GOSHU Karate-Do Gojukensha Mugen Kai

“Dear Friends,
REGISTER YOU INTEREST & PREFERNCES
Discover the Secret Katas of Nepai and Happoren in a Master Class

Do you want to learn the secret katas of Nepai and Happoren, two of the most advanced and powerful forms in Goju Hakutsuru Karate-do? If so, you don’t want to miss this opportunity to join a Master Class coming soon with senior Master Instructors.

In this Master Class, you will learn the history, principles, and main techniques of Nepai and Happoren, two katas that are rarely taught and practiced. Both these katas, and the underlying principles had a huge impact on the development of Goju Ryu. You will also get to practice these katas under the guidance of certified senior Master Instructors, who will share their insights and tips on how to perform them at a senior level with power and proper breathing.

This Master Class will last for three hours, with the first hour dedicated to Happoren and the second two hours to Nepai. It is suitable for graded karateka from 1st Kyu and above who want to deepen their understanding and appreciation of the white crane style used in Goju Ryu.

To register your interest and tell us your preferences regarding timing, please visit: https://www.gojuryuportal.com/mc/. You can also send me a DM if you prefer. We will keep you posted on the details of the Master Class.

Don’t miss this chance to learn the original secret katas of Nepai and Happoren originally taught in Okinawa by Go Kenki over 100 years ago. These kata were learned by the Master Instructors in private directly from Ohtsuka Tadahiko, Hanshi of Goju Kensha in Japan over 25 years ago.

Register today and get ready for an unforgettable experience.

Regards,

The Migration of Karate from Okinawa to Japan and other countries.

A contraction of the perceived difference between cultures and their respective practices, combined to allow karate to establish itself out of Okinawa.

In the initial process between Okinawa and Japan, the first migration was not merely the seeking of a cultural tradition by an invading and dominating foreign presence in the form of the Japanese government. (Satsuma Invasion 1609) In fact, this activity was also facilitated through acts of individual cooperation by Okinawans who willingly adopted Japanese martial traditions and identified themselves as Japanese as well as Okinawan.

While some maintain the autonomy and cultural rooting of karate as an indigenous art of Okinawa, those in the Japanese government viewed karate also as a Japanese cultural tradition, which is
consistent with their view of Okinawa as part of Japan both legally and culturally. The Japanese government included karate within the constellation of activities. In doing so, the Japanese government sent the clear signal that karate is Japanese, and is now used as an entrance for visitors into what it views as quintessential Japanese culture, or as a cultural exchange practice when exported abroad.

Historically, Japan and China both viewed Ryukyu as one of their vassal kingdoms and in the years directly following the consolidation of mainland Japan in 1603, the Satsuma clan of Kyushu launched an offensive upon the Ryukyu Kingdom in the name of the Tokugawa Shogunate. In 1609, the Satsuma clan invaded the Ryukyu islands and captured Shuri Castle on the island of Okinawa in May of the same year.

The Japanese duly considered the influence that China had previously and exerted upon the Ryukyu Kingdom the cultural requirements of the new rule. Following the conquest in 1609, there were many opportunities for Japanese martial practices and implements to enter the Okinawan culture and perhaps lead to the creation of te, perhaps through Ryukyu (Okinawa) vassal lords travelling to Kyushu (Japan Mainland) to acquire military training by the Satsuma Clan.

The designated visitors from Ryukyu (Okinawa), had to be instructed to bring their distinctive clothing and weapons. For some reason, the members of the Japan Shogunate (Monarchy) felt they must take deliberate steps to prevent the Okinawans from showing up with Japanese weapons and in Japanese clothing, thus challenging the whole demarcation between superior and subordinate cultures. This would suggest that, even at this time, the difference between the Japanese and Okinawa was negotiable.
Cultures and nations are often envisioned as the superior entity on how the visiting persons must socialise and at times deliberate required understandings on social behaviour MUST be understood.

The noticeable differences between the training and teaching methods between Japan and Okinawa and how karate would be imparted to the Japanese populace had to undergo a significant modification in presentation.

From Mottern 2001:235, “Karate on Okinawa was taught in an informal manner. Students were assigned individual forms at the discretion of the instructor. No ranking system existed, so there were no established criteria for advancement. Students were either sempai (senior) or kohai (junior). No recognizable uniform (gi) was used. Karate was indiscriminately referred to as di, bu (martial arts), or
Toudi. This individualism was alien to the Japanese concept of Wa (harmony). Japanese martial arts were structured around the ryûha system propagated by the Dainippon Butokukai. A ryûha included a historical continuity, methodological transmission, and pedagogical style.”

The emerging conformity to the ideals of the Japanese cultural essence would form the structure by which the “Old” art of karate from Okinawa was to become the ONLY way to infuse into the Japanese social structure. The culture that prevailed in the total essence of martial arts in Okinawa had to become a total culture enveloping the essence of Japan's way of DO! The only way……..

QUICK REFERENCE of FORMS-KARATE
Goshu Karate Do Gojukensha Mugen Kai c. 2002

Aragaki - -Ryu Kata
Aragaki-Ryu derives its name from the Master Aragaki Seisho (1840-1918), who assembled kata and methods he most preferred, into an eclectic collective. Goju-Kensha takes those parts of the style that most support their philosophies, principles and applications. Aragaki’s system did not categorise which kata belonged to what school as the early practice of to-de (China Hand) was liberal and had not yet been boxed into styles and schools and the scholastic nature of Karate-do had not yet been developed. Aragaki Seisho was one of the early teachers of Higashionna Kanryo the founder of Naha-te. Higashionna became the teacher of Miyagi Chojun, the founder of Goju-Ryu. From Aragaki-Ryu we take kata Unsu and Sochin. Unsu, ‘Hands in the Clouds’ or ‘Cloud Hands’. The absolute origin of Unsu is unknown, but it may be of the Chinese Dragon style. The movements in Unsu are used to sweep away the hands of the opponent and are said to signify the gathering clouds in a thunderstorm. The practice of Unsu is particularly satisfying, due to its rhythm and its effective arm reversing actions employed and powerful kicking form. It consists of 48 moves in H-pattern and 45 degree directions. Sochin ‘Tranquil Force’, methods rising from calm to explosive power. It is characterized by slow, deliberate movements interspersed with explosive outbursts of speed, from low stances to high step and slide attacks. This kata embodies a variety of stances to allow its transitions and the ability to rise and fall.

Goju -Ryu Kata
Almost all of the Goju Ryu kata that was handed down, by the initial founders, are subjective although there is a good chance that Ryu Ko and Higahonna Kanryo invented some if not all of these. Miyagi Chojun added 3 new kata - Gekisai Dai Ichi, Gekisai Dai Ni, and Tensho. Naming Principles Fukyugata Fundamental/Promotional Kata � Gekisai Dai Ichi – ‘to attack and destroy’. It was developed by Miyagi Chojun after 1936, and it is the first Goju kata to be taught to beginners. It is called Fukyugata dai ni by Matsubayashi Shorin Ryu practitioners as it was initially a joint venture between Miyagi and Nagamine Sensei for introducing Karate to the educational school systems. �
Gekisai Dai ni - Miyagi created also Gekisai-dai-ni, which incorporates slightly "softer" kake techniques, although it follows a similar pattern to that of Gekisai Dai Ichi. It involves the use of open-handed and circular techniques, and it is the 2nd kata to be taught to beginners.

Heishugata
Kata with closed hands or "fundamental kata". This kata teaches fundamentals (i.e. not only basics of movement but also principles) of the style while basics are learned during kihongata. � Sanchin – ‘3 battles’. In historical Goju, there is 2 Sanchin kata: o Sanchin dai Ichi: The most widely taught as initial kihongata, was created for such purpose by Miyagi Chojun. It has no turns so the karateka goes forward and then backwards. o Sanchin dai ni: It is a full version and is older and was taught by Higashionna Kanryo. In this kata, the karateka always goes forward but turns 180o twice. � Tensho – ‘rotating palms’. Tensho was created in 1921 as "Softer Sanchin" by Chojun Miyagi to balance the hard (go) aspect of heishugata with the soft (Ju) variation of Kaishugata
Kaishugata
Kata with open hands. Kaishugata serves as a "combat application reference" kata and is open to many interpretations for self-defence applications. � Saifa – ‘to destroy and defeat’. This is one of the first intermediate Goju-Ryu kata the student learns in most Goju styles, after Gekisai dai Ichi and Gekisai dai ni. The Gojukensha version we practice has a beginning signature from a remnant and forgotten Okinawa kata added by Otsuka Hanshi. � Seiunchin – ‘attack, Conquer, suppress’; also referred to as ‘to control and pull into battle’. Seiunchin kata demonstrates the use of techniques to unbalance, throw and grapple, containing close-quartered striking, sweeps, take-downs and throws. � Shisochin – ‘to destroy in 4 directions’ or ‘fight in 4 directions’. It integrates powerful linear attacks and circular movements and blocks. It was the favourite kata of the late Miyagi Sensei. � Sanseiru – ‘36 Hands’. The kata teaches how to move around the opponent in close-quarter fights and emphasizes the destruction of the opponent's mobility by means of disrupting the knee (kansetsu geri). � Sepai – ‘18 Hands’. Sepai kata incorporates both the 4 directional movements and 45° angular attacks and implements techniques for both long-distance and close quarter combat. � Kururunfa – ‘holding on long and striking suddenly’. Its techniques are based on the Chinese Praying Mantis style. � Seisan – ‘13 Hands’. Seisan is thought to be one of the oldest kata spread among other Naha-te schools. Other ryuha also practice this kata or other versions of it. � Suparinpei – ‘108 Hands’. The Master kata. Also known as Pechurin although driven by a slight variation, it is the most advanced Goju-Ryu kata. Initially, it had 3 levels to master (go, chu, and jo), later Miyagi left only one, the highest, ‘jo’ level. It embodies Zen philosophy and principles of combat handed down from early times. It is the summary of Sanseiru (36) and Sepai (18) techniques with varying applications at a higher level of comprehension

Hakutsuru - Elements of the White Crane
Hakutsuru translates to “White Crane” in Japanese. It is orally reported these Crane kata were transported by Master Gokenki (Ryu Ryuko), a Chinese envoy to Okinawa. His teacher is unknown. However, Patrick McCarthy Hanshi, wrote that he believed Gokenki's teacher to be Xie Zhongxiang, a Chinese Gongfu expert. The kata was taught by Gokenki to Matayoshi Shinpo, of the Matsubayashi Ryu system. The Okinawa Bubishi, a book of historical martial techniques, was the primary written basis for maintaining the continuum of knowledge in the early days of Karate. Most of the teachings found in the Bubishi were passed by Gokenki (1886-1940), a White Crane Boxing master from Southern China that established as a tea merchant in Naha, around 1912. Miyagi, Kyoda, Mabuni, Matayoshi (father and son), Kana Kinjo, Nakaima, Hanashiro, and other Masters learned some principles of the White Crane Fist with this master. Gokenki reintroduced the forms Paipuren, Nepai, Hakucho, Hakaku (Hakutsuru), Kakufa and Ryusan, and other kata along with the authentic teachings found in the Bubishi. This master probably studied in the same school that arising the Yongchun White Crane Fist. Master Higa Seiko, who taught Goju Ryu to Izumikawa and Ichikawa Sensei, precursors in line to Master Ohtsuka of Gojukensha, is believed to have learned the two forms from Matayoshi Shinko Sensei. He had taught Kobudo (weapons) in Higa's dojo for a time and may have taught him Hakutsuru kata in exchange. Or, it may also be possible Higa learned them directly from Gokenki, as Master Higa Seiko and Gokenki were both a part of the ‘Ryukyu Tode Kenkyukai’ an early Okinawa China Hand (Tode) Association. Happoren 8 Continuous steps, from Chinese Gongfu. Originally practiced as a hard breath open hand form later diminished in breathing power with the advent of Higashionna’s Sanchin kata brought into Goju Ryu by Miyagi Chojun. There are no turns in Happoren but employ forward oblique and backward steps. Highly versatile with open hand applications with blocks, locks and releases. Kakufa This is clearly a White Crane form by the presence of the “white crane opens its wings” start. Further observed in posture 48 in the Bubishi book of martial instructions. This kata is dominated by open hand techniques and the back of the wrist together with the grouped fingers of the hand for point striking. Incorporates both short cat stances, Neko ashi dachi and a long forward stance for moving through the gate.

Happoren kata - Eight Steps
Is not a widely known kata but it is an important kata in the evolution of one of the most recognised kata, Sanchin kata. Sanchin kata, or the Chinese version of it (‘Saam Jin’), originated in the Southern Chinese martial arts of Fujian White Crane. The Sanchin kata practised today, a fundamental kata of Goju Ryu has been accredited to Master Chojun Miyagi. However, Master Kanryu Higashionna, Master Miyagi’s teacher, developed an earlier version of Sanchin kata. His version included two turns but was practised with open hands. During Master Miyagi’s time, the open hands were changed to closed fists.
Sanchin kata clearly reflects the ‘Go’ or ‘hard’ aspect of Goju Ryu. The literal interpretation of Sanchin is to mean ‘three battles’. Another interpretation is the battle to develop mind, body and spirit. In Goju Ryu, Sanchin kata is practised as a very strong, controlled breathing kata exuding or pushing power through use of ‘whole of body’ or ‘chi’.
In the Sanchin kata one stance, Sanchin dachi, is predominantly used. This stance is often referred to as the ‘three battles stance’ or ‘pigeon toe stance’. The feet are placed in a position to better grip the floor and allow tensing of the inner aspects of the thigh to connect the body with the underlying floor so that they become unified. Although the stance seems basic in appearance it is very difficult to master.
The concepts behind Sanchin kata were actually derived from a kata originally named ‘Peppurin’ (Paipurin), which we now know as ‘Happoren’. Happoren is a ‘White Crane’ (or Hakutsuru) style of kata. The kata has eight continuous steps and also originated from the Southern Chinese martial arts. Happoren is may be considered the actual pre-cursor form to Sanchin kata.
The original Southern Chinese name of Peppurin is ‘Babulien’. Even within the Chinese martial arts, there are a few variations of Babulien. They vary from soft applications and slow breathing to explosive and hard breathing. Like many other Japanese kata based on Chinese origins, Babulien was ‘Okinawanised’ to create Happoren (Peppurin) kata.
To the uninformed Happoren kata seems rather basic. However, it is an extremely difficult kata to master in terms of breathing, power generation and focus. Unfortunately in many karate schools today, Happoren is not known or taught. To a certain degree, it has been lost, particularly in Western karate schools. In traditional Japanese schools that still teach Happoren kata, it is usually taught to Yudansha (Black Belt) students or senior Mudansha (Kyu) students who have developed their mind, body and spirit to an advanced level. To fully appreciate the Goju Ryu Sanchin kata, a student must explore and understand Happoren kata.

Shuri- -Ryu Kata
Shuri-te karate was expressed into more individual names of karate in Okinawa after 1933. Master Choshin Chibana, Higa Yuchoku’s teacher, formed his Shorin-Ryu. The main technical characteristic of Shorin-Ryu is to concentrate power instantaneously. One's strength is expressed through the kata from the inside to the outside, in a voluntary kind of way. It causes no pressure on the internal organs and little disturbance of respiration. In addition, it causes no unnecessary muscle fatigue and sharpens concentration. It is believed that alertness can be fostered in this way and full offensive power can be exerted. Naifanchi In many Shorin-Ryu styles, Naifanchi (heishugata) acts as a foundation to further kata (kaishugata) like Sanchin in the Goju-Ryu system. In fact, in Gojukensha, practice of Naifanchi is paramount. When you have finished practicing Naifanchi kata, then…practice Naifanchi some more, Naifanchi and more Naifanchi. Tatsuo Shimabukuro, the founder of Isshin-ryu (a blend of Goju-Ryu and Shorin-Ryu), was quoted as saying, ‘Naifanchi is mother to Shorin-Ryu and Sanchin is father to Goju-Ryu. The primary stance in this series of kata is kiba-dachi, which emphasizes the strengthening of the legs and hips. The appearance of this kata can be seen as simple, but from careful study and practice of the bunkai, it is very rich in techniques, and is seen as an effective fighting system. Bushi Matsumura created both Naihanchi Shodan (1st level) and Nidan (2nd level) from a kata called Naifanchi that he got from a Chinese Master named Ason. Some believe either Itosu or Choki Motobu made Naihanchi Sandan (3rd level). Naihanchi Sandan is not a Matsumura kata, passed down other Shorin lines. Kiba-dachi stance refers to ‘horse’ due to the fact that it resembles a man riding a horse. There is more than one possible meaning for the word Naihanchi, and they are both very plausible. The pronunciation of Naihanchi was originally Naifanchi, because that is the way it was pronounced in China. The particle 'Nai' means ‘inner’ or ‘inside and probably refers to pointing the toes inward. 'Fan' means a clawed foot of a certain animal. 'Chi' means the soil or foundation. So the original name probably meant something to the effect of ‘being rooted to the ground in correct stance’. Chin could mean ‘battle’ as it does in the word Sanchin. The word 'Naihan' could refer to the narrow paths through rice fields that resemble squares. Therefore, it could mean ‘battle in a rice field’. Naifanchi kata are also known as Tekki. In Goju-kensha, the order of practice for Naifanchi is 1, 3, 2 (from easiest to hardest). Pinan These were created by Anko Itosu (1831-1915) around 1907 as kata for instruction at junior high schools. Basic techniques were taken from each of the major traditional kata, including Kusanku, Passai and Chinto and combined into these 5 individual training kata. These kata are widely used in the Shuri-te derived styles. The meaning of Pinan is ‘forms of peace and calm’. Pinan kata are also known as Heian. There are 5 kata in the Pinan series – Shodan, Nidan, Sandan, Yondan and Godan. In Goju-Kensha, the order of practice for Pinan kata is 1, 3, 5, 2, 4. Pinan kata represents ‘modern style’ kata that contains the best of ‘old style’ kata. Jitte is originally from the Tomari-te school of karate. Tomari, a village near Shuri, had in its day held its own karate influence. However, by natural forces of evolution, the practitioners of Tomari-te allowed the decline of karate in this town. Jitte has survived by interactive transfer pre the 1930s in Okinawa and is today widely practiced in Shuri-te derived styles. Jitte, referring to ‘10 Hands’, has a variety of techniques and applications and is cited as being functional against the wooden staff (bo). It further has been suggested that the 10 hands refer to its versatility in multiple defences.

Naifanchi – A Sense of Value

It is of importance that the sense of the underlaying values of the kata Naifanchi (Naihanchi) is understood as it is beyond the ability of engaging in kumite as it introduces the elements of Tanren by introducing Chinkuchi, Gamaku and Muchimi. These are the unseen values that can be added to the Naifanchi kata bringing better energy to the body in the generation of power principles.
In times in Okinawa, the idea of the practice of Gamae and Chinkuchi was traditionally termed as hidden (hiden, a special secret of karate technique) training reserved for the development of the power generation at the hips and waist which is then projected into the combat techniques. As the development becomes a memory of the muscles and the skeletal structure, it becomes smaller and at times unseen in action.

Tanren = To Forge or Temper the body.

The definition of Tanren is to “Forge or Temper “ the same as one would by push ups, weights and stretching plus general toning exercises. Lateral shifting, striking to the side and rotational hip power generation is all combined to develop strong pushing muscle and punching power. The generation of power and position of the body is developed by the practice of the Kata defined by this term. They are further gauges of positioning parts of your body to suit the development of the form
In Gojuryu Sanchin is a primary Tanren Kata and In Shorinryu Naifanchi is its equivalent. Applications (Bunkai) are not recommended but all the techniques of karate are intended for waza (Applications).
Other Kata have a blending of both. A Kata of Gojuryu such as Seyunchin contains many techniques in the form but not all are performed in practice of combat application. The stance Shikodachi, for argument, is not a real combat stance but it has real contribution as a practice for the legs and lowering the body position. So it can be said this component of the Kata has a Tanren idea also.

Chinkuchi = The Body Foundation

Chinkuchi is the Muscular and Skeletal framing of the body. It is considered the foundation of the body frame as the generation of power needs a strong frame to support the action of work such as an application (kumite). When using Chinkuchi the area with the hip/waist muscles are required, on alternative sides, to react together in harmony. However, this generation of power is bound together only for the moment of contact with the striking technique. Tightening the muscles for generation of power is very efficient for a good foundation BUT, it will degenerate speed if held for too long.

Gamaku = To use the Waist (Koshi no kubire)

Gamaku is the waist area. Many Sensei use the phrase ` Gamaku wo Ireru` It means that
you put waist on the proper position and or use your waist.
Such as stapling your waist between the hip and ribs and bringing the muscle structure downwards.

Muchimi = The Sticking value.

Muchimi is the idea that loosely describes the ability to “stick” to your opponent. As understood,
Naifanchi kata is a face to face and limb to limb confrontation. Therefore, being in constant contact to maintain a feeling of being able to know what and where the opponent is, becomes an asset. The ability to feel the falling and raising of tension indication perhaps a change in technique of the moving into a change in position. The principle of the combat form “Jutsu”, is maintaining close contact not allowing a space between you is an asset.
Maintaining a good practice of training in Kakie, the art form of sticky hands, helps with sensitivity training which is very effective in maintaining Muchimi, feeling your opponent moves.

Conclusion

It is very important and perhaps essential, that the understanding to train in the fundamental good training practice of Chinkuchi, Gamaku and Muchimi to bring about the essential body aspects of Tanren are engaged in everyday training of good karate practice.

GIRI & NINJO’
(The fundamental obligation)

Goshu Karate Do Gojukensha Mugen Kai (2016c.)

In every endeavour, there are requirements that make the appreciation of the outcome more beneficial to ourselves. It is in our own interest to understand where the endeavour we participate in, is leading us, to fully understand our mission.
In feudal Japan, there were and in some instances still are, social behavioural structures that only allows certain liberties to prevail in human relations, to exist. These are GIRI and NINJO’ the elements of behaviours in Japanese society. They are paramount to absolute obedience and mutual respect in everyday life.
They are also the absolute way of learning and fostering a somewhat perfect outcome relative to one’s ability. The students obey the teacher and their mission is to become the best.
Although this is not our absolute methodology, it is necessary that students listen to and obey the instructions that are handed to them so that they foster an understanding of their martial arts that will, in their own way, be a benefit in their everyday life.

Giri – (Duty or the burden of obligation)
The Japanese virtue of obligatory duty was/is paramount in social interaction in Japan. It epitomises the burden one must bear in serving the hierarchy, or required by responsive mutual respect, with a self-sacrificing duty and devotion. This is a mutually practised tradition that was paramount in the feudal period. Mostly, it was the virtue that held the highest regard in human relationships. Disrespecting Giri, could insist that the subject of Sepuko, ritual su***de, insisted to give a life to make it right.
However, it has not lived up to the high held regard of history in the 21st century, due to the influence of new world attitudes to social attributes that are trying to modify the new generation of Japan, “shinjinrui”.

Ninjo’- (Human compassion or emotion)
Therefore, by the influence of changes to the social fibre, it has given more rise to the opposing situation of Giri being Ninjo’. Ninjo’ is the emotional rise of human anxieties for each other. The oppression of Giri is manifested by human emotional influences, Ninjo’, where the question is raised – “Is it fair to treat another human being this way, where is the passion for life?”
So the question of devotional experiences needs to be maintained within respect to human interaction.

Giri MUST live with Ninjo’.

To our dear followers and readers. This is a work in progress of the probable evolution of martial arts and is subject to revision and please post a comment to add or subtract any information relevant. Thank you and enjoy. GKDGMK