Beat the eggs

I was walking down the market street of Okinawa, Kokusai Dori, with two great karate masters, Higa Minoru and Higa Oscar Sensei after a hard training session at Kyudokan Hombu Dojo. That was my first encounter with Kyudokan. Oscar sensei was still  explaining the principles of Kyudokan on the way to Minoru sensei's home. Suddenly he asked, 'Do you know eggs?'. Yes, that's exactly what he asked.
"Oh yes, Can I have few now. I'm pretty hungry right at the moment' I replied. Yes, Sensei".
"My father used to tell me, when you beat eggs more and more, you get more and more cream. Can you understand this? Likewise, in karate, if you repeat the same technique again and again, you will get more and more cream in your technique'.
Interestingly one of the most important principles of Okinawan karate, repetition of a technique at its maximum level, was taught by my sensei, while walking along the Kokusai street with this 'eg(g)sample'.
Today many students want to learn a lot of things in a short time period without perfecting  a single technique. A Shaolin monk has one said, "I don't fear the man who knows thousand techniques. I fear the man who practiced one technique a thousand times".

However, I've seen some karateka training same technique thousands of times each day, but without any notable improvement in their technique. If repeating a single technique can give more cream to your karate, why they don't have a noticiable improvement in their technique? The main reason for this is lack of corrections, guidance and supplementary exercises.
Imagine a karateka who repeats a technique wrongly for a long period of time. Instead of improving his technical level, the mistakes will become habits and consequently his technique will become worse, ineffective and can cause health problems too.
Interestingly, these habits can be sometimes seen from well known masters too. But, shhh... They are masters, so their students justify those habits as special way of performing it or as a 'secret way' of training.
So, to excel one's technique repetition of technique should be done with proper guidance of a knowledgeable teacher with corrections and also supplementary training. For example to perfect punching techniques, the training should be supplemented with training aids such aschishi, sashi, makiwara training and various other training methods along with  guidance and corrections of a teacher and repetition of the technique at its maximum level.
Beating eggs alone can't make your gateau. You should find all other good quality ingredients along with a good chef.

Yuchoku Higa Sensei trained on Makiwara

Yin Yang – Principle of Sun and Moon

Symbol of Yin Yang

The Chinese philosophical concept of ‘Yin Yang’ is often translated as the ‘combination of softness and hardness.’ However, the term ‘softness and hardness’ literally symbolizes the opposite forces; hence I prefer to call Yin Yang as ‘nature’s principle of duality.’ The inter-relationship of these opposite duals is essential to maintain the balance of nature. Day and night, light and dark, breathe in and breathe out, male and female, tension and relaxation, slowness and speediness, sun and moon can be shown as few examples for these duals.  Now try to identify the Yin factor (softness) and the Yang factor (hardness) of these duals.  It is said that Yin is necessary for the birth of Yang, while Yang is necessary for the survival of Yin. Yin-Yang has become an integral concept in Traditional Chinese Medicine, Taoism and Chinese martial arts such as Taijichuan (Tai Chi) and Qigong.

Many karate schools, especially the modern Japanese kaihas, teach rigid, hard, linear techniques. Students can perform such 100% ‘Yang’ techniques when they are still young.  But, when getting older they lose physical strength, resulting in a retirement from their training. This is why, some famous karateka who train such hard styles used to practice tai chi, aikido or yoga in seeking of Yin to balance their Yang.

Although, some karate schools claim that their karate has Yin Yang, their Yin solely consists of some slow techniques while other techniques are Yang.   In other words, their Yin and Yang are in separate techniques. In fact, Kyudokan School uses the blend of Yin and Yang in each technique.

It’s not difficult to harden one’s body.  Lifting some weights for a couple of weeks can give you a harder body.  It’s merely physical work. To the contrary, you have to work with your mind, body and spirit through years to gain softness. This is not easy. You need a lot of patience, understanding and some amount of intelligence too to train the soft factor of karate.  Softness is borne not only through the muscles, but you have to continuously work with your joints too to maintain the softness in your joints just like in Tai Chi.  Many people think they are soft, but their joints and muscles are stiff.  They are not ready to accept that they have to work more to gain softness.  So, you have to get rid of your greatest enemy, ego, too when working on Yin.  

In Kyudokan generally, a technique starts with Yin and ends with Yang.  We discussed the Mi o Mamoru and Marumi Muchimi principles of Kyudokan in previous articles. Yin Yang has to be blended with these principles in each technique. The first half of the technique consists of covering the body or closing the elbows (Mi o Mamoru). Generally, this half of the technique should be purely Yin while the next half including ‘Kime’ blends with Yang. Thus, in general a Yin to Yang transition can be observed within a technique, while a Yang to Yin transition can be observed between two techniques. However, there is no break between Yin to Yang transition, since the whole technique is within a circular path.  In other words, the ‘muchimi’ (continuity of the technique) is preserved within ‘marumi’ (circularity of the technique’), thus enabling a smooth transition between Yin to Yang. (Read more about Marumi Muchimi). The Yin half of the technique consists not only of softness, but also of slowness, to breathe in, relaxation, the generating of energy, loosening of muscles and dropping down the waist can be identified as the components of the Yin fraction in the Kyudokan technique. Speediness, breathing out, tension (kime), contraction, execution of energy, etc. are the components of  theYang fraction.  These Yin and Yang components are not only applied in the hand movement, but also in the work of ‘hara’, work of central axis, circularity of the movement, and body dynamics are blended with Yin Yang.  Simply, the whole body and the technique become Yin and Yang.  Still, it is necessary to understand that the contribution of Yin and Yang is not always 50-50%. This resembles nature too. However, the Yin fraction of Kyudokan could not differentiate from Yang by an untrained eye, unless the performer has a longer, slower Yin. Though, a too long Yin fraction can be used sometimes as a training method, this is not the correct execution of technique.

Mi o Mamoru, Marumi Muchimi and Yin Yang all blended together in Kyudokan movement. Higa Oscar Sensei explaining body dynamics of Kyudokan in chudan soto barai of Pinan Sandan Kata.

In kumite, the initial position resembles the Yin component while the explosiveness of the technique resembles Yang. You do not see any experienced fighter in a tensed, rigid, stiff position during a fight. Thus, the Yin Yang we train in kihon and kata are not contrary to its application in kumite.

According to Tai Chi theory, Yin helps to generate Ki (Chi).  Similarly, in karate the blend of Yin and Yang can generate a tremendous power generated from inside to outside with less physical effort, like the occurrence of a powerful thunder by the collision of two soft clouds.  This has similarities to ‘Fajin’ of Chen Tai Chi. The soft energy borne through Yin is exploded like a bomb generating a tremendous destructive power.  This internally generated energy will rise over the years of training, though the physical strength can be declined over time.

Grandmaster Chen Xiao Wang demonstrating explosive power (Fajing) of Chen Tai Chi

The Yin fraction is essential for a natural style. Yuchoku Higa Sensei, the founder of Kyudokan School, called Shorin Ryu as a natural style like walking on the road.  In Mark Bishop’s famous book, Okinawan Karate, Teachers, Styles and Secret Techniques, he explains his karate as ‘soft.‘  He further explains ‘soft’ contains hard and is represented by a circle with dots around the circumference, with the circle representing the ‘soft’ and the dots the ‘hard.’

Yuchoku Higa Sensei's 'hard-soft' circle (Source: Mark Bishop’s Okinawan Karate, Teachers, Styles and Secret Techniques)

Each kata can be trained internally and externally.  Many karateka merely practice the external form.  They don’t have proper work of hara, circularity of technique, and correct body dynamics in their kata.  They simply don’t feel their kata. Their kata is nothing more than a physical activity.  But, if you train your internal kata, the improvement is visible in the external kata.  The internal kata helps you in polishing body, mind and spirit through the training and to find the true self within you.  The blending of Yin and Yang is an integral part in training of the true internal kata.

Higa Oscar Sensei explaining Kyudokan principles in the second gedan barai of Fukyugata Ichi kata

Note:  The objective of this article is to explain the Yin Yang principle of  the Kyudokan School. Other schools might be using the Yin Yang theory in different ways in their training. The article is based on the author’s understanding of the teachings of Higa Oscar Sensei and his experience in Karate-do and tai chi. 

Author would like to extend the sincere gratitude to Ms. Ingrid Rowden for proof reading. 

KYUDOKAN’S RICE CAKE PRINCIPLE

We discussed ‘Mi O Mamoru’ as the first technical principle of Kyudokan in a previous article. Today we will take a look at the second technical principle of the Kyudokan school called ‘Marumi Muchimi.’

‘Marumi’ literally means roundness. So, in Kyudokan, ‘Marumi’ can be explained as circularity of the movements.

Then, what is ‘Muchimi’?  ‘Mochi’ is a Japanese rice cake.  In old Okinawan dialect, ‘Uchinaguchi’, rice cakes are called ‘Muchi.’  Therefore, in Okinawan karate, ‘Muchimi’ literally means ‘Mochi -like body.’

Mochi-like body?  Hmm… Delicious! But, what does it have to do with karate?

Japanese rice cake has a sticky, elastic, unbreakable nature.  

So, in karate the term ‘Muchimi’ is used to describe the heavy, sticky, unbreakable, flowing nature of the movements. 

Mochi

Accordingly, ‘Marumi Muchimi’ can be translated as ‘circularity and fluidity’,‘ if you simplify the meaning into two words. But why do we consider Marumi and Muchimi as one single principle in Kyudokan?

Just take a pencil and a paper.  Now try to draw a square with 90 degree angles at each corner without stopping.  Can you keep the continuity of drawing at the corners?

At each corner you have to stop drawing for an instant or break the rhythm of the movement in order to take a sharp 90 degree turn.

Now try to draw a circle without stopping.  You can change the speed at any time without losing the continuity.

Higa Oscar Sensei explains these two types of movements as a circular movement and a square movement in karate.

Now go back to ‘Marumi Muchimi.’  Circularity leads to continuity and fluidity of the movement, while square movement has breaks and stops.

Got it now? Marumi leads to muchimi and that’s why we consider ‘Marumi Muchimi’ as one single principle in Kyudokan.

Continuity of the movement is preserved not only in a circle, but also in elliptical or figure 8 shapes, spirals, etc.  You can draw a figure 8 or an ellipse without stopping the movement.  But, all such shapes have a circular base.  Further, circular movements can be 2 D or 3 D.

So, if your movements are circular, your karate will have unbreakable, continuing and fluid movements.  Though one cannot see the circularity in Kyudokan at once due to the speed of the movements, with the understanding of the principle you will be able to find ‘Marumi Muchimi’ in Kyudokan.  Try to view a kata of a good Kyudokan practitioner in slow motion, and you will definitely feel ‘Marumi Muchimi.’

(a) Gedan barai (Square technique) (b) Gedan barai (Circular technique) 

(c) Soto uke (Square technique) (d) Soto uke (Circular technique) 

Circularity is hall mark of Tai Chi, the Chinese Martial Art which is well known today for its health benefits. That’s why anyone sees Tai Chi as an exercise with smooth, fluid beautiful movements. According to Tai Chi theory, circularity of the movements helps in cultivating ‘Qi’ (Ki), the internal energy, and to boost health.  The rhythm of the most natural phenomena are circular, such as revolution of the earth, sun, moon, galaxy, blood circulation, respiration, etc.  You can see that circularity is the base for a smooth, unbreakable flow of nature making circularity and fluidity its universal principles.

However, many people misunderstand Marumi in Tai Chi and Kyudokan to be  circular movements made by hands.  But, in both Tai Chi and in Kyudokan, the true circularity should come from the body. Consequently, hands follow the circular movements of the body transferred through the relaxed body muscles. That’s why ‘Yin,’ the soft half of the movement, should be seen for ‘Marumi Muchimi’ followed by ‘Yang’ at the last instant with ‘Kime.’

Master Liu Yong performing Chen STyle Tai Chi Form, 'Lao Jia Yi Lu'

 

Kyudokan Hidari soto uke and Hidari gedan barai with Marumi muchimi

 Central axes along with the center of gravity of the body play an important role in generating circular movement of the body. Kyudokan practitioners find their central axis through repetitive makiwara training, posture training and renzoku tsuki. Central axis is not only important in circularity, but also in balance, correct body alignment and proper execution of power.

Technically the circular movement can generate a tremendous force through the angular velocity and use of body weight. Initiation of the movement from ‘hara’ (lower abdomen) and center of gravity allows you to use the body weight in the technique effectively.

You can find a similar work of hara (gamaku) n Okinawan kobudo, the art of Ryukyu weaponry.  But, do you know that Yuchoku Higa Sensei, founder of the Kyudokan school, played the leading role in adding ‘gamaku’ to kobudo?

Shinken Taira Sensei was systemizing kobudo by collecting kata spreaded over Ryukyus, and making a proper syllabus for kobudo. Taira Sensei found that kobudo is lacking hip work. So, he sent his main student Eisuke Akamine Sensei to learn ‘gamaku’ from Yuchoku Higa Sensei and consequently added it into kobudo.

When the circles are larger, the movements are primarily generated though the ‘koshi’ (hip/waist).  A beginner should start training using the easier movement with larger circles to understand the circularity and body dynamics.  A large wheel makes it easier to rotate a shaft.  But, the movement takes a longer time due to its larger circumference. Therefore, with time and understanding, the practitioner should reduce the radius from the central shaft, hence he can execute techniques with smaller circles, instead of having coil-in, coil-out type of movements.  When the circle becomes smaller, it becomes more internal and closer to the center of gravity and the central axis.

When you reduce the circle further, finally you end up with a point where a circle not exists anymore. At this instant, the circular movement becomes a vibration, completely internal, super fast and powerful.  This is explained as a large circle, a small circle and a big circle in martial arts. This vibratory initiation of techniques leads to whip-like snapping techniques which can be rarely seen from a mainstream  sportive counterpart of karate.

Gamaku, the more internal movement with the work of the pelvis, connecting muscles, and the center of gravity where you feel a soft heavy ball in your lower abdomen, becomes much different from the work of the sides of your ‘koshi’ (waist) as you can see in many mainstream schools. Over time the practitioner will understand the use of different circular movements giving proper tension, power, speed, and shape in each technique by use of different parts of the lower abdomen and related muscles.  At this point all techniques start when generated at hara, where hara becomes the engine of your karate while hands and legs become wheels.

Until the next article posted, try to drive your karate vehicle with the engine of ‘hara’ and eat more rice cakes to understand Marumi Muchimi!

A bonus video at the end!

We extend our sincere gratitude to Ms. Ingrid Rowden for proof reading.

MI O MAMORU

Have you ever thought that a fetus practices Kyudokan?  Of course, moms might have felt some hard kicking and punching from their unborn babies.  But, do you believe that an unborn baby practices the first technical principle of Kyudokan, Mi o Mamoru?

You might have heard the famous quote ‘Karate Ni Senti Nashi!’ of Funakoshi Gichin Sensei.  ‘There’s no first strike in karate!’  This quote verifies karate as a defensive martial art.  Defending yourself can be described in a much simpler way as protecting your body. 

But, what is ‘Mi O Mamoru’? 

A verse from Nagamine Shoshin sensei’s Karatedo song (Karate do sanka) might come to some of the Okinawan karatekas mind.   Remember?  Kokoro o Mamoru - Mi o Mamoru, Aa Okinawa No Karate-do…

Literally ‘Mi o Mamoru’ means covering or protecting the body, which is taught as the first technical principle of a Kyudokan Karatedo school.

But, all martial arts teach you to protect your body, don‘t they?  What is so special in Kyudokan’s principle?

We can protect our bodies from an opponent’s attack using two main ways, that is blocking the attack or moving away from the attack.  Blocking can be classified as diverting the attack outside the body or grasping an opponent’s hand or leg, while you can move away from an attack by turning the body, ducking or jumping, or by using Tai sabaki (by moving).

 You have to defend yourself against the attacks coming towards your body by using any of these methods.  Conversely, the attacks that land away from your body do not harm you. (Except from an attack from a KIAI MASTER!!!! :-)).

Think about the natural reaction of a man to an unexpected attack.   Unintentionally he covers his body using his hands and legs.  He seeks protection through the fetal position. 

Wikipedia explains the protection given by  the fetal position (Figure 1) as follows;

This position is used in the medical profession to minimize injury to the neck and chest.  Sufferers of anxiety are also known to assume the fetal position during panic attacks.

“Sometimes, when a person has suffered extreme physical or psychological trauma (including massive stress), they will assume the fetal position or a similar position in which the back is curved forward, the legs are brought up as tightly against the abdomen as possible, the head is bowed as close to the abdomen as possible, and the arms are wrapped around the head to prevent further trauma.” (Wikipedia)  

Figure 1:   Fetal position

This proves that the ‘Mi o Mamoru’ principle of the Kyudokan school is entirely a natural reaction to protect one’s body and consequently developed as a technical principle through the lifelong research of Kyudokan masters.

Close the elbows!!! You often hear these words during seminars of Oscar Higa Sensei.  This regular correction of Higa Sensei, emphasizes the importance of the Mi o Mamoru principle in his karate.  By closing the elbows towards the hip bone and covering the body using hands while softly contracting the trunk muscles provides an extra protection to the body.  One might not find the ‘Mi O Mamoru’ principle in the techniques while watching the Kyudokan kata the first time.  But, by understanding the Mi o Mamoru principle and its applications allows you to find the ‘Mi O Mamoru’ principle in the performances of a trained Kyudokan karateka.

Figure 2 illustrates preparation positions of 4 basic blocks in Kyudokan. You can see that in each posture elbows are closed towards the hipbone and the body is covered providing an extra protection to the body.

Figure 2:  The preparation postures of the 4 main karate blocks in Kyudokan provide extra protection through the Mi o Mamoru principle.

A similar concept can be seen in the Chinese close range martial art, ‘Wing Chun’.  In Kyudokan the ‘Mi o Mamoru’ principle is blended with other technical principles such as Marumi Muchimi, Yin Yang, Work of ‘Hara,’ etc.

Some kata consist of symbolic movements or postures (kamae).  You can find an interesting kamae at the end of Kyudokan’s Sochin kata.  You make an Indian style greeting or a praying posture at the end of the kata in cat stance (neko ashi dachi).  Today many people misunderstand this posture by thinking it is a greeting posture added to the end of the kata for beauty.  Sadly, due to the lack of understanding of the meaning of this movement, many practitioners perform it incorrectly.  This posture has two pauses followed by a third posture   (Figure 3).

Figure 3:  The ending movements of Kyudokan’s Sochin kata

These three poses symbolize covering and protecting the central part of face (eyes,  mouth, nose…), protecting the throat and protecting the middle of the chest and groin area respectively. Simply, this symbolizes protecting the vital areas of the central part of the body (on the axis of symmetry of the body)  representing a symbolic ‘Mi o Mamoru’.

It’s important to know that a technical principle cannot be understood through an article or a video. It requires the guidance of a good teacher and regular practice.  However, other karatedo schools may not be using the ‘Mi o Mamoru’ principle in their training.  Do not worry.  You should follow the teachings of your teacher and perfect the principles of your own school while adding ‘Mi o Mamoru’ to your personal knowledge library if you are from some other karate school. 

I would like to extend my sincere gratitude to Ms. Ingrid Rowden for proof reading.