martes, 9 de noviembre de 2010
Sensei Chojun Miyagi
Sensei Chojun Miyagi
(1888-1953)
Nace en Naha, Okinawa, el 25 de abril de 1888. A la edad de tres años fué adoptado por un tío que le nombró su heredero. Sus padres adoptivos eran una rica familia de comerciantes. Al tener una posición desahogada, decidió dedicar su vida por entero al estudio de las artes marciales. Se cuenta que el joven Chojun era de salud delicada, por lo que su abuelo pensó que el Karate podría darle vigor, y le llevó al Maestro Kanryo Higaonna cuando tenía 14 años.
Estudió bajo la tutela de Higaonna, durante 13 años y hasta la muerte de éste. Después viajó a China buscando al maestro Ryuko Ryu, con el que había estudiado Higaonna. No pudo localizarle, sin embargo, se dedicó a aprender algunas de las artes locales de la provincia China de Fukien. Fué de aquí de donde aprendió el kata Rokkishu, a partir del cual creó el kata Tensho.
Continuó entrenando con los métodos aprendidos del Maestro Higaonna, y enseñando en diferentes instituciones, siempre bajo condiciones muy exigentes y severas. No confinó el entrenamiento al Dojo, no obstante, sino que buscaba la aplicación del espíritu de su arte en cada momento.
En 1921 es elegido para representar al Naha-Te en una presentación al príncipe Hirohito (que posteriormente llegaría a ser emperador del Japón), dejando impresionados a los visitantes japoneses. Intuyendo el futuro de las artes de Okinawa, organiza en 1926 el "Club de Investigación sobre el Karate", llamando a Chomo Hanashiro (Shuri-Te), Kenwa Mabuni (Shito-Ryu) y Mobutu Choyo, con los que trabaja durante tres años en pulir los aspectos básicos, katas, entrenamiento físico y filosofía del Karate. En 1929 es invitado a Japón, a una convención de todas las artes marciales Japonesas. Es en esta ocasión cuando se dió el nombre formal al estilo, tal y como se explica en Origenes del Goju Ryu.
Go significa "duro", y Ju significa "suave". Dado que el estilo era una combinación de estos conceptos recibió el nombre de "Goju Ryu". En 1933 fué registrado oficialmente con ese nombre en la Dai Nippon Butoku-Kai, la Asociación Japonesa de Artes Marciales, y el Karate es reconocido oficialmente como un arte marcial japonés. Al mismo tiempo, Miyagi recibe el título honorífico de Kyoshi. Ese mismo año presenta un artículo titulado "Fundamentos del Karate-Do". Al año siguiente, Miyagi es nombrado director de la sección de Okinawa de la Butoku-Kai. En 1936 vuelve a China para continuar sus estudios, esta vez en Shangai. A su regreso crea los katas Gekisai dai Ichi y Gekisai Dai Ni.
Tras la segunda guerra mundial, la ocupación de Okinawa por las fuerzas Aliadas fué un periodo turbulento en el arte del Karate. Entre las pérdidas humanas se incluian uno de los hijos de Miyagi, y su estudiante más avanzado, Jinan Shinzato. Hubo un periodo en el que quedó olvidado el entrenamiento, mientras se reconstruía el país tras la guerra. En 1946, Miyagi es nombrado director de la Asociación Civil de Okinawa de Educación Física, y reanuda la práctica de las artes marciales, enseñando en la Academia de Policía y en un Dojo particular, conocido como "El Jardín". Es en este último lugar donde estudiaron Seikichi Toguchi, Anichi Miyagi, Seko Higa, Meitoku Yagi, Eiichi Miyazato y Teruo Chinen. Actualmente, casi todos sus alumnos directos han muerto. Solo tres de ellos, Yagi, Toguchi y Miyazato, enseñan aún Goju Ryu en Okinawa.
Chojun Miyagi murió el 8 de octubre de 1953 a la edad de 65 años. Miyagi dedicó toda su vida al Karate de Okinawa. No solo dió a conocer el hasta entonces misterioso método de lucha proveniente de una isla perdida al sur del Japón, sino que además lo desarrolló hasta convertirlo en un complejo arte marcial.
Estudió bajo la tutela de Higaonna, durante 13 años y hasta la muerte de éste. Después viajó a China buscando al maestro Ryuko Ryu, con el que había estudiado Higaonna. No pudo localizarle, sin embargo, se dedicó a aprender algunas de las artes locales de la provincia China de Fukien. Fué de aquí de donde aprendió el kata Rokkishu, a partir del cual creó el kata Tensho.
Continuó entrenando con los métodos aprendidos del Maestro Higaonna, y enseñando en diferentes instituciones, siempre bajo condiciones muy exigentes y severas. No confinó el entrenamiento al Dojo, no obstante, sino que buscaba la aplicación del espíritu de su arte en cada momento.
En 1921 es elegido para representar al Naha-Te en una presentación al príncipe Hirohito (que posteriormente llegaría a ser emperador del Japón), dejando impresionados a los visitantes japoneses. Intuyendo el futuro de las artes de Okinawa, organiza en 1926 el "Club de Investigación sobre el Karate", llamando a Chomo Hanashiro (Shuri-Te), Kenwa Mabuni (Shito-Ryu) y Mobutu Choyo, con los que trabaja durante tres años en pulir los aspectos básicos, katas, entrenamiento físico y filosofía del Karate. En 1929 es invitado a Japón, a una convención de todas las artes marciales Japonesas. Es en esta ocasión cuando se dió el nombre formal al estilo, tal y como se explica en Origenes del Goju Ryu.
Go significa "duro", y Ju significa "suave". Dado que el estilo era una combinación de estos conceptos recibió el nombre de "Goju Ryu". En 1933 fué registrado oficialmente con ese nombre en la Dai Nippon Butoku-Kai, la Asociación Japonesa de Artes Marciales, y el Karate es reconocido oficialmente como un arte marcial japonés. Al mismo tiempo, Miyagi recibe el título honorífico de Kyoshi. Ese mismo año presenta un artículo titulado "Fundamentos del Karate-Do". Al año siguiente, Miyagi es nombrado director de la sección de Okinawa de la Butoku-Kai. En 1936 vuelve a China para continuar sus estudios, esta vez en Shangai. A su regreso crea los katas Gekisai dai Ichi y Gekisai Dai Ni.
Tras la segunda guerra mundial, la ocupación de Okinawa por las fuerzas Aliadas fué un periodo turbulento en el arte del Karate. Entre las pérdidas humanas se incluian uno de los hijos de Miyagi, y su estudiante más avanzado, Jinan Shinzato. Hubo un periodo en el que quedó olvidado el entrenamiento, mientras se reconstruía el país tras la guerra. En 1946, Miyagi es nombrado director de la Asociación Civil de Okinawa de Educación Física, y reanuda la práctica de las artes marciales, enseñando en la Academia de Policía y en un Dojo particular, conocido como "El Jardín". Es en este último lugar donde estudiaron Seikichi Toguchi, Anichi Miyagi, Seko Higa, Meitoku Yagi, Eiichi Miyazato y Teruo Chinen. Actualmente, casi todos sus alumnos directos han muerto. Solo tres de ellos, Yagi, Toguchi y Miyazato, enseñan aún Goju Ryu en Okinawa.
Chojun Miyagi murió el 8 de octubre de 1953 a la edad de 65 años. Miyagi dedicó toda su vida al Karate de Okinawa. No solo dió a conocer el hasta entonces misterioso método de lucha proveniente de una isla perdida al sur del Japón, sino que además lo desarrolló hasta convertirlo en un complejo arte marcial.
Texto extraido de
“Shorei Kan Goju Ryu Okinawa,”
www.gorinkai.com
“Shorei Kan Goju Ryu Okinawa,”
www.gorinkai.com
Pagina WEB: http://www.dojosanchin.cl/submenu/miyagi.php
Principles Of Kata
There are 4 types of information, principles, or concepts which can be taken out of each kata, and which provide an opportunity for a lifetime of study and practice.
These aspects form the basis of the “jitsu” concept within karate.
1. BUNKAI Bunkai means “to take apart, to dissect, for the purposes of examination”. This means that the study of bunkai involves taking discrete parts of the kata and examining them to determine what they mean, and how they can be applied practically. It is a literal translation of the kata with little or no modification. When seeing the techniques performed against an actual attacker, it is very easy to identify which kata, and what part of the kata is being employed. The actual application or practical performance of the technique is known as “oyo”. However, through common usage, within the karate environment bunkai means not only the interpretation of the technique, but also its subsequent physical application and training. When learning kata it is very helpful to learn appropriate bunkai and interpretations at the same time. This allows the kata to be practiced with meaning and indicates such things as focus, power, where to look and so on. Kata makes sense only when the attendant bunkai is understood. Otherwise it becomes just a dance or sequence of karate-type movements. Even on this basic level it can be seen that failing to understand the bunkai means failure to understand the kata.
2. HENTE Hente means “variation”, and the study of hente adds a practical depth to the fundamental kata. It is through not understanding the concept of hente that many practitioners are led to believe that bunkai and therefore kata is less than useful in the real world self defence environment. But hente allows the bunkai to be varied to take into account changed circumstances. The original bunkai is modified or varied to suit such circumstances as a different attack than the normal bunkai would address, different distances, angles, number of attackers, nature of the environment and so on. The study and practice of hente does not alter the original kata, but gives the practitioner a deeper understanding of the potentials held within the kata itself.
3. KAKUSHITE Kakushite means “hidden techniques”. In the performance of the kata, the intention doesn’t show, as the technique is hidden inside the performance of the kata. It can be used at anytime. It is not the same as hente, as hente can be applied to kakushite. Basically the hidden techniques are the “connecting” techniques which can be practiced with the kata. The hidden techniques can actually occur before, after, or in the place of the original kata technique. Sometimes these techniques have been shrouded in mystery, being referred to as “secret” techniques only available to the most senior and trusted students. In reality they are there for everybody if you have trained long enough to comprehend and deal with the principle. It is suggested that to practice the identification and practice of hidden techniques you should select your favourite or best kata, which you have practiced to the point of total confidence over many years. Then work out your own “hidden techniques” which you may sometimes insert into your kata in private practice, and most certainly into your kumite. Never practice hidden techniques when performing kata in the dojo environment. In the sequence of development of “shu-ha-ri”, practicing hidden techniques is something the practitioner can work on after they have entered the “ha” stage of their development.
4. KYUSHO This is the highest level of application of the kata in a physical sense. In bunkai, hente and kakushite it is a lower level skill to simply “blast away”, and hit anything in the general target area. Kyusho implies that the various strikes and attacks are focused, and pinpointed against vital points or acupuncture points. In Chinese systems kyusho is known as “cavity strikes”. This requires complete focus and control of the techniques to avoid injury to training partners. It also requires resuscitation training. Kyusho techniques are discussed in great detail in the Bubishi, and call for the highest level of skill in the martial artist. Bunkai, hente and kakushite are used to enter the opponent and give the opportunity to employ kyusho strikes. To learn and practice Kyusho, one needs a teacher who is thoroughly familiar with this level of application, who knows all the appropriate acupuncture points, their effect, how to “enter” the target, and how to deal with injuries.
From the above discussions I have tried to place kata into its context as a major part of karate-do trainings. In my own experience, kata and its place in karate and how it translates to kumite via bunkai is a mystery many martial artists do not comprehend. The forgoing may be deficient in many respects, it is my hope that the discussion helps the understanding of karate-do.
These aspects form the basis of the “jitsu” concept within karate.
1. BUNKAI Bunkai means “to take apart, to dissect, for the purposes of examination”. This means that the study of bunkai involves taking discrete parts of the kata and examining them to determine what they mean, and how they can be applied practically. It is a literal translation of the kata with little or no modification. When seeing the techniques performed against an actual attacker, it is very easy to identify which kata, and what part of the kata is being employed. The actual application or practical performance of the technique is known as “oyo”. However, through common usage, within the karate environment bunkai means not only the interpretation of the technique, but also its subsequent physical application and training. When learning kata it is very helpful to learn appropriate bunkai and interpretations at the same time. This allows the kata to be practiced with meaning and indicates such things as focus, power, where to look and so on. Kata makes sense only when the attendant bunkai is understood. Otherwise it becomes just a dance or sequence of karate-type movements. Even on this basic level it can be seen that failing to understand the bunkai means failure to understand the kata.
2. HENTE Hente means “variation”, and the study of hente adds a practical depth to the fundamental kata. It is through not understanding the concept of hente that many practitioners are led to believe that bunkai and therefore kata is less than useful in the real world self defence environment. But hente allows the bunkai to be varied to take into account changed circumstances. The original bunkai is modified or varied to suit such circumstances as a different attack than the normal bunkai would address, different distances, angles, number of attackers, nature of the environment and so on. The study and practice of hente does not alter the original kata, but gives the practitioner a deeper understanding of the potentials held within the kata itself.
3. KAKUSHITE Kakushite means “hidden techniques”. In the performance of the kata, the intention doesn’t show, as the technique is hidden inside the performance of the kata. It can be used at anytime. It is not the same as hente, as hente can be applied to kakushite. Basically the hidden techniques are the “connecting” techniques which can be practiced with the kata. The hidden techniques can actually occur before, after, or in the place of the original kata technique. Sometimes these techniques have been shrouded in mystery, being referred to as “secret” techniques only available to the most senior and trusted students. In reality they are there for everybody if you have trained long enough to comprehend and deal with the principle. It is suggested that to practice the identification and practice of hidden techniques you should select your favourite or best kata, which you have practiced to the point of total confidence over many years. Then work out your own “hidden techniques” which you may sometimes insert into your kata in private practice, and most certainly into your kumite. Never practice hidden techniques when performing kata in the dojo environment. In the sequence of development of “shu-ha-ri”, practicing hidden techniques is something the practitioner can work on after they have entered the “ha” stage of their development.
4. KYUSHO This is the highest level of application of the kata in a physical sense. In bunkai, hente and kakushite it is a lower level skill to simply “blast away”, and hit anything in the general target area. Kyusho implies that the various strikes and attacks are focused, and pinpointed against vital points or acupuncture points. In Chinese systems kyusho is known as “cavity strikes”. This requires complete focus and control of the techniques to avoid injury to training partners. It also requires resuscitation training. Kyusho techniques are discussed in great detail in the Bubishi, and call for the highest level of skill in the martial artist. Bunkai, hente and kakushite are used to enter the opponent and give the opportunity to employ kyusho strikes. To learn and practice Kyusho, one needs a teacher who is thoroughly familiar with this level of application, who knows all the appropriate acupuncture points, their effect, how to “enter” the target, and how to deal with injuries.
From the above discussions I have tried to place kata into its context as a major part of karate-do trainings. In my own experience, kata and its place in karate and how it translates to kumite via bunkai is a mystery many martial artists do not comprehend. The forgoing may be deficient in many respects, it is my hope that the discussion helps the understanding of karate-do.
Tomado: The Sansei Page.
Publicado por Hanshi Saavedra.
Link: http://sanseipage.blogspot.com/
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