Dear Tony

​Our family (Longfist) composite style is Northern (military) - brought into Southern China by Hakka migration. Hakka live in Fujian and Guangdong (Canton), as well as Sichuan, etc. I have met most different Hakka people at various times - all speaking a variant of their Northern (Beijing) dialect mixed with the dialect of the Southern areas they moved into. Hakka are Northern Chinese people who migrated Southward to avoid invaders of China. However, after violently clashing with Southern populations - many (but not all) Hakka families altered the techniques of their gongfu styles (shortening the movements) - so as to disguise it as "Southern" to fit-in with the local populations.

​In Fujian, the Hakka built the now famous "Round-House" forts. Our Hakka (Chin, Chan, Chin - 陳) family moved into the remote South of Guangdong where nodody lived - and so did not have to alter their Northern arts (later, [in the 1890s] this became the British-controlled "New Territories"). They constructed their village in the typical "square" (Confucian) fashion.  My teacher came from the Clan-Leader family and so stood at the front of the four-sided defence formation - in-front of the main-gate. Northern styles, have a certain "taste" to their techniques - regardless of origin. I suspect various Goju Ryu Kata techniques may be "Northern" in origin - inherited through Southern lineages. I liken the Northern techniques to a boulder perched on the edge of a cliff - waiting to effortlessly "drop-off" into empty-space - developing a thunderous force on the way down! Bodyweight and momentum meet at a destructive fine-point! Reloading is achieved through using continuous "big" and "small" circle movement (traversing around the shoulder and pelvic-joints - linked "through the back" - 通背 [Tong Bei] - the defining principle of our Longfist style).

​There is a theory that "Longfist" evolved (and diversified) from the (standardised) "Martial Arts Manual" (recorded as once existing - but now lost) issued by the Qin Dynasty (221-206 BCE) Authorities. Every village in China was converted into a Military Barracks - with every man, woman, and child required to practice the armed and unarmed Longfist Forms on a daily basis (as individuals - and as "co-ordinated" Groups or "Units"). As for the structure of this "official" gongfu - it appears to have been an integration of the hundreds of styles then existing (Ancient China had been a very violent place during the Warring States Period - 475-221 BCE). Hundreds of people stood in strictly maintained straight-lines - all moving in a co-ordinated fashion to the left and then to the right - so that both sides of the body were exercised equally. As everyone had to be in the Qin Army from birth - virtually everyone learned this military method and took it home with them.

​This would provide the basis of "Family" gongfu practice - regardless of the diversifying of the techniques themselves (changed [or altered] for this or that practical reason). Prior to the Qin, many martial arts possessed ritualised ceremonies premised upon hunting - and opening doors to other (spiritual) dimensions. A practitioner allowed the "animal" spirit of the style to possess his or her own body for the duration of the "dance" (our family style is premised upon the spirit of the "Bear"). The Qin realised that prevailing at war was a material process that had to be firmly fought on this "physical" plane. Focusing the martial practice on this attribute was viewed as a practical innovation - although the "spiritual" dimension was not altogether denied - merely shifted in emphasis to the background of affairs. 

​This is where the idea of a standard "Form" originated - with Companies of a "People's Army" all training together throughout China (Qin Dynasty China did not include the Fujian area - as this was cut-off by dense forests, malarial swamps - and incredibly violent [non-Han] indigenous populations). Fujian became slowly settled between 200-500 CE - when explorers hacked their way in from Mainland China - whilst others risked landing on its coasts. Okinawa was already a distant vassal State of China by this time. Perhaps Okinawans visited Fujian prior to its opening-up? 

​The Qin people from North-West China were Han mixed with various barbarian (non-Han) tribes (considered "half-wolf" by Han people) - indeed, the "Qin" (秦) are believed linked to our Hakka "Chin" surname - hence the Hakka violent streak. Another, related theory is that some Hakka people are "Caucasians" formed from invading "Hun" tribes (the Hun were multi-ethnic with Europeans and Asians mixing together) - and on it goes. Many Hakka Chinese people seem typically "Chinese" on the surface - but a few possess a "double-eyelid" (a distinct Western trait) and under their jet-black hair is an underlay of "blonde" hair My partner - Gee - possesses both these traits - as does Liz)! Many modern Koreans mixed with White Americans have developed similar (observable) traits. 

​Thanks

​PS: I hear Master Higaonna Morio was "86" on Christmas Day (2024)! 

Dear Tony

I was looking at the Chinese characters used to explain "Suri-Ashi" - namely:

步 = suri [Jap] - bu4 [Chin]

法 = ashi [Jap] - fa3 [Chin]

The second ideogram - "法" - is common in older Chinese language texts, usually found in the context of an authoritative set of rules that cannot be improved upon. This term is used in both religious and secular texts. However, the ideogram - "步" - is the operative character.

The "步" ideogram is comprised of an upper and lower particle:

Upper Particle = 止 (zhi3) - originally - a three-toed bare-foot-print (the mark left by a "still" human foot)

Lower Particle = 𣥂 (ta4) - a foot in motion - stepping forward (or backward) via heel-toe, or toe-heel orientation

In other words, to "step", "pace", and to "measure" a specific "distance" between the two-feet when walking (or "stepping") forward, back, between both sides, and along the diagonals, etc.

This is a continuation of the dynamic-tension exercise as found within the Sanchin Kata. The Karate-ka grips an urn (瓮 – Game) with the finger-tips of both hands (simultaneously) [握 – Nigiri] – beginning in Sanchin-stance with the right-leg forward – the practitioner steps in Sanchin-stance up and down the training-hall (Dojo). Whilst the two weighted-jars (urns) are held to the left and right of the upper-thighs whilst being kept in the same orientation – the Sanchin-stance continuously switches from left to right-leg – and right to left-leg, etc.  The “root” to the ground must be maintained at all times – as if the feet are stuck to the floor – whilst being able to move smoothly when required. The feet are both “heavy” (rooted) and “light” (able to shift) without contradiction or hindrance (“步法” – [Suri-Ashi]). The musculature of the hands, finger-tips, and thumbs are all maintained in a state of concentrated tension. When the Urns are picked-up (at the beginning of the exercise) and laid-down (when the exercise is completed) – the knees are bent (as if “squatting”) with the right-leg forward. 

​Assessing the ideogram for “urn” the following can be ascertained:
​
瓮 (Jap: Game) [Chin: Weng4] = pottery urn, jar, jug, and container
瓮 is a variant of “甕” – the constituent particles of which are assessed below:
雍 (yong4) = upper particle – harmony, peace [ideogram constructed from water which is collected in one-place - such as a pool or a moat – from which a bird benefits]
瓦 (wa3) = lower particle – earthenware, pottery [ideogram constructed from from the concept of a building or roofing-tile - made from clay – extracted from the earth]

​The earthenware pot, urn, or jar – is a man-made structure which operates as a “barrier” designed to generate “order” through ensuring “harmony” in the physical environment. Substances placed in the jar are gathered in one-place – and held there without spilling or flowing away. That which is gathered in one-place – is held in good order and is free from error. Even in death, the traditional (Confucian) method involved cremation (or exhumation) – with the human remains cleaned and placed in a burial-urn. This urn was then placed in the “Name Temple” on display – associated with the surname dominant in the local village or town. As any substance can be placed in the Sanchin-Urns – the urns can vary in weight. Of course, the construction of the urns must be stronger than the grip a skilled Goju Ryu practitioner can assert upon the upper-lip area.

​Note: Following a request to explain “Nigiri” (握) or “gripping” – the following is relevant:
​
握 (Jap: Nigiri) [Chin: wo4] = strongly hold, grip, grasp, and control using the hands
扌(shou3) – left-particle = and open-hand – usually written as “手”
屋 (wu1) – right-particle = house, room, roof, and building

The open-hand grasps a structure (or device) which, (like a building in principle), gathers and contains other objects - all in one-place. 

​My expertise is in reading and translating pre-traditional, traditional, modern and simplified Chinese ideograms into British English. As many older Japanese terms are expressed in “traditional” Chinese ideograms (as in “握瓮 – Nigiri-Game”) – it is through the reading of these characters that I can intellectually enter the realm of the Japanese language - and interpret the thought-structures that underlie it. I have noticed, however, that the ideogram “瓮” (Game) within Japanese-language texts is pronounced both “game” and “kame” – why is there this difference? If “瓮” (“urn”) is placed at the beginning of a sentence (as in the first word), then it is pronounced “kame”, whilst if it is placed at the end of the sentence (as the final word), it is pronounced “game”. This is the convention operating within the written (and spoken) Japanese-lanvuage.
​
Given that “握瓮” (Nigiri-Game] is a concept applied within Okinawan Goju Ryu Karate-Do as “Sanchin-Game” (Three-Battles - Urn) [三戦 瓮) – the “瓮” (Game) appears at the end of the sentence, thus rendering the reading of “urn” or “jar” (the English transliteration is variable) as “game” (pronounced in English as “Gam Mi”). Of course, as Okinawa operates from a number of different language structures at any one-time - a combination of Chinese, Japanese, (indigenous) Okinawan, and South-East Asian (together with “English since the defeat of Imperial Japan in 1945) – the usual idioms and conventions expected in other languages - might - or might not – existentially operate. Assumptions of usage must be researched at the point of contact whenever encountered.

The Okinawans prefer to use the ideogram “瓮” for “game” – instead of “甕” (both pronounced “weng4”) the latter assessed above. The assumption is that both ideograms convey the same interpretation – albeit in slightly different ways:

​瓮 (Jap: game) [Chin: weng4]
​
Top-particle = 公 (gong1) – public, communal, official
Lower-particle = 瓦 (was3) – earthenware, pottery, roof-tile

This assessment seems to suggest that “瓮” refers to any earthenware-constructed objects which are used within human society – whilst placed on continuous public display - performing their intended function. Indeed, Japanese-language dictionaries suggest NOT an “urn” – but rather a “roof-tile”. The reading only becomes “urn” (jar) when read in the light of the “甕” ideogram – which clearly indicates a waterproof “container” or “vessel” constructed using clay. The “瓮” ideogram appears in the Seal Script (developed between 700 BCE-200 CE) – whilst there are NO ancient versions of the ideogram “甕”. This indicates that “瓮” is the older ideogram (used within Okinawan script) – whilst  “甕” is a later (clarifying) development. 

Within Okinawan Goju Ryu Karate-Do - the "鎚石" (Chi Ishi) is a body-conditioning training device - comprised of a rounded weight (made of sculptured "stone") - affixed to the base of a long wooden handle:

"鎚石" (Chi Ishi) = Hammer Stone (threshing-device)

鎚 [Jap: zui, tsui, tsuchi] (Chin: chui2) = hammer, mallet, mace, spindle

石 [Jap: ishi] (Chin: shi2) = stone, rock, heavy-hard substance (such as "jade"), unit of weight (linked to measuring volume of rice)

This traditional martial arts training device (in Okinawa) is named using old Chinese ideograms pronounced in a manner that mixes Okinawan and Japanese (verbal) language structures. Indeed, modern Japanese expression does not exactly match the old Okinawan pronunciation. This might express the fact that Okinawa possesses its own unique dialect-language which developed independent from both the direct influence of both China and Japan. 

​Checking the Fujian (Hokkien and other Min) dialects - I found the following information with regards the pronunciation of these two ideograms:

"鎚石" (Chi Ishi)

鎚 - [South Min] Hokkien = tui, thui - North Min = tu - East Min = tui

石 - [South Min] Hokkien = chioh - North Min = cio East Min = sioh, Puxian Min = sieo

​What is the farming-function of the "鎚石" (Chi Ishi)? When these two ideograms appear in both Chinese and Japanese texts, they are usually used in the context of "threshing". A threshing (or "thrashing") device is designed for use in the farming activity of "separating" grain (or another similar crop) from the straw (dead, hardened grass) to which it is naturally attached. It would seem that the "鎚石" (Chi Ishi) is used hardened-base downward - whilst it is thrust toward the ground by the handle - striking the crop that requires "separating". Whether the rounded-base strikes into a slightly larger rounded receiving area - I cannot tell. Today, this weighted device is used within Goju Ryu Karate-Do as an upper (and lower) body-building and body-strengthening (conditioning) device which systematically develops strength, stamina, endurance, stability, power, timing, and all-round awareness.

​Conceptually, there is a link between the "鎚石" (Chi Ishi) - and the Family Crest (Stamp) ["家紋" Jap: Ka Mon - Chin: Jia Wen] used in Japan by prominent (noble) families. These are invariably "round" in structure (the origin of the Goju Ryu badge - which is the "Myagi" ["宮城"] Family Crest), are made of stone, jade or a similar hard-wearing (and often "precious") material, and used to "stamp" a unique design in an official wax-seal - or some other similar (identifying) substance. In this instance, the "stone" component has a distinct "pattern" engraved upon its base which is reproduced into the receiving material by a sharp, downward thrust of the hand. These "stamps" are comprised of a rounded stone base affixed to a wooden-handle. 

2024-11-28 Ecns.cn Editor：Zhang Dongfang

(ECNS) -- Su Yinghan, 80, an inheritor of White Crane Style, a Chinese martial art form that originated from Yongchun County, east China's Fujian Province, has witnessed the martial art form go global.

Su picked up the White Crane Style at 15, inspired by elders in his family, who often talked about the martial art and a classmate from a family of local practitioners.
Pioneering masters of the martial art have influenced the younger generation through their spirit, he said.

In the 1990s, a large number of foreigners came to Yongchun to learn the White Crane Style. With a history of over 300 years, it has spread to more than 80 countries and regions, attracting thousands of foreign disciples to the birthplace of White Crane Style every year.

As early as 1929, influential overseas Chinese Chen Jiageng,, along with about 20 White Crane masters carried out a year-long tour of White Crane Style in Singapore, Malaysia and other countries, causing a sensation among local communities.

In 2008, five types of boxing including the White Crane Style, were listed as intangible cultural heritages of national level. In 2022, White Crane Style was selected as a provincial intangible cultural heritage in Fujian.
​
Yongchun County selected representative inheritors of county-level in 2024, and for the first time chose 14 foreign inheritors of the White Crane Style from countries such as Malaysia, Germany, the U. K., and Spain, to help the martial art go global.

 Сегодня Хигаонна Сенсей наслаждался городом, обедом в «Мансарде» с потрясающим видом на Исакий и разговорами о Годзю-рю каратэ и его перспективах в России и Мире.
​
Так же Сенсей успел провести индивидуальное занятие с Сенсеем Богданом Курилко, который организует SANCHINFEST 16-17 ноября (об этом расскажем чуть позже).

🔔И уже завтра стартует семинар с Морио Хигаонна и его ближайшими учениками! 🙇🏻‍♂️

🛬 Морио Хигаонна Сенсей прилетел в Санкт-Петербург. 

Сенсея и его коллег ярко встретили в аэропорту со всеми почестями 🙇🏻‍♂

Вместе с Сенсеем прилетели старшие ученики, Масаказу Курамото, Ёшинори Ёнесато, Виктор Панасюк.

Dear Tony (Sensei)

​Following the Hakka-Punti Clan Wars and the Taiping Uprising (both happening during the mid-1800s) - the Hakka Armies were defeated by the Qing dynasty Forces (following the death of millions) and the Hakka people were consigned into very small areas to live. At this time, to hide their ethnic identity (as Northerners living in the South) many gongfu Masters deliberately "shortened" the movements of their Northern gongfu so that it better resembled the Southern gongfu practiced by the Cantonese people. As my Chan family lived in the remote area of South-East Guangdong (not yet under the control of the British - that area would become the "New Territories" in the 1890s) - we felt no need to shorten our gongfu technique and so we still practice the Longfist of the North.

​This is true of only a minority of Hakka Clans - as many now practice Southern Styles - the product of technical adjustment in the mid-1800s. As many Hakka people do not know their past - they think they have always practiced the shortened Southern Styles but this is not the case. I think a similar situation exists in Fujian province regarding the Hakka - but I have no way of knowing whether this is linked to Suparinpei Kata (and other Goju Ryu kata). From my limited view - Suparinpei (and other Goju Ryu kata) looks like how Longfist is used for close-in fighting. As you know, Longfist is taught at long, middle and short range - with the long-range being on display in the standard Forms. 

I suppose many Hakka Clans that practiced Longfist simply ceased openly practicing the middle and long-range Forms - limiting practice to the close-in range - although this would also include middle-range where applicable. Long-range "reaching" with extended limbs (open arms and legs) was replaced with short and concise shuffle-stepping (moving the torso nearer and away from the opponent whilst keeping the bodyweight firmly "rooted" to the ground). Unfolding (whipping) power was replaced with small-circle force (both drawing force up from the ground - regulated by the breath). This is not a moving away from Hakka Longfist - but rather a focusing on one particular and well-known aspect of it. I think I see all this in the various versions of Suparinpei Kata. 

​Our Hakka gongfu training requires the carrying of heavyweights upon our backs. This represents the hilly terrain the Hakka people lived within throughout the New Territories, Hong Kong. Hakka Clan villages, especially by the 20th century, were often re-constructed upon the top of various hills situated in prominent good (feng shui) positions. The bones must be kept strong for building good health and ensuring longevity. Strong bones allow the bodyweight to drop down through the centre of the bone-marrow into the floor (creating a strong 'root') - and facilitates the rebounding force which is distributed (throughout the skeletal-system) to the striking part of the anatomy - be it a hand, foot, elbow, knee, fore-head or torso, etc. The Hakka people moved into the Guangdong area (that became the 'New Territories' under the British in the 1890s) in the mid-1600s - following the Manchurian invasion of China (which established the foreign 'Qing Dynasty' during 1644 CE). 

​Our 'Chan' (陳) Clan (pronounced 'Chin' in the Hakka language and 'Chan' in the Cantonese language) originally settled at the base of a hill near the coast in the Sai Kung area. I think we probably originated somewhere in Henan province (like many other Hakka Clans that I have investigated). Younger people often carried older relatives on their backs (as part of the required filial piety) up and down the hills - to and from various areas. Chinese families reflect the government and vice versa. One reflects the other whilst the notion of Confucian 'respect' permeates the entire structure. This is true regardless of political system, era, religion or cultural orientation. Many Daoists and Buddhists are Vegetarian - because they respect animals and the environment. 

When working as farmers - Hakka people carried tools, goods and the products of harvests on their backs between long hours working in the rice fields with the Water Buffalos. The continuous repetition of hand and foot movements - and the standing postures for long hours in the wind and rain - condition the mind and body for genuine Hakka gongfu training. Although there is an 'Iron Ox' gongfu Style (different to our own) - the spirit of the Ox pervades all aspects of the Hakka gongfu styles! Even so, our Hakka Style embodies the spirit of the Bear! We can fighting crouching low - or stand high giving the impression that we are bigger than we actually are! Our developed musculature is like the Ox and the Bear in that it is large, rounded and tough! We can take a beating and still manifest our gongfu Style with ease! We do not go quietly into that dark night! 

The above video shows Hakka people de-husking rise - with the standing person practicing 'Free Stance, rootedness and knee-striking, etc, and the crouching person showing a low Horse Stance and position for 'Squat-Kicking', etc, whilst demonstrating dextrous hand movements often found in gongfu Forms.  Of course, not all Hakka Styles are the same and there is much diversity throughout the Name Clans. Our Chan gongfu is Military-related and can be traced to the Qin Dynasty (221–206 BCE). I think there used to be a State Gongfu Manual (since lost) issued by the Qin Dynasty as part of the process of turning every village, town and city into a 'Barracks'.

​​Guiding the ploughs through the water and mud at the back of the Water Buffalos reflected the leg, arm and torso positions found within the Hakka gongfu. How the Hakka farmers stood still, stepped forward and back - side to side, tensed and relaxed their muscles, used their eyes and ears, and produced power and learned to give-way - all manifested in the various Hakka gongfu Styles. On Occasion, the Ox is given the day-off and the local people take to 'pulling the plough'!

​Our Hakka Gongfu is 'Longfist' based. Whereas many Hakka Clans - following our defeat at the end of the Punti-Hakka Clan Wars (1854-1867 CE) - Hakka people were ethnically cleansed into small areas of Guangdong province. Around 20 million people had died in this terrible war (which included the separate but related Taiping Rebellion - a Hakka-led war - fought for different reasons). The original 'Northern' Hakka Styles were persecuted and viewed as the vehicle through which the Hakka people had made war in the South of China (the area they had migrated into). The Hakka are patriotic Han Chinese migrants who fled the foreign invasion of Northern China - but who were not wanted or welcome within Southern China. Since the 1949 Revolution - things are very different today in China - as Hakka and non-Hakka now live side by side in harmony.

​When the various Hakka Clans 'shortened' the arm and leg movements of their gongfu Styles - to make these arts seem 'Cantonese' in origin - our Hakka Clan lived in a relatively remote area of South East Guangdong province and refused to do this. We practiced our 'Northern' Longfist martial arts in isolation and hid our gongfu in Temples grounds, behind walls and by practicing at night. Master Chan Tin Sang (1924-1993) fought and killed Imperial Japanese soldiers in the New Territories between 1941-1945 using our Hakka gongfu. Around 10,000 Hakka men, women and children were killed in this war fighting the modern Japanese soldiers using bare-hands and feet - and traditional weaponry. Many of our relatives were killed during this time. 

Master Chan Tin Sang came to the UK in 1956 - as a British Subject - to work for a better life, not because China is a bad place (it is not), but because life in the New Territories under British rule was continuously impoverished. Master Chan Tin Sang worked hard for 10-years before he earned enough money to bring his wife and two daughters to the UK (in 1966) - also as British Subjects. My Chinese relatives were NOT economic migrants, Asylum Seekers, or Refugees. My Chinese relatives do not follow Cults and are free-thinking individuals who are proud to be 'British' whilst supporting Mainland China's right to self-determinate - just like any Western country.

Japanese Karate-Do (General) - 'Mawashi-Uke' (廻し受け):

​Mawa (廻)  = rotation, turning, rounded and circular, 

shi (し) = four-corners, all-areas and comprensive-cover 

U (受) = receive, meet, accept and stoically bear (suffer)

Ke (け) = stratagem, plan, calculation and measure

Okinawan Goju Ryu Karate-Do - 'Toro Gushi-Uke' (虎口受け):

​Toro Gushi (虎口) = literally 'Tiger-Mouth' envelopes the enemy - and closes inward from all-sides at once

U (受) = receive, meet, accept and stoically bear (suffer)

Ke (け) = stratagem, plan, calculation and measure

Southern China Gongfu Equivalent:

Double Butterfly Open-Palm = 双蝶掌 (Shuang Die Zhang)

Okinawan Goju-Ryu 'condenses' many of these Southern Gongfu Movements for efficiency. Long stances are shortened whilst reaching arm-movements are brought closer to the body (perhaps adapted for practitioners spending long periods on boats). Many Hakka Gongfu Styles originating in the North progressed through this adaptation process in South China. Our Family Style did not - but virtually all the Clan Styles around our village did. 

Tora - Tiger - can also be pronounced 'Koko'. In Fujian this can be 'Ho Kho'. Sometimes, despite the literal interpretation of 'Tiger Mouth' - it is used in Chinese and Japanese texts to mean 'Jaws of Death!

​The Chinese text states that Goju Ryu is a genuine transmission of 'Nan Quan' (Southern Fist). 

攻防一体虎口廻受

​Attack and defence are integrated - the open tiger's mouth simultaneously envelopes and traps.