstance. Should the body of the attacker be temporarily or permanently disabled? Should the body of an attacker be only (gently) nullified as if in play? Someone who has mastered Tai Sabaki (体捌き) possesses all these choices. This is why the Wado Ryu Style of Karate-Do posits the highest ideal of a defender possessing the ability to prevent damage to both their own body AND the body of the opponent! An ideal of the highest nobility!
Dear Tony (Sensei)
Exactly - well said. As you already know (these are really 'Notes' to clarify my own understanding - as I know you know) - real combat is fluid and requires an instantaneous adaptation. My view is that this ability stems from years of experience endlessly repeating the same movement - or patterns of movements (in a disciplined manner) - whilst participating in sparring (or various other types of fighting) - where all this ingrained activity comes out (due to necessity) and manifests in all kinds of weird and wonderful ways! Usually, simplicity prevails over the complex in such situations defined through 'immediacy' - and much of the modern 'Bunkai' is so very intricate and diverse that I doubt any of it could be realistically applied in the few seconds required to nullify an attack AND take away an opponent's ability to effectively respond. (Whilst holding one of their arms - the opponent still has a head, one arm and two legs free to respond - more than enough to be effective). When I think back to training with yourself in Hereford and Cardiff (and the Tensho Kata you demonstrated in Sutton) - I remember your weight being firmly 'dropped' (rooted) whilst you also seem to 'float' - like a cork bobbing about on the surface of the water! This manifestation is continuous and effortless whilst being retained whether you are standing still, moving (in any direction) or even sitting down. From this foundation your arms and legs are 'moved' depending upon the Kata, Basic or exercise being demonstrated. I suppose what you are saying is that modern Bunkai focuses too much upon the movement of the arms and legs - but tends to by-pass (or 'ignore') the need to be 'rooted' and to 'move' properly from this root. Thanks Dear Nick The footage and graphics contained in the following (Chinese language) video are very interesting when it is understood that the bones are aligned, the bodyweight is dropping into the ground (rooting) and a rebounding force is rising. The mind is calm and expansive whilst the joints, limbs (and sections of the torso) are 'rounded' (concave and convex). When the joints are 'rounded' the ligaments and tendons are relaxed and extended (like a drawn bow-string). Although the muscle are relaxed and released from any unnecessary tension - there is a natural 'torque' (twisting tension) - again, similar to a bow-string that is drawn with just the right amount of tension - and no more. This is important as most people are far too 'tense' and 'rigid' as a habit. Once the awareness penetrates the centre of the bones and all this is achieved - this advanced understanding spreads all over the body and is held in place by an expanded awareness. It can then be reproduced in any and all Form movements and in any self-defence situations. The bodyweight drops down through the centre of the bones (stimulating the bone marrow) and 'rebounds' up from the ground - also through the centre of the bones - and can be emitted through any part of the body. This power production can then be augmented by the localised speed of a limb or position (angle) of the attacking body-part. A perfectly timed blow can be massively magnified in power by catching an opponent 'running in' onto a punch or kick, etc. Here, in this beautiful Shaolin (Europe) video we can see how the bow is correctly 'drawn': All this is achieved through holding the '站桩' (Zhan Zhuang) - or 'Standing like a Stake' - ('Holding the Ball') position. Although I focus upon the 'rounded' structure of this exercise - its name traditionally derives from a foundational 'stake' or 'pile' (shaped like a 'rounded' Western telegraph pole) that was driven deep into the ground (or sea-bed) which served as an anchoring (and firm) support for a building. There is 'rootedness' (dropped bodyweight) and there is expanding 'stabilisation' (rebounding and rising) power! This is an analogy worthy of further consideration - as it is this psychological and physical 'roundedness' that makes all this ability possible!
Our Hakka family gongfu style is primarily 'Northern' in structure and was brought into the New Territories of Hong Kong by Chinese people migrating from around the Henan area (during the 1600s as the Ming Dynasty collapsed) - but sometimes much further North (my partner's family migrated to the Shenzhen area from Shandong). Our 'Northern Snake Fist' (北蛇拳 - Bei Shi Quan) is comprised of sixty-four movements - which mirror the sixty-four hexagrams (卦 - Gua) of the 'Yijing' (易經) - known as the 'Change Classic' or 'Book of Change' (I Ching) in the West. This text must be studied over many years supplemented by hours of seated meditation and the perfection of 'movement' and 'stillness' when this 'Form' (形 - Xing) is deployed. This is an integrated Form requiring the mastering of the 'external' (外 - Wai) and the 'internal' (内 - Nei) - or 'Zagong' (雜功). All traditional 'Forms' begin with the practitioner facing 'South' - the area of warmth, good farming land, trade, plenty and controllable borders within ancient China. By comparison, the 'North' can be cold, overly 'hot', suffer from a scarcity of food and peopled by barbarian hordes all seeking to attack, destroy and steal! The 'Snake Form' unfolds on overlapping 'cross' formations - starting toward the 'East', West', 'North' and then 'South' repeating the same techniques - which then adjust into a new set of techniques. The 'cross' alters into 'Southwest', 'Northeast', 'Southeast' and 'Northwest', etc. There are a number of unique movements (such as 'Gorilla Punches the Ground') - but generally speaking the 'cross' (both 'cardinal' and 'ordinal') formation holds true. This section appears to the 'Southwest' and is the first repetition of 'three' performed in this direction. The structure builds-up just as a hexagram does in the 'Yijing': 1) Foundation (first two lines of a hexagram - representing the Broad Earth) - Free Stance - Bodyweight is primarily channelled down through the back leg 'bent' at the knee and into the ground 'rooting' the structure. A 'rebounding' force emanates from the ground and up the supporting leg - spreading through the torso, upper limbs, and non-supporting front leg. This arrangement generates a 'floating' orientation in the front-leg whereby the foot feels as if it wants to 'raise' automatically - and the practitioner must exert 'intention' to keep the toes of the free-foot gently 'touching' the ground. This is in preparation for the 'groin kick' which has its origination in this 'Form'. the foot swiftly travels upwards with the toes turned 'down' and the groin of the enemy is impacted with considerable force. Due to the expert position of the back-leg and pelvic girdle - the front-leg can continuously 'pivot' around the created leverage with very little effort and in a continuous manner - generating huge amounts of force with very little effort. The groin area of the enemy may be struck repeatedly without stopping. Although all this is present and taught as an application to the 'Snake Fist' Form - within the Form itself - the front-foot never leaves the ground. Stance work is generally quite 'high' in orientation - with foot-work premised on 'light', 'short' but 'precise' heel-to-toe steps (involving bodyweight being expertly 'shift' from side to side). 2) Torso (lines three and four of a hexagram - representing Humanity). The torso 'slides' and 'shifts' from side-to-side and 'forward' into newly acquired or 'opened' space. The torso retains a forty-five degree angle as its continuously 'shifts' one side forward and then the other (sixty-one movements in this 'Form' continuously move 'forward' with only three movements taking a step backward). The torso also 'tilts' left and right from the centre-line as movements are executed - creating a moving target that is difficult to hit as it advances. Gaps are created through the intimidation of asserted movement - space which the Snake Form practitioner then occupies by 'stepping' into - thus depriving the opponent of options. This works because the 'Snake' is limited to the lethal 'eye-strike' which must be defended against at all costs! The torso 'slithers' and 'slides' into the space generated through the intimidation of the opponent! Despite moving forward the onus is upon preventing the opponent from generating or landing any powerful or significant blows! The torso shifts left and right - and forward into front-left and front-right! The expert use of footwork establishes and maintains this momentum. 3) Upper Limbs (lines five and six of the hexagram - representing the Divine Sky). In this section the reverse hand is deflecting the opponent's attacking limb down and to the side of the torso. This involves an open-hand with slightly spread finger aligned with an empowered fore-arm and 'pointed' elbow. The alignment and rebounding bodyweight renders this arm as strong and as heavy as a block of concrete and yet as light and manoeuvrable as silk blowing in the wind! The footwork and torso can 'move' around this 'blocking' arm so that direct conflict is avoided and the opponent's natural strength is bypassed by a superior (and deadly) technique. Simultaneously, the lead-hand strikes with the middle (longest) finger to one of the enemy's eyes. The severity of this attack can be varied from 'gouging' to a light 'tap' and every level of vision-disruption inbetween. The Four-fingers can be separated to create a 'double' strike which hits both the enemy's eyes simultaneously with one-hand. The fingers then collapse palm 'inward' (toward the chest) so that a powerful 'back-hand' strike is delivered to the eye and nose area of the opponent. This is followed by the hand suddenly 'closing' and delivering a power short-range punch to to side of the nose or eye structures of the opponent. During training, these blows must be practiced both 'slowly' and very 'fast'!
During a two-week visit to Hong Kong and the New Territories during February 1999 - which included a visit to the 'Chan' (陳) ancestral village in the Sai Kung area of the New Territories (as well as a trip over into Shenzhen to visit other relatives), I engaged in the usual gongfu activity of 'Form Swapping' with any other interested parties. Chinese gongfu Forms are like a form of cultural currency that involves a 'sharing' process which develops the over-all understanding of China's martial heritage of each individual involved! It is not that these 'new' or 'unfamiliar' styles are necessarily integrated into existing styles, systems and schools (although sometimes they are), but rather that practitioners of a certain level of attainment possess the ability to 'look beyond' and 'see through' the usual stylistic barriers that usually 'separate' and 'define' martial traditions! Indeed, as Master Chan Tin Sang (1924-1993) has a good reputation in the area, I was approached by various individuals to 'share' a gongfu Form over a friendly cup of tea! One such individual belonged to the now very affluent and exclusive 'Beggars and Wanderers Society' who offered to exchange one of our Longfist Forms for a Tiger and an Arahant Form preserved in their tradition. The members of this Society used to walk the roads of ancient China 'stealing' or 'borrowing' the gongfu Forms of local gongfu schools and passing these systems around, through and into places the population of which would usually not have encountered these types or sets of movements. These 'Beggars' were also tough and developed these Forms through the practicality of having to fight for their survival! Today, however, this Society is now comprised of families that have done well for themselves in business, and which form a type of 'Guild' around the fact that a distant relative was once a wandering beggar - similar to an itinerant Buddhist monk - but without the support of the establishment! Travelling from place to place, and penetrating the clans and social systems of other places was a highly unusual pastime during feudal China - where China was controlled within the empire through a stringent conservativism where every household, community and area was expected to be an exact copy of the imperial house! Moving 'between' communities was viewed as being strictly unnecessary unless there was a good reason for it - but 'Beggars' often possessed the ability to move in and out of places 'unnoticed' and 'unhindered' providing they did not draw attention to themselves. This is how they 'acquired' their extensive martial knowledge - which is said to cover 'Northern' and 'Southern' fighting styles in equal measure! The style featured on this post is said to be a mixture of 'Northern' and 'Southern' styles and is termed '羅漢十八摩' (Luo Han Shi Ba Mo) or unusually' 'Arahant Eighteen Abilities of Touch'! The use of the ideogram '摩' (mo2) is interesting - particularly as it seems to be replacing the more familiar '拳' (quan2) which denotes a closed fist. The ideogram '摩' (mo2) is comprised of: Upper Particle - 厂 (han2) = 'Cliff' Middle Particle - 𣏟 (pai4) = 'Hemp' or 'Linen' Lower Particle - 手 (shou3) = 'Open-Hand' Therefore, the use of '摩' (mo2) might denote the 'careful' and 'gentle' plucking or picking of plants from the edge of a cliff - a dangerous activity that requires skill, timing and precise movement. Indeed, this leads to the other meaning of '摩' (mo2) which is to 'study' so that the 'touch' of the individual becomes highly skilled and yet free of all malice. As this style is said to have been developed by Chinese Buddhist monastics (possibly premised upon Indian Buddhist prototypes) - it is more than likely that the use of '摩' (mo2) signifies the non-presence of greed, hatred and delusion, the three taints all Buddhist practitioners are expected to 'uproot' through hours of seated meditation and the behaviour modification enforced through stringent (Vinaya) self-discipline! I suspect this indicates that this style of 'Arahant' self-defence preserves an older naming system. The arrangement of the ideograms seem to suggest that there are 'Eighteen' fighting techniques the 'Arahants' are expected to 'Study' if the sentence is read from left to right (which I am assuming). If the arrangement is meant to read right to left, then we have 'Study Eighteen Arahants'. Whatever the case, it is more usual today to place the number 'Eighteen' BEFORE the word 'Arahant' (十八羅漢). It seems that the use of the ideogram '摩' (mo2) suggests methods whereby the Buddhist monastics emulate the techniques of 'closing the distance' between themselves and their opponent - without involving any malice of fore-thought!
Dear Tony The Chinese language encyclopaedia pages regarding Miyagi Chojun suggest that he went to China in 1915 to meet 'Shi Gong' (Xei Chongxiang) and other gongfu masters because Higaonna Kanyro was still in regular communication with them! Assuming this communication was by the written word (although it could have been by word of mouth), then there should be a written record somewhere in China even if all the replies were destroyed in 1945 in Okinawa! Furthermore, and more to the point, Miyagi Chojun was probably the first visitor to Xie Chongxiang from Okinawa since Higaonna Kanryo left in 1881 - so here is our answer to some extent! Miyagi Chojun probably conveyed all the history he knew of Higaonna Kanryo's earlier visit and education in China - to any and all the Chinese Masters he met - thus spreading the knowledge! Modern Okinawan Goju Ryu Karate-Do is comprised of the following Chinese martial arts styles and systems: a) Fujian White Crane Fist (福建白鶴拳 - Fu Jian Bai He Quan) - which originated in Yongchun County. b) Southern Shaolin Fist (南少林拳 - Nan Shao Lin Quan) - probably Quanzhou, but also the sister temples of Putian and Fuqing. based upon Pan Yu Ba's 'Eighteen Arahant Fist' (羅漢拳 - Luo Han Quan). c) Whooping Crane Fist (鳴鶴拳 - Ming He Quan). From (and between) 1912-1915 with the arrival of Wu Xiangui (Go Ken Ki) on the scene! I suspect Wu Xiangui introduced Miyagi Chojun to 'Whooping Crane' in Okinawa - but then took him to see his Master (Xie Chongxiang) in 1915 as a representative of Higaonna Kanryo (as Higaonna Kanryo was too ill to travel). I think the outer frame of Goju Ryu is obviously Southern Fist - which looks very 'Northern' in part and perhaps this is the origination of the wide and broad Horse Stance (which looks just like our Longfist Forms)! The 'inner' frame of Goju Ryo is Fujian White Crane - which has a crossover with such arts as Taijiquan, Xingyi, Xinyi and Baguazhang, etc! The maintaining of 'tension' was taught to me as 'steel wire' in English but I later found out the proper Chinese term is '缠丝劲' (Chan Si Jin) - or 'winding silk unyielding force'. This is taught within Taijiquan and all authentic forms of White Crane. The power is relentless, endless, self-propelling and self-replicating. It is not dependent upon physical fitness (although it is acquired only after a life time of relentless mind-body training without mercy) and is not negated or diverted by physical conditions. It is a universal force that operates regardless of life or death. My Master used to say that it is like a heavy iron ball rolling in all and any directions! Nothing can stop it. The secret lies in the Kata construction of Goju Ryu which is as follows: Higaoona Kanryo Fujian White Crane Fist and Southern Fist Forms (Katas) brought back from Fuzhou - China (c. 1881): 碎破 (Sui Po) = Saifa 制引战 (Zhi Yin Zhan) = Seiyunchin 四向战 (Si Xiang Zhan) = Shisochin 三十六手 (San Shi Liu Shou) = Sanseru 十八手 (Shi Ba Shou) = Seipai 久留顿破 (Jiu Liu Dun Po) = Kururunfa 十三手 (Shi San Shou) = Seisan 一百零八手 (Yi Bai Ling Ba Shou) = Suparinpei 三战等 (San Zhan) = Sanchin Miyagi Chojun Whooping Crane Form (Kata) brought back from Fuzhou - China (1915) 六机手 (Liu Ju Shou) = Rokuki - later developed into 'Tensho' (转掌 - Zhan Zhuan). Wang Xiangui came to Okinawa in 1912 (where he lived until his death in 1940) - he was sent to assist Higaonna Kanryo by Xie Chongxiang (Higaonna Kanryo died in 1915). Became Miyagi Chojun's teacher and accompanied him to and from China in 1915. Miyagi Chojun - Constructed Kata (1937) In 1937, when Japan declared war on China, Miyagi Chojun is employed as a High School Sport Instructor and tasked with teaching Goju Ryu Karate-Do to High School Students destined to be recruited into the Imperial Japanese Army. Goju Ryu training proved too difficult in its traditional form for short-term students passing through limited-time classes - so Miyagi Chojun carefully constructed two Basic Katas that convey a sound appreciation of self-defence: 击碎第一 (Ji Sui Di Yi) = Gekisai Dai-Ichi* 击碎第二 (Ji Sui Di Er) = Gekisai Dai-Ni* Within these two Katas - Miyagi Chojun introduced the concept of the '上段扬受' (Shang Duan Yang Shou) - or 'Jo Dan Age Uke' in Okinawan. This is a highly technical term that translates as 'Upper Level Raising Interception' - and which today is universally known by its English translation of 'Upper Block'. (This upper 'blocking' technique involves the coordinated crossing, rubbing and inter-changing of the toughened fore-arms (with closed fists) in front of the chest area as each is alternatively raised above the forehead (whilst defending the middle and upper levels) - with the intention of deflecting a downward descending blow directed to the top of the head - or diverting a straight punch or similar strike to the face, etc. Today, the exact angle of the raised block with the closed hand varies according to the preference of the Karate-Do style). According to Chinese language sources, this 'Upper Block' did not exist in the Karate-Do styles extant upon the island of Okinawa prior to 1937 - and that Miyagi Chojun is recognised as the sole originator of this technique as practiced within the art of Karate-Do. Prior to this, the Naha-Te - Goju Ryu style utilised a typical White Crane defence that saw an elevated mid-level defence raised up to neck and head height - where the palm and fingers of the open hands would deflect (or slap) blows away to the side. Miyagi Chojun may have seen similar upper blocking movements whilst observing other Chinese styles of martial arts (where these movements are often a combination of a closed handed punch and a fore-arm deflection) - different Chinese martial styles that had not yet penetrated Okinawa or the Karate-Do community! Thanks Adrian *These Katas were a product of rampant Japanese 'Nationalism' and were designed, at the time, to prepare the minds and bodies of young Japanese men (for their stint in the military) from 1937 onwards to attack and kill Chinese men, women and children. From 1941 onwards, this Japanese 'Nationalist' aggression would be aimed at civilian populations throughout Asia, and include the militaries of the West, etc. In late 1945, this Japanese 'Nationalist' aggression would be aimed at the Soviet Red Army as it strove to 'Liberate' (Manchuria - Northeast China) from Imperialist Japanese Occupation! I am reminded of Funakoshi Gichin's biography where he proudly mentioned himself preparing thousands of young Japanese men for 'unarmed' Karate 'Banzai' charges aimed primarily at attacking US soldiers! It is ironic that all those non-Japanese people who practice Japanese Karate-Do throughout the world today, have absolutely no idea of the 'racist' historical reality 'embedded' in many of the more recent 'Katas' still taught to beginners as primers for the style!
Dear Tony
All the Goju Ryu Kata names are written in the Chinese language. Although today, this is often related in the 'Simplified' script - older Okinawan texts record these names as being written in the 'Traditional' script. This does not alter, change or otherwise disrupt the concept being conveyed - at least not when in the hands of a competent translator! 9) 久留顿破 (Okinawan Pronunciation 'Kururunfa' - Chinese Pronunciation 'Jiuliudunpo') a) 久 (jui3) = long (time), moxibustion and endure The ideogram 久 (jui3) is said to be in the same series of ancient indicators representing a man receiving medical treatment over a long period of time. Indeed, he is receiving 'moxibustion' On the other hand, there is also the hint that this might be a 'foot-print' left in the ground a very long time ago. Some dictionaries indicate this ideogram might refer to an 'old man', etc. 'Time' and the 'observing' and/or the patient 'experiencing' of the passing of time seems to be the working hypothesis. b) 留 (liu2) = stay, remain and hold one's ground The top element '卯' (mao3) relates to the fourth of twelve earthly branches, a rabbit (as found within Chinese Astrology) and the time of early morning, etc. The bottom element is '田' (tian2) which indicates a 'field'. Every is correct if it is properly 'timed' to coincide with environmental and psychological conditions. c) 顿 [頓] (dun4) = pause, stop, stamp, halt and wait The left-hand particle is '屯' (tun2) which represent a 'sprout' of a plant growing out of the ground. The right-hand particle is '頁' (ye4) which relates to a wise person's 'head' (perhaps a leader) - but which later came to represent a sheet of paper that wise instructions were written upon. d) 破 (po4) = break, destroy, rout, smash, tear and drive away The left-hand particle is '石' (shi2). The lower element is a 'stone' or 'rock' which has fallen from a great height with considerable force. This is indicated by the upper element of '厂' (han3) which symbolises the 'cliff' from which the stone or rock has fallen. The right-hand particle is '皮' (pi2) which is comprised of the lower element of a hand '又' (you4) holding a stone knife which is being used to strip away the fur from the pelt of a dead animal. Therefore, 破 (po4) denotes the 'attacking' and 'destroying' of the outer structure of the enemy. Translator's Note: The Kata 'Kururunfa' (久留顿破) shares the same last ideogram as the Kata 'Saifa' (碎破) - namely '破' (po4) pronounced 'fa' in Okinawa. Again, we have the heavy rock which has fallen with a great force from a high ledge situated on a remote cliff top! It is interesting how the Kata names of Goju Ryu contain recurring martial concepts - as would be expected from a well established and ancient martial art! Dear Tony
All the Goju Ryu Kata names are written in the Chinese language. Although today, this is often related in the 'Simplified' script - older Okinawan texts record these names as being written in the 'Traditional' script. This does not alter, change or otherwise disrupt the concept being conveyed - at least not when in the hands of a competent translator! 5) 四向战 (Okinawan Pronunciation 'Shoichin' - Chinese Pronunciation 'Sixiangzhan') a) 四 (si4) = 4, four and IV b) 向 (xiang4) = direction, face, advance and approach The upper particle '宀' (mian4) represents a roof on a house (which possesses four enclosing sides). The lower (central) particle is '口' (kou3) which stands for an 'open' mouth. In the context of 向 (xiang4) it is said that an individual with authority is shouting so that everyone residing in the four-corners of the house can hear! Perhaps there is an element of 'protecting' or 'expanding' the conscious awareness (and 'will-power') into the 'four-corners'. c) 战 [戰] (zhan4) = battle, war, conflict and attack (cause 'fear' in the enemy) The left-hand particle is '單' (dan1) which denotes a net designed to catch and hold animals securely. The two boxes at the top symbolise weights - whilst the middle section is the net. At the base can be seen the rope that controls the entire mechanism. The right-hand particle is '戈' (ge1) - an ancient shafted weapon containing a stylised axe-head - similar to (but distinct from) the Western halberd or pole-axe, etc. The ideogram 战 [戰] (zhan4) suggests that through careful training, planning and deployment - a military engagement can be successfully implemented - in the four directions! Dear Tony
All the Goju Ryu Kata names are written in the Chinese language. Although today, this is often related in the 'Simplified' script - older Okinawan texts record these names as being written in the 'Traditional' script. This does not alter, change or otherwise disrupt the concept being conveyed - at least not when in the hands of a competent translator! 3) 碎破 (Okinawan Pronunciation 'Saifa' - Chinese Pronunciation 'Suipo') a) 碎 (sui3) = shatter, fragment, shred and break The left-hand particle is '石' (shi2). The lower element is a 'stone' or 'rock' which has fallen from a great height with considerable force. This is indicated by the upper element of '厂' (han3) which symbolises the 'cliff' from which the stone or rock has fallen. The right-hand particle is '卒' (zu2). The upper element is '衣' (yi1) which stands for 'clothing' - perhaps a standardised 'uniform'. The lower element '十' (shi2) is the Chinese symbol denoting the number 'ten' (10). The right-hand particle '卒' (zu2) therefore describes a well-disciplined military unit that can defend an area and/or effectively destroy an attacking force! The ideogram 碎 (sui3) suggests that a well-ordered and self-disciplined approach for training in warfare generates a 'crushing' and 'shattering' martial force! b) 破 (po4) = break, destroy, rout, smash, tear and drive away The left-hand particle is '石' (shi2). The lower element is a 'stone' or 'rock' which has fallen from a great height with considerable force. This is indicated by the upper element of '厂' (han3) which symbolises the 'cliff' from which the stone or rock has fallen. The right-hand particle is '皮' (pi2) which is comprised of the lower element of a hand '又' (you4) holding a stone knife which is being used to strip away the fur from the pelt of a dead animal. Therefore, 破 (po4) denotes the 'attacking' and 'destroying' of the outer structure of the enemy. Translator's Note: The first Chinese ideogram '碎' (sui3) or 'sai' in Okinawa - is the second ideogram used in the 'Geksai' (击碎) Katas. Furthermore, both ideograms of '碎' (sui3) [sai], 破 (po4) [fa] contain the left-hand particle of '石' (shi2). The lower element is a 'stone' or 'rock' which has fallen from a great height with considerable force. This is indicated by the upper element of '厂' (han3) which symbolises the 'cliff' from which the stone or rock has fallen. Perhaps we are seeing the 'internal' use of bodyweight as both 'potential' and 'applied' force - a force which is magnified when it is 'harness', 'dropped' and 'momentum' is built! |
AuthorShifu Adrian Chan-Wyles (b. 1967) - Lineage (Generational) Inheritor of the Ch'an Dao Hakka Gongfu System. |