A thesi a mandatory requirement for Dan Test and Grading in Oikiru Ryu Karate Jitsu Do,OIKADO

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OIKADO MEKADEN KYU THESIS
( OIKIRU-RYU KARATE -JITSU DO )
TITLE:
COMPARATIVE ANALYSIS AND ANTE-MORTEM OF SYSTEMS
SUBJECT:
FOR ADVANCEMENT, RANKING TO FIFTH DAN LEVEL STATUS
PRESENTED TO:
THE ADMISSION SECRETARY
THE NATIONAL COLLEGE OF MARTIAL ARTS
AS AT 30TH JUNE 2004.
UNITED STATES OF AMERICA.
CANDIDATE: FROM MOSES KGOSIBODIBA
PO BOX 45138,RIVER WALK.
GABORONE.
REPUBLIC OF BOTSWANA.
PRINCIPAL SPONSOR: PATRICK SOLLY MAKGABENYANA
OF OIKADO MARTIAL ART SCHOOL ( BOTSWANA )
PO BOX 60057.
GABORONE. BOTSWANA.
SOUTHERN AFRICA.
NUMBER OF PAGES: THIRTEEN ( 13 )

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PRELUDE
When I received the notification for advancement into the level of
Mekaden Kyu my heart raised a little bit.Not only that a sense of
beckoning and belonging suddenly came into light not because that
has not been there but that it was a great honour to be nominated for
advancement.
This recommendation could not have come at the right time for it
provided the platform to fulfil my personal obligation to myself that
obligation has been captured well by the legendary Bruce Lee in his
“Tao of Jeet Kune Do” when he said
“you have the personal obligation to yourself to make
yourself the best product available according to your
terms."
One must note that the terms we are referring to are your commitment
to serve,practice and uphold the secrets of the Way in the style that
you do. You must prove yourself beyond reasonable doubt before your
superious and the greater family that you have indeed given yourself to
the dictates of the Tao/Way.
The other terms set by the individual are those arising from the rate of
assimilation and of technical evolution and/or devolution arising
thereof. That as one moves through learning phases of Kihon (basics),
Kata and Kumite, principles and precepts of the Way and into the
greater realm of philosophical enquiry,one reaches that point in time
when he/she has to diversify.
We must note that the development of the system of OIKIRU RYU
KARATE JITSU DO was as a result of that great realisation that
whatever style you practice, a kick is a kick is a kick; a punch a punch.
In other words, the denominations of and their further subdivisions of
kick, stance, punch and block are common across all systems of the
martial arts.
The Great Masters in martial arts could not have been wrong when
they said:

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“ there is apoint in time when the power and functionality of the
fist,kick and block cannot go beyond when the power of the
intellect has to dominate.”
It is with this unique saying and declaration that the subject of this
thesis is to compare and contrast the systems of OIKIRU RYU
KARATE JITSU DO with my chosen style of GOJU-RYU KARATE
DO.I could have chosen any style given that I have trained under
various sensei and one Grandmaster. Among the systems I have
studied are;
1. Kyokushinkai-kan
2. Kodenkan Danzan_Ryu Jujitsu(special interest in shiatsu,healing
by massage)
3. Shotokan, Shukokai, Jeet Kune Do.
4. I must point out however that it is not enough to learn martial arts in
the dojo for you cannot learn martial arts in the dojo.These are not
just statements they are standing principles that have been written
down by great masters of the martial art.
WHY I CHOSE GOJU-RYU KARATE DO
Like I said I could have chosen any style or system given that we are all
aiming to achieve the same goal. The goal of accepting oneself and
the environment as is. Also that at my level of training and
development the construct of style is not an issue anymore.
The final decision to opt for GOJU-Ryu Karate-Do is multi-fold.
1. It presented a system that is totally new. New in the sense that I
have not had an opportunity to train directly under any instructor in
GOJU Ryu. Here in Botswana people in the martial arts only talk
about Shukokai, Shotokan, Shito-ryu. This is not surprising since for
a style to sustain itself it must have a resident chief instructor. This
presented a challenge to research on a new system not locally
practised.
2. It provided an exciting moment to self discover a system that is the

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original and traditional system from which my mentors system(s)
descended.
3. The third reason which also served as a basis for my decision was
that in light of lack of and absence of martial arts literature I wanted
a system that was covered in and by the world of internet.To me
Goju-ryu like Shotokan is researchable and interactive.
4. The forth reason emanated from the traditional Okinawate system
that Goju-ryu is.The karate systems of
Goju-ryu,Kyokushin-kan,Shinkokan,Shotokai,Goju-kai,Jundokan,et
c all can be traced back to the original Chinese systems of Ryu
Ryuko.
5. The final reason arose from the finding upon research that the
originator of today’s competition or sport karate is Gogen
Yamaguchi who popularised Goju-ryu in Japan.”The Cat” is
credited with initiating Jiyu-Kumite(free sparring) in 1936 which
went on to become the basis of sport karate system in use today.
These five reasons formed the basis of my choice of Goju-ryu Karate
Do. It also presented a historical advantage in terms of tradition;-it is a
direct descendant of the original Okinawan systems of Shuri-te and
Naha-te.
“ To search for the old, is to search for the new.The old and
the new is a matter of time. The way, who will walk it
straight and true.”
This translation of characters on a Shotokan Sandan certificate
summarises this thesis.
Let us now look at and define the construct of Kara-te. We want to
answer the question; What is karate?

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THE THESIS AND GENEOLOGY
1. Karate-Do:- this places greater emphases upon spiritual rather
than physical matters.
2. True Karate-Do:- within the embusan of true Karate-Do is that in
daily life,one’s mind and body be trained and developed in a spirit of
humility,and that in critical times,one be developed utterely to the
cause of justice and self enlightenment.
In its origins Karate-Do is a martial art perculiar to Okinawa.The Kara-
in Kara-te Do has a Chinese character.Due to influence of Chinese
culture and the great respect that the Japanese placed on anything
exotic,Karate was imported by Japanese.The existing martial art was
Okinawa-te which was altered by weeding out its bad points and
adding good points to it,thus working it into an elegant art.We
speculate that they considered “Kara-“(with Chinese character ) an
appropriate new name.The original name that was Okinawa-te was
altered to Kara-te (Kara- means hand,te means empty).
OKINAWA-TE --------------------------KARA-TE
Karate is now considered a Japanese art when in fact it is
inappropriate.
Why so much emphasis was placed on the Kara with the Chinese
character?
The character Kara carries four(4) meanings.
1. Karate is a technique that permits one to defend oneself with bare
hands and fists without weapons.
2. Just as it is the clear mirror that reflects without distortion or the
quiet valley that echoes a sound,so must one who would study
Karate-Do purge himself of selfish and evil thoughts for only with a
clear mind and conscience can he understand that which he
receives.This is another meaning of the element Kara in Karate-Do.
3. The third element is that he who would study Karate-Do must

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always strive to be inwardly humble and outwardly gentle.However
once he has decided to stand up for the cause of justice then he
must have the courage expressed in the saying: “ even if it must be
ten million foes I go.”Thus he is like the green bamboo stalk
hollow(Kara) inside straight and with knots that is unselfish,gentle
and moderate.
4. The fourth element explain the form of the universe.In a
fundamental way the form of the universe is emptinesss(kara),and
thus emptiness is form itself.There are many forms of martial arts
but at a fundamental level all rest on the same basis as
Karate-Do.Form is emptiness,emptiness is form.
The Kara of Karate-Do has this meaning.This is the meaning of true
Karate-D.These four elements of Kara have been and are observed in
traditional systems of Karate-Do.Okinawan martial arts have been
influenced by many changes in Okinawan history.When the Chinese
Kempo was introduced in Chinese archipelago island of Okinawa it
became known as to-te,Chinese hand.When Japan invaded Okinawa
in the 17th
Century it banned the use of weapons and martial arts.The
Te that was practised even before the arrival of Chinese Kempo split
into three distinctive martial arts which were all called
Okinawa-te.These systems were:
Shuri-te:- hard techniques (Go) influenced by Kempo seen more
as an offensive system
Naha-te:- softer techniques(Ju) of Kempo plus strong breath
control and is regarded as more of a defensive system with
grappling throws and locks.
Tomari-te:- the hard and soft techniques of Kempo.
Many systems have since developed from these systems.Naha-te has
become Goju-ryu and Tomari-te and Shuri-te became Shorin-ryu
and has again split into a few different styles.Kyokushin karate for
example is an amalgamation of Goju-ryu and Shotokan karate and
many Kick-boxing systems have evolved from the harder karate
systems and boxing.

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We must note that there was trade between mainland China and the
islands of Japan and Okinawa. Many of the Japanese were merchant
men and some as workers in the ships of these merchants.Many of
these men found their passage into mainland China and archipelago
island of Okinawa. Of notable reference was Kanryo Higaonna who
travelled from Okinawa to China.Kanryo Higaonna finally was allowed
residence in Foochow and later introduced to Ryu Ryuko(Xie
Zhongxiang).After 13years of training he left Foochow and returned to
Okinawa.Hanryo Higaonna became very successful and along with
Anko Itosu were the foremost karateka in Okinawa. Hanryo Higaonna
was responsible for developing the Naha-te style and many of his
students went on to form their own systems based on his teachings.
His legacy lives on through his followers most notably Chojun
Miyagi,the founder of Goju-ryu,and Kenwa Mabuni,the founder of
Shito-ryu.Chojun Miyagi was introduced to Kanryo Higaonna at the
age of 14.He was accepted as a student after a period of doing chores
for Sensei Hanryo Higaonna.Chojun Miyagi is credited with setting up
the Karate Research Club in 1926,and along with Chomo
Hanashiro(Shuri-te),Kenwa Mabuni(Shito-ryu) and Motobu Choyo
spent 3years training in kihon,kata,fitness and philosophy.
In 1926, Chojun Miyagi was invited to Japan by Gochen Yamaguchi
who would promote the Goju style in Japan. During this time names of
styles were only known by their geographical reference. It was after
this invitation that Chojun Miyagi chose a name for his art. He called it
Goju Ryu and in 1933 it was officially registered as such at the
Butoku-kai, the Japanese Martial Arts Association.
What we must note is that the yesterday’s karateka was well versed in
a number of styles and/or systems. Well trained and knowledgeable as
they were it was not surprising that some broke away to found their
own new styles/systems.
Despite the fact that Goju-ryu is a traditional Okinawan system that
combined the hard techniques ( Go) as influenced by Kempo and its
offensive nature and softer techniques ( Ju) of Kempo combined with
breath control and its defensive nature and grappling throws and locks
the founders still studied under various systems and Grandmasters in
their quest to perfect their system.

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For instance Chojun Miyagi travelled to Fukien province, China in 1905
were he studied Shaolin and pa kua forms of boxing.One hard and
external(Shaolin),the other soft, circular and internal(pa kua) and his
nature Naha-te the combination from which he formed his new system
of Goju-Ryu Karate Do. What we must have in perspective reality is
that all that we know today as Japanese style forms/kata are in fact
originally Chinese and Okinawan in nature.
We also see the founders of Oikiru Ryu Karate Jitsu Do(OIKADO)
forming the system along the same basic route. The year is
1939.Shidoshi Yamada specialised in the Yamaguchi clan style of
Ninjitsu and Todana in the Oiken-Kato-hoto Jitsu which specialised in
weaponry and Zen system philosophy. The two began recruiting the
various systems of the Oucana-Kobu-Jitsu and the Kung-Fu of the
Northern Shaolin through the Monk Te-mo Chung. It is through their
best techniques that the basic concept of the common facets of styles
emerged post the traditional systems. They were later to be enjoined
by Sensei Koheni Tashimada who introduced the art of the invincible
warrior(from the system of Ninjitsu Bo-ku Jitsu).Later was the
enjoinment of the breakaway Sensei of Shotokan,O’Sensei Shimuzi
Hayamata who introduced the Kyohan way into OIKADO.This was
later followed by the Dark Temple teacher, Sifu Shi-hi Jong-Su who
kept the secrets of The 13 Iron Fist Kung Fu system.
Within this year 1939-1940,Gochen Yamaguchi was sent to Manchuria
as an intelligence officer.It was during the second World War that we
saw sharing of ideas in terms of techniques, kata and philosophy. We
speculate that Dr. Louis H Fried who studied with Yamada Sensei,
Sensei Sana Kano(relative of the Judo founder, Dr. Jigaro Kano) could
have trained together with traditional stylists such as Gochen
Yamaguchi and others. It was from this friendship that the Council
members: Todana, Yamada, Hayamata, Su, O’Sensei Hitori Kamata
trained Dr. Louis H. Fried and Kitsusi Kote who six years later were
commissioned to establish the ‘Unifying Fist’ in the west. The year was
1954.
The introduction of Goju-ryu in the United States of America in 1959 by
Peter Urban is of interest in tracing interrelationships in terms of
commonality of origin. Peter Urban holds the distinctive title of Grand

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Patriarch of All American Goju Systems. He has studied extensively
under Chojun Miyagi, Gochen Yamaguchi, etc. Peter Urban has taught
Grandmaster Lou Angel(founder of Tenshi Goju Kai, in 1987).Lou
Angel has studied under Alexander George of Shorin Ryu Reliance
and with Gochen Yamaguchi at Goju Kai headquarters in Japan. At
one point Lou Angel served as Secretary General of International
Society of Martial Artists(ISMA),the society to which OIKADO affiliates.
PHILOSOPHY, THE SUBSTANTIVENESS.
In the way of OIKADO the highest goal is to make a good an
enlightened man out of you. Though this may be a dream that cannot
be of now realised it must be known that dreams come from beyond
and still continue in the beyond in their quest for fulfilment but a simple
mind would not know the difference.
This good man this enlightened man of the martial arts is moulded by
the very style or system in which he trains. The physical aspect of
exercises through Hojo undo, Bunkai, Oyo, Kiko training condition and
discipline the physical self. Out of this disciplined self the practitioner
can now move on to the realm of philosophy. Martial arts philosophy is
difficult to comprehend particularly if as a practitioner you are as yet to
pass the initial and critical stage of the physical realm. However the
teachings on philosophy of the art are intertwined with and contained in
our daily training schedule..
Philosophy in the martial arts context is taught through:
1. Principles of the system
2. Precepts
3. Code of conduct/Dojo kun
4. Secrets of the system(as contained in kata)
How does the Philosophy of OIKADO compare to and with that of
Goju-ryu?
I want to argue that the basis of all martial arts philosophy for all
systems and/or styles is common. My discourse derives from the fact
that the martial arts styles/systems as we know them today devolved

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from and are siblings of Okinawa-te, Okinawan history and culture. To
this common origin what we discern is adaptation to one’s culture and
personal circumstance. It is not very difficult to pay attention for
instance to today’s principles of various styles/systems-to the fact that
all are an adaptation of or analogies of Master Funakoshi’s 20
Principles of Karate. What we must also remember is that karate as we
know it today is predominantly Japanese in character. But the
character of karate is Okinawa in origin. It is of Chinese origin. The
Japanese had great respect to that which was exotic and of Chinese
import. All that was done was to rubber stamp it with Japanese history
and culture.
Goju-Ryu Karate-Do is traditional and still carries with it that great
Okinawan martial arts history and culture. But of interest though
traditional in origin the founder of Goju-ryu had studied under various
systems and grandmasters before they evolved their own system. It is
on this footing that we realise a sense of common identity in Goju-ryu
and Oikiru Ryu Karate Jitsu Do(OIKADO).Though we are acting in
accordance with time and change we should not lose our origins.
OIKADO origins are derived from and based on the three traditional
systems of:-
 Karate
 Kung-fu
 Ninjitsu-juitsu.
Its founders believed in timelessness and transcendentiality of
techniques and kata. The point being made was whether what you are
studying in martial arts was developed 2000years ago or yesterday is
not important. What is of essence is what you make out of it and what it
makes out of you:- disciplined and an enlightened man.
We also must acknowledge that regardless of our cosmetic differences
and appearances as witnessed in kihon(basics),kata, philosophy and
popularity our goals are the same. We all seek to:-
 Develop the physical, intellectual and spirituality of the practitioner;
 Create and offer assistance towards a balanced philosophy of life
that would in turn import a descent and humane life. We must

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remember that the truest art cannot ignore the upholding of a higher
moral ground;
 Arm all practitioners with self defence skills when justice demands.
This commonality in principle is not hard to realise.For instance in 1926
the founder of Goju-ryu Chojun Miyagi set up the Karate Research
Club along with Chomo Hanashiro(of Shuri-te),Kenwa Mabuni(of
Shito-ryu) and Motobu Choyo. They spend 3years together training in
kihon, kata, fitness and philosophy.
We trace the founding of OIKADO in 1939 during the second world war.
Like Goju-ryu, various Masters and Grandmasters studied together
each bringing his speciality in the arts.
( BUNKAI ) KARATE TECHNIQUES,THE FUNDAMENTALS AND
APPLICATION
There are five basic principles underlying karate techniques. They are
at once the beginning and the final goal of any karate style or system.
These basic principles are:-
1. Tsuki ( punching )
2. Geri ( kicking )
3. Uke ( blocking )
4. Uchi ( striking )
5. Dachi ( stance ).
These basic principles are interlinked into a set of movements that are
either defensive or offensive or both. The set of prearranged
movements have culminated into a useful tool for style identity in terms
of combinations, kata, and application( Bunkai ) thereof.
Practitioners can learn to perform these basic movements within a
short period of time ranging from 3months to 2.5 years. But to perfect
the basic movement in its own right and in a set as in combination, kata
or application is an impossibility. We tend to be preoccupied with the
search for a perfect technique when in fact perfection is a human
construct. The best we can pursue and achieve and realise is to

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perform each technique to the best of our ability.
In his Five Secrets of Japanese Goju-Ryu, Gochen Yamaguchi says
 Move quickly
 Sound, calm mind
 Be light in body
 Have a clever mind
 Master the basics.
Notice that one of the secrets is mastery of basics. A must for those of
you who are practicing karate as an art. If you practice karate as art
you will learn more and understand the embusan that the technique
has.
To embrace the embusan that is embodied in each technique and set
of movement(s),practitioners must practice regularly and employ
maximum concentration and effort in the performance of each
movement. Practice, practice alone will not achieve its objective if it is
undertaken incorrectly. Students must therefore learn techniques on a
scientific basis under the careful eye and supervision of an instructor. It
is equally important that the instructor must employ a systematic and
properly scheduled training system which in its absence our efforts will
be in vain. Karate training can be considered scientific only when it is
conducted on the basis of correct physical and physiological principles.
Our predecessors believed very much in capturing the embusan in a
technique. They have gone to great length in not just creating a
technique they refined each technique through continuous study and
practice. Research, learning, practice and application formed the
fundamental basis for nurturing “perfection”. Sensei Miyagi founded
the karate research club in 1926 in which together with other stylists
trained in kihon, kata, fitness and philosophy. The concept of research
and learning in the fields of martial arts is not a new phenomenon. We
also accord a great emphasy in OIKADO. Like Goju-ryu OIKADO was
founded by learned men of principles who had reached the pinnacle of
success in their own right. We can not overemphasize the importance
of mastering basics in learning karate. In the pursuit of mastery of
basics we must try to analyse our techniques if we are to improve.

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The following indicators are of importance in the mastery of
basics.
1. Form, Balance and Centre of Gravity:- karate is not the only sport
that concentrate on the optimum utilisation of the human body or
embraces principles taught in physics and physiology. All the
martial arts and most other sports depend on correct form for the
effectiveness of their techniques. Practice results in body
movement or form which is physically and physiologicaly correct.
Correct form is especially important in karate. All body parts must
harmonize to provide the stability necessary to sustain the shock of
delivering a kick or punch. The karateka must often stand on one
foot to attack or defend. Thus balance is of prime importance. If the
feet are placed far apart with a consequent lowering of the centre of
gravity a kick or punch will be stronger. Note however that it is
easier to move if the centre of gravity is relatively higher and the feet
closer together. Although stability/balance is important there is a
point beyond which it is not worth going. Students who over
emphasize stability lose on flexibility. If for instance he bends his
knees too much to maintain balance, his kick will not be effective.
Thus the position of the body and the centre of gravity will depend
on circumstances. The centre of gravity is always shifting.
Sometimes body weight is evenly distributed between both feet and
sometimes there is more on one foot than on the other.
2. Power and Speed:- the possession of muscular strength alone will
not enable one to excel in the martial arts or any sport. The effective
use of strength is important. The application of power to any
movement depends on a number of factors. One of the most
important of these is speed. The basic punching and kicking
techniques of karate achieve their power by concentration of
maximum force at the moment of impact. This concentration of
force depends greatly upon the speed will result in increased power.
Speed is an important element in the application of power but speed
cannot achieve its greatest affect without good control. The kind of
movement needed in fundamental karate techniques is not one
which will move a heavy object slowly but one which will move a
light object with maximum speed. Another principle to remember is
that greater speed can be generated if power travels a longer route
to its target. The longer the route the leg travels to the target, the

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stronger the kick will be.
3. Contraction and Power:- a punch or kick will be weak if applied
with the arm or leg alone. To achieve maximum power it is
necessary to use the strength of all parts of the body simultaneously.
When punching or kicking power moves from the centre of the body
the major muscles to the extremities ending in the hand or foot. This
power moves from one part of the body to the next at a speed of
1/100 of a second. The whole movement takes only 0.15-0.18
second if the momentum possible in this action is correctly exploited.
Training therefore should be such that strength is focused in the foot
when kicking or in the hand when punching. It is important that the
various muscles and tendons are kept loose and relaxed to permit
instant response to changing circumstances and demands of
combat. If the muscles are already tense they cannot be further
tensed at the moment of focus. Power concentrated at the time of
focus must be instantly released to prepare for the succeeding
action. Constant training in alternately tensing and relaxing the body
is very important to acquire proficiency in the application of karate
techniques.
4. Role of Muscular Power:- power to the body is supplied by the
muscles when they contract. Well-trained, powerful, and elastic
muscles are mandatory in karate. Constant training is necessary to
strengthen the muscles of the body. If karate training is to be
conducted scientifically it is also necessary to know which muscles
are employed in the execution of a particular technique. When
proper muscles operate fully and harmoniously, the technique will
be strong and effective. On the other hand if unnecessary muscles
operate there will result a loss of energy and an ineffective
technique.
Remember: the faster the speed of muscle contraction the greater the
power produced.
5. Rhythm:- an essential element in the performance of techniques in
the martial arts is rhythm. The proper execution of a series of
movements in any sport is impossible without rhythm. It is essential
for the karate student to learn correct rhythm in both the basic
technique and in the more advanced kumite(sparring).Rhythm is
especially necessary in the performance of formal exercise or kata.

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The three most important elements in kata performance are:-
(1)Application of strength at the correct time;
(2) The control of speed in techniques and from techniques to
technique;
(3) The smooth transition of the body from one technique to another.
These requirements cannot be fulfilled without rhythm. A kata
performed with rhythm is both powerful and beautiful.
6. Timing: - a kick or punch directed at the target either too earlly or
too late is often fruitless.
7. Lower Abdomen and Hips:- the hips play an important role in
furnishing maximum power to any movement. In Japan the
importance of the tandem has been taught from early times.
Teachers of the martial arts have constantly emphasised the
importance of the tandem in achieving competence. This region
was emphasised because it was felt that here was centred the
human spirit and that this area provided the basis of power and
balance( ganshin ).The tandem is that area behind the navel in the
centre of the body. When standing erect the body’s centre of gravity
is located here. If the stance is correct in karate the centre of gravity
will be found in the tandem. A correct stance will enable the student
to maintain the balance of both the upper and lower parts of the
body resulting in harmonious interplay of the muscles and a
minimum loss of energy. If the power concentrated in the tandem is
brought into play in executing karate techniques the pelvic(hip)
bones will be firmly supported by the thighs and the trunk by the
spine.This interlocking will produce strong techniques.
Remember: try to punch with the hips, kick with the hips, and block
with the hips.
BODY CONDITIONING
Hojo undo are supplementary exercises that develop and condition
the body with the use of training aids. They are specially designed to
enhance the self-defense techniques learned in the Goju-ryu system.
The modern day karateka however utilises the gymnasium’s free
weights and/or circuit training. Below are some examples of the
traditional equipment and their use.

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1. CHISHI:- it is a concrete or stone weight at the end of a wooden
handle. It is mainly used to strengthen the grip, as well as the joints
of the elbows wrists and shoulders. The exercises develop the
muscles used in blocking striking and grappling techniques.
2. NIGIRI_GAME:- these are gripping jars usually made of clay with a
rim around the top to grip with fingers. Sand can be added to
increase the weight of the jars. They can be substituted with a
common glass or mason jar. Gripping these jars increases the
strength of the fingers for gripping and tearing applications.
3. MAKIWARA:- a makiwara is a striking post with a straw cloth or
rubber pad for contact padding. It is constructed of either a
combination of 2x4’s or 4x4 tapered off at the top. It is used to
condition the striking surfaces of the body and perfect striking
techniques and kime.
4. ISHISASHI:- this is a stone paddle resembling the shape of an
old-fashioned clothes iron. It is used for strengthening the arms and
wrists.
5. TAN:-this resembles a barbell usually made of wood with weights
on the ends. It is usually rolled over forearms and back, or twisted
over the hips. It strengthens and conditions the affected areas.
6. TOU:- this is a bundle of bamboo sticks taped together at the ends,
and is used for nukite practice and conditioning.
7. JARI BAKO:- this is just a box or bowl filled with sand beans gravel
or similar material. Fingers are thrust into it to toughen the hands.
8. TETSU GETA:- these are iron clogs used to strengthen kicking
techniques.
9. KONGOKEN:- this is a very heavy rectangular hoop used alone or
with a partner. It is used to strengthen the body and condition for
contact.
10.SASHI ISHI:-a short wooden handle with a stone weight in centre.

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11.MAKIAGE KIGU:- this is a wrist roller, a wooden handle with a
weight hung in the centre on a rope. You twist the handle and wrap
the rope onto it raising and lowering the weight and strengthening
the wrist and grip.
12.TETSUARI:_ these are basic dumbels and their use is much like
modern weightlifting exercises with the same results.
These are the traditional implements used by Goju-ryu practitioners as
supplemental exercises. There are also modern devices that can be
incorporated into the training to strengthen and condition the body.
Some examples are heavy bags, medicine balls, and various weight
training apparatus and free weights.
Let us now move on to the area fundamental to any martial art training.
That of Kiko training..In our discussion of kiko we shall pair it with the
kata, Sanchin. Sanchin is the fundamental kata of all Goju-ryu system.
There are numerous different forms of Sanchin kata. There are those
that are Go or hard versions and those that are Ju or soft versions. The
hard versions involve dynamic tension.
Sanchin and Kiko Training( Dharma )
According to many Okinawan masters sanchin kata is based directly
on exercises taught by Daruma. These are Ekkin kiko or the tendon
transforming ki exercise and Sensui kiko or marrow cleansing. The
Ekkin kiko exercises focuses on first circulating ki through the primary
meridians then through the whole body. As this is done the muscles
and tendons are strengthened and stretched. The sensui kiko stresses
leading the ki into the bones and up the cerebrospinal system.
1. SHOSHYUTEN:- many of the specific instructions associated with
sanchin kata relate directly to Shoshyuten kiko. In shoshyuten kiko
the ki or vital energy is circulated through the two primary meridians
of the body: the governor vessel and the conception vessel. In
sanchin kata the ki is circulated with the breath and small
movements of the internal musculature and sacrum.

18. 18
When practicing sanchin kata it is important to remember that the
chin is tucked in and the neck is pulled back in order to align the
cervical vertebra with the back making the spine as straight as
possible. The pelvis is also tucked forward in order to eliminate the
lumbar curve. This is done to allow the ki to flow freely and directly up
the back i.e. through the governor and conception vessels. Remember
also that the tongue tip is held on the roof of the mouth. This connects
the governor vessel with the conception vessel.
During sanchin kata practice there are two phases of kiko practice. The
inhalation and the exhalation phases.
Inhalation phase:-as you inhale you visualise the ki/breath
descending down the centre line of the body towards the Tanden
area.As you do this the abdomen will expand very slightly.This
motion should be very small and scarcely visible to the eye.This
slight expansion of the abdomen helps to draw ki to the lower
abdomen.As you are reaching the upper limit of your inhalation
the pelvis rotates very slightly back.Again this motion should be
very small and scarcely visible.
At the same time you do this you visualise the ki circling from the
tandem down under the body and then up to the base of the
spine.This is the end point of the inhalation phase. The slight
outward or backward motion of the pelvis helps to lead the ki
from the tanden to lower areas i.e. towards spine.
Exhalation phase:- as you exhale you lead the ki up
Tokumyaku-kei (governor vessel).As you do this your abdomen
will move slightly inwards. This inward motion aids in leading the
ki to the back. You also lightly lift the urogenital diaphragm (lift
the anus and pull up on (rotate it tightly forward) the pelvis as you
exhale. These actions both help to force the ki gently up the back.
Towards the end of the exhalation the ki is guided up around the
head to the nose and then tongue. At this point you have
completed one cycle of the Shoshyuten.
Note that the next cycle begins where the last stopped. This type of
breathing can be used in all of the “long breaths” of the kata. There are
a number of short breaths. During the “short breaths” the cycle does

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not need to be precisely visualised but only feel a sense of movement.
2. DAISHYUTEN:- this is a more advanced stage of sanchin training
which involve leading the ki through the entire body. This is called
Daishyuten kiko. Daishyuten kiko is an advanced level on the
Shoshyuten training. In Daishyuten kiko the ki is still circulated
through the entire paths of both of the primary meridians. The anal
lift pelvis rotation spinal alignment and tongue position as outlined in
Shoshyuten are still used for the same purpose. The main
difference is that in Daishyuten methods the ki is also circulated
through the limbs.
3. DYNAMIC TENSION:- is used in some systems while performing
Sanchin kata. Traditionally there were two reasons dynamic tension
was used. The first was during Daishyuten training tensing the
musculature would lead ki to the limbs and near the surface of the
torso. When the body was then relaxed the ki would circulate
through the body. It seems that it acts as a sort of intensifier for
Daishyuten kiko. The other reason dynamic tension was used was
to force the ki into the bones during Sensui kiko. Many Okinawan
sensei feel that dynamic tension is potentially dangerous. It
should not be attempted without the careful supervision of a
qualified sensei trained in the intricacies of sanchin kiko. Many
feel that simply using the light connective “stretching” while
performing the movements is much safer though it produces results
slower.
THE FUNCTIONALITIES OF KATA - ESSENCE
A kata is a pattern of movements which contains a series of logical and
practical attacking and defending techniques. In each kata there are
certain set of movements which the student can practice alone without
a partner. These kata have been created by previous masters after
many years of research, training and combat experience.
The application of the techniques in kata have evolved from and have
been tested in actual combat In this way each kata has been improved
and refined, and has evolved into the kata we practice today. Because
of the time and the kata’s complex evolution it is impossible to trace the

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exact development that the kata underwent but it is known that the old
masters studied the combative techniques and movements in the
fighting between animal and animal, animal and man, and man-to-man.
They also studied the physiology and the physio-symetries of the
human body and its relationship to combat taking into account such
factors as:-
 The circulation of the blood in a 24hr day
 The vulnerability of the vital points in relation to the time of day
 The cyclic laws of nature such as the rising and setting of the
sun
 The rise and fall of the tides.
All of these elements were incorporated into the kata by point of
technical reference.
The purpose for developing kata also varied with the people who
developed them. Some developed and practiced kata for the purpose
of self-defence. The Buddhist monks practiced kata for the purpose of
strengthening the spirit as well as the body.
The true meaning and spirit of karate are imbedded in the kata and
only by the practice of kata can we come to understand them. It is for
this reason that we cannot change or simplify kata either to
accommodate the beginner or for tournament purposes. If we do then
we will lose the true meaning and spirit of martial arts.
In karate there is no first attack. Every kata begins with a defensive
movement which exemplifies this spirit. Not only is there no first attack
but the best defence is to avoid the fight altogether. This is the reason
why martial arts is the art of a wise man.
To practice the kata correctly every movement must be repeated over
and over. Only through constant repetition can the techniques become
reflex action. An important aspect of kata is that it can be practiced
alone anytime and anywhere.
When kata is performed by a well trained student its dynamic power

21. 21
and beauty of movement become almost aesthetic in quality.
The Goju-ryu Kata:- almost all of the Goju-ryu kata were handed
down from Higaonna Kanryo Sensei. Higaonna Sensei had studied
and trained for many years under Ryu Ryuko Sensei in Fukien
province, China. It is of interest that styles outside of and not direct
descendants from the Goju-ryu system do not posses identical kata
names.
Many of the kata names are Chinese numbers symbolising Buddhist
concepts. For example, Suparinpei (the number 108 in Chinese) has
a special significance in Buddhism. It is believed that man has 108
evil passions, and so in Buddhist temples on December 31st
,at the
strike of midnight a bell is rung 108 times to drive away those spirits.
The number 108 in Suparenpei is calculated from 36 x 3.The
symbolism of the number 36 is given in the kata Sanseru. They
refer to a systematic method and understanding of certain groupings
of vital acupressure points. It is this science that the martial arts was
based upon and developed. Feng Yiquan, who lived during the Ming
Dynasty ( 1522-67) developed this particular method of using
variations of “36” forbidden points to defeat his opponents. Other
disciples of Feng created other quans expanding the number to 72 and
ultimately 108.
In the Goju-ryu system there are thirteen kata. Nine of these kata were
handed down from Ryu Ryuko Sensei to Higaonna Kanryo Sensei and
to Chojun Miyagi. Miyagi Sensei created four new kata. These were;
Gekisai Dai Ichi
Gekisai Dai Ni
Sanchin ( revised edition)
Tensho
The Gekisai Dai kata were developed in order to popularise karate
among the young people. These two kata performed with exaggerated
movements are relatively easy to understand.

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Sanchin kata has undergone two important transformations which are
variations to Higaonna Kanryo Sensei’s Sanchin but still preserving its
essence. Miyagi Sensei developed it particularly to balance
Higaonna’s Sanchin. Its performance requires a different use of the
muscles leading it to a more symmetrical development. This is
important for optimum use of the body and especially of injury to the
back and other areas. You must remember the martial significance of
Sanchin and Kiko training. Later Sanchin was changed in pattern.
We therefore see the original Sanchin performed with open hands and
with less emphasis on muscle contraction and “energetic” breathing.
The open hands were changed to closed fists as the martial meaning
was no longer emphasized. Sanchin kata is considered to be an
aspect of the Go (hard) of Goju, Tensho kata represents the Ju
( soft).One of the purposes of Tensho kata is concentration on shifting
focus points while performing the soft hand movements moreover
within these soft hand movements tremendous power is generated.
Tensho, the second “heishu” kata in Goju-ryu, is derived from the
Chinese form “Rokkishu”. Unlike Sanchin which is almost identical to
its Chinese form Tensho is uniquely Okinawan. Miyagi Sensei
developed Tensho from his understanding of the kata of Goju-ryu and
the “nature of man.” It was also developed to further complete his
Goju-ryu where Sanchin left off. Tensho has many of the same
principles of Sanchin but goes further to include more intricate
concepts of the techniques of Goju-ryu. These concepts expressly
come alive in kakie which in advanced training breathes life into the
bunkai of the kata of Goju-ryu.
The kata in Goju-ryu, just like in OIKADO,are classified into
Beginners kata
Advanced kata
Kata of central importance (which is unique to the style).
OIKADO kata are many in that the system has borrowed ideas from
the traditional systems of Karate, Kung-fu and Ninjitsu-jiutsu. In
addition to beginners’ kata, advanced kata the system has added the
following sets of kata:
 Tekki kata
 Taikyokyu kata

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 Teno-Kata-Teno
 Dai kata(advanced forms)
 Animal forms
 Planet kata
ADVANCEMENT
In the Goju-ryu system just like most Japanese influenced arts a
system of grading is used to reflect the experience and ability of the
student. The requirements for each level vary in different schools and
organisations and even the colours of the belts and their order are
sometimes different.
Just like in OIKADO Goju-ryu style kyu gradings are represented by
colour belts while Dan grades wear black belts. Some schools use red
and white at higher Dan grades usually from 5th
or 7th
Dan and up with
red reserved for 9th
and 10th
Dans or style heads. The red belt has also
been used to denote Shodan-ho grades, junior black belts, and varying
Kyu grades. But let us not confuse a 12year old Shodan-ho with a 10th
Dan style head.
In a typical system the order of kyu belts is:-
White
Yellow
Orange
Green
Blue
Brown
Black
Some schools use a 10-kyu system,with 3-different levels of Brown
belt (1st
– 3rd
kyu ).Others just use the coloured belts as a guide.Some
systems just use White-Green_Brown_Black,while others simply use
White and Black only.In OIKADO we use a 10-belt system with a
Purple belt awarded between Blue and 3rd
kyu Brown belt.
Kyu belts are also referred to as “Mudansha”, while black belts are
referred to as “Yudansha”. Titles are also used at times to represent

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Yudansha grades and teaching levels.
 Sensei :- teacher or instructor; commonly refers to black belts
that have teacher status.
 Shihan :- teacher of teachers; it is a sensei who have
students black belts; however some organisations bestow this
as an honorific title officially.
 Kyoshi (master) :- this is the master-hood level; in OIKADO
the student is allowed independence to innovate incorporate
and adjust techniques as he/she deems necessary under the
honour of his/her mentor and school.
 Renshi :- alternate term to Kyoshi.
 Hanshi :- this the Grandmaster level in OIKADO; it is awarded
students when they reach rank of 8th
or more Dan Black Belt.
 Soke/Sosai:- this title refers Heads of organisations.
In addition to the belt system OIKADO recognises phases of
development which phases require that the practitioner will have
attained a certain degree of development and mastery and input into
the growth of the system. These phases of development are:
 Kirikami
 Mokuroku
 Menko Kaiden
 Kegurai
 Kyoshi
 Hanshi
Let us note that grading and titles are different in every branch of the
style as are times in grade before being considered for promotion. It is
usually regarded as important only within the organisational structure
of a specific system and is not a universal measure of accomplishment
yet it accords the barometer and measure of one's achievement and
cultivation in the specific and general context of his martial arts
curriculum.

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Presented by:
Signature:................................................................................
Moses Racana-Martin Kgosibodiba
Tlokweng, Gaborone.
Republic of Botswana.
Southern Africa.
And to: Patrick Solly Makgabenyana
OIKADO Martial Art School.
Gaborone,Botswana.
Southern Africa.