Gert C. Jürgensen
Kiai kommer fra mellemgulvet op gennem kroppen, videre til munden og ud i forbindelse med en udånding . . . . . . Faktisk minder det om at hoste.
Karate som selvforsvar går ud på at komme ind på modstanderen, lave en masse ravage, og derefter trække sig tilbage igen. Karate grappling er til backup.
It’s not a style, it’s open minded Okinawan Karate. It’s old style mma.
Gert Corfitzen Jürgensen (15. Juli 1964 – )
”The karate that has been introduced to Tokyo is actually just a part of the whole. The fact that those who have learnt karate there feel it only consists of kicks & punches, and that throws & locks are only to be found in judo or jujutsu, can only be put down to a lack of understanding … Those who are thinking of the future of karate should have an open mind and strive to study the complete art”
Kenwa Mabuni (14. nov. 1889 – 23. maj 1952)
“Kumite is an actual fight using many basic styles of kata to grapple with the opponent”.
Choki Motobu (5. april 1870 – 15. april 1944)
“Through sparring practice one may identify the practical meaning of Kata.”
Chojun Miyagi (25. April 1888 – 8. October 1953)
To search for the old is to understand the new. The old, the new, this is a matter of time. In all things man must have a clear mind. The Way: Who will pass it on straight and well?
“Sparring does not exist apart from the kata but for the practice of the kata.”
He who would study Karate-Do must always strive to be inwardly humble and outwardly gentle. However, once he has decided to stand up for the cause of justice, then he must have the courage expressed in the saying, “Even if it must be ten million foes, I go!” Thus, he is like the green bamboo stalk: hollow (kara) inside, straight, and with knots, that is, unselfish, gentle, and moderate.
To win one hundred victories in one hundred battles is not the highest skill. To subdue the enemy with out fighting is the highest skill.
The ultimate aim of the art of karate lies not in victory or defeat, but in the perfection of the characters of its participants.
Gichin Funakoshi (10. nov. 1868 – 26. apr. 1957)
When Master Funakoshi arrived in Japan (from Okinawa) he was more than 50 years old and his students thought he executed his movements in a relaxed way due to his age. This relaxation is, in fact, fundamental. It is only nowadays that all is done with strength and this is actually a true contradiction.Furthermore the evolution of competition in Karate is opposed to Karate-do ettiquette. Competition has resulted in the loss of many things in Karate-do…. but possibly, we may not have the right to criticize considering that we practiced it and now we have abandoned it! [Murakami Sensei originally trained in sports karate]. Competition, today, is not the result of practice, rather the result of practice for competition… and this is very different. A specific preparation is not pure practice!
Tetsuji Murakami (31. mar. 1927 – 24. jan. 1987)
“In our physical movements, there are those that are natural and others that are not. Through the practice of Karate-do, we can learn to differentiate between the two and also learn to acquire natural movements. We also learn of the power that nature endowed us with and how to use it, for a man has a great deal of hidden power of which he is not aware.”
Shigeru Egami (7. dec. 1912 – 8. jan 1981)
Udklip af: Foreword of Karate-Do Nyumon (Bog: Karate-Do Nyumon af Gichin Funakoshi, Dec. 1943)
Often in practicing the advanced kata, students concentrate too much on the order and continuity of the movements, without considering the effectiveness of each technique. In extreme cases, they may have the illusion that they have mastered the kata by simply memorizing the order of the movements. It should be clear that, in reality, one must practice both basic techniques and advanced kata, and that the study of basics takes on a new and deeper meaning after one experiences more complex practice.In traditional kata such as Bassai, the difference between simply executing the movements in the correct order and performing the kata while taking maai into account is immediately apparent. If one imagines a real opponent and performs the kata while thinking of maai, a blending of hard and soft, quick and slow elements appear quite naturally. Then each movement of the hands and feet takes the shortest possible route.
Genshin [Motonobu] Hironishi (1913 – 1999)