Authored by: PROF. EDWARD A. BROWN, Sc.D.

Photos by: PROF. FRAN M. BROWN

THE FORGOTTEN OKINAWAN TERM CHINQUCHI (Body Management)

The Okinawan term or word "CHINQUCHI, is not necessarily used explicitly by the Okinawan people within the martial arts but the pure fact is that they on the most part automatically understand the application of its meaning. The word CHINQUCHI which means to coordinate the use of the various particular muscle groups of the body and put in the proper perspective order through and during the use of tensing and contracting ( dynamic tension ) of the muscles of the body in the proper sequence. Maintaining and holding the tension in one group of muscles and continuing to the next group of muscles, building more and more tension as each continuing group is added in the specific order. This in term is done in conjunction with proper breathing emulating from the hara (area two inches below the navel and three inches inside the body). The particular breathing is held throughout the exercise and forcibly added to the dynamic tension parts until the completion of EACH and EVERY technique within the kata "Sanchin". At the completion of each technique, the whole process is repeated in the exacting order within the kata, until the kata or the particular feat is accomplished. Eventually, this entire process is continued in all kata at an advanced level and to life force itself to help maintain a better quality of life.

Simply put, the practice of "CHINQUCHI helps put all body parts from head to toe, to be in better and proper working order, through the use of proper breathing, regulation of the tensing and relaxing muscles, strengthening of the vital organs and coordination & timing of these combined elements to create the most dynamic focus needed to serve and perform almost superhuman feats.

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This system that sets a standard of the body management is called CHINQUCHI by Okinawans. It is used in the Okinawan kata "Sanchin" (three circles / three gods) and helps the karateka gain great strength and to apply the Ki (internal strength) within techniques. CHINQUCHI is first used in Sanchin to teach the student the proper light and heavy application to breathing and muscle contraction and expansion sequence in the proper order so as to gain great physical strength through the internal organs as well as from the outer most muscles of the body.

Prof. Brown indicates that CHINQUCHI prepares the student to do almost any insurmountable feat of prowess and strength through this application of practice. Therefore, it is very important that the student follow the exact sequence of concentrated points in order or one is apt to be subject to injury or sickness.

To prepare for the practice of CHINQUCHI, the first thing the practitioner must take is to get in sanchin-dachi (three circles or three gods stance), with feet approximately shoulder width apart, with either foot, one foot forward as in seisandachi and pivoting the heel outward about 10% of the forward foot, the rear foot maintains its straight ahead position, while tucking the knees inbound to gain maximum tension and maintaining this positions throughout the exercise with the exception of stepping as in the kata sanchin.

Now the student is ready to commence with the practice of Sanchin utilizing CHINQUCHI, this form of body management for the total application of strength and to enhance the power of the body system to its maximum effectiveness. This is done through the light and heavy application of breathing and rapid expansion and contraction of the muscles of the body at the proper intervals of time and in the proper order. Next, while retaining the sanchin dachi, the breathing and the muscles come into play following explicitly the seven basic points concentrated on in CHINQUCHI. The maintenance of sanchin dachi, the breathing and muscle awareness are all done in harmony with each other, while the basic points are concentrated on and added during the exercise.

In other words, from start to finish in the practice of CHINQUCHI, the entire body builds up:
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A. / B. / C. /

Application of breathing Muscle coordination Stance

(light & heavy); (expansion & contraction); (sanchin), balance through the use of sanchin dachi;

Timing specifically at the correct one of the seven points of CHINQUCHI and the appropriate speed for maximum effectiveness in the proper order.

Each technique and or movement the practitioner goes through must utilize the application of CHINQUCHI in this prospective order with the maximum effort pertaining to the breathing and muscle control. The procedure follows the proper order through the complete technique until the audible breath is completely depreciated and terminates with a cough, getting the last bit of stale air out of the lungs for maximum contraction of the muscles to make the perfect timing.

Of course there are pros and cons of this type of training; one is that if taught to anyone less than 16 yrs. of age, it may stunt growth. Also, if practiced wrongly by any practitioner and the breathing is incorrect serious injury may concur, such as the intestines may drop through the rectal cavity. The breathing and muscle control sequence must be forced in the proper direction, at the proper time as the seven points of order add with continuing force.

This may be why it is so important to practice CHINQUCHI only under the tutelage of the most master instructor of the martial arts and exactly within procedure therefore donated; FOR HEALTH AND SAFETY REASONS. The seven basic points to concentrate tension on in order while in the practice of CHINQUCHI are in the order of one through seven only. These points should be added in progression of sequence while more the proper effect to occur.

CHINQUCHI:

Seven points to concentrate on progressively in order [forcing the buttocks up and tensing].
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1. / RECTAL & INTESTINES: Rectum up to the insides;

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2. / GRACILIS:

The inside of thigh;

[back inside of thigh tensed forcing downward].

3. / ABDOMINALS:

Stomach;

[tensing inward and up, forcing air out from the bottom].

4. / LATISSIMUS DORSI:

Sides of chest by arms;

[continuing compression].

5. / DELTOIDS & TRAPEZIUS: Sides & tops of shoulders;

[continuous tensing and forcing toward center. of the body];

6. / STERNOMASTOIDS:

Sides of neck & throat;

[tensing and locking while continuing force of Contraction];

7. / TRACHEA:

Front of throat;

[forcing air out mouth while continued tensing keeping mouth locked open];

It can not and must not be over-emphasized that this so-called firing order of 1-7 must be followed in the correct numerical sequence and that the next numerical figure must be in addition to the present in a constant and continuing building of compression, contraction and tenseness throughout each breath.

A step by step EXAMPLE: The practitioner bows in from musubi-dachi (informal attention stance), then opens with left foot stepping to the left, shoulder-width apart into heiko-dachi (stable stance), giving his presentation, then preceding into the kata Sanchin. Firstly, steps forward with right foot into left sanchin dachi, as the toes touch the tatami (straw mat), CHINQUCHI is emphasized commencing with the so-called firing order of 1-7, as stepping is completed. While in sanchindachi, with the front foot forward, heel outboard 10 degrees and knee tucked in with left foot straight forward with knee
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tucked inwards also, the CHINQUCHI order is commenced and terminated within a few seconds, completing all of the above steps and requirements necessary to accomplish this life energy. This is repeated in each and every step, technique and or motion within the kata till its end. This will take approximately two and a half to three minutes to perform Sanchin from beginning to end, utilizing CHINQUCHI all throughout it. In all, CHINQUCHI will be utilized extensively 22 times in its 16 commands of execution throughout the kata Sanchin. Each and every time CHINQUCHI is performed a 4-6 second time period is required within the kata, whether it be a motion, a stance or a technique. At the termination of the kata Sanchin, the practitioner should be totally exhausted if CHINQUCHI was correctly applied throughout its entirety, your way to better health should be well on its way.

Eventually this type of practice of breathing and muscle contraction strengthens the practitioner to stone hardness, both inside and outside the body, enabling the student to do almost superhuman feats as such is done by Prof. Brown himself. It can be carried through to other kata and to the sparring techniques, making for an impeccable student, gradually lowering blood pressure, building healing abilities and increasing stronger and healthier bodies through the practice of "CHINQUCHI".

Prof. Brown credits his practice of CHINQUCHI with much of his success in all his amazing feats of strength that seem otherwise insurmountable by any human being. His daily practice of CHINQUCHI also seems to keep him healthier by ridding the body of undue stress and by keeping his lymphatic system up to par. The daily practice of CHINQUCHI rids the body of stress by bringing its tensing level up to 100%, therefore driving the level of relaxation to 100% between the tensing phases. This process of training increases the blood- flow level by sending more blood the vessels because of the bodies tenseness within the process of the practice of CHINQUCHI, therefore lowering blood pressure, creating a healthier individual, capable of surpassing the average human achievement.

The practice of CHINQUCHI allows its practitioner to move much more fluently because of the rapid contraction and expansion of the muscles of the body and the light and heavy application of breathing. It is the air that is taken in that is one
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of the key factors that stimulate circulation much the same as a baby takes in as the first thing after being born. The greater the quantity of air taken in; the more the life source. CHINQUCHI helps the individual live a happier and more wholesome life, by meeting and surpassing everyday demands more readily, as it enables its practitioner to meet life's demands without unnecessary stress, as it becomes a pleasure rather than a problem to do even the most extraordinary of tasks or feats.

Prof. Brown illustrates how CHINQUCHI may work when needed in any given combative situation by presenting a hypothetical example of a person working in a disastrous situation such as a fire, flood or in any accident in which the individual places oneself in direct danger to do a heroic rescue to save the life of another. But, with the empower of CHINQUCHI the practitioner may at any time do these heroic actions at any given instant, making them a useful tool and benefit not only in the martial arts but in life itself readily available at their fingertips.

The practice of CHINQUCHI enables its practitioner to blend the physical and mental aspects of the martial arts to be in accordance with the spiritual at a later date. Also, life's final phase or level, the level of enlightenment gives the individual total wisdom of life source, if and when it should arrive. The blending of the four stages: physical, mental, spiritual and enlightenment truly designs a more wholesome martial artist and individual. It is this fourth level of enlightenment that is seldom attained and when it is, its because of the practice of CHINQUCHI at early stages of training that created a basis so strong that the level of enlightenment is possible further on within one's life.

The ki (internal energy) developed through the practice of CHINQUCHI is overwhelming in every facet of life, as a tool it is used not only in the dojo but in every way and each day of our working life. Therefore, the true study of any martial art must go beyond the realm of the physical visibly to the mystique of the invisible, as it is whats in the invisible that lays the true power.

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Ki can also be characterized as vital energy and it is CHINQUCHI that is directly responsible for the bringing the ki outward as that internal vital energy. Since all movements have some sort of ki, whether it is hard or soft it is generally acceptable to say that ki can be brought out into all the martial disciplines. It may or may not be more difficult to apply the ki in certain martial arts, but it is certainly true that it can be applied in each and every one, as well as in all facets of human life.

I believe the key (k-e-y) is that it is CHINQUCHI within the martial art itself that makes it possible for each individual practitioner to apply the ki to or within each technique and therefore to apply it to daily life as well.

Many martial art practitioners believe that only particular martial arts such as Aikido and kung fu have the capabilities of training to apply KI or CHI, which I believe is totally a false outlook. It is not to art that has the applied ki, but the training that goes forth. It may appear that some of the softer martial arts emphasis ki more than others, this may be because of the soft flowing movements of the art, the power and strength of the ki seems to explode with great differential. This may be the reason why as the martial artist grows with maturity, his technique flows more smoothly and softer, therefore having the tendency to show a more explosive ki. As we grow older and mature our physical strength diminishes, but as our technique training progresses our ki as well as our spiritual power increases until our death. This is the reason why when aged practitioners demonstrate their arts prowess, they can do seemingly amazing phenomenal feats that one of younger stature cannot deem within the realm of possibilities.

Some practitioners of ki use a point in the body called the 'hara' in Japanese or 'tan tien' in Chinese, which is located at a point approximately two inches below the navel and three inches inside the body, which is the center of the body or about 57% of your height from the bottom of your feet. It is at this point, at the 'hara' that the body has its best center of balance, therefore with 'kime' (f'ocus or focal point) concentrated on this point the opponents balance can be broken more readily. Therefore if one's balance impeccable your ki will be stronger.
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With properly working ki or chi, it will feel like everything you do, every move you make, every movement of your technique will feel like it is in perfect harmony with perfect timing in unity with oneself.

The practicing of CHINQUCHI can be done all throughout life, especially as one grows more mature with age; it seems to become much easier to practice, regardless of your condition, therefore allowing its practitioner to become more proficient with age. This is the reason why so many aged martial arts masters can do so many incredible feats that seem almost superhuman. When one knows ki or chi and can control it in one's every movement as their later years approach, it feels like a very special gift that's been handed to you, but you've worked a lifetime for it.

The theory of KI in Japanese or CHI in Chinese was always associated with the Asian culture, but of course it truly exists in all human beings. The people of Far Eastern culture have accepted this believe for many thousands of years and therefore seem to have a better control of it. But, any individual who trains in the practice of CHINQUCHI will be able to attain the KI or CHI to at the least a partial, if not their full benefit in life.

Since KI or CHI exists in all human life, it gives its practitioner the perfect opportunity to enhance their very own potential, be it in breaking bricks, lifting a heavy object, sustaining unbearable pain, jumping to incredible heights, sprinting up a mountain or through the woods or just to get through daily life. The practice of CHINQUCHI strengthens all vital organs as well as muscle groups, tendons, blood vessels and tissue.

About the author: Soke; Professor EDWARD A. BROWN, Sc.D., 10th. Dan and founder of the art of Chairo-Kan Bushi Shindo (BrownStyle Warrior Heart Way ), whose hombu dojo resides in Norwalk, Ct. and may be contacted at ( 203 ) 847-8974. His credentials include five-time World-Record Breaking Holder, has received professorships in Kinesiology of Martial Arts Sciences, a recipient of the Presidential Sports Award in Karate and has been inducted into numerous Hall of Fames. He
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currently serves on the Board of Directors in the U.S.M.A.A. that is headquartered in Ca. Prof. Brown is the founder and director of the "Martial Arts Masters, Pioneers & Legends Hall of F ame" held each year since 1997.

About the Photographer: Soke-Dai; Professor FRAN BROWN is the wife of Soke Brown, being in the martial arts since 1966. She is the SokeDai (Heir Apparent) and Ku-dan (9th. Dan) of Chairo-Kan Bushi Shindo. She has also been inducted into several Hall of Fames. She serves as the business manager of the hombu dojo that resides in Norwalk, Ct. Fran is the co-founder and codirector of the "Martial Arts Masters, Pioneers & Legends Hall of Fame".
2/23/08 3:39 PM