Extract from "Okinawa Karate no

Shinjitsu", The True about Okinawan

Karate, Toho Editions, 2nd edition,
7/11/2009
Kata are collections of techniques learned
during real combat
Morio Higaonna Goju Ryu Hanshi 10 dan

Breathing is everything

To begin with, perhaps you could explain to us the characteristics that

are peculiar to Goju Ryu?
Higaonna: In simple terms, were talking about techniques capable of
producing hardness and softness through breathing.
So does that mean that the techniques are simply based on breathing?
Higaonna: Exactly. Movement while breathing. It is the harmony
between ones body and ones breathing.
It is often said that one breathes in quickly and one breathes out
slowly...
Higaonna: Indeed. Basically there are 6 ways to breathe: to breathe in
quickly and breathe out quickly, to breathe in quickly and breathe out
slowly, to breathe in slowly and breathe out quickly, and so on; there
are many ways.
And their use depends on the techniques, does it not?
Higaonna: Exactly, it depends on the techniques. The importance of breathing is so great that you can
actually say that it is everything. Naturally, such a breathing method is initially undertaken in a
conscious way, but training gradually leads to a state in which one becomes unaware of ones
breathing.
In that case, isnt it the exact opposite of the Shurite school? Shurite maintains that breathing must be
natural.
Higaonna: And so it should be. Our breathing method calls for breathing in through the nose and
breathing out through the mouth. And then we have diaphragmatic breathing [ed. Tanden Kokyu].
Theres also abdominal breathing. When we breathe out, we do so from the mouth, but we can also
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breathe out from the nose. When we breathe out, as the mouth opens, the throat closes in a natural way.
We carry out our techniques in accordance with this way of breathing, but we dont show our breathing
to our adversary. You dont hear it. We breathe in silence. At the beginning we focus on it as we
practice, but it eventually becomes natural or automatic. But our breathing should not be heard first.
Not showing our breathing means not allowing our movements to be anticipated, isnt that so?
Higaonna: Exactly. That is why as soon as our adversary breathes out we immediately carry out our
techniques. This is why its necessary to be able to perceive breathing. We use our breathing to
interpret that of our adversary.
Initially we consciously train our breathing, in order to learn to read that of our
opponent. Humans determine the conditions for victory or defeat at that
moment in which they are breathing out. You cannot attack when youre
breathing in. This is why Goju Ryu teaches us to breathe deeply and in such a
conscious manner.
As we get older the way we move changes, and so does the way we breathe.
We can stop breathing and apply a given force, or enact that force together
with our breathing. But its necessary to perceive this in a conscioues way. In
sanchin we apply a force as we breathe out while saying Ah. This is also the
case when kicking, given that there are certain kicks that we carry out without
breathing and others that call for a release of energy as we breathe out. It can
be difficult at the beginning if we cant perceive all this.
This is also apparently the case with the Chinese chuan fa [ed: kenpo in Japanese]. Its traditional
combat techniques call for a link between breathing and the emission of energy: Goju Ryu, therefore,
adds to that tradition its own unique brand of study,
isnt that right?
Higaonna: As part of the teachings of the Master
Chojun Miyagi, it is stressed that when we breathe
the first thing we should perceive is our loin area [ed:
koshi: a specific term that indicates the pelvis, the
hips and the belly in karate] and our lumber
vertebrae. And also the tanden. The anus is tightened
as if we are trying to retract it and we channel our
energy to the centre of our body. When we breathe
out we do so directly, from the mouth. In this way the
speed is increased and power is created.
Koshi, in a draw by Yamashiro Sensei

Muchimi

Higaonna: When we block, we shouldnt use force. Muchimi means that before your adversary
attacks you already have to be in control.
Does Muchimi not mean elasticity then?
Higaonna: Not only that, it also means that before the blow arrives you must read it and curb it.
In this way we can take hold of the opponents arm and push him back. If this is done after the
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opponent has used force, the result is a clash of forces. We must lessen the blow before force has been
applied.
The last time also, Master, you said that a difference with Japanese Karate lies in the fact that in the
latter, once we have blocked, we let go of the opponent.
Higaonna: This is true. If we push before the blow arrives, the distance between you and your
adversary is reduced. This is why the most effective blows are the short ones. In order for them to
contain energy our breathing needs to be correct.
In present day Karate, which has now been transformed into a sport, we strike and retract our hand
quickly, and therefore the distance between us and our adversary returns to the original one.
Higaonna: As Master Takamiyagi has already said in our
discussion [ed: this is a reference to a different chapter in the
book], the Masters of old used to teach that once we had blocked
we had to pull and get in closer. This, in Okinawa, is called
Kakie. These days nobody even knows how to write that
[laughs]. But also in China this technique was expressed by a
sound like kaki. And once you had gotten closer, you followed
on with a technique called Kou (leaning).
By Kou we mean close physical contact, isnt that the case? The
hand that takes hold pulls forcefully and the distance between us
and our adversary, instead of not changing, is actually reduced!
Higaonna: Exactly. By blocking in this way, we pull the opponent
and we attack by following the arm. And this is done at great
speed, like a whip. If we follow the arm, it doesnt matter how our
opponent moves, we will find him. In this way, we can attack like
this [he strikes the opponents neck with a nukite].
I understand. And this too is based on the theories present in the Chinese Quan Fa, correct? And all of
this is what in Okinawa is called Muchimi?
Higaonna: Exactly, it is Muchimi.
Even the Sanchin, when performed in front of a Chinese person, is recognised as Sanchen. Apart
from Tensho and the Gekisai, which are kata that were invented in Japan, were talking about forms
that originated in China.
Although it is said that Kururunfa is written in characters that are very Japanese.
I believe that at the basis of Karate not only will you will find China but all of South-east Asia. I say
this because there exist techniques in Karate that cannot be found in China. And to get back to those
roots is the objective that I have given myself for the future [laughs].

Sanchin

With regard to Sanchin, there are two of them, the original one by Master Kanryo Higaonna and
that of Master Chojun Miyagi, correct?
Higaonna: The Sanchin brought by Master Kanryo from China calls for three steps forward, one
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rotation and another three steps going forward. Master Chojun, on the other hand, maintained that it
was natural for people to move forward, but not that they go backward. And he said it is by acting in
accordance with this that wrong ideas are eliminated. Whether we are going forward or backward, we
must apply the same energy. When we go backward we must put our weight on our heels.
Are we allowed to lift our heels?
Higaonna: No. We must go backward by sliding in suri ashi. And neither must we lift our feet when
were going forward. Everything is based on suri ashi.
Nevertheless, Master Chojun taught the Sanchin during which one went backward after the war.
From 1945 onwards. Actually, from 1947, if Im not mistaken.
In Japan the Sanchin is carried out by going backward after having turned.
Higaonna: The original Sanchin is the one passed on by Master Kanryo. In those days it was carried
out with open hands. In 1905, having been hired as officials at the Secondary School of Commerce,
Anko Itosu and Master Kanryo were called upon to teach Karate to the students: it was then that Itosu,
as a promoter of a Karate schooling, used closed fists. Master Kanryo used nukite, given that it is faster
and more realistic from a combat point of view. But given that it was dangerous, Master Itosu applied
the closed fist. Master Kanryo was upset by this and got drunk! [laughs]

There was talk at the previous meeting of the intention to hide [ed: hide true techniques]...
Higaonna: Master Kanryo suggested hiding them, not showing them.
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Perhaps he meant to keep them hidden as a last resource?

Higaonna: Thats it exactly. In the old days one trained by
reinforcing the nukite. Its faster and allows you reach your adversary
sooner, given that its also longer.
Or rather, that the reach of ones fingers is longer?
Higaonna: Yes. Also in China they practice the nukite in training to
strengthen it.
Ah yes... Just like with the Iron Hand where we strike the sand
with the tips of our fingers and other such conditioning techniques!
From a beginners point of view, the nukite could be considered
more dangerous, given that we try to strike by piercing or cutting
with our fingers, but it should be practiced until theres no longer
any risk, correct?
Higaonna: Thats right. This is why we strengthen our fingers by
doing push-ups on them and similar exercises.
Are we talking about conditioning?
Higaonna: Yes. A complete and thorough drill. One by one. And given that Master Chojun was welloff, he would also drill at home.
What has the fact that he was well-off got to do with anything? [laughs]
Higaonna: Well, it meant that he has the opportunity to do it. He could dedicate a lot of time to
strengthening himself each day. Master Chojun worked in a bank for a year at the age of 19, but
otherwise he would train from morning to night. He liked to practice. He spent his youth fighting and
got a bad reputation, but when he discovered practice he calmed down quite a bit, and gave himself
totally to it.
Master Kanryo Higaonna, on the other hand, was poor, and so he would invite him to his house where
they would practice in the tatami room [ed: in Japanese houses there are always at least one or two
rooms that have bamboo tatami on the floor. These rooms are normally kept for ceremonial purposes,
or for sleeping in]. And so the tatami would get ripped up every time! [laughs]

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That was because they would do suri ashi on the tatami while training! [laughs]
Higaonna: Thats right. You move with the soles of your feet held firmly to the ground, as if they were
magnetically pulled towards it. When we work on body conditioning, we check our posture by holding
our heels. This is how we make sure that our concentration is fully active right down to our heels.
Master Kanryo was able to measure a persons health by simply touching his heels and then measuring
his pulse. He would say Your feet are tired. You were up late last night!, and then Today well go
easy! (laughs) Even so, people still often ended up fainting from practicing Sanchin over and over
again without a rest in a closed room.

Is it really necessary to go to such lengths to learn what is

required?
Higaonna: He used to say Strike again! and he would
throw a punch; and then hed repeat Strike again!,
Another time! And they would go on and on repeating
like this.
So basically all they did was repeat Sanchin over and over
again!
Higaonna: Exactly. They didnt train like we do now,
instead they would constantly repeat the same thing.
Apparently, [Miyagi] would get to the stage where hed
pass out from tiredness! And Master Kanryo would get
him up again, by throwing water on him.

I can well believe that! The exertion of contracting his body while concentrating on his breathing...
Higaonna: Yes indeed. He was totally concentrated. The mental tiredness was even greater than the
physical one. Brain and concentration. He was using his mental and physical energies at the same time.
He didnt feel physical tiredness ( Miyagi in those days) as he was still young. Despite this, it was said
that he passed out many times. One time there was even a man who died from overtiredness. He was a
poor man, and couldnt feed himself properly. In such a state he practiced Sanchin all day long in that
little enclosed room. This was never made public, but deaths have happened.

The teaching methods and the tradition

Goju Ryu and Uechi Ryu, according to some, were originally inspired from the same Chinese Quan Fa,
or even two techniques from the same tradition.
Higaonna: Yes, thats possible.
In any case, of the two, Goju Ryu is in a certain sense the more austere, and from a theoretical point of
view the one that seems simpler. Uechi Ryu seems to preserve a deeper imprint of the original Quan
Fa.
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Higaonna: Absolutely. In my opinion, Uechi Ryu follows Quan Fa as it once was. There are forms of
tigers and other animals, and techniques such as Rakanken and Tsuruken.
True. There are animal forms like the tiger, the dragon, the heron and others, that appear just as they
are. You can also find forms in Goju Ryu and Shorin Ryu such as the heron and the tiger, but theyre
not as evident as in Uechi Ryu.
Higaonna: They are hidden. As they say, they hide their claws. In ancient
times, techniques of this kind were passed on. These days, however, the
fervour to hide them has transformed the kata (laughs regretfully). Just look
at our training, for example that of mawashiuke: at the beginning it is
practiced with wider movements. When we have learned it well, in real
combat it is used in the form of a tiger, rotating our hands in a more reduced
and incisive way. As a training method, we say that its like sharpening a
pencil. Initially we create the form with wide strokes, and then curb the
corners and refine the details until we get a result thats quite beautiful.
And the person who established that method of teaching was...
Higaonna: ...Master Miyagi Chojun.
Goju Ryu was the first school to receive its own denomination in Japan: apart from its name, the basis
for the teaching methods of modern Goju Ryu were also laid down by Master Chojun, isnt that right?
Higaonna: Exactly. It was Master Chojun who established a teaching tradition. First with the two
Gekisai ichi and ni, and then Sanchin. Before the war, All of the masters only practiced Sanchin.
Then they trained with each other and they learned many things. This is why differences were
gradually created as the teaching was transmitted from person to person.
Just like in the game Chinese Whispers! (laughs)
Higaonna: Thats right. Just like in the game Chinese Whispers! (laughs)

The kata and the competitions

Having listened to what has been said up to now, what comes to mind is that behind something that
seems simple is hidden something which is much deeper: in Japan, the Masters that teach who fully
understand this are few, would you agree?
Higaonna: Well, they are few... And what is more, such concepts are not disseminated, given that
generally all the concentration is on competitiveness.
Theres nothing wrong with dedication to competitions, but lets remember that Karate means training
until death. As Master Chojun used to say, once upon a time we trained to defend our lives. And we
should also train to surpass ourselves. This, he used to say, is the real Karate. Karate is based on not
hitting or being hit, he would say. It means that avoiding combat is inherently linked to peace.
We also have to remain humble. If we are about to use a force of 10, we should reduce it to 5. We
should not want to fight. If we are humble, the adversaries lose the will to attack.
And so it was after Master Chojun that we went from bujutsu
Higaonna: That is correct. Master Chojun Miyagi didnt use to talk of Karate. He called it Ti, or
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Bu. He would say Te is this, Bu is this... It wasnt even even necessary to say Goju Ryu. He said
to use it only when someone asked for it.

BU

TE

You were never supposed to say that you practiced Karate. You were not supposed to show it.
The only important thing was training. It was not something to boast about: he would constantly repeat
this.
Master Chojun, when faced with a drunk, would steer well clear of him.
So as not to get involved in something?
Higaonna: He was afraid. Not of his adversary, but of the possibility that he might use some technique
or other without realising it.
After the war, among the ruins, there were a lot of thieves. This is why he used to always carry some
change with him. Whenever he came up against a thieve, he would give the money to them.
Was he really against fighting to such an extent?
Higaonna: A policeman once asked him why he behaved like that, and he replied that the man was
doing something wrong, but in this way the situation was resolved without problems.
Another time, in a US military area there were a lot of different foodstuffs which hadnt been stored
away, and everybody was going there to steal them. Even the police. And they even claimed not to be
thieves! And when they told Master Miyagi to go to, he replied that the mountains were full of food,
and that whoever practiced Bu had to behave well. No matter how hungry you were, there was no
need, he said, to steal the food of others.
He must have been an exceptional person!
Higaonna: He maintained that everybody, sooner or later, is put to the test. And that is precisely the
moment in which whoever practices Karate must reflect and overcome the problem by using their
intelligence.
This cannot be traded for money or material goods. The Master taught without charge. But if one of his
students brought him tuition money, he would ask him So you decide how much then, do you?
[laughs]
And yet he said that he did not want money! [laughs]
Higaonna: Yes. He had reached such heights in the practice of Bu! This is why he never really
demonstrated the kata much in Japan.
But that didnt mean that he didnt want to bring Karate to Japan or teach it there, did it?
Higaonna: No, it wasnt for this reason!
Given that in Japan there already existed mental aptitudes and tendencies linked to bushido, he
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probably believed that once a kata had been thought to

someone, that person should then practice it on his own.
Okinawa, on the other hand, was full of lazy people
[laughs], and he would teach people without even trying
to get them to train. In this sense, he was an excellent
teacher in
Okinawa. This is why, in my opinion, only the bare
necessities were passed on also in Japan.
Master Miyagi with Ritsumei-kan University students

It was just that in Japan Karate concentrated on the

competitive aspect. Many teachers in Japan say that their
kata are for the competitions, or for obtaining dan [laughs]. Nowadays the kumite is what people
concentrate on. Of course, there are also those who still concentrate on the kata.
Besides, speaking of Shotokan, there is also a Shotokan that, based on the figure of Sensei Nakayama
has distinguished itself both for the kata and the kumite and is a fantastic school.
This is because there are also great teachers who emerge for the kata and the kumite and the
competitions.
Higaonna: Exactly. There are many exceptional individuals.
Even among the teachers there are those such as Kanazawa of Shotokan and Maeda of Wadoryu who
have understood the essential nature of the kata and have applied this to competitions.
Higaonna: Yes indeed, there are people who, while teaching methods for winning competitions,
nonetheless deeply respect tradition. A Karate that is purely competitive can only be practiced up to a
certain age, in my opinion. The point, however, is that Karate is in essence a challenge to oneself. I
think that it is a good thing that children take part in competitions. It stimulates them to set objectives
for themselves. And when the competitions are over, that is the time for personal training. In Okinawa
too there are kids that win highschool competitions without knowing how to do the kata. Its vital that
we also teach the traditional aspects. I once said that this will be the fundamental point for the future.
In Japan there are even those who maintain that the kata are pointless...
Higaonna: This is because they have never really experienced what kata are. I am still no expert, but if
I try to do a kata to the absolute best of my ability, I realise that for each technique, and even for each
position, there emerge mental, physical, medical, technical aspects and so many more besides.
It doesnt matter if kata have a point or not: the point is that when it comes to strengthening oneself it is
difficult to create the correct force, whereas if we discover rites that help us to move normally, it can be
created.
So were talking about adapting our bodies so that we can utilise the techniques!
Higaonna: Thats it exactly. And depending on how we communicate this, even if it isnt easily seen
we do strengthen both our minds and our bodies.
Those who hold the opinion that the kata are pointless say that they are a simulation of combat.
Higaonna: The blows are carried out the same way, whether we are in a confined area or an open one,
on sand or on a mountain, in a bright place or in a dark one, the positions and the hand techniques, but
also our mental perceptions must function well. Even our line of vision, although it may seem to be
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fixed straight ahead of us, must be aware of whats going on in all directions.
All of this can be developed through daily training of the kata. Training like this on our own is hard
going! If we train every day for an hour and a half by repeating Gekisai 100 times, it is really tough!
Needless to say, the next days our muscles are full of aches and pains. Every technique must be
undergone decisively. This is why it becomes a challenge to oneself. When I was young I was good at
gymnastics, but I didnt know how to breathe or how to use the techniques. Bit by bit I learned how it
was done.
Through repetition, right?
Higaonna: Yes. Training through repetition is absolutely vital.
Once, in Europe, I made a group throw 1000 tsuki while in shikodachi. They were pouring with sweat.
It was a training session that consisted of nothing other than being in shikodachi and throwing punches.
And what did these European students say?
Higaonna: Great! [laughs] And I replied Yes. Simple is great.
Karate is simple! [laughs]
At the end of the day, a training session like that is really tough, but it
serves to develop a form of trust in terms of real sensations and
sensations of growth. This is why I always say that we must have faith
in ourselves. And also in those that are teaching us. And also, if we
push ourselves we are certain to fulfil our objectives. If were told to
practice 100 times, initially were bound to reply that we cannot do it.
But if we train every day, sooner or later we will be able to practice
100 times.
There are also times when I learn from my students. When I see a
student who is moving well, I tell him to repeat the exercise and I
realise something [laughs]. And often it happens that while Im
teaching I learn something as well. And at those moments I am happy
to practice Karate, and happy that we never really finish studying. And this happens more with the kata
than with kumite.
Another important aspect of the kata is that they have a story to tell. They came about as a collection of
techniques carried out by masters that used them in order to survive. This is why they contain hidden
meanings. They were not merely created as a form of exercise. Were dealing with collections of
techniques used in real combat. Obviously, changes have occurred. But Master Miyagi used to say that
their essence had not changed. Even if he also said that they should be kept hidden.
The other day Master Shimabukuro stated that: The techniques are changeable. Even the kihon (the
basis, ed.) contained in the kats, once it has been fully learned, can be applied in many different ways
depending on the circumstances. Whether or not the kata are useful, whether or not they are applicable
this is an extremely superficial way of looking at things.
Higaonna: Youre absolutely right! The internal forms in the kata are basic forms containing specific
techniques, but they are not used as they are presented. In my dojo we have subdivided the kata: there
are the bunkai of the kihon, the traditional bunkai, the applicative bunkai. It depends on the level of the
person who is learning. And this is because the techniques change depending on the adversary. They
even change depending on whether the adversary is large or small. So we cant simply say things like
this technique is used in this way. It wouldnt make sense.
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Doing chuuraku

The chat the other day also brought up gamaku and chinkuchi, and I would like to ask you a few
questions about these. At the time you, Master, didnt say anything
Higaonna: Master Chojun used to teach in dialect. Put some chinkuchi into it!, More gamaku!,
Give me more kushi! and so on.
Ah, so even Master Chojun used to say Put chinkuchi into it!?
Higaonna: Well... he wouldnt say it often, given that it was so obvious. Just to the beginners, he
would say to use gamaku. There are those who, when they contract their bodies in Sanchin, do not
rotate their hips as they punch. In these cases he would say to use more gamaku.
With regard to those who punched by only using their arms, did he mean for them to rotate their hips
more?
Higaonna: Yes. To use chinkuchi, to use kushi (hips koshi in Japanese, ed.), to use gamaku when we
punch. But this all goes without saying. Apart from chinkuchi and the hips, he would only say to use
more gamaku to absolute beginners. The thing that Master Chojun repeated the most was Do
chuuraku!, which in a certain sense meant to move in an elegant way. If the movements and the kata
are not elegant, he would say, we do not create bu.
Elegant movement is certainly the ideal, right?
Higaonna: Absolutely. Initially we can be a bit stiff in our movements,
but we gradually obtain graceful movement. Hed also say Give it
chinkuchi, chiruchanchantoshii!. Chiru means the muscles and the
tendons, whereas chan means movement. So this all means that our
bodies create power and velocity through our muscles and our joints.
Master Chojun never used to teach from one fixed position. He observed
everything, from your gaze to your movements.
And he used to teach in dialect...
Higaonna: Yes. Even for the feet, he would say that we should
Muchite, ...
By muchite did he mean to move them in a decisive way?
Higaonna: It probably meant that if you were approaching an adversary, you should stand on his foot
to stop his movement. This is the basic rule. After you have kicked, you trod on the adversarys foot
with a large step. You block their movement by standing on their foot and you close your hand in
kakete.
Of course, theres a reason why Goju Ryu is known as close contact combat!

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Martial Valour

In Japan there are many who question your martial valour, Master. When you built your dojo in
Yoyogi, is it true that many came for a dojo yaburi (ed: a practice that means knock down the dojo.
The Master of a dojo is challenged, and if you beat him, you take control of that dojo by depriving it of
its very basis, which will cause its closure given the dishonour that its defeated Master has suffered.
This practice is now considered illegal but apparently has not totally disappeared.) only to leave in an
ambulance?
Higaonna: No, not at all! (laughs) Nothing as spectacular as that ever happened! You know, Yoyogi
was near Kamiya, and every now and again someone who practiced Taikiken would come to me to me
to ask if we could train together. And so, when I was very young, on occasion things might have gotten
a little out of hand...

Master, that is what people call a dojo yaburi... (laughs). And the story of the ambulance?
Higaonna: No, no. They all went away on their own two feet. (laughs) Only once did it happen that
one day Master Ken'ichi Sawai came by...
Ooh!
Higaonna: I was wondering what he could possibly want from me, and went outside. He bowed his
head and said I am sorry for what my students did the other day. This made me think that he was a
truly great Master!
Ooh! So even the Taikiken, renowned for being a contact school, understood that your school was a
serious business!
Higaonna: Ah, who knows! (laughs)

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