Leijenhorst - Kaki-E

8/6/2019 Leijenhorst - Kaki-E

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Dontaionware: June 1995 - S. Leijenhorst

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Kaki-e


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the close combat practice of gojuryu

karatedo


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Kakie

the close combat practice of gojuryu

karatedo

1stEdition, 6

thPrint

Published by: Sydney LeijenhorstJohan Buziaustraat 61

6708 NR Wageningen

The Netherlands

Tel.: +31-(0)317-415883

Fax.: +31-(0)317-416959

E-mail: [email protected]

No part of this publication may be stored in a retrieval system, transmitted, or reproduced inany way, including but not limited to photocopy, photograph, magnetic or other record, or be

in your property without donating to either TERA (Tibetan Education and Relief Foundation)or Ta Mo.


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Dedication

to all who train, research, develop and teach

for the benefit of others


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Contents

PREFACE ..................................................................................................................................10

INTRODUCTION.......................................................................................................................12

FIGHTING PRACTICE ..............................................................................................................................12TRADITIONAL MEDICINE AND HEALTHGYMNASTICS .........................................................................................14SPIRITUAL INFLUENCES...........................................................................................................................15

KAKIE AND CLOSE COMBAT:....................................................................................................16

BASIC QUALITIES ..................................................................................................................................16chiru nu chan chan.........................................................................................................................16Body conditioning...........................................................................................................................17Sanchin .........................................................................................................................................17

KIKO:VITAL ENERGY EXERCISES................................................................................................................18

mind-projection..............................................................................................................................18sensitivity ......................................................................................................................................18muscular tension............................................................................................................................19regulating the breathing .................................................................................................................19tension and relaxation ....................................................................................................................20

BASIC FIGHTING ABILITIES:...................................................................................................21

CONTROL, ABSORB, DEFLECT AND EVADE ..............................................................................21

CONTROL - MUCHIMI .............................................................................................................................21ABSORB: SWALLOW AND SPIT...................................................................................................................22DEFLECTION ........................................................................................................................................23

EVASION.............................................................................................................................................23TECHNIQUES............................................................................................................................24

GRABBING ...........................................................................................................................................24OPENING AND CLOSING...........................................................................................................................24PUSHING AND PULLING ...........................................................................................................................24GO-TECHNIQUES: PUNCHES, STRIKES AND KICKS ...........................................................................................25JU-TECHNIQUES: TUITE OR GYAKUTE .........................................................................................................26JU-TECHNIQUES: KYUSHOJUTSU (CHIBUJUTSU).............................................................................................27

KAKIEBASIC EXERCISES.........................................................................................................29

1. SWALLOW &SPIT.............................................................................................................................292. CIRCLE AND DEFLECT ........................................................................................................................293. KAKE UKE ......................................................................................................................................31

POINTS OF ATTENTION ...........................................................................................................32

1. POSTURE ........................................................................................................................................322. GROUNDING ....................................................................................................................................323. ROOTING ........................................................................................................................................334. CENTRING.......................................................................................................................................335. GENERATING POWER..........................................................................................................................346. COMBINING FORCES...........................................................................................................................347. REGULATING THE BREATHING ...............................................................................................................348. REGULATING THE KIOR BREATH. ...........................................................................................................35

INDEX ......................................................................................................................................36

REFERENCES............................................................................................................................38


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REFERENCES............................................................................................................................38


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Preface

Hereby I would like to present this syllabus on kakie. This syllabus is an extended andtranslated version of a previous syllabus that was written with assistance ofSenseiChris deJongh and also published under auspices of the NOGKA.

I would like to thank Miriam Gerdes, ShihanHarry de Spa and SenseiRemco van der Laan forcommenting the concept version of this syllabus. Unfortunately, wanting to present thissyllabus on the European Gasshukuin Spain 95, this syllabus has not yet been commentedby people whose native language is English. Therefore, some mistakes in grammar andspelling may still be present. My apologies for this.

In this 5th print of the 1st edition, several corrections and additions were made in the text,pictures, the addresses, etc.

I sincerely hope that this syllabus will be a source of inspiration to you.

This public version was produced as donationware (see next chapter). It is not meant to becopied and spread without respecting the need for support from TERA or Ta Mo.

Cordially,

Wageningen, March the 5th, 1995

Sydney Leijenhorst


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IntroductionThe martial arts as practised by HigaonnaKanryoat the end of the nineteenth

century and later studied by Miyagi Chojun, were technically still rooted in the realityof the man-to-man battlefield and still touched by the spiritual echoes of Buddhismand Daoism.

Technically these arts contained a great variety of techniques, extending way beyondthe contest orientated kicking, punching and striking of mainstream modern karate.The martial arts ofFujianwere structured along the lines of actual fighting, theclassical knowledge of Chinese medicine and the spiritual doctrines of Buddhism andDaoism.

Fighting practiceBecause of their fresh relationship with actualfighting, which is usually decided on one or twosquare meters, these martial arts contained manyclose combat techniques, such as the so-calledqinnaor grappling techniques, including throws,strangulations, bloodvessel attacks, jointlocks,pressurepoint attacks, etc. Techniques which,besides elbow strikes, knee kicks and headbuts,tend to play a major role in many streetfights fromantiquity until today.

Though still a major practice in many traditionalOkinawan karatestyles, much of this material andknowledge was lost in the development of modernkarate. Modern karateis formed along the lines ofinternational contests, rather than realistic self-defence scenarios, the elaborate and refinedmedical knowledge of Southeast Asia or its spiritualdoctrines.The grappling techniques mentioned above were, and still are, practised in differentfighting exercises, such as bunkai kumiteand kakie.

Gyakute technique from the Bubishi(byPatrick McCarthy, pre-release).


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Many fighting exercises of Southern China start offrom a situation in which the practitioners alreadyhave contact with certain parts of the body, mostly thelower arms. The lower arms are often called bridges1since they often connect the bodies of the attacker

and the defender and create the possibility to intrudethe defence of the attacker. Today, still many of theseexercises exist and are practised in the fighting arts ofSouthern China and Okinawa. Well known examples ofthese are tuishou(pushinghands) oftaijiquanandchishouofYongchunquan2. In Okinawa gojuryukaratethese kind of exercises are collected under thename kakie, pronounced kokiin Fujiandialect, andplay an important role in the development of fightingabilities .

The importance of grappling techniques is alsoreflected in the type of sparring practice that is inherent to Okinawa gojuryu karate.This type of sparring is called iri kumi, a term that is usually translated freely ascontinuous fight or close fighting. Continuous refers primarily to the fact that thesparring practice continues when the karatekaare at close range, grab each other orend up on the ground. The word irimeans to enter. Nowadays, in contestsorganised by the IOGKF3, this principle is translated to the contest rules that allowgrappling and other close combat techniques such as throwing techniques, jointlocks, knee kicks, etc. More precisely irikumi means entering engagement,describing the tendency of the figting style in Okinawagojuryu, namely: go in anddefeat.

The impact of kakiepractice on the development of the karatekasskills, both froma martial and healing perspective, can be enormous. The intense, continuous andlively feedback from a fellow practitioner that demands a balanced posture, deepbreathing, flowing application of power and a high level of mental alertness andawareness. Kakieis an interesting meeting point of different exercises ofkaratedo. Itconnects the fundamental and profound healthgymnastical and meditative principlesofsanchin kata, the technical richness of the bunkai kumiteand the strong dynamicsofiri kumi. Practising kakiewill therefor strongly enhance ones ability as a martialartist.

From the perspective ofkinetics and energetics4kakiehas a strong impact onthe ability to ground and root ones posture, centring; regulating the breath, theabsorption and extension of power, muchimi, chiru nu chan chanand other basicqualities that will be discussed later in this syllabus.

The grappling techniques, incorporated inbunkai kumiteand kakie, and oftenderived from the movements of the kata, are called tuite(tuidi)5 or gyakute. Tuite

1 .2Yongchun quanis the mandarin pronouncuation (pinyin transcription) ofwingchun kuen.Quan( ) means boxing or fighting (literally: fist), similar to te( )in karate.3 International Okinawan Goju-Ryu Karate-Do Federation ( ).4

Kinetics and energetics refers here to the principles of human, martial movement and theinvolvement of vital energy or kiin this phenomenon.5 (gyakute) and (tuiteor tuidiin Okinawan dialect; toritein Japanese).

Pushing hand exercise from Wu-styletaijiquan.


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can be translated as grappling hands. Gyakuteliterally means reversing hands,explaining its defensive character and referring to reversing, weakening or releasingan opponents grip by means of jointlock techniques, throws, strangulations andothers. The same tuiteor gyakutetechniques are also applied against kicks andpunches.

Traditional medicine and healthgymnasticsThe influence of traditional Chinese medicine coversvarious aspects. Some examples are the use internaland external medicines for injury treatment or,preventively, in body-conditioning using makiwara,ude tanrenand tai ataritraining; the empiricalunderstanding of the flow ofkior vital energy6 andthe knowledge about the vital points7 of the bodyand the time on which they are most vulnerable.

Much of this knowledge, both martial and medical,has been collected in theBubishi, an old Chinesebook on martial arts that probably dates back atleast to the sixteenth century and, in the hands ofseveral Karate masters of earlier times, found itsway to Okinawa8.

The treatment and prevention of injuries was abranch of traditional Chinese medicine that wasdeveloped amongst practitioners of the martial arts.The experts of this medical profession did not only

use herbs, but also used joint-manipulation,massage, cupping, and other simple but effective methods of treatment. It wascalled diedaor diedake9, which means something like fall & hit medicine. Inmodern western medical terms it would be classified under disciplines astraumatology, osteopathy and physiotherapy. It is also believed that the name dieda(tit tain Cantonese) is derived from a word with a similar sound (in Cantonese)which means iron hitting10, probably referring to the martial toughening exercisesfor which some of its medicines are used.

The understanding of the subtle energies mentioned above, as a basis not only forvitality but also for effective and natural body movement, has influenced the

development of the Chines martial arts. Kakieis one of the exercises in which a well

6Kialso translated as life force, breath, breath power, spirit, and others. The translationdepends on the context and on the kanjithat is used: or .7 Called chibuin Okinawan dialect, but more commenly known as kyusho.8 The best translation/edition in English of the Bubishi has been published by PatrickMcCarthy, director of the IRKRS (International Ryukyu Karate ResearchSociety: ). A new edition of this excellent piece of work will bepublished by Charles Tuttle Ltd towards the end of this year. The adress of the IRKRS can befound in the supplement adresses at the end of this syllabus.9 . A good introduction to diedakecan be found in Tie Tah Kefrom Bob Flaws

(see references).10 Source: Peter Lim Tian Tek; internet article from the tuite-list; Sat, 20 May 1995.

Tuina, traditional Chinese massage, oneof the elements ofDieda. Image from:Close To the Bone , the treatment ofmusculo-skeletal by Legge, David

(ISBN: 0-7316-9117-2).


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organised energy-system clearly makes a difference between the raw andinsensitive, but nevertheless powerless, movements of the beginner and the refined,effective and powerful movements of a master.

Spiritual influencesIn the old days of China the spiritual doctrines ofits religions or philosophies became deeplyimpregnated into many systems of martial arts. Itis well known that several martial arts systemswere developed or at least influenced by thepeople who lived in monasteries, of which theShaolinmonastery is the most famous. In thesemonasteries the martial arts were enriched by theresults of extensive introspective research and thefruits of other spiritual practices. Because of this,insights in the functioning of our minds andconsciousness, understanding of the mechanicsof our ki-system, the effects of meditativepostures and movements and moral principlesbecame an integrated part of many martial artsystems and its practitioners, as well in as outsideof these monasteries. Despite the fact that muchof this is not understood, interpreted incorrectly orhas attracted many souls with egoistic intentions,the traditional martial arts still contain muchvaluable spiritual insights for those who are willingto go the way. Not only in the theoretical concepts

that can guide the karatekain the right direction,but also, as a secret to be revealed by the practitioner himself, in the practice ofkaratedoitself.

Da Mo in meditation.


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Kakie and Close combat:

Basic qualitiesClose combat situations require specific skills. Skills that are not always developed inlong range fighting practices. Below you will find some of the characteristics of closecombat, the specific abilities required to survive in it and their consequences fortraining.

In close combat it is more difficult to evade, even to block, attacks. Attacks are oftennoticed at the last instant because the attackers body is only partially in the range ofvision of the defender and because the attacks are launched from a small distance,giving only a little time to react. Because of this, a greater sensitivity towards the

opponents movements is demanded to survive. When people end up in a closecombat situation they will often try to get in touch with each other. Not only to applyeffective gyakutetechniques, but also to get more information on and, subsequently,control over the opponents actions. This is exactly the essence ofkakiepractice. Inthe words of Higaonna Morio sensei: Kakie is especially effective for close combat

fighting. In normal kumite it is the eyes, mostly, where one is dependent on to read the

opponent's moves. However, in close combat, to sense the opponent's movements through

touch is particularly important"11.

chiru nu chan chanThe development of sensitivity, both with and without touch, is closely related to the

development of what is called chiru nu chan chan in Okinawan dialect. Though chiru nuchan chan superficially refers to the explosive and spring-like contraction of muscles and

tendons12

(spring power), it has more profound connotations, of which one is expressed in

the following quote that discusses this particular fighting ability: Chiru nu chan chan allows

anticipation of an opponents attack by increasing sensitivity to his movement, especially in

close combat when the opponents body cannot be kept in view. Thus, it allows quicker

reaction time in response to any move made by the opponent. Chiru nu chan chan muscular

development can only be attained by hard, daily training and is held in high regard by

Okinawan karate masters13.

Thus, in its extended meaning, chiru nu chan chan refers to both the ability to

counter quickly and explosively and to the underlying sensitivity towards theopponents movements. In its most down to earth meaning this sensitivity refers tothe ability to read the opponents movements and intentions from slight changes inhis posture or, in the case of a grappling situation, from the slight changes of pullingand pushing force of the attacker. At a more advanced level this sensitivity extendsto an energetical and mental level and the latter is than called kanken14, which canbe translated as intuition or the sixth sense.

11 Quote from the videotape Kakiefrom Higaonna Sensei/ Panther productions.12 Physiologically speaking tendons dont contract but tense because of the muscular

contractions and the existing resistance.13Higaonna Senseiin Traditional Karatedo, volume 2, page 27.14 .


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Body conditioningDespite the development of chiru nu chan chan, kankenand other abilities, realitydictates that those who engage in close combat situationsshould be ready to take a punch or two. In other words:one needs to develop the ability, within the boundaries of

healthy human physiology, to absorb attacks in thoseareas that can be braced by specific muscular contractionand slight adaptations of ones fighting posture or kamae.Gojuryu karatecontains many different types of exercisesthat forge the body and extremities. Examples of theseare tai atari, ude tanrenand makiwara training. Tai atariand ude tanren exercises probably have their historicalroots in luohanquan15 or monk boxing. Luohanquan is,besides hu quan16or tiger boxing and he quan17or craneboxing, one of the corner stones of Okinawa gojuryukaratedo.

SanchinTaking blows by tensing muscles and changing onesposture however is not sufficient for effective and healthysparring practice. Essential to this is the training of vital energy or ki. To be morespecific: to increase ones ki, to collect it in the tanden18, to extend or circulate itfrom the tanden towards the areas of contact and to fuse the ki into the bones,muscles and tendons. The foundation of these energetical abilities is rooted in thepractise ofsanchin kata. Sanchin kata, more than the other so-called kaishugata19,is focused towards the unification of mind and body through enhancing andcontrolling ones breath20 or ki. As such it should be considered as a form ofki-exercise or kiko21. The fusion of mind, body and breathis one of the meanings of theconcept sanchin.

A particular kind of breathing practised in gojuryuand important in close combatexercises is the noonbreathing. In this type of breathing one learns to hold onesbreath during the expansion of power. One of the reasons why this breathing-pattern is learned in gojuryuis to be able to take blows on the body while applyingpower for punches, kicks, throws, etc. Breathing this way demands a high level ofbreathing-control, a strongly charged tanden and open ki-channels or meridians.Because kakiedeals with close combat, learning to hold ones breath in the heat ofthe action is one of the elements of breath-control that one learns in kakiepractice.

From a yogic perspective this kind of breathing-control (with holding the breath) canhelp to free and discharge toxins (negative energy) in the body (meridians). Noon

15 ; Japanese: rakan ken.16 ; Japanese: tora ken.17 ; Japanese: hakkatsuru ken.18 .19Gekisai dai ichi&ni, saifa, seiyunchin, shisochin, sanseru, sepai, kururunfa, sesan andsuparinpei.20Breathis used here in its original meaning, not as oxygen or breathing in its modernphysiological sense. The old meaning of the word breath is equivalent to vital energy or ki. In

order to keep this meaning alive the word breathwill be written in italics throughout thistext.21 Chinese: qigong. Vital energy exercises.

Tai atariexercise. A


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breathing as explained above is also practised in some of the advanced kata,particularly in suparinpei.

kiko: vital energy

exercisesmind-projectionAs in other kikopractices, several toolsare used in sanchin katato enhance andregulate the amount and circulation ofki. One of these tools is called I22 or idea,mind-intent, intention, attention, etc. Awell-known adagio amongst kikopractitioners is, in Chinese, yi yi yin qi23 ,which means: the mind-projection directsthe vital energy. One of the ways thisprinciple is used in sanchin kata is byconstantly directing and dividing our attention to every -channels (meridians) of thebody resulting in a higher level of sensitivity and neuro-motor performance24.

sensitivityThe increased and equally divided sensitivity is essential in close combat situations,were attacks may start and end out of our range of sight. It will enable the karatekato tense up the attacked body part in time or to evade or block the attack in the lastinstant. In grappling situations it enhances the ability to sense the direction of the

force applied by the attacker in a push, jointlock, throw, or other gyakuteattacks.

Combined with the arousal of alertness that is evoked through sanchin katapracticeas well, this practice, despite the superficial impression of immovability, lays thecornerstone for extreme readiness in combat.

22 . Chinese: yi.23 .24 Coordination is regulated in our CNS through loops. This means that information from thedifferent sensors in our joints, muscles, skin, etc. is constantly used to readjust our movement

and posture to the needs and goals.25 . Chinese: gan.26 Quote from the videotape Sanchin Katafrom Higaonna Morio Sensei/ Panther Poductions.

In fact the use of the mind in kiko practice as discussed in themain text has two elements: a projective element (go) and areceptive element (ju). Linguistically the meaning of the word Irefers more to the active or projective use of our mind.Therefore it is often translated as intention or mind-intent, ratherthan reception of thought or something of that nature. Howeverit should be noted that the flow ofkiis influenced through morereceptive use of our mind and this too often considered to be anaspect to the above mentioned principle of yi yi yin qi. In kikoliterature the receptive mode of our mind is sometimes calledkan

25as in kanken, meaning feeling or feeling-attention.

To give an example of the difference: in basic sanchin practiceone is encouraged to imagine the feet extending into the floorlike the roots of a tree into the ground to create an unshakeablebase

26, which is distinctively different from e.g. sensing (kan)

the floor below our feet. Both however influence the flow of ki

within our body, each in their own way.


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muscular tensionUnlike the more soft ki-exercises, sanchin kata uses(maximum) muscular contraction as a tool to fuse the kideeply into the muscles, tendons and bones. In this wayit enhances, amongst many other benefits, the ability to

absorb punches and kicks in severe physicalconfrontations. The practice of fusing ki in the tendons,muscles and bones has a long history and, inrelationship to the Chinese martial arts, dates back atleast 1475 years when Da Mo27 taught the tendontransforming exercises28 and the marrow washingexercises29 to the monks of the Shaolin monastery inHenan, China.

It is the fusion ofkiinto the bones, tendons and musclesthat also gives the advanced gojuryupractitioners not

only the ability to absorb kicks and punches and theresensitive reactions in close combat, but also their hardyet flexible and resilient30 muscles which areresponsible for the strong and flowing, application offorce, so characteristic for Okinawa gojuryu karatedo.This balanced condition of muscles (and tendons),achieved through unification of mind, body and breath,

is a part of the concept chiru nu chan chanas discussed earlier. Though the seed forthis unification is planted through the training ofsanchin kata, it is also the practiceof the muchimi movements in the kata that play a major role in developing theflowing quality as mentioned above. Muchimimovements are usually described as a

very heavy and sticky, but flowing action31

. From the energetic point of view, theyplay an important role in the development of what is called sometimes ki nonagare32, the flow ofki.

regulating the breathing Another major and one of the most obvious tools to regulate the ki-circulation insanchin kata is the regulation of the breathing. In sanchin kata the breathing isregulated and harmonised with the techniques and the movement of the mind ( I)throughout the body. Our breathing is closely connected to the state of our body(e.g. posture) and mind (e.g. stress-level). Changes in either one are reflectimmediately in the process of breathing and, in reverse, regulating the breathing can

influence both our posture and our mind. Obviously our kiand ki-circulation, beingthe substrate through which the unification of mind and body takes effect, is deeplyinfluenced by the way we breath. Since the basic centre of our ki-system is locatedin the lower abdomen, so-called abdominal breathing is one of the main features ofmost kikoexercises.

27 . Japanese: Daruma; Indian: Bodhidharma.28Yijinjing: ; Japanese: ekkinkyo.29Xishuijing: ; Japanese: senzuikyo.30

Higaonna Senseiin Traditional Karatedo, volume 2, page 27.31Higaonna Senseiin Traditional Karatedo, volume 2, page 27.32 .

Posture from the ekkinkyo or tendonchanging exercise.


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Regulating the breathing is vital for the effective andnatural application of techniques. Basic breathing insanchin kata is long, deep, smooth and flowing. Thistype of breathing, when transmitted and adapted to

other practices, for example to kakie, will have a smoothing effect on the quality of movement. Later,when a certain level of flow or smoothness is achieved,and movement, breathing and concentration aresufficiently harmonised, a more fast type of breathingcan be used. This is particularly used in the older,HigaonnaKanryoversion ofsanchin kata. In kakiebothtypes of breathing are used and adapted according tothe level of the exercise, the speed, etc.

Integrated in the regulation of the breathing is the

regulation of the breathwhich, in sanchin kata, meansthat a moving (flowing) type of mind-projection is usedin order to collect the kiin the tandenand direct it fromthere to the mouth, feet and the anatomical weapons.This too is used in kakieand of course adapted to theneeds.

Sanchin kata, with its long and deep breathing technique combined with maximummuscle tension, also prepares the karatekato take blows and to counter-attack witha higher protective muscle tension, to be used when needed. In extenso techniquesare practised with the so-called noon-breathing, a particular kind of breathing

evolved from close combat experience. In noon-breathing the breathing is stoppedduring the execution of a (counter)technique, though not the movement of thebreathor ki.

The whole range of tools used to regulate the inner breathand the breathing is alsoused in the preparational and supporting exercises that help to strengthen andtoughen the body. (junbior yobiundoand hojo undo, including ude tanrenand taiatari.

tension and relaxationImportant to realise is that close combat often has a stronger impact on our stress-

level. This will easily lead to a higher muscle tension. Though using muscular forcedoes not conflict with the kinetical and energetical principles, when it is the result ofstress it will often impair the regulation of the breathing, the flow of ki and theproper application of force33. It is therefore important to make sure that thebalance, interaction and alternation between tension and relaxation is maintained.This, being a very tangible expression of the goju-philosophy, is of course relevantfor every aspect of training but needs special attention in close combat practice. Alsobecause using too much or to little force in grappling situations can be fatal whenthe opponent reacts fast.

33Chikara no kyojaku ( ).

Figuur 1: Part of the mind-projection orbreath-regulation used in sanchinkata.Imgae from: Traditional Karate by MorioHigaonna, volume 2 (ISBN: 0-87040-596-9 - Minato Research/JapanPublications Ja an .


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In kakie, though all the major principles of sanchin kataare used, one should usepliable force that is adapted to the force used by the opponent. The body is notlocked as in sanchin katabut muscle power is used in accordance to the needs.

Basic fighting abilities:

control, absorb, deflect and evadeThe reactions towards the opponents attack in close combat cover a wide range oftechniques and abilities. Besides the regular blocking and evasion techniquesagainst punches, strikes and kicks, that are dominant in a situation with a greaterma ai, close combat demands the ability to control, absorb, deflect and evade theforce of the opponent in grappling situations. These four fundamental defenceabilities are the major themes of basic kakiepractice.

Just as surviving in close combat will often demand theability to take a kick or punch (despite the fact we aredeveloping our sensitivity, intuition, evasion techniques,etc.), the ability to control, absorb and deflect theopponents force has to be backed up by the developmentofsteadfastness. Even more so because steadfastness isan integral part of these defensive abilities. Steadfastness isa dynamic combination of grounding and rooting34.Grounding is practised in various relaxed, technical orfundamental exercises; rooting is practised particularly insanchin kata. In kakiepractice, both these basic qualities ofmovement are combined dynamically and completed withlight-footedness. As in other goandjupolarities, the go-aspect (steadfastness) is stressed first and later balancedand completed with theju-aspect.

Control - muchimiThe ability to control the opponents force is practised in the kata in the muchimimovements. The heavy and sticky, but flowingquality of these movements relate to

the strong, controlling, but dynamic application of power as used in grapplingsituations when one tries to take control over the opponent. Muchimiis also used inblocking techniques and as such these blocks not only parry the attack, but alsocontrol the opponent for a fraction of a second longer or disturb his balance, givingthe defender extra time to take control of the situation. It is particular this type ofpower that is used and trained in the basic kakieexercise.

34 Called niin Okinawan dialect ( ; ne in Japanese).


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Absorb: swallow and spitThe ability to absorb power, not to confuse with taking a punch or kick, is trainedmost obviously in the basickakieexercise in which two

karateka alternately pusheach other in a direct upand down curve. In thisexercise one absorbs thepower of the opponent andleads it through ones bodyto the ground and,subsequently, extendsones force, from theground and from thetanden, towards theopponent. The abilities used in these alternating actions are called tunjin35 andtujin36 in Chinese martial arts. Tunjinmeans swallowing ability37 and tujinmeans spitting ability. In both phases of the exercise power is applied. In the outgoingmovement the power is strong and overwhelming or penetrating; in the in-goingmovement one only uses force to control the opponents power. At the same timeone should relax inward and down in order to absorb the force and to redirect itdownwards into the ground and tanden. In other words: the body is alternatelycompressed and expanded, a principle that is called tai no shinshuku38 in karatedo.The power to control the opponent during the absorption phase largely comes fromproper alignment with the incoming force.

The expansion or extension ofbreathpower (ki) in the pushing phase (of the kakieexercise described in the previous alinea) is the same as in a punch or kick, though itis here combined with muchimi. This means that the contraction of the muscles isbuild up throughout the whole movement, whereas in a punch or kick the muscletension peaks in the beginning (generation of power) and at the end (focus) of thetechnique.

The extension ofkiis also used in Goor hard blocking. Hard may to off-balancingthe opponent by the block it self. In other words: one invades the attacking space ofthe opponent. Hard can also mean that one uses the block to strike a vital point onthe opponents attacking arm or leg. In the first case the contact between the blockand attack is relatively soft and the type of power used is muchimi. In the second

case the contact is hard and of the chinkuchi kakintype.

35 ; donkeiin Japanese.36 . tokeiin Japanese.37 Jin ( ; Japanese: kei)is often translated as power or internal power in martial artsliterature. However it is also used for abilities that can not be described with the word

power, as e.g. in the ability to swallow the opponents force. Jin always relates to a living,not a mechanical, type of force (ki).38 . This term can be interpretated in different ways, depending on which(combination) of elements are involved in the analysis. Compression and contraction can

refer to different combinations of inhalation & exhalation, tension & relaxation, contraction &expansion of posture, in- and outgoing of force, etc., that appear as contracting andexpanding phenomena.

AttackerAttacker

Defender Defender


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The absorption of power, as in this basic kakieexercise, is also used in certain typesof (ju-)blocking.Ju-blocking in its most obvious form uses deflection of power and is often combinedwith tenshin, taisabakiand/or taihiraki.

DeflectionDeflection of an attack can becombined with eitherabsorbing or bouncing awaythe force of the attack,making it either more ju orgo. Even in blocks thatencounter the attack almosthead-on, without moving outof the way, there is adistinction in go- and ju-blocking, depending onwhether one expands onespower - on an angle - against the opponents force (go), or absorbs it, without givingup or corrupting ones posture (ju). The inner dynamics of the latter are close to theabsorption phase of the basic kakie exercise we are discussing here. Since mostblocking techniques of gojuryu are circular, the go and ju elements are usuallycombined into a more goorjumixture.

EvasionEvasion of punches, strikesand kicks by using taisabaki, tai hiraki andtenshin saves a lot ofpower and bruises but,certainly in the context ofclose combat, hard tomaster. Evasion of theforce of the attacker ingrappling situations is

relatively easier but stillrequires great sensitivityand swift body- andfootwork.

Ideally evasion is always leads to a better strategical position or is transformed, likeyininto yang, into a counter technique.

Defender

Attacker

Defender

Attacker

Defender

Attacker

Defender

Attacker


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Techniques

grabbingAs explained before, grabbing is one of the most natural reactions inclose combat. It can help us to control the opponents force, off-balance him, inflict pain by applying pressure on kyusho, etc.

Besides the grabbing that is inherent in bunkai kumiteand kakiepractice, there are also a lot of specific exercises to train grabbingtechniques (tsukamiwaza), releasing techniques (hazushiwaza) andtechniques to reverse grabs (gyakuwazaor urawaza).

Additional strength for grabbing is developed through hojo undo,particular through nigirigametraining. Nigirigametraining consists ofholding and lifting jars, using the same type of breathing- and breath-regulation as in sanchin kata.

opening and closingOpening and closing refers to the various ways to open and close the opponentsdefence. The defence of the opponent consists of the position of his arms (and legs),his posture, distribution and flow ofkiand his strategical position.

To open means that the attackers body, often the arms, is manipulated in such away that vital areas become undefended, i.e. uncovered. Opening also meansstretching the vital points, causing the ki-flow in the area to disperse, which makesthe kyushomore vulnerable to attacks.

Closing means to manipulate the attackers body in such a way that he can not, orhardly, defend himself. Crossing the attackers arm over the other or pulling the headdown, are two examples of this principle. Obviously this kind of action usuallycreates vulnerable areas for counter-attacking. Thus, opening and closing are closelyrelated and sometimes are one and the same, or only to be discriminated by theintention of the karateka.

pushing and pullingThe most crude techniques that arise from the four fundamental defence abilitiesmentioned earlier, are pushing and pulling39, on which all the tuite or gyakutetechniques are based.

Pushing and pulling can have different functions. In a few cases pulling and pushingare decisive techniques on their own. For example when pulling someones headagainst the ground (almost a throw) and jerking explosively on someones arm toinjure the neck. Generally, however, disturbing the opponents balance is the mainfunction and is used with strategic purposes.

39Oshiwazaand hikiwaza.

Nigirigame


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Pushing can also create space to follow-up with a powerful long range technique.Pulling, on the other hand, can bring the attacker in close so the defender can useeffective short range techniques and actually pull the attacker into the technique. Forexample: pulling the head of the attacker on to ones knee. Jerking is also used to

weaken the ki-flow in the meridians and open specific kyusho, making the opponentvulnerable for a kyushowaza(for a split second).

Strictly speaking tuite or, gyakute techniques are complex variations andcombinations of pushing and pulling, using additional technology such as jointmanipulation, vital point pressure, closing arteries, etc.

Though pushing and pulling may be crude in their superficial appearance, properpushing and pulling techniques require a precisely co-ordinated use of force andattunement to the (movements of the) centre of gravity of the opponent.

go-techniques: punches, strikes and kicksBesides gyakute techniques, close combatinvolves striking, punching and kicking40 aswell. However the technical scenario here ismainly build up from powerful short rangetechniques such as elbow strikes, knee kicks,short punches. Since the fighting distance, orma ai, in close combat situations is short,one not only has to rely on a differentspectrum of techniques, but one also has to

be able to generate power within relativelyshort movements. An extreme example ofthis is the sun zuki in which the power isgenerated within one inch of movement.Generating a lot of power in a shortmovement requires a higher level of internalskills such as grounding, rooting, centring,breath-control, etc. At the below-the-belt-level one has to learn to generate power

without making large steps or hip rotations, but to by making use of a sharp andshort hip twist. Good examples of this impulsive type of hip movements exist e.g. in

saifa kata. A particular good example is the ura zuki. The hip snap is also

practised in kihon, in particular in standing basics. Punching techniques practisedfrom heiko dachi, are trained both with large hip rotations and the hip snap.Higaonna sensei sometimes calls the latter tanden zuki. In this kind of punching-training, the power is concentrated in the tanden, rather than in the hips. Themuscles of the tandenarea remain slightly tensed throughout the movement andtighten strongly at the moment of impact. The muscles of the hips remain relaxed(and the hipjoints open) until the last moment. Concentrating the power in thetanden itself is strongly trained through sanchin kata. The application of this

40 Also referred to as go-techniques, in contrast to the gyakutetechniques which are calledju-techniques.

Figuur 2: Part of the mind-projection orbreath-regulationused in sanchinkata. Imgae from: Traditional Karate byMorio Higaonna, volume 3 (ISBN: 0-87040-596-8- MinatoResearch/Japan Publications Japan).


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concentrated power is achieved through other exercises such as the tanden zuki,saifa kataand others.

In order to create power within such small movements, one not only has to beskilled in the sharp and concentrated hip movements, but also in relaxing the upper

body and allowing the (breath)power to flow, before the body (not the flow ofki) islocked for an instant at the end of the technique (chinkuchi kakinor kime).

Ju-techniques: tuite or gyakuteThe gyakutetechniques can be divided into: joint manipulations (kansetsuwaza). strangulations (shimewaza). throws (nagewaza). groundtechniques (suwariwazaor newaza). vital point attacks (kyushowaza).

The fundamental tuite or gyakute techniquesdiscussed earlier, such as: oshiwaza, hikiwaza,tsukamiwaza, hazushiwaza, etc., are an integral partof the more complex tuite or gyakute techniques ofthis chapter.

Joint manipulations can be used to control theopponent or to throw him, and can also include breaking joints in order to disablethe attacker. Joint locks may cause pain in only one joint, they do not manipulateonly one single joint. They are intended to manipulate several joints in a row inorder to create control over the attackers posture, actions, centre of gravity, etc.

When applying force in a joint lock one should therefore not apply local force, butextend ones force into the opponents body.

Strangulations are all applied to the neck area but use different mechanisms: over-stimulation of the vagus nerve, closing the cervical arteries in order to block thebloodflow/oxygen transport to the brain and blocking the flow of air in the windpipe.

Throwing techniques arise from disturbing the opponents balance, simply bypushing or pulling, or in combination with joint manipulation or pressure attacks tovital points. Ideally this is initiated by the opponents actions (Ju-level).

Nagewaza: ashi dori.

An example of a gyakute technique from shisochin kata.


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The gyakutetechniques are encapsulated in the movements of the kataand, fromthere, unravelled to form the bunkai kumite, which are consist of both the hardpunching, kicking and striking techniques and the soft gyakute and kyushojutsutechniques. The techniques that form the bunkai kumite are transferred to basickakie practice and finally integrated into free fighting practice such as jiyu ippon

kumite, iri kumiandjiyu kakie kumite.

Groundtechniques or newaza are often trained as a follow-up to throwingtechniques, controlling jointlocks, etc.

Ju-techniques: kyushojutsu (chibujutsu)Every punch, strike or kick principally is a vital point attack or kyushojutsu andshould always consciously practised as such. However, the term kyushojutsu orchibujutsuis mostly used for counter-attacks that are build up from two or more ofthe following components: The counter-attacks to vital points are made with a relatively soft contact. They are made with a relatively small amount of muscular force. The power is transmitted through a relatively small anatomical weapon such as

keikoken, nakadaka ipponken, ippon nukite, etc. They are directed towards hypersensitive points of the body. They include manipulation of the kyusho and ki-flow in the meridians of the

opponent.

The effects of kyushojutsu techniques varyaccording to the points being attacked, the set-up,the amount of force used and the type of counterattack. Grossly speaking the kyushojutsu attacks

either knock the attacker unconscious or enable himto continue his technique or change uninterruptedlyto another action for a certain period of time. Evenif the latter is just a split second, it can be decisivein a fight.Disabling the opponent to continue can be causedby direct disturbance of the neuro-motor control, orindirect by inflicting pain. In reality they will oftenoccur at the same time.

According to the theory of traditional Chinese

medicine - which integrated in many classicalmartial arts of China - the vulnerability of the vitalpoints and meridians in general vary according tothe time of the day. Much information on this topiccan be found in the Bubishi, including guidelines forthe treatment of injuries, related to vital pointattacks, with (Chinese) herbs.

Traditionally, there are various categorisations of the vital point attacks. Distinction ismade for example between: point attack technique, sealing the breath, closing thearteries, and dividing tendon and bone.

Kyusho -chart from the Bubishi, showing thelocation of the vital points and the time (Chinesetime notation) on which they are most vital.Image from the Bubishi by Patrick McCarthy, pre-release).


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The use of vital points or kyushodoes not only enhance ones chances to survive ina fight but may also help to end a fight without severe damage to the opponentsbody. The knowledge of the vital points can, and usually was, used for healingpurposes as well.


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Kakiebasic exercises

There are many different kakieexercises. Below we will discuss three different basickakieexercises.

1. swallow & spitThis most basic exercise has been mentioned earlier in this booklet. It consists of apushing phase and an absorbing phase. The movement of the hands is astraightforward up- and down-going curve. The following points describe the formof this exercise. Both karatekaare in sanchin dachi, facing each other slightly on an angle.

Before starting, both karatekaperform a strong ura kake ukeat the same timeand one of the two starts pushing.

When pushing the shutoof the active hand turns and extends towards theopponents chest.

When absorbing the opponents push, the shutoturns back in all the way to thechest.

The shutoof the passive hand makes the same turn, though remains in front ofthe suigetsupoint (solar plexus).

The fingers remain straight and open without excessive tension in order to allowthe breath-power to be extended.

The initial part of the push is comparable to the extension ofkias in sanchin kata,

at the end of the push however the push goes downwards and is accompaniedwith the sinking ofki41.

This exercise is first practised from a solid sanchin dachiand later with agilefootwork in heiko sanchin dachi.It can also be practised with a straight push and with two opponents.

2. circle and deflectThis exercise consists of a pushing phase and a deflecting phase, performed in ahorizontal plain and linked to form a circle (oval). Both karatekaare in sanchin dachi, facing each other slightly on an angle. Before starting, both karatekaperform a strong ura kake ukeat the same time

and one of the two starts pushing. The power of the push is directed towards the chest of the opponent, through the

palm. When the push of the opponent is deflected, the palms turn inward. The push is deflected with the radial side of the forearm. When the push is performed, the free hand covers the solar plexus. When the push of the opponent is deflected, the free hand controls the elbow of

the attacking arm. Both pushing and deflecting is co-ordinated with the rotation of the hips.

41 ; Chinese: chenjin.


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A more difficult variation of this exercise is the one in which one first allows theopponent to push the chest (with ones own active hand in between), before thewaist turns away to deflect the incoming force.As with the swallow & spit exercise, this one can be practised with stepping as well.


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3. Kake ukeIn this exercise one alternately performs kake ukeand uchi kake uke. Both karatekaare in sanchin dachi,

facing each other slightly at an angle. Before starting, both karatekaperform a strong uchi kake ukeand both karateka

change to kake ukeat the same time. When changing from uchi kake uketo kake uke, the fingers turn out, back, in and

out again (in a horizontal plane). When changing from kake uketo uchi kake uke, the fingers turn in, back, out and

than in again. During both changes the wrists of both karatekaremain glued to each other

(muchimi). When turning the hand backward one inhales, when turning the hand forwards

and in or out, one exhales. The breathis exhaled from the tandenas in sanchin kata, though breathing is

done without sound.This exercise can also be practised with two hands at the same time, or with twoopponents at the same time.


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Points of attentiondeveloping the basic qualities within kakie

practice.

Basic qualities are the warp and the woof of martial movements, they constitutetheir quality. These basic qualities can, theoretically, be discussed and understoodfrom different perspectives, such as the goju-philosophy (yinyang-philosophy),which provides interactive concepts such as tension & relaxation, inhalation &exhalation and steadfastness and light-footedness. Another major frame of thoughtin the oriental martial arts is based upon the experience of the presence and flow ofvital energy within the human body. the energetics in which contains concepts suchas vital energy (ki), tanden, and energy-channels (meridians). In Okinawan karatethere are also various traditional terms or concepts that denote the quality ofmovements in kataand kumite. Examples of these are muchimi, chinkuchi kakin,gyameand chiru nu chan chan. Also in the west there are interesting frames ofthought (and experience) that clarify human movement in general and martialmovement in particular. The concepts used below, e.g. grounding, rooting andcentring, draw on both western and eastern sources of knowledge.

For all the previously discussed basic kakieexercises the following points of attentionare essential in order to develop proper application of force42, which roots in propergrounding, rooting, centring, regulation of the breath(ing), etc.

1. PostureThe following remarks are general guidelines for our postureduring kakiepractice. Keep the hips, knees and ankles bent. The degree to which

this should be done varies, however the joints should neverbe locked.

Keep all parts of the body on top of each other: head on topof the neck; neck on top of the torso; torso on top of thepelvis; etc.

Keep the tailbone upright and hanging. Dont lift thebuttocks.

Keep the shoulders down and as relaxed as possible. Keep the elbows down; dont lift them. Keep the joints of the shoulders, elbows, wrists and hands

open; dont over-extend or bend any joint.

All these general remarks are related to the various basic kinetic and energeticabilities described below.

2. GroundingGrounding43 is build up from the following components and should be maintained

throughout the exercise.42Chikara no kyojaku; .


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Aligning the body with the force of gravity. Relax the body downwards (though keep up the crown ofthe head44). Keeping the centre of gravity above the supporting plain45. Optimising the contact between the soles of the feet and the floor. Directing ones receptive attention towards the ground.

Lowering the breath.

Grounding is also the basis of swallowing or absorbing the opponents force, e.g. inthe swallow & spit exercise. The absorbed power follows the same lines (channels)as the force of gravity.

3. RootingRooting, in a way, is an extension of grounding. It is usedto overcome resistance or to remain one ones feet againststrong push or pull, like a tree in the storm. Since this is verycommon in kakieand close combat, it is often used in kakie.It should however only be used when necessary.The main features of rooting are: Efficient and directed tension of muscle chains in order

to get a grip on the floor. This is called tako ashioroctopus feet. Lifting up the anus, pulling the tailboneunderneath, tightening the tanden, pushing and grabbing(digging into) the floor are the main elements of thesechains. The generation of power for rooting starts in thetandenand feet and extends from the tandeninto theground. At (almost) the same time it rebounces from theground, along the back side of the legs to the waist (and higher).

If necessary: lowering of the centre of gravity more deep. Using projective attention. For example: imagine your feet to be the roots of a

tree, reaching deep into the ground. As in sanchin kata, a more abstract idea ofthe breathspiralling into the ground, may be used as well.

4. CentringCentring is fundamental to almost allthe exercises ofkaratedo. Thefollowing aspects of centring can bediscriminated and should be applied

in kakieas well. Make the centre of gravity

coincide with the tanden. Support the breathing from the

tanden. Concentrate ones attention in the

lower abdomen (tandenor hara). Centre the movements in the

tanden. This refers both to

43 More detailed information on the kinetics and energetics can be found in other publications

of the author.44 The hyakuepoint; (hyakuesho; Chinese: baihui xue).45 The plain beneath and between the feet.


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external movements, such as the pivoting of the waist in the push & deflectexercise, and to internal movements, such as the expansion ofbreath-powerfrom the tandenup and down, as e.g. in the (initial) pushing phase of theswallow & spit exercise.

Also the line along which the force of the opponent is absorbed, runs through (not

behind) the centre of gravity.

5. Generating powerPower for pushing is generated in much the same way as described above underrooting, except that the power is not only generated from the tandendownwards,but also upwards and forwards to the point of contact, to the anatomical weapon.The power that comes up from the feet is combined with the breath-power from thetanden. This is the major method of generating power in kakieandis the same as insanchin kata. Of course in kakiethe muscles are not constantly tensed for 99-100 %as in sanchin kata, nor are the hips locked.

At the end of the push in the swallow & spit exercise, the weight is used to lock oroff-balance the opponent. So at this point another method of delivering force isintegrated into the push.

The method of applying force during the absorption phase of the swallow & spitexercise, mainly relies upon proper alignment with the incoming force.

Generating power for pulling (down) generally combines the sanchintype ofgenerating power with lowering the centre of gravity as in the end of the pushingphase of the swallow & spit exercise.

6. Combining forcesAs in other exercises (sanchin katain particular) one should constantly strive tobundle (combine; co-ordinate) and harmonise body-movement, breath(ing) andmind. In the basic exercise one first learns to co-ordinate (abdominal) inhalation andexhalation with expanding - and contracting movements. Within this one learns toexpand the power or chain of muscle contractions from the tanden, a process thatis guided by our mind. In basic sanchin kataand kakiepractise this is predominantlypractised with relatively slow movements. However, the same principles apply to fastmovements, e.g. in kataor kumite. In fast movements, this process of unifyingbody, breath and mind is often catalysed by an intense shout or kiai. Akiai46 can

be used not only to strengthen explosive techniques such as kicks or strikes, but alsofor suddenly breaking through the opponents line of resistance in a grapplingsituation.

7. Regulating the breathingBeing more of a fighting exercise than for example sanchin kata, kakieuses inaudiblebreathing. This is done in order not to give the opponent information about when hecan attack most effectively. Muscle tension and the flow ofki changes continuouslyduring inhalation and exhalation, creating moments of strength and weakness.

46 .


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As already explained, abdominal breathing is used in kakie. The basic kind ofabdominal breathing used, is the so-called normal abdominal breathing47, in whichthe abdomen expands and relaxes during inhalation and contracts during exhalation.This type of breathing, though hidden under the continuous contraction of all themuscles, is used in sanchin kataas well. However also other types of breathing such

as noon-breathingor reversed abdominal breathing48

are used as well. In thelatter, the abdomen is contracted during inhalation and expanded during exhalation.This type of breathing, often used in the so-called soft martial arts and manysystems ofFujian quanfa, facilitates relaxation during the application of power.

In the basic exercises, one exhales in the pushing phase and inhales in theabsorption or deflection phase. In the kake ukeexercise inhalation is done duringchange of one type ofkake uketo the other.It is of utmost importance that the breathing, no matter the amount of force that isinvolved, doesnt halt. Breathing should remain flowing and deep.

8. regulating the kior breath.Grossly speaking the same patterns ofki-flow and mind-projection as is in sanchinkataare used in kakie. The regulation of the breath in kakieis more difficult becausewe have to deal with the opponents physical and mental powers. Shimepractise,often neglected, is an important link between sanchin kataand kakiebecause itteaches us to keep our ki-flow strong and smooth under outer resistance. In a wayShimeis a disturbing circumstance that helps us to strengthen the bond between ourinner calmness and the dynamic application of physical force, however, if appliedproperly, it should also help the karatekato strengthen this bond or, in other words,to strengthen and smoothen his ki-flow.

Amongst the basic exercises the swallow & spit exercise is particularly difficult fromthe energetical point of view because allowing the opponents force or energy toenter ones body is usually more difficult than deflecting or resisting it. Absorbingenergy is particularly difficult because it is combined with an opposite outgoingcontrolling force. balancing these two forces is often more difficult than balancingthe outgoing and grounding force.

In free and realistic practice, the stress level is usually higher and it is not easy toabsorb the energy of the opponent, neither to keep your own energy-systemordered and flowing.

47 .48 .


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Index

AAbdominal breathing .......................34Alignment................................... 21; 33

B

Basic qualities ...................12; 20; 31Bodhidharma..................................... 18

Breath........................................ 13; 16Bubishi..................................11; 13; 26Buddhism .........................................11Bunkai kumite.................11; 12; 23; 26

C

Centre of gravity.............24; 25; 32; 33Channels .......................................... 32Chenjin..............................................28Chibu................................................. 13

Chibujutsu........................................26Chikara no kyojaku....................... 19; 31

Chinese herbs. ................................. 26Chinese medicine..................11; 13; 26Chinkuchi kakin.....................21; 25; 31Chiru nu chan chan ..................... 15; 31

Chishou............................................12Closing the arteries.......................... 26Crane boxing ................................... 16Cupping............................................13

D

Da Mo..............................................18Daoism.............................................11Daruma.............................................18

Deda(ke).......................................... 13Dividing tendon and bone ...............26Donkei............................................... 21

E

Ekkinkyo............................................18

Energetics ........................................31Extension ofki................................. 28

F

Fujian......................................... 11; 12

G

Grounding .......................20; 24; 31; 32Groundtechniques............................ 25Gyakute...................................... 11; 13Gyakuwaza.......................................23

Gyame.............................................. 31

H

Hazushiwaza.............................. 23; 25He quan........................................... 16HigaonnaKanryo....................... 11; 19Higaonna Morio....................15; 17; 24Higaonna Morio sensei.................... 18Hikiwaza...................................... 23; 25

Hu quan........................................... 16

I

I 17; 18Ippon nukite.................................... 26iri kumi............................................. 12IRKRS................................................ 13

J

Jiyu ippon kumite............................ 26Jiyu kakie kumite............................. 26Joint manipulations ......................... 25Joint-manipulation........................... 13

K

Kaishugata....................................... 16Kanken............................................. 15Kansetsuwaza.................................. 25Kei.................................................... 21

Keikoken.......................................... 26ki16; 33Ki13; 14; 17; 18; 19; 23; 28; 31Ki (vital energy, breath, etc.).... 12; 16Ki no nagare.................................... 18Kiai................................................... 33Ki-circulation .................................... 18

Kiko.......................................16; 17; 18Kinetics and energetics ................... 12Ki-system ......................................... 18Koki.................................................. 12Kyusho....................................... 23; 26Kyushojutsu..................................... 26Kyushowaza............................... 24; 25

L

Lightfootedness ............................... 20Light-footedness.............................. 31Luohanquan.................................... 16


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M

Ma ai................................................ 20Makiwara.................................... 13; 16Marrow washing exercises .............. 18Massage...........................................13

Meridians ..............................17; 24; 26Miyagi Chojun.................................. 11Monk boxing .................................... 16Muchimi..............12; 18; 20; 21; 30; 31

N

Nagewaza........................................25Nakadaka ipponken......................... 26newaza.............................................25Newaza............................................26Ni20

Nigirigame........................................23Noon-breathing................................ 19

O

Opening and closing ........................ 23Oshiwaza..................................... 23; 25

P

Patrick McCarthy ................................ 13

Pushing and pulling ................... 23; 24

Q

Qigong..............................................16Qinna............................................... 11

R

Rooting ...........................20; 24; 31; 32

S

Saifa kata................................... 24; 25Sanchin kata.............................. 16; 19Sealing the breath ........................... 26Sensitivity........................15; 17; 20; 22Senzuikyo.......................................... 18

Shaolinmonastery..................... 14; 18Shime............................................... 34Shimewaza.......................................25

Sinking ofki..................................... 28Steadfastness ............................ 20; 31Strangulations.......................11; 13; 25Supporting plain .............................. 32Suwariwaza (newaza)...................... 25

Swallow & spit ........................... 33; 34T

Tai atari................................13; 16; 19Tai no shinshuku............................. 21Taihiraki........................................... 22Taijiquan.......................................... 12Taisabaki.......................................... 22Tako ashi......................................... 32Tanden16; 19; 21; 24; 25; 30; 31; 32; 33Tanden zuki..................................... 24Tendon transforming exercises....... 18Tenshin............................................ 22Tension & relaxation ....................... 31Tiger boxing .................................... 16Tit Ta............................................... 13Tokei................................................. 21

Tuishou............................................ 12Tuite......................................12; 13; 25Tujin................................................. 21Tunjin............................................... 21

U

Ude tanren............................13; 16; 19Urawaza........................................... 23

V

Kyusho (chibu.................................... 13

Vital points......................23; 25; 26; 27

X

Xishuijing........................................... 18

Y

Yi yi yin qi........................................ 17

Yijinjing............................................. 18Yinyang-philosophy ......................... 31Yongchunquan (wingchun kuen)... 12


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ReferencesBishop, MarkOkinawan Karate, teachers, styles and secret techniques.

1989ISBN: 0-7136-5666-2A & C Black (Publishers) Limited

Flaws, BobTie Ta Ke1985ISBN -Blue Poppy Press

Habersetzer, R.

Wado-Goju-Shito Kata1991ISBN: 2-85180-216-XEditions Amphora - Paris

Higaonna, Morio Traditional Karate, fundamental techniques, volume 11985ISBN: 0-87040-596-0Minato Research/Japan Publications - Japan

Higaonna, Morio

Traditional Karate, performances of the Kata, volume 21986ISBN: 0-87040-596-9Minato Research/Japan Publications - Japan

Higaonna, MorioTraditional Karate, applications of the Kata, Volume 31989ISBN: 0-87040-596-7Minato Research/Japan Publications - Japan

Higaonna, MorioTraditional Karate, applications of the Kata - part 2, Volume 41990ISBN: 0-87040-596-8Minato Research/Japan Publications - Japan

Legge, DavidClose To the Bone, the treatment of musculo-skeletal disorder with acupuncture andother traditional Chinese medicine.1990ISBN: 0-7316-9117-2

McCarthy, Patrick


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BubishiISBN: 0-8048-2015-5Charles E. Tuttle Company Inc.

McCarthy, Patrick

Karatedo, development, essence and aimsISBN: -1995IRKRS Europe

Rolf, Ida P., Ph.D.Rolfing1977ISBN: 0-89281-335-0Healing Arts Press, Rochester (1989)

Leijenhorst - Kaki-E

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