THE KARATE

SHORIN-RYU KYUDOKAN

It is a style of karate that one referring to the ancient origins of the martial arts on bare hands practiced near Shuri Castle in Okinawa. The spirit of the karate ones is just in that earth strip of the shape of a rope jetty in the water, denominated “Okinawa” according to the literal translation, and which is about 460 miles from China, shaping the Ryu Kyu Islands, i.e. Liu Chiu in Chinese language. In this island scourged from storms and typhoons, who is called bushi, is not an anachronistic warrior or samurai, but it is he who has found the true way of life”, and with the karate ones she has caught up the peace.

In Okinawa the name of the “Higa family” is connected to the karate ones, in a particular way to the Shorin-Ryu. Founder of this family, indissolublement connected to the school of the flexible pine, has been “Yuchoku Higa”, the founder of our school. It was one of the last 10^th dan recently death. It was called the “fist of Okinawa” (Yuchoku no tijikun), for the deadly power of its tsuki, and, during the teaching, he loved to repeat “Kyudo Mugen”:  the study of the way does not have never ending. This method is an incarnation of what Yuchoku has learned from great master-sensei “Chosin Chibana”, founder of the Kobayashi Ryu.  

Sensei Yuchoku Higa 10^th dan - Hanshi

The school, after Yuchoku Higa’s death, is directed by Minoru Higa, 10^th  Dan – Hanshi, grandson of Yuchoku;  its Honbu Dojo remains on the Okinawa Island, although this style has found wide popular favour in South America, above all in virtue of the emigration of many inhabitants of Okinawa towards the new continent during the last world war. Here it has found wide spread specially in Argentine thanks to Yuchoku’s brother, Jintatsu Higa by now deceased,  and to the sons Oscar and Benito Higa.

Oscar Higa 9^th Dan - Hanshi and Minoru Higa 10^th Dan - Hanshi

Currently the school in Argentine is directed from Benito and Diego Higa, son of Oscar Higa. Our Master-Sensei Oscar Higa, 9^th Dan – Hanshi is the rapresentative of the school on a national level and international; in Italy from approximately twenty years, he lives at present in Palermo, where the national school Kyudokan has head office. The master-sensei constantly holds in Italy some stage of Karate and Kobudo, above all in the districts where the school is present.

The Master-Sensei Minoru Higa with his wife lady  Noriko sensei

Technically the Shorin-Ryu Kyudokan has one’s characteristics: in conformity with the Shorin school the positions are higher in order to privilage the action speed, the movements are smaller; the basic elements that distinguishe the other styles of Shorin, is the great  ceaseless working of the rotation of the hips for which the Sensei Yuchoku Higa realizes deep studies. In fact this system retrench the muscolar strength’s research, upgrading to the maximum the technique, with the minimal effort, and searching the inner absorb owing to the Hara (tandem) and developing the inner energy Ki.

The circular tendency of the mayority of the techniques (Marumi-Muchimi), together with the support of the versatility of the hip’s rotation, wants to give to the style a shape of action that is not only immediate and short, but above all tremendous.

In the Kyudokan style, the training one of katas it helps, as a rule, so that avery student learns a its Tokui Kata (the election kata). That means that even if the school counts 22 katas, the idea of master-sensei Yuchoku Higa was that one’s must becomes expert in one or two only katas, even if all were known. Just the own Tokui Kata will become in time component of study for the creation of tactics and strategies for the action of the same student. In our school, the first one kata that it comes taught to the students is the “Fukyu Gata Ichi” who must be learned from the beginning in corrected way, placing the maximum attention in the muscolar decontration, in the physicist-mental strenght and above all in the respiration control (Kokyu). Such principles, are developed subsequently learning following katas of which: the five basic Pinan (in the Shotokan calls Heian), in order to proceed one after the other to “Fukyu Gata Ni” and to the three Naihanchi’s series (denominated Tekki in Shotokan). Master-Sensei Yuchoku Higa gave anormous kata importance these last ones; personally, every daybreak, during his training its practiced the kata “Naihanchi Shodan”. To the term of the study of the kata one basic it can be continue with the higher katas: Unsu, Jion, Jitte, Kushanku Sho and Dai, Passai Sho and Dai , Chintei, Chinto, Seisan, Sochin and Goijushiho. 

Entire  the Higa family

Sensei Higa in his Dojo – Palermo/Italy

KYUDOKAN TECHNICAL KNOWLEDGE

It can be said that the techniques are mostly studied for the combat- action, for which its eliminate the superflous movements, maintaining high and short positions for being able itself to move quickly (using in the context the “Tai Sabaki”).

The education to the fluent agility trains to move themselves or to divert the attacks  without the use of whichever shape or power, but only using the speed. With the exception of the defence for the high part, the others defence of the body are shuted: practically the elbows are tightened to the body, like in the “soto-uke”, “gedan-barai”, “shuto uke”, etc. In this way it gains action speed and the body is always very protected.

The hand techniques prevail of approximately 80% on connection to the leg techniques, that is that they are vary in according to the terms training of the practicing, with the exception of “mae-geri”, “nami-ashi” and “mikazuki-geri”.

The circular tendency of the majority of the techniques, together with the support of the versatile rotatory movement of the hips, wants to above all give to the “style” a shape of combat that is not only immediate and short, but overwhelming .

The basic component that distinguishes other styles of Shorin, is the great ceaseless working of the hips rotation for which the Sensei Yuchoku Higa it realized deep plans. In fact this way retrenches the pursuit of power, strengthening to the maximum the technique, with minimal effort, and pursuing the inward spirit life through the owing to hara (tandem).

The makiwara it occupies an important position in the training and it gives the Kyudokan a deeply traditional system.  Therefore also the Kote-Kitae (the invigoration of the arms and the legs), like the “absorption of the bumps” during the execution of katas (rather the Naihanchi Shodan). The job carried out with overloads is also a lot important; for which, it is before, than after every lesson, the training with “tetsugeta” and “chisi” is common. The grip (kakete) is trained by the use of “taketaba”. 

 Click here to watch the makiwara movie

In the Kyudokan style, the training one of katas it helps, as a rule, so that every student learns a its Tokui Kata (the election kata). That means that even if the school counts 22 katas, the idea of master-sensei Yuchoku Higa was that one’s must becomes expert in one or two only katas, even if all were known. Just the own Tokui Kata will become in time component of study for the creation of tactics and strategies for the action of the same student.

The idea of the Kumite in the Kyudokan style is hold fast to the literal translation of the word  “interchange of hands”. In a  close  translation, the grips  have a great importance, a lot that one Master-Sensei of the Okinawa Dojo Center said: “the left hand seizes, in the meantime that the right hand beats”.

SHORIN RYU KYUDOKAN’ s KATA – ITS ORIGINS AND FOUNDERS

The kata one belongs to hystory of one style. Through them the influence can be noticed that has had the founding master of the school, and every kata it is an open book that discloses speechless the essence of the style. The Shorin-Ryu Kyudokan has 22 katas, which the most meant are following:

Fukyu Gata Ichi, created by Shoshin Nagamine (Matsubayashi-Ryu);

Fukyu Gata Ni, created by Meitoku Yagi (Goju Ryu);

They were made in the sixtieth with the purpose of being practices from the two main branches of Okinawan Karate (in Goju they are called “Gekisai”).

Pinan (Pinan, Ping-an) (peace of mind), which go from Ichi to Goku. Created by master-sensei Anko Itosu with the purpose to render its easier instruction accessible during the primary school. Moreover its expose a karate accessible to all people in the early years of learning. For its creation master Itosu extracted some techniques from the katas “Kushanku”, “Passai”, “Jion” and “Chinto”. They have been created in 1905 and  incorporated in the physical training ‘s plan between the years 1907 and 1909.

Naihanchi (Shodan, Nidan, Sandan)

In Okinawa they are also called “Nai-fan-chi” and in the main island (Japan) “Tekki”. It is said that the “Shodan” was imported from China through master Sokon “Bushi” Matsumura; about the others two one couldn ‘t know the founders, even if it is supposed, through the tracing of ancient documents dating at the beginnings of the 1800 ‘s, that they have been created by Master Matsumura. The greatest exponent that represented this kata, was master Choki Motobu, which it trained like one only kata for 14 years, reaching to create own circular bunkai. Like  anecdote,  it could be said that, for its characteristics, more properly it is suitable for the style Goju Ryu even if is sure only patrimony one of the Shorin-Ryu.     

Unsu

Suitable to the Okinawan romanticism by master Kanken Toyama. Its originally arising from Shaolin temple in the Honan prefecture. Of it original 106 movements, considered too much bombastics, they have kept only 52 of it.

Jion

Even if the creator remains anonymous, probably was imported from China by sensei Matsumura. He has the name of a famous buddhist temple.

Jitte     

Its name means “ten pairs of  hands”. Its creator is unknown. The incorporation in the Shorin system vouches to the sensei Shimpan Gusukuma (Peichin Shiroma)He also is coming from Shaolin temple in the Honan district. An important factor not to underrate when it is spoken about Shaolin temple, is to remember that master Chatan Yara lived in the aforesaid temple for approximately twenty years.

Passai (Dai, Sho) (Patsai) (Bassai in japanese language)

Its translation means: to surrounded the fortress. Probably the original version is called them “Matsumura no Passai”, for which it ‘s probable that is it a Chinese derivation. Nothing at all it is known, who or when, the division in two parts was originated.

Kushanku (Sho, Dai)

Its first version is the Sakugawa-no-Kushanku (there is also Chatan-Yara-no-Kushanku, Oyadomari-no-Kushanku and the Higa-no-Kushanku). This kata, divided later in two parts from master Itosu, was passed in  the Okinawan islands by a Chinese military correspondent; it is called Kuan-Chang-Fu, who in local speech Uchinango (Okinawan dialect) pronunces “Kushanku”.

Chinte

It is recognized like an imported kata by a Chinese learning scholar towards the end of the 1700 ‘s, period in which they settled down to Naha (the present Okinawan capital) 36 Chinese families. Also not being between the kata one more diffuse, however it was introduced by sensei Chosin Chibana in its program of the Kobayashi Ryu (Shorin in Japanese and Shaolin in Chinese language).

Seisan

The derivation of the kata Seisan is not known with exactitude. However a common source in its history as the contemplated  techniques are classic of the quanfa of Fujian (China). Its intrinsic forms would demonstrate the chinese techniques of the tiger, of the monk, the lion and the southern praying mantis (type of tropical insect).

Chinto (name of the temple)

It comes shown for the first time by Yara; introduced afterwards in the Shorin by Matsumura.

Sochin

Its creator is unknown; it is ignored also when it was included in the Shorin style program. One of its main student was Hohan Soken, best well-known by name “white crane”.

Gojushiho      

In a literary sense “54” steps (in Japan there are the “sho” and “dai” versions). Elements do not exist that indicate its origin and/or its founder.

WHAT IS THE HARA?

In a literal translation, Hara means “belly”, and it refers to the entire zone that go from the stomach to the genital organs them, and in it the I (stomach) and the Kikai (nearby of the navel). In the Kikai, approximately 5 cm. under the navel, is situated the more important balance point of the man: the Tandem.

In japanese language the Hara assumes a more wide one meant. This term  means the center of the physical and spiritual strenght. Also being the center of our material body, to the Hara it comes given a spirit. Also in compliance with the Japanese idea this belly is the center of the man for automaticity, and the remarks of the Hara are an expression of the genuine being of anyone

The Hara is the origin and the center of the physical strenght and the vital energy; for this it assumes a meaningful role in all orient martial arts. The exercise of the belly (the Hara wo neru) does not interest only the martial arts and the Zen, but for every Japanese it begins in the childhood and it is integrating part of its education. The behavior of the man, its way to relaxing and to breathe, like also the self-control and the health condition, are all originating from the Hara, the center of the right behavior.

The development and the control of the Ki depend exclusively from the Hara. In the martial arts the Hara is the fundamental element withouth which every practice loses purport. The basic principles for the execution of kata (like swowing the strenght, the equilibrium between stress and relaxation and the principle of the calmness and the speed) are based on the philosophy of the Hara that, both in the spiritual exercises and in those physicists, are expressed in three various angles: Behaviour, Stress/Relaxation and Breathing. The practice of the techniques determines, throught these three aspects, a harmonic composition that its express in the movement of the body and in the spiritual equilibrium.   

For that reason the physical expression of somebody who practices the Hara comes considered the most important aspect of the technique. Withouth the involvement of the body no movement cannot be made. The gesture of the body is closely connected  to the inner attitude that is conditioned from the first one. Regaining back the physical shape an inner influence is generated which one’s resort in order to correct entire its behavior. With this the philosophy of the worrior is inserted directly in the practice of the Hara.

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WHAT IS THE KI?

The Ki is the inner energy. It is concentrated in the Tandem. In the history of Japan, the first aim of the traditional Martial Arts was the defence in real dangerous  facts, in which or it was gained or it was died. Under the circumstances it required a special energy,  a higher strenght of the spirit. That energy is the Ki.  Through the most particular training, the ancient people found the way to recover that vital strenght and to develop it, in the same way in which are developed some more material abilities. The world is changed, the necessities are unlike, nowadays not many those who worries itself of the vital energy.

The Ki is indispensable for practicing of Martial Arts, if it is eagered to continue to training. When one is young it feels in the youth force and trusts in that. This is self-evident. But the life changes, the youngness time passes and the body begins to support on other properties that are inside of its compos mentis. It’s and absurdity to expect of being always young, but aging does not mean to stop.  One must learn how to come to terms with times and to change on the whole of  the life. For this reason, sooner or later, practicing of Martial Arts must  develop its Ki  if it wants really evolve physically, to oneself and spiritually.

In order to develop the Ki we must make up for the instincts that we have atrophied with the comforts of the modern ideas. As a caged animal loses its hunter instinct because it obtains the food withouth having it to provide, as the human being has lost many of its properties of survivel, because it does not have to meet the real dangers, as it happens for example to the wild animals. The Ki is the inner force; it can be perceived, be developed and be used as often as it likes; but in order to arrive to this it must  practice in order to feel, and in order to feel must have sensibility.  The Ki is in everybody and anyone can develop it, apart from the age, the sex or its conditions.

The Ki is the absolute fundamental oneness of the Universe. It taken together infinitely small minute parts of primary energy that they are to the basis of all that that is and that it can be. All the things are composed in last formulation by the Ki. The matter, although its inert aspect, is in reality concentrated energy and its manifestation depends on the speed of  oscillation of the energy that composes it. All the things have origin from the Ki of the universe.

That energy its expresses through two opposite and complementary forces (Positive and Negative) that, interacting, they generate all the phenomena of nature. In the human being, the Ki creates the body like material manifestation, in that a subtle energy,  orders and allows the continuity of the life.

The man has the ability to be able to conscious being of this energy, to develop it and and to use it, through some movement, without to forget that the respiration has a fundamental role.  Originally the trainings for the development of the Ki were given in the Taoist and Buddhist monasteries, in order to teach to the monks to prevent the illness and to keep itself in good healt, producing and moving the inner energy towards high standards of cure and spiritual development.

During the practical ones of those techniques of respiration, often they proved by experiment feelings of pleasures and  ecstasies.  The movements and the techniques of the breath are relaxant, pure and simple, reinvigorating and are adapted to whichever age.

Benefits that derive from the practical one of the exercises of the Ki:     

Purposes of the Ki development: