The Karate concept of Meotote/Meotode.

‘Meotote’ means something equivalent to ‘husband, wife hand’. Some thoughts and observations that might perhaps shed a little light on the concept and how it is used.

Basic description.

The general interpretation of this concept is that in karate we train to use our two hands so that they are able to do different jobs at exactly the same time; often attacking while defending, but in practical and stylistic terms there is more to it than that.

The whole ‘husband wife’ thing.

Without treading on thin ice here, be aware that this is a product of its time and there’s no need to get all ‘political’ about it.

But, interestingly…

I recently read about a piece of ethnographic research done by Pauline Hunt in the 1970’s in which she examined domestic work in a particular English village. Amazingly she found that when it came to cleaning windows in the home, without exception, the women washed the inside of the windows while the men washed the outside. This suggested an element of gender role specification, but, however it was done, those windows sparkled.¹

I saw this as; efficiency, compromise and specialisation specific to the problem to be solved, a harmonious example of something akin to Meotote?

Some would argue that the roles were not ‘symmetrical’ but, symmetry doesn’t always equal harmony.

With the ‘husband wife hands’ the pair work differently, almost independently and as such make an efficient team because they have the same ends in mind.

The concept of ‘Wa’ 和.

This neatly meshes with the Japanese idea or ‘Wa’; yes, the same ‘Wa’ as in ‘Wado Ryu’. This is normally understood as harmony, not balance.

Think of it like an orchestra; each instrument doesn’t get allocated the same number of notes on the score; if it is a well-crafted piece of music the musicians are supposed to contribute their labours to the overall objective, the finished (harmonious) piece of music, that is pleasing to the ear, or fulfils its artistic objective.

It’s the same in cooking; imagine if the recipe demanded that each of the ingredients had identical measures… e.g. equal salt to flour would be a disaster. No, all contributions are appropriate to a successful outcome.

The kanji for ‘Wa’ was described to me as depicting a simplified open mouth preceded by a rice plant that is bent slightly over, suggesting that it is ready for harvest; a reflection from agriculture that implies the harmonious labours of the farmer or village that contributes to the feeding of the community – poetic really.

And what about Meotote/Meotode?

I don’t think any style or school of karate can claim Meotote for themselves. It seems pointless to try and chase its origins back to Southern China, as some have suggested, because it has been through too many hands; things have been added, things have been lost, the concept has been played with, expanded, developed and absorbed by numerous schools, including Wado karate as a Japanese Budo form.

If you research it online there are numerous attempts to tie it in to Okinawan karate, I can understand why, but I have my doubts about its exclusivity; the story is bigger than that.

Opinions have been raised that suggests that in recent times Meotote has lost its way in the Gendai (modern) forms of karate, to the point of extinction, being totally stifled by the more straight-line modes of operation (and thinking) needed for contest kumite and kata performance. Perhaps, in some quarters this might be true, but it is very much a part of Wado karate and is woven into most existing Wado syllabi, and this is where I am going to focus my study, but before that, I do I want to draw attention to the influence of this guy.

Motobu Choki (1870 – 1944).

Okinawan karate master Motobu, with both hands in the zone.

The history of Wado karate tells us that karate masters Motobu and Otsuka had a clear exchange of ideas. One of the prime concepts of Motobu’s teaching was Meotode; it is referenced in his version of Naihanchi kata (visually quite different to Otsuka’s development for Wado). It also features in his 12 paired kata and is mentioned in notes and writing associated with Motobu and his direct students.

My observations are that although Otsuka undoubtedly examined Motobu’s basic concept, he typically crafted his own take on how Meotote/Meotode should work in a Wado framework. That is why it would be really challenging to think of adapting Motobu’s 12 kumite into the Wado model – ‘square peg, round hole’ doesn’t even begin to describe it.

The theory and practice of Meotote in Wado karate.

Philosophically, the concept of Meotote as it fits into Wado is pretty sound. This is an orchestration of skills, a complementary coordinated mechanism to be explored, developed and hard-wired into the nervous system. If absorbed thoroughly it should be second-nature, without calculation or hesitation.

It incorporates a weighty emphasis on attack; in fact, the priority on offence is entirely in-line with Wado’s philosophy that EVERYTHING IS ATTACK.

Although it is possible to isolate Meotote-type movements in Wado kata that look like they are totally defensive, as soon as you take them out of the box they are slamming you straight into your opponent’s face or body, nothing passive there.

These skills have very similar challenges as trying to rub your stomach while patting your head, as often the two hands don’t only have to operate on different levels (Jodan, chudan, gedan), but also different loci or vectors.

Remember that the simplified form of hand coordination, as found in karate, puts the two hands on the same path but in opposite directions; like the basic Tsukite/Hikite. This is very manageable as the vector is clearly defined.

Dual hand movements are challenging when they are supposed to operate at exactly the same time, but the rules (and the possibilities) can be stretched when they are deliberately fractionally out of time with each other. There can be a number of very useful reasons for this. For example:

·       You might be slotting in a subtle additional technique on its way to the primary objective; a clip with the knuckles to the exposed ulnar nerve, or a brush on to a structural weak-line to disturb your opponent’s posture.

·       Or, they might just be part of a fluid series of movements dealing with a rapidly changing threat.

·       It is possible that one hand or arm might well be engaging with an investment-heavy entanglement, while the other needs to deliver a short sharp slap at exactly the right time – a millisecond to early and the opportunity is not there; too late and the window has closed. (It might be that one hand has a very short distance to travel, while the other takes a longer path)?

The crucial challenge for Wado stylists is how to coordinate this in a meaningful and supportive way, incorporating the characteristic body movement that is woven into the system, and I don’t necessarily mean body evasion; this particular movement could be intended to enhance the energy delivery, or to place yourself at a more advantageous or effective alignment.

Getting in each other’s way.

There are numerous Meotote techniques where it is entirely possible that the two limbs might get in each other’s way, particularly in Wado kata, you can have a lot of enlightening experiences just exploring those aspects.

Personally, I find that just free-forming through mindful Meotote actions as a kind of shadow boxing really useful. What is also beneficial is to explore how Meotote can give more meaning to training in formal line-work, specifically combinations (see my article in the paid section called ‘Clockwork Soldiers’).

In conclusion; if you look for it you will find it everywhere, but it is the awareness of its presence that expands your thinking on the subject and also the practical ability to apply it. My advice; look for it, tease it out of the kata (solo and paired) and experiment and play with it.

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Photo by Luis Quintero on Unsplash

1. Source: ‘Of Boys and Men: Why the modern male is struggling, why it matters, and what to do about it’ Richard V. Reeves.