Recently, I discovered three words from the Okinawan (Uchinaaguchi) language that are new to me. The three words are “chinkuchi,” “muchimi,” and “gamaku.”
First, what is the Okinawan or Uchinaaguchi language? Uchinaaguchi is the native language of the Okinawa Islands. It has unique characteristics that distinguish it from standard Japanese, although many people mistakenly perceive it as a dialect. This language is endangered, with most fluent speakers being elderly. While standard Japanese is primarily used in most martial arts, including those practiced in Okinawa, some karate schools incorporate Uchinaaguchi terms to preserve the original concepts and maintain the language.
These words embody qualities associated with the Okinawan people, culture, and martial arts. This article examines these Okinawan words and their connection to our study of Uechi-Ryu karate.
Chinkuchi:
Chinkuchi lacks a direct English translation; however, literally, “chin” means muscle or power, and “kuchi” means mouth or opening. Symbolically, it represents the capacity to exert maximum power by appropriately utilizing body mechanics and tension at the right time. Chinkuchi is not the same as kime, but kime is an element of chinkuchi. Kime is a Japanese word that describes the focus of power. It refers to a technique’s explosive, precise delivery at the moment of impact or the end of the strike, such as when performing hojo undo and kata. Although it shares some similarities with chinkuchi, chinkuchi is a more inclusive concept that emphasizes body mechanics, relaxation, breath, and the natural use of muscles. A skilled practitioner employing chinkuchi initiates movement from the lower body and core, ensuring proper alignment from the ground up, which involves the feet, legs, hips, spine, shoulders, and arms. At the moment of impact, they tense the relevant muscles, typically the fist, forearm, and core, and then swiftly release the tension to maintain fluidity.
Muchimi:
Muchimi translates to “sticky” or “heavy. ” It originates from the Okinawan word ‘muchi,’ which means ‘mochi’ (a sticky rice cake), combined with ‘mi,’ meaning body, signifying ‘mochi body.” It represents a purposeful and controlled softness and weight in movement that connects with the opponent, maintains one’s balance, and enhances strength through smooth and fluid motions. Culturally, Muchimi reflects a philosophy emphasizing resilience and adaptability. Okinawans often use the term metaphorically to describe someone strong yet flexible in spirit. When referring to Okinawans moving with muchimi, it typically represents a unique movement style that is smooth, grounded, and deliberate, as if every action carries a natural and fluid strength. Martial artists strive to develop muchimi in their techniques, particularly in close-range grappling, strikes, and kata. This concept emphasizes internal strength and efficient energy transfer without unnecessary movement. Actions are deliberate and fluid rather than abrupt. When blocking or grabbing, you connect, absorb, and then redirect with power instead of merely swatting or pushing away. Your entire body engages, not just your arms. Movements should be grounded and interconnected, with engaged muscles that remain relaxed. It embodies a blend of softness and hardness, ensuring the motion is not stiff or mechanical but conveys control and weight.
Gamaku:
The term “gamaku” does not appear to have a direct English equivalent. In literal terms, it is composed of two parts: “ga,” which signifies body or trunk, and “maku,” which means to wrap or coil; thus, it can be translated as ” body wrapping.” Physically, it comprises the lower abdomen (hara or dantien) and the front and sides of the waist. More broadly, gamaku pertains to the utilization and engagement of the hips and lower abdominal region (the core) to generate power, stability, and fluidity in movement. Furthermore, gamaku assists in sustaining a solid foundation and enabling seamless weight transitions throughout stances or attacks by employing core control, hip movement, upper and lower body integration, balance, and rooting.
If you’re currently thinking, “these resemble principles and elements of the George Mattson’s OldWay, ” you’re right. From my assessment, the OldWay is equivalent to chinkuchi as a complete concept. The OldWay and chinkuchi involve coordinating structure, relaxation, tension, intent, timing, and breath. While muchimi and gamaku serve as components that form chinkuchi, body flow and kime describe the key elements of the OldWay. Additionally, I see muchimi and gamaku as elements present within body flow. Muchimi trains the body for connected, relaxed movement while preserving pressure and intent. Gamaku employs the hips and lower torso to manage the body’s center of gravity and direction of energy.
In practice, we frequently use Japanese terminology to refer to techniques, weapons, kata, terms of respect, exercises, and numerical expressions. However, the Okinawan language terms chinkuchi, muchimi, and gamaku are seldom utilized today. I found no references to these terms in my collection of Uechi-Ryu books, including the translated sections of the Uechi-Ryu Master Text or other Okinawan karate books. All the references used to create this article came from articles or videos sourced online.
It’s important to recognize that the essence of these words lies not merely in their definitions but in the experiences and insights gained through dedicated practice. Ultimately, true mastery of any martial art transcends the simple adoption of terminology or techniques from others. It is forged through years of consistent practice, leading to a personal understanding and application of the methods. This journey is what truly makes the art your own.
By Justin Testa