The History and Evolution of Shorei-Kan Goju-Ryu Karate

Okinawan Goju-Ryu Karate is unusual in the martial arts world because it employs both hard and soft techniques with equal effectiveness. Yet the system is not limited to simple punching or kicking; it incorporates locks, holds, and throws which are strongly influenced by several of the Chinese animal forms.

Goju-Ryu can be traced to the Fukien Province of China. Though there are many theories as to how the art came to Okinawa, the person credited with its introduction is Kanryo Higashionna (1853-1917).

As a young man, Higashionna was a sailor on the Shinko-Sen, a ship which regularly traded with China. On one of these visits, he saved a drowning child who turned out to be the son of a noted pugilist named Liu. In appreciation, the grateful boxer began instructing the young Okinawan in the art of Chinese boxing. Higashionna remained and studied in China for approximately 15 years and then returned to teach on his native island. It was during this period in Okinawa that Higashionna modified the techniques learned in China to suit his people and thus created naha-te, derived from combining the name of the Okinawan city of Naha with te, the native barehand fighting technique. Among Higashionna's top students were Chojun Miyagi and Juhatsu Kyoda.

Miyagi, being independently wealthy, was able to devote his life to the study of the martial arts and he further developed and refined the principles set forth by his teacher. He created the simplified forms, gekisai number one and two, as well as the openhand kata tensho. Although a renowned technician, Miyagi's major accomplishment was his formulation of a more cohesive system which would allow penetration into deeper and more advanced techniques of naha-te.

Additionally, Miyagi was responsible for creating the name goju-ryu. At the first martial arts convention held in Kyoto, Japan in 1930, Miyagi sent student Jinan Shinzato as his representative. Since there were many martial artists attending who represented schools with impressive sounding names, Shinzato, not wanting to feel humbled, had to invent the name hanko-ryu (half-hard style) on the spot for his art. Later, when Shinzato related this to his teacher, Miyagi decided to use the name goju-ryu (hard-soft style), which was taken from a poem in the ancient martial arts text Bubishi.

Miyagi's curriculum consisted of four major components:

• Tee chikata mani This referred to the study of solo forms, the traditional kata which combined various karate techniques into a moving sequence. These forms included koryu, or classical kata such as sanchin, saifa, and seisan, which originated in China. Miyagi also developed the hookiyo (standardized) and kihon (basic) kata to allow a more progressive approach to the koryo forms.
• Kumite There was no freestyle kumite (sparring) in Miyagi's program, just prearranged combat practice enabling two persons to perform a kata together in order to experience the physical meaning of the form, and to see how the techniques could be used against actual attackers. This form is accurately called bunkai kumite. Both kihon and koryo kata have specific bunkai kumite.
• Te tochimani This study consisted of short, two-man prearranged fighting exercises, each with its own special ending technique. It was used as a beginning approximation for real fighting situations. In today's practice, this form is also called kiso kumite.
• Ikukumi This last component involved real combat practice, but was set up in such a way that the students were not injured. The junior was allowed to attack with any technique to any part of the senior's body without restraining kicks or punches. The senior man could block or dodge, but was not allowed to initiate any counterattack. Finally, when he saw an opening, the senior jumped in and pushed the junior back with the palm of his hand. The senior student accordingly had to master a tremendous number of techniques in order to use them instantaneously. Since scoring points was of no interest, the senior's counterattack had to be final and decisive. It generally took a minimum of ten years to reach this level.

In 1933, the Dai Nippon Butoukai (Greater Japan Martial Virtues Association) was formed and Miyagi was named the Okinawan representative. He presented his article, "An Outline of Karate-Do," at one of the organization's meetings and was subsequently awarded the title "Karate Master" by the emperor. Miyagi thus became the first master so designated in the karate world.

Miyagi had a number of talented, dedicated students such as Seiko Higa, Seikichi Toguchi, and Meitoku Yagi, who have all developed esteemed reputations in their own right. In the years before Miyagi's death, Toguchi remained with his instructor and other senior students and was given further insight into Miyagi's principles and theories.

Shortly after Miyagi's death in 1953, Toguchi decided to carry on the principles of his teacher and formed the Shorei-Kan (school to respect courtesy and manners) Okinawan Goju-Ryu Karate-Do. He opened the first Shorei-Kan dojo (school) in Naha city in 1955, and since it was very close to a U.S. Army base, many American GIs came to study. Because of the introduction of Westerners into the Okinawan dojo, Toguchi realized the need for more development of the existing system. The forms of gekiha, kakuha and, bunkai were thus created.

Tohuchi further developed goju-ryu by creating a number of advanced supplementary training methods. A typical Shorei-Kan class in the late 50s (and still today) consisted of the following:

1. Preparatory exercises to warm up the body for karate movements.
2. Supplementary exercises to practice the basic techniques in kata.
3. Kata, bunkai, and kiso kumite practice.
4. Application of kata techniques.

Toguchi also created hakutsuru no mai, a kata adapted from the original Chinese white crane form which is performed to music. The kata and subsequent bunkai tell the story of a white crane fighting a snake. This beautiful form is rarely seen in the United States and is known only to a small number of goju-ryu practitioners.

Toguchi's classes were noted for their strictness and discipline, a practice still common in goju-ryu today. HIs system did not utilize free sparring, but fighting on several forms, the most important and difficult being ikukumi.

Proponents of the Shorei-Kan system believe their approach has several advantages when compared to styles which utilize mostly kata and jiyu kumite (freestyle sparring), simply because of certain detailed studies which include: extraction and application of kata techniques, logical progression of techniques, variety of advanced techniques, and safety of training methodology.

The meanings of forms are extracted and analyzed via a series of progressive kata and their respective bunkai kumite. The bunkai is arranged so that the student actually executes the specific self-defense application of each kata with his partner. The student progresses through a series of kata and bunkai, each successive form building on the one before. This progression of techniques was originally designed by Miyagi and was further developed by Toguchi. In this way, the student learns new techniques but still practices, maintains, and sharpens earlier skills.

At the black belt level, students begin the koryu bunkai kumite, which are the bunkai to kata such as seiyunchin or seipai. At this stage, kaisai kumite is also introduced. Similar to bunkai, kaisai is an analysis of the application for a specific motion in the kata.

According to Toguchi, a student first learns the mechanics, and then after a time the kata becomes part of the practitioner. Only at this point can application of the motions become apparent and, more importantly, a part of the martial artist. At this level, the kata has a meaning and is no longer a mere routine.

A good analogy of kaisai might be learning to catch a ball: initially it requires a great deal of concentration. But with continued practice, catching becomes a natural reaction. With further refinement, if you were thrown a ball of fire, you would not only be able to react as if to catch it, but also to ascertain its nature and move out of the way. Achieving this state of subconscious action requires a great many years of practice, since karate is not as simple as catching a ball.

A variety of techniques can be practiced using the Shorei-Kan system. By placing a significant emphasis on kata, bunkai, and kiso kumite, the Shorei-Kan student practices all techniques alone and in forms with partners. This study includes unusual or dangerous techniques which cannot be practiced during a freestyle sparring match. Normally, freestyle sparring requires the use of techniques which are comparatively simple and applied only to limited target areas. Therefore a karate student who engages exclusively in freestyle sparring will, for the most part, practice straight punches, a variety of high (above groin) kicks, and little else. While this approach might be good for tournament competition, targets and techniques more conducive to self-defense situations are not explored. On the other hand, the Shorei-Kan student practices throws, elbow techniques, locks, finger strikes, and more, with full power and without restraint. Since these techniques are executed with a partner, both offensive, defensive, and counteroffensive moves are explored.

Safety has always been an important part of the Shorei-Kan training method. Emphasis on prearranged sequences will mean less chance of injury, a common occurrence in many dojo. Injuries occurring in martial arts classes can usually be avoided if adequate measures to protect practitioners are taken. Training in martial arts should be beneficial, healthy, and fun.

Through many years of diligent practice of kata, bunkai, and kiso kumite, and a variety of advanced training exercises, the Shorei-Kan student absorbs a wide variety of techniques. These disciplined practices develop the student's spirit, enlightenment and self-knowledge, the goal of all the martial arts. We can look to many of the Okinawan karateka such as Seikichi Toguchi and see the real essence of karate-do goju-ryu – humility, happiness, health and sincerity – all of which were exemplified by the great Chojun Miyagi.