Ancient Civilisation and the Origin of Fighting 
All living creatures possess the instinct to defend themselves against their
enemies. Even a small child immediately tries to protect himself by covering
his head with his hands and arms when someone tries to hit his head. This
involuntary reaction is an instinctive reflex reaction of self-defence.
Consequently, it is quite natural to believe that the component elements
which make up the art of karate grew out of this instinct of ours, combining
one by one in a process which started with the beginning of mankind. Thus a
tradition of fighting arts arose among different people of disparate civilizations,
most notably within the ancient civilization of central Asia. Egypt and Turkey.
Although there is no clear evidence
to indicate the dates of when karate-like techniques began to be developed,
there exists much evidence which offers clues as to the birth of this art. For
example, drawings of men in karate-like stances are shown on a wall of an
ancient Egyptian tomb which dates back perhaps as early as 5000 years ago.
Another early piece of evidence is contained in two small Babylonian works of
art dating back to somewhere between 3000 to 2000 years B.C. Each shows the
characteristics of fundamental blocking techniques of karate which we use
today.
Thus, karate-like fighting arts were practiced in several
ancient civilizations. Moreover, it is likely that the principles behind karate
were introduced into India through Turkey. Evidence suggests that long before
the Silk Road was established, there were cultural exchanges between India and
Turkey. But it should be emphasized that the fighting arts which were
introduced into India from the west were still quite rudimentary, and, that it
was really in India and China where the fighting arts developed their
sophisticated techniques.
It is believed that in India, empty-handed
combat techniques were widely used by warriors in tribal warfare long before
the birth of Buddhism. In the south of India there emerged the martial art form
known as "Kalaripayt" (Indian martial arts). The significance of Kalaripayt is
that it resembles the native Okinawan martial art known as "te" (hand).
The art "te". is said to have more than a thousand years of history. There is a
theory that art of Kalaripayt was studied and then introduced to Okinawa by
sailors who had travelled to the south India in search of trade. It is believed
that this Okinawan art of "te" was later united with the Chinese art of "Kempo"
(empty handed techniques) are: gradually developed into the martial art form
karate.
The Beginning of the Chinese Art of Kempo
Bodhidharma was a well-known "Zen" Buddhist monk who spent nine years at a Shao
Lin Temple in the Songshan mountains of China. According to legend, Budhidharma
was born in India about 1400 years ago, the third child of King Sugandhain, and
a member of the warrior caste. He is believed to have arrived at the foot of the
Songshan Mountains of the Hunan province in China around 520 A.D. to lecture there
on Buddhism. He spent his days in meditation facing the wall of a cave which was
located in the vicinity of the temple.
There is no clear evidence to prove that the martial arts existed in China before
the coming Bodhidharma in the sixth century A.D., but it is likely that many different
types of martial arts were already practiced and flourishing in China long before
the arrival of Bodhidharma. One theory purports that about 5000 years ago in China
during the reign of Emperor Hua'ng, the first fighting art, similar to kempo appeared,
and, by the time of the Chou Dynasty, the principles and techniques of kempo were
established and by the Sui dynasty, were well developed.
As mentioned before, Bodhidharma spent nine years in meditation at the Shao Lin
Temple in China. After nine years of meditation, Bodhidharma set forth methods of
exercise to be practiced by monks to strengthen both mind and body. He introduced
a series of physical exercises consisting of 18 kata and two sutras, called in
Japanese "Ekkinkyo" (Yi jing jin) and "Senzuikyo (Xi shui jin). In "Ekkinkyo",
Bodhidharma expounded a series of exercises to enable one's body to withstand the
long hours of meditation and other severe forms of training. He eplained in
"Senzuikyo" how monks should develop their mental and spiritual strength toward
the same end. These instructions are still respected as the most fundamental
precepts of present day karate-do. These teachings of Bodhidharma are believed
to have fostered the birth of Chinese kempo. Regardless, though the influence of
Bodhidharma is not certain, the Shao Lin monks of that time recognised the
importance of physical exercise as part of their daily routine.
Several kata of Goju Ryu are written with numerals. These are: Sesan (13 hands),
Sepai (18 hands), Sanseru (36 hands) and Suparinpei (108 hands). Some of these
numbers may relate to Buddhism. This suggests there may have been some Buddhist
influence on the development of karate.
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| Bodhidharma, a well known "Zen" Buddhist |
The Introduction of the Fighting Art to Okinawa
The native art of "te" was practiced secretly amongst the Okinawan people long before
Chinese tempo was introduced into Okinawa. The introduction of Chinese kempo was first
mentioned in an historical document written in 1372 during the reign of King Satto.
But most likely, it was with the beginning of trade between Okinawa and China that the
Okinawan people first came across the Chinese art of kempo. When Chinese kempo was
introduced into Okinawa it was taken up as a bare handed combat form by the Okinawans
as a means of defense and not an exercise for health. The development of bare handed
fighting in Okinawa was directly influenced by the country's turbulent political history.
The banning of weapons by King Sho Shin in the late fifteenth century, spurred interest
in empty handed fighting techniques. The history of Okinawa will dl be taken up later
in the next chapter to further clarify the historic origins of karate in Okinawa.
Many masters of karate who have studied the history of Asian martial arts believe that
the native Okinawan art of "te" was combined with the Chinese art of kempo giving rise
to the art of karate. In Okinawa, the threads of foreign influences are carefully studied
over time then woven into the fabric of Okinawan culture. Similarly, the art of bare handed
combat was studied by the Okinawans and developed into the sophisticated martial art of karate.
Here, let me point out an important aspect of karate in Okinawa. In Okinawa, karate is not
practiced primarily as a sport or even as an exercise for health. The Okinawans consider
karate a life long pursuit to be practiced as a training for both the body and mind. Karate
students in Okinawa spend long hours practicing the basic kata repeatedly as a form of
spiritual training. This attitude, I believe, evolved out of our long history of foreign
oppression.
Karate, which has a history of almost five thousand years, is today at a critical point
in its development. Those of us who are committed to the art of karate have a responsibility
both to our forebearers and successors to preserve the essence as well as the form of karate.
The Cultural Exchange Between Okinawa and China
The Story of Okinawa
By 1340, Okinawa* was divided into three kingdoms entered into a tributary relationship
with China, and the Chinese Emperor Chu Yuen Cheang of the Ming Dynasty agreed to receive
a personal envoy from King Satto of the Ryukyu Dynasty. According to historical records,
this invitation was requested by King Satto himself to impress others with his status.
King Satto sent his brother, Taiki, to China with tributes for the Chinese Emperor. This
was the beginning of a long relationship between Okinawa and China. In 1372, the Ryukyu
Dynasty was formally invested by the Chinese Emperor as a tributary state of China.
The Ming Emperor was pleased to promote a good relationship with Okinawa. He sent envoys
every other year to Okinawa with gifts. In Okinawa, the delegations were received with
much excitement at the King's residence in Shuri Castle. These Chinese delegations were
sent regularly to Okinawa until 1866, even after the invasion of Okinawa by the Satsuma
Clan of Japan in 1609.
Among the delegates were many masters of Chinese kempo along with other skilled people.
During their stay in Shuri and Naha, masters of Chinese kempo taught their art to the
Okinawan nobility and a few members of their classes as well. The Ryukyu Dynasty sent
ships every other year with delegations of noblemen to the Chinese mainland until 1874.
These ships were filled with precious tributes for the Chinese Emperor. To protect these
gifts from pirates and marauders, both the crew and delegates were well armed as well as
trained in the skills of the martial arts. Consequently, it is believed that one of the
reasons why the martial arts developed into such a sophisticated art on such a small
island like Okinawa was the need to be able to protect these tributary missions.
In 1392, during the reign of King Satto, a community of skilled Chinese artisans and
monks were sent to live in the Okinawan village of Kume. Consequently, the people of
this village were made responsible for matters of trade and communication between China
and Okinawa, such as the issuing of diplomatic documents and providing messengers,
interpreters and sailing guides. These Chinese who settled in Kume also taught Chinese
kempo to the villagers.
A few nobles from among the Okinawan delegates to China remained there for a while and
even enrolled in schools to study Chinese kempo there. In Fukien province at that time,
a Ryukyu settlement was established by the Okinawan King house his people who went over
there to study.
As a result, during the era of King Satto, Chin kempo was introduced rapidly into Okinawa
by Chinese themselves and also by the Okinawans who studied the art in China.
* Okinawa is a prefecture of Japan today. Until 1870, Okinawa was called "Ryukyu"
(Dynasty In 1871, Ryukyu became the Ryukyu Clan).
The Banning of Weapons
In order to understand why bare handed combatants developed into such a highly sophisticated
art in Okinawa, we must look back at the history of t island kingdom.
Around 1470, the collapse of the Sho dynasty gave rise to a period of political turmoil.
Subsequently, a new Sho dynasty was established in 1477. The very first pronouncement of
the new king, Sho Shin, was to ban the carrying of swords by everyone, noble or peasant.
He then ordered the confiscation of all weapons which were to be locked up at his castle
in Shuri. King Sho Shin's most significant act was to require that all members of the
nobility, who were then disarmed, and their families, come and live in the royal capital.
This enabled him to keep an eye on potentially rebellious warlords.
After King Sho Shin disarmed his people, two schools of combat were born as a consequence.
One, known as art of "te" was developed and practiced by members of the nobility. The
other was known as Ryukyu kobudo. This latter school which was developed and practiced
by the farmers and fishermen incorporated the use of simple fishing and agricultural tools
as effective weapons of hand to hand combat. Training in both armed and unarmed fighting
techniques was done in utmost secrecy in remote places after dark.
Many masters of karate in Okinawa today believe that the first banning of weapons by King
Sho Shin in Okinawa was a wise decision.
Okinawa's golden age. which continued until 1609 was nourished by trade with China and
other Asian countries In 1 1609 the Satsuma Clan of southern Japan invaded Okinawa and
stormed Shuri.
Okinawa was forced to become a puppet state Japan. But, even after the Japanese invasion
of Okinawa, Shogun leyasu forced the Okinawans maintain a facade of loyalty to the Chinese
Emperor. The Japanese occupation force in Okinawa maintained the ban on the carrying of
weapons by Okinawans. One of the reasons why the Japanese maintained the ban was to pretend
that there was no change in the political situation in Okinawa. The banning of weapons thus
continued throughout Okinawa's subsequent history.
After the Meiji restoration in Japan, the Ryukyu Dynasty was officially declared a
territory of Japan. In 1879, under the new Meiji government, the Ryukyu Dynasty was
made into a Japanese prefecture. The historic decision evoked a dispute among the Okinawans.
Some supported the movement to become a part of Japan while others advocated for a move to
become a part of China.
Through a long history of foreign oppression, Oknawans have learned the importance of
developing one's inner strength as a means of coping with physical hardship. This
principal is an integral part of : training involved in karate. Thus, Okinawans see
karate as a means of disciplining oneself both spiritually and physically.
The Development of Karate in Okinawa
Historical records provide us with some of the names of those who left their mark on
the development of martial arts in Okinawa. In 1683, during the -Lien of King Sho Tei,
a Chinese delegate named W anshu, who was sent by the Chinese Emperor to Okinawa, stayed
in an Okinawan village called Tomari. During his stay there he taught the villagers a
certain kata of Chinese kempo. After master Wanshu (Wan : I left Okinawa, the villagers
of Tomari continued to practice the kata and named it after him. Today, wanshu kata is
still practiced as a kata of Tomari-te.
Kusanku is another Chinese kempo master mentioned in the records. Kusanku and some of
his pupils travelled to Okinawa in 1756, and taught Chinese kempo to the Okinawans. This
is mentioned in a Japanese book known as "Oshima Hikki". This book was written by a
Japanese named Tobe Ryoen, who was shipwrecked on the Ryukyu island. This is the first
mention of Okinawan karate in a Japanese record of any sort. Like Wanshu, the name
Kusanku still remains as the name of a Shuri-te kata.
There are several others who devoted their lives to the martial arts in Okinawa.
Sakugawa Shungo of Shuri-te went to China in 1755 to study Chinese kempo. He had
many followers, namely, Makabi Chokei, Ukuta Satounushi, Matsumoto Chiku'udon Pechin
(a rank), Morishima Oyakata (a rank) and Ginowa Cho'ho. Later in the nineteenth century,
there lived many masters of the Shuri-te school. Among them, Matsumura Sokon Sensei
is well known for his skill. Also important was Itosu Anko Sensei who helped to spread
Shuri-te among Okinawans, and Matsumura Kosaku Sensei as master of Tomari-te.
The founder of Naha-te, the grand master, Higaonna Kanryo Sensei went to Fukien province
in China to study Chinese martial arts in 1875. Higa onna Kanryo Sensei spent about
fifteen years in China in mastering the martial arts. We will talk more about Higaonna
Kanryo Sensei in the next chapter.
As we have seen, three different styles of "te" existed in Okinawa, namely, Tomari-te,
Shuri-te and Naha-te. These were simply named after the villages where the styles were
practiced. As a general term, they were called "Todei" or "Karate", in Japanese
characters " ", meaning "Chinese
hand".
However it is important to note that these three villages are in very close proximity.
The difference is one of emphasis, not of kind.
Beneath the superficial differences, all of the Okinawan martial arts are one and the
same in methods and aims. This reflects the fact that all of the Okinawan martial arts
share the same purpose, that is, "self-defence". Among the students of various
Okinawan martial arts, there exists respect and friendship for each other, but no
antagonism.
The Establishment of Naha-te
During the first half of the twentieth century the names of the various karate styles
changed. The styles known as "Shuri-te" and "Tomari-te" were subsumed under one name
known as Shorin Ryu. "Naha-te" later became known as Goju Ryu (The Hard and Soft School).
This name, "Goju", was applied by the founder of Goju Ryu, Miyagi Chojun Sensei in 1931.
In 1933, the Okinawan art of karate was recognized as a Japanese martial art by the
Japanese Martial Arts Committee known as the "Butoku Kai". Until 1935, "karate" was
written as "" (Chinese hand).
But in 1935, the masters of the various styles of Okinawan karate conferred to decide a
new name for their art. They decided to call their art "karate" written in Japanese
characters as " " (empty hand or
weaponless defense art). Some masters call their art "karate-do" which means "the way
of karate".
Later, several styles developed from one style. Shorin Ryu diverged into several
slightly different styles. But Goju Ryu remained basically stylistically unified. In
mainland Japan, Goju Ryu developed into an organization called "Goju Kai". A style
also developed which combined Goju Ryu and Shorin Ryu into one style and is called
"Shito Ryu".
Karate is no longer an exclusively Okinawan martial art form. Karate today is firmly
established as a martial art form in Japan and in the international martial arts
community Consequently, the spread of karate has led to a divergence in methods and
objecrives in practicing karate. Sometime in the near future the masters of Okinawa
must reconsider, as the birth place of karate, in which direction and under what
viewpoint karate should develop in the future.
The Founding of Goju Ryu Karate: Naha-te
In this chapter I will talk about the art of Naha-te which forms the basis of Goju Ryu
and also about its founder, the Grand Master Higaonna Kanryo Sensei. There is much
concerning the life and teachings of Higaonna Kanryo Sensei which remains unclear.
Before I started writing about Higaonna Sensei I talked with many elderly masters and
students of karate. From these masters and students 1 have learned many new facts about
Higaonna Sensei and also about the life of Higaonna Sensei which I should like to research
further sometime in the future.
The Personal History of Grand Master Higaonna Sensei
Higaonna Kanryo Sensei was born in Naha on March 10, 1853, the fourth child of Higaonna Kanyo
and his wife Makado. (1853 was a very significant year in Japanese history. It was the year
that the American, Commodore Perry, landed in Okinawa and visited Shuri Castle.) Higaonna Kanryo
belonged to the ranks of the lower gentry. While Higaonna Sensei was a small boy he was called
"Machu".
Although Machu was always small for his age, his movements were very quick, his body was extremely
limber, and his legs and hips possessed extraordinary spring. Already from childhood Machu showed
great interest in the fighting arts and was eager to learn all he could about them.
At age sixteen he began to learn Chinese kempo from someone who had studied it in Fukien China.
Although Higaonna Sensei was not very tall, he had a well developed and strong body enabling him
to master Chinese kempo very quickly. It did not take long for the young martial artist to reach a
level of expertise comparable to that of his teacher in both skill and technique. Even though he
was still quite young, Higaonna Sensei became well known in Naha as a master martial artist. But
Higaonna Sensei was not satisfied with his level of skill. He longed to go to China to study the
Chinese martial arts.
Having heard about China from his teacher as well as from merchants and other students, the young
Higaonna Sensei became fascinated by Chinese civilization; its martial arts, scholarship and art.
For a long time he dreamed of going to China himself. Higaonna Sensei's father wanted to help his
son go but, having six other children to look after, he was unable to offer am financial assistance
toward such a trip. Still, Higaonna Sensei did not give up hope of fulfilling his dream.
His Meeting with Master Ryu Ryuko
In the port city of Naha - then the only port in Okinawa which was open for trade with China - there
lived a statesman named Udon Yoshimura (1830 - 1898). Udon Yoshimura, whose Chinese name was Sho
Shirei, and Japanese name Chomei, often traveled to China as an envoy. Higaonna Sensei was introduced
to this statesman by a martial arts teacher from the village of Kume. Through Yoshimura, Higaonna
Sensei gained an introduction to the owner of a trading ship which traveled back and forth between
Okinawa and China. With some persistance, Higaonna Sensei was able to convince the owner of the ship
to grant him passage to China. At the time, the opportunity to study in China was largely restricted
to the well-to-do. Thus, Higaonna Sensei was finally able to fulfill his dream of studying in China.
In November 1874, at 22 years of age, Higaonna Sensei left from the port of Naha on a ship bound for
China. Accompanied by favorable winds, the ship, the Toshishinryu, arrived at the Chinese port of
Foochow after a voyage of eight days. In Foochow, Higaonna Sensei stayed for almost a year at the
Okinawan settlement called the Ryukyu-kan. Through the good officer of the Ryukyu-kan, Higaonna
Sensei was introduced to a master of Chinese kempo, Master Ryu Ryuko. It took one year of residence
in Foochow before Higaonna Sensei was able to gain the introduction.
Even after Higaonna Sensei was introduced to Master Ryu Ryuko, he was not immediately accepted as a
disciple. It was common practice in China that before a master accepted someone as a disciple he
would take time to study the personality and character of the candidate. Thus, Higaonna Sensei was
given tasks of tending the garden and cleaning the rooms of the master. Higaonna Sensei did all
these things earnestly and enthusiastically over a long period of time. Master Ryu Ryuko was much
impressed by the attitude of Higaonna Sensei. Satisfied, Master Ryu Ryudo finally accepted Higaonna
Sensei as his personal disciple.
After becoming a disciple of Master Ryu Ryuko, Higaonna Sensei helped his master at his trade during
the day as a craftsman of bamboo. Training took place after dark starting with the practice of
Sanchin. Then, lifting the Nigiri-game (heavy ceramic jars), by their rims, a student would practice
Unsoku-ho (a pattern of stepping movements). This exercise was practiced to strengthen the student's
grip while developling the proper foot movements. The training continued with exercises using the
Muchi-ishi (natural stone), then proceeded to Makiwara (striking post) training where the elbows,
fists, knife hand and the heel of the hand were struck repeatedly against a makiwara board. Training
was also done in a large bamboo basket called an Uki. Two persons got into basket and would practice
close fighting and king techniques.
Higaonna Sensei was fascinated by the tools and instruments which he used for the first time at
his master's dojo. Each new training technique that he learned served to increase his interest
in karate even more. The strain of such harsh training through, took its toll and Higaonna Sensei's
legs, hands and shoulders were always swollen from over exertion. Still, it was only through such
harsh training that Higaonna Sensei was able to develop muscles like forged steel. After several
years of hard training, Higaonna Sensei became Master Ryu Ryuko's most skillful disciple.
A Brief Biographical Sketch of Master Ryu Ryuko
Master Ryu Ryuko was a master of Shaolin Kempo of the Southern School. Originally, he was from the
noble class of Foochow in Fukien province. During an internal rebellion, the family of Ryu Ryuko
disguised themselves as commoners to save their lives. Thereafter, Master Ryu Ryuko worked as a
carpenter. He also worked as a mason while still a young man.
Master Ryu Ryuko was quite old and had already retired from carpentry when Higaonna Sensei first
became his disciple. At the time, Master Ryu Ryuko earned his living making bamboo baskets. He
was over six feet tall and possessed extraordinary strength with muscles like forged steel. Master
Ryu Ryuko was A well known master of kempo in Fukien province. everyone knew of him as a well
trained and extraoinarily disciplined martial artist.
Once during Higaonna Sensei's apprenticeship, a young martial artist came to Master Ryu Ryuko's
workshop to challenge him to a test of skill. Master Ryu Ryuko was making a bamboo pole. Astonished,
Higaonna Sensei was rendered speechless. But the demonstration left Master Ryu Ryuko calm and
disturbed. Quietly he picked up the smashed pole bamboo. Then, he pulled it apart, breaking the
bamboo in two pieces. Higaonna Sensei could not believe his eyes.
(Bamboo is unusually strong not only because of its chemical makeup, but also because of its circular,
hollow design.
The young man smashing it in his bare hands is awesome enough, but pulling it apart is an incredible
feat.)
The young challenger stood in shocked disbelief for a moment then left the workshop in silence.
An Episode of Competition
The fame of Higaonna Kanryo Sensei as a great martial artist gradually spread throughout the city
of Foochow. Once a discussion began between the students of Master Ryu Ryuko's dojo and another dojo
of the same school over which dojo was superior in skill. The masters of the two dojo each chose
their best student to demonstrate kata. In China at that time, it was the practice to have a
demonstration of kata instead of competition in free style fighting. In this way it was possible to
choose a superior martial artist without anyone getting hurt.
Higaonna Sensei was chosen to represent Master Ryu Ryuko's dojo. At the competition the student from
the other dojo went first, performing a Sanchin kata, followed by Higaonna Sensei who performed the
same kata. All the students from the other dojo watched with great attention as Higaonna Sensei
performed the Sanchin kata. They were all struck with admiration at the performance of Higaonna
Sensei. After the performance, the master of the other dojo admitted that the art of Master Ryu
Ryuko was much superior to that of his own. After this competition, Higaonna Sensei's fame spread
even further in Foochow. It is said that many martial artists tried to engage Higaonna Sensei in a
fight to prove their bravery. But Higaonna Sensei kept the promise he made to Master Ryu Ryuko when
he first became a personal disciple of the master of not to fight to show off his skill. Thus Higaonna
Sensei always declined these gratuitous challenges.
Higaonna Kanryo as the Founder of Naha-te
Master Ryu Ryuko's house was a two story building. The master lived on the second floor while the
workshop and Higaonna Sensei's room were located on the ground floor. The floor of the ground floor
got very cold. Higaonna Sensei was woken up early every morning by the cold. Unable to sleep any longer,
Higaonna Sensei got up and passed the early morning hours practicing kata in the yard. Master Ryu Ryuko
also got up early and watched from upstairs as Higaonna Sensei practiced. Master Ryu Ryuko told Higaonna
Sensei not to over practice for he had to save his strength for the trip back to Okinawa. Master Ryu
Ryuko always watched over Higaonna Sensei as if he were his own son.
Higaonna Sensei stayed as Master Ryu Ryuko's personal disciple for fifteen years. After fifteen years
of hard training, Higaonna Sensei left Master Ryu Ryuko and the city of Foochow to go back to Okinawa.
Immediately after returning home, Higaonna Sensei paid a visit to Udon Yoshimura, who had helped him go
to China fifteen years earlier. Udon Yoshimura was very much impressed to see that Higaonna Sensei had
grown up to be a person of modest but dignified character. Udon Yoshimura asked Higaonna Sensei to
teach his sons some of the skills he had learned in China. Udon Yoshimura's second son, Yoshimura
Chogi took a great interest in the martial arts and practiced eagerly.
Higaonna Sensei's fame rapidly spread throughout Naha and its vicinity after his return to the Ryukyus.
The king of the Ryukyu Dynasty, King Sho Tai asked Higaonna Sensei to be the royal family's instructor
in the martial arts. Thus for many years, Higaonna Sensei taught the martial arts to the members of
the royal family as well as the family of Udon Yoshimura.
Following the Chinese teaching of humility, Higaonna Sensei was modest and quiet in his demeanor and
never talked of his own skill and exploits as a martial artist. For a short time after coming home,
Higaonna Sensei went back to his old job of selling goods on a boat. But the sailors, the merchants
and the government officials who had been to China all talked about the talent and renown of Higaonna
Sensei. Many came to Higaonna Sensei and asked to be taken on as personal disciples. But because the
training was harsh, only a few remained with Higaonna Sensei for long.
Higaonna Sensei opened up his house in Nishimachi as a dojo, and started to teach his art without
charging any tuition. Higaonna Sensei was quiet by nature though in the dojo he seemed to take on a
different personality. There, his eyes became piercing like those of an eagle and the students were
almost afraid of standing too close to him.
In 1905. Higaonna Sensei started to teach at a public high school in Naha twice a week at the
request of the principal. Higaonna Sensei taught his art to the high school students for both its
physical and spiritual value.
During the fifteen years of training in China. Higaonna Sensei mastered many traditional Chinese martial
arts such as the art of the straight sword (chien), and the art of the broad sword (dao) and spear.
Higaonna Sensei's technique in all of these various martial arts was truly art in motion. Thus, his
fame quickly spread throughout Naha and throughout many other cities in Okinawa.
Higaonna Sensei was not a tall man at all. He was only five foot one inch tall. But he was very
strongly built. His muscles were well developed through the harsh training he underwent in China.
His hands and legs possessed extraordinary spring. People called him, "Higaonna of the powerful kick"
because his kicks were so strong and quick. His movements were also quick as lightning. People were
surprised that one so small possessed such power and strength. People in Naha also called Higaonna
Sensei "Kensei" meaning "sacred fists". Gradually, the art of Higaonna Sensei came to be called
"Naha-dei (te)" meaning "Naha hand (technique)". Today he is honored as the founder of Okinawan
karate.
Miyagi Chojun as a Personal Disciple of Kanryo Sensei
After coming back from China, Higaonna Sensei devoted all his time and energy to the study and practice
of the Sanchin kata. His mind was so occupied with the Sanchin kata that he sometimes even forgot to
take his meals. Around this time, a young boy became a personal disciple of Higaonna Sensei. The boy's
name was Miyagi Chojun, who later became the founder of Goju Ryu. Higaonna Sensei was 49 years of age
and the young Miyagi Chojun fourteen when they met for the first time.
Higaonna Kanryo Sensei taught his students only Unsoku-ho (basic patterns of feet movement) over and
over again for the first six month. After training in Unsoku-ho, Higaonna Sensei made his students
practice only Sanchin kata - an exercise involving breath control and muscle tightening - for three to
four years. Higaonna Sensei's training was so severe that students would bleed from their shoulders
while their sight grew dim and their hips and legs would be on the verge of collapse. After training,
some students even had blood in their urine. Students were not allowed to start practicing another
kata until they had mastered the correct breathing and had developed a high degree of stamina.
Many students came to Higaonna Sensei, but because his training was so harsh, not many students
remained with him for very long. Among his disciples, young ciple Miyagi Chojun was one of the few
that remained with Higaonna Sensei and went through his training.
Higaonna Kanryo Sensei, together with his didciple Miyagi Chojun Sensei, devoted their lives to the
improvement and advancement of the art of Naha-te. Early in 1916, Higaonna Sensei fell ill. Miyagi
Chojun Sensei took his master home with him and looked after his master, nursing him devotedly. But
Higaonna Sensei passed away in October 1916. Thus, the art of Naha-te was handed over from Higaonna
Sensei to his diciple Miyagi Chojun Sensei to who's life our discussion now turns.
The Beginning of Goju Ryu and It's Development
A Biographical Sketch of Miyagi Chojun Sensei
Miyagi Chojun Sensei was born on April 25, 1888, in Naha. Miyagi Sensei's family belonged to the
gentry. Having two trading ships, the Miyagi family was engaged in the importing of medicine from
China, supplying both the government and private merchants. The family was one of the wealthiest
in Naha. Miyagi Sensei's father was named Miyagi Chosho. He was the third son of the Miyagi family.
When Miyagi Chojun Sensei was five years old, the successor to the main family passed away. Thus,
Miyagi Chojun Sensei was adopted as the heir by the main family even though he was his father's
first son.
Also, when Miyagi Chojun Sensei was eleven years old, his mother took him to a karate master named
Aragaki Ryuko. (Aragaki Ryuko Sensei is the grandfather of Aragaki Shuichi, an advisor to the
International Okinawa Goju Ryu Karate-do Federation today). Having lived through the hard and
tumultuous years of the Meiji Restoration, and the Sino - Japanese War, Miyagi Sensei's mother was
convinced that a man had to be both mentally and physically strong in order to face the world as the
head of a family.
At the dojo of master Aragaki Ryuko Sensei, Miyagi Sensei had mainly trained using the makiwara,
chishi and nigiri-game which were used to strengthen and develop muscles. Aragaki Sensei introduced
his young student, Miyagi Sensei, to his friend, Higaonna Kanryo Sensei when Miyagi Sensei was
fourteen years old.
Because his fame had spread throughout Naha, many people came to Higaonna Sensei hoping to become
his disciples. But Higaonna Sensei did not take some one as his disciple unless he thought that the
individual had a personality which was capable of the discipline required for the serious study of
karate. Even after one was accepted as his student, Higaonna Sensei observed the student's behavior
until he was convinced that the student was serious about studying karate.
The young Miyagi Sensei did all the tasks of cleaning and sweeping the house, weeding the garden,
chopping wood and carrying water buckets, with much enthusiasm. When he was a young boy Miyagi
Sensei often helped with the chores at home. Higaonna Sensei eventually accepted Miyagi Sensei
as his personal disciple, and started to teach him his art, Naha-te. At the time, Miyagi Sensei
was not yet sure that he would continue to practice karate throughout his life but he already loved
karate more than anything else.
Miyagi Chojun: Training
Higaonna Kanryo Sensei trained his disciples so hard and severely that even Miyagi Chojun Sensei
thought more than once about quitting. But by the time Miyagi Sensei entered high school he found
himself more than ever committed to the art of karate. For Miyagi Sensei, training was not confined
to the dojo. He ran everyday to and from his school to develop his legs. Sometimes Miyagi Sensei
went down to the harbor to train. There he would tie one end of his obi (sash) around a log and tie
the other end around his neck. Then, in a standing position he would exercise bending forward and back
erect from the trunk using the log as resistance thus exercising his hips, waist and legs. At the
seashore Miyagi Sensei would also practice lifting stones - some of which weighted almost one hundred
kg. - to strengthen his grip, arms and hips. If a stone was too heavy he came back to the same stone
everyday until he finally succeeded in lifting it.
Miyagi Sensei did all this on his own after school before he went to Higaonna Sensei's dojo in the
evening. In spite of such extra conditioning which Miyagi Sensei did, he still found the session with
Higaonna Sensei severe and extremely demanding. During the practice of Sanchin kata, the tightening of
muscles expected by Higaonna Sensei was so difficult that Miyagi Sensei would sometimes pass out during
the exercise.
After his evening work outs, Miyagi Sensei was so worn out, he could barely make his way back home.
Extremely fatigued, he had to lift his legs one by one with his hands in order to climb up the stairs
to his room. Sometimes Miyagi Sensei did not even have the strength to climb up the stairs to his room
and would sleep in the entrance hall until the next morning.
Even though the training was harsh, Miyagi Sensei had a great passion and enthusiasm for karate. Even
after one was accepted as his student, Higaonna He was a man of strong will. At his school, Miyagi
Sensei did well in his studies. Higaonna Sensei had been studying the character of Miyagi Sensei,
and was convinced that Miyagi Sensei was the person to whom he could pass on the art he had learned
from his master, Ryu Ryuko.
Higaonna Sensei gave Miyagi Sensei special instructions in the practicing of kata. Higaonna Sensei
and Miyagi Sensei, as master and disciple, together devoted their lives to the study, practice, and
improvement of the art of "Naha-te".
Miyagi Sensei trained with Higaonna Sensei for fifteen years until death of the latter. It was about
the same period of time which Higaonna Sensei spent with Higaonna Sensei spent with his Master, Rvu
Ryuko in China. Higaonna Kanryo Sensei passed away in October of 1916. He was 63 vears old).
In the same year that Higaonna Sensei passed away, Miyagi Sensei left for China. In the city of
Foochow in Fukien province, Miyagi Sensei tried to find the place where Master Ryu Ryuko had had
his dojo and where Higaonna Sensei had trained for fifteen years. Finally. Miyagi Sensei found the
site where the dojo had once been and where Higaonna Sensei had once lived. All that remained was
the outer wall with no trace of either the dojo or Master Ryu Ryuko's house. Miyagi Sensei came
across an old man who had been a student of Master Ryu Ryuko. The old man told him that during the
revolutionary war almost all of the martial artists fled from Fukien province to Singapore or
Malaysia to escape persecution. Even after the revolutionary war was over through, they did not
return, or if they did return or continued to remain underground. Miyagi Sensei gave a demonstration
of his skills which impressed the old man.
After Miyagi Sensei came back from China he spent his time studying the kata "Rokkishu". Miyagi
Sensei created the original open hand kata, "Tensho". based on it. Tensho kata is characterized by
soft and smooth movements as opposed to the "hard" movements of Sanchin kata. The movements are
impressive. Later, Miyagi Sensei developed two other kata, "Gekisai Dai ichi" and "Gekisai Dai'ni"
though the "Tensho" kata is thought to be his real masterpiece.
The Training and Studies of Miyagi Chojun Sensei
After the death of Higaonna Sensei, Miyagi Sensei could not receive instruction from his master any
longer. Miyagi Sensei thus turned to nature and his natural surroundings for inspiration. He began
to train himself in close contact with nature.
Miyagi Sensei practiced "kiai" on the seashore He practiced shouting a powerful and spirited kiai
which could be heard above the roar of the wave, Miyagi Sensei also practiced his eye movement
exercises there. He began by looking down at the sand around his feet, and then gradually looked
up at the surface of the sea. He then looked up at the horizon formed by the sea and sky. Then he
dropped his eyes to the surface of the sea and then back to the sand around his feet. Miyagi Sensei
did all these motions without blinking.
Sometimes Miyagi Sensei practiced Sanchin kata in the ocean in water up to his neck, and sometime
on the top of a mountain. Once in Kyoto, Miyagi Sensei practiced Sanchin kata in the snow for three
days. He always tried to practice his art under severe and demanding conditions. He tried to study
and practice every aspect of karate in close contact with nature.
At the same time, Miyagi Sensei tried to use every opportunity in his everyday life, and surroundings
to train. For example, when passing between two meter (6.56 ft.) wide stone walls, he would run zigzag
between the two walls hitting his body against the waIls. Sometimes he would throw himself on the
stone pavement, and then roll quickly to his feet.
When in a building, he would never sit with his back towards any door or window. When he slept, he
carefully chose his sleeping position, with careful consideration as to the place for his head and
heart. While he was washing his face in the morning, or while walking, or opening and closing the
windows, he always studied how he could be on guard while he was doing these activities.
During the summertime, before going to bed, Miyagi Sensei practiced "tsuki" (punches) against a
mosquito net made of hemp threads which was quite soft. After practicing tsuki, he would put out
the candle light with seiken (fist). Then, he went into the mosquito net to sleep. In his bed,
sometimes he would not be able to fall asleep because his muscles were do stiff and sore from
the day's training.
Simetimes in the morning, Miyagi Sensei would ask his wife to open a blind of the window to study
whether he sensed the sound of the opening of the window first, or the light coming in from the
window before the sound. One morning he repeatedly asked his wife to open and close the blind and
she thougth that he was going mad.
Miyagi Sensei tried to find training methods to shorten the time which was required to transmit
messages from the eyes to the brain, and to the appropriate muscles of response. He also studied
how to improve the five senses, and such things as sensing the enemy at his back through the skin
and through an improved sense of smell.
Miyagi Sensei had some interesting experiences while he was engrossed in the study and practice
of the kata. During those years, one night a man appeared in his dream and told him of a
kata, giving him instructions in precise details explaining the essence of the kata. In
the middle of the night after the dream Miyagi Sensei jumped out of bed and went to the dojo to
follow the instructions he was given. This kind of experience happened to him more than once.
What we have discussed are some examples of Miyagi Sensei's daily training. Miyagi Chojun Sensei
thinking about his art all the time, devoting literally twenty four hours a day to the art of
karate.
The Development of Karate
In 1921 the then crown prince Hirohito (the present Emperor of Japan) stopped over at Nakagusuku
Bay in Okinawa on his Grand European Tour. A big cereriiony was held in Okinawa in honor of the
crown prince. At the ceremony, in front of the crown prince, a performance of Naha-te and Shuri-te
were given by the best martial artist of each school. Miyagi Sensei performed the art of Naha-te
in front of the crown prince. The crown prince was much impressed by the performances and also
that the martial arts should be so highly developed in such a small island as Okinawa.
Again, in 1925 Miyagi Sensei, at age 37, demonstrated the art of Naha-te in front of prince
Chichibu. Already at this time, Miyagi Sensei foresaw the development of karate in Japan and the
world. He thought that it was important to organize and unify the world of Okinawan karate in
order to preserve Okinawan karate as a cultural treasure and as an inheritance of the Okinawan
people to be transmitted to succeeding generations. With these thoughts in mind, Miyagi Sensei
set up a club called the Karate Research Club in Wakasa-cho, Naha-shi in 1926.
This club was founded by Miyagi Chojun Sensei, Hanashiro Chomo Sensei of Shuri-te, Motosu Choyu
Sensei and Mabuni Kenwa Sensei (Founder of Shito Ryu). These four instructors took turns and taught
the students alternately.
The training started off with preliminary warmup exercises followed by supplementary exercises. The
preliminary and supplementary exercises helped the students build up physical strength and stamina.
After these exercises, the students were trained in Sanchin kata over and over, day after day.
The practicing of Sanchin kata repeatedly every day helps the student develop not only physical
strength, but mental and spiritual strength as well. Through repeated practice, these students
gradually mastered the science and methods of karate.
After training, Miyagi Chojun Sensei often talked with his students about the spirit and essence
of the martial arts. His talks touched on many topics: topics such as mankind, aspects of everyday
life, and the samurai code of ethics. Miyagi Chojun Sensei tried to help his students not only in their
karate training but in their moral developments as well. This club lasted until 1929.
In 1927, the founder of judo, Kano Jigoro Sensei, visited Okinawa for the first time at the invitation
of the association of Okinawa. At the ceremony held in honor of Kano Sensei, Miyagi Sensei gave a
demonstration of karate kata. Kano Sensei was very much impressed with Miyagi Sensei's performance.
After the performance, Miyagi Sensei also demonstrated throwing and grappling techniques for Kano
Sensei. Miyagi Sensei explained that proper breathing was important in the execution of all these
movements. Kano Sensei was deeply impressed by the advanced techniques and sophistication of karate.
It seemed that Kano Sensei was also fascinated by the personality of Miyagi Chojun Sensei. This was
learned later from the letters which were sent by Kano Sensei to Miyagi Sensei.
In 1930 at the Butoku-sai Tournament, in 193? at the Sainei Budo Tournament, and at many other important
Japanese martial arts tournaments, Miyagi Sensei was called upon to demonstrate the Okinawan art of karate.
It was due to the influence of Kanv Sensei that Miyagi Sensei was given the opportunity to perform
Okinawan karate at many of the leading Japanese Budo tournaments sponsored by the government.
The Naming of Goju Ryu
Miyagi Chojun Sensei's senior disciple, Shinzato Jin'an Sensei gave a performance of kata at the All
Japan Martial Arts Tournament which was held to celebrate the Coronation Ceremony of Hirohito in 1930.
After his performance, Shinzato Sensei was asked by a master of kobudo (traditional martial arts) which
school of karate he belonged to. Shinzato Sensei could not answer that question for that time there was
no need to have a name for each karate style. When Shinzato Sensei went back to Okinawa, he told Miyagi
Sensei about the encounter. Miyagi Sensei thought about this problem for a while. Finally, he decided
that it was necessary to have a name for his martial art style in order to promote and spread his art
and also in order to cooperate with other schools of Japanese martial arts.
Miyagi Chojun Sensei named his art "Goju Ryu", meaning "Hard and Soft" after the precepts of traditional
Chinese kempo. Miyagi Sensei was the first master among the different schools of karate to name his art.
Although Miyagi Sensei called his art Goju Ryu, he seldom used the name nor put a sign with "Goju Ryu"
written on it at the dojo. In 1933, the art of Miyagi Sensei was formally registered as "Goju Ryu" at
the Butoku-kai, the Japanese Martial Arts Association.
In the 1931's, Miyagi Sensei was very active in developing and spreading karate-do in Japan and also
throughout the world. In 1934, Miyagi Sensei was made head of the standing committee of the Okinawan
branch of the Butoku-kai Association.
In April of 1934, that a Hawaiian newspaper company invited Miyagi Sensei to come to Hawaii to introduce
and popularize karate there. He spent ten months in Hawaii before returning to Naha. In 1934 he also
received a commendation from the Ministry of Education for outstanding service in the field of physical
culture.
Miyagi Sensei went hack to China in 1936, this time to Shanghai. for further study of the Chinese martial
arts at the Western Physical Culture Association. He stayed in China for two months.
In May 1937, Miyagi Sensei performed kata at the tournament of the Butoku-kai Association, and on this
occasion, the Butoku-kai Association awarded him a commendation for his study in this field.
Miyagi Sensei spent his entire life promoting Goju Ryu Karate-do and improving karate by developing
scientific methods of exercise. In 1940 Miyagi Sensei created his own kata "Gekisai Dai'ichi" and
"Gekisai Dai'ni" to popularize karate and to improve young people's physical education. Miyagi Sensei
also created another kata "Tensho" which emphasizes the softness of the art, as opposed to the hardness
of the Sanchin kata. Thus, the name "Goju Ryu" meaning "Hard and Soft School" in Japanese is a very
appropriate name for the art. It was about this time that Goju Ryu Karate-do was fully established
and started to develop and spread throughout the world.
Miyagi Sensei was truly the Founder of Goju Ryu Karate-do.
Miyagi Sensei took great pride in the Okinawan art of karate. From the very beginning he recognized
karate as a valuable cultural treasure of Okinawa. He devoted his entire life to the study,
development and transmission of Okinawan karate for the sake of future generations.
The 1940's was a tragic period in the history of karate. World War II broke out in 1941. In 1944,
during the closing days of the war, he together with his disciples had to endure the devastation
of the battle for Okinawa and the ensuing period of poverty. Miyagi Sensei lost his third son, Jun,
and his senior disciple, Shinzato Jin'an Sensei, in the battle. This was not a time for karate training.
Miyagi Sensei stopped teaching karate during this period.
In 1946, the year after the end of the war. Miyagi Sensei became a director of the Okinawan Civil
Association of Physical Education, and he start ed to teach karate at the Police Academy of Okinawa.
In the same year, Miyagi Sensei started to teach karate in the backyard of his home in Tsuboya-cho,
where his fourth son still lives today. Miyagi An'ichi Sensei, Miyazato Eiko Sensei, Miyazato Ei'ichi
Sensei. Iba Koshin Sensei and Aragaki Shu'ichi Sensei were among the many students of Miyagi Sensei.
After the war, Okinawan karate spread rapidly throughout the mainland of Japan. For a short time.
Miyagi Sensei taught karate in the Kansai (western) area of Japan.
Miyagi Chojun Sensei's skill at karate was amazing, most superhuman. In an attack, his movements
extremely quick and his punches were unbelievably powerful. But, at the same time, there was an
accurate concentration in these movements of speed and power. His blocking, pulling down techniques
and sabaki (body movement) were also exquisite. There was much weight and muchimi (sticky in his
technique. His performance of kata is beyond expression in words. Miyagi Sense's kata were remarkably
profound and artistic. People talked about the art of Miyagi Sensei saying "there won't be anyone in
the future who will possess as much devastating power as Miyagi Sensei".
In Okinawa, people respected Miyagi Sensei referring to him in the Okinawan language as "Bushi
Magusuku" meaning "Gentleman warrior Miyagi". While he was alive, he was known by everyone in
Okinawa Moreover, he was respected throughout the world as one of karate's greatest authorities.
As a practitioner of karate, I am determined to do my very best to preserve and transmit the great
achievements and teachings of Miyagi Chojun Sensei to the next generation. I feel that Miyagi Sensei
is always with us in spirit, watching and guiding us while we practice.
The Origin of the Name "Goju Ryu"
Miyagi Chojun Sensei named his art "Goju Ryu". chose the name from the "Eight Precepts" of
traditional Chinese Kempo which are found in the document called "Bubishi". The following are the
"Eight Precepts" in Chinese and their translation in English.
1) The mind is one with heaven and earth.
2) The circulatory rhythm of the body is similar to the cycle of the sun and the moon.
3) The way of inhaling and exhaling is hardness and softness.
4) Act in accordance with time and change.
5) Techniques will occur in the absence of conscious thought.
6) The feet must advance and retreat, separate and meet.
7) The eyes do not miss even the slightest change.
8) The ears listen well in all directions.
I believe these Eight Precepts are the essence of the martial arts. They are the elements which
we are trying to achieve in our training in Goju Ryu Karate do. One should always be in harmony
with training and try to be a person who serves society. I hope such training will finally lead
us to rediscover our natural instincts and capabilities.
(This brief history of Goju-Ryu Karate-do written by Morio Higaonna and published by Minato
Research/Japan Productions ISBN: 0-87040-595-0)
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