This as been a study of some of Sesian Kata’s opening movement application potential. It is not of course complete. Many of the sub-variations of each technique described using different principles and force multipliers have been left out. There are also many other answers not shown. It does, however, show a significant way to look at Seisan potential, the first step towards developing Seisan realization, where it truly works if pressed.
Kata practice gives use the physical study of our art. Understanding how to find and develop the application potential is the mental study of our art. Finding the will to believe in the application and making any of them work against any attack requires the spirit of our art to manifest ourselves in our lives.
The main focus of my blog is to preserve material for my groups instructors and students. I’m freely sharing this with all, but am not looking for converts.
Actually this material is what I present to my sho-dan students to learn how the underlying principles and force multipliers being used determine which application potentials can be used.
I do not formally teach application potential to kyu students. They’re continually exposed to them to help shape their kata study, but not as a formal way to use kata. The role of the kyu is to develop their technique.
For the Dan material is not studied as a linear study. The study of these techniques and working on their effectiveness is normally spread over years to life. I first put this study together 5 years ago and re-working that material has shown me myriads of other answers today. I’m unconcerned if anyone can do all of them, just that they have an answer that stops anything, and don’t care which answer that is.
For those who’d like to study with me I don’t do clinics on my material because I only do this with my own kata movement flow. Students are certainly welcome to join our program but I start everyone at the beginning regardless of their background to learn our technique execution and movement flow, all of which underlie our studies. If do decide to move to Derry and train I’m sure we’ll get to this in a few years. That depends on you.
If you want to understand how the late Sherman Harrill influenced my studies I suggest you train with one of his qualified students, such as John Kerker. You would not regret it.
If you want to understand how Ernest Rothrock influenced my studies I suggest you train with him. Of course you have to move to Pittsburgh and train full time in his art, and in time you’ll forget my material because you’ll be having so much fun with his.
If you want to understand how Tristan Sutrisno influenced my studies I suggest you train with him. Of course you have to move to Scranton and train full time in his art, and in time you’ll forget my material because you’ll be having so much fun with his.
And for those who figure out you know what I have I only suggest you remember I do this with every movement of every form I study. It only takes 20 or 30 years to get somewhat beyond beginner.
Note: there are no mistakes in this presentation. If however it varies from what I teach I still expect you to make it work. In the end it’s not the mental of physical it’s your Spirit!