BASICS AND STANCES IN KARATE A Thesis submitted to Sensei Amold de Beer, Tai Chi and Karate Academy, Johannesburg, in partial fulfilment of the requirement for Nidan. Johannesburg, February 1995ABSTRACT The Thesis attempts to discourse on the subjects of Basics and Stances in Karate, with specific emphasis on Traditional Okinawa Goju Ryu. An historical history overview is presented, and forms of present stances and basic practices are discussed.DECLARATION I declare that this thesis is my own, unaided work. It is being submitted in partial fulfilment of the requirements for Nidan. It has not been submitted before for any degrees or examination in any other dojo. EDUARDO JORGE DA SILVA ABEGAO PINTO Ist day of February, 1995.ACKNOWLEDGEMENTS | am in debt to many people as far as the preparation of this Thesis is concerned Some of these people are: - the library personnel at Simera, who helped in compiling a list of the available literature in the various libraries and requesting the chosen books and articles - my Sensei, Amold de Beer, who patiently and repeatedly answered all my questionsINTRODUCTION. CHAPTER 1: A SYNTHESIS OF THE HISTORY OF KARATE .. WHAT IS KARATE... i THE MEDITERRANIUM AND MEDIUM ORIENT... INDIA...... i CHINA........ OKINAWA JAPAN... TRADITIONAL OKINAWA GOJU RYU FAMILY TREE CHAPTER 2: THE FUNDAMENTALS OF TRADITIONAL OKINAWAN GOJU RYU. DEFINITION OF TERMS. BASIC TECHNIQUES..... COUNTING.. CLASS TERMS. GRADES AND DEGREES. OKINAWA GOJU RYU: THE TRADE MARKS . THE GOMU ASPECTS... TS BS isc PHYSICAL CONDITIONING. CIRCULAR MOVEMENTS. CLOSE QUARTERS... THE KIAI... THE BASIC COMPONENTS OF TRADITIONAL OKINAWAN GOJU RYU.........26 CHAPTER 3 THE NATURAL WEAPONS AND TECHNIQUES .. NATURAL WEAPONS ........ USE OF HANDS AND ARMS... USE OF FEET AND LEGS...... HAND TECHNIQUES... BLOCKS. PUNCHING. STRIKING eee FOOT AND LEG TECHNIQUES .. pecs KICKS... a CHAPTER 4 WARMING-UP AND STRETCHING EXERCISES... GENERAL .. WARM-UP EXERCISES... STRETCHING EXERCISES.A WARM-UP AND STRETCHING PROGRAMME ‘cna ‘CHAPTER 5 MOVING AND SPARRING .. GENERAL EQUILIBRIUM. . CENTRE OF GRAVITY......... STABILITY ......004+ MOTION SPEED....... ACCURACY. FORCE eit DIRECTION ...22-sc.csssceee 7 PRESSURE: DISSIPATION OF FORCE. SPARRING... PREARRANGED SPARRING. FREE STYLE... CHAPTER 6: TRAINING METHODS AND EQUIPMENT. GENERAL MAKIWARA. CHIISHI....... KONGOKEN DUMBELLS STONE FILLED JARS. . BAGS (PUNCHING, KICKING, STRIKING)... SKIPPING ROPE GO AND JU TRAINING: SANCHIN AND TENSHO KATAS 74 WAKE sccsrcecscsisees cecccseecneneeeneee CHAPTER 7: VITAL POINTS GENERAL CHAPTER 8: BREATHING.. GENERAL BREATHING IN KARATE. CHAPTER 9: STANCES... DEFINITION OF STANCE. - ee 7 cesseneee THE GOJU RYU STANCES..........0. eee —_ 84 HEISOKU-DACH....... acertererr os 88 MUSUBI-DACHI.... 88 HEIKO-DACHI... ' si ‘ 68 HACHINOJI-DACHI sernncenovessev ee 88 TEIJI-DACHI 88 RENOJI-DACHI 88 ZENKUTSU-DACHI eesecseeeete 88KOKUTSU-DACHI......... KIBA-DACHI...... SANCHI-DACHI... SHIKO-DACHI .. FUDO-DACHI... aa NEKO-ASHI-DACHI. CHAPTER 10: CONCLUSION...Table of Figures FIGURE | - 1: GOJU-RYU FAMILY TREE FIGURE 3 - 1: NATURAL WEAPONS FIGURE 3 - 2: MAKING A FIST FIGURE 3 - 3: FIST WEAPONS FIGURE 3 - 4: OPEN HAND FIGURE 3 - 5: OPEN HAND WEAPONS FIGURE 3 - 6: UDE WEAPONS. FIGURE 3 - 7: EMPI WEAPON FIGURE 3 - 8: FEET AND KNEE WEAPONS FIGURE 3 - 9: HAND AND ARM BLOCKING FIGURE 3-10: PUNCHING FIGURE 3-11: STRIKING FIGURE 3-12:KICK FIGURE:3-13:SWEEPS FIGURE 3-14:FOOT/LEG BLOCKS FIGURE 4- 1; WARM UP EXERCISES FIGURE 4 - 2: STRETCHING EXTERCISES FIGURE 5 - 1: EQUILIBRIUM PRINCIPLES FIGURE 5 - 2: SUMMATION OF FORCES FIGURE 5 - 3: FINAL FORCES FIGURE 5 - 4: PRESSURE ILLUSTRATIONS FIGURE 6 - 1: MAKIWARA. FIGURE 6 - 2: CHIISHI FIGURE 6 - 3: KANGOKEN FIGURE 6 - 4: DUMBELLS. FIGURE 6 - 5: STONE FILLED JARS FIGURE 6 - 6: BAGS FIGURE 6 - 7: SKIPPING ROPE FIGURE 6 - 8: SANCHIN KATA FIGURE 6 - 9: TENSHO KATA FIGURE 6 - 10: KAKE FIGURE 7 - |: VITAL POINTS OF THE BODY FIGURE 8 - 1: KARATE BREATHING EXERCISE, FIGURE 9 - I: KARATE STANCES FIGURE 9 - 2: KARATE STANCES FIGURE 9 - 3: KARATE STANCES 16 29 30 30 32 32 34 34 36 39. 41 B 45 45 33 35 61 62 68 67 n nm a R R n n n B B 8 al 85 86 87Table of Tables ‘TABLE 2-1: GRADES AND DEGREES IN GOJU RYU 2INTRODUCTION There are many books on the subject of Karate. Most of these books attempt to give the reader an overview of Karate, and are therefore general in nature, since Karate is a very vast subject and encompasses many different aspects, physical as well as spiritual. In trying to give the reader this overview, those books cover sometimes certain areas in a very superficial manner. To fully address the subject of Karate, taking into account its origins, evolution, different styles, katas, applications and the spiritual aspects, many tomes would be needed. This work has much humbler aspirations than to address the full scope of all the Karate aspects. As the object of a thesis is to discuss in detail a specific subject, normally within a specified number of pages, the scope of this work was limited by the supervisor, Sensei Arnold de Beer, to Basics and Stances. The style of Karate practised by the dojo is Traditional Okinawa Goju Ryu; it is therefore to be expected that some of the basics and stances discussed are given a prominence that they do not enjoy in other styles, Arresearch for information revealed that much material is in actual fact available, in the form of books, videos, and magazines; the more complete material is contained in the form of books that are dedicated to a specific style All material was evaluated as to its usefulness and application to this thesis; when used it was duly referenced. A list of all material used in this thesis is found in the Reference List. The author's contribution is reflected in the integration of Goju Ryu’s Basics and Stances characteristic aspects with more general karate aspects, and in the presentation of the material in a format that is believed to be easily read and understood. This thesis consists of the following chapters - Chapter 1: A SYNTHESIS OF THE HISTORY OF KARATE - Chapter 'HE FUNDAMENTALS OF TRADITIONAL OKINAWAN GOJU RYU - Chapter 3: THE NATURAL WEAPONS AND TECHNIQUES - Chapter 4: WARMING-UP AND STRETCHING EXERCISES - Chapter 5: MOVING - Chapter 6: TRAINING METHODS AND EQUIPMENT - Chapter 7: VITAL POINTS - Chapter 8: BREATHING = Chapter 9: STANCES - Chapter 10: CONCLUSION 10CHAPTER 1: A SYNTHESIS OF THE HISTORY OF KARATEWHAT IS KARATE The term Karate is a Japanese word meaning empty hand’ It is popularly known as a form of unarmed combat. This is a simplistic view since Karate as an unarmed combat technique rests on a philosophical and spiritual foundation. To fully understand the philosophy of Karate one must have a knowledge of Karate’s historical development. In the next paragraphs is given a concise description of this development, with special focus on the development of the martial arts that led to the establishment of traditional Okinawa Goju Ryu. THE MEDITERRANIUM AND MEDIUM ORIENT In accordance with Scroeder and Wallace (Ref 5, page 1) the oldest records concerning unharmed combat are the hieroglyphics from the Egyptian pyramids where Egypt's military men in about 4000 BC (old Kingdom), used fighting techniques that resemble modern boxing Other pictures portraying something akin to boxing and wrestling tuned up in the ruins of Sumer in Mesopotamia (about 3000 BC). These fighting techniques crossed over to Greece by way of Crete and were described by Homer in the twenty-third book of the ILIAD. Matches were rough affairs and terminated often by the death of one of the participants.” The Greeks combined the two types of fighting then distinguishable, i.e. boxing and wrestling, into an activity in which no foul existed and any part of the body could be used as a weapon, The Greeks eventually abandoned this activity as being too cruel; but it was revived under the Roman Empire as a sport, in a form that was very similar to today's karate. This sport eventually disappeared, and there are no records that prove its link with the oriental development of the fighting arts, INDIA India of early regarded warfare as a very significant aspect of its culture. The multitudes of Kingdoms always striving for supremacy over their neighbours were fertile ground for the development of all martial arts. A class of Indian warriors, called the Kshatryia, developed at least a type of unarmed combat. This is recorded in the Buddhist chronicle called Lotus Sutra, which describes a form called |-Chin-Sutra which integrated physical and mental disciplines. This same chronicle also relates the development of another fighting art called ‘hata’ where one of the basis was a set of pre-arranged exercises, which is a characteristic of modern karate An Indian Buddhist monk, called Bodhidharma, was apparently at some stage of his life a member of the Kshatryia, and had obviously become a master in 12unarmed combat. Because he was not satisfied with the way Buddhism was being taught outside India, he decided to go to China. CHINA Bodhidharma seems to have arrived in China around 520 AD. He eventually received an audience with the Emperor and obtained permission to reside at the Shaolin-ssu Monastery in Hohon province. At this time, various indigenous styles of Karate-like techniques existed in China, but they did not incorporate the spiritual aspects that were to be inculcated by Bodhidharma. The reason why Bodhidharma first taught the monks into the art of self defence is not clear. Some say that he did this to help the monks to defend themselves from the bandits that constantly plagued the Monastery and the countryside; others say that he found the monks physically weakened, due to the inactivity resulting from hours of kneeling and meditation. Understanding the intricate relationship between body, mind and spirit, Bodhidharma used the art of unarmed combat he learnt from the Kshatryia to achieve either one or both objectives. Later on, Bodhidharma incorporated indigenous systems of unarmed combat into I-Chin-Sutra, resulting in the style known today as the Shaolin Temple Boxing, alternatively known as Shaolin ch’uan fa This style incorporated by then 18 basic movements In time, the farmers of the region were also initiated on this art so that they could also protect themselves from the bandits, Centuries after Shaolin ch'uan fa was created, a master called Ch'ueh Yuang ‘Shangejen developed the original 18 techniques into a total of 72, by once again incorporating indigenous techniques. Years later, travelling to the Chinese province of Shensi, he met another martial artist called Li. Between both, Shaolin ch'uan fa was further developed from the previous 72 to a total of 170 movements, OKINAWA During the T'ang Dinasty (AD 618-906), Karate skills, probably in the form of Shaolin ch'uan fa, were brought from main China to Okinawa. This transfer of martial arts Knowledge probably occurred through the events of shipwrecked crews, which included diplomats, priests (Buddhist monks), merchants and the like, travelling from China to Japan. Some of these people, specifically the monks, were versed on Shaolin ch'uan fa. Both Shaolin ch'uan fa and a local form of martial arts, called tode’ evolved. Tode was based solely on the use of the hands. In the ensuing centuries, Chinese and Okinawans kept close commercial and cultural ties; in this way, developments in the unarmed combat were imported into Okinawa, Okinawa was basically a Japanese colony. When Okinawa failed to supply Japan with the allocated quota of resources for the invasion of China, the Satsuma Clan 13of Southern Kyushu, in Japan, invaded Okinawa in 1609. The first measure taken by the Japanese was to confiscate all metals and weapons. The invaded Okinawans never quite submitted to the invader, and many skirmishes followed The Okinawans were forced to fight with primitive weapons, or with their hands and feet, and, naturally, come out second the majority of the times. Uniting to overcome the common enemy, the various Shaolin ch’uan fa and Tode clans developed a new form of unarmed combat, which became known as te” Because of the secrecy needed to escape detection by Japanese agents, the development of te was never recorded, and all we know today depends on oral tradition. At the end of the 19th century, the most important Okinawan masters of unarmed combat formed a coalition called Shobukai. One of the important actions taken by this body was the renaming of the art as Karate. The particular characters used translated as China Hand, and as such this was a way of honouring the chinese roots of the art; but in Japanese, Karate means “empty hand’ One of the most instrumental persons in the name change, and in the popularisation of karate in Japan, was a languages teacher called Gichin Funakoshi, who was the chairman of the Shobukai. JAPAN The Japanese chronicle Koji-Ki identifies Ju Jitsu as being the first true Japanese combative art, and Nomi-no-Sukume its founder. This took place around 23 BC In AD 607, there was a great influx of Chinese into Japan, caused by a planned cultural interchange. With the visitors, arrived people versed in ch'uan fa, which was assimilated into Ju Jitsu Gichin Funakoshi arrived in Japan in 1917, having been invited to demonstrate his Te technique. This he did in front of the Emperor. In time, he established a school, which eventually took the name of Shotokan, after the words Shoto (his pen name) and Kan (school). This school has been thriving until today and was the origin of many other schools. TRADITIONAL OKINAWA GOJU RYU FAMILY TREE In Figure 1-1 is represented a family tree of the Traditional Okinawa Goju Ryu. Also included, for the sake of completeness, are some of the other popular styles that share the same roots. Included are the four major schools (Ryu) that are recognised by the Japanese Karate Federation (Shotokan, Wado Ryu, Shito Ryu, Goju Ryu). Kyokushinkai, although not recognised, is also included because of common roots. So we see that ch'uan fa, the first recognisable form of martial art that integrated both the spiritual and the physical aspects, derives from a combination of I-Chin- Sutra and of local (southern chinese) unarmed forms. Chiuan fa was then exported to Okinawa, where it combined with indigenous styles to produce Tode, which was based solely on the use of hands.. 14As time passed, further influence from an evolved ch'uan fa was absorbed by the Tode practitioners, and this style progressed to Te (meaning hand), which is the first known record of the art in a nearly modern form. It must be noted that there were many regional forms of Te in Okinawa, At the end of the last century, at the time he was about 16 years old, Higaonna Kannryo went to China, where he resided in the southern Foochow area. Here he was instructed in the White Crane style by Ryu Ryuku, a top master in that style. It is said that Ryu Ryuku handed down to Higaonna the following Katas: Sanchin, Saifa, Seiyunchin, Shisochin, Sanseru, Sepai, Kurunrufa, Sesan and Suparimpei Higaona studied other martial arts styles, as well: Hsing Ye, Hung, Nei Chia, and Pa-Kua. He also studied weapons and Chinese medicine. When Higaonna returned to Okinawa, about 13 years later, he modified the Te style to include certain movements from the chinese styles he learnt. He trained, amongst others, Myagi Chojun and Mabuni Kenwa; the training imparted to those two students laid the foundations of the Goju Ryu and the Shito Ryu styles, respectively. The reason for this lay in the fact that Higaonna taught different techniques to the most senior students. Myagi Chojun developed Goju Ryu almost to the form it has today; his greatest contributions were the first two kata (Gekisaidai-ichi and Gekisaidai-ni), revised Sanchin kata, and the Kata Tensho. His successors have been Yamaguchi Gogen and Morio Higaonna. Mabuna Kenwa trained with other masters, besides Higaonna Kannryo. These masters belonged into the Shuri school, Tomari Te school, and various Chinese mainland schools. The blending of all these styles by Mabuna Kenwa resulted in the form that Shito Ryu has today. Another great Okinawa Te instructor was Funakoshi Gichin. He formally introduced Karate in Japan and founded the style Shotokan. A Japanese called Ohtsuka Hirinori was a master of the Yoshin Ryu style of Jiu Jitsu. He then trained under Funakoshi Gichin, and achieved a high rank within Shotokan. But he clashed with Funakoshi Gichin over Randori practice, which Funakoshi refused to implement. Ohtsuka Hirinori then left to create his own school, the Wadu Ryu The Korean Masutatsu Oyama trained with Funakoshi Gichin from Shotokan, Yamagushi Gogen from Goju Ryu, and various chinese styles (Ch'uan fa?). Being dissatisfied with all these styles, but having no doubt absorbed inputs from all of them, he founded his own school, called Kyokushinkai, 15| CH'UAN FA fp I-CHIN-SUTRA J+} CH’UAN FA LH Seema ] \GeNOUS srvues ! di WSINNG YE; HUNG aaa Lol + YOSHIN RYU omner [icaonna Funawosmt | || OHTSUKA CHINESE STYLES KANNRYO ' etcHin HIRONOR WADU-RYU J SHITO-RYU Ht MABUNI marvact KENWA cHOJUN yamacucht MASUTATSU : 7 mover [of merce Loran one moro | KYOKU HIGAONNA SHINKAI FIGURE Il: TRADITIONAL OKINAWA GOJU_RY FAMILY TREECHAPTER 2: THE FUNDAMENTALS OF TRADITIONAL OKINAWAN GOJU RYUDEFINITION OF TERMS As the Okinawa Traditional Goju Ryu students use Japanese terminology in the Dojo, it is fitting that this terminology and its English translation be presented as soon as possible so that the reader may follow the expressions used in the next chapters . In an effort to make these Japanese terms more logical, and easier to learn, they were grouped under the following categories, to be discussed in the next subparagraphs: Basic Techniques, Counting, Class Terms, and Grades and Degrees. BASIC TECHNIQUES JAPANESE ENGLISH UKE BLOCKING TSUKI PUNCHING UCHI STRIKING GERI KICKING NAGASHI SWEEPING COUNTING JAPANESE ENGLISH ICHI ONE NI Two SAN THREE ‘SHI FOUR GO FIVE ROKU SIX ‘SHICHI SEVEN HACHI EIGHT ku NINE JU TENCLASS TERMS BODY AREAS JAPANESE JODAN CHUDAN GEDAN COMMAND TERMS: JAPANESE KAMAE HAJIME YAME KIME REI Yo! HIDARI MIGI KUMITE TERMS JAPANESE KUMITE SANDAN GI ENGLISH HEAD TORAX BELOW TORAX ENGLISH ON GUARD BEGIN FINISH FOCUS Bow READY LEFT RIGHT ENGLISH SPARRING BASIC SPARRING FROM GEKISAI KATASANBON KUMITE IPPON KUMITE SANDAN KUMITE SANBON ZUKI (KUMITE) KIHON IPPON JIYU IPPON RANDORI JIYU KUMITE THREE STEP SPARRING (3 X JODAN, 3 X CHUDAN, 3X GEDAN) ONE POINT SPARRING, WHERE ONE. BLOCKS AN ATTACK AND THEN COUNTERS THREE STEP, THREE LEVEL SPARRING (1X JODAN, 1 X CHUDAN, 1 X GEDAN) THREE STEP SPARRING, BLOCKING WITH ONE HAND AGAINST TRIPLE PUNCH BASIC ONE STEP SPARRING ONE STEP SPARRING FROM FREE STANCE ‘SLOW AND SOFT FREESTYLE WITH EMPHASIS ON TECHNIQUE HARD AND FAST CONTROLLED FREE ‘STYLE FIGHTING 20GRADES AND DEGREES The practice of colouring the belt of the student to indicate his proficiency at karate is felt to be desirable from the standpoint of achievement, recognition, motivation, and spectator appeal. At present the grades (KYU) and degrees (DAN) as described in the table 2.1 are recognised in Goju-Ryu. The student starts as a JU KYU, and as he progresses he is promoted up the grades until he is recognised as being skilled enough to joined the ranks of the degreed students. It would typically take a dedicated student of GOJU-RYU between three to five years to obtain his SHODAN (first black belt). As the karateka progresses, each succeeding degree becomes more difficult to achieve and takes longer to acquire. It is uncommon for the diligent student to achieve the degree of 5th dan before he is 40 years old. Criteria for promotion includes such things as attendance and participation in recognised classes, a knowledge of karate history and philosophy, exhibition of stances and techniques, demonstration of one or more kata, prearranged sparring, freestyle sparring, and participation in tournaments. Not all the criteria apply at each single examination; the instructor has a certain flexibility when establishing the content of the examination. 24Table 2 - 1: Grades and Degrees in Goju Ryu KYU's (GRADES) JU KYU (10TH KYU- WHITE BELT) KU KYU (9TH KYU- WHITE BELT) HACHI KYU (8TH KYU-YELLOW BELT) NANA KYU (7TH KYU- ORANGE BELT) ROKU KYU ( 6TH KYU- GREEN BELT) GO KYU (STH KYU- BLUE BELT) YON KYU (4TH KYU- BLUE BELT WITH ONE RED STRIPE) ‘SAN KYU (3RD KYU- BROWN BELT) NI KYU (2ND KYU- BROWN BELT WITH ONE BLACK STRIPE) ICHI KYU (1ST KYU- BROWN BELT WITH TWO BLACK STRIPES) DAN's (DEGREES) SHODAN NIDAN SAN DAN YON DAN GO DAN ROKU DAN SHICHI DAN HACHI DAN (1ST DAN- BLACK BELT) (2ND DAN- BLACK BELT) (3RD DAN- BLACK BELT) (4TH DAN- BLACK BELT) (SHT DAN- BLACK BELT) (6TH DAN- BLACK BELT) (7TH DAN- BLACK BELT) (8TH DAN- BLACK BELT) 22OKINAWA GOJU RYU: THE TRADE MARKS As with all other martial arts, Traditional Okinawa Goju Ryu has certain facets that make it unique, and easily distinguishable from other styles. These are the hard and soft" aspects, the eyes, the physical conditioning requirements, the circular movements, the preference for close quarters fighting, and the use of the Kiai at specific points to help focus the technique. THE GO/JU ASPECTS Goju Ryu karate is characterised, as the name indicates, by a well balanced mix of hard and soft techniques. In japanese, the word "Go" signifies "hard", and the word "Ju signifies "soft" In almost all katas there are hard and soft aspects, although some katas are primarily hard katas and others are primarily soft katas. Not all students are naturally strongly built, so the style must accommodate the students with techniques that, when well practised, will allow the students to successfully defend themselves against stronger opponents It is important to note how the hard techniques flow into the soft techniques, and vice versa. This versatility is one of the most important aspects of Goju Ryu karate. THE EYES In Goju Ryu, one is taught to always look at the opponent, and never divert the eyes from him. The manner in which one looks at the opponent reflects the students determination, his courage, and his stamina. Morio Higaonna (Ref 8, volume 2, page 21), states that "the eyes are a window to the heart”. Not only do the opponent's eyes give an indication of his state of spirit, and an indication of what he may be about to execute, they are also a weapon that may be used by the student to gain an advantageous position by intimidating the opponent. ‘As such, Higaonna urges the student to strengthen his eyes through a series of exercises designed to develop them as offensive weapons. Three basic exercises are reproduced here: "4. Sit on a zabuton (floor pillow) in seiza (kneeling position), the eyes looking directly to the front. Move the eyes to the left as far as possible without moving your head. Then slowly move them horizontally to the right as far as possible. Slowly, the eyes are brought back to the centre. They should be kept at the same level throughout the full range of movement. Next move the eyes upward and then 23downward in a similar manner. This is followed by circling the eyes slowly to the right and then to the left. Each of these drills should be repeated ten times. It is important that the head should be kept perfectly still and only the eyes moved. These exercises make the eyes stronger and can be done anywhere and at any time. 2. This exercise can be done at the seashore or any open area where one can sea to the horizon. First, the eyes are focused on the horizon; the eyes are then slowly brought back and down to the feet; and then again back out to the horizon This should be attempted without blinking. This drill is also repeated ten times. This exercise is considered to be good not only for the eyes but for the whole body as well. It will also help to prevent degeneration of the eye muscles. 3. The final training method is to fix the eyes upon the flame of a candle, without blinking. Gradually, the length of time should be increased. However, when practising this exercise care must be taken to remain a safe distance from the flame, so as not to overstress the eyes, or cause them damage. After practising these exercises, the eyes must be tired and bloodshot. An old Okinawan remedy was to wash the eyes with hibiscus water. Crushed hibiscus petals were placed in a clean bow of fresh warm water . The eyes were then either washed with the water or the petals were placed on them. Another remedy was to blink the eyes while bathing them in milk. Needless to say, these treatments were developed in Okinawa before the advent of modern eye drops. PHYSICAL CONDITIONING One of the important foundations of Okinawan Goju Ryu, is that the student should be in peak physical condition; the fact that the student strives for this already in itself indicates that he is committed to work hard. The demands that Goju Ryu makes from the students in terms of physical exertion lead the diligent student to gradually improve his fitness in order to continuously improve his form. It is a known fact that certain katas were design with the single intention of building up the fitness of the students. One of these katas was Sanchin. Many early students were forced by their masters to train this single kata for years before they were judged strong enough to proceed with the leaming of other katas or techniques. CIRCULAR MOVEMENTS The circular movement in Traditional Okinawa Goju Ryu is used to deflect the strongest opponents punches, that would not be blocked with straight block movements. The circular movement epitomises the essence of the Soft”in Goju Ryu. 24This spirit of Soft diversion’ is extended to the feet movements, were moving is supposed to be done with circular movements, whether this is forward or backward. it is also noted that almost all feet movements are of a sliding motion, where the feet seem to always be in contact with the floor. CLOSE QUARTERS Another of Traditional Okinawan Goju Ryu's trade marks is the “STICKY FEELING”, meaning that fighting takes place at close quarters and that constant contact with the opponent, through the means of blocking, diverting, punching, and kicking is predominant. So in this manner the student follows blocking with attack and vice-versa, “sticking’ to his opponent, never pulling back for resting or to re-think his tactic. This is at difference with other styles, where contact only takes place during punching or kicking, and the opponents keep a reasonable distance between attacks THE KIAI Kiai is the technique of using the unconscious inhale-and-grunt behaviour for conscious focus and concentration (ref 6, page 11). It is used for both the effect of focusing one's efforts on a specific action and (when not silent) to unsettle one’s opponent. There are two phases to the kiai: the windup and the thrust. During the windup, air is inhaled deeply whilst one focus the attention on the action to follow. In the thrust phase, the air is exhaled as the student executes the technique There are three types of kiai: short, long and silent. In the SHORT KIAI, the air is expelled forcefully in a short gust, accompanied by a sound that may be heard as 4ii" it is normally used when performing a single technique, for example, when throwing a punch during kumite In the LONG KIAI, the air is expelled forcefully in a longer gust, accompanied by a sound that may be heard as ‘aii’ it is normally used when performing a succession of techniques, for example, when pursuing one’s opponent during kumite with a combination of punches and kicks. The SILENT KIAI is mostly used when performing kata, or pre-arranged sparring; the difference from the previous types of kiais rests in the fact that it is not accompanied by sound, and the aspect of unsettling the opponent by use of sound is thus not applied. 25THE BASIC COMPONENTS OF TRADITIONAL OKINAWAN GOJU RYU By basics we understand those activities without whose mastery no progress is possible, because they are the fundamental stones upon which everything in Karate is built upon. In the following Chapters will be discussed the various components of basics, in karate. These are: - the natural weapons and their techniques - warming and stretching exercises - moving and sparring - training methods and equipment - identification of vital points - breathingCHAPTER 3 THE NATURAL WEAPONS AND TECHNIQUES 27NATURAL WEAPONS The expert karateka has a vast arsenal of natural weapons available to him. Ed Parker (ref 2, Chapter 12) presents a list as illustrated in Figure 3-1 Of the weapons listed we will discuss those with more practical application, i.e., the hands, arms, legs and feet. USE OF HANDS AND ARMS In accordance with M. Nakayama (ref 1, page 15), there are two main ways of using the hand: fist form and open hand. In addition there are six types of fists and eleven types of open hand, The arm and the elbow are also used in a variety of ways. MAKING A FIST The manner in which a fist is made is illustrated in Figure 3-2. The karateka starts by folding the fingers in such a way that the finger tips touch the base of the finger, and continue until the finger tips are tightly pressed into the palm of the hand. Then the karateka presses the thumb over the second joint of the index and the middle finger, and concentrates on keeping the little finger tight against the palm. The fist, once made, is applied in a variety of ways which are illustrated in Figure 3-3 OPEN HAND ‘The Open Hand is characterised by keeping the back of the hand straight, the fingers are kept slightly apart, and the thumb bent and held tightly against the palm. This is illustrated in Figure 3-4. The applications of the Open Hand are illustrated in Figure 3-6. 28UPPER BODY CROWN OF HEAD FOUR SIDES OF HEAD (forehead, back of head, left side and right side) CHIN MIDDLE BODY SHOULDERS UPPER ARMS ELBOWS (front and back) FOREARMS (inside and outside) WRISTS (inside an outside) HEELS OF PALMS FOUR SIDES OF PALMS (handsword, reverse handsword, open palm, backhand) FIVE SIDES OF FISTS (hammerfist, reverse hammerfist, front knuckles back knuckles, flat fist) FINGERS FOR THRUSTING (thumb, 1 finger, 2 fingers) FINGERS FOR CLAWING (2 fingers, 3 fingers, 4 fingers, 5 fingers) FINGERS FOR GRABBING (thumb, 1 finger, 2 fingers 3 fingers, 4 fingers, 5 fingers) LOWER BODY HIPS THIGHS KNEES SHINS. INSTEP. HEEL (front, back, inside, outside) FOOTSWORD REVERSE FOOTSWORD BALL OF FOOT TOES OF FOOT FLAT OF FOOT Figure 3 - 1: Natural Weapons 29~& SEIKEN TPPON-KEN MAKING A FIST FIGURE 3-2 NAKA DAKA-KEW FIST WEAPONS FIGURE 3-3 HIRA KENSEIKEN This fist is used for the thrust punch where the index and the middle knuckle are used to strike the target. URAKEN The back of the hand and the knuckles of the index and middle fingers are used for striking, in a sideways movement, using the elbow for power. KENTSUI This is a strike made with the bottom of the fist, either vertically top down, or sideways (hammer hand). IPPON-KEN The middle knuckle of the index is extended, and the thumb is pressed against it; this penetrating fist is used in punches against the bridge of the nose, the space between the ribs, and the point below the nose NAKADAKA-KEN The middle joint of the middle finger is extended; the surrounding fingers press tightly against the middle finger, and the thumb presses against the index and middle fingers. The targets this fist is used against are the same as in the Ippon- ken application. HIRAKEN In this fist the tips of the fingers press tightly against the base of the fingers, and the thumb presses against the index finger. This fist is used as in the two previous applications. SHUTO The knife hand is used like a sword, against the throat, the ribs, the collar one or the joints. HAITO. The inside edge of the hand is used for the same application as in Shuto, and the hand is formed in the same manner. 31EM so OPEN HAND FIGURE 3-4 HAIsHU TEISHo OPEN HAND WEAPONS FIGURE 3-5FIGURE 3-5 AHAISHU The back of the Open Hand may be used to strike, although is larger application is blocking NUKITE The hand may be used as a spear, in a raising motion, against the ribs, the solar plexus, and the space below the nose. If only two fingers are used (Nihon Nukite), then attacks to the eyes and the throat are effective. TEISHO This open hand application, with the wrist bent backwards, is very useful for down ward and side ways blocks, and for strikes to the face. SEIRYUTO The open hand is twisted sideways with the edge of the palm pulled towards the body; in this manner the open hand is applied in downward attacks against the collar bone or the face. KUMADE The fingers and the thumb are folded into a claw, which is used for attacks to the face, WASHIDE The tips of the fingers and the thumb are brought together into a weapon that resembles a bird's beak and is used against the throat and the collar bone. KEITO The open hand is bent outwards in such a way that the thumbs base and first knuckle are used to strike areas such as the arms and the armpit. KAKUTO The hand is bent inwards at the wrist, and the thumb touches the ring finger for stiffness; the back of the wrist may now be used to attack areas such as the arms, armpits, ribs, temple ete. 33EMPI WEAPON FIGURE 3-7UDE The arm is mostly used for blocking, and all of its four surfaces (inner, outer, upper and lower) are used. Its application is exemplified in Figure 3-6. EMPL The elbow is a very powerful weapon, and may be used in a variety of ways: forward strike, upward strike, backward strike, roundhouse strike and down ward strike. Its application is illustrated in Figure 3-7. USE OF FEET AND LEGS The various feet and leg weapons are described below, and are illustrated in Figure 3-8. KOSHI The ball of the feet are used to kick the opponent in the face, chest, stomach, groin, and legs. For this technique to work, the toes must be pulled back, and the foot must be kept in tension and stretched forward. SOKUTO The sword of the foot is used to kick the opponent in a sideways manner. The ankle is bent, and the toes are kept curled upward. KAKATO The heel of the foot is used for back kicks. The face of the foot is pulled toward the front of the leg, and is kept in tension. HAISOKU The toes and the foot are stretched and bent downward as much as possible This weapon is used in kicks to the groin TSUMASAKI The toes of the foot are kept tightly together, pointing forward. This weapon is used in penetrating kicks to the middle section. HIZAGASHIRA The knee is normally used as a weapon against the groin, the side of the body and the thigh 35iAl HAlsoku TSUMASAKI HIZA GASHIRA FEET AND KNEE WEAPONS FIGURE 3-8HAND TECHNIQUES By hand Techniques is meant the various applications of the weapon “hands” These Techniques can be classified into Blocks, Punches, and Strikes. BLOCKS In Figure 3-9 are illustrated the various types of hands and arms blocking techniques. These techniques are called: - GEDAN BARAT ~JODAN AGE-UKI ~ CHUDAN UDE UKE -SHUTO UKE ~ TATE SHUTO UKE -KAKE SHUTO UKE -HAISHU UKE -KAKUTO UKE -KEITO UKE - SEIRYUTO UKE - TEISHO UKE PUNCHING In Figure 3-10 are illustrated the various types of punching techniques. These techniques are called - GYAKU-ZUKI - OFZUKI NAGASHI-ZUKI ~ KIZAME-ZUKI (lunge punch) ~ REN-ZUKA (alternative punch) = DAN-ZUKI (repeating punches with the same hand) -MOROTE-ZUKI -AGE-ZUKI - URA-ZUKI ~ KAGI-ZUKI - MAWASHI-ZUKI - AWASE-ZUKI - YAMA-ZUKI - HEIKO-ZUKI - HASAMI-ZUKI STRIKING In Figure 3-11 are illustrated the various types of hand striking techniques. These techniques are called: - KENTSUL-UCHI -MAE-HIJF-ATE, 37- TATE-HULATE, -SHUTO-UCHI - UCHI-MAWASHI-UCHI FOOT AND LEG TECHNIQUES KICKS In Figure 3-12 are illustrated the various types of kicking techniques. These techniques are called: MAE-GERI YOKO-KEKOMI MAWASHI-GERT USHIRO-KEKOMI TOBI-GERI SWEEPS In Figure 3-13 is illustrated a sweeping technique. BLOCKING In Figure 3-14 is illustrated a blocking techniques. 38\ KAKE SHUTO UKE! Figure 3-9: Hand & Arm Blocking Uke TATE SHUTOTEISHO UKE Figure 3-9: Hand & Arm Blocking (Cont)a @ § | r\ \ f < . A \ x4 Lf a = 7. Cem ““eyaku ZUKI O1-2UKt NAGASHL ZUKI yy J, ee t AGE ZUKI URA ZUKI KaG! 2UKE Figure 3-10: PunchingMAWASHI 2UKI MoroTe zukI YAMA ZuKL (To THe FACE) HEIKG zuKI HASAMI ZUKI (TO THE INTERCOSTAL CHALE & ciRcLE, AREA) OuTWwaRDs, THEN INWARDS) Figure 3-10: Punching (Cont)ae ae we MAE -HisI-ATE = ek \ wy ef fe > In Figure 3-11: Striking UCHI-MAWASHI~UCHI SHUTO-UcH)CHAPTER 4 WARMING-UP AND STRETCHING EXERCISES 46GENERAL All athletes know very well that before embarking on a strenuous activity, particularly one that makes demands in terms of fast movements, the body should be gradually warmed so that there is no shock to the system. Where flexibility is required, then stretching exercises should be included in the warm-up session. Warm-ups and stretching must be done in accordance with certain procedures, in order to obtain the best benefits. The objective of warm-ups is to slightly raise the temperature of the body by means of active methods, therefore achieving an increase in speed and strength of muscular contractions, and an increase in the rate at which the oxygen is delivered to and utilised by the muscles. A light sweating is normally an indication of an adequate warm-up. The objective of stretching is to stretch, not the muscles, but the tendons and other connective tissues. The preferred stretching method is the so called static method, which inhibits muscle contractions whilst it stretches the tendons and connective muscles. This method is characterised by slowly stretching a joint past the usual range of motions. A small degree of discomfort will be experienced. This method is progressive, and will lead to increased mobility over time. Different people will show preference for different stretch exercises, depending on their own physical condition. Unfortunately, there is more than one school of thought on what the right warm- up and stretching procedures are. The major differences lay on whether the warm- up should start from the head and then move down the various body areas, or the ‘opposite way. In this chapter will be presented the thoughts of one particular school, which chooses to start the warm -ups from the feet and move up from there. WARM-UP EXERCISES Warm-up exercises are illustrated in Figure 4-1 ANKLE EXERCISES The ankle is subjected to three different exercises: - circular rotation - flexing forward and backward - turning on each side, left and right All the exercises may be done with the feet off the floor. The last two exercises may be done with the feet on the floor, which will increase their effectiveness. 47SQUATS Traditional leg squats are done, keeping the back straight. The karateka should Not squat below the height of the knee. For warm-ups, the number of squats does not have to exceed 10. HIP EXERCISES From the hips power is generated. That is why it is so important to exercise this area. Three types of exercises are done, in the following sequence: - side-to-side -front-to- back and vice versa; and eventually, - the hip is moved in @ small circular motion, which increases in diameter and speed at an increased tempo. Alternate the direction of the circles, every two motions or so. HIP TWISTING laying with one's back on the floor, and the hands along the side for stability, the karateka twists his waist to the left, and then the right. This exercise is continued until a slight burning sensation is felt on the stomach. SIT-UPS To execute proper sit-ups, the karateka must start from a position where his knees are bent, his back is flat on the floor, and his hands are held behind his neck and parallel to the floor. The karateka will then slowly curl his upper body until the shoulders are out of contact with the floor, whilst breathing out all the time. The karateka will then retum to the original position, whilst breathing in all the time. This exercise should be repeated until a burning sensation is felt on the stomach muscles. Exercising in such a manner that the elbows are brought up to the knees is not recommended, since it may cause abrasive wounds to the ‘tail bone”, and even worse. FINGER PRESSES In this exercise, the fingers of one hand are pressed against the fingers of the other hand, until the palms are against each other. The pressure is kept on for a few seconds; it is eventually released, and the exercise is repeated about 5 times The hands must be shaken vigorously once the exercise is finished, WRIST EXERCISES The objective of this exercise is to loosen up the wrists and to develop the muscles of the forearm and the shoulder.Three types of exercises are done: - flexing the wrists up and down at the joints - flexing the wrists to the left and right at the joint ~ circling the wrists first in one direction, then in the other. Each exercise should be repeated 5 times. TRUNK TWISTING This exercise consists of relaxing the body, and twisting the upper body by using the hips to drive the rotating action. The arms are kept so relaxed that they follow a whipping motion. At least 10 repetitions must be done. PUSH-UPS. This exercise strengthens the wrists, the arms, the chest and the shoulders. It may be done in a number of variations. Two variations will be considered; they will be called regular and modified Regular: lay on the floor , with the stomach down, and the legs together; make a fist, and place them against the floor, next to the shoulders. The toes touch the floor, and the legs are kept tense, without bending. The arms are then straightened, whilst the legs are kept straight, and the karateka breaths out. When the karateka returns to the original position, he breaths in. This exercise is repeated as many times as it takes to get the karateka tired, Modified: the same sequence as above is performed, except that the legs are bent at the knee, and the toes are kept off the floor. This exercise is not as demanding as the regular push-ups. NECK EXERCISES Four types of neck exercises may be done: - flexing the neck downwards and backwards - flexing the neck side to side - cireling the neck, first in one direction, then the other (this exercise is not recommended for people with neck injuries) = pushing the head forward and backwards, whilst keeping the chin parallel to the ground. This exercise is called "camel's neck’. STRETCHING EXERCISES Stretching exercises are illustrated in Figure 4-2 CHINESE SPLIT 49To be able to perform high kicks to the side, the muscles of the inner thighs must be regularly stretched. An ideal exercise to this end is the so called Chinese Split This exercise consists of: - spreading the legs and the feet apart as far as possible - bending forward at the waist, supporting one’s body by placing your hands on the floor - stretching the legs further apart - then moving one hand at a time, move hands towards the body until one of them is under one’s groin for equilibrium purposes. - slowly descend into a sitting position, whilst keeping the legs far apart; this is the most strenuous part of the exercise, and must eventually be accomplished without jerking. HAMSTRING AND SPINE STRETCHES This exercise is to be done following the Chinese Split. From the sitting position, with the legs spread apart, the karateka - points his toes upwards to stretch the calves; - bends forward and grabs the ankles; then pulls himself forward until he reaches his natural limitation, and holds for at least 30 seconds; - retum to the original position, and proceed to slowly stretch to the left, over the left leg as much as possible; hold at least for 30 seconds. - return to the original position, and repeat the process to the right side. SIDE SQUAT EXERCISES This exercise stretches the inner thighs, the hamstring, the calves, the ankle joints, and the quadriceps. This is an optimum exercise for the overall strengthening of all the stances The karateka starts by spreading his legs, whilst keeping the soles of the feet flat ‘on the ground, and pointing forward, in a parallel position. The karateka will then alternately move to one side, shifting his weight to the supporting leg, lowering his body and pointing the toes upwards. The exercise is repeated to the opposite side, whilst taking care to avoid jerking movements. This could be typically repeated 10 times. THIGH STRETCHES The thigh stretching exercises are aimed for the quadriceps muscles on the front part of the thighs. This group of muscles must be stretched in order to provide flexibility for kicking The karateka proceeds as follows: - sitting on the floor, with the legs stretched together in front of the body - then bending one leg backwards, whilst balancing the body with the arm on the opposite side of the body 50- lean the body backwards as much as possible, whilst supporting the body with the arm; ultimately the karateka's back should touch the ground - repeat the exercise for the other side of the body - flexibility is achieved in a progressive way; be wary of overstretching which could lead to injuries. A WARM-UP AND STRETCHING PROGRAMME The importance of warm-ups and stretches has been emphasised in previous paragraphs. Specially in winter, this practice is most important; proper warm-up and stretching exercise session will prevent injuries whilst training, Whilst warming-up, no resting time is allocated; the whole objective being to gradually warm-up the body. A warm-up and stretching session should last at least for 17 minutes Below a programme is suggested. The karateka will notice that the sequence is bottom-up. SUCH A WARM-UP AND STRETCHING PROGRAMME SHOULD BE IMPLEMENTED BEFORE EMBARKING ON KARATE TECHNIQUES TRAINING. EXERCISE REPETITIONS TIME 1 Ankle Exercises flexion and extension 10 cycles 10 sec side to side 10 cycles 10 sec circles 10 cycles in each direction 20 sec 2 Side Squat Stretches 3 to cach side 30 sec 3 Hamstring and ‘one forward 30 see Spine Stretches ‘one for each side 60 sec 4 Chinese Splits standing 60 sec bending 90 see 5 Thigh Stretches one per leg. 60 see 6 Hip Exercises side-to-side 15 30 see back bends 10 20 see circles 10 in each direction 20 sec 7 Hip Twisting at least 50 60 sec 8 Sit-ups at least 50 120 see 9 Finger Presses ‘5 (each lasting 3 sec) 15 sec 10 Wrist Circles flexion and extension 10 cycles 10 sec 51side-to-side 10 cycles 10 sec circles 10 in cach direction 20 sec 11 Trunk Twisting 25 cycles 30 sec 12 Push-Ups modified 10 cycles 15 sec regular 50 cycles 30 sec modified 10 cycles 15 sec 13 Neck Exercises forward and back Bycles 10 see sidesto-side Boycles 10 see circles 8 imeach direction 20 see 14 Rope Jumping 200 jumps 150 sec (this exercise having been previously described) ‘TOTAL TIME approximately 17 minutes (accounting for changing times)et FINGER PRESSES TRUNK TWISTING NECK Exe cses FIGURE 4-18 WARM-UP EXERCISESCHINESE seLiPTs HAMSTRING AWD SPINE STRECHES FIGURE 42 STRETCHING EXERCISES£5) kK SIDE S@QuaT STRETCHES eb THIGH sTRETCHES FIGURE 4-24 STRETCHING EXERCISESCHAPTER 5 MOVING AND SPARRING 87GENERAL The effective application of the techniques used in Karate depends on the student's ability to move. In this chapter will be discussed the physical principles that are employed, so that the student understands the “why’. The matter here discussed is based on Schroeder's book (reference 5, Chapter 4). Specially in Goju Ryu, the manner in which the student moves is totally dependent on his understanding of the physical laws here discussed. Our discussion will be done in accordance with the following headings: Equilibrium, Motion, Force, and Sparring EQUILIBRIUM To be able to move and recover during sparring, a person must keep his equilibrium at all times. To understand the principles that relate to equilibrium, the student must first know what is the centre of gravity (CG), and must understand the related concept of stability. Figure 5-1 illustrates the Equilibrium principles here discussed. CENTRE OF GRAVITY CG is defined as that point from which a person’s body can be held in perfect balance. The CG of a man at rest is in the centre of the body at navel level. The position of this CG varies slightly from person to person depending on their physical characteristics, i.e., a thick legged person will have 2 lower CG, whilst a person with a large upper body would have a higher CG. The position of the CG can also be temporarily changed for each person, by performing certain movements; for example, the act of lifting the arms above one’s head lifts the person's CG above its point at rest. This known fact is used by the Karateka to vary his stances during sparring or the performance of katas. STABILITY Stability is a measure of equilibrium. Stability can be varied to one’s advantage, in the following way: to deliver a strong blow, the student must start from a very stable position; and to move quickly, the student must start from an unstable position. A few applicable physical laws will now be discussed The centre of gravity of an object must fall between the boundaries of its base of support for equilibrium to exist. This base of support includes the area between the feet. 58Stability is inversely proportional to the distance of the body's centre of gravity above the base. That is to say, the higher up one is, the less stable Stability is directly proportional to the area of the base upon which a body rests. So, generally speaking, the wider the student's feet are apart, therefore increasing the base area, the more stable the student is. Stability is directly proportional to one’s body weight. Heavier persons are therefore more stable, when all the other variables are equal Stability in a given direction is directly proportional to the horizontal distance of the centre of gravity from that edge of the base. As the student inclines forward, to punch or simply to move, the horizontal distance between the edge of the back of the base area and the centre of gravity increases; therefore, the student's stability toward the back increases, and toward the front decreases. MOTION Motion is basically the destruction of the state of equilibrium. For motion to be controlled and purposeful, its two components must be understood. These components are Speed and Accuracy. SPEED Speed of motion is directly proportional to the force that produces that motion. This implies that muscular strength must be developed if one is to increase his speed To achieve this increase in strength, the student should include resistive exercises in his training programme. In Chapter 6 are described various training methods that will help in attaining this goal A second important aspect is the fact that the shortest distances are the fastest, and the shortest distance between two points is a straight line. This principle should then influence the performance of karate movements, such as: - for the fastest strike, punches should follow a straight line = when moving in any direction, the student should avoid: ~ moving up and down, therefore upsetting the CG, causing more unbalance then necessary, and wasting effort - jerking the body sideways, with the same effects as above. To attain the objective of not upsetting the CG too much whilst moving, and therefore moving faster, the karateka should: - keep his legs off-lock and - learn to move in an almost sliding manner, as if his feet were always in contact with the floor, 59ACCURACY By accuracy is meant that the karateka is able to move to, or hit the spot originally intended Accuracy is achieved in two ways: - by keeping the eyes open and the opponent in view, and - by training consistently. Unfortunately, fatigue reduces accuracy drastically. To ensure that the karateka remains accurate for a considerable period of time, his fitness level must be very high. FORCE When executing a karate technique, many muscles come into play. To optimise the utilisation of these muscles, there is a sequence that is generally applicable (refer to Figure 5-2). Firstly, the strongest muscles come into play, that is they are the first to contract; the last muscles to contract are the weakest. So, in the execution of a right side reverse punch, the karateka spins on his right foot, straightening his leg at the same time; before the leg is fully extended, the hip rotates forward, and then the shoulder follows; by the time the shoulder achieves its greatest speed, the arm shoots forward; finally, the wrist rotates on its way to the target. The same sequence of movements is applied when punching on the left side. To apply a rule of thumb, each succeeding force should be started at the point of greatest velocity resulting from the preceding force. In order to better employ the techniques learnt, it is useful to be aware of certain Force related principles: Direction, Pressure, and Dissipation of Force. These are discussed in the next subparagraphs DIRECTION To achieve maximum force, all the forces produced by the muscles involved must be applied in the same direction. To illustrate this principle, refer to Figure 5-3. In this figure two different instances are shown. In the first instance are represented two forces applied in the same direction, that is a forward step followed by a straight punch, in which the resultant force is the summation of both forces; the length of the arrows represents the magnitude of each force. In the second instance are represented those two same forces applied in different directions, where the resulting force is much smaller than the possible achievable force. 60MoviInG THE CG STAGILITYy Is PROPORTIONAL, To: ~Booy weicgur -ARER OF THE BASE — DISTANCE OF CG TOCENTR OF BASE STABILITY INA GIVEN DIRECTION is DIRECTLY PROPOR- TIONAL TOTHE WORVZONTAL DISFAN- Ce OFTHE CENTRE OF GRAVITY FROM THAT EDGE OF THE BASE. Figure 5-1: Equilibrium PrinciplesKA K Figure 5-2: Summation of Forces in the Reverse PunchForce From Step Force From Punch Total Force Force From Step Force From Punch Total Force Figure 5-3: Final ForcesPRESSURE The effectiveness of a technique is a function of the force with which it is applied, and the area of contact. The ratio between the force and the contact area is called “pressure”, and is represented below: FORCE PRESSURE = AREA ‘The effectiveness of the technique is thus directly related to the pressure applied; the greater the pressure, the more effective the technique is. To increase the pressure, the karateka either reduces the area of contact, or increases the force, or both This principle is illustrated in Figure 5-4, where two different kick applications and hand board breaking are exemplified. DISSIPATION OF FORCE Force is dissipated in two different ways: - by absorbing the force over a distance, as when a karateka steps backwards so that when the blow hits its force has been reduced - by distributing the force over a greater contact area, therefore reducing the pressure and its effectiveness; a good example is the technique of falling, which works by spreading the load (body weight) over as large an area as possible. SPARRING To train in a most effective way, the student must practice against an opponent Because all out combat cannot be permitted, due to the seriousness of the injures that would result, training must then consist of mock fighting situations called sparring. Sparring is generally classified into Prearranged Sparring, Semi Free Style Sparring and Free Style Sparring. Prearranged Sparring is defined as a prearranged pattern of blows and blocks with both participants knowing exactly what techniques are to be used. One of the students is assigned the role of the attacker, whilst the other student assumes the role of the defender. The attacker starts first with a blow, and the attacker blocks and counter attacks; this is to get the student used to block efficiently and react quickly passing to the position of attacker. After a convenient number of repetitions, the roles are reversed. 64Free Style Sparring is defined as being identical to actual combat, but the students do not make forceful contact. techniques are delivered with full force, but they barely touch the opponent. This implies a control that is not within the ability of the new student; therefore only the most senior students are allowed to practice Free Style Sparring Seem Free Style Sparring is the intermediate stage between Prearranged Sparring and Free Style Sparring. In this situation the students decide on the number and type of techniques to be used, but not the order of the techniques Semi Free Style Sparring naturally progresses until the number and sophistication of the attacks and the blocks approximates that of Free Style Sparring. PREARRANGED SPARRING Below is a list of prearranged sparring sets that are traditional of Goju Ryu. SANDAN Gl: basic sparring from gekisai kata SANBON KUMITE: three step sparring (3 x jodan, 3 x chudan, 3 x gedan) SANDAN KUMITE: three step, three level sparring (1 x jodan, 1 x chudan, 1x gedan) SANBON ZUKI (KUMITE): three step sparring, blocking with one hand against triple punch SEMI FREE STYLE SPARRING Below are listed the three semi-free style sparring sets that are traditional of Goju Ryu IPPON KUMITE: one point sparring, where one blocks an attack and then counters KIHON IPPON: basic one step sparring JIYU IPPON: one step sparring from free stance 65FREE STYLE Below are listed the two free style sparring sets that are traditional of Goju Ryu. It is obvious that Jiyu Kumite is only to be practised by the most mature of the students. RANDORI slow and soft freestyle with emphasis on technique. JIYU KUMITE hard and fast controlled free style fighting.Figure 5-4: Pressure IllustrationsCHAPTER 6: TRAINING METHODS AND EQUIPMENT 68GENERAL As one of Goju Ryu's trade-marks, physical fitness is encouraged through various means. These means consist of certain training methods and preferred equipment. The objective is to attain great strength, flexibility, speed and skill Training methods include isometric and isotonic exercises, done in a number of repetitions. The practice of Sanchi and Tensho katas is a good example of isometric exercices, where one group of muscles is pitted against another. Isometric exercises provide great strength, and a hardy body capable of sustaining severe blows Isotonic exercises are characterised by the existence of joint movement against a force. This is the method chiefly used when doing Weight’ training. Isotonic training helps with developing instantaneous strength. Goju Ryu preferred equipment consists of makiwara, chi'ishi, kongoken, dumbells, stone filled jars, bags, and skipping rope. MAKIWARA ‘A makiwara is basically an upright post with a padded area for striking. Makiwara training is repetitive, and is intended to provide the student with the required speed and focus. The makiwara is sunk far enough into the ground so that the striking pad is at the level of one’s solar plexus, when standing next to it. The makiwara is normally made of a bevelled piece of wood, with the following dimensions: - three inches thickness at the bottom - half an inch at the top - seven foot total in length - and about four inches wide. This makes the makiwara flexible enough to give when hit by the student. The makiwara is one of the most traditional pieces of equipment for the Karateka in training. Figure 6-1 illustrates a makiwara and its utilisation. CHPISHI The Chiishi is a typical Goju Ryu implement. They are used to develop the forearms, the arms, the shoulders, and the upper back. Chiishis consist of a shaft about 20 inches fitted into @ weight which varies in size depending on the intention of the training. This weight was originally a stone, but today it may be made out of a cement mixture or steel. Heavy Chiishis moved slowly over a large number of repetitions develops local muscular endurance and slow-acting strength. 69Light Chi'ishis are used to perform exercises where many quick repetitions are required, in order to develop faster, but weaker, muscle contractions There is no limit to the number of exercises that may be performed with this implement. Figure 6-2 illustrates a typical exercise using a Chi'ishi. The stance being used is the Shiko -daschi stance. The Chiishi is moved from the front of the body, with the arm extended, to the back of the head, and back to the original position. This exercise may be repeated slowly, to a total of ten times, with each arm. KONGOKEN When Master Chojun Miagi visited Hawaii in 1934, he saw the local wrestlers training with a iron ring in an elongated loop form. This device was introduced into Goju Ryu's weight training, and is today called a Kangoken. It is used mainly for endurance work. One of the exercises consists of lifting the Kangoken above the head and lowering it towards the front of the body in a controlled form. Typically ten repetitions would be performed. This is illustrated in Figure 6-3. DUMBELLS Dumbells are used in a multitude of ways. They may be used to perform biceps curls, lifted under the arms, griped to increase the load whilst performing punching exercise, etc Depending on the mass of the dumbells, and on the application, both isometric and isotonic exercises may be performed. Quick biceps curls with light weights are an example of isotonic exercises. Figure 6-4 shows a dumbells isotonic application, where the dumbells are held for a period of time with the arms extended as far away from the body as possible. This is @ great exercise for the shoulders. STONE FILLED JARS These stone filled jars are used to strengthen the shoulders and forearms. Their weight may be varied depending on the amount of stones in the jar. A variety of exercises may be done. This training is mostly isometric. A typical exercise is illustrated in Figure 6-5. The student holds a jar on each hand, and walks forward and then backwards using the sanchin-dashi_ stance. The degree of difficulty is dictated by both the mass of stones in the jar and the angle at which the arms support the Jar. 70Figure 6 - 3: Kangoken Figure 6 - 4: DumbellsFigure 6 - §: Stone Filled Jars Figure 6 - 6: Bags Figure 6 - 7: Skipping Rope Figure 6 - 8: Sanchin KataFigure 6 - 9: Tensho Kata Figure 6 - 10: KAKEBAGS (PUNCHING, KICKING, STRIKING) Bags are used in Goju Ryu for the purpose of training punches, kicks and hand strikes, There are at least two types of bags: = the traditional cylindrical boxing bag, which hangs from the ceiling. This type of bag is used for the purpose of training one student; help from another student may be required to steady the bag after being hit, - and the square portable bag which is used for the same effect. This bag is used to train two or more students: whilst a students holds the bag and learns to take the impact, the other student or students perfect their punching, kicking or striking techniques. Figure 6-6 illustrates the use of a traditional boxing bag, SKIPPING ROPE ‘Skipping rope is an activity that promotes endurance and co-ordination. It requires only a little space and achieves results in remarkably short time. This activity is illustrated in Figure 6-7 GO AND JU TRAINING: SANCHIN AND TENSHO KATAS The kata Sanchin was originally introduced by Sensei Higaonna Kanryo with the express purpose of developing power. It was later revised by Sensei Chojun Miagi, who modified it by including backward movements and by changing the breathing pace from fast to slow and deep. This kata is an excellent example of Isometric exercise, and represents the essence of the go (hard) in Goju Ryu. It is illustrated in Figure 6-8. The kata Tensho was created by Sensei Chojun Miagi, with the intention of concentrating on shifting focus points whilst performing soft hand movements. This kata exemplifies the essence of ju (soft) in Goju Ryu. It is illustrated in figure 6-9 KAKE Kake is a technique designed to toughen the forearms, whilst building endurance on the arms and shoulders. There is an obvious influence from the southern Shaolin styles in this technique. Both karateka stand close together with the back of the forearms in contact; one of them pushes, whilst the other one yields, but always keeping pressure. The roles are continuously reversed. Should one of the karateka ease the pressure, then his opponent frees his hand and attacks the other (typically a throat attack) The practice of kake is illustrated in Figure 6-10. 74CHAPTER 7: VITAL POINTS 75GENERAL In order to be effective in combat, one should know which are the vital points of the body; in case of extreme situations, when one's life is threatened, then these are the areas to be targeted with full force to render an opponent ineffective as soon as possible. The Karateka must be well aware that full force blows to some of these areas may cause the opponent's death The Vital points are shown in Figure 7-1, and are listed according to the classification shown below. FRONT UPPER REGION 1- bridge of the nose 2- temple 3-eye 4- philtrum 5- chin 6- side of neck 7- Adam's apple MIDDLE REGION 8- Collar bone 9- arm pit 10- solar plexus 11- front of elbow 12-ribs LOWER REGION 13- abdomen 14- testicles 15- knee 16- shin 17- ankle BACK UPPER REGION 18- skull 19- back of neck MIDDLE REGION 20- centre of back 21- elbow 22- wrist 7623- kidneys LOWER REGION 24- coccyx 25- back of thigh 26- side of knee 27- back of knee 28- instep 29- achilles tendon 7VITAL POINTS OF THE BODY FIGURE 7-1 69CHAPTER 8: BREATHING 79GENERAL The essence of life (prana) is thought to be partaken through breathing, by the indian yogis. Even in the West, where the people do not generally subscribe to eastern religions and philosophy, the concept that there is a link between the action of breathing and the fact that one is alive is an established one. The Bible (Genesis, Chapter 2), says: "...And the Lord God formed man out of the dust of the ground, and breathed into his nostrils the breath of life; and man become a living soul.”. Without breathing, there is no life. When a person breathes with difficulty, then his health becomes impaired, and vice versa. BREATHING IN KARATE Essentially, the act of breathing is designed to replenish the body with the oxygen it needs in order to carry out its physiological functions, and to remove the carbon dioxide as one of the body waste products. Breathing is generally not done to the maximum efficiency possible; most people only use about one third of their lungs vital capacity. This inefficient breathing, with the improper cleansing of the carbon dioxide and deficient replenishment of oxygen, leads to improperly performed bodily functions, and consequential health deterioration, Western people, whose behaviour is controlled by the frontal lobes of the brain, have a tendency to centre their breathing in the higher parts of the body; this leads to intercostal breathing, which is shallow, and inefficient. Nakamura (Ref 3, pages 45 to 46), describes the concept of the tanden, and its relationship to breathing. The tanden is a point four fingers below the navel, and is the central point around which our arms, legs and bodies move. In karate, the tanden is the source of power, mental and physical. In order to bring the breath down to the tanden, we must first maintain good posture, i.e., the spine must be straight. The diaphragm, which is a muscle positioned across the body, pulls down when we inhale, expanding the chest cavity and therefore allowing air to be drawn in; if we are relaxed, the belly naturally pushes outwardly. When we exhale, the diaphragm, pulls up, and compresses the volume of the chest cavity, forcing the air out. Basically, when breathing properly, there should be very little movement of the chest, because everything is directed to moving the breath down to and from the tanden. 80To correct our breathing habits, the Karate breathing exercise as shown in Figure 8-1 should be performed on a regular basis. KARATE BREATHING EXERCISE INHALATION © breathe only through the nose © fill up the lungs from bottom to top (long wave), letting belly rise first, then the stomach. holding these stationary, fill up lungs below shoulders by letting upper chest rise up also. * holding abdominal wall taut, take quick inhalation, letting belly move out rapidly (short wave) EXHALATION © hold abdominal muscles tight * keep the lower abdomen tensed, with awareness of the muscles gripped tight * open mouth wide, throat open and tongue relaxed, holding the lower palate. * squeeze from the tanden, forcibly and audibly exhaling until the lungs are completely emptied of air © expel last trace of air with small cough: Figure 8 - 1: Karate Breathing Exercise aWhen a person breathes out, he is strong; when a person breathes in, he is weak; therefore, the techniques that require power, in karate, such as kicking and punching, are normally applied during the exhalation phase of breathing. One often hears a student giving a loud shout (Kiai) when executing a punch or kick; the student is training to time the execution of the technique with the exhalation phase of breathing. This maximises the power applied. The shout encourages and facilitates the complete exhalation of air. Nakayama (Ref 1, page 52), has the following to say about breathing during training: “ Breathing is co-ordinated with the execution of a technique, specifically, inhaling when blocking, exhaling when a finishing technique is executed, and inhaling and exhaling when successive techniques are performed. Breathing should not be uniform; it should change with changing situations. When inhaling, fill the lungs full, but when exhaling, do not expel all the air. Leave about 20% in the lungs. Exhaling completely will leave the body limp. One will not be able to block even a weak blow, nor will he be able to prepare for the next movement" 82CHAPTER 9: STANCES 83DEFINITION OF STANCE Stances could be broadly defined as body positions” Different stances are more suited to either defence or attack, and are used with a range of techniques It is impossible to discuss and identify all the stances, but the main ones will be discussed in this chapter. All correct stances have the following characteristics: - they face a specific direction - the shoulders must be relaxed - the abdomen must be tensed - the back is kept straight and erect THE GOJU RYU STANCES The four main Goju Ryu fighting stances are: - SANCHI-DACHI - ZENKUTSU-DACHI - SHIKO-DACHI - NEKO-ASHI-DACHI Other stances exist that are used for instances other than fighting, for example, to greet, and to stand to attention Figures 9-1 to 9-3 illustrate the various stances.Kiga-paAsul Figure 9 - 2: Karate Stances SANCHI-DASHISHIKO-DASHI NEKO-ASHI-DASHI Figure 9 - 3: Karate StancesHEISOKU-DACHI This stance is used to stand to attention, and is characterised by keeping both feet together, the arms along side the body, and the head tured forward. It is considered to be an informal attention stance. MUSUBI-DACHI This stance is used to stand to attention, before bowing to the instructor, and only varies from the above because the feet are at 90 degrees from one another. HEIKO-DACHI This stance is characterised by parallel feet, separated by a distance just smaller than the shoulders. HACHINOJI-DACHI This stance is also called the open-leg stance. It varies from Heiko-Dachi in that the feet are at a 90 degree angle with each other. It is used as an attention stance. TEIJI-DACHI In this position both legs are just off-lock; the front foot points forward, and the back foot points to the side, at an angle of 60 degrees. The back foot is situated in the same line that the front foot. This position is used in light randori RENOJI-DACHI This position is similar to Teiji-Dachi, except that the back foot is just outside of the line that passes through the front foot. ZENKUTSU-DACHI This is a strong stance for attacks to frontal targets. The back leg is kept straight, the front leg is bent so that the knee is directly over the foot, the hips are turned forward, the back is kept straight, and the weight is distributed such that 60% is on the front leg KOKUTSU-DACHI This stance is applicable to the blocking of frontal attacks. 88The back leg is kept at a 90 degree angle from the front leg, and it is kept bent such that 70% of the weight of the body is supported by it. The front leg is just slightly bent, and points forward. The back is straight, and is turned halfway forward. KIBA-DACHI This stance is used when attacking targets to the right or to the left of the body, and when training the legs and hips. In this stance, the feet are kept parallel at a distance equal to one and a half shoulder’ s width (approximately 80 cm), the legs are bent such that they form a 120 degree angle, and the centre of gravity of the body falls in the middle of the distance between the feet. SANCHI-DACHI This is the stance most used when fighting in the Goju Ryu style, because of its versatility. From this stance one can recover quickly, launch attacks in any direction, and block effectively. The position of the feet are such that: - the outside of the feet are parallel with each other - the width of the position is just shorter than the width of the shoulders - one foot is ahead of the other by a distance equivalent to one and a half feet - the back leg is kept straight and the front leg is kept off-lock. SHIKO-DACHI This position is used in the same manner as Kiba Dachi. It is also very similar, except that the feet make a 90 degree angle with each other. Goju Ryu Karatekas use this stance in preference to Kiba Dachi, because they feel that the position of the feet provide more mobility. FUDO-DACHI Fudo Dachi is called the free stance position, where from one can block and pass immediately to the offensive. This position is similar to the Kiba Dachi position, except that the whole body is turned forward at 2 45 degree angle. NEKO-ASHI-DACHI This stance favours attack evasion, and allows for a quick counterattack. Both legs are bent, the front leg being ahead by a distance of a foot and a half; 70% of the weight is supported by the back leg. The perpendicular distance between the feet is negligible. 89CHAPTER 10: CONCLUSION 90In this thesis was discussed the most important components of Basics and Stances in Goju Ryu. An exception to the discussion on Basics is that the spiritual aspect was not addressed, and the reason is that this is a vast subject and therefore deserving of its own dissertation Goju Ryu, as well as all other schools of karate, must be considered to be in a permanent state of development. It is to be expected that changes to specific techniques, training methods and katas will be on-going as the human body is. better known and as the applications of the techniques are perfected. Progress in karate is only achieved via intelligent dedication. By this is meant that not only the physical aspect must be cultivated, but also the intellect has to. be exercised. The intellectual aspect is the one that makes the student ask the why of a specific application, and makes him wonder about new applications to a certain technique. Karate is certainly an activity that requires more than class attendance. The karate class must be regarded as the student's opportunity to acquire spiritual guidance, to learn new techniques and to correct mistakes with his current techniques. The student should understand that what is learnt in class must be practised at home, in his own time; this will make the student develop his intellectual capabilities, for soon he will identify areas where his technique is weak, or application areas where more understanding is required. He will then ask his Sensei for clarification during the next class; and this learning loop will continue indefinitely, leading to a more rewarding feeling of achievement then if this loop was not embraced otREFERENCE LIST BOOKS 1) Nakayama, M., Best Karate Comprehensive, Book 1, Kodansha Internationa/USA Ltd, New York, 1st Edition 1977, 7th printing 1983. 2) Parker, E., Secrets Of Karate, Prentice-Hall Inc, London, UK, 1963, 3) Nakamura, Tadashi, Karate Technique and Spirit, Shufunotomo Co, Ltd, Tokyo, Japan, 1986 4) Mitchell, David, Karate, Bison Books Limited, London, UK, 1990 5) Schroeder and Wallace, Karate Basic Concepts and Skills, Addison-Wesley Publishing Company, Inc, Phillipines, 1976 6) Tegner, Bruce, Karate: Beginner to Black Belt, Bantam Books, Thor Publishing Company, Ventura California, 1982 7) Plee, H.D., The Berkshire Printing Co, Ltd, Reading, London, UK, 1962 8) Higaonna, Morio, Traditional Karatedo: Okinawa Goju Ryu, Minato Research and Publishing Co, Ltd, Tokyo, Japan, 1986 OTHER 1) De Beer, A., Terminology Brochure, 1986 92