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Eclectic GoJu

Combat Karate
1st Edition
Randall, Cook, Myers


Table of Contents
Preface - History.................................................................................................2
About the Instructors:........................................................................................7
Hanshi Myers Instructors:...................................................................................................8
Kyoshi Randalls Instructors:...............................................................................................9
Sensei Cooks Instructors:.................................................................................................16
What Is Your Style?........................................................................................20
Basic Kata Set:..............................................................................................24
Martial Arts:...................................................................................................33
Autonomic Nervous System:............................................................................38
Art of Conflict:................................................................................................43
Purpose of Kata:............................................................................................45
The Kiai:.......................................................................................................48
Sticking Hands:..............................................................................................51
The Mystical Lady Who Rode the Golden Hog...................................................55

This document will serve as a class aid to students with the desire to learn. It is
an ever-expanding document with no limits on size, content, or number of
authors. Any authorized teacher of the Eclectic GoJu system may submit or
approve of writings to be added to the official document. This document is a
collection of knowledge and ideas. They represent only one of many valid
viewpoints to convey the same message.


Preface - History
Legends state that the Indian born (Zen Buddhist monk) Bodhidharma travelled
to Hunan province in China around 500 A.D. In which, he spent nine years in the
Shaolin temple, where after he started to teach different breathing techniques and
physical exercises to the monks of Shaolin. He also explained to the monks how to
develop their mental and spiritual strength in order to endure the demanding meditation
exercises. Bodhidharmas teachings are considered the birth of Chinese Kempo.
However, it should be known that several Chinese martial arts were practice before the
arrival of Bodhidharma. Even so, Bodhidharma still set the stage of the spreading of
Chinese Kempo and philosophy.
Eventually Kempo spread throughout China, where it was divided into two main
styles: the Northern and the Southern styles. The Northern style (The northern leg) was
characterized by straight and hard techniques while the Southern style (The southern
fist) had circular and softer techniques. It is said that these Kempo techniques were
often inherited within the family as a well-preserved secret.
The secret art of Chinese Kempo (Quan Fa) eventually made its way to Okinawa,
by Chinese officials on diplomatic missions and by the shizoku, young men of wealthy
Okinawa families that went to China to improve their studies, culture, and martial arts
skills. These young men took part in the education of the noble class. These cultural
exchanges continued up until Okinawa was invaded and taken over by Japan in 1609.
It is at this time in which Japan breaks up all diplomatic relations with China and bans


the practice of martial arts and the carrying of all weapons (first pronounced by King
Sho Shin in 1477).
Chinese Kempo (Quan Fa) eventually blended in (or combined) with the
Okinawan native art of "te" (an old Okinawan art practiced long before the arrival of
Chinese Kempo). These two arts created Tode-jitsu (sometimes referred to as Chinese
hand or Okinawan hand). Karate originated from Tode-jutsu, a combination of Chinese
Kempo and Okinawan-Te. Tode-jutsu was developed particularly in the cities of Shuri,
the old capital of the Ryukyu Kingdom, Naha, the current capital, and Tomari. This art
was practiced secretly for many, many years by the Okinawans as a means of defense
against the well-armed Japanese clans at a time when weapons and martial arts were
The aforementioned writings were taken and condensed for quick reference. Each
student should be at a minimum versed on the paragraphs above for a basic
understanding of the quest which they undertake.

The History of Goju-Ryu continues from the development of Tode-jitsu and is

specifically tied to the city of Naha. Kanryo Higashionna, a noted pioneer of Okinawan
karate-do, was born in 1853 in Naha, Okinawa. By 1868 Higashionna had gained a
permit to travel to China as a student where he would become acquainted with the
Chinese martial arts. After studying in the southern Shaolin temples of the Fujian
province under Master Ryu Ryu Ko for 14 years, Higashionna returned to Okinawa
where his skill would quickly be recognized. Kanryo personally taught the king of


Okinawa his art of Naha-te (named after his city) and would expand his teachings into
the public school system. At this point in time, karate was slowly becoming more
available to the general public as opposed to being restricted to nobility.
One of Master Higashionnas top students, Chojun Miyagi, was also a native
Okinawan born in the city of Naha. Miyagi would study under Higashionna in the art of
Naha-te, with periods of military service, until his teachers death in 1915. Miyagi would
subsequently travel to China under Ryu Ryu Kos students for a brief period of time.
Chojun Miyagi would become one of the top karateka of his time and is known today as
the father and founder of the art of Goju.
Jinan Shinsato, a top student of Miyagis was sent to Tokyo, Japan to perform a
demonstration of karate. He was approached by a Kobudo Sensei during his trip and
asked for the name of his art. (At this time the martial arts were only referred to as te
or bu) Unable to provide an answer, Shinsato told Miyagi of his experience and asked
about a name for their art. Recognizing the need for a name, Miyagi chose Goju Ryu as
a name for his art, taken from a line in the Bubishi poem Eight Precepts of Kempo.
Goju Ryu would be the first martial art to be named for something other than its city of
origin. By 1933, Goju Ryu was officially recognized as a style in Japan by the Butotu
Kai. Karate had now achieved a martial art status equivalent to Judo and Kendo and
was becoming recognized worldwide.
Miyagis top student and successor to the style of Goju Ryu, Jinan Shinsato,
would later be killed in WWII, as well as two of Chojun Miyagis daughters and a son.
Miyagis inherited family wealth would also be destroyed in the war. For fear of losing
the art without a successor, Miyagi began openly teaching karate at police academies


and to the public. Until now students not chosen as probable successors of an art were
only taught one or two kata chosen based on an individuals strengths, weaknesses,
body type, and dispositions. During his lifetime, Miyagi had introduced the katas
Gekisai Dai Ichi, Gekisai Dai Ni, and Tensho to the GoJu kata system. Chojun Miyagi
would pass away in 1953 at 65 years old.
Gogen Yamaguchi would become a remaining student of Miyagi and the founder
of Goju Kai, the Japanese Goju system. Yamaguchi served as a bridge from Okinawan
Goju into the standardized Japanese forms. Yamaguchi had mastered the hard aspect
of the style at a young age, being awarded the nickname Gogen, meaning Rough, by
Master Miyagi himself. He would later become known throughout the world and in
karate history by another nickname, The Cat. This was due to his grace and speed in
movement as well as his favorite fighting stance, Neko Ashi Dachi. Some say his
nickname was also a result of his lion-like mane of hair and his victorious encounter with
a tiger as a prisoner of war. Yamaguchi introduced the Taikyoku forms to the art of Goju
as training methods for beginning students.
Grandmaster Peter G. Urban had the extreme fortune to be formally trained by
not one, but three of Japans greatest karate teachers during his stay as a member of
the U.S. Navy. In 1953, Urban began his apprenticeship under Master Richard Kim, in
1954, Gogen Yamaguchi accepted him as a student, and in 1955 Mas. Oyama, founder
of the Kyokushinkai School, began training Urban. By 1959 when Urban left Japan, he
had married a Japanese woman and was awarded a 5 th Dan, the highest degree ever
bestowed to a non-Japanese practitioner. Upon his return Urban set into motion the


creation of an Americanized Karate system separate from the highly secluded Japanese
His aspirations denied, Urban broke tradition proclaiming himself Grandmaster
(10th Dan), and founder of his own American Goju Karate System. His selfproclamation was not done out of arrogance for notoriety, but as necessity for creating
and leading his own system. Urban would prove himself worthy of his title with his love
of the martial arts and world renowned advancements in the name of Goju. Urban
became one of the most influential pioneers of American Karate, giving America its own
system equal to that of Japan. Americans would no longer be held back as second-rate
martial artists due to their ethnicity. Urban continued to teach for the entirety of his life,
leaving unfinished plans with his death in 2004.
Urbans notable students in regard to Eclectic GoJu include Master Aaron Banks,
famed for his promotional events in the martial arts community including the Madison
Square Garden gathering, Grandmaster Robert Jones, described as an expert
storyteller capable of bringing life to old and new tales alike, and Grandmaster William
Stonewall Myers, nicknamed by Peter Ironwall Urban himself.


About the Instructors:






Jones Jr.






Hanshi Myers Instructors:
American Sensei Peter G. Urban is a unique, one of a kind person. He is the
best Grand-Master of all time. Teaching martial arts was his God given gift (and ours)
and is definitely his calling. Grand-Master Jones, My first teacher, was highly respected
in the martial arts circles and was Sensei's student of excellent quality. He spoke highly
of Sensei Urban with a smile and a gleam in his eyes. I visited for further study, and
rest is history.
Humbly, I have been a black belt since 1974 with Sensei Urban. I received my
Shodan (1st degree Black Belt) in the good old Chinatown "Shanghai" dojo days.
What a worldwide diverse group we are. I was from a multi-cultural family, so I felt at
home. My experiences were golden and enlightening.
In 1983, at the Ozone Park, N.Y. Fanshua Monastery, Sensei Urban began to
groom me to be a Sensei of quality. A Sensei for the "Old Time Religion". Brothers and
Sisters, take it from me, there are no magical martial arts shortcuts.
After I became a member of Sensei Urban's Gojudo Fight Schools Network, I
received a post as Martial Arts Director with Director Susan Gaines at the Baja Iron
Mountain Dojo at State University in N.Y., in the I.C.C.E.C. (International Child Creative
Educational Center) program. I worked with those children until my relocation to
Washington, D.C.
I have hung in there from the "Old Days" in the sixties until now, faithfully, during
the good times and the bad. Some faces have changed, but our numbers and progress
is still made.


Sensei Urban has affectionately named me Grand-Master William "Stonewall"
Myers. Everybody likes my nickname, and I consider it a high honor to be named by
Sensei "Iron Wall" Urban, who is the greatest teacher in the world. That is why I
presented him with a written tribute entitled "O'SENSEI." He is one of the best
innovators, writers, and authors that I know. God bless and keep SENSEI URBAN.
-OSS! Hanshi William A. Myers, 10th Dan
Kyoshi Randalls Instructors:
1. Sensei Earle Victoria
Sensei Earle Victoria, New York Karate Academy Goju Karate Instructor placed
me in line as the very last student in an adult class of twenty five. He informed me he
did not care that I had taken karate before but that in his class all new students, except
black belts began studying again. His accent a mixture of his Virgin Island background
and his New York City, New York influence was loud and authoritative. This began my
introduction into GoJu Karate Do.
Our Dojo was a gymnasium which was always full but we had our space and in
my six years of direct tutu ledge under Master Victoria everyone knew where we
claimed space and there were never any confrontations. There was also a Tai Chi class
being run on the opposite side of the gym.
This gym had no air conditioning and during the summer the stifling heat
appeared to take hold of your very essence. The temperatures during these sessions
easily surpassed 100 degrees. He never gave any breaks and you never received any
water. Coupled with his unrelenting instructions it took every bit of fortitude to remain
without just becoming frustrated and leaving. Many students succumbed to the rigor of


training and left to never return. In all the years he never gave any indication that
students leaving bothered him. To Sensei Victoria it was just another condition that you
either mastered or it mastered you.
Sensei Victoria in later years told me that he had grown up in New York City and
studied martial arts under Grandmaster Aaron Banks. Grandmaster Banks studied
under Grandmaster Urban who is the founder of GoJu USA. He (Victoria) stated that he
frequently competed and won numerous tournaments, which were reflected in his
collection of trophies. One day while in the United States Army he had a brain aneurism
and lost his memory. He said he spoke fluent Spanish at one time but could not recall
the language. He was hospitalized for an extended period however his memory
remained elusive. His wife acted as his historian when he was exactly sure of
sequences of events. I knew they had grown up together and eventually married.
While recovering at the local military hospital Victoria left the hospital and ended
up in the gymnasium. He ventured inside and observed a young man practicing Tai Chi.
Instinctively he approached the young man in his hospital wear and latched on to his
arm. This much have been disconcerting to the young man but as he related to me he
remained sound and the military police were contacted. As defiant as he was he held
firm to the young man and asked him to contact his spouse. This potential volatile
situation had been handled with maturity and concern. My sensei was still under
doctors care and recovering from a life threatening injury.
Eventually sensei's wife spoke with the martial artist, who acted with empathy
and compassion and daily with the permission of doctors escorted Sensei Victoria to the
gymnasium and began slowly but expert instruction begin sensei's rehabilitation. He



practiced the martial arts regularly and slowly allowing hidden memories to resurface.
This appeared to be a long and arduous process but became very effective.
Sensei Victoria never fully recovered his memory but was able to remember and recall
events and slowly reconstructed a portion of his martial arts past. Eventually he
confided in me and pasted that history forward.

I remember on the second day of instruction with a class full of students we

worked endlessly through series of techniques. Following class a kung fu practitioner
which sensei knew approached us outside of the gym. Sensei seeing this as a good
test for me asked if the Sifu would not mind sparring with me. Now I had studied before
joining Sensei Victoria I was not prepared skill wise to spar with this black belt. I can
recall seeing a foot flash in my face and partially blocked I felt the thundering impact. I
am certain that the force in which the kick was delivered was not meant to injure me.
But survival gave way to practical showmanship I slumped to the ground. Certainly I
was physically hurt but I concluded that if this continued this would be repetitive. I
feigned pain. I could hear sensei's loud resounding admonition "get up, get up."
Fortunately the other fighter did not feel further sparring benefitted me and politely
began a personal conversation with my sensei. Later he explained "If you had blocked
the kick you would not have been hit and if you had not been hit you would have
continued the contest."
One of his training methods was to toss 1/2 inch boards in the air and he would
have you strike the board in midair and break them. This was continued until you broke
the board. After you could break these boards on several occasions you would never



have to submit to these exercises again. I still bear the scars of striking these boards.
This always happened when the board did not break.
Later under his teaching I was giving instructions to several white belts
(beginners) at least junior to me. During this instruction one of the students kicked
toward me with full speed and thrust I had been training for several years and
reflectively offered a reverse punch to counter the surprised assault. Meaning to strike
him in the kneecap I relaxed my hand before impact to avoid inflicting injury. As I
absorbed the front thrust kick it disfigured my hand so that the two fingers distal to the
thumb were knocked under the two fingers proximal to the thumb. Lacking any degree
of empathy he reconstructed my fingers by pushing them into alignment. After seeing a
physician the following day and being placed in a temporary cast the following day,
Sensei's Victoria comment was you still can practice with that on. I just took off the cast
and kept the wrapping and avoided contact on my injured hand. "Look another lesson",
he explained. Pain and fear destroy your bodies will to fight. You must overcome fear
and pain for they are your body killers." There was never a time in class when he was
not teaching. You only relished that you were not the object of his lesson.
Eventually the class began dwindling, even when they were replaced the new
practitioners quit. After an extended period I moved through the ranks and took the first
position in the class. By this time Sensei Victoria had me accompany him when he
taught Taekwondo as a senior instructor for Grandmaster Choi. Sensei Victoria was not
the same instructor in these classes and displayed a degree of empathy. I was taken
aback. He later explained to me that paying students expected advancement
regardless of how they performed. It kept the school full and money flowing. This was



his job. If black belt was a level of achievement than the expectation in class was that
if I come regularly and pay my tuition the attainment of this level was limited only to
time. I saw this over and over in these classes. For me and those of us in the gym dojo
this was like Fantasy Island. I actually enjoyed coming to the classes and helping
teach. At least I was not going to be subjected to the rigors of our two-two and a half
hour classes that day.
Training in New York was brutal as Sensei Victoria exclaimed. There were no
gloves or other protection and during kumite punches were not always pulled. You
survive because you did. And not until I experienced the difficulty that he explained
epitomized a martial artist I would be like so many other black belts. Three times a
week and extra-long sessions on Saturday we trained. He frequently called me when
he recalled a particular maneuver or kata that I needed to know. We became very good
friends outside of class. In class everyone received equal abuse and abasement. In
retrospect it was full of amusement, attention to detail and mental growth. Our meeting
was fortuitous on my part.
Over the years of I met and studied with many of these students and instructors
from New York during the time Victoria Sensei was training. They collectively agreed
that there is one way to learn the martial arts and that was through tough by fair training.
I last met with Victoria sensei during 1994 but through students which I have had
the pleasure to teach that have given me updates on him. He would always criticize
my teaching method but always inquired about my well-being. There are few earthly
things that I treasure but my association with Sensei Victoria ranks very high on that list.



2. Hanshi, 10 Dan William "Stonewall" Myers
During a summer's day while in the process of canvassing a neighborhood for as
applicant awaiting a government clearance a familiar symbolic sequence of letters
attracted my attention. "GOJU" Since I had completed my interviews I stood affixed with
a simple dilemma, should I continue my interviews in another locale or inquire at the
house. But with only simple resistance I trekked to the door and ring the bell. Hanshi
Myers presented himself with a gracious smile and with the same gregarious nature he
welcomed me. We exchanged formalities and he invited me in which began my
Hanshi Myers is an encyclopedia of karate knowledge which extends for over
four decades. His association with USA GOJU founder and knowledge of the numerous
karate men that emerged from the school of the founder always impresses me and I am
like a student sitting in a classroom listening to a lecture from an eminent lecturer.

3. Zhong Xian (Taught me much)

I met Master Xian in Nuernburg, GE, during 1989 while practicing kata in
the park, which had been a prominent place during World War II. He was an old man of
Asian ancestry, very meek and during the time I knew him, he was always polite and
never assuming but his persona commanded respect. He was actually from China. I
can recall walking through the park as I always did, avoiding work and basically hiding
out. While watching some people performing Tai Chi, I sat on a bench and at the end
was an elderly man who was certainly older than me. He spoke broken English, heavily
accented that required me to listen closely to him. He was engaging and asked me



about many things. I was reluctant to discuss some things having just met this
gentleman. Our discussion evolved into my interest of the martial arts presentation. I
humbly responded that I trained and was currently teaching a class on one of the US
installations in the area. He asked if I had ever trained in Chinese martial arts style
which I responded in the negative. He corrected me and stated that the Goju Ryu Style
taught by Miyagi Sensei was heavily influenced by Chinese martial arts.
Much to my surprise he stood up and demonstrated Sanchin Kata with open hands. I
was overly surprised and was hoping he would not ask me to perform kata. The
thought had not fully evolved in my mind when he wanted me to perform Sanchin Kata.
I wanted to make an excuse explaining that I was supposed to be working. I was attire
in my suit. Ultimately I removed my shirt, jacket, shoes and socks and performed
Sanchin Kata. He then critiqued my kata and stated your external strength is obvious
but true lasting strength evolves from Qi coupled with proper technique. Total
understanding of this concept cannot be captured in the time we have so do not ask
questions for the sake of asking a question. If you wish I will teach you. That began
training that lasted for about a year. I was teaching classes, being taught or practicing
daily during that period. My knowledge expanded exponentially. I learned remnants of
several Chinese styles, redefined hard and soft and became a much better teacher and
It was a regrettable and unfortunate day when I came to practice and Sifu Xian
had departed. There is countless more that I could include about my Chinese Master
but I chose not. He left me with a simple thought, "remain humble, seek out those
whose thoughts have substance, and remain at peace while you blend in with the



universe. Allow your mind to remain free like the birds in the sky whose boundaries are
Sensei Cooks Instructors:
1. Kyoshi Leanear Randall:
I met Kyoshi Randall at a very young age through the recreational Stafford
Baseball League in Stafford, Virginia. (Over 10 years before he had been awarded the
title Kyoshi) My father and sensei had both acted as youth baseball coaches for the
team Jamar (Senseis son) and I had been playing on. After a strong relationship
between our fathers had developed through coaching together, my parents informed me
that Coach Leanear had offered to teach karate to me. Both my parents urged me to
accept the offer. And so, at nine years old in the summer of 2002, I began my path as a
karateka with a complete ignorance of the complexities that my karate training would
entail. I begin training with no higher purpose in mind other than to learn to defend
myself should the need arise.
I began my training conjunctively with Jamar Randall, who over the course of the
next four years would be my training partner and competition. Both of us were
continually compared to one another as we were often the only two students who were
receiving training from Master Randall. A large number of students, much too large to
keep track of, would join us in our training and quickly drop out upon realizing the
repetitive nature of traditional karate training. Our dojo consisted of the garage of
Master Randalls house during the summers and an even smaller basement during the
winters. On occasion, we would train outside in the grass around his house for a
change of pace. None of our feelings were hurt by the various students coming and


going, though some would continue to train for a year or two without solid commitment
and arriving sporadically, on their own schedules. Jamar and I would become the only
two students to achieve a Dan grade out of every peer that had trained beside us for
any length of time.
Upon being awarded our Shodans in 2006, Jamar was quickly running out of free
time to train as he became more involved in ice hockey and eventually stopped
attending the training. This became a turning point in my development as the training I
was receiving now became even more individualized with one-on-one training from
Master Randall. After another two years of training, I had learned the entire GoJu kata
system under Master Randall as well as kata additions in the White Crane and Tai Chi
systems. A Kung Fu kata would later be added to this collection.
Presently I have been training under Master Randall for ten years even while
beginning to attend college. Although Master Randall had always sworn he we would
retire and end his teaching career with the conclusion of my training, I now have the
pleasure to visit the dojo he and Grandmaster Myers have continued to teach at in my
absence. Ironically, the dojo presently contains roughly fifteen students largely
composed of, though not entirely, younger children. This is a much larger and more
diverse training atmosphere than I or Master Randall had ever envisioned at this point in
time. I currently train with Kyoshi Randall as well as Grandmaster Myers over my
summers and on every break from school I am given. While at college, I continue to
teach students who are willing to learn, the ways of GoJu.
Even now, Master Randall has never once asked me or his other students for
monetary compensations in return for his teachings. He has freely given a lifetime of



knowledge and devoted his time to selflessly spreading the art of GoJu, openly
accepting new students into his home and martial family. I am privileged to have
received and continue to receive direct training from a traditional Master of his quality.
Ive recently had the pleasure of being included in the foundational development of the
Eclectic GoJu Combat Karate system and further my relationship with Kyoshi Randall. I
treasure the time Ive been given with Kyoshi Randall and have come to view him as a
second father figure in my life.

2. Hanshi William Stonewall Myers:

Hanshi Myers was introduced to me directly by Kyoshi Randall. Hanshi was
always alluded to by Master Randall during our trainings for over a year before I was
officially introduced. Jamar and I would continually be told of a GoJu grandmaster that
lived nearby and could be visiting our dojo soon in the future, so we needed to practice
hard to give a good impression. We would always be reminded of The Grandmaster
as incentive to learn the presently studied techniques or kata to a higher standard. After
a long period of time, Hanshi Myers had finally entered our dojo and was formally
introduced. The rest is history.
Hanshi Myers now continually arrives to teach alongside Master Randall, taking
time out of his working schedule to aid our martial progression. Hanshi Myers has
always arrived with a great sense of humor, positive attitude, and a vast wealth of
knowledge. I can say that I have never seen Hanshi Myers become truly upset or angry
in our presence. He graciously works hard to pass on as much information as he can to
us and now serves as a reference and authority on GoJu to our class. He willingly



teaches in Kyoshi Randalls dojo without concern for receiving credit and without
financial compensation. Grandmaster William Stonewall Myers lives up to his title in
and out of the dojo. He is by all means a true Model Instructor as the title Hanshi

3. Bob Bowers:
Upon arriving as a freshman at Bridgewater College I was naturally eager to
explore the small campus available to students. As I walked toward the Wellness
Center and gym on campus, a man had caught my eye through the window. A
gentleman who was very fit for his age could be seen in the middle of an aerobic room
wearing the traditional white gi of a karate practitioner. That alone could have held my
interest; however he was also wearing a worn black belt with fading colors and an
impressive display of red stripes down the hanging tip of the belt. This man was
performing katas by himself with noticeable skill and it was clear this man was an
authority on the martial arts with well-practiced techniques. After watching this man
silently from outside for a while I decided to enter the building to approach him and
waited for him to complete his kata before speaking.
I started by asking him what style it was he practiced and he smiled and
responded by saying that he was studying Kempo. Without missing a beat, the man
had understood that I must be a practitioner and in return asked me what style it was I
knew. I was glad to find out that he had also studied Goju Ryu briefly in the past. We
introduced ourselves and exchanged phone numbers agreeing to contact and train with



one another in the future. As it turned out, we frequently saw each other in the gym and
rapidly learned more about one another, developing a lasting friendship.
Over the course of my first year of college, I trained with Master Bob Bowers
informally very frequently. We occasionally would end up training more than once a
day. By the end of the school year, I had shown Master Bowers the remaining katas of
the GoJu system that had been omitted from his past. The katas Shisochin, Sepai,
Kururunfa, and Suparinpai were all added in a surprisingly short amount of given time to
Master Bowers already impressive kata repertoire. In addition, I had taught the White
Crane kata Hakutsuru to Master Bowers and his son Tommy Bowers, who was also a
more experienced karateka than myself. This rare kata was one in which Master Tom
Bowers had been searching for relentlessly for multiple years. It was by coincidence
that the very same kata in its preserved ancient form had been passed down to me by
Kyoshi Randall.
I have since grown close to Master Bob Bowers and Tom Bowers and have
grown considerably as a karateka due to their experienced guidance. They will forever
be welcomed into my home and martial family. I hope to keep contact with both of them
throughout my college experience and onward. I now have the beginnings of a Kempo
background and plan to further continue my training with them in the future.

What Is Your Style?

Our style is Eclectic GoJu Ryu. However many circumstances have altered our
version of the original GoJu Ryu Style presented to the world. We recognize
unequivocally Chojun Miyagi Sensei as the founder and Grandmaster of the system of
Goju Ryu, Grandmaster Gogen Yamaguchi as The Grandmaster and founder of Goju
Kai karate-do and Grandmaster Peter Urban, founder of Goju USA. I would be remiss


to neglect the efforts of Morio Higaonna Sensei and his selfless effort to maintain and
expand Goju Ryu throughout the world. It would be impossible to credit everyone that
has influenced this style of Goju Ryu and to purposely neglect their efforts would be
shameful; however at this time the aforementioned authorities hold particular status and
hopefully as this expands the many others will also be included.
We are a hard and soft style martial art blending complementary techniques to
support our quest. We focus on soft techniques against hard one and hard techniques
against soft techniques
This style is in constant flux and never stagnates. It is built from the many martial
arts and masters of China, Okinawa, Japan and the United States. It was once said
that a person can never stand in the same stream twice. As such, one must remain in
constant motion obeying and recognizing yin and yang and hard and soft style martial
Students must seek personal harmony, bend like a blade of grass in the wind, be
tenacious and respond with blinding pressure and speed but always remain as a baby
at play. Harmony in all avenues of life is nirvana. Contend when you cannot avoid,
harm when you must contend and kill never for glory or honor always recognizing that
there was absolutely no other alternative.
Eclectic Goju Combat Karate-do is an individualized fighting style taught to our
students. It was not meant to supplant any martial style or to be recognized worldwide.
Its adherents are those taught by the black belts of the style and only they have the
authority to promote or spread the style, or authorize any students to teach the system.
One constant is the heavy GoJu Ryu influence and the internal and soft movement



along with hard external development. This is to eliminate any contention from others
on any and all aspects of the system. "One may take several ways to reach the
supermarket, who is to say what way is the best.
Grandmaster William "Stonewall" Myers, Tenth Dan/ Hanshi of Goju USA, Iron
Mountain Dojo is the First Grandmaster of Eclectic Goju Ryu. Master Leanear Randall
(Rokudan), Marc Cook (Nidan), and Jamar Randall (Shodan) are qualified teachers of
this style, which in its present version is very complex for beginners but is learnable
through practice. This particular study is not entirely new but has been in motion since
the mid 1980's when Zhong Xian first introduced the void thought.
Our system is a style friendly system which is Goju and is complimented by years
of training and research. Any black belt may train within our classes but must be voted
into the system and must learn the Goju kata system as an immediate requirement. All
non-Black Belt Goju students are accepted at their current rank however every student
must demonstrate proficiency for promotion at any kyu (colored belt).

There are only three levels of status: Masters, Black Belt Teachers and Students.
Students may hold titles as disciples and wear sashes, head students who are
responsible for class conduct and adults with tenure who will instruct class in the
absence of black belt instructors. Tenure will be awarded in class to adults. Again we
will examine our advancement system.


White Belt

Number of

Ranku Shiroi




Foundation Belt



Yellow Belt

Ranku Ki


Learner Belt

Ranku Aoi


Basic Belt

Ranku Kasshoku








Green Belt


Brown Belt





















Basic Sensei

Black Belt






Chief Executive
Chief Master


Basic Kata Set:

Beginner Katas

Required GoJu

Various Additions

Weapon Forms

Taikyoku Jodan

Gekisai Dai Ichi

Empi Ha

Bo Kata

Taikyoku Chudan

Gekisai Dai Ni

Gesaku Sho Kata

Shishu No Kan

Taikyoku Gedan



Sai Kata

Taikyoku Kake








Animal Kata

Goju Combat Kata


Tai Chi Kata

Urban Taikyoku




Japanese: Sanchin
Mandarin Pinyin: Snzhn

Sanchin (

Literally "three battles"

Sanchin) is a kata of Southern Chinese (Fujianese) origin that is

considered to be the core of several styles, the most well-known being the Goju Ryu
and Uechi Ryu styles of Karate as well as the Chinese martial arts of Fujian White
Crane, Five Ancestors, Pangai-noon and the Tiger-Crane Combination style associated


with Ang Lian-Huat. Tam Hon taught a style that was called simply "Saam Jin"
(Cantonese for "Sanchin"). The name Sanchin, meaning three battles, is sometimes
interpreted as the battle to unify the mind, body, and spirit; there are other
interpretations of it, however.
Only one stance is usedthe sanchin (meaning "three battles") stance, from which a
name of the kata is derivative now (initially it was named as Peppuren 1. Sanchin-dachi
is a practical stance, and yet is the most difficult stance to master. The legs protect the
body from sweep kicks, the thighs are to trap low kicks. According to a tai chi manual
("Zhengzi 13 postures"), the punch draws its power from the earth through the legsthe
flip of the hips enables the strength of the whole body to be channeled and focused into
one punch.
Properly employed, Sanchin kata follows the "hard" style of karateall the muscles are
to be flexed and tensed throughout the kataactually making it the most strenuous
kata. This type of strength training, is only recently understood in Western science and
is known as "isometric training" in bodybuilding.
In Chinese training, Sanchin kata also introduces the student to the use of "qi"
(Japanese "ki") for training and fighting applications. It can be understood to be a form
of "qigong" as employed in Chinese Wushu. In Qigong the hands are not closed into a
fist as it would be deemed as restricting the flow of Chi. The focus in Qigong is on the
controlled breathing to generate Chi in the body. Many western interpretations of qi/ki
explain it as an enhanced understanding of internal body dynamics and muscle control
through repeated and strenuous training.


In Gj, there are two sanchin kata: the first one, Miyagi's sanchin (or "sanchin dai
ichi"), the most widely taught as initial and Kihongata, was created for such purpose by
Chojun Miyagi, and has no turns so the karateka goes forward and then backwards.
The second sanchin, Higashionna's sanchin (or "sanchin dai ni") is a full-version
Sanchin kata and is older and was taught by Higashionna Kanryo. In this kata the
karateka always goes forward, but turns 180 degrees twice. Initially it was taught with
open hands, as sanchin-kata still is in Uechi-ryu, but later it was also revised to closed
fists by Miyagi's co-student Juhatsu Kyoda, founder of To'on-ryu, and adopted by
Chojun Miyagi as well.
This kata was adopted by other styles such as Isshin-ry and Kyokushin.
Some say the meaning of Sanchin ("Three battles") relates to the three journeys of life;
Developing body, mind and spirit. Through proper martial arts training, one properly
learns to develop her or his body through exercise and practise of kata/forms. Later, one
begins to understand the true meaning of one's training and develops an understanding
of bunkai and history, developing the mind. Spirit is developed much later in life and is
only understood by those who have achieved this.
The Sanchin routine uses only its namesake stance and is carried out with controlled
breathing (ibuki breathing). Inhalation and exhalation are performed in unison with the
various blocking and striking movements. In the most commonly taught versions,
emphasis is placed on the tension of the practitioners' muscles, and movement of the
body as a solid, stable unit. The Chinese and Uechi-Ryu version uses open hands while
other Okinawan and Japanese versions tend to use closed fists. Certain schools of Five


Ancestors kung fu, most noticeably those hailing from the Chee Kim Thong lineage,
employ minimal tension during execution. This is intended to facilitate the correct
training of qi (or ki).
The following description does not apply to the Chinese Snzhn stance.
The narrow (shoulder width) upright "pigeon-toed" foot position of the Sanchin stance
(Japanese: sanchin dachi) balances stability in two directions (front and side) with the
flexible waist rotation needed for strong punches and kicks. The toes attempt to "grip"
the floor, attempting to turn the feet outward while actually turned inward, creating a
rooted stance, whilst the pelvis remains tilted upward along with the turned-in position of
the front knee and the bent back knee help protect the groin from kicks.
Some styles use Sanchin as a method of checking strength and posture, as well as
concentration. All hits directed towards the karateka are done at the end of the punch,
when they are in their most tense position. Most Goju-ryu schools use the following
checking procedures:

Light to heavy slap down on the shoulders. This checks that the shoulders are in
a natural position, yet tense.

Light to heavy strikes (generally a ridge hand) to the lats. This is to check if the
lat muscles are tight. Light trapping of the elbows with a hand or fingers check that
the karateka is holding proper form with their arms and elbows, and using full
strength to strike.


Checking the legs. From behind, slapping the sides of the knees to make sure

the legs and stance are solid.

Fingers to the back of the neck. This is a reminder to fix posture.

Groin and pelvic tuck(tilt). From the front or rear, kick or raise arm to the groin. If
the karateka is in proper Sanchin stance and the pelvis is tilted, he will trap the kick
or arm with the inner thighs.
Breathing check. Light to heavy striking of the stomach. This could be a standard

punch or a ridge hand from the side. This will check for proper ibuki breathing.
Concentration check. The person performing shime should not strike in a specific

pattern, allowing the karateka to anticipate the strikes. He should strike randomly,
allowing the karateka to focus on the kata itself and not on the strikes. This may
involve occasionally "faking" a strike in view of the karateka to check that he does
not react to it. This is a portion of the "mind" part of "mind, body and spirit."
Posture. Check the strength and posture by hooking, open palmed, the wrists,

and guiding the punch, while applying resistance.

Traditional Okinawan schools will vary on their application of shime, but traditionally
women do not take strikes (shime) mainly because of the inability to do a sanchin pelvic
tilt which prevents a proper sanchin stance as well as the obvious lack of kicks to the



Key points of Sanchin Kata.
Remember to keep shoulders down.
Relaxation and tension at the correct points.
Abdominal breathing.
Good stances and balance.
Learn how to drop your weight onto your stance.
Practice testing your partner.

Why practice Sanchin?



Sanchin kata can guide and instruct practitioners on many levels. Even its name,
"three battles" or "conflicts", gives an indication that the kata functions at multiple
levels. The three elements in conflict are the body, mind, and breath (do not forget
that in Japan and China, breath is synonymous with spirit, ki, or energy). Although
these elements are considered separately, they are inextricably interwoven in karate
practice. Only when these three elements are in harmony we are able to reach our
potential in both technique and character. As in the rest of nature, the balance of
these three elements is impermanent, however Sanchin kata provides a way of even
temporarily uniting them, therefore the karateka's focus and power will be developed.
The Body Sanchin is an isotonic exercise which helps to strengthen, condition, and
toughen the physical body, through the application of tension and abdominal
breathing. Every muscle below the neck needs to be tensed for the entire duration of
the kata. In addition torques the arm and leg bones, so increasing bone mass. It is a
fundamental exercise in developing Mushimi the heavy, sticky hand technique.
The isotonic tension of the body automatically slows down the action of the
techniques. This provides also an opportunity to observe and learn the correct way to
perform certain hand techniques.
Sanchin helps the realization of centering the body in the hara; by placing our crossed
hands in front of the hara during Yoi; by moving into Sanchin Dachi with the arms in
Morote chudan Uchi Uke, we are taking a kamae which focuses on the hara. When
projected downwards, the angle of the forearms converge over the hara. When
projected upwards, the angle of the legs also converge over the hara.


Performing Sanchin two or three times during a training session will provide maximum
benefit and will not adversely affect healthy people. However, if the kata is performed
incorrectly or excessively it may harm the body. It is important not to overly tense the
neck muscles, since this can constrict the vessels to and from the brain.
The Mind The mind is also centred in the hara by focusing attention on the rising and
falling motion of the abdomen while breathing. The mind is the director of everything,
that meaning that it should maintain focus over the entire body throughout the
performance of the kata. This is perhaps the most difficult and yet the most beneficial
aspect of the practice. Knowing that the mind can only focus on one thing at a time
and that Sanchin demands total focus over the whole body (in order to ensure that
the muscles below the neck remain fully tensed; that all the hand techniques are
executed correctly; that abdominal breathing is being maintained along with the
correct breathing pattern), we understand why Sanchin has such a value.
The Breath Breath is synonymous with spirit. It is centered in the hara by using deep
abdominal breathing. Hara is considered to be the origin and storehouse of martial
power, ki. Abdominal breathing is also essential in developing and storing Ki in the
body and is an essential part of haragei (hara development). In addition, most people
breathe high up, in the thorax, meaning that the chest muscles are the primary ones
used to bring air in and out of the lungs. Abdominal breathing is very important,
because it increases lung capacity, promotes greater oxygen exchange and flushes
stale air out the lungs more efficiently than thoracic breathing. More than that,
emotions can be controlled by adopting appropriate breathing patterns; even a deep


sigh or one long out breath may have a calming effect. Forceful breathing is a way to
project a martial spirit.
Breath is also related with "ki." By coordinating abdominal breathing, explosive
exhalation, and correctly applied muscle contraction, you can produce, for an instant,
phenomenal power. Chinese traditional medicine says that ki is universal, a
fundamental necessity for life. A fundamental tenet of Chinese traditional medicine is
that, in addition to universal ki, we are all born with our own personal store of
essential ki. While wrong lifestyle reduces essential ki, and once it is gone, person
dies, our ki reservoir is increasing by eating nourishing foods and doing certain
exercises. The old masters discovered two methods of supplementing their essential
store of ki. These are the internal method, called Naikan, and the external method,
called Gaikan. The external generation of ki (Gaikan) is said to be achieved through
the exact muscle tension exercises required in Sanchin kata. Through constant
tensing of the muscles, universal ki is said to be drawn into the muscles.
Acupuncture theory tells us that every finger and toe is directly linked through
meridians to internal organs such as the heart, small intestines, bladder, kidneys, gall
bladder, liver, lungs, large intestine, stomach, and the spleen. At the completion of
sanchin practice, the locally generated ki enters the meridians and are circulated to
nourish these internal organs. Sanchin is a heishi (closed fist) kata. This means that
the ki generated during the performance of the form is not emitted outside the body,
but is kept within to nourish it.



Martial Arts:
1. Move quickly.
2. Sound, calm mind.
3. Be light in body.
4. Have a clever mind.
5. Master the basics.
Bubishi Poem: The 8 Precepts of Kempo
1. The mind is one with heaven and earth.
2. The circulatory rhythm of the body is similar to the cycle of the sun and the moon.
3. The way of inhaling and exhaling is hardness and softness.
4. Act in accordance with time and change.
5. Techniques will occur in the absence of conscious thought.
6. The feet must advance and retreat, separate and meet.
7. The eyes do not miss even the slightest change.
8. The ears listen well in all directions.
When choosing to study Goju-Ryu Karate, one should remember these words written

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

Peter Urbans Karate Dojo Rules:

1. Everything works
2. Nothing is free
3. All start at the bottom
Our Karate truths:
1. Fear and pain are the mind killers. The mind then kills the body. Once the body

dies you submit.

A warrior never places himself in situation for an accident to occur.
Labor under difficulty to achieve perfection
Never meet force with force; force gives into greater force; simply redirect force.
Avoid rather than defend, defend rather than hurt, hurt only to survive.
Litany of success: Pain and fear are the mind killers; I must overcome my fear;

for I must only survive.

7. Always seek clarity in the void with a clear mind and ibuki breathing.
There are many forms and styles of martial arts so it is not surprising that there
are equally numerous disciples of these disciplines and as many authorities on the
superiority of their respective style. You hear my style is better than your style or my
master trained under the world champion. Due to my association, I am a better martial
artist than you. The fallacies in these beliefs are that one assumes that practitioners
under these systems, styles or no styles are superior to their sister systems and thus
they wear an aura of foolishness. What is more disturbing is the propagation of this
ludicrous illusion by pillars of the many systems that are contemporary. It would be
more difficult to uncover a champion holding no titles than listing the articles and
periodicals containing today's tournament champions.
If we define unarmed martial arts as an art(s) whereby weapons are not used in
the defense of the individual, albeit these many systems practice with weapons, then


the list would be astonishing and the adherents even more so. Martial arts have for
centuries been known by different titles largely associated with their place of origin and
events tied to the combatants. Shogun domination battles, Roman known world
domination and Israel's century long tribulations are examples in which one population
attempted and succeeded in replacing a long standing nation with a new impeccable
system. These new ways often imploded on themselves and was subject to trials and
tribulations to restore some semblance of renewed stability. It is difficult to equate these
examples with martial arts as is generously defined above however they are forms of
martial arts grounded heavily in the technology of that day.
For the 20 and 21st century martial artist whose affiliations are less robust, their
nations are dojos and grandmasters have by reputation established themselves as
leaders and master teachers. Their battles are not fought on fields of conquest but
within halls of honor. These clashes amongst men once fought as life and death quest
are relegated to tournaments and metal relics of honor. Sometimes winners are
honored with favors, enticements and personal friendships. Often tournaments with
many participants, particularly the novice under black belt levels are orchestrated
rapidly through their routines to expedite the event. What is learned here?
This is by no means an indictment of present day martial arts but serves as
rhetoric for discussion. Who holds the answer? There certainly will be no resolution
found within this work.





Dojos operate in what we will define by equation as population equals wealth. As
the population of a dojo declines, the financial wealth declines conversely. A large
student population equals large financial growth. Dojos cost substantial financial flow
unless the teaching hall is owned and privately operated which deflects cost to the dojo
operational expenses. Smaller dojos have less operation expenses and individual
classes cost even less, which depends on the instructor. The student should never
expect to be trained without some financial commitment to the instructor. Students if not
required should offer occasional support to the chief instructor as acts of goodwill.
My issue is with those that systematically move students on a schedule based on
finances and not performance. This directly floods the market with students with limited
abilities and limited knowledge. If a student passes from high school unable to read and
earnestly attempts to gain fruitful employment he finds himself in a quandary due to lack
of skills and qualifications. His counterpart with both skills and education stands a
better chance of finding gainful employment and financial security.
Now if we re-examine the basic equation, we find that student plus dojo equals
wealth. Taking this further, more teachers directly feedback on the student populations
which diminishes and we rewrite the equation: less students plus dojo equals less
finances, which threatens the school.
Another example applicable to small schools; we find that students with no
financial commitment plus dojo equals few graduates. Students without dedication
leave due to difficult training conditions. The product is less and limited financial gain is
realized by the teacher. The teacher with few dedicated students is served far better
than many non-dedicated students. Irregular class donations are accepted but for the


Grandmaster only. These gifts offset his requirement for incidentals. Sempai Cook is in
college, so occasional assistance by the class is appreciated. Their success is small
but their rewards are great.

Autonomic Nervous System:

We all seek the mental void which elucidates the present. The void is thought,
free of conversation and mental dialogue. In combat it magnifies the present and slows
the intruding object entering a sphere or space of comfort and responds without
conscious thought to intercept and challenge the interference which disrupts harmony.
This process is similar with blinking of an eye, a heartbeat and other physical actions
released without conscious thought. The breathing part of this system works in tandem
with the conscious mind. Fear and pain is antagonist to this harmony and must remain
shielded from penetrating the state of tranquility. Once they have intercepted the void
they create havoc and can ultimately destroy the void.
To achieve the void one must envision a single object and deflect all efforts of the
mind to challenge this single process. Underlying physical activities are not affected by
this void creation and no conscious or physical harm is known. But maintaining the void
takes endless effort. It is a very simple process but success is very complicated.
However, once achieved, it offers enhanced speed and reactions.
The autonomic nervous system (ANS or visceral nervous system or involuntary
nervous system) is the part of the peripheral nervous system. It acts as a control
system functioning largely below the level of consciousness, and controls visceral
functions. The ANS affects heart rate, digestion, respiratory rate, salivation, perspiration
and other functions.


Freedom of mind is fundamental in the style. It takes practice but holding the
mind free is essential. Regardless the situation is it traumatic, challenging, threatening
or confusing focus and eliminating active mental conversation is paramount. This
unwanted conversation will interrupt non-thought and align natural fear with imagined
fear thus creating another opponent, yourself. The void is a place of wonder, a form of
lust, aligned with breath it creates a temporary balance that propels a cheetah to his
prey at a very rapid, instinctive speed and culminates in a successful hunt. Restoring
breath is normally outside of empty mind but brings the body back into homeostasis.

What are Pressure Points?

Actually there is no single answer to the question of what pressure points are, other
than to say that a pressure point is an area of the body which is more sensitive to
pressure than other places. Pressure points are various sizes, can be struck or
pressed, and cause various effects including pain, loss of motor control or disruption of
other physical and neurological processes, unconsciousness, and in some cases death.
Although there isn't a more specific definition of pressure points in general, there are
various types of pressure points that can be identified:

Areas where major nerves run close to the skin or are relatively unprotected.

Areas which disrupt the mechanics of major systems of the body - such as the
respiratory system or the circulatory system (the jugular notch, described below,
is an example of this)

Areas which disturb neurological activity in the brain, such as the temple.



Areas which transmit the force of a strike directly to an internal organ, such as
the kidneys or even the heart, with maximum efficiency.

Weak areas of the body which are easily injured, such as the eyes or the

Acupressure points which disrupt the flow of chi - not found in all systems of
pressure point fighting; only traditional oriental arts such as kung fu or karate,
these are based on the principles of traditional Chinese medicine and work in the
same way as acupuncture.

Top Target 1: The Jugular Notch

The jugular notch is probably the easiest pressure point to manipulate for martial
arts, and it is also one of the most effective. It is the easiest because you don't even
need to strike it - a forceful push with your fingers is enough - and accurate striking is
the hardest part of this kind of self-defense. And it is one of the most effective because
it causes a momentary stunning of your opponent, which lasts around 2-4 second
usually and which feels very similar to being winded.
To find your jugular notch run your hand along your collar bone towards the
center until you find the point at which it dips down and back up in a V shape. The soft
area of flesh just above the bone of this V is the jugular notch.
As well as stunning this can be used to push an attacker away from you - it is
very hard to resist this. Just hold your hand flat with your fingers pressed together,
place your middle finger in the notch and then push as hard as you can.
Top Target 2: The Medial Nerve



The section of the medial nerve that am referring to can be found running down
the inside of the arm in the small gap between the bicep and tricep muscles. Striking
this nerve is very painful indeed and will give your attacker a 'dead arm' meaning that it
will be stiff and difficult to move, reducing its strength, range of movement and fine
motor control.
The most common way to use the medial nerve is as a defense / counter attack
to punches. You can strike this area with the back of the fist, aiming to make contact
using your knuckles, as a block to a punch, or you can block and then strike. Either way
they will have trouble trying to punch you again
Top Target 3: The Temple
This is, of course, the one that everyone knows. The temple is the small area of
soft flesh located to the side of the forehead. Even a moderately hard strike to this
area, using focused force, will knock your opponent unconscious.
Focused force basically means that you strike with a smaller surface area, thus
focusing all the power of the strike onto a single spot. One of the best ways to strike to
the temple is using the 'phoenix eye fist', which is an ordinary fist but with the middle
finger raised a little out from the rest. You can push your thumb underneath the bottom
of the middle finger to stabilize it.
Top Target 4: The Larynx
The larynx, or voice box as it is more commonly known, is a very effective
'control point'. This simply means that it can be used effectively to control someone who


is a threat to you or those around you. Although this can be used against anyone with
equal effectiveness, it is much easier to use the larynx as a control point against a man,
purely because the 'Adams apple' makes the larynx of a man more prominent and easy
to grab than for a women. The technique used is incredibly simple - it is just a two
finger pinch with the thumb and forefinger. You can learn the correct position by
practicing gently on yourself now. Slide your thumb and forefinger either side of your
larynx in the center of your neck, and then punch in with the tips. You should be able to
feel the tips of your finger and thumb pushing slightly behind the larynx and pulling it out
a bit. This doesn't cause a great deal of pain, but it does usually cause a great deal of
distress as it makes you feel very vulnerable indeed, and when someone does this you
really get the feeling that they could cause serious damage very easily, which is in fact
the case, so be careful. If applying this in a real situation to subdue / control a person
and force them to desist what they are doing and follow your commands. The only thing
you need to be aware of is that they can get out of this pinch quite easily (although
sometimes painfully) jerking themselves backwards, so it should only be applied when
you either have someone against a wall, making it impossible for them to move
backwards, or when you have a firm hold on them with the other hand, in which case
you may still have to be ready to step forwards quickly to follow them if they try to back
out of it.
Top Target 5: The Ears
This is a less obvious target, but nonetheless very effective. Striking the ears is
not only very painful, but can also serve to disorient your opponent, as the inner ear


plays apart in how we balance ourselves. The most common technique would be to
hold your hands in a cupped position and then slap to the ear aiming to hit over the ear,
or with the ridge on the side of the hand. This can perforate the ear drums, and can
stun or disorient your opponent.

Art of Conflict:
As the martial spirit evolved training became more difficult both mentally and physically.
A weak nation is overcome by opposition much stronger than itself and is totally
replaced. It is neither magical nor mystical. It is as a result of a violent phenomenon.
This phenomenon continues until the opposing army, nation, or antagonist has lost their
willingness to continue. They then capitulate and accept the defeat.
During individual fighting one must only survive. That is our code of conflict; that
regardless of the odds we must only survive. A fighter must have three main qualities.
Those are speed, technique and strength and of these, speed is the most important.
Speed allows a fighter to attack particular areas of the body before they can be
defended. It becomes like a whirlwind moving and confronting anything in its path and
when coupled with strength (external or/and internal) its outcome is often favorable.
Proper techniques deliver the devastation. However, fear and pain when not curtailed
nullify the aforementioned fighting attributes.
An example places a 13 year old junior black belt with seven years of formal
martial arts training, into a predicament. His parents have supported him for years and
are proud that their son is a black belt. The student has excellent techniques and
received his black belt in four years and has also continued to train regularly. He has


accumulated numerous trophies in fighting and form competition and is ranked very
high amongst his peers. He was being bullied in school by another martial arts student
who had newly arrived. Cognizant of his normal constitution, I inquired into what was
troubling him. He responded after some urging, revealing what was causing him his
discomfort. Following his explanation I reprimanded him for his trepidation and informed
him that he needed to search his heart and examine his studies.
As if scripted, these two antagonists met in the first round of a junior
black belt tournament and the student won the contest quickly and professionally. They
eventually became good friends but on an equal level. When he reported the results of
the contest with zealous excitement, I rejoiced with him. He thanked me for my
guidance and confidence in his techniques and martial skills. Fear is the great
emotional opponent which when not mastered enhances the skill of the opposition.

What has been instrumental in difficult situations is relying on what has been learned
during the martial journey. When reflecting on opposition one must determine the
distance and approach to use. The skills once trained will always reveal themselves
when required unless they are subdued by fear. A thought may be tenable with strong
argument; the mind and body are equally defendable with practice and confidence.

What is the correct distance that one should stand from an opponent? Who can
say? Personnel skills and knowledge of those skills are necessary requisites. One
should simply run away when possible that is the best solution but often the possibility
of meeting the opposing object resurfaces at some future time. The closer you are to



your opponent the more technical and proficiency are required. This results in quick
resolution. This is the path of choice which I expect all students to journey. Technical
and martial proficiency are acquired by diligent and constant study. There are many
intangible factors which may mitigate success but fear along with poor martial skills will
often be your path toward defeat.
Speed and confident along with the knowledge of effective points to strike on an
opponent are essential. This knowledge comes only through long arduous training and
practice. One who refuses to enhance what has been given freely will regret the wasted
time expended on basic tasks. More complicated skills remain elusive even when
demonstrative over time because the foundation is weak the building crumbles under a
little turbulence.

Purpose of Kata:
In the past when literacy was rare outside of nobility, oral traditions were used to
pass down information throughout the Orient, including the martial arts. Kata were used
as methods of passing down information in an era where literacy could not be taken for
granted and open practicing of the martial arts was outlawed. Copying kata by rote or
mimicking the instructor is referred to as modeling in academia. It provided a method of
transferring physical form and function while transcending language barriers, but made
it difficult to impart deeper meaning. Entire systems have been enclosed in the kata,
with only the most privileged students taught how to correctly interpret them.
Kata can be thought of as the textbooks of a system of martial arts. Every kata
contains principles applicable to the strategy of a system. It is no coincidence that new
styles created by the past masters were merely new combinations of previously used


kata looked at in a new light. Each kata is a work of art, crafted with considerable
thought and hidden context. The compilation of these teachings from various masters,
transmitted through their immortal kata, allows a system to arise using its unique
combination of principles and tactics to give rise to an effective new strategy. Each kata
contains the teachings of its creator in physical manifestations that, when passed down
correctly, will never fade.
What must be understood is that kata by itself will hold no insight to your training.
Without learning the correct way to read the textbook of kata, you will find no more than
a physical exercise done in an aesthetically pleasing manner. Understanding the theory
behind a kata is what separates the novice from a master. Knowing the kata is only one
step of unlocking the secrets of kata. Once the physical combinations of the kata are
ingrained into muscle memory, a karateka must interpret the bunkai. The applications of
each movement must be uncovered whether hidden or obvious. Every single
movement is in the kata for a reason and can be studied. Foot placement, strikes, and
blocks, muscular tension, cervical alignment, transference of power, direction of focus,
breathing patterns, and mindset can all be dissected and analyzed. Each piece comes
together to create the perfected works of a master. It should also be kept in mind that it
is not the physical techniques uncovered that matter the most in your interpretation, but
the principles and connecting ideas between them. Once a principle has been
discovered, you can branch out with your bunkai to include techniques that bear no
physical resemblance to the original kata movements, but utilize the key principles
taught by the entire kata. The next step would then be to utilize the principles you have
learned in a realistic setting such as sparring and self-defense.



In school you are taught to memorize the principles of mathematics, not the
specific problem. When you have seen the underlying principles you are then able to
solve similar problems you are seeing for the first time. By then, you can adapt your
principles to solve real-world problems in the form of word problems. There is a
potential in mathematical research that the realistic problem you are solving may have
never been worked through before in history. It is the same in the martial arts. An
entire systems vast repertoire of techniques cannot realistically be encompassed in the
kata. Therefore, the principles are established through the kata allowing the individual
to develop their own flair and collection of techniques. This system has also permitted
the progression and evolution of techniques that are able to adapt their practicality in
any era.
Because of the physical nature of the kata, those of us born in the modern digital
age are introduced to an ancient method of interpretation lost though time. In the
present, literacy is taken for granted. Every great thought of the 20 th and 21st Century
has likely been written down and transmitted through writing at some point in time. We
have progressed to a time and place where the world could not be imagined without
symbolic letters. The physical transmissions of kata, still passed down in the martial
arts, are on a decline in many areas of the world where it is seen unnecessary in the
presence of a technological era. We should not view the progression of technology as a
hindrance or a replacement of the past masters teachings but as an aid. We can now
pass down the deeper meaning of kata and the martial arts through writings in
conjunction with the physical kata. Kata provide a means to learning self-defense in the
best suited medium. In order to fight, one must have experience as close to a real



fighting situation as possible. Kata allow us to study past teachings in a physical
manner, boosting neurological response, reaction time, muscle memory, and exposure
to stress.
By removing kata from a system you are removing the work of hundreds of years
of martial research done by our ancestors. It is no different than if we were to remove
the scientific and philosophical findings of our past by excluding the works of Galileo,
Plato, Einstein, and more. Kata have preserved the martial teachings of revered
grandmasters for hundreds of years and have the capability to continue to do so as long
as there are karateka dedicated to preserving the past.

The Kiai:
The kiai, or spirit shout, is often a misunderstood concept in the martial arts.
Its mistakenly considered by some to be a superfluous addition to the kata and sparring
of sports-related karate. The Western distortion of kiai shouts has in all likelihood been
driven by the way in which kiai shouts can be easily mimicked without credible skill or
training. This results in a general misunderstanding accompanied by a lack of effective
results in martial performance. Without results, traditional practices fade and ancient
knowledge is left unrestored. The kiai must therefore be further analyzed to determine
its role in effective fighting technique. Past and current great karate masters alike have
not omitted spirit shouts from their training for good reason. The kiai, like anything else
in the martial arts, requires extensive training to master.
The spirit shout is referred to as such to reflect upon the inherent nature of the
practice. When executed properly, a practitioner is essentially forcefully expelling their
spirit and ki in an explosive, though sometimes pinpointed, manner. To do so imply that


ones mindset, breathing, muscular tension, and biomechanics are effectively aligned to
induce cooperation. The synergy of these factors come together to create what is
known as the kiai allowing a practitioner instantaneous but temporarily increased
strength, decreased sensitivity to pain, a warriors aura created through body language
and behaviorisms, and psychological imbalances in nearby opponents. The
combination of mind, body, and spirit that GoJu fighters strive to achieve through
Sanchin kata plays a key role in ki development and ultimately the expulsion of ki
through kiai.
The mind of a fighter during a spirit shout should be aggressive, while completely
focused and immersed in what is referred to as the void. The void is a state of mind
characterized by heightened awareness with a lack of internal thought leading to
impulsiveness. It is frequently referred to in various Western athletics as being in the
zone. The kiai is a way in which the warrior can enter the void at will. This can be
equated to the impulsive pounce of a predator onto its prey. While entering the void, the
aggressive attacking tone of a fighters mindset allows for an adrenaline rush which will
introduce a biological aid to the fighter. There is a strict difference between channeling
aggressive behavior versus overwhelming rage, fear, or grief. The latter of which may
induce excess adrenaline release throughout the body paralyzing and locking the joints
and muscles rather than offering aid. A lack of control over ones emotions can become
an insurmountable obstacle to survival that blocks entrance into the void. The void is by
its very nature, a lack of emotion in favor of calm and controlled conviction.
Entering the void during a kiai allows certain unconscious biological changes to
the body that fit the needs of a situation. Adrenaline entering the body will serve to



further ensure these changes take place. With particular muscle tension in place while
in the void, the muscles of the body are no longer bound by mental limitations. Strength
will then be able to exceed previous expectations while simultaneously hardening the
body with a layer of tense muscle. In GoJu practice, this muscular armor is referred to
as iron body. With adrenaline in play, more oxygen becomes available to the muscles,
allowing faster and stronger muscular tension. The natural tension of the diaphragm
during exhalation is utilized in proper breathing rhythms to equally distribute muscular
tension across the body. When combined with proper mechanics in technique
execution, the bodys energy can be efficiently harvested to maximize physiological
capabilities. Devastating power can be generated by experienced karateka.
Such a display of power combined with smooth and comfortable execution of
karate techniques lends itself to the creation of an aura. Body language engendered by
the calm yet aggressive mindset of an individual intertwines with physical prowess and
confidence created by experience and training. The culmination of which creates
subconscious impressions presented to all onlookers which ultimately influences how
they view and treat you. This is essentially an aura that has been unconsciously
emitted and subsequently processed by opponents and allies alike. The warriors aura
is now in place and is completed by the characteristic shout of a kiai. The physical
shout serves to draw attention to a fighters aura, discouraging confrontation and
creating doubt in an opponents actions. In other words, the opponent becomes
psychologically imbalanced. This psychological imbalance is all that is needed to turn
the tide in a fight and create an opening for attack. Ideally, the imbalance will prevent
physical conflict but may, in all reality, serve to ensure survival in the midst of conflict.



In less than half a second, through the use of kiai, a fighter can combine mind,
body, and spirit. The expulsion of ki through kiai should by all means be taken seriously
as an art to perfect and master in the martial arts. A complex set of processes must be
taken into consideration and completed simultaneously as well as instantaneously.
There is a very clear difference to the enlightened individual between mimicked, playful,
or ineffectual kiai shouts versus a genuine expulsion of ki energy and spirit. A
practitioners kiai should become a personal representation of mental fortitude, physical
skill, and technical ability blended together for the ultimate purpose of survival.

Sticking Hands:
Sticking hands is a training tool in which two partners spar lightly with the wrists
of each hand continuously touching the opponents corresponding wrist. This is an
especially useful tool with students who have already developed a basic understanding
of hard Go fighting and are delving into the concepts of soft, flowing Ju techniques.
In order to excel in sticky hand fighting, a practitioner must relax and avoid tensing their
muscles beyond what is absolutely necessary. As the student develops their Ju training
they will learn to use less and less energy with their techniques, eventually reaching the
point where sticky hand fighting becomes a form of meditation. Through sticking hands,
a student will become comfortable with in-close fighting, develop sensing techniques,
utilize karate philosophies, and strengthen their focus.
Due to the close proximity between partners necessary to maintain contact
between the arms, partners become more confident with fighting an opponent up close.
A common problem with Americans that is uncovered in sparring is a hesitation to get
close to the opponent. This is a result of the distance with which we naturally converse


and approach one another in society. It is uncommon to see two Americans greet each
other with any more than an extended handshake. Even those who know one another
well and embrace in greeting will often back away after the embrace into a comfortable
talking distance.
There is an imaginary bubble in our subconscious body map that dictates our
comfort levels at varying distances from other people or objects. When someone forces
themselves inside the comfort bubble of another person for too long, it often creates
anxiety and panic. The size of this bubble changes between personalities, culture, and
the relations between two people however. By fighting in sticking hands frequently with
various people, a practitioner can effectively reduce the size of their comfort bubbles by
exposing them to the anxiety and panic of being close without their own personal space.
This gives them confidence in their abilities to fight at close range. Care should be
taken that comfort at close range does not override natural caution however. When
approached by an unknown person, you should remain aware and prevent their
advancement into your comfort range. Getting close to an unsuspecting victim in
preparation for an attack is a common tactic used by potential aggressors. Sticking
hands is meant to reduce the surprise and panic felt at close range fighting should it
happen as a last resort.
Another important skill developed through sticking hands is the ability to sense
an opponents energy. By refining the sense of touch in your wrist, hands, and
forearms, you can differentiate between the feelings of relaxed and tense muscles in
your opponents arm. With practice, it is possible to determine the level of force with
which an opponent is striking at you just by touching the attacking arm. It is important to



remember that by tensing your own muscles, you reduce the sensitivity of your arm. By
remaining calm and relaxed with minimal muscular tension, you are able to focus on
your sense of touch and feeling, reducing your sensory threshold, thereby allowing you
to detect changes in tension with greater precision. It should not be forgotten that your
opponent can sense your force as well. If you use excessive force and energy in your
techniques, you will not only become more oblivious to your opponents energy, but your
opponent will be able to detect your force easier. By remaining relaxed and avoiding
tension you can become subtle with your energy, avoiding detection by your opponent,
and increase your own sensitivity becoming hyperaware to your opponents force.
Through this practice several karate philosophies are used, some of which are a
central theme of GoJu fighting. First and foremost, you respond to force by yielding.
This theory supports the importance of yin and yang, utilizing the power of contrasting
opposites. As a blending of hard and soft styles, GoJu Ryus central focus has to do
with this concept. In any situation Go techniques can be beaten with Ju techniques.
The same applies vice versa. Soft techniques can be beaten with hard, solid
techniques. A common idea in karate is that its better to be malleable and soft than
hard and rigid. Another connected idea is that you should respond to straight
techniques with circling and arching movements. When attacked with circling
movements, you should respond with a straight attack. This naturally gets at the hard of
hard and soft techniques counterbalancing each other.
In following martial philosophy we can introduce well-known Western science as
well. Chiefly, Isaac Newtons theory of inertia comes into use frequently. An object in
motion will stay in motion unless acted upon by another force. As your opponent



expends energy to move at you forcefully, they are determining the direction of their
motion which is often aimed at you in the form of a punch. By responding with force of
your own coming from the correct angle, you are in a position to redirect your
opponents inertia. By expelling varying amount of force in your block, you can
accurately control the final destination of your opponents inertia, pushing them along
past you or using their expended energy to increase the power of your retaliation. It
should always be kept in mind that force will give into greater force. You cannot depend
on your force being the strongest one in play and must be prepared to redirect force
rather than contend with it.
Naturally completing these tasks during sticking hands will be aid greatly with
complete focus. Learning to incorporate meditation into your fighting is a key lesson
introduced with sticking hands. By entering the void and allowing yourself to reach a
state of hyperawareness, you can drastically increase your sensing techniques and
avoid distractions or ongoing internal dialogue that may cause you to miss important
fighting cues. Being able to instinctively apply martial philosophies without anxiety in
conflict is an invaluable skill to your performance. To add more difficulty to sticking
hands, partners can include kicking into their practice which will introduce another factor
into maintaining focus and allow more realistic fighting conditions. The legs can be
used in the same manner as the hands, using sensing techniques to detect and
subsequently redirect the opponent. In another variation of sticking hands, the eyes can
be closed to remove vision and allow greater focus on the sense of touch. This will also
encourage maintaining physical contact with the opponent. More variations can be
created and added into training routines as deemed necessary by an instructor. The



goals of sticking hands will remain the same nonetheless, making it an invaluable aid to
developing a practitioners Ju fighting.

The Mystical Lady Who Rode the Golden Hog

By Maestro William Stonewall Myers
In the mid 1970s in Brooklyn, New York, in the United States of America, young
William and his 1st teacher in Urban GoJu Karate, Master Robert Jones Jr., made a
journey to a motorcycle dealership to get a look at new motorcycles and accessories.
There was much to learn and much to price, even insurance to buy. There were many
looks and profiles that people used to project themselves. Some rode high rising
handlebars with fat rear tires that they called Choppers. Others who were into raceing
rode Caf Racers which resembled the Ninjas and Katanas of today. They are now
nicknamed a comical term; Crotch Rockets. Another very practical profile was the
Touring Profile. This was a motorcycle that was very large and wide with a windshield,
saddle bags, travel trunks, extra mirrors, chrome, custom seats, and floor boards for
comfortable long trips to grandma and grandpas house. Luxury and comfort were the
things that were projected.
Needless to say, the motorcycles were very heavy in weight. Men tried to say
only big strong macho could handle such a big, heavy motorcycle. Young Master
William and Master Robert Jones (American Lion/ African American Griot, famous
regional storyteller) were entertained sufficiently in the showroom. As the martial
scholars were about to leave, they beheld an amazing sight.


A stunningly beautiful lady rode up to the showroom by herself. She was dressed
in a well-made leisure pants suit that was white in color. All eyes were upon her as she
handled her gold Harley Davidson with the largest engine made; 1200cc. The lady went
in to make a purchase for wardrobe. She kept her feet straight, stood upright, held her
handlebars evenly and then let her kickstand down easily. As she released the
motorcycle, she leaned over slightly to the left. The Golden Hog (Harley Davidson) was
under her control at all times. She used superior body mechanics and she got the most
amount of work with the least amount of effort. She used good sense and worked safely
and smart. She rode off and was never forgotten in the years to come by those who saw
her. We could all learn and apply her principles in life.