GoJu Ryu Karate-Do

From writings in the Chinese "Wu Pei Chih", Founder Miyagi Chojun Sensei chose the name GoJu (Hard & Soft). The elements
in GoJu from the hard, external school of Wai Cha and from the soft, internal Nei Cha, are direct descendents of a style of Southern Chinese
Kempo known as Pan Gainoon, which means, "One half is hard and the other half is soft".  It was a form of Monk Fist Gungfu or Arhat Boxing
that Ryu Ryuko Sensei had been taught by the famous Gungfu master, Shaolin Sifu Wai Xinxian (or Wai Shinzan) in Fuzhou, a city in Fukien
province, China. He passed these arts to Master Higaonna Kanryo  who then went personally to study with the Shaolin Master, and later with
Wai's teacher, the legendary Sifu Leu Luko who taught Fukien Crane Chang.  Fukien Crane Chuan Fa was a combined school of Southern
Shaolin Chuan White Crane and Four Ancestor Chuan.  With all of this research Higaonna Sensei systematized Naha-Te, the Chinese-style art
of Naha City on Okinawa. One of Higaonna Sensei’s most gifted students,  Miyagi Chojun used Naha-Te as his basis when he
Hung
founded Goju Ryu Karate. Visiting the Shaolin Temple himself to further study Chinese Kempo, Miyagi trained in the hard styles of
Gar and Shaolin Chuan as well as soft, but highly effective arts including Pa Kua Chang, Hsing-I and Tai Chi Chuan. Later he took up
Chugoku Kempo in Fouchow, Fukien Province, from 1915 to 1917. It was then that he learned the Kata or Quan (Chinese for Kata) Rokkishu,
which later became the building blocks of Kata Tensho. He was invited to study and teach in Japan by Gogen Yamaguchi who would later
found Japanese GoJu Kai and on Okinawa he operated a karate club with Choyu Motobu and Kenwa Mabuni, founder of Shito-Ryu. Their dojo
was known as "Ryukyu Tode Kenkyu-kai" or The Okinawa Karate Research Club. Choyu Motobu was a master of Shuri-te, the antecedent of
Shorin-ryu, and also of Gotende, a secret grappling art of the Okinawan royal court. Kenwa Mabuni studied Chinese Kempo and nearly every
form of Okinawan Karate. Thus Chinese, Okinawan and Japanese forms all influenced GoJu Ryu. It is circular rather than linear, a
sophisticated form of Karate, requiring more speed and timing than strength and using soft techniques to defend against hard. Emphasis on
Chinese defensive techniques creates an in-fighting style, keeping you close to an opponent but off the angle of attack. In-fighting implies
grappling, and aspects of Okinawan Tuite or Gotende, as well as Chinese Chin-Na and Japanese AikiJujutsu, are
found throughout GoJu Ryu Kata.

TECHNIQUES
Some systems, such as Taekwando are primarily seen as a kicking style or, like Kung-Fu a boxing system. Aikido and Jui Jutsu are seen as
grappling and throwing arts. Most karate has become striking and kicking forms. In Goju-Ryu karate, all areas should be practiced. While it is
true that GoJu Ryu is an inside, close fighting system with joint locks and throws, it does employ evasive footwork and kicking techniques to
maintain range, angle and escape options, especially in multiple opponent situations. GoJu Ryu holds to the original design of Chojun Miyagi
as an all-encompassing and lethal self-defense system.

While Master Kanryo Higaonna did not teach weapons training, Sensei Miyagi did, so most modern GoJu styles employ the standard Karate-
Do weapons Kata.

  Kihon (Basics) & Kihon Ido (Moving Basics)

The basics - kihon, and moving basics kihon ido, incorporate stances, kicks, strikes, blocks, joint locks and throws which are applied in a
systematic progression to be effective.

Kihon helps the karateka on many levels:

Basic co-ordination.
Strengthening of muscles.
Understanding of ones body: Physical mechanics, weight displacement.
To develop power and timing.
 Understand the internal and external applications of the techniques.

In Combat karate there needs to be a reason for every technique as it applies to either fighting, self-defense or understanding principles within
the system.

Kata(Forms)
"It should be known that the secret principles of Goju-Ryu exist within the kata."

These are libraries of many techniques, basic and advanced. They are a series of movements that hold the key of self-defense and fighting,
including: blocks, chokes, seizing, ripping, throws, disarms, take downs, elbow/knee strikes, kicks, joint breaks and footwork etc. On another
level it also shows the understanding of the obasai - line of attack and defense, the understanding of the body and its relationship to optimizing
ones power. Within the Goju-Ryu system their are 13 kata. Nine of the kata were passed down from Kanryo Higaonna who learned them in the
Fukien Province of China under Ryu Ryuko. Geki-sai-dai ichi, Geki-sai-dai ni, Sanchin-ni and Tensho are relatively new forms developed by
Chojun Miyagi.

GoJu Ryu Kata  

     

     

      

      
GEKI SAI DAI ICHI
GEKI SAI DAI NI
"To Attack and Destroy"  

The Geki Sai Kata were formulated by Chojun Miyagi Sensei in 1940 as a form of physical exercise for high school boys and to help
popularize Goju-Ryu among the public of Okinawa.  In 1948, after WWII, Miyagi Sensei began to teach the Geki Sai Kata in depth as a regular
part of Goju-Ryu in his own dojo. 

SAIFA

"To Smash and

Tear to Pieces"  

Saifa is the first of the classical combative Kata taught in Goju-Ryu.  Kanryo Higaonna Sensei was taught this Kata, along with the other Kata
of Goju-Ryu, while he studied in China from 1863-1881 under the direction of RuRuKo (Xie Zhongxiang in Chinese) and others.  These Kata
and martial strategies would become the basis of the style known as Naha-te, which later Miyagi Sensei would call Goju-Ryu.  

SANCHIN

"Three Battles"
 SANCHIN NI

"Three Battles II"  

The original Sanchin that Higaonna Sensei learned from RuRuKo (1852-1930) was performed with open hands and with less emphasis on
muscle contraction and "energetic" breathing.  Higaonna Sensei changed the open hands to closed fists as the martial meaning was no longer
emphasized.  Later Miyagi Sensei would again alter the Kata in pattern alone.   

SEIYUNCHIN
"Control, Suppress and Pull"  

The name Seiyunchin implies the use of techniques to off balance, throw and grapple.  It is this understanding that imparts the original
intentions of the Kata of Naha-te before the sport alignment of modern Karate.  Seiyunchin contains close-quartered striking, sweeps, take-
downs and throws.   

SHISOCHIN
"Four Gates" or "Four Directions
of Conflict"  

Shisochin translates as "Four Gates" or "Four Directions of Conflict".  The idea of four directions can come from the performance of the four
shotei in four directions.  It can also represent the four elements represented in Chinese medicine (Acupuncture is one) of Wood, Fire, Metal
and Water with man representing Earth.   

SANSERU
"36 Hands"

Sanseru is unique as Miyagi Sensei studied this Kata under a direct student of RuRuKo during his studies in Fuzhou, China beginning in 1916. 
An explanation of this and the other numerically named Kata is that 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. 

SEPAI
"18 Hands"  
The most apparent and meaning of Sepai is again from the martial arts development and the use of attacking pressure points.  18 is one half of
36 suggesting perhaps an alternative set of attacks and defenses of preferred techniques and strategies from the original Sanseru 36.    

KURURUNFA
"Holding Ground"

Kururunfa epitomizes the ideals of Go-"hard and Ju-"soft".   Stance transitions are quick and explosive while the hands techniques are
employed using "muchimi" or a heavy, sticky movement.  As in the other kata of Goju-Ryu, it is quite evident that grappling and close-
quartered fighting is the favored fighting style.  Where most other styles' Kata concentrate on "block/punch", it is obvious from the unique
techniques that this is not the case with Goju-Ryu.  

SEISAN
"13 Hands" 

Seisan is believed to be the oldest of all Okinawan Goju-Ryu Kata.  There is a version of Seisan practiced in the Shorin schools, but in
comparison, the Goju-Ryu version is longer and much more complex.   

SUPARINPEI
"108 hands" or "Pechurin"  

Suparinpei is the most advanced Kata in Goju-Ryu.  It contains the greatest number of techniques and variations.  Suparinpei is deceptive in
that it appears simple in execution but when combined with transitions and changing tempos, it is only surpassed by Sanchin in technical
difficulty and understanding.  

TENSHO
"Turning Palms"  

The second "heishu" kata in Goju-Ryu, Tensho is derived from the Chinese form "Rokkishu".  Unlike Sanchin, which is almost identical to its
Chinese counterpart, Tensho is uniquely Okinawan.  From his understanding of the Kata of Goju-Ryu and the "nature of man", Miyagi Sensei
developed Tensho 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.  

 
About Kata
A kata is a pattern of movements which contain a series of logical and practical attacking and blocking techniques. In each kata there are
certain sets or predetermined movements which the student can practice alone, without a partner. The applications of the techniques in these
kata have evolved from, and been tested in, actual combat. Previous masters have created these kata after many years of research, and training.
They studied the physiology of the human body and its relationship to combat, taking into account such factors as the circulation of the blood,
the vulnerability of the vital points, and other cyclic laws of nature. All of these elements are incorporated into the kata. The purpose for
developing kata also varied with the times and with the people who developed them. For example, in China over 1600 years ago kata was
developed and practiced for the purpose of self-defense, but the Buddhist monks would also practice kata for the purpose of strengthening the
spirit and body. The true meaning and spirit of karate are imbedded in the kata and only by practice can we come to understand them. For this
reason, if we change or simplify the kata either to accommodate the beginner or for tournament purposes, then we also will have lost the true
meaning and spirit of karate. In karate there is no first attack. Every kata begins with a defensive movement, which exemplifies this spirit.  That
is why it is said that karate is the art of the wise man. To practice kata correctly every movement must be repeated over and over again. Only
through constant repetition can the techniques become reflex action. Fortunately to that end, an important aspect of kata is that it can be
practiced alone, anytime and anywhere. Almost all of the Goju Ryu kata were handed down from Higaonna Kanryo Sensei. Higaonna Sensei
had studied for many years under Ryu Ryuko Sensei in Fukien Province, China. The kata taught to Higaonna Sensei by Ryu Ryuko Sensei are:
Sanchin, Saifa, Seiyunchin, Shisochin, Sanseru, Sepai, Kururunfa, Sesan, and Suparinpei. The original creators of these kata are unknown.

Many of the kata names are Chinese numbers symbolizing 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 stroke of
midnight, a bell is rung 108 times to drive away those spirits. The number 108 in Suparinpei is calculated from 36 X 3. The symbolism of the
number 36 is given in the explanation of Sanseru which follows. The number 3 symbolizes past, present and future.

Sanseru, written in Chinese characters, is the number 36. Symbolically it is calculated from the formula 6 X 6. The first six represents eye, ear,
nose, tongue, body, and spirit. The second six symbolizes colour, voice, taste, smell, touch, and justice.

,
Sepai similarly, is the number 18. It is calculated from 6 X 3. The six here is the second six of Sanseru. The three represents good, bad, and
peace.

,
Gekisai Dai Ichi, Gekisai Dai Ni revised Sanchin, and Tensho are relatively new, having been created by Miyagi Chojun Sensei. Gekisai
Dai Ichi and Dai Ni were developed by Miyagi Sensei in order to popularize karate among young people.

Miyagi Chojun Sensei's Sanchin preserves the essence of Higaonna Kanryo Sensei's Sanchin, of which it is a variation. Miyagi Sensei
developed it particularly to balance the former one. 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 in the prevention of injury to the back and other areas. Whereas
Sanchin kata can be considered 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.

Bunkai / Oyo
Bunkai is the term used to describe the breaking down of the techniques practiced in the Kata. Oyo is the term for applications that also come
from the Kata, but are not necessarily duplicated purely as they are within the embusan of the form.

Without a clear understanding of the applications of a Kata, it is merely a sequence of movements with no meaning. In order to fully appreciate
the teachings of a particular form, the Bunkai / Oyo must be analyzed and understood. Many elements and levels of technique are to be found
upon careful study and instruction. It has been said that the Kata are the encyclopedia of technique for a style. Bunkai /Oyo is the understanding
of that information.

The following are examples of applications, and the Kata Bunkai they come from. Uke refers to the attacker, and Tori r the defender.

Saifa

Kata It begins by clasping the right fist in the left hand while taking a large step forward with the right foot, followed by bringing the
left foot into Musubi Dachi and turning the body 90 degrees to the left. Next, shift the hands from the right to the left side, step back with the
left foot into Shiko Dachi, and perform a left Osae Uke and a right Jodan Uraken Uke.
 Bunkai Uke grabs the right wrist of Tori. Tori first grabs his own right fist or the hand of Uke and pulls his arms across his body.
Stepping back with his left leg, Tori pulls Uke further off balance, followed by either a taisho strike to Uke's chest or a grab and capped with a
backhand strike to Uke's nose or temple/jaw area.

Seiyunchin

Kata It begins by moving the right foot forward into a 45 degree Shiko Dachi and performing Morote Sukui Uke with Muchimi.
Then, place the hands back to back as they are raised to the chin, keeping the elbows close to the chest and pointing the fingers upward. Next,
execute Morote Gedan Barai, then open both hands right Sukui Uke pulling the left hand to the side, then perform a right Chudan Hiki Tsuki
and a left Hira Nukite Tzuki.

Bunkai Uke grabs both of Tori's wrists from the front. Tori brings both hands up just under face level in a circular rolling motion,
crossing wrists, and grabs the opposite wrist of uke, followed by rolling his opposite hand over to augment the wrist control. Tori then steps
back into Shiko Dachi and takes Uke to the ground in a wrist lock.

Kumite (Fighting and Sparring)

Kumite takes shape in various forms:

Non-contact to full contact.

Within this there are various ways of practicing. For example; slow and fast, just hand or leg techniques, grappling, throwing and taking to
the floor, exclusion or inclusion of certain techniques ie. elbows, eye gouging etc.
Single attacks, rather than sparring. Single realistic attacks, ie. with a weapon.
Multiple attacks, with or without a weapon.
Drills.

One can never capture the ferocity and viciousness of a real street confrontation, therefore fighting within the dojo - the training hall - has
certain limitations. However, one can work within these boundaries, effectively building realism that incorporates strong attacks causing
emotional charge, adrenalin rush and immediate spontaneous responses. Sparring can also be used to develop speed, reflexes, confidence,
power, timing, aggression, control and stamina.

Levels for the Karateka are important. Most will start with non-contact sparring and drills, giving both combatants free range to safely try out
their new skills and techniques. As they become more skilled, the attacks become harder and quicker & throws and groundwork can be
incorporated.

All aspects of sparring drills enable the Karateka to use their techniques with realism, leading to a greater understanding of biomechanics,
speed and spontaneity of technique.  

15 Throw Techniques Of Goju Ryu Karate

 

Ashi Barai Front Sweep

 Ashi Garuma Foot Wheel

Harai Goshi Sweeping hip throw   

Ippon Seo nagi One Arm Shoulder Throw

Ko Soto Gari Minor Outer Reap

Ko Uchi Gari Minor Inner Reap

Koshi Garuma Hip Wheel

O Soto Gari Major Outer Reap

 O Uchi Gari Major Inner Reap

Ogoshi Major Hip Throw

Si Otoshi Shoulder Drop

Tai Otoshi Body Drop

  Tani Otoshi Valley Drop

Tome-Nagi Circle Throw

 Uchi Mata Inner Thigh Throw

Hojo Undo
Hojo Undo are supplementary exercises that develop and condition the body with the use of training aids. They are specifically designed to
enhance the self-defense techniques learned in the Goju Ryu system. The following are some examples of the equipment and their use.

Chishi ---The chishi 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.

Nigiri Game---These are gripping jars, usually made of clay with a rim around the top to grip with the fingers. Sand can be added to increase
the weight of the jars. They can be substituted with a common glass or mason jar for the same effect. Gripping these jars increases the strength
of the fingers for gripping and tearing applications.

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 a 4X4 tapered off at the top. It is used to condition the striking surfaces of the body and perfect striking techniques and kime.

Ishisashi---This is a stone padlock resembling the shape of an old-fashioned clothes iron. It is used for strengthening the arms and wrists.

Tan---This resembles a barbell, usually made of wood with weights on the ends. It is usually rolled over the forearms and back, or twisted over
the hips. It strengthens and conditions the affected areas.

Tou---This is a bundle of bamboo sticks taped together at the ends, and is used for nukite practice and conditioning.

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.

Tetsu Geta---These are iron clogs, used to strengthen kicking techniques.

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.

Sashi Ishi---A short wooden handle with a stone weight in the center.

Makiage Kigu---This is a wrist roller, a wooden handle with a weight hung in the center on a rope. You twist the handle and wrap the rope
onto it, raising and lowering the weight, and strengthening the wrists and grip.

Tetsuarei---These are basic dumbells, and their use is much like modern weightlifting exercises, with the same results.

These are the traditional implements used by Goju Ryu practitioners to strengthen and condition the body.

Five Secrets of Japanese Goju Ryu

by Gogen Yamaguchi

 Move Quickly Sound 

Calm Spirit Be 

 Light in Body

Have a Clever Mind

Master the Basics

The Four Virtues of Life

Honesty: To myself and others at all times

Humility: To those above and beneath me in thought, words and deeds

Patience: I will place the needs of others above my own

Sincerity: I shall be afraid only of my lack of sincerity

Without an attempt to develop the four virtues passed down from master to student, the true secrets of the art will never be realized. If a man
does not contain a degree of the four virtues, Chi will not develop.

Eight Poems of the Fist  

The mind is one with heaven and earth.

The circulatory rhythm of the body is similar to the cycle of the sun and the moon.

The way of inhaling and exhaling is hardness and softness. Act in accordance with time and change.

Techniques will occur in the absence of conscious thought.

The feet must advance and retreat, separate and meet.  

The eyes do not miss even the slightest change.

The ears listen well in all directions.

It should be known that secret principals of Goju Ryu exist in the kata. Goju Ryu Karate-do is a
manifestation within one's own self of the harmonious accord of the universe. 

The way of Goju Ryu Karate-do is to seek the way of virtue.    

Okinawan Goju Ryu Maxims

1) The soft contains the hard.

2) In defense, attack~In attack, defense.

3) Soft target, hard weapon~Hard target, soft weapon.

4) Grip a strong person lightly~A weak person heavily.

5) Linear attack, circular block~Circular attack, linear block.

6) When your temper rises, lower your fists~When your fists rise, lower your temper.

7) To strike high, first kick low~To kick low, first strike high.

8) The heavy hand (muchimi) goes down~The springy hand (chiru no chan chan) goes out.

9) To power the striking hand focus on the reversing hand.

10) Out with a speed of ten~Back with a speed of thirteen.

11) Knocked down seven times~Get up eight.

12) Hands rise~Body drops.

Founders

Kanryo Higaonna
 Chojun Miyagi

In The Master's Dojo

Chojun Miyagi watches as some of his top students train.

 Gojukai

Gogen Yamaguchi

Budo vs. Bujitsu by Gogen Yamaguchi

"Budo is concerned with an Individuals search for something, whereas the bujutsu is concerned with the application of the art or the technique.
Budo is the way, where as bujutsu refers to the technique. Through the practice of bujutsu, the way of budo can be followed. The literal
translation of the word Budo is 'not to use spear' which means 'not to fight' or 'stop fighting'. The way of budo is not to be concerned with
winning... winning, sport and the competitive spirit are not the way to understand budo. It is rare to come across a real artist who practices
budo, I doubt if many really exist."

The Clenched Fist Insignia

The clenched fist insignia was designed by Mr. Gogen Yamaguchi and first used in the early 1930's by the karate club he founded at
Ritsumeikan University and is now the exclusive intellectual property of Mr. N. Gosei Yamaguchi, son of the late Gogen Yamaguchi and
Chairman of Goju-Kai Karate-Do USA.
 A Poem by Master Gogen Yamaguchi

Karate requires you to make a strenuous effort night and day, before you achieve understanding.

Strong Spirit and Will Power, so that we can overcome our own interests.

The major teachings of karate are to achieve confidence in yourself, to be polite, maintain peace and tranquility of mind. You should pay
tribute to your parents, ancestors and master. You should also be in harmony with your friends.

After you become aware of these, you will know the greatness of gods.

For you to achieve this you must discard your own interest and then you will understand The Way.

 
The Special Merits of Karate
A large space is not required.

It can be practiced alone.

Its practice does not require much time.

Men and women, young or old, can practice karate, it depends entirely upon one's constitution. Proper kata can be selected and practiced at
one's discretion.

One can practice with empty hands or the use of simple equipment can also be employed without much expense.

Training in karate improves one's health. This fact is evident from the physical condition of aged enthusiasts.

Physical and mental unity develops an indomitable spirit.

Miyagi Chojun
 

History Of Goju Ryu Karate

During the 14th century, Okinawa style Chinese Kenpo was known as To-Te or “Chinese hand”. A lost form of Okinawa “Te”, practiced
before the coming of Kenpo, was unified with Chinese and Japanese arts and developed in secret because weapons and martial training were
outlawed for long periods. From a technical point of view, open-hand techniques are considered of Chinese origin and closed-hand techniques
of Okinawan origin. Various types of kicking are South Asian and Japanese, and grappling techniques have slipped in from everywhere. Split
into three distinctive styles all called “Te” or Tode, during this early period people distinguished schools by the name of the city they were
based in, like Shuri, Naha, and Tomari (Major cities for karate in the early days). Shuri was an Okinawa political center, Naha was associated
with commerce, and both were also main residences of Chinese officers who came to Okinawa on government missions. Tomari was a major
cultural center in Naha Province. The little known art of this city was called Tomari-Te, and was considered very effective. These are the
original forms of various modern schools of karate. In general, Naha-Te relies on flexibility in dynamic movement; Shuri-Te emphasizes speed
in rational movement; and Tomari-Te combines these principles.

Since very few records were made, it is rather difficult to prove any historical data bout the actual creators of Okinawan karate.

However, it is known that Mr. Soshu Matsumura in Shuri and Mr. Kanryo Higanuma in Naha were the most distinguished authorities in the
early period. Mr. Chojun Miyagi was the successor of Naha-Te and later founded Goju Ryu, which is considered the first organized system to
name itself by school, rather than by city. Master Kenwa Mabuni, from the same generation as Master Miyagi, founded Shito School. Master
Gichin Funagoshi, who studied Shuri-te, in 1923, came to Tokyo to work as a schoolteacher. He opened a karate institute and named it Shoto-
Kan School. Goju and Shito School were also institutionally organized in mainland Japan at this time. Master Otsuka, a student of Master
Funagoshi, then founded Wado-Kai.

Thus Goju-Kai, Shito-Kai, Shoto-Kan, and Wado-Kai were Japan’s first Karate organizations.

  Shuri-te Influenced by Kenpo’s Hard techniques (Go), seen more as an offensive system.

Naha-te Softer techniques {Ju) of Kenpo, plus strong breath control, more of a defensive system. 

Tomari-te The hard and soft techniques of Kenpo.

Many styles developed from these systems. Naha-te became Goju-Ryu; and Tomari-te and Shuri-te became Shorin-Ryu which has again split
into several different styles. For example, Kyokushin karate is an amalgamation of Goju-Ryu and Shotokan, while Shito Ryu Karate combines
Naha-te (GoJu Ryu) with Tomari-te and Shuri-te styles (Shorin Ryu).

Naha-Te

1853 Kanryo Higaonna was born.

1866 He traveled to Foochow, China where he met Ryu Ryuko - a Kenpo master - and began to study Chinese Kenpo. He stayed for 15 years
then, in 1881, Kanryo Higaonna returned to Okinawa.

1905 He Began teaching at a public high school. Along with Anko Itosu, he became the foremost karateka in Okinawa. Many of his students
went on to develop their own styles based on Higaonna's teachings. Most notably was Chojun M iyagi, founder of Goyu-Ryu, and Kenwa
Mabuni of Shito Ryu. 

1915 Kanryo Higaonna continued to teach until his death at age 63.

GoJu Ryu

1888 Chojun Miyagi was born.

1902 Chojun Miyagi was introduced to Kanryo Higaonna.

1905 He travelled to Fukien Province, China. He studied Shaolin and Pa Kua forms of boxing. One hard
and external (Shaolin Chuan), the other soft, circular and internal (Pa Kua) and with his Naha-te he formed
his new system, GoJu Ryu.

1909 Gogen Yamaguchi, founder of Japanese GoJu -Kai, is born on January 21st.

1915 Kanryo Higaonna dies on December 23rd. Chojun Miyagi travels to Foochow
province in China and trains in several local styles.

1927-1929 Chojun Miyagi founded GoJu Ryu Karate. The first karate style that is not named for a city, such
as, for example Naha-Te.

1929 Gogen Yamaguchi invites Chojun Miyagi to Japan.

1930 Gogen Yamaguchi establishes Japanese Goju Ryu in Tokyo. Chojun Miyagi named Karate Division
Chairman of the Okinawan Prefecture Athletic Assoc.

1933 The Butoko Kai - the Japanese centre for Martial Arts, officially accepted karate.

1934 Chojun Miyagi lectures and teaches karate in Hawaii. He also becomes a permanent officer of the Dai
Nippon Butokukai (Great Japan Martial Virtues Association).

1935 All Japan Goju-Kai Karate-Do Association founded by Gogen Yamaguchi, who also originates jiyu-
kumite(free sparring), the basis for sport karate today.

1936Chojun Miyagi receives a medal for "Excellence in the Martial Arts" from the Japanese Ministry of
Education. He also travels to Shanghai and studies Chinese martial arts at the Seibu Dai Iku Kai (Great
Gymnastic Association, Pure Martial Arts Spirit).

1939 Gogen Yamaguchi is sent to Manchuria as an intelligence officer, where he is captured and held by
the Russians.

1940 Chojun Miyagi created the katas Gegisai Dai Ichi and Gegisai Dai Ni.

1947 Gogen Yamaguchi founds the Karate-Do Goju-Kai in Tokyo after being freed by Russia.

1953 Chojun Miyagi died on October 8th in Okinawa. Some of his students were Eiichi
Miyazato, Miyagi Anichin and Aragaki Shurichin.

1922-1999 Miyazato sensei was born on the 5th July 1922. For many years the all-Japan Police Judo
champion, Eiichi Miyazato Sensei trained in Goju Ryu Karate under Chojun Miyagi for the longest of all
the seniors, from 1938 until his death 1953. Miyazato Sensi took over as the head of Goju-ryu after Sensei
Miyagi's death in 1953. In 1957 he founded the Jun Do Kan Dojo in Naha City, Okinawa. In 1972 he
retired from the Police force, built a new dojo and devoted the rest of his life to teaching Karate Do
reaching the rank of 10th Dan Black belt and the title of Hanshi. Students of Sensei Miyazato include
Nanko Minei, Keikichi Nakasone, Tetsunosuke Yasuda, Teruo Chinen and Morio Higaonna. Sensei
Miyazato passed away in his sleep on 17th December 1999.