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

​Interesting. A very intriguing and fascinating clip - and interpretation. much appreciated.

The accompanying (original) Russian-language text (in English-translation) says this - might be useful:

​The Russian word "кайтеном" (kaytenom) appears to be rendered as "Kaiten" within phonetic English. I found this Russian-Language Aikido text (fed through a translator below) which discusses the Japanese martial arts technique of "Kaiten nage" (Rotate-Throw):

​Therefore: Japanese "Kaiten" (кайтеном - kaytenom) = 回転

回 (Kai) = turn, go back, retrace steps
転 (Ten) = circuitous, winding, revolve

​In this instance, a  spiralling 180° - about-face (half a circle) - transition. Chinese people refer to the "回転" (Kaiten) ideograms as "Hui Zhuan" - an evading-turn that radically re-directs the opponent's energy.

Dear Tony

Interesting. Thank you for your knowledgeable explanation of sparring - an adult 'tiger playing with a cub'. This inspired me to research 'Ran-Dori' in Japanese-language sources - which is written as '乱取り' - '乱捕り' and 'らん‐どり'. Both of the following Japanese-language Wiki-entries (I have checked the data is correct) should be read side by side to gain an all-round clarity - as the 'Randori' entry does not specifically mention Karate-Do - whilst the 'Kumite' page explains that in some Styles of Karate-Do - 'Kumite' is referred to as 'Randori'.

I suspect the inference is that in Okinawan Karate-Do the term 'Randori' is used - whilst in Mainland Japan - the term 'Kumite' is the preferred. Difficult to say, but as you know, 'nuance' and 'implication' is an important part of Japanese communication. What is NOT said is as important (sometimes more so) than what IS said. Perhaps this Yin-Yang observation is just as important for sparring - whatever its origination and purpose. 

​As for the traditional Japanese and Chinese ideograms - this is what we have:

​乱取りand 乱捕り

​乱 (ran) = chaos, disorder

取 - 捕 (to) = take hold of, gather, control, arrest

り(ri) = logic, reason, understanding

​Therefore, 'Ran-Tori' and 'Ran-Dori' are synonymous - with the concept expressed in its written form as '乱-取り' - ot 'Chaos (Random Movement) - Seize Control of'. What is 'chaotic' in the environment is wilfully taken control of - by imposing an outside order upon it. This suggests that the 'non-controlled' is 'controlled' by the structure of Kata-technique - which is brought to bear by an expert. There also seems to be the suggestion that that which 'moves' - is wilfully brought to 'stillness'. As for a Chinese-language counter-part, perhaps we have:

​乱 - 亂 (luan4) = disorderly, unstable, unrest, confused and wild (Japanese = 'turbulent')

取 (qu3) = take hold, fetch, receive, obtain and select

り- 理 (li4) = put into order, tidy up, manage, reason, logic and rule

​It would seem that the Japanese term of 'Ran-Dori' equates to the Chinese term of 'Luan-Quli' - or 'Disorder - (into) Order Rule'.

​Your reply inspired me to think about what the Japanese '乱' (Ran) - or Chinese equivalent '亂' (luan4) - actually means. What is the definition of the 'disorder' being referenced to when 'Ran-Dori' is being discussed?

Therefore, '亂' (luan4) is comprised of a 'left' and 'right' particle:

Left Particle = 𤔔 (luan4) means to 'govern' and 'control' - and is structured as follows:

​a) Upper Element = 𠬪 (biao4) represents two-hands working together. The upper '爫' (zhao3) is a contraction of '爪,' (symbolising the vertical 'warp' threads used in weaving) - representing a 'claw' or 'hand' grasping downwards (from above) - and the lower '又' (you4) which is a right-hand 'grasping to the left' (meaning 'to repeat' and 'to possess') - signifying the horizontal 'weft' thread used in weaving. 

b) Lower (Inner) Element = 幺 (yao1) - a contraction of '糸' (mi4) which refers to 'thin silk threads'. 

​c) Lower (Outer) Element = 冂 (jiong1) this is a 'comb', 'beater' or 'heddle' - a device to 'order' the silken threads that require weaving. In normal usage, this ideogram denotes the structured boundary that clearly demarks the city limits.  

​Right Particle =乚 (yi3) is a contraction of '隱' (yin3) - meaning to 'hide', 'conceal' or 'cover-up', etc, as in 'something is missing'. It can also refer to a required process that is 'profound', 'subtle' and 'delicate' - but which is currently 'lacking'. It may also mean 'secret' and 'inward' or 'inner', etc. I would say that 'obscuration' is what this ideogram refers to in its meaning.

Conclusion

The literal meaning of '亂' (luan4) [or 'Ran' in 'Ran-dori] - is that it refers to a lack of skilful organising ability (disorder and confusion). The thin silk threads are not placed correctly on the wooden frame (loom) - and therefore cannot be 'weaved' together in an orderly fashion. This entire process lacks the required profound knowledge and experience to achieve the objective - thus the hands (and body) cannot be used in the appropriate manner. 

Ran-Dori (乱捕り), as a complete process, suggests that it is the opposite of the above 'lack of skill' that is require in sparring. Not only is this skill required, but 'ri' (li) element (理 - li3) - suggests a 'regulation' and an 'administration' (premised upon logic and reason) - such as the profound skill required to 'cut' and 'polish' jade. 

I was discussing Randori with another language expert and they gave me more data which I have added to this paragraph:

'Upper Element = 𠬪 (biao4) represents two-hands working together. The upper '爫' (zhao3) is a contraction of '爪,' (symbolising the vertical 'warp' threads used in weaving) - representing a 'claw' or 'hand' grasping downwards (from above) - and the lower '又' (you4) which is a right-hand 'grasping to the left' (meaning 'to repeat' and 'to possess') - signifying the horizontal 'weft' thread used in weaving. '

I was curious as to why the two hands were so specific in their orientation and my colleague said that they are clearly carrying out the process required for ancient 'weaving'. One hand is laying the 'warp' - or 'vertical' thread down through the loom - whilst the other right hand is performing the function of 'weaving' multiple 'weft' threads into place horizontally across the loom! 

​As a matter of comparison - the 'Kumi' (組) in Kumi-te (組手) - Chinese 'Zu Shou' - means to 'weave continuously'. This translates as 'to be skilful' (the silken threads are skilfully woven [糹-si1] together forever - like the longevity of a sacrificial vessel [且 - qie3] - which are traditionally made out of stone). Therefore, Kumi-te literally refers to a 'continuous skill that unfolds through the hand'. This may be compared to the term 'Ran-Dori' which refers to a 'missing skill' that has yet to be 'acquired' and is in the midst of 'being acquired' (through developmental training) - whilst Kumi-te implies that the required skill is already present and should manifest automatically. 

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. 

Thanks Tony!

What you say about Miyagi Chojun's attitude toward 'Bunkai' is typical of traditional Chinese gongfu. Many Masters will know one or two 'favourite' applications of the various Form moves - but will always teach that each Form movement has hundreds (or more) applications that should not (and cannot) be limited to a single interpretation.

This being the case, where does the concept of 'Bunkai' come from within Karate-Do? Certainly, there are old photographs of Goju Ryu 'Disciples' in Okinawa applying Kata movements as self-defence - quite often as Miyagi Chojun is looking on. As far as Southern Chinese gongfu concepts are concerned - I am not familiar with the term '分解' (Fen Jie) - which in Cantonese is pronounced 'Fan Gaai' and in Hakka 'Fun Ge'.

However, there are some dialects of Hakka (not that spoken in my family - but in villages further North) - which pronounce '分解' as 'Bun Kiai'. Within the Fujian dialect - '分解' is pronounced 'Hun Kai' or 'Pun Ke', etc. This seems to morph quite naturally into the Okinawan-Japanese 'Bun Kai' - and would suggest the concept spread (linguistically) from South China to Okinawa. Of course, this might not be the case and could suggest the experience was developed in Okinawa (as part of the transmission process) and 'reflected' in the adoption of appropriate sounding 'Chinese' terms. 

I would agree fully with Miyagi Chojun - as I teach our family gongfu in just that way. Yes - if asked I can easily explain the purpose behind this or that movement - but it is only through 'practicing' each movement until the human awareness and perception penetrates its fully and its multitudinous (and 'empty') essence is found - that the 'movement' itself is totally comprehended. I was always taught that the ability to sit for long periods of time in cross-legged meditation is the highest expression of all gongfu Forms.

On the other hand, a 'Master Chan' in Malaysia (a 'relative') focused all his life on perfecting just one Form movement - which involves the grabbing hold of a single (attacking) front-kicking leg - and 'breaking' that leg around the 'knee-joint'. He would apply a downward fore-arm (elbow) strike (whilst shifting into a back stance) across bamboo sticks thrust at him by students until one, two or three sticks could be easily broken! Whilst sparring, he would attempt to 'goad' an opponent into 'kicking' whilst skilfully avoiding all over incoming blows. Needless to say, the jungles of Malaysia had a number of permanently 'limping' former opponents!

Thanks

The 'Ricardo Leite' video is much longer than the average 'snippet' types - and for good reason - as it is designed for an 'extended' (detailed) study (at least on my part). It has took me two or three sessions to view the content completely (over two-days) - but even then - the depth of  comprehension has only been at the surface level. On initial inspection there is much subtlety that needs to be carefully 'unpacked' - as they say today! This Goju Ryu Kata 'Bunkai' (分解) looks similar in manifestation to Taijiquan (position, timing and using the opponent's momentum against them). 

a) 分 (fen1) - Japanese Kanji also written 'ぶん' (bun) = moment (in time - literally 'a minute'), part and 'to divide' and 'distinguish'

b) 解 (jie3) - Japanese Kanji also written 'かい' (kai) = untie, solve and clarify

By continuous observation, the 'bunkai' process allows for a clarification of over-all understanding - developed by carefully examining the constituent parts. Of course, this is as much a practical matter as it is a theoretical analysis - all dependent upon a (repeated) structured experience. 

With regards to the first ideogram of 'Bunkai' (分解):

a) 分 (fen1) - Japanese Kanji also written 'ぶん' (bun) = moment (in time - literally 'a minute'), part and 'to divide' and 'distinguish'

Within the Chinese language - the ideogram 分 (fen1) [bun] is used to denote a single 'minute' (comprised of '60 seconds') - as in 'one minute' of the sixty minutes that comprise one hour! This suggests that there is an element of 'time' contained with the concept of 'Bunkai' (分解) - as if when assessing and applying a movement (or 'set' of movements) - there is an element of 'controlling' or 'altering' the perception of 'time'. This might mean that 'Bunkai' is NOT just the correct interpretation of the physical mechanics of Kata - but is also the metaphysical ability of expertly 'manipulating' how an opponent 'perceives' time. If the passing of time can be successfully 'altered' - then the opponent cannot 'occupy' the space they inhabit properly. When a Master controls the time and space (both within the mind and body and outside the mind and body) - then such an individual becomes 'invincible' in the sense that the direct path to defeating him or her is no longer available to ANY would be opponent! 

Above (and in the link below) is a rare historical Video featuring Okinawa Goju-ryu Meibukan Founder Yagi Akitoku Shihan:

Yagi Akitoku - Sepai Kata

This is the Disciple of Miyagi Chojun who states he founded his own Dojo in 1952 - the only person outside the Miyagi family to be given permission to do so during Miyagi Chojun's lifetime. He founded the 'Meibukan' - which seems to be the Goju Ryu lineage currently active in Hunan! There is a Goju Ryu Karate-Do 'Dojo' situated in Hunan (China) that is part of the 'Meibukan' tradition!

I discovered this rare video-clip on a Chinese language (social media) video-sharing platform. It features Goju Ryu (刚柔流) Karate-Do (空手道) Master - Higaonna Morio - (东恩纳盛男先生) demonstrating the two Kata developed by Miyagi Chojun (1888-1953) entitled:

1) 'Geki Sai (击碎) Dai Ichi' - Hit & Destroy Number 1
2) 'Geki Sai (击碎) Dai Ni' - Hit & Destroy Number 2

Or 'Geki Sai' Kata 1 & 2. This name means to 'Hit' and 'Destroy' and these two Kata were developed around 1937 to prepare the minds and bodies of college students for military service. Although there are many versions of the history behind the development of these Kata - one theory suggests that the technical principles are derived from the 'Arahant Fist' (羅漢拳 - Luo Han Quan) Style of Shaolin 'Southern Fist' (南拳 - Nan Quan) Chinese gongfu!